Events

Vasily Petrenko conductor
Jennifer Johnston mezzo-soprano

Ginastera Variaciones concertantes
Respighi Il Tramonto
Bizet (arr. Shchedrin) Carmen for percussion and strings 

Concluding her time as Artist-in-Residence, Jennifer Johnston brings us the hauntingly beautiful Il Tramonto (The Sunset) based on words by Shelley. Respighi’s music depicts a young love cut off in its prime, an operatic drama in miniature.

Carmen is one of opera’s most vibrant characters and in this version of the music, arranged by Shchedrin, the percussion team of the Orchestra have all the fun. Ginastera gives the rest of the orchestra a virtuosic workout to start.

Royal Liverpool Philharmonic Orchestra
Ellie Slorach *conductor
Vasily Petrenko, conductor

Programme:
Grace-Evangeline Mason Mahler’s Letters for a cappella choir (world premiere)*
Mahler Symphony No.9

RLPO Note:
Classic Intro – 6.15pm, Music Room
Norman Lebrecht, prominent cultural commentator and author of Why Mahler? How One Man and Ten Symphonies Changed Our World, talks about Mahler’s Ninth Symphony.
The very first notes of Mahler’s Ninth seem to droop with sadness. But that’s just the beginning, not the end, and in this extraordinary symphony Mahler wrings every last drop of sweetness and sorrow from a life of total emotional commitment. All this prefaced by a brand new tribute to the composer, inspired by the letter writing of Gustav Mahler, and written for our choir by the young British composer and 2017 Christopher Brooks prize-winner Grace-Evangeline Mason.

Vasily Petrenko conductor
Jennifer Johnston mezzo-soprano

Ginastera Variaciones concertantes
Respighi Il Tramonto
Bizet (arr. Shchedrin) Carmen for percussion and strings 

Concluding her time as Artist-in-Residence, Jennifer Johnston brings us the hauntingly beautiful Il Tramonto (The Sunset) based on words by Shelley. Respighi’s music depicts a young love cut off in its prime, an operatic drama in miniature.

Carmen is one of opera’s most vibrant characters and in this version of the music, arranged by Shchedrin, the percussion team of the Orchestra have all the fun. Ginastera gives the rest of the orchestra a virtuosic workout to start.

Michael Alber, choir director
Liv Redpath, soprano
Iris van Wijnen, mezzo-soprano
Claudia Huckle, alto
Alessandro Fisher, tenor
Andreas Wolf, bass
Netherlands Radio Philharmonic and Choir
Vasily Petrenko, conductor

Programme
Joseph Haydn: Symphony No. 96 in D major, Hoboken I/96 “The Miracle”
Franz Schubert: Mass in G Major, D167
Camille Saint-Saëns:Oratorio de Noël

AVROTROS Vrijdagconcert AVROTROS Radio

Netherlands Radio Philharmonic Note:
In 1860, Camille Saint-Saëns composed his Oratorio de Noël for five vocal soloists, mixed choir, strings, organ and harp. The work, sung in Latin, is based on texts from the Old and New Testament, the Psalms and Gospels, as well as the Catholic Christmas liturgy. This Christmas oratorio has become one of Saint-Saëns’ most performed works thanks to its pastoral atmosphere, chamber-like instrumentation and lyrical solo parts. Opening work is Haydn’s London Symphony No. 96, which owes its nickname to the premiere when a candlestick set a fire that could be ‘miraculously extinguished’. This was followed by Franz Schubert’s Second Mass, which he deposited on paper in a week at the age of eighteen for a funeral service in the village church of Liechtental near Vienna.

In 1860 componeerde Camille Saint-Saëns zijn Oratorio de Noël voor vijf vocale solisten, gemengd koor, strijkers, orgel en harp. Het werk, gezongen in het Latijn, is gebaseerd op teksten uit het Oude en Nieuwe Testament, de psalmen en evangeliën, evenals de katholieke kerstliturgie. Dit kerstoratorium is uitgegroeid tot een van de meest uitgevoerde werken van Saint-Saëns dankzij de pastorale sfeer, de kamermuziekachtige instrumentatie en de lyrische solopartijen. Openingswerk is Haydns Londense Symfonie nr. 96, die haar bijnaam dankt aan de première toen een kandelaar een brandje veroorzaakte dat ‘op miraculeuze wijze’ kon worden gedoofd. Aansluitend de Tweede mis van Franz Schubert, die hij op zijn achttiende in een week tijd op papier stortte ten behoeve van een rouwdienst in de dorpskerk van Liechtental nabij Wenen.

Michael Alber, choir director
Liv Redpath, soprano
Iris van Wijnen, mezzo-soprano
Claudia Huckle, alto
Alessandro Fisher, tenor
Andreas Wolf, bass
Netherlands Radio Philharmonic and Choir
Vasily Petrenko, conductor

Programme
Joseph Haydn: Symphony No. 96 in D major, Hoboken I/96 “The Miracle”
Franz Schubert: Mass in G Major, D167
Camille Saint-Saëns:Oratorio de Noël

AVROTROS Vrijdagconcert AVROTROS Radio

Netherlands Radio Philharmonic Note:
In 1860, Camille Saint-Saëns composed his Oratorio de Noël for five vocal soloists, mixed choir, strings, organ and harp. The work, sung in Latin, is based on texts from the Old and New Testament, the Psalms and Gospels, as well as the Catholic Christmas liturgy. This Christmas oratorio has become one of Saint-Saëns’ most performed works thanks to its pastoral atmosphere, chamber-like instrumentation and lyrical solo parts. Opening work is Haydn’s London Symphony No. 96, which owes its nickname to the premiere when a candlestick set a fire that could be ‘miraculously extinguished’. This was followed by Franz Schubert’s Second Mass, which he deposited on paper in a week at the age of eighteen for a funeral service in the village church of Liechtental near Vienna.

In 1860 componeerde Camille Saint-Saëns zijn Oratorio de Noël voor vijf vocale solisten, gemengd koor, strijkers, orgel en harp. Het werk, gezongen in het Latijn, is gebaseerd op teksten uit het Oude en Nieuwe Testament, de psalmen en evangeliën, evenals de katholieke kerstliturgie. Dit kerstoratorium is uitgegroeid tot een van de meest uitgevoerde werken van Saint-Saëns dankzij de pastorale sfeer, de kamermuziekachtige instrumentatie en de lyrische solopartijen. Openingswerk is Haydns Londense Symfonie nr. 96, die haar bijnaam dankt aan de première toen een kandelaar een brandje veroorzaakte dat ‘op miraculeuze wijze’ kon worden gedoofd. Aansluitend de Tweede mis van Franz Schubert, die hij op zijn achttiende in een week tijd op papier stortte ten behoeve van een rouwdienst in de dorpskerk van Liechtental nabij Wenen.