Conductor Sir John Eliot Gardiner Celebrates Beethoven at Carnegie Hall

Sir John Eliot Gardiner Curates Carnegie Hall Perspectives Series Featuring His Orchestre Révolutionnaire et Romantique Performing A Complete Beethoven Symphony Cycle on Period Instruments in Five Concerts, February 19-24

Winter Concerts Are Part of Carnegie Hall’s Beethoven Celebration in Honor of the 250th Anniversary of the Composer’s Birth

This February, Sir John Eliot Gardiner, Artistic Director and Conductor of the internationally acclaimed period instrument ensemble Orchestre Révolutionnaire et Romantique (ORR), curates a five-concert Perspectives series at Carnegie Hall, featuring a complete Beethoven symphony cycle performed as part of Carnegie Hall’s season-long celebration of the 250th anniversary year of Beethoven’s birth.

The five New York City concerts by Sir John Eliot Gardiner and the Orchestre Révolutionnaire et Romantique are part of Carnegie Hall’s season-long Beethoven Celebration featuring more than 35 events highlighting the immensity of the composer’s transformative impact on music, performed by a remarkable line-up of internationally renowned musicians.


Grounded in Maestro Gardiner’s exacting study of Beethoven’s original manuscripts, the symphonies will be performed as the composer would have experienced them, played on period instruments, including valveless brass, woodwinds without additional keys and levers, gut strings, and hide-covered timpani struck with hard sticks.

Sir John Eliot Gardiner (www.monteverdi.co.uk)

A key figure both in the early music revival and as a pioneer of historically informed performances, Maestro Gardiner kicks off the ORR’s five-concert series on Wednesday, February 19 at 8:00 p.m. with selections from Beethoven’s rarely heard ballet score, The Creatures of Prometheus; the concert aria, “Ah! perfido;” excerpts from Leonore; and the composer’s Symphony No. 1; Soprano Lucy Crowe joins the orchestra as soloist. On Thursday, February 20 at 8:00 p.m., the orchestra performs Beethoven’s Symphony No. 2 and Symphony No. 3, “Eroica.” The series continues Friday, February 21 at 8:00 p.m. with symphonies Nos. 4 and 5. On Sunday, February 23 at 2:00 p.m., the program includes Symphony No. 6, “Pastoral” and Symphony No. 7. For the series’ final concert on Monday, February 24 at 8:00 p.m. the ORR’s Beethoven cycle culminates with the symphonies Nos. 8 and 9, with the orchestra joined by soprano Lucy Crowe, contralto Jess Dandy, tenor Ed Lyon, and bass Tareq Nazmi, alongside The Monteverdi Choir. As a prelude to the cycle, Maestro Gardiner will be joined by distinguished Beethoven scholar William Kinderman for a discussion in Carnegie Hall’s Weill Recital Hall to illuminate Sir John Eliot’s approach to these symphonic masterworks (Tuesday, February 18 at 7:00 p.m.). In addition to the public discussion with Sir John Eliot on February 18, Carnegie Hall Debs Composer’s Chair Jörg Widmann will present a talk later this spring (Mar. 29, WRH), enabling audiences to gain greater insights into Beethoven’s music.

The ORR’s final February 24 concert will be heard by listeners around the world as part of the ninth annual Carnegie Hall Live broadcast and digital series with a live radio broadcast on WQXR 105.9 FM in New York and online at wqxr.org and carnegiehall.org/wqxr. Produced by WQXR and Carnegie Hall and co-hosted by WQXR’s Jeff Spurgeon and Clemency Burton-Hill, select Carnegie Hall Live broadcasts featured throughout the season include special digital access to the broadcast team, from backstage and in the control room, connecting national and international fans to the music and to each other.

When asked to reflect on thirty years of music making with the ORR and his upcoming Beethoven symphony performances, Sir John Eliot Gardiner said “When we started the Orchestre Révolutionnaire et Romantique 30 years ago, our mission statement included trying to recover the world of Beethoven’s sound. Our aim was to provide bold new perspectives on the glorious orchestral works of the 19th and early 20th centuries. Since the ensemble’s inception, we have used our time together productively and creatively to explore fresh approaches to this much-loved music, some of it familiar but also some of it neglected or undervalued. Through the use and mastery of period instruments, the ORR musicians bring out the subtle and pervasive differences in the palette of sounds that composers as different as Beethoven, Berlioz, Schumann, Debussy, and Verdi were committed to revealing. Time and again, the players have shown vision and tenacity in demonstrating the techniques and sounds required to recapture the true essence of this music. Every time we embark on a fresh project together, I am amazed and touched by the way the players seem willing to put their necks on the block in order to bring this music back to intoxicating life once again.”

