Works by England’s national poet in English, Russian, and Italian musical versions
Pyotr Tchaikovsky „The Tempest“, Symphonic Fantasia after Shakespeare, Op. 18
Benjamin Britten “Nocturne” for tenor, seven obbligato instruments, and strings
Giuseppe Verdi “Otello” – “Ballàbili” (ballet music) from the opera’s third act
Edward Elgar Falstaff, Symphonic Study
Vladimir Jurowski - Conductor
Ian Bostridge - Tenor
Vladimir Jurowski - Conductor
Vladimir Jurowski is one of the most sought-after conductors of our time, enjoying international acclaim for his outstanding musical ability and a consistently adventurous artistic approach. He has been Chief Conductor and Artistic Director of the Berlin Radio Symphony Orchestra (RSB) since September 2017. He was born in Moscow, where he began his musical education at the conservatoire. In 1990, he and his family moved to Germany, where he completed his studies at the colleges of music in Dresden and Berlin. His international debut was at the Wexford festival as well as the Royal Opera House Covent Garden in 1995.
Vladimir Jurowski was appointed Principal Guest Conductor of the London Philharmonic Orchestra in 2003, becoming its Principal Conductor in 2007. In addition, he is Artistic Director of the Russian Academic State Orchestra “Yevgeny Svetlanov”, Principal Artist of the Orchestra of the Age of Enlightenment, and Artistic Advisor to the “ensemble unitedberlin”. In 2015 he was also appointed Artistic Director of the George Enescu Festival in Bucharest. It was announced in March 2018 that he is to become Generalmusikdirektor of the Bavarian State Opera as from the 2021/2022 season. In the past he has held positions including First Kapellmeister of the Komische Oper Berlin (1997-2000) and Musical Director of Glyndebourne Festival Opera (2001-2013). In March 2016 he was awarded an honorary doctorate by the Royal College of Music in London.
Vladimir Jurowski conducts top orchestras in Europe and North America, such as the Dresdner Staatskapelle, the Gewandhaus Orchestra Leipzig, the Royal Concertgebouw Orchestra Amsterdam, the Boston, Cleveland and Philadelphia orchestras, and the New York Philharmonic, as well as the Berlin and Vienna philharmonic orchestras. He also appears regularly at international festivals such as the BBC Proms, and since 1995 he has worked at major international opera houses, incl. at the Metropolitan Opera New York, the Welsh National Opera, the Scala in Milan, the Bolshoi Theatre, and the Dresden Semper Opera.
He returned to Glyndebourne Opera in 2017 for the world premiere of Brett Dean’s “Hamlet” and shortly afterwards he made his debut at Salzburg Festival with Alban Berg’s “Wozzeck”. In 2018 he conducted new productions of Modest Mussorgsky’s “Boris Godunov” at the Opéra National de Paris and Franz Schreker’s “Die Gezeichneten” at Zurich Opera House.
His extensive, frequently prizewinning discography now includes three recordings with the RSB for PENTATONE, interpreting works by Schnittke, Mahler, Strauss, Hindemith and Britten.
Ian Bostridge - Tenor
Ian Bostridge’s international recital career has taken him to the Salzburg, Edinburgh, Munich, Vienna, St Petersburg, Aldeburgh and Schwarzenberg Schubertiade Festivals and to the main stages of Carnegie Hall and the Teatro alla Scala, Milan. He has held artistic residencies at the Vienna Konzerthaus and Schwarzenberg Schubertiade (2003/04), a CarteBlanche series with Thomas Quasthoff at the Amsterdam Concertgebouw (2004/05), a Perspectives series at Carnegie Hall (2005/06), the Barbican, London (2008), the Luxembourg Philharmonie (2010/11), the Wigmore Hall (2011/12) and Hamburg Laeiszhalle (2012/13). In 2018 Ian began an auspicious Artistic Residency with the Seoul Philharmonic Orchestra, the first of its kind for the ensemble.
