Schoenberg 150
Unique triptych featuring Barbara Hannigan, Pierre Audi and François-Xavier Roth
Soprano Barbara Hannigan shines in the ominous one-act Erwartung.
Concert programme
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Arnold Schönberg
Fünf Orchesterstücke, op. 16
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Arnold Schönberg
Erwartung, op. 17
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-- korte pauze --
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Arnold Schönberg
Pelleas und Melisande op. 5
Performers
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François-Xavier Roth
conductor
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Barbara Hannigan
soprano
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Pierre Audi
creative partner
About this concert
Both innovative and compelling: the Concertgebouw Orchestra presents a unique triptych to mark Arnold Schoenberg’s 150th birthday. The ominous one-act Erwartung, featuring the brilliant soprano Barbara Hannigan, is framed by the groundbreaking Fünf Orchesterstücke and the shimmering late-romantic orchestral work Pelleas und Melisande. François-Xavier Roth conducts, and Pierre Audi, the Concertgebouw Orchestra’s creative partner, has designed a visually captivating mise en espace.
The triptych sheds light on the fascinating development of Schoenberg’s music over the course of just a few years. In his great orchestral work Pelleas und Melisande, dating from 1902 and inspired by a tragic love story, we hear echoes of Wagner and Richard Strauss. The nightmarish Erwartung from 1909, which probes the darkest caverns of the soul, forced Schoenberg to abandon tonality. That same year, he composed his Fünf Orchesterstücke, with the middle movement and its subtly fading colour as a resting point.
This programme was made possible thanks to the financial support of Ammodo.
Dates and tickets
About this concert
Both innovative and compelling: the Concertgebouw Orchestra presents a unique triptych to mark Arnold Schoenberg’s 150th birthday. The ominous one-act Erwartung, featuring the brilliant soprano Barbara Hannigan, is framed by the groundbreaking Fünf Orchesterstücke and the shimmering late-romantic orchestral work Pelleas und Melisande. François-Xavier Roth conducts, and Pierre Audi, the Concertgebouw Orchestra’s creative partner, has designed a visually captivating mise en espace.
The triptych sheds light on the fascinating development of Schoenberg’s music over the course of just a few years. In his great orchestral work Pelleas und Melisande, dating from 1902 and inspired by a tragic love story, we hear echoes of Wagner and Richard Strauss. The nightmarish Erwartung from 1909, which probes the darkest caverns of the soul, forced Schoenberg to abandon tonality. That same year, he composed his Fünf Orchesterstücke, with the middle movement and its subtly fading colour as a resting point.
This programme was made possible thanks to the financial support of Ammodo.