Schedule

Argentinian conductor and harpsichordist Leonardo García Alarcón leads his ensemble Cappella Mediterranea in a program of Italian Baroque music. The ensemble performs some of the finest Baroque pieces composed by Francesco Cavalli, a prominent composer in 17th-century Venice, and two of his famous students, Barbara Strozzi and Antonia Bembo. Argentinian soprano Mariana Flores presents the vocal works. On the program: Strozzi’s Sino alla morte. This performance was recorded at the magnificent Église Notre-Dame of Sablé-sur-Sarthe, France, on August 26, 2020.

Andris Nelsons, together with his then-wife, the great soprano Kristine Opolais and the Gewandhausorchester Leipzig present a program dedicated to Antonin Dvořák, singing the melodies that the composer hid in all layers of his music with tender, warm, soft colors. Nelsons’ tempos remain calm and relaxed, allowing the omnipresent beauty of Dvořák’s music to unfold and flood the Gewandhaus. The program opens with Othello, a Concert Overture for Orchestra, Op. 93. Opolais performs “Song to the Moon” from Rusalka, “Songs my Mother Taught Me” from Gypsy Songs, Op. 55/4. This is followed by the Polonaise and 'O, marno, marno to je' from Rusalka and 'Dobrá! Já mu je dám!... Jak je mi?' from Smetana's opera Dalibor. The concert closes with a performance of Dvořák's Symphony no. 9 in E Minor, Op. 95 (“From the New World”). Recorded at the Gewandhaus, Leipzig in May 2017.

One night only! Welcome to the spectacular and decadent world of The Babylon Hotel, where music pours out of every crevice like bubbling champagne. In this concert, the upper class meets the underworld in a melting pot of euphoria and extravagance, nostalgia and pleasure with a carefree sinfulness only seen in the exuberant nightlife of the 1920s around the world. The concert features iconic music from movies and series, such as The Great Gatsby, Burlesque, and Babylon Berlin. The music is performed by the Danish National Symphony Orchestra and DR Big Band under the direction of Miho Hazama. The concert also features the Moka Efti Orchestra, and singers Madame le Pustra, Emma Smith, Mademoiselle Karen, Jakob Munch, and Nikko Weidemann, as well as dancers of Sweet Burlesque. This performance was recorded at the DR Koncerthuset in Copenhagen, Denmark, in May 2023.

Karita Mattila (soprano), Violeta Urmana (alto), Thomas Moser (tenor), Eike Wilm Schulte (bass), Swedish Radio Choir, Eric Ericson Chamber Choir, Berlin Philharmonic Orchestra, conductor: Claudio Abbado. Ludwig van Beethoven (1770-1827): Symphony No. 9 in D minor, Op. 125. The European Concert has been a tradition of the Berliner Philharmoniker since 1991. The musicians commemorate the anniversary of the orchestra's founding on May 1st, 1882, playing in different European cities. In 2000, the orchestra played at home in the Berlin Philharmonic Hall.

TeoTronico is a pianist robot, conceived and designed by Matteo Suzzi at TeoTronica company, an Italian start-up based in Imola. Version 1.0, with 29 fingers, was completed in 2007. Starting from version 3.0 (2012), TeoTronico was implemented with 53 fingers made of dynamically driven electromagnets, able to control the gradations of any acoustic piano. TeoTronico can read musical scores in digital or MIDI format, playing them on the piano in a literal way. It is also able to reproduce the piano roll recordings - converted into MIDI - of the great pianists of the past. Since 2017, TeoTronico is also equipped with feet for the control of the sustain pedal of the piano. In 2012, TeoTronico made his debut as a soloist at the Philharmonie in Berlin with the Berliner Symphoniker in a special family concert. TeoTronico has performed more than 50 shows with Roberto Prosseda in their unique format 'Robot Pianist Vs. Human Pianist', appearing in the most important Italian concert venues and halls in Europe and Asia. This concert is filmed at the Teatro Sociale, Castiglione delle Stiviere in Italy.