His recordings have won all the major international record prizes and been nominated for 15 Grammys. They include Schubert Die schöne Müllerin with Graham Johnson (Gramophone Award 1996); Tom Rakewell The Rake’s Progress with Sir John Eliot Gardiner (Grammy Award, 1999); and Belmonte with William Christie. Under his exclusive contract with Warner Classics, recordings included Schubert Lieder and Schumann Lieder (Gramophone Award 1998), English song and Henze Lieder with Julius Drake, Britten’s Our Hunting Fathers with Daniel Harding, Mozart’s Idomeneo with Sir Charles Mackerras, Janáček’s The Diary of One who Disappeared with Thomas Adès, Schubert with Leif Ove Andsnes, Mitsuko Uchida and Antonio Pappano, Noel Coward with Jeffrey Tate, Britten Orchestral cycles with the Berliner Philharmoniker and Sir Simon Rattle, Wolf with Antonio Pappano, Bach cantatas with Fabio Biondi, Handel arias with Harry Bicket, Britten Canticles and both Britten’s The Turn of the Screw (Gramophone Award, 2003) and Billy Budd (Grammy Award, 2010), Adès’ The Tempest (Gramophone Award 2010) and Monteverdi’s Orfeo. Recent recordings include Schubert songs with Julius Drake for Wigmore Hall Live; Shakespeare songs (Grammy Award, 2017) and Requiem: The Pity of War with Antonio Pappano for Warner Classics and Berlioz’s Les Nuits d’Eté, Ravel’s Shéhérazade and Debussy’s Le Livre de Baudelaire arr. John Adams with Ludovic Morlot and the Seattle Symphony Orchestra.
He has worked with the Berliner Philharmoniker, Wiener Philharmoniker, Chicago, Boston, London and BBC Symphony orchestras, the London, New York, Los Angeles Philharmonic orchestras and the Rotterdams Philharmonisch Orkest and Royal Concertgebouw Orchestra, Amsterdam under Sir Simon Rattle, Sir Colin Davis, Sir Andrew Davis, Seiji Ozawa, Antonio Pappano, Riccardo Muti, Mstislav Rostropovich, Daniel Barenboim, Daniel Harding and Donald Runnicles. He sang the world premiere of Henze Opfergang with the Accademia Santa Cecilia in Rome under Antonio Pappano.
His operatic appearances have included Lysander A Midsummer Night’s Dream for Opera Australia and at the Edinburgh Festival; Nerone L’Incoronazione di Poppea, Tom Rakewell and Male Chorus The Rape of Lucretia for the Bayerische Staatsoper; Don Ottavio for the Wiener Staatsoper; Tamino Die Zauberflöte, Aschenbach Death in Venice and Jupiter Semele for English National Opera; Peter Quint The Turn of the Screw, Don Ottavio Don Giovanni and Caliban Adès The Tempest for the Royal Opera House; Madwoman Curlew River in the Netia Jones staging for the London Barbican, which was also seen in New York and on the west coast of America; Peter Quint for the Teatro alla Scala and Handel’s Jeptha at the Opéra National de Paris.
Concert performances and other notable events have included the War Requiem with the London Philharmonic Orchestra under Vladimir Jurowski; Les Illuminations with the Royal Concertgebouw Orchestra under Andris Nelsons; European, American and Asian recital tours of Schubert’s Winterreise with Thomas Adès; Britten’s War Requiem with the Staatskapelle Berlin and Antonio Pappano and Berlioz’s Les nuits d’été with the Seattle Symphony and Ludovic Morlot. His book Schubert’s Winter Journey: Anatomy of an Obsession (The Pol Roger Duff Cooper Prize, 2016) was published by Faber and Faber in the UK and Knopf in the USA in 2014. In the 2018/19 season he took up a residency with the Seoul Philharmonic Orchestra.
