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).

Polish conductor Marta Gardolińska conducts the London Symphony Orchestra (LSO) in a concert program consisting of Lili Boulanger’s D’un Martin de Printemps, Marc-André Dalbavie’s Concerto for Flute, and Pyotr Ilyich Tchaikovsky’s Symphony No. 4 in F minor, Op. 36. The luminous optimism of the young Boulanger is poles apart from the raw passion and white-hot melodies of Tchaikovsky’s semi-autobiographical symphony. LSO principal flute Gareth Davies brings out all the dazzle and daring of Dalbavie's 21st-century classic. The program closes with Prayer for Ukraine by composer Valentin Silvestrov. This concert was recorded at LSO St Luke’s in London, UK, on May 18, 2022.

The documentary “Clara Haskil - Le mystère de l’interprète” (2017) tells the remarkable life story of Romanian pianist Clara Haskil (1895-1960). Born in Bucharest into a Jewish family, she began her career as a child prodigy, entering the Bucharest Conservatory at a very young age. She continued her music studies in Vienna and Paris. Haskil suffered from chronic health issues and lived through two world wars, which held back her career. Only after WWII, Haskil’s fame began to take off and she finally enjoyed international recognition. She performed as a soloist over the world with the foremost orchestras, and collaborated with acclaimed musicians including Eugène Ysaÿe, George Enescu, and Pablo Casals.

Franz Welser-Möst leads the Cleveland Orchestra in a concert performing Richard Strauss' Ein Heldenleben, Op. 40. Violin soloist is David Radzynski. Recorded at Severance Hall in Cleveland in February 2023. Strauss, at the age of 34, sparked outrage when he cast himself as the central figure of his tone poem. Generally agreed to be autobiographical, the work contains more than thirty quotations from Strauss's earlier works.

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.

Baritone Arvid Fagerfjäll (Sweden, 1991) and pianist Hikaru Kanki (Japan, 1993) perform ‘Lust der Sturmnacht’ from Robert Schumann’s Kerner-Lieder, Op. 35; ‘Le diable dans la nuit’ from Henriëtte Bosmans’ Dix mélodies; Franz Schubert’s Totengräbers Heimweh, D. 842; ‘Die Vöglein’ and ‘Vor dem Schloss in den Bäumen es rauschend weht’ from Aribert Reimann’s Nachtstück; ‘Den första kyssen’ (The first kiss) from Jean Sibelius’s Five songs, Op. 37; ‘Ganymed’ from Hugo Wolf’s Goethe-Lieder; ‘Marc Chagall’ from Francis Poulenc’s Le travail du peintre, FP 161; ‘Le loup et l’agneau’ from André Caplet’s Trois fables de Jean de la Fontaine; and ‘Ballade des femmes de Paris’ from Claude Debussy’s Trois ballades de François Villon, L. 126, during the final round of the International Vocal Competition 2021 – Lied Duo. This performance was recorded at De Verkadefabriek in ’s-Hertogenbosch, the Netherlands.

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.

Chinese pianist Zhu Xiao-Mei performs J. S. Bach's Goldberg Variations (BWV 988) at the Leipzig Bach Festival. This June 2014 concert was recorded at St. Thomas Church, where Bach spent most time of his career as 'Thomaskantor', the musical director of the Thomanerchor church choir. The Goldberg Variations consist of one aria and a set of 30 variations. The work was first published in 1741 and was named after harpsichordist Johann Gottlieb Goldberg. In contrast to melodic variations on a theme, the Goldberg Variations do not follow the melody, but rather use the aria's bass line and chord progression. Every third variation in the series of 30 is a canon that follows an ascending pattern. The Goldberg Variations are among Bach's most celebrated works, which gained an even larger audience thanks to Glenn Gould's legendary recordings of the work in 1955 and 1981.

Written in 1894, the two Clarinet Sonatas, Op. 120 are the last chamber music pieces Johannes Brahms composed. In this performance at Het Groene Paviljoen in Baarn, the Netherlands, clarinetist Henk de Graaf and pianist Daniël Wayenberg play Brahms’s Clarinet Sonata No. 2 in E-flat major, Op. 120.

Dutch choreographer Hans van Manen (1932) is internationally recognized as one of the grand masters of contemporary ballet. His over 150 ballets all bear his distinct signature, featuring a great clarity in structure, refined simplicity and an aversion to decorative frills. In the documentary ‘Hans van Manen – Moving to Music’ (2022), Van Manen reflects on his life, work, and the inspirations behind ballets charged with drama and eroticism. The film features excerpts from some of his most successful ballets, including the then-controversial Metaforen (1965), which featured the first male pas de deux, Adagio Hammerklavier (1973), and Sarcasmen (1981). Film director Reiner E. Moritz also included contributions of friends and colleagues, such as Ted Brandsen (Dutch National Ballet), Martin Schläpfer (Vienna State Ballet), and Van Manen’s partner Henk van Dijk, rounding off the portrait of the great choreographer.

