Karina Canellakis & Augustin Hadelich
Ludwig van Beethoven
"The Creatures of Prometheus" - Overture from the ballet music op. 43
Concerto for violin and orchestra
Concerto for orchestra
Karina Canellakis - Conductor
Karina Canellakis has become one of the most sought-after conductors of her generation. The principal conductor of the Netherlands Radio Philharmonic Orchestra has been principal guest conductor of the London Philharmonic Orchestra since 2020 and principal guest conductor of the Rundfunk-Sinfonieorchester Berlin (RSB) since 2019.
In the 2021/2022 season she made her debut with the Gewandhausorchester Leipzig, the Chicago Symphony Orchestra and the HR Symphony Orchestra and returned to the San Francisco Symphony, Royal Stockholm Philharmonic and Orchestre de Paris. In the summer of 2021, she made her debut with the Boston Symphony at Tanglewood and with the Cleveland Orchestra at the Blossom Festival. On the opera stage, she conducted a new production of Tchaikovsky’s “Eugene Onegin” at the Théâtre des Champs-Élysées in Paris. With her Netherlands Radio Orchestra she gave a guest performance of Janáček’s “Kát’a Kabanová” at the Concertgebouw. She conducted the second act of Wagner’s “Tristan und Isolde” at the Royal Stockholm Philharmonic and the third act of Wagner’s “Siegfried” with the Vienna Symphony at the Bregenz Festival. Previous operatic experience includes Mozart’s “Don Giovanni”, “The Magic Flute”, “Le Nozze di Figaro”, David Lang’s “The Loser” and Peter Maxwell Davies’ “The Hogboon”.
Since winning the Sir Georg Solti Conducting Award in 2016, Karina Canellakis has appeared with orchestras around the world, including London, Philadelphia, Hamburg, Montréal, Melbourne, Sydney, Toronto, Cincinnati, Minnesota and Detroit. She was the first woman to conduct the First Night of the BBC Proms in London with the BBC Symphony Orchestra in 2019. She was also the first woman to be entrusted with the Nobel Prize Concerto with the Royal Stockholm Philharmonic in 2018.
Karina Canellakis began her career initially as a violinist and chamber musician until she was encouraged by Sir Simon Rattle to devote herself to conducting. For two years she had been a member of the Berlin Philharmonic Orchestra Academy. Born and raised in New York City, she can nevertheless draw on diverse family lines in various European countries.
Augustin Hadelich - Violin
Augustin Hadelich has established himself as one of the great violinists of his generation. He has performed with all the major American orchestras, and his increasingly numerous appearances in Great Britain, Europe and the Far East have earned him a phenomenal reputation. Critics praise his outstanding technique, the stringency and persuasiveness of his interpretations and his ravishing tone.
Highlights of the 2020/2021 season include his debuts with the Leipzig Gewandhaus Orchestra and the Zurich Opera Orchestra. As Associate Artist of the NDR Elbphilharmonie Orchester he will be a guest in Hamburg again. In addition, engagements will take him to the WDR Symphony Orchestra, Dresden Philharmonic, ORF Radio Symphony Orchestra Vienna and BBC Scottish Symphony Orchestra. He follows invitations to the Danish National Symphony Orchestra, Finnish Radio Symphony and Orchestre de Chambre de Lausanne. In the spring of 2021, he will give a recital tour in Munich, Hamburg, Antwerp, Paris and other cities.
Apparently out-of-tune instruments, ocarina-playing percussionists and natural tone rows of horns against the “normal” orchestra. Ligeti’s Violin Concerto (1990) is a fascinating sound experiment that dares to break out of Europe’s standardised, “well-tempered” tonal system by allying itself with natural tone rows. Ligeti shows us what we have to do without in view of the twelve evenly distributed semitones of the octave.
“There must be no indifferent sounds in music.” What the Polish composer Lutosławski took for granted also suits Ligeti. The Concerto for Orchestra not only refers to Béla Bartók in its name. In 1954, it convincingly united all the neo-classical currents of the early 20th century in a work that was as original as it was kaleidoscopic. It almost goes without saying that Beethoven’s titanic “Prometheus”, which is not at all pleasing to God, joins the ranks of those personalities who strive to lead people to and beyond their limits in the best sense of the word.
Concert introduction: 3.10 p.m., South Foyer, concert introduction by Steffen Georgie
“Don Quixote” – An adventurous tale of heroes
Moderated rehearsal with Vladimir Jurowski
in cooperation with Südddeutsche Zeitung