Sounds of the Sea
A concert for the world's oceans in cooperation with the WWF - with a stormy Sea Symphony
Brett Dean Pastoral Symphony for chamber orchestra
Ralph Vaughan Williams Symphony No. 1 (“A Sea Symphony”)
für Sopran, Bariton, Chor und Orchester
Nicholas Carter - Conductor
Elizabeth Watts - Soprano
Anthony Michaels-Moore - Baritone
Benjamin Goodson - Chorus Master
Nicholas Carter - Conductor
Adelaide Symphony Orchestra Principal Conductor Nicholas Carter is the first Australian to be appointed to one of the six major state orchestras in nearly 30 years and is establishing a reputation as a conductor of exceptional versatility, equally at home in the concert hall and the opera house, and fluent in a diverse repertoire. Nicholas is Chief Conductor of the Stadttheater Klagenfurt and the Kärntner Sinfonieorchester (from September 2018). From 2014-16 he was Kapellmeister and musical assistant to Donald Runnicles at the Deutsche Oper Berlin.
Plans for the 2018/19 season include performances at the Stadttheater Klagenfurt – Rusalka, La Clemenza di Tito, Pelléas et Mélisande and symphonic concerts including Haydn’s Die Schöpfung (Creation). Return guest conducting includes visits to Rundfunk Sinfonieorchester Berlin (including Brett Dean’s Pastoral Symphony), BBC Scottish Symphony Orchestra, Deutsche Oper Berlin (Rigoletto) and Deutsche Oper am Rhein (Don Carlos). In Australia he conducts a wide range of programmes in Adelaide including Bernstein’s Chichester Psalms and Beethoven Symphony No.9 and visits the orchestra of the Australian National Academy of Music Melbourne and West Australian Symphony Orchestra.
Highlights of recent seasons include debuts with Fort Worth Symphony, Orchestre Métropolitain (Montreal), Bochumer Symphoniker, MDR Leipzig, Oregon Symphony, Florida Orchestra, BBC Scottish Symphony Orchestra, Orchestre National de Lille, Deutsche Oper am Rhein (Don Pasquale), Santa Fe Opera (Die Fledermaus) and the Kärntner Sinfonieorchester in a special New Year’s programme at the Stadttheater Klagenfurt. He has also returned to Hong Kong Philharmonic, and to Deutsche Oper Berlin to conduct The Love for Three Oranges, Le nozze di Figaro, La bohème, La Traviata and Hansel und Gretel. Earlier symphonic visits included Dallas Symphony Orchestra, Tasmanian Symphony Orchestra, Sinfonieorchester Basel, Staatsorchester Braunschweig, Malaysian Philharmonic, New Zealand Symphony Orchestra, Louisiana Philharmonic, Dalasinfoniettan Sweden and Philharmonisches Staatsorchester Hamburg with a gala programme with Diana Damrau. In Australia, he collaborates regularly with many of the country’s leading orchestras and ensembles. Recent seasons have included Melbourne Symphony Orchestra and a broad range of projects with Adelaide Symphony including a highly acclaimed Brett Dean’s Hamlet at the Adelaide Festival.
Elizabeth Watts - Soprano
Her critically acclaimed debut recording of Schubert Lieder (Sony) was followed by equally acclaimed discs of Bach Cantatas (Harmonia Mundi), Strauss Lieder with Roger Vignoles (Hyperion) and Mozart arias with the Scottish Chamber Orchestra and Christian Baldini (Linn Records); works by Alessandro Scarlatti with the English Concert and Laurence Cummings (Harmonia Mundi); and Couperin Leçons de Ténèbres with La Nuova Musica and David Bates (Harmonia Mundi). Most recently she has recorded works by Vaughan Williams with the BBC Symphony Orchestra and Martyn Brabbins (Hyperion), and Dyson Choral Symphony with the Bach Choir and David Hill (Naxos).
Plans this season and beyond include Britten Spring Symphony with the LSO and Sir Simon Rattle; Rossini Petite Messe Solennelle with the LPO and Gustavo Gimeno; Brahms German Requiem with the OAE and Marin Alsop; Vaughan Williams Sea Symphony with the Rundfunk Sinfonieorchester Berlin and Nicholas Carter; Fauré Requiem with the Stavanger Symphony Orchestra and Christian Vasquez; Mozart arias with the Bremen Philharmonic and Christian Zacharias; and Ligeti Le Grand Macabre with the NDR Elbphilharmonie Orchester and Alan Gilbert. Forthcoming Bach performances include Christmas Oratorio with the Nederlands Kamerkoor and St John Passion with RIAS Kammerchor Berlin. She will also make appearances with the Academy of Ancient Music, RIAS Kammerchor Berlin and Bachakademie Stuttgart; and a return visit to Wigmore Hall.