The Carnegie Hall performances are part of Maestro Gardiner and the ORR’s Beethoven 250, a yearlong celebration of the composer’s milestone anniversary, and are also part of the ORR’s 30th anniversary season. The orchestra’s transatlantic tour, February 9-June 27, also includes engagements and complete symphony cycles at Chicago’s Harris Theater, London’s Barbican Hall, and Barcelona’s Palau de la Música.

Program Information

SIR JOHN ELIOT GARDINER ON THE BEETHOVEN SYMPHONIES

  • Tuesday, February 18, 2020 at 7:00 PM, Weill Recital Hall
  • Sir John Eliot Gardiner, Speaker
  • with William Kinderman, Moderator
  • Robin Michael, Principal Cello
  • Anneke Scott, Principal Horn

BEETHOVEN’S SYMPHONIES AND THE EMPIRE OF THE MIND

Sir John Eliot Gardiner’s groundbreaking interpretations of Beethoven’s music have cast this magnificent body of work in a new light. Joined by distinguished Beethoven scholar William Kinderman and ORR principals Robin Michael and Anneke Scott for this illuminating discussion, Gardiner shares his insights about his approach to this immortal music. Tickets: $25

ORCHESTRE RÉVOLUTIONNAIRE ET ROMANTIQUE

  • Wednesday, February 19, 2020 at 8:00 PM
  • Stern Auditorium / Perelman Stage
  • Sir John Eliot Gardiner, Artistic Director and Conductor
  • Lucy Crowe, Soprano

ALL-BEETHOVEN PROGRAM

  • Overture, Introduction, and Act I from The Creatures of Prometheus, Op. 43
  • “Ah! perfido,” Op. 65
  • Symphony No. 1 in C Major, Op. 21
  • Leonore Overture No. 1, Op. 138
  • “Ach, brich noch nicht, du mattes Herz!” – “Komm, Hoffnung, lass den letzten Stern” from Act II of Leonore, Op. 72
  • Finale to The Creatures of Prometheus, Op. 43

Tickets: $32-$105

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Sir Bryn Terfel Returns to Stern Auditorium / Perelman Stage in Recital with Pianist Natalia Katyukova

Performance Marks Terfel’s First Recital at Carnegie Hall in Ten Years

On Sunday, February 9 at 2:00 p.m., beloved Welsh bass-baritone Sir Bryn Terfel returns to Stern Auditorium / Perelman Stage for a recital featuring works by Ireland, Quilter, Brahms, Schumann, Schubert, selections from Vaughan Williams’s Songs of Travel as well as additional selections to be announced from the stage. He is joined by pianist Natalia Katyukova. This concert marks his first recital at Carnegie Hall in ten years; for his complete performance history please click here. The full program is listed below.

Program Information

Sunday, February 9, 2020 at 2:00 p.m., Stern Auditorium / Perelman Stage

Sir Bryn Terfel, Bass-Baritone/Natalia Katyukova, Piano

  • JOHN IRELAND “Sea Fever”
  • JOHN IRELAND “Vagabond”
  • JOHN IRELAND “The Bells of San Marie”
  • ROGER QUILTER “Now Sleeps the Crimson Petal,” Op. 3, No. 2
  • ROGER QUILTER “Weep You No More, Sad Fountains,” Op. 12, No. 1
  • ROGER QUILTER “Go, Lovely Rose,” Op. 24, No. 3
  • ROGER QUILTER “Fair House of Joy,” Op. 12, No. 7
  • JOHANNES BRAHMS Vier ernste Gesänge, Op. 121
  1. Denn es gehet dem Menschen wie dem Vieh
  2. Ich wandte mich, und sahe an
  3. O Tod, wie bitter bist du
  4. Wenn ich mit Menschen- und mit Engelszungen redete
  • ROBERT SCHUMANN “Belsatzar,” Op. 57
  • FRANZ SCHUBERT “Trinklied,” D. 888
  • FRANZ SCHUBERT “Ständchen,” D. 889
  • FRANZ SCHUBERT “An Sylvia,” D. 891
  • ROGER QUILTER Three Shakespeare Songs, Op. 6
  1. Come away, death
  2. O mistress mine
  3. Blow, blow, thou winter wind
  • RALPH VAUGHAN WILLIAMS Selections from Songs of Travel
  1. The Vagabond
  2. Whither Must I Wander
  3. Bright Is the Ring of Words
  4. I Have Trod the Upward and the Downward Slope

Additional selections to be announced from the stage

Welsh bass-baritone Sir Bryn Terfel has established an extraordinary career, performing regularly on the prestigious concert stages and opera houses of the world.

