Schedule

Mexican conductor Carlos Miguel Prieto leads the Orquesta Sinfónica de Minería in a performance of Camille Saint-Saëns’s musical suite The Carnival of the Animals (Le carnaval des animaux, 1886). This suite consists of 14 movements, each depicting a different animal. The work was published posthumously in 1922, as Saint-Saëns was concerned that his animal miniatures, full of delightful jokes, might damage his reputation as a serious composer. Scored for cello and two pianos, ‘The Swan’ is the only movement that Saint-Saëns allowed to be published during his lifetime. This iconic movement features a beautiful flowing cello melody and gentle piano accompaniment, evoking the image of a swan gliding gracefully over the water. Each movement is introduced by Prieto. This performance was recorded at Auditorio Nacional in Mexico City, in 2021.

The Orchestra Mozart, founded in 2004, is supposed to give young, talented musicians a possibility to play in a world-class orchestra being conducted by one of the outstanding conductors of our time. Claudio Abbado, the artistic director, is responsible for its profile, inviting musicians and chamber ensembles of international reputation. The Orchestra Mozart, conducted by Claudio Abbado, with their leader Giuliano Carmignola is playing Johann Sebastian Bach's Brandenburg Concertos. Recorded at the Teatro Municipale Valli, Reggio Emilia. "Does the world need another set of Brandenburgs? Yes, when they are as freshly minted and as adventurously sonorous as this marvellous set from Abbado's young period-style Orchestra Mozart" (The Observer).

Mezzo-soprano Deepa Johnny (Canada/Oman, 1998) performs ‘Adieu de l’hôtesse arabe’ from Georges Bizet’s 20 Mélodies, Op. 21; Franz Schubert’s Gretchen am Spinnrade, Op. 2, D. 118; ‘Sleep’ from Ivor Gurney’s 5 Elizabethan Songs; and ‘Sopra un’aria antica’ from Ottorino Respighi’s 4 Liriche, P. 125, during the first round of the Voice Edition of the Concours musical international de Montréal 2022 (CMIM). This performance was recorded at the Bourgie Hall of the Montreal Museum of Fine Arts.

From August 28 to September 6, 2015, the Early Music Festival Utrecht focused on England, my England. On the basis of the festival theme, presenter Lex Bohlmeijer takes the viewer in a two-part documentary on an intriguing journey through England of the Middle Ages, Renaissance and Baroque, and relates this to the city of Utrecht. Episode 1 offers a peek into the inner city churches of Utrecht, visiting the source of inspiration if this year's festival: the English estate Boughton House, where the Duke of Buccleuch shows us around.

Italian pianist Roberto Prosseda (1975) performs Wolfgang Amadeus Mozart's Piano Sonata No. 5, KV. 283. Prosseda is particularly noted for his performances of newly discovered works by Mendelssohn and has recorded a nine-CD series for Decca of the piano works of Mendelssohn. Since 2012, Prosseda also gives lecture-concerts with the robot pianist TeoTronico, as educational or family concerts, to demonstrate differences between a literal production of music and human interpretation.

Throughout the centuries, the Italian city of Naples has proved to have a remarkably favorable climate for artistic innovation. The presence of the royal or vice royal courts, the practice of music in churches, fraternities, and charitable institutions, financial support from well-to-do citizens, and the popularity of song and dance in public life made for an extraordinarily diverse musical landscape.

Renowned French string quartet Quatuor Ébène marked the 250th birth anniversary of Ludwig van Beethoven (1770-1827) with a remarkable project: recording all of the great composer’s sixteen string quartets. For five years, violinists Pierre Colombet and Gabriel Le Magadure, violist Marie Chilemme, and cellist Raphaël Merlin immersed themselves in Beethoven’s 650 pages of sheet music. Their efforts culminated in the performance of the composer’s complete repertoire for string quartet, which covers three decades of Beethoven's musical creativity, during six impressive concerts at Philharmonie de Paris in the autumn of 2020. Quatuor Ébène explored every facet of Beethoven's string quartet repertoire: from the youthful Opus 18 string quartets to the Razumovsky, Harp, and Serioso quartets (Opus 59, 74, and 95) from his middle period, and finally, the depth of his late quartets (Opus 127 to 135). This program features Quatuor Ébène performing Beethoven’s String Quartet No. 7 in F major, Op. 59, No. 1, known as “Razumovsky”; String Quartet No. 13 in B-flat major, Op. 130; and the monumental Great Fugue, Op. 133. This concert performance was recorded at Philharmonie de Paris on October 12, 2020.