Recent engagements have included a European recital tour with jazz pianist Brad Mehldau which featured a new composition by Mehldau; a world premiere of a new commission by James MacMillan with the London Symphony Orchestra for the WW1 centenary, staged performances of the Zender Winterreise, directed by Netia Jones, in Shanghai, recordings of the three major Schubert song cycles live at the Wigmore Hall with pianists Lars Vogt and Thomas Adès, recital tours in Japan, Hong Kong and Korea, as well as a European concert tour with Europa Galante.
Highlights of the 2019/20 season included his return to the operatic stage at the Deutsche Oper as Aschenbach Death in Venice; a tour of the USA with Brad Mehldau; performances of Schubert’s Winterreise at the Cartagena Music Festival in Colombia and a concert tour with Lucerne Festival Strings through Slovenia and Italy. He will appear as Evangelist (Matthew Passion) in Torino and as Bajazet in Handel’s Tamerlano with the Moscow State Philharmonic.
He was a fellow in history at Corpus Christi College, Oxford (1992-5) and in 2001 was elected an honorary fellow of the college. In 2003 he was made an Honorary Doctor of Music by the University of St Andrews and in 2010 he was made an honorary fellow of St John’s College Oxford. He was made a CBE in the 2004 New Year’s Honours. In 2014 he was Humanitas Professor of Classical Music at the University of Oxford.
Fri 24 April 2020 - 8 pm Konzerthaus Berlin
- from € 20
- Introduction with Steffen Georgi: 7 pm, Ludwig-van-Beethoven-Saal (free, limited number of seats)
It is possible to buy your tickets online at www.rsb-online.de , by telephone, email or in person at our visitor service, or at the daytime or evening box office. Book your tickets until the last working day before the respective concert on our homepage and simply print them out at home in A4-format. Payment is by credit card; a processing fee of 2 € will be charged. This possibility is available for concerts in the Konzerthaus Berlin and the Philharmonie Berlin. All theatre box offices, travel agents and advance ticket sales offices in Berlin and Brandenburg affiliated to “eventim” also sell tickets for concerts by the RSB. The customary advance ticket fees and, where relevant, costs for postage will be charged. The evening box office opens one hour before the concert starts on the day of the concert. If an introductory event is taking place before the concert, the evening box office will open 90 minutes before the concert begins.
Special group rates are available for school pupils and travel groups, companies, societies and major customers. Please contact our visitor service directly if you are interested.
School pupils, trainees and students up to the age of 27, as well as the unemployed, can buy tickets for the RSB's own concerts for 10 € each at the evening box office before the respective concert. This offer applies only when tickets are still available. The organisers take responsibility for the disposition of the tickets. Reductions can be granted only when buying tickets personally and presenting the corresponding documents and personal identification. No more than one reduced ticket per person may be purchased. This ticket is non-transferrable. Severely disabled persons entitled to an escort can address their request for tickets to the visitor service. This service is happy to offer advice regarding the contingent of places available.