Recent concerts have included Bach St John Passion with NDR Hannover and Andrew Manze, and with the Oslo Philharmonic and Herbert Blomstedt; Ligeti Le Grand Macabre with the LSO and Rattle; Mahler Symphony no. 4 with the Netherlands Philharmonic Orchestra; and Mahler Symphony no. 2 with the BBC Symphony Orchestra and Sakami Oramo for the 2017 BBC Proms. She made several appearances at the 2018 BBC Proms, singing Schubert songs with the BBC Philharmonic and John Storgards; and the roles of La chauve-souris/La chouette/Une pastourelle in Ravel L’enfant et les sortilèges with the LSO and Rattle, a concert also repeated at the Lucerne Festival. She has worked with other conductors including Richard Egarr, Yannick Nézet-Séguin, Michael Tilson Thomas, Vladimir Ashkenazy, Hans-Christoph Rademan and Ottavio Dantone, and ensembles including the Philharmonia Orchestra, the Scottish Chamber Orchestra, Akademie für Alte Musik and the Stockholm Philharmonic Orchestra.
Opera roles have included Zerlina Don Giovanni and Marzelline Fidelio for the Royal Opera, Covent Garden; Susanna Le Nozze di Figaro for Santa Fe Opera and WNO, for whom Elizabeth has also sung Donna Elvira Don Giovanni, Pamina Die Zauberflöte and Fiordiligi Così fan tutte, and the Countess in both Mozart’s opera and a sequel Figaro Gets A Divorce by Elena Langer; Almirena in Handel Rinaldo for Glyndebourne on Tour and, in concert, Josephine HMS Pinafore at the 2015 Edinburgh Festival and Minerva Il Ritorno d’Ulisse in Patria with the AAM.
Elizabeth was a chorister at Norwich Cathedral and studied archaeology at Sheffield University before studying singing at the Royal College of Music in London. She was awarded an Hon DMus by Sheffield in 2013 and became a Fellow of the RCM in 2017.
Anthony Michaels-Moore - Baritone
Grammy-nominated Baritone Anthony Michaels-Moore is the first British winner of the Luciano Pavarotti International Voice Competition (Philadelphia, 1985) and has since appeared regularly at many of the world’s top opera houses, and recorded and performed concert repertoire with many of the world’s leading orchestras and conductors of note. In a 30-year career Anthony has sung over 60 leading roles at the Wiener Staatsoper, Teatro alla Scala, Opéra National de Paris, Bayerische Staatsoper, Deutsche Oper and Staatsoper Berlin, Opernhaus Zürich, the Metropolitan Opera, San Francisco Opera and numerous other stages across Europe, Asia and the Americas. His home theatre is the Royal Opera House, Covent Garden where his performances in leading roles totals more than 300. Opera News has praised Anthony with having “one of the most the most gorgeous voices on the stage today. …His sound has a real presence and its honeyed opulence dominated every scene in which he appeared.”
Anthony has distinguished himself as a specialist in Verdi and Puccini roles, most renowned for his portrayals of Rigoletto, Falstaff, Simon Boccanegra, Nabucco, Iago in Otello, Germont in La traviata, Sharpless in Madama Butterfly, and Scarpia in Tosca. Of his Rigoletto at the ENO, The Times wrote, “As befits such a dark opera, deep voices dominate. Michaels-Moore’s Rigoletto is in a class apart because he somehow manages to be gloriously lyrical and terrifyingly baleful at the same time. He joins the notes together in beautifully sustained lines; a masterclass for young singers. Yet the power he musters is properly monstrous, and that is matched by his sinister lurches across the stage.”
Performance highlights in recent seasons include 2 world premiere operas, plus numerous house and role debuts. Most notably, Anthony made an exciting return to Teatro alla Scala, starring in the world premiere of Giorgio Battistelli’s opera C02, a work inspired by Al Gore’s An Inconvenient Truth. Michaels-Moore earned high praise in the main role of climatologist Dr. David Adamson in a production directed by Robert Carsen. Wrote Mundoclasico, “una voz de importancia, de sólida técnica… Se mueve con gran distinción sin ser ‘frío’, y, primera vez que lo oigo cantar en su lengua materna, tiene una dicción y articulación del inglés que tiene un valor agregado incalculable.” Anthony also returned to The Santa Fe Opera in another highly-anticipated world premiere: Cold Mountain by the Pulitzer Prize-winning composer Jennifer Higdon.