Can we get into Beethoven’s creative mind, especially in the last phase of his life, when he was coping with severe hearing loss? Tom Beghin’s new recording of Beethoven’s Piano Sonatas Opus 109, 110, and 111 is an artistic exploration of how Beethoven’s musicking was shaped by the work environment he created with the help of colleagues and friends. Not only does pianist Tom Beghin perform Beethoven’s trilogy of pianistic masterpieces on a magnificent new replica of Beethoven’s Broadwood piano, he uses a reconstruction of the Gehörmaschine that was mounted on the composer’s piano so he could continue to create music as his hearing declined. ‘You do hear better when you bring your head under this machine, don’t you?’ André Stein asked Beethoven. Two centuries later, we too can bring our heads under the machine and wonder: Do we hear Beethoven differently? Beghin draws us inside the hearing machine, where we feel as well as hear the essence of Beethoven’s rambunctious and irresistibly poetic musical vibrations. Inside the Hearing Machine invites us into the multisensory playground of a deaf composer for whom the machine was more than a hearing aid and who interacted with his instrument through much more than sound.

At the age of seven, Martha Argerich made her debut with Ludwig van Beethoven’s Piano Concerto No. 1, a piece that would accompany her throughout her career. In this concert at the Lucerne Festival, the celebrated pianist performs the signature piece with the Lucerne Festival Orchestra under the baton of Swedish conductor Herbert Blomstedt, who made his debut here with the orchestra. This performance was recorded at the Lucerne Culture and Congress Center (KKL), Switzerland, in August 2020.

András Schiff (Budapest, 1953) is one of the world's most distinguished pianists, breathing life into pieces with sheer magic. Schiff, a guardian of almost-forgotten ideals of piano playing, is more than a great pianist: he is an expert with insight that goes beyond the piano music, delving deeper into the wider field and macro culture. This makes him the perfect candidate to play and explain the music of Johann Sebastian Bach, whose music has an enormous performance tradition spanning over two centuries. In the current recital, filmed as part of the Bachfest 2010, Schiff performs all of Bach’s “French” music, that is, the so-called French Suites and the French Overture ; for his generous encore, he completes the Clavierübung II with the entirety of the Italian Concerto.

Alexander Ullman (1991, United Kingdom) performs Wagner/Liszt - Isoldens Liebestod: Schlußszene aus Tristan und Isolde, S447 and Beethoven/Liszt - Symphony No. 1 in C major, S464/1 during semi-final I (transcription) of the 11th International Franz Liszt Piano Competition, held in TivoliVredenburg, Utrecht, in 2017. The competition actively presents, develops, and promotes piano talents from around the world. In doing so, it has become one of the prominent gateways to the international professional classical music scene for young musicians. The International Franz Liszt Piano Competition was founded in 1986 in the Netherlands and has since built a reputation as one of the world’s most prestigious piano competitions.

Frédéric Chaslin (1963) leads the Orchestra and Chorus of the Opéra Royal de Wallonie-Liège in a performance of Léo Delibes’s tragic opera Lakmé (1883). Written to a libretto by Edmond Gondinet and Philippe Gille, the opera is set in nineteenth-century British India and tells the story of Lakmé, who falls in love with Gérald, a British officer. However, Lakmé’s father, the Brahmin priest Nilakantha, vows revenge after he discovers that Gérald has trespassed on their sacred ground. Like many of his contemporaries, Delibes was fond of exoticism, evoking foreign lands and cultures in the tradition of Georges Bizet’s Les Pêcheurs de perles (1863) and Camille Saint-Saëns’s Samson et Dalila (1877). Delibes’s opera features the celebrated “Flower Duet,” sung by Lakmé and her servant Mallika as they gather flowers by the river, and also the wonderful coloratura aria “Bell Song” (Air des Clochettes). Among the soloists are Jodie Devos, Philippe Talbot, Lionel Lhote, Pierre Doyen, and Marion Lebègue. This production was recorded at the Opéra Royal de Wallonie in Liège, Belgium, in 2022.

J. S. Bach’s six Brandenburg Concerto’s belong to his best-known works. The composer wrote these concertos between 1711 and 1720 and dedicated them in 1721 to Christian Ludwig, Margrave of Brandenburg. In celebration of the pieces’ 300th anniversary, Czech harpsichordist and conductor Václav Luks and the renowned Baroque ensemble Collegium 1704 recorded all six Brandenburg Concertos on historical instruments in 2021. The concertos are based on the Italian concerto grosso form, in which a group of solo instruments is set against a large ensemble. Bach’s Brandenburg Concertos feature remarkable combinations of solo instruments and virtuoso solos. In this performance at the Hall of Mirrors in the Köthen Castle, Germany, Luks and his Collegium 1704 present Bach’s Brandenburg Concerto No. 1 in F major, BWV 1046. This concerto was written for strings, woodwinds, and brass, and features solos from each instrument group.