› for all those under 30
› Sit in the best seats for one year as from date requested
› Fixed price of 8 € for concerts or 10 € for opera and ballet (depending on availability at the evening box office)
› valid all participating ensembles' own events and venues: RundfunkSinfonieorchester Berlin, Rundfunkchor Berlin, RIAS Kammerchor, Deutsches Symphonie-Orchester Berlin, Konzerthaus Berlin, Deutsche Oper Berlin, Komische Oper Berlin, Staatsoper im Schiller Theater, Staatsballett Berlin › Monthly bonus and visits to rehearsals, raffle to win a role as an extra etc. › All advantages for only 15 €, further information: www.classiccard.de
› for young people aged 14 to 21 › Experience Berlin's top musicians: Rundfunk-Sinfonieorchester Berlin, Deutsches Symphonie-Orchester Berlin, Konzerthausorchester Berlin, Berliner Philharmoniker, Junge Deutsche Philharmonie, Bundesjugendorchester › Six concerts per season for a package price of only 36 € › Additional bonus as well as special concert introductions, talks with musicians etc., further information: www.berlinerjugendabo.de
Route directions & parking location
The Konzerthaus can be accessed easily by the following means of public transport:
Bus M48 to U Stadtmitte/Leipziger Straße + 5 minutes walk, 100 to Unter den Linden/Friedrichstraße + 5 minutes walk, 147 to Französische Straße, 200 to Unter den Linden/Friedrichstraße + 5 minutes walk
Underground U2 to Hausvogteiplatz + 3 minutes walk or Stadtmitte + 5 minutes walk, U6 to Französische Straße + 4 minutes walk or Stadtmitte + 5 minutes walk, U55 to Brandenburger Tor + 10 minutes walk
S-Bahn (city railway) S1, S2, S25, S26, S3, S5, S7, S9 to Friedrichstraße + 15 minutes walk, S1, S2, S25, S26 to Brandenburger Tor + 10 minutes walk
For those arriving by car, the following underground car park is available : Taubenstraße/Jägerstraße run by Contipark Parkgaragengesellschaft mbH (address of entrance: Taubenstraße 14, 10117 Berlin, The-Q). The cost of parking here is 2.00 Euros per hour. Exclusively for concert audiences: the Konzerthaus rate is 5.50 Euros for a full six hours parking. Simply get your parking ticket marked at the service desk in the foyer of the Konzerthaus.
For concerts with an introduction by our dramaturge, admission begins 75 minutes before the concert.
The building opens one hour before the start of concerts without such introductions.
A lift, accessible via the stage entrance (Charlottenstraße), is available for the use of the physically disabled. Disabled toilets can be found close to the stage entrance and at Café Konzerthaus. Identified parking for the disabled is available in Charlottenstraße (close to the stage entrance) and Markgrafenstraße (near Taubenstraße).
Concert visitors with severely disabled passes marked B will receive a free ticket for their escort when buying a ticket. Our visitor service is happy to assist with any further questions. On site, you can contact the staff of the events service ARTIS, who will be happy to help you in any way.
Please note that visitors may not take large bags, rucksacks or coats into the concert hall with them. However, coats can be handed in, free of charge at the cloakrooms in the entrance foyer. Please collect your coats and items of luggage as soon as possible after the end of the concert. Personal items which are not collected in good time will be left with the stage porter (rear entrance) and can be collected there upon presentation of your cloakroom ticket.
There is no fixed dress code for concerts by the RSB. Depending on your taste and how you feel most comfortable, you can attend in suit or evening gown, or in jeans and a T-shirt, for example.
The gastronomic offers at the Konzerthaus, including refreshing drinks and delicious snacks, can be found in the Ludwig-van-Beethoven-Saal or Carl-Maria-von-Weber-Saal, as well as in the snack foyer. It is possible to reserve a table in advance and pre-order drinks and a snack for the interval, personally or by telephone: tel. 030 848 55 666.
No food or drinks may be taken into the concert hall.
Symphonic and chamber music concerts generally take 2 hours including a 20-minute interval.
Attention is drawn to significant deviations from this rule in the concert calendar.
Steffen Georgi, dramaturge of the RSB, offers free introductory talks to most symphonic concerts in the auxiliary rooms of the Konzerthaus or the Philharmonie. These take place 50 minutes (in the Philharmonie) or 60 minutes (in the Konzerthaus) before the start of the concert. The introductory talks will take place in German language. All relevant details may be found in our annotated concert calendar; see entries on respective concert dates.
Should you arrive too late for a concert, it will depend on the works being played when and whether there will be late admissions. Please speak to the staff of the respective venue. It may not be possible for you to take up your actual seat until the concert interval, as the music cannot be disturbed. No refund on ticket prices is possible.
Our programmes are sold by the admission stewards before each concert and in the interval, costing 3 € each.
RSB subscribers receive a free copy of the relevant programme on presentation of a voucher.