Conrad van Alphen conducts Sinfonia Rotterdam in a performance of Pyotr Ilyich Tchaikovsky’s Overture-Fantasy “Romeo and Juliet”. Van Alphen founded Sinfonia Rotterdam in 2000. Under his passionate leadership, this orchestra has developed into one of the Netherland’s best-known orchestras. Tchaikovsky based his composition on Shakespeare’s famous play “Romeo and Juliet”. After finishing a first version of Romeo and Juliet in 1870, Tchaikovsky rewrote sections of the composition twice, completing the third and final version ten years later. The Overture-Fantasy opens with a slow introduction, primarily led by the clarinets and bassoons. The composition is dominated by its famous love theme, representing the love between Romeo and Juliet. This beautiful theme is introduced in the first half of the piece, played by the English horn and violas, and recurs in different sections of the composition. At the end, the love theme is heard in minor mode, which emphasized the tragic element of the story of the two lovers.

Paul Goodwin conducts the Conjunto Barroco of the Reina Sofía School of Music in Madrid in a Baroque music program featuring works by Georg Muffat, J. S. Bach, and Jean-Philippe Rameau. On the program are Muffat’s Sonata No. 5 in G major, 'Armonico tributo'; Bach’s Orchestral Suite No. 4 in D major, BWV 1069; and Rameau’s Suite from the opera ‘Les Boréades’. This performance was recorded at Auditorio Sony of the Reina Sofía School of Music in Madrid, Spain, on February 8, 2024.

Roberto Prosseda (1975) performs Mozart's Piano Sonata No. 5 (KV. 283) and four Impromptus Op. 90 by Franz Schubert. The performance ends with Chopin's technically demanding Ballade No. 4, Op. 52. Prosseda is particularly noted for his performances of newly discovered works by Mendelssohn and has recorded a nine-CD series for Decca of the piano works of Mendelssohn. Since 2012, Prosseda also gives lecture-concerts with the robot pianist TeoTronico, as educational or family concerts, to demonstrate differences between a literal production of music and human interpretation.

In 1419 Philip the Good inherits a realm stretching from Dijon to deep into the Netherlands. In 1430, he founds his Order of the Golden Fleece, which enables him to give form to and to maintain both his knightly ideals and his political relations. This legendary brotherhood provided Marnix De Cat and his singers with the inspiration for this programme: trumpets announce the arrival of the Duke and his retinue, and love’s praises are sung in refined chansons.

Paul McCreesh conducts the Orquesta Gulbenkian and Coro Infantil da Academia de Música de Sana Cecília in a performance of Benjamin Britten’s (1913-1976) War Requiem, Op. 66. Soloists are Tatiana Pavlovskaya (soprano), John Mark Ainsley (tenor) and Hanno Müller-Brachmann (bass). Recorded at the Grande Auditorio Gulbenkian in Lisbon in 2014 and directed by Yan Proefrock. The War Requiem was performed for the consecration of the new Coventry Cathedral in 1962. Traditional Latin texts are interspersed with extra-liturgical poems by Wilfred Owen. Britten scored the requiem for soprano, tenor and baritone, a chorus and boys' choir, organ and an orchestra and chamber orchestra. The chamber orchestra accompanies the settings of English poetry, while the voices and orchestra are used for the Latin sections.

The 2017 Reate Festival in Rieti, Italy staged two short operas composed by Nino Rota. Known chiefly for his cinema soundtracks and his lifelong relationship with iconic directors such as Federico Fellini, Francis Ford Coppola and Luchino Visconti (to name but a few), Rota was a musical enfant prodige who composed sacred music as well as operas from a very young age. Endowed with a streak of freedom, creativity and imagination that allowed him to forge his own unique style, he succeeded in merging the great Italian operatic tradition of Rossini, Puccini and Verdi with a contemporary musical language, setting himself apart from his contemporaries in the process. I due timidi was broadcast by Milan’s RAI in 1950 and first staged in London in 1952. Based on a text by the Italian screen writer Suso Cecchi D’Amico, it’s a comedy of errors. Although it lacks the usual happy ending, the pace of the musical action and the skills of the young actor-singers make the performance most enjoyable. “The pace of the narration changes continuously: frenzied rhythms suddenly shift to broad vocal declamations à la Puccini, with interludes reminiscent of jazz and the buffo style. Despite the richness and heterogeneity of the musical material, the singers always manage to stay vocally balanced, showing great acting abilities, as well… Conductor Gabriele Bonolis and his orchestra received midperformance applause for an energetic, fresh and brilliant performance.” This version was performed by the Reate Festival Orchestra.

