Schedule

‘Iolanta’ and ‘Perséphone’ – A double bill consisting of two stage works that “represent an ideal of beauty, poetry and hope” forms this new production by Peter Sellars in Madrid from the Teatro Real from 2012. In both works, the progression from darkness to light acts as an initiation rite that completely transforms the existential attitude of the leading characters. This broadcast features ‘Iolanta’, a mature composition by Tchaikovsky, which was premiered in 1892. It contains all aspects of the composer’s mastery: beautiful melodies, clear structure, and genuine passion in its many varieties. The Chorus and Orchestra of the Teatro Real are conducted by Teodor Currentzis. The soloists in this production are Ekaterina Scherbachenko (Iolanta), Alexej Markov (Robert), Pavel Cernoch (Vaudémont), Dmitry Ulianov (King René), Willard White (Ibn-Hakia), Vasily Efimov (Alméric), Pavel Kudinov (Bertrand), Ekaterina Semenchuk (Marta), Irina Churilova (Brigita) and Letitia Singleton (Irina Churilova).

This performance was recorded during Mozart Week on January 27, 2006 in Salzburg, Austria, at the Großes Festspielhaus (Large Festival House) in celebration of Wolfgang Amadeus Mozart's 250th birthday. Under conductor Riccardo Muti, it features Thomas Hampson (baritone), Mitsuko Uchida (piano), Gidon Kremer (violin), Yuri Bashmet (viola), Wiener Singverein, and Wiener Philharmoniker. Pieces include Piano Concerto No. 25 in C major, Sinfonia concertante in E-flat major, K. 364, arias and scenes from Così fan tutte, Le nozze di Figaro, The Magic Flute and Symphony No. 35 in D major, K. 385 ("Haffner").

Les Dissonances is a collective of artists founded by violinist David Grimal in 2004. The conductorless ensemble consists of musicians from the most prestigious European orchestras, international soloists, and young talents. In this performance, Les Dissonances play Ludwig van Beethoven’s Violin Concerto in D major, Op. 61. Leading violinist Grimal is the soloist. Beethoven’s Violin Concerto was composed in 1806 and is the composer’s only work in this genre. Its premiere was not very successful, and the work saw few performances in the decades that followed. However, a remarkable performance by 12-year old violinist Joseph Joachim in 1844 gave the Violin Concerto a new lease of life. Ever since, it is one of the most performed works in the genre. As an encore, Grimal performs the Allegro from J. S. Bach’s Violin Sonata No. 2 in A minor, BWV 1003. This performance was recorded at Philharmonie de Paris, France, in 2015.

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. 6 in B-flat major, Op. 18 No. 6; and String Quartet No. 15 in A minor, Op. 132. This concert performance was recorded at Philharmonie de Paris on November 24, 2020.

Maestro Iván Fischer leads the Orchestra del Maggio Musicale Fiorentino in a remarkable concert program of works by Wolfgang Amadeus Mozart and Antonín Dvořák. Mozart’s Symphony No. 34 in C major, K. 338 opens the program. Completed in the summer of 1780, this was the last symphony Mozart wrote in Salzburg, where he worked as a court musician. The three-movement symphony features two vibrant outer movements with fanfares and rousing themes, while the quieter second movement is scored for strings alone, deviating from the typical four-movement structure of the time. Next on the program is Dvořák’s Symphony No. 7 in D minor, Op. 70, completed in March 1885 and premiered one month later in London conducted by the composer himself. With its dramatic and dark style, this symphony stands in stark contrast to the predominantly optimistic tone of Dvořák’s broader oeuvre. This performance was recorded at Teatro del Maggio Musicale Fiorentino in Florence, Italy, on January 29, 2021.

Mezzo-soprano Ekaterina Chayka-Rubinstein (Germany, 1998) and pianist Maria Yulin (Israel, 1988) perform ‘Colloque sentimental’ from Claude Debussy’s Fêtes galantes II; ‘Die Geister am Mummelsee’ from Hugo Wolf’s Mörike-Lieder; ‘Bei dir allein’ from Franz Schubert’s Vier Refrainlieder, D. 866; Bart Visman’s Vermeer’s Gold; ‘La fleur qui va sur l'eau’ from Gabriel Fauré’s Trois melodies, Op. 85; ‘Dance of the moon in Santiago’ from George Crumb’s Sun and Shadow (Spanish Songbook II); and ‘Den’ li tsarit?’ (Does the day reign?) from Pyotr Ilyich Tchaikovsky’s Seven Romances, Op. 47, during the semi-finals of the International Vocal Competition 2021 – Lied Duo. This performance was recorded at Het Noordbrabants Museum in ’s-Hertogenbosch, the Netherlands.