Anthony’s most recent house debuts include Nederlandse Reisopera (La Traviata, 2017), Opera Philadelphia (Cold Mountain, 2016) Lyric Opera of Kansas City (La traviata, 2015 ), Los Angeles Opera (Billy Budd, 2014), Theatro Municipal São Paulo (Aida, 2013), Teatro dell’Opera di Roma (Curlew River, 2013), Oper Leipzig (Nabucco, 2013), Korean National Opera (Falstaff, 2013), Oper Köln (Tosca, 2012), Sugi Opera (Tosca, 2012), Saito Kinen Festival in Japan (Madama Butterfly, 2012), Valencia’s La Palau de la Musica (Les Dialogues des Carmelites, 2011), Opernhaus Zürich (Falstaff, 2011), Opéra de Montréal (Rigoletto, 2010), and the Théâtre des Champs-Élysées (Falstaff, 2010).
Michaels-Moore has performed with the world’s top conductors including Vladimir Jurowski, Fabio Luisi, André Previn, Riccardo Muti, Michael Tilson-Thomas, Sir Colin Davis, Sir Andrew Davis, Sir Charles Mackerras, Sir Neville Marriner, Sir Edward Downes, Sir Mark Elder, Nikolaus Harnoncourt, Leonard Slatkin, Bernard Haitink, Sir John Eliot Gardiner, Andris Nelsons, Seiji Ozawa, Daniele Gatti and James Conlon, in a repertoire ranging from Haydn’s Creation to Orff’s Carmina Burana. He has appeared at the First Night of the BBC Proms, and has performed with the Royal Concertgebouw Orkest, London Symphony Orchestra, and Wiener Philharmoniker. Most recently Anthony sang Bruckner’s Mass in F minor with the Bavarian Radio Symphony Orchestra under the baton of Daniel Harding and Mahler’s Symphony No. 8 at the Edinburgh International Festival lead by Donald Runnicles.
In 1995 Anthony was honoured with the Royal Philharmonic Society Music Award, the highest recognition for live classical music making in the United Kingdom. His most recent CD recording, Songs of the Sea, Songs of Travel, has been hailed by Classical Source as “A perfect gem sensitively performed…” It is available for purchase and digital download through all major music sources. Michaels-Moore’s discography also includes commercial recordings for Pentatone (Cold Mountain), Deutsche Grammophon (Carmina Burana), Sony (La Vestale, Lucia di Lammermoor), Teldec (Fairy Queen), Conifer (The Puccini Experience), Opera Rara (Mercadante’s Orazi e Curiazi), LSO Live (Peter Grimes), Philips (Yeoman of the Guard, Aroldo), BMG (La Favorite, Szymanowski’s Stabat Mater), Decca (Falstaff), and Chandos (A Masked Ball).
In addition to a Master of Music/Master of Arts degree in Opera from the Royal Conservatoire of Scotland and a Bachelor of Arts degree in Music and History from the University of Newcastle Upon Tyne, Anthony holds a Postgraduate Certificate of Education from the University of Newcastle Upon Tyne. He began his career as a teacher in the English school system teaching Primary school age children in all subjects, including music. Since that time he has taught and presented Masterclasses all over the world including for the English National Opera Harewood Artists Programme, British Youth Opera, the Boyer College of Music and Dance at Temple University, the New Mexico School for the Arts, the Santa Fe Opera Apprentice Program for Singers, and the University of New Mexico. He is passionate about music education and helping to guide the next generation of great singers. For Masterclass inquiries or more information on Anthony’s private studio please visit Opera Studio de Santa Fe.
Anthony is also an avid road cyclist. He divides his time between Santa Fe, New Mexico and Prien am Chiemsee in Bavaria with his wife Emily and their two children.
Mit rund 60 Konzerten jährlich, CD-Einspielungen und internationalen Gastspielen
zählt der Rundfunkchor Berlin zu den herausragenden Chören der Welt. Allein drei
Grammy Awards stehen für die Qualität seiner Aufnahmen. Sein breit gefächertes
Repertoire, ein flexibles, reich nuanciertes Klangbild, makellose Präzision und packende Ansprache machen den Profichor zum Partner bedeutender Orchester und Dirigenten,
darunter Sir Simon Rattle, Christian Thielemann oder Yannick Nézet-Séguin. In Berlin
besteht eine intensive Zusammenarbeit mit den