Andris Nelsons conducts Widmann and Brahms featuring Yefim Bronfman, Camilla Tilling, and Thomas Hampson
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Andris Nelsons is Music Director of the Boston Symphony Orchestra and is Gewandhauskapellmeister of the Gewandhausorchester Leipzig. With these positions, and in leading a pioneering alliance between two such esteemed institutions, Grammy Award-winning Nelsons is firmly underlined as one of the most renowned and innovative conductors on the international scene today.
Nelsons began his tenure as Music Director of the BSO in the 2014/15 season and after one year, his contract was extended through the 2021/22 season. Last season, the BSO and Nelsons embarked on a tour to Japan together for the first time, notably with three performances in Suntory Hall. At the beginning of the 2018/19 seasons, Nelsons toured Europe together with the orchestra for the third time since Nelsons’ Music Directorship, visiting the London Proms, Hamburg, Berlin, Leipzig, Vienna, Lucerne, Paris and Amsterdam. Nelsons gave his debut with the Gewandhausorchester in 2011, followed by regular performances at the Gewandhaus zu Leipzig in subsequent years. In February 2018, Nelsons received the title of Gewandhauskapellmeister in a four-week inaugural festival, also marking the 275th anniversary of the orchestra. Three joint tours for the Gewandhausorchester Leipzig and Nelsons have been incorporated into the 2018/2019 season: two European tours, one in October 2018, including stops at London’s prestigious Royal Festival Hall, in Scandinavia and in Nelsons' native city, Riga, and the other in January 2019, to venues including the new Hamburg Elbphilharmonie, Philharmonie de Paris and Vienna’s Musikverein. The season’s third tour in May/June 2019 takes the orchestra and Nelsons to Japan and China, where they will appear together for the first time.
The 2018/19 season marks Nelsons’ final season as Artist-in-Residence at the Konzerthaus Dortmund, and Nelsons’ first season as Artist-in-Residence at Hamburg’s Elbphilharmonie. Furthermore, Nelsons continues his regular collaborations with the Berliner Philharmoniker and Wiener Philharmoniker, with whom he lead a tour through China last season in addition to his ongoing guest performances at the Musikverein in Vienna. In 2020, he will conduct the Wiener Philharmoniker’s prestigious New Year’s Day concert, broadcast to millions across the world. Throughout his career, Nelsons has established regular collaborations with Royal Concertgebouw Orchestra, Symphonieorchester des Bayerischen Rundfunks and Philharmonia Orchestra. Nelsons has been a regular guest at the Bayreuther Festspiele and at the Royal Opera House Covent Garden.
Andris Nelsons has an exclusive recording relationship with Deutsche Grammophon, which has paved the way for three landmark projects. Nelsons and the BSO partner on recording the complete Shostakovich symphonies, and the opera Lady Macbeth of the Mtensk District. The first and second instalments have both received consecutive Grammy Awards for Best Orchestral performance, the third has been nominated for two Grammy Awards, and the fourth instalment will be released in February 2019. Nelsons and the yellow label also have embarked upon a project with the Gewandhausorchester that sheds new light on the symphonies of Bruckner, and pairs these distinctive symphonic pieces with works by Wagner. The most recent release appeared in April 2018 to widespread critical acclaim. Furthermore, Nelsons will record Beethoven’s complete symphonies with the Wiener Philharmoniker between 2016-2019, and will return to Vienna to perform the complete cycle in 2020, celebrating the 250th anniversary of the composer’s birth.
Born in Riga in 1978 into a family of musicians, Andris Nelsons began his career as a trumpeter in the Latvian National Opera Orchestra before studying conducting. He was Music Director of the City of Birmingham Symphony Orchestra from 2008-2015, Principal Conductor of Nordwestdeutsche Philharmonie in Herford, Germany 2006-2009 and Music Director of Latvian National Opera 2003-2007.
|Andris Nelsons, conductor||
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Internationally recognized as one of today's most acclaimed and admired pianists, Yefim Bronfman stands among a handful of artists regularly sought by festivals, orchestras, conductors and recital series. His commanding technique, power and exceptional lyrical gifts are consistently acknowledged by the press and audiences alike.