Discover the soloist Heidrun Holtmann as she performs Mozart’s Piano Concerto No. 1, KV 37 and Piano Concerto No. 4, KV 41, accompanied by the Orchestra della Radiotelevisione della Svizzera. Conducted by Marc Andreae, the performance took place at the historic Teatro Bibiena in Mantua.

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.

Italian conductor Gianandrea Noseda leads the London Symphony Orchestra (LSO) in a performance of Ludwig van Beethoven’s Piano Concerto No. 5 in E-flat major, Op. 73, famously known as the ‘Emperor’ Concerto. Italian pianist Beatrice Rana features as the soloist here. The New York Times describes her as ‘one of the most insightful and prodigiously gifted artists of the new generation’. Beethoven’s Fifth Piano Concerto opens with a grand, majestic chord followed by a brilliant flourish from the piano, setting the tone for one of the most celebrated works in the piano repertoire. Composed between 1809 and 1811, it reflects Beethoven’s heroic spirit during a turbulent period in European history and is admired for its boldness, lyricism, and virtuosic demands. This concert was recorded at London’s Barbican Hall, UK, on February 2, 2022.

Pianist Dina Ivanova (Russia, 1994) performs Joseph Haydn’s Sonata in F major, Hob. XVI:23, and Maurice Ravel’s Gaspard de la nuit, during the first round of the Piano Edition of the Concours musical international de Montréal 2024 (CMIM). This performance was recorded at the Bourgie Hall of the Montreal Museum of Fine Arts.

Works: Andante lagrimoso, S.173/9, Étude d'exécution transcendante No. 12, S.139/12, Bénédiction de Dieu dans la solitude, S.173/3. Pianist Peter Klimo studied with Nelita True at the Eastman School of Music in New York and with Peter Frankl at the Yale School of Music in New Haven. He continued his studies with Tamás Ungár at Texas Christian University (TCU). Aside from playing recitals, Peter Klimo enjoys performing as a lied accompanist and with chamber music ensembles. His performance during a masterclass given by Graham Johnson enabled him to take private lessons in lied accompaniment and chamber music with Jean Barr. In 2011, he won First Prize at the Eastman Piano Concerto Competition; a year later he won Second Prize for pianist accompanists at the Jessie Kneisel Lieder Competition, which is held annually at Eastman. He has performed in venues such as the Kennedy Center in Washington, D.C. and at festivals such as the Dakota Sky International Piano Festival.

On December 24, 2011, one of the world’s most renowned classical orchestras, the Israel Philharmonic Orchestra, celebrated the 75th anniversary of its founding. The film portrays the orchestra and its eventful history against the backdrop of Israel and the holocaust. Interwoven with individual biographies and archival footage, the Israel Philharmonic Orchestra’s 75 years of history are brought back to life in concerts featuring Arturo Toscanini, Arthur Rubinstein, Leonard Bernstein, Isaac Stern, Zubin Mehta, Daniel Barenboim and Itzhak Perlman. We also get the opportunity to watch the Israel Philharmonic in rehearsals, concerts and on tour

The Rina Sala Gallo International Piano Competition takes place every two years in the Italian city of Monza. Founded in 1947 by Monza-born pianist Rina Sala Gallo and Brescia-born pianist Arturo Benedetti Michelangeli, the competition is one of Monza’s most prestigious cultural events today. This broadcast featuring the three finalists’ best performances from the competition’s 26th edition, were recorded at the Villa Reale di Monza in October 2022. First, Young Sun Choi (South Korea, 1991) performs Ludwig van Beethoven’s Piano Sonata No. 30 in E major, Op. 106. After, Seunghyuk Na (South Korea, 1997) plays ‘Oiseaux tristes’ and ‘Alborada del gracioso’ from Maurice Ravel’s five-movement suite Miroirs. Next, Ivan Bašić (Serbia, 1996) performs Franz Liszt’s Mephisto Waltz No. 1. Lastly, Choi returns for a performance of Claude Debussy’s Images (Book I).

Conrad van Alphen conducts Sinfonia Rotterdam in a performance of Camille Saint-Saëns’ (1835-1921) Symphony No. 3, Op. 78. Geert Bierling stars as soloist on the organ of De Doelen. It was recorded on October 20th, 2018 in Rotterdam, The Netherlands. Saint-Saëns Symphony No. 3 was completed in 1886. It is known as the Organ Symphony since the instrument is used in the second and fourth movement of the work. The composer stated about this symphony: "I gave everything to it I was able to give. What I have here accomplished, I will never achieve again." Saint-Saëns was at the height of his symphonic career, realizing this was his last attempt at the symphonic form.