Photo of Sir Bryn Terfel by Mitch Jenkins / DG, Natalia Katyukova by Kristin Hoebermann

After winning the Song Prize at the 1989 BBC Cardiff Singer of the World, Sir Bryn made his professional operatic debut in 1990 as Guglielmo in Così fan tutte with the Welsh National Opera. He made his international operatic debut in 1991 as Speaker in Die Zauberflöte at the Théâtre de la Monnaie, Brussels and made his American debut in the same year as Figaro with the Santa Fe Opera. Other roles performed during his career include Méphistophélès in Faust; both the title role and Leporello in Don Giovanni; Jochanaan in Salome; Scarpia in Tosca; the title role in Gianni Schicchi; Nick Shadow in The Rake’s Progress; Wolfram in Tannhäuser; Balstrode in Peter Grimes; Four Villains in Les contes d’Hoffmann and Hans Sachs in Die Meistersinger von Nürnberg.

Sir Bryn marked his 50th birthday and twenty-five years in the profession with a special gala concert at the Royal Albert Hall, presented by Hollywood star Michael Sheen. The celebrations continued at Cardiff’s Wales Millennium Centre, where he sang Scarpia in a special concert performance of Tosca with the Welsh National Opera.

Recent performances include Holländer in Der fliegende Holländer for the Zürich Opera; Falstaff at the Royal Opera House, Covent Garden and the world premiere of an original show by Robat Arwyn and Mererid HopwoodHwn Yw Fy Mrawd—chronicling the life of the film star and singer Paul Robeson at the Wales Millennium Centre, Cardiff as part of the National Eisteddfod of Wales.

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Five of the World’s Leading Ballet Companies Present Second Edition of World Ballet Day LIVE on October 1

Five Leading International Ballet Companies Will Stream 23 Hours Of Live, Behind-The-Scenes Footage On October 1, As Part Of The Second World Ballet Day Live.

Following last year’s unprecedented collaboration for the first World Ballet Day LIVE, five of the world’s leading ballet companies will once again stream 23 hours of live, behind-the-scenes footage on Thursday, October 1. The Australian Ballet, Bolshoi Ballet, The Royal Ballet, The National Ballet of Canada, and San Francisco Ballet have partnered to provide viewers around the world with an inside look at professional ballet companies in the studio, on tour, and in performance.

Schedule:
(Times are indicated in Pacific Daylight Time.)
7:00pm-12:00am – The Australian Ballet
12:00-3:00am – Bolshoi Ballet
3:00-8:00am – The Royal Ballet
8:00am-1:00pm – The National Ballet of Canada
1:00-6:00pm – San Francisco BalletWorld Ballet Day Live

The first World Ballet Day LIVE was held on October 1, 2014. The live broadcast attracted a total of 502,823 views from dance lovers around the world who watched for an average of 27 minutes. Allowing unparalleled, behind-the-scenes access, the streaming project revealed each company’s approach to company class and rehearsals, illustrating the unique personalities that characterize five world-class companies. As the first event of its kind, the 20-hour streaming project garnered critical and viewer acclaim with the New York Times declaring it an “unprecedented bout of internationalism” and the Toronto Star calling it a “milestone event.” World Ballet Day LIVE was inspired by Royal Ballet Live in 2012, a nine-hour live streaming via YouTube and The Guardian website. rb-world-ballet-day-company-logos_620

Each company will introduce viewers to a variety of experiences from technique classes and rehearsals to backstage preparations. World Ballet Day LIVE will be a celebration of dance and an opportunity for audiences to see what it takes to be one of the world’s top companies and get an inside look at the athleticism and dedication required for a life in ballet.

This year, World Ballet Day LIVE will include pre-recorded footage from a wide range of regional dance organizations geographically close to the five participating companies. Confirmed companies as of this press date include Bangarra Dance Theatre, Birmingham Royal Ballet, Boston Ballet, English National Ballet, Hamburg Ballet, Houston Ballet, Les Ballets Jazz de Montréal, National Ballet of China, Nederlands Dans Theater, Northern Ballet, Pacific Northwest Ballet, Royal New Zealand Ballet, and Scottish Ballet.