In celebration of the 80th birthday of Maestro Temirkanov, Mr. Bronfman’s 2018-19 season begins with a European tour with St. Petersburg Philharmonic. This is followed by a Scandinavian tour with The Royal Concertgebouw and Maestro Gatti with orchestral concerts in Europe during the season including Paris (Orchestre National de France), London (LPO), Cologne (WDR), Rome (Santa Cecilia), Berlin (Philharmonic), and Vienna Philharmonic on tour. In the US he will return to orchestras in Cleveland, New York, Los Angeles, Houston, St. Louis, Cincinnati, San Francisco and Dallas, and in recital can be heard in New York (Carnegie Hall), Berkeley, Stanford, Aspen, Madrid, Geneva, Cologne, Leipzig, Munich, Berlin, Naples, Rome and on tour in the spring with mezzo-soprano Magdalena Kozena.
Mr. Bronfman works regularly with an illustrious group of conductors, including Daniel Barenboim, Herbert Blomstedt, Semyon Bychkov, Riccardo Chailly, Christoph von Dohnányi, Gustavo Dudamel, Charles Dutoit, Daniele Gatti, Valery Gergiev, Alan Gilbert, Mariss Jansons, Vladimir Jurowski, James Levine, Zubin Mehta, Riccardo Muti, Andris Nelsons, Yannick Nézet-Séguin, Sir Simon Rattle, Esa-Pekka Salonen, Jaap Van Zweden, Franz Welser-Möst, and David Zinman. Summer engagements have regularly taken him to the major festivals of Europe and the US. Always keen to explore chamber music repertoire, his partners have included Pinchas Zukerman, Martha Argerich, Magdalena Kožená, Anne-Sophie Mutter, Emmanuel Pahud and many others.
He has also given numerous solo recitals in the leading halls of North America, Europe and the Far East, including acclaimed debuts at Carnegie Hall in 1989 and Avery Fisher Hall in 1993. In 1991 he gave a series of joint recitals with Isaac Stern in Russia, marking Mr. Bronfman's first public performances there since his emigration to Israel at age 15. That same year he was awarded the prestigious Avery Fisher Prize, one of the highest honors given to American instrumentalists. In 2010 he was honored as the recipient of the Jean Gimbel Lane prize in piano performance from Northwestern University.
Widely praised for his solo, chamber and orchestral recordings, Mr. Bronfman has been nominated for 6 GRAMMY® Awards, winning in 1997 with Esa-Pekka Salonen and the Los Angeles Philharmonic for their recording of the three Bartok Piano Concerti. His prolific catalog of recordings includes works for two pianos by Rachmaninoff and Brahms with Emanuel Ax, the complete Prokofiev concerti with the Israel Philharmonic and Zubin Mehta, a Schubert/Mozart disc with the Zukerman Chamber Players and the soundtrack to Disney's Fantasia 2000. His most recent CD releases are the 2014 GRAMMY® nominated Magnus Lindberg's Piano Concerto No. 2 commissioned for him and performed by the New York Philharmonic conducted by Alan Gilbert on the Da Capo label; Tchaikovsky's Piano Concerto No.1 with Mariss Jansons and the Bayerischer Rundfunk; a recital disc, Perspectives, complementing Mr. Bronfman's designation as a Carnegie Hall ‘Perspectives' artist for the 2007-08 season; and recordings of all the Beethoven piano concerti as well as the Triple Concerto together with violinist Gil Shaham, cellist Truls Mørk, and the Tönhalle Orchestra Zürich under David Zinman for the Arte Nova/BMG label.
Now available on DVD are his performances of Liszt's second piano concerto with Franz Welser-Möst and the Vienna Philharmonic from Schoenbrunn, 2010 on Deutsche Grammophon; Beethoven's fifth piano concerto with Andris Nelsons and the Royal Concertgebouw Orchestra from the 2011 Lucerne Festival; Rachmaninoff's third concerto with the Berlin Philharmonic and Sir Simon Rattle on the EuroArts label and both Brahms Concerti with Franz Welser-Möst and The Cleveland Orchestra (2015).
