Texts from “Capriccio” by Richard Strauss and Clemens Krauss
Richard Strauss: Sextet for strings from the opera “Capriccio”
Ludwig van Beethoven: String Quartet No. 9 in C major op. 59 No. 3
Toshiro Mayuzumi: Prelude for string quartet
Poems from the “Book of Songs” by Heinrich Heine
Robert Schumann: Poet's Love op. 48 - arrangement for voice and string quartet by Wim ten Have

Ida Aldrian, mezzo-soprano
Iris Icellioglu, viola
Merllin Schirmer, violoncello
Amaris Quartett:

Hibiki Oshima, violin
Felix Heckhausen, violin
Maria Rallo Muguruza, viola
Clara Grünwald, violoncello

Making music together in the Amaris Quartet is like a refreshing breath for my artistic work in the orchestra. These concerts are undoubtedly the most musically exhilarating moments that I can experience as a musician. They sharpen my hearing and subtly inspire my love of music.
Felix Heckhausen, second violinist

Given the cruelty of the Second World War, Richard Strauss' "Capriccio" seems removed from the world: using the musical means of the late 19th century, the time of the late 18th is described here in the 20th century. In the string sextet with which the action begins, this “rapture” is captured as if in a snapshot. Ludwig van Beethoven's third string quartet was also considered to be incomparably out of time. The “crazy” music, described as “a madman’s patchwork,” was met with incomprehension among the audience. Beethoven consciously sought to confront expectations when he took chamber music out of the living rooms and brought it into the large halls. The music of the Japanese Toshirō Mayuzumi is also permeated by the adventure-seeking desire to experiment: his music oscillates between the traditional style of late romanticism, jazz, early electronic sounds and the musical idioms of Asia. Schumann also took a big leap when he began his “poet love” in 1840. Until then he had only published piano music for ten years. At the moment of emotional emergency, Schumann had just married Clara Wieck, the musical monument of Heinrich Heine's great words and, above all, of great love was created.

Gustav Mahler: Symphony No. 2 in C minor - "Resurrection"

Christiane Karg, Soprano
Anna Lucia Richter, Mezzo-soprano

Budapest Festival Orchestra
Groot Omroepkoor
Iván Fischer, Conductor

Richard Wagner: Parsifal

Paweł Konik, Amfortas
David Steffens, Gurnemanz
Samuel Sakker, Parsifal
Shigeo Ishino, Klingsor
Rosie Aldridge, Kundry
Peter Lobert, Titurel
Claudia Muschio, 1.1. Flower Girl
Natasha Te Rupe Wilson, 1.2. Flower Girl
Marion Germain, 1.3. flower girl
Alma Ruoqi Sun, 2.1. flower girl
Lucia Tumminelli, 2.2. flower girl
Itzeli Jáuregui, 2.3. flower girl

Cornelius Meister, Musical Director
Calixto Bieito, stage direction
Susanne Gschwender, stage
Mercè Paloma, costumes
Reinhard Traub, lighting
Manuel Pujol, choir and children's choir
Xavier Zuber, dramaturgy

Stuttgart State Orchestra
Stuttgart State Opera Chorus
Children's Choir of the Stuttgart State Opera

Johann Sebastian Bach: Gleich wie der Regen und Schnee vom Himmel fällt, BWV 18
Johann Sebastian Bach: Ich armer Mensch, ich Sündenknecht, BWV 55
Johann Sebastian Bach: Komm, du süße Todesstunde, BWV 161

Julian Prégardien, tenor
Aleksandra Lewandowska, soprano
William Shelton, altus
Stephan MacLeod, bass

Gli Angeli Genève - Stephan MacLeod

Robert Schumann: Das Paradies und die Peri, op. 50

Lina Johnson, Peri
Johanna Rosa Falkinger, Jungfrau
Marianne Beate Kielland, Engel
David Fischer, Erzähler
Kieran Carrel, Jüngling
Manuel Walser, Der Mann
Nicolas Brooymans, Gazna

La Capella Nacional de Catalunya
Le Concert des Nations
Jordi Savall, Conductor

Wolfgang Amadeus Mozart: Così fan tutte KV 588

Olga Kulchynska, Fiordiligi
Emily Sierra, Dorabella
Konstantin Krimmel, Guilelmo
Daniel Behle, Ferrando
Sandrine Piau, Despina
Georg Nigl, Don Alfonso

Christopher Moulds, Musical Director
Benedict Andrews, Director
Magda Willi, stage
Victoria Behr, costumes
Mark Van Denesse, lighting
Franz Obermair, choir
Katja Leclerc, dramaturgy
Bavarian State Orchestra
Bavarian State Opera Chorus

Arnold Schoenberg: Peace on Earth, Op. 13
Gustav Mahler: Symphony No 2 in C minor, "Resurrection"

Susann Vent-Wunderlich, soprano
Ida Aldrian, alto
Andreas Hotz, conductor
Osnabrücker Symphonieorchester
Sierd Quarré | Clemens Breitschaft, chorus masters

‘Unheard of! What a sound! Extremely exciting,’ wrote Anton Webern to Arnold Schönberg in November 1928 about his setting of Friede auf Erden after the poem by Conrad Ferdinand Meyer. ‘It all sounds like something from another world. And - I don't think anyone will be able to escape the effect. - You are knocked to the ground with clubs and then lifted to the highest heights on angels‘ parakeets,’ wrote Gustav Mahler about his Symphony No. 2. Everything comes together in this music: Folk song and high literature, childlike faith and metaphysical speculation. In both works, it is the hope for a better world that comes to the fore in this programme and is needed today more than ever.

Johann Sebastian Bach: Gleich wie der Regen und Schnee vom Himmel fällt, BWV 18
Johann Sebastian Bach: Ich armer Mensch, ich Sündenknecht, BWV 55
Johann Sebastian Bach: Komm, du süße Todesstunde, BWV 161

Julian Prégardien, tenor
Aleksandra Lewandowska, soprano
William Shelton, altus
Stephan MacLeod, bass

Gli Angeli Genève - Stephan MacLeod

Ambroise Thomas: Scenes from »Hamlet«. Opera in fife acts (1860–1864)
Hector Berlioz: Tristia. Marche funèbre pour la dernière scène d'Hamlet
Gabriel Fauré: Requiem

Sabine Devieilhe, Soprano
Stéphane Degout, Baritone

Pygmalion, Choir and Orchestra
Raphaël Pichon, Conductor

Charles Gounod: Roméo et Juliette

Aida Garifullina, Juliette
Patricia Nolz, Stéphano
Benjamin Bernheim, Roméo
Hiroshi Amako, Tybalt
Stefan Astakhov, Mercutio
Peter Kellner, Frère Laurent

Marc Leroy-Calatayud, Musical Direction
Jürgen Flimm, Stage Direction
Patrick Woodroffe, Set Design and Light Design
Birgit Hutter, Costumes
Renato Zanella, Choreographer