The Australian Ballet once again kicks off World Ballet Day LIVE from its headquarters in Melbourne, Australia. This presentation includes a day in the life of the company, from the universal ritual of daily class, to rehearsals of Artistic Director David McAllister’s brand new production of The Sleeping Beauty and four other productions that will tour to China later that month. In addition, viewers will go behind the scenes to learn about The Australian Ballet School, the company’s audience engagement programs, ballet philanthropy, the magical wardrobe department, and a sneak preview of a new ballet for children. Joining The Australian Ballet for guest spots throughout the program will be esteemed fellow dance companies Bangarra Dance Theatre, the Royal New Zealand Ballet, and the National Ballet of China.

The Australian Ballet is one of the world’s leading ballet companies and has been delivering extraordinary performances for over 50 years. A commitment to excellence, a spirited attack, and a willingness to take risks have defined the company from its earliest days, both onstage and off. In addition to 70 acclaimed dancers, the company employs leaders in injury prevention, marketing, music, digital, and education to present upwards of 250 shows and 1,000 audience engagement events each year. A network of elite artisans work tirelessly behind the scenes to create the splendor seen on stage; the costumes are made with the care given to couture. Moving effortlessly between the great classical ballets and new contemporary commissions, the company has a unique Australian beauty, powered by athleticism. As it embarks on a new five-year strategic plan, The Australian Ballet is poised to reach more audiences than ever before, both at home and overseas.

The Bolshoi Ballet is about to open its 240th season. One of the oldest and largest ballet companies in the world, the Bolshoi combines its great classical tradition with a fresh approach. The Bolshoi Ballet is renowned for its unique style characterized by true virtuosity and incredible stage presence, and it celebrates an illustrious history with legends such as Galina Ulanova, Vladimir Vassiliev, Maya Plisetskaya, and Ekaterina Maximova. The Bolshoi Ballet was also the first company to stage Tchaikovsky’s Swan Lake and Minkus’ Don Quixote. Much of the Bolshoi’s legacy can be attributed to Yuri Grigorovitch who was the artistic director for more than 30 years. Now in the 21st century, the Bolshoi constantly expands its repertoire with new works such as The Taming of the Shrew, Hamlet, and Hero of Our Time. Today’s Bolshoi artists Svetlana Zakharova, Maria Alexandrova, Ekaterina Krysanova, Vladislav Lantratov, Artem Ovcharenko, Semion Tchudin, Denis Rod’kin, and others—coached by Liudmila Semeniaka, Marina Kondratieva, Svetlana Adyrchayeva, Nikolai Fadeechev, Boris Akimov, Alexandr Vetrov, and more—ensure that the Bolshoi’s standards are held as high as ever.

The Bolshoi Ballet will present the company in their daily routine with highlights of their 240th season. The day will begin with a live stream of morning class, followed by a report on two world premieres from last season—Radu Poklitaru’s Hamlet and Yuri Possokhov’s Hero of Our Time—as well as special projects which were announced during the first World Ballet Day LIVE last year. The Bolshoi’s program will also take viewers into the studio for live rehearsals and a comprehensive overview of the upcoming 240th season featuring world premieres, revivals, special projects, festivals, international tours, guest company presentations on the Bolshoi Theatre stages, and a gala dedicated to the memory of Maya Plisetskaya. Through interviews with Vladimir Urin, Sergei Filin, Yuri Possokhov, Boris Akimov, Brigitte Lefevre, Azarii Plisetski, and more, this programming will underscore the Bolshoi Theatre’s position as the nucleus of all things dance.

Based at the Royal Opera House, Covent Garden, The Royal Ballet is Great Britain’s most prestigious ballet company and one of the great classical ballet companies of the world. Led by Director Kevin O’Hare, the Company has a wide-ranging repertory that showcases the great 19th-century classics alongside heritage works including those of its two great 20th-century choreographers Frederick Ashton and Kenneth MacMillan. In addition, The Royal Ballet performs new works by Resident Choreographer Wayne McGregor and Artistic Associate Christopher Wheeldon, two of the foremost international choreographers of today. The Royal Ballet continues to create and encourage new choreography and appointed Liam Scarlett as Artist in Residence in 2012.

The Royal Ballet will air exclusive backstage footage from across the Covent Garden building. As well as showing segments of morning class live, filming will follow the preparation and off-stage action from a matinee performance of Kenneth MacMillan’s Romeo and Juliet featuring Federico Bonelli and Lauren Cuthbertson. Rehearsals for the world premiere of Carlos Acosta’s Carmen which opens in October will be broadcast alongside exclusive footage of Royal Ballet Principals preparing for highlights from the 2015-2016 Season. A portion of the program will be dedicated to a discussion of the future of ballet in the U.K., with Royal Ballet Director Kevin O’Hare and Directors from Birmingham Royal Ballet, English National Ballet, Northern Ballet, and Scottish Ballet. Continue reading