SPECIAL CONCERTS OF THE
SEASON 2021/22 ›NACHBARN‹
CONCERTS AT ISARPHILHARMONIE IN GASTEIG HP8
You can find all concerts that will take place at Gasteig HP8 here:
ARD INTERNATIONAL MUSIC COMPETITION MUNICH
MATINÉE
Sundays at 11 am with Bell’Arte at the Prinzregententheater
Sunday, 12th December 2021
11 am, Prinzregententheater
Nikolai Tokarev, piano
Münchener Kammerorchester
Yuki Kasai, violin and leader
PROGRAMME
Anton Bruckner
Adagio aus dem Streichquintett F-Dur
Frédéric Chopin
Klavierkonzert Nr. 2
Ludwig van Beethoven
Streichquartett Nr. 11 op. 95 “Quartetto serioso”
in der Streicherfassung von Gustav Mahler
Sunday, 27th March 2022
11 am, Prinzregententheater
Claire Huangci, piano
Münchener Kammerorchester
Daniel Giglberger, violin and leader
PROGRAMME
Wolfgang Amadeus Mozart
Salzburger Sinfonie F-Dur KV 138
Joseph Haydn
Klavierkonzert G-Dur Hob. XVIII: 4
Wolfgang Amadeus Mozart
Symphonie Nr. 29 A-Dur KV 201
Wolfgang Amadeus Mozart
Klavierkonzert Nr. 9 Es-Dur KV 271
PRODUCTIONS WITH BAYERISCHE STAATSOPER
AGRIPPINA
Dramma per musica in three acts (1709)
Composer Georg Friedrich Händel · Libretto by Vincenzo Grimani
In Italian with German and English surtitles | New Production
Conductor: Stefano Montanari
Production: Barrie Kosky
Set Design: Rebecca Ringst
Costume Design: Klaus Bruns
Lighting:Joachim Klein
Dramaturgy: Nikolaus Stenitzer
Claudio: Gianluca Buratto
Agrippina: Joyce DiDonato
Nerone: John Holiday
Poppea: Elsa Benoit
Ottone: Iestyn Davies
Pallante: Mattia Olivieri
Narciso: Cortez Mitchell
Lesbo: Andrew Hamilton
Münchener Kammerorchester
Premiere 23rd July 2019
Prices PAA , € 191 / 152 / 105 / 58 / 42
In this breathtaking political thriller, Handel’s second composition based on a Nero story and his sixth opera, everything appears at first to be fine on the stage of power: The Roman Emperor Claudius is said to have drowned while returning from his successful campaign against the Britons. His wife Agrippina therefore seizes the moment for Nero, her son from her first marriage, to ascend to the throne. Indeed the librettist Vincenzo Grimani, in ancillary professions also a cardinal and emperor’s ambassador at the Vatican, among other positions, turned his experiences at the court of Pope Clemens XI and his precise knowledge of the Annals of Tacitus and Suetonius’s De vita Caesarum into a libretto that is not only historically precise, but which also twists and turns with the most diverse watershed moments and chicanery surrounding the Vatican throne, so much that, at the end the question here is practically – are there winners, losers and a lieto fine, or happy end, here at all? Director Barrie Kosky sums up: “This opera shows what the best operas are made of – a combination of eroticism and power.”
THOMAS / LAMENTO D’ARIANNA (1624)
Opera by Georg Friedrich Haas with text by Händl Klaus (2013) LAMENTO D’ARIANNA (1624) Claudio Monteverdi
Alexandre Bloch, Musikalische Leitung
Anna-Sophie Mahler, Inszenierung
Katrin Connan, Bühne
Pascale Martin, Kostüm
Georg Lendorff, Video
Katharina Ortmann, Dramaturgie
Thomas – Holger Falk
Matthias – Konstantin Krimmel
Michael – Hagen Matzeit
Dr. Dürer – Randall Scotting
Dominik – Caspar Singh
Schwester Agnes – Yajie Zhang
Schwester Jasmin – Daria Proszek
Frau Fink von der Bestattung – Lini Gong
Münchener Kammerorchester
Georg Friedrich Haas’s chamber opera begins as many operas end – Matthias is dying, with his beloved Thomas by his deathbed. The piece begins, highly stylised, with the faltering breath of the dying man. Only after his death does the music start. It is entangled with a plot that portrays the processes that now follow in the hospital – doctors tend to the dead man, two nurses wash him lovingly, a funeral director explains formalities, Thomas keeps vigil at the deathbed, plagued by memories of missed opportunities. As the opera ends, the dead man appears to come back to life – a miracle or a hallucination by the lover now alone, who cannot fathom the death?
At the core of Haas’s music is Thomas’s pain at being left behind. Haas sensitively illuminates and deepens the specific text by Händl Klaus on many levels. The audience, the listeners, sit with Haas’s protagonist Thomas at the deathbed of his beloved Matthias and must also say goodbye.
Haas’s intensive musical theatre look at the themes of love and death is expanded on in this performance by the perspectives of another, no less radical composer – Claudio Monteverdi revolutionised musical language more than 400 years ago. He too was occupied with the themes of love and death in works that touch us deeply still today. In the Bayerische Staatsoper version, Thomas is interwoven with Monteverdi’s madrigal, Lamento d’Arianna – a symbolisation of grief and the pain of parting in the face of death.