Born in Tashkent in the Soviet Union, Yefim Bronfman immigrated to Israel with his family in 1973, where he studied with pianist Arie Vardi, head of the Rubin Academy of Music at Tel Aviv University. In the United States, he studied at The Juilliard School, Marlboro School of Music, and the Curtis Institute of Music, under Rudolf Firkusny, Leon Fleisher, and Rudolf Serkin. He is a 2015 recipient of an honorary doctorate from the Manhattan School of Music.
|Yefim Bronfman, piano|
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A winning combination of beautiful voice and musical versatility has played no small part in sustaining Camilla Tilling's top flight career which has now spanned almost two decades. An acclaimed early debut at New York City Opera launched her career on an international trajectory which has since seen performances on the world's major opera, concert and recital stages while simultaneously building an impressive discography.
A successful debut at the Royal Opera House, Covent Garden as Sophie (Der Rosenkavalier) was the start of an ongoing relationship which has seen her return to London as Pamina (Die Zauberflöte), Dorinda (Orlando), Oscar (Un ballo in maschera), Arminda (La finta giardiniera), Gretel (Hansel und Gretel) and most recently as Susanna (Le nozze di Figaro). Camilla Tilling has appeared at The Metropolitan Opera as both Zerlina (Don Giovanni) and Nannetta (Falstaff), at Opéra national de Paris and Teatro alla Scala as Ilia (Idomeneo), at the Lyric Opera of Chicago, Moscow's Bolshoi Theatre, La Monnaie and the Munich Opera Festival as Sophie, at San Francisco Opera, Festival d'Aix-en-Provence, Bayerische Staatsoper and Opéra national de Paris as Susanna and, last season, at Drottningholms Slottsteater in a role debut as Contessa (Le nozze di Figaro). With the vocal flexibility to embrace diverse repertoire, Camilla Tilling has also enjoyed success as the Governess (The Turn of the Screw) at the Glyndebourne Festival, Euridice (Orfeo ed Euridice) at Salzburg Mozartwoche, Donna Clara (Der Zwerg) at Bayerische Staatsoper, l'Ange (Saint François d'Assise) at Dutch National Opera, and Mélisande (Pelléas et Mélisande) at Madrid's Teatro Real, at Semperoper Dresden and with the Los Angeles Philharmonic.
A highly regarded concert performer, Camilla Tilling is a regular guest with many of the world's leading orchestras. Recent concert highlights include Bach's Matthäus-Passion with the Berliner Philharmoniker and Sir Simon Rattle, Schumann's Faustszenen with NDR Elbphilharmonie Orchester under Thomas Hengelbrock, Brahms' Ein deutsches Requiem with both the New York Philharmonic under Christoph von Dohnányi and with the Tonhalle-Orchester Zürich under Bernard Haitink, Dutilleux' Correspondances with the Los Angeles Philharmonic under Esa-Pekka Salonen, Bach's Mass in B minor with the Wiener Symphoniker under Philippe Jordan, and Sieben frühe Lieder with Sydney Symphony Orchestra under von Dohnányi, with Orchestre National de France under Daniele Gatti and with the London Symphony Orchestra under François-Xavier Roth.
In addition to a house debut at Royal Swedish Opera as Countess Almaviva, Camilla Tilling's current season includes Mahler's Symphony No.4 with Berliner Philharmoniker and Sir Simon Rattle, Beethoven's Missa Solemnis at Teatro alla Scala with Bernard Haitink and also with the Royal Stockholm Philharmonic Orchestra under Michael Tilson-Thomas, and she returns to the USA to sing Ein deutsches Requiem with the Boston Symphony Orchestra under Andris Nelsons and Beethoven's Symphony No.9with the New York Philharmonic under Alan Gilbert.