After recording all 32 Ludwig van Beethoven piano sonatas to celebrate the composer's 250th birth anniversary, celebrated Italian pianist Riccardo Schwartz decided to record solo piano works by Robert Schumann. In this performance, Schwartz presents Schumann’s Fantasiestücke, Op. 12. Written in 1837, the work is a set of eight piano pieces with contrasting moods. The work’s title is derived from one of the composer’s favourite authors’ collection of novellas: E. T. A. Hoffmann’s Fantasiestücke in Callots Manier. Like Schumann’s Davidsbündlertänze, his Fantasiestücke are designed as a musical dialogue between Florestan and Eusebius, representing the duality of his own personality. The former represents the composer’s passionate side, and the latter depicts the dreamer in Schumann. Acclaimed pianist Riccardo Schwartz (1986) has performed as a soloist with many world-renowned conductors, including Gustav Kuhn and Yuri Temirkanov. His acclaimed performances include recitals and concertos for piano and orchestra in many prestigious concert halls.

Olivier Latry is the current holder of the Great Organ of Notre Dame. Between its original religious function and the interest of composers of all times, the great organ Cavaillé-Coll reveals its absolute modernity. Latry is considered one of the greatest organists of his generation, both in France and internationally. He sees himself as an ambassador of French music from the 17th through the 20th centuries as well as an advocate for the art of improvisation. Pieces played in the film are: Pierre Cochereau’s Boléro, Louis Vierne’s Carillon of Westminster and Scherzo from Symphony No. 2, Alexandre Guilmant’s Sonata No. 1, Charles-Marie Widor’s Gothic Symphony, Marcel Dupre’s Cortège, Litanie and J. S. Bach’s Passacaille & Fugue.

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. This program features Quatuor Ébène performing Beethoven’s String Quartet No. 14 in C-sharp minor, Op. 131. This concert was recorded at Philharmonie de Paris on December 16, 2020.

Swiss conductor Philippe Jordan and the Orchestre de l’Opéra national de Paris recorded all of Ludwig van Beethoven’s symphonies in 2014-2015. In this program, Jordan conducts Symphony No. 1 in C major, Op. 21. This symphony shows Beethoven’s loyalty to the model of Joseph Haydn’s and Wolfgang Amadeus Mozart’s late symphonies, yet reveals his attempt to distinguish himself from his predecessors. For instance, the work opens with a slow introduction that refuses to reveal the piece’s key. Equally remarkable are the unusual prominence of the woodwinds, and the scherzo-like tempo of the third movement bearing the indication ‘minuet’. This performance was recorded at Opéra Bastille in Paris, France, in 2014.

In this splendid concert, exceptional Russian pianists Nikolay Lugansky and Vadim Rudenko join forces in a program for two pianos comprising works of Wolfgang Amadeus Mozart, Maurice Ravel, Anton Arensky, Sergei Rachmaninoff, and Nikolai Kapustin. Both pianists, laureates of the prestigious International Tchaikovsky Competition in 1994, have received international recognition. They perform regularly in a duo. On the program: Mozart’s Sonata for two pianos in D major, K. 448/375 A; Ravel’s La Valse (arr. for two pianos); Arensky’s Suite No. 1 for two pianos, Op. 15; and Rachmaninoff’s Suite No. 1 (Fantasy) for two pianos, Op. 5. As an encore, the duo performs ‘Romance’ from Rachmaninoff’s Suite No. 2 for two pianos, Op. 17, followed by ‘Overture’ from Nikolai Kapustin’s Sinfonietta, Op. 49. This performance was recorded at the Tchaikovsky Concert Hall in Moscow, Russia, on November 25, 2021.

A colourful Christmas concert by the South Netherlands Philharmonic with Tchaikovsky’s famous First Piano Concerto. Chief conductor Dmitry Liss showcases, together with master pianist Boris Berezovsky, a true, Russian spirit. In such a way as to evoke what an American critic had said about one of his previous Tchaikovsky interpretations: “Liss expressed an absolute authority over the orchestra and the audience. He displayed a dialogue with eternity”.

The shy and elusive Grigroy Sokolov is one of the greatest pianists of our time. His performances leave critics and audiences alike speechless, like they don't quite believe what they have just experienced. In 2015, he played a beautiful recital with works by Johann Sebastian Bach, Ludwig van Beethoven, Franz Schubert, Frédéric Chopin, and Claude Debussy that took place at the Festival La Roque D'Anthéron in Aix-en-Provence. And just as he was wont to do, Sokolov delivered an unforgettable, magical musical moment. On the program: Bach – Partita for keyboard No. 1, BWV 825, Beethoven – Piano Sonata No. 7 in D major, Schubert – Sonata in a minor op. 143, Schubert – Six Moments Musicaux. The encores are Chopin – Mazurka in A minor, Chopin – Prelude No. 15 and Debussy – Prelude Canope.