Iván Fischer conducts the Budapest Festival Orchestra in a concert recorded at the Béla Bartók National Concert Hall in Budapest, Hungary in 2015. The concert opens with Sergei Prokofiev's Overture on Hebrew Themes, Op. 34. After this, Thomas Zehetmair stars as solo violinist in Prokofiev Violin Concerto No. 2, Op. 63. The second part of the concert is features music by Igor Stravinsky. On the program is music composed for the ballet 'Jeu de cartes' (1937) and the Firebird Suite, No. 2 (1919). 'Jeu de cartes' is one of Stravinsky's neo-classical works and consists of three parts ('deals'). The Firebird Suite, No. 2 is based on the music from the ballet of the same name, which was written for Sergei Diaghilev's Ballets Russes and premiered in Paris in 1910.

Franz Liszt (1811 - 1886) composed 13 symphonic poems, largely inspired by literary texts. The composer himself wrote piano duet arrangements for these pieces, showcasing his incredible ability of imitating a full orchestra on the piano. Liszt, one of the 19th century’s most important piano virtuosos, strongly influenced the further development of piano music. The Romantic period was the era of the virtuoso pianists: the piano was the instrument of choice for countless musicians and listeners alike. No house of standing could do without a piano: it was a status symbol. Piano music was played in concert halls, palaces, salons, churches and public houses alike. Liszt’s symphonic poem no. 4, ‘Orpheus’, breathes a meditative atmosphere. No. 3, ‘Les Préludes’, is best known in its symphonic version – the piano version presented here is rarely heard. The work dates back to the period 1848 – 1854 and was initially meant to serve as introduction to a choral cycle to be based on the texts of the poet Joseph Autran, ‘Les quatre éléments’: earth, air, water and fire. In this broadcast, the Italian piano duo of Marco Sollini and Salvatore Barbatano performs these Liszt piano works. These recordings were made at the beautiful 12th century church of San Marco in the small but picturesque village of Ponzano di Fermo, as part of the 2015 edition of the annual, itinerant festival ‘Armonie della sera’ in the Italian province of Le Marche.

This documentary by Mark Perna shows the training and professional growth actions for opera singers, the promotion and enhancement of the cultural offer of the city and province of Modena and the maintenance and development of the Modenese musical tradition in the field of opera.

Mexican conductor Carlos Miguel Prieto leads the Orquesta Sinfónica de Minería in a performance of Sergei Prokofiev’s Peter and the Wolf, Op. 67. Written in 1936, Peter and the Wolf is a short, narrated orchestral suite, telling the story of a brave boy named Peter, who lives with his grandfather on the edge of a forest. With the help of his animal friends, Peter outsmarts a villainous wolf and captures it, eventually leading it to the zoo. Maestro Prieto gives an introduction to the different parts of the suite. In each part, each character is represented by a different instrument or instrument section, offering a vivid introduction to the orchestra's instrumental families. This performance was recorded at Auditorio Nacional in Mexico City, in 2021.

2006 closed with a spectacular festival of Argentinean music broadcast live from Buenos Aires. At the height of the Argentinean summer, the Orquesta Filarmónica del Teatro Colon under Daniel Barenboim (conductor & soloist) join bandoneon virtuoso Leopoldo Federico and his Orquesta Tipica for an extraordinary New Year’s Eve show with popular tangos and Latin American orchestra classics. The old master of tango, José Carli, created enchanting new arrangements of works by Argentinean artists Astor Piazzolla, Carlos Gardel, Julio de Caro, Alberto Ginastera and Horacio Salgán. Performances by leading tango dancers Mora Godoy and Junior Cervilla from Buenos Aires add atmosphere and round off the night.

In multidisciplinary project ‘Preludes - Danze al pianoforte’, dance and music come together in a wonderful and sophisticated show. Recognized Italian choreographer Massimo Moricone choreographed some of the most beautiful piano pieces by Frédéric Chopin, Claude Debussy, J. S. Bach, and Sergei Rachmaninoff, played by Italian pianist Costanza Principe. The protagonists are three Italy’s finest dancers: Anbeta Toromani, Alessandro Macario, and Amilcar Moret Gonzales. This performance was recorded at Teatro Romano di Verona, Italy, on July 25, 2023.

Pianist Elias Ackerley (United Kingdom/South Korea, 2001) joins the CMIM ensemble, consisting of three principal strings players of the Montreal Symphony Orchestra, in a performance of the first movement, Allegro molto moderato, of Gabriel Fauré’s Piano Quartet No. 1 in C minor, Op. 15. This performance took place during the chamber music round of the two-part semi-final of the Piano Edition of the Concours musical international de Montréal 2024 (CMIM). It was recorded at the Bourgie Hall of the Montreal Museum of Fine Arts.