Acclaimed classical music talent scout Antonio Mormone (1930-2017) lives on as the name-giver of the Premio Internazionale Antonio Mormone (PIAM), awarded to the winner of the Italian music competition of the same name. The first edition of this competition, which was held in various venues in Milan from 2019 to 2021, was dedicated to the piano. As part of this competition, Philipp Scheucher (Austria, 1993) performs Ludwig van Beethoven’s Fantasia Op. 77; Menuetto: ‘Moderato e grazioso’ from Beethoven’s Sonata No. 18 in E-flat major, Op. 31 No. 3; and Franz Liszt’s transcription of the first movement, ‘Allegro con brio’, from Beethoven’s Symphony No. 5 in C minor. This performance was recorded at Nuovo Teatro Ariberto in Milan, in May 2021.

Soprano Ana Carolina Coutinho (Brazil, 1993) and pianist Megumi Kuroda (Japan, 1989) perform Franz Schubert’s Die Blumensprache, D. 519; ‘Sonnenuntergang’ from Viktor Ullmann’s Drei Hölderlin-Lieder; ‘Verschwiegene Liebe’ from Hugo Wolf’s Eichendorff-Lieder; ‘Il vole’ and ‘Fleurs’ from Francis Poulenc’s Fiançailles pour rire, FP 101; ‘Wasserrose’ from Richard Strauss’s Mädchenblumen, Op. 22; Kōsaku Yamada’s 風に乗せてうたへる春の歌八章; たたえよ、しらべよ、歌いつれよ;and Bart Visman’s Vermeer’s Gold, during the semi-finals of the International Vocal Competition 2021 – Lied Duo. This performance was recorded at Het Noordbrabants Museum in ’s-Hertogenbosch, the Netherlands.

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.

Italian conductor Speranza Scappucci leads the Philharmonia Zürich and the Chorus of the Opernhaus Zürich in a performance of Gaetano Donizetti’s tragic opera ‘Lucia di Lammermoor’ (1835). Salvatore Cammarano based his libretto on Sir Walter Scott’s novel ‘The Bride of Lammermoor’ (1819). Set in 17th century Scotland, the opera tells the story of Lucia, who falls in love with Edgardo, her family’s arch enemy. Lucia’s brother Enrico, however, forces her to marry a man she does not love instead, driving the young woman insane. Highpoint of the opera is Lucia’s famous ‘mad scene’, in which the technically demanding aria ‘Il dolce suono’ is heard. In this scene, Lucia’s voice is accompanied by a glass harmonica, adding to its eeriness. Among the soloists are Irina Lungu (Lucia), Massimo Cavalletti (Enrico Ashton), Piotr Beczała (Edgardo di Ravenswood), Andrew Owens (Lord Arturo Bucklaw), Oleg Tsibulko (Raimondo Bidebent), Roswitha Christina Müller (Alisa), and Iain Milne (Normanno). This performance was recorded at the Opernhaus Zürich, Switzerland, in 2021.

Rodolfo Barráez conducts the Orchestra and Choir of the Academia de Musica del Palacia de Mineria in a performance of Carl Orff's cantata Carmina Burana. Soloists are Anabel de la Mora (soprano), Andrés Carrillo (tenor) and Daniel Cerón (baritone). Carmina Burana, composed in 1935 and 1936, is based on 24 poems from a medieval manuscript of the same name. The full title is "Songs from Beuern: Secular songs for singers and choruses to be sung together with instruments and magical images". It was first performed at the Oper Frankfurt on June 8, 1937.

The Tafelmusik Baroque Orchestra also known simply as Tafelmusik, is a Toronto-based Canadian baroque orchestra, specialised in early music. Its musical director is Jeanne Lamon. Together with the Trio Arabica they celebrate the music and culture in the eighteenth century. The cities of Leipzig and Damascus both lay at the crossroads of ancient trading routes and are important centres of scholarship and famous for their coffee houses, where music was performed by the most brilliant musicians of the day. This concert presents works by Bach, Telemann, Handel and treasures of classical Arabic music. In this cross-cultural café, music, words, and images are used to explore the ways in which people separated by great distances are bound together by trade, ideas, and art. Recorded at the Aga Khan Museum in Toronto. Created by Alison Mackay and staging by Marshall Pynkoski.

Maestro Bernard Haitink leads the Berliner Philharmoniker in a performance of Igor Stravinsky's Le sacre du printemps (‘The Rite of Spring’). Stravinksy composed the ballet’s score in 1913 for Sergei Diaghilev's itinerant ballet company Ballets Russes. The work’s sensational première at the Théâtre des Champs-Élysées in Paris caused a riot in the audience in response to the avant-garde nature of the music and choreography. The score, written for one of Stravinsky’s largest orchestras, features harsh dissonances and complex rhythms. Despite its scandalous premiere, the work gained great critical acclaim. Le sacre du printemps is now considered one of the great masterpieces in classical music history, which influenced many 20th-century composers. This performance was recorded at the Royal Albert Hall in London, UK, as part of Europakonzert 1993.