Swiss conductor Philippe Jordan and the Orchestre de l’Opéra national de Paris recorded all of Ludwig van Beethoven’s symphonies in 2014-2015. In this program, Jordan conducts Beethoven’s Symphony No. 8 in F major, Op. 93. Beethoven wrote the work in 1812 upon completion of his Symphony No. 7. The composer conducted the February 27, 1814 première at a concert in Vienna that also included a reprise performance of his Symphony No. 7 and his 15-minute orchestral piece Wellington’s Victory, Op. 91. The shortest of Beethoven’s nine symphonies, Symphony No. 8 lacks a truly slow movement. Instead it has a second movement, Allegretto scherzando, that features a steady ‘ticking’ rhythm maintained by the woodwinds throughout the movement. This is thought to be an imitation of the Andante movement of Joseph Haydn’s ‘Clock’ Symphony. Jordan’s performance was recorded at Opéra Bastille in Paris, France, in 2015.

Dutch choreographer Hans van Manen (1932) is internationally recognized as one of the grand masters of contemporary ballet. His over 150 ballets all bear his distinct signature, featuring a great clarity in structure, refined simplicity and an aversion to decorative frills. In this tribute to the great choreographer, dancers of the Dutch National Ballet perform three masterpieces from Van Manen’s extensive oeuvre. The program opens with Metaforen (1965), set to Daniel-Jean-Yves Lesur’s Variations for organ and strings—a groundbreaking work featuring one of the first male pas de deux, considered provocative at the time. This is followed by Adagio Hammerklavier (1973), set to the third movement, Adagio sostenuto, of Ludwig van Beethoven’s Hammerklavier Sonata, Op. 106. The program concludes with Frank Bridge Variations (2005), written to Benjamin Britten’s Variations on a Theme of Frank Bridge, Op. 10. This performance was recorded at Opéra Berlioz, Le Corum in Montpellier, France, in 2017.

This very special concert event celebrates the diversity and richness of Canada through the eyes and ears of its people. Ensemble Made in Canada’s Mosaique Project features a commissioned suite of piano quartets by 14 Canadian composers, each inspired by a region of our vast country. Their album release and two-year National tour culminate in St. Catharines’ stunning Partridge Hall! The ensemble consists of Elissa Lee (violin) Sharon Wei (viola), Rachel Mercer (cello) and Angela Park (piano) and is rapidly gaining recognition as Canada’s premier piano quartet.

Italian conductor Mattia Rondelli conducts the Orchestra dell’Opera Carlo Felice Genova in a concert program consisting of works by Wolfgang Amadeus Mozart and Giuseppe Sarti. Soprano Barbara Massaro is the soloist. On the program are Mozart’s Symphony No. 5 in B-flat major, K. 22; ‘Domine Deus’ from Sarti’s Gloria in excelsis (revised by Stefano Squarzina); ‘Sinfonia’, and the aria ‘Sull’altare del Suo sdegno’ from Sarti’s oratorio La sconfitta de’ Cananei (rev. S. Squarzina); Mozart’s Symphony No. 27 in G major, K. 199; the aria ‘Fra le oscure ombre funeste’ from Mozart’s cantata Davide Penitente, K. 469; and Mozart’s Symphony No. 24 in B-flat major, K. 182. This performance was recorded at the basilica of Santi Gervasio e Protasio in Rapallo, Italy, in 2023.

On the occasion of her 80th birthday, Argentinian pianist Martha Argerich explored repertoire for piano and violin in this wonderful concert, recorded at Château de Chantilly, France. The ‘Grande Dame’ of the piano is joined by various renowned artists, including pianists Evgeny Kissin, Theodosia Ntokou, and Cristina Marton-Argerich, and violinist Maxim Vengerov. On the program are Dmitri Shostakovich’s Concertino for two pianos, Op. 94; Frédéric Chopin’s Impromptu No. 3, Op. 51, Polonaise No. 6, Op. 53 “Heroic”, and Waltz No. 6, Op. 64 No. 1; Camille Saint-Saëns’s Polonaise for two pianos, Op. 77; César Franck’s Sonata for violin and piano in A major; and Fritz Kreisler’s Liebesleid and Schön Rosmarin. This performance was recorded on June 12, 2021.

The Italian-Swiss ensemble Trio des Alpes, consisting of Hana Kotková (violin), Claude Hauri (cello), and Corrado Greco (piano), and the Orchestra da Camera di Mantova join forces in this performance of the Concertino for Piano Trio and String Orchestra, H. 232 by Czech composer Bohuslav Martin (1890-1959). Martin was a prolific composer, creating an oeuvre of almost 400 works. The four-movement Concertino was completed in 1933 and saw its first performance in 1936, by the Basler Kammerorchester under the baton of Paul Sacher. During the years 1931-1943, Martin wrote multiple concertante compositions. Many of these works were more or less influenced by the Baroque ‘concerto grosso’ form, in which a group of solo instruments is set against a large ensemble, a principle that appealed to the composer. This performance was recorded at Teatro Bibiena in Mantua, Italy, on January 21, 2016.

In this concert at the Lucerne Festival, Swedish conductor Herbert Blomstedt leads the Lucerne Festival Orchestra in a performance of Ludwig van Beethoven's Symphony No. 2 in D major, Op. 36. This performance was recorded at the Lucerne Culture and Congress Center (KKL), Switzerland, in August 2020.