Among Camilla Tilling's many recordings are three recital discs with Paul Rivinius on the BIS label: the most recent, I Skogen released in July 2015, being a celebration of Nordic composers. She appears on Die Schöpfung with Symphonieorchester des Bayerischen Rundfunks under Bernard Haitink, Handel's La resurrezione with Le Concert d'Astree and Emmanuelle Haim, and she performs the role of Ilia (Idomeneo) on DVD from Teatro alla Scala conducted by Daniel Harding.
|Camilla Tilling, soprano||
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Thomas Hampson, America’s foremost baritone, has received international honors and awards for his captivating artistry and cultural leadership. Lauded as a Metropolitan Opera Guild “Met Mastersinger” and inducted into both the American Academy of Arts and Sciences and Gramophone’s “Hall of Fame,” Hampson is one of the most respected and innovative musicians of our time. With an operatic repertoire of over 80 roles sung in all the major theaters of the world, his discography comprises more than 170 albums, which include multiple nominations and winners of the Grammy Award, Edison Award, and the Grand Prix du Disque. He received the 2009 Distinguished Artistic Leadership Award from the Atlantic Council in Washington, DC, and was appointed the New York Philharmonic’s first-ever Artist-in-Residence. In 2010, he was honoured with a Living Legend Award by the Library of Congress, where he has served as Special Advisor to the Study and Performance of Music in America. Furthermore, he has received the famed Concertgebouw Prize.
Hampson was made honorary professor on the Faculty of Philosophy of the University of Heidelberg, and holds honorary doctorates from Manhattan School of Music, the New England Conservatory, Whitworth College, and San Francisco Conservatory, and is an honorary member of London’s Royal Academy of Music. He carries the titles of Kammersänger of the Wiener Staatsoper and Commandeur dans l’Ordre des Arts et des Lettres of the Republic of France, and was awarded the Austrian Medal of Honour in Arts and Sciences. In 2017, Thomas Hampson received the Hugo Wolf Medal from the International Hugo Wolf Academy, together with his long-time musical collaborator, pianist Wolfram Rieger. The award recognizes their outstanding achievements in the art of song interpretation.
Notable engagements for his 2018/19 season include Thomas Hampson's highly anticipated debut at the Canadian Opera Company, singing the title role in the world premiere of Rufus Wainwright’s Hadrian, as well as his debut at Houston Grand Opera as the famed librettist Lorenzo da Ponte in the world premiere of Tarik O’Regan’s The Phoenix. Other noteworthy engagements include performances as Scarpia in Puccini’s Tosca at the Wiener Staatsoper, and his return to Teatro alla Scala as Altair in Strauss’ Die ägyptische Helena.
Thomas Hampson’s concert appearances this season include performances with the Vienna Symphony Orchestra, Chicago Symphony Orchestra, the Bavarian Radio Symphony Orchestra, the Gewandhausorchester Leipzig, and a tour with the Israel Philharmonic Orchestra. He will share the stage with his son-in-law, bass-baritone Luca Pisaroni, for their “No Tenors Allowed” program in Boston, Toronto, and Santa Fe.
The 2018/19 season also marks the exciting launch of Thomas Hampson’s “Song of America: Beyond Liberty” concert tour. Mr. Hampson will guide audiences through centuries of stories using personal anecdotes, historical monologues, and readings of his favorite poetry, to celebrate America’s history through song. The project, developed with stage director Francesca Zambello and writer Royce Vavrek, premiered at the Glimmerglass Festival and will share the rich history of the people and events that helped create and define “the land of the free” with audiences, students, and educators across the US and beyond.
During his 2017/18 season, Thomas returned to the Opéra National de Paris in one of his signature roles, Count Danilo in Lehár’s Die lustige Witwe. He also sang the title role in Verdi’s Simon Boccanegra at the Wiener Staatsoper, and Scarpia in Puccini’s Tosca at the Bayerische Staatsoper. A highlight of his concert schedule was his debut tour through Australia, where he was critically acclaimed as “a singer of exceptional artistry...[it’s] easy to understand why he was a protégé of Leonard Bernstein” (J-Wire) and he was regarded as “The George Clooney of opera” (Sydney Morning Herald).
Thomas Hampson enjoys a singular international career as an opera singer, recording artist, and “ambassador of song,” maintaining an active interest in research, education, musical outreach, and technology. Through the Hampsong Foundation, which he founded in 2003, he employs the art of song to promote intercultural dialogue and understanding.
|Thomas Hampson, baritone|
|Jörg WIDMANN - Trauermarsch, for piano and orchestra (25 min)|
|BRAHMS - A German Requiem (75 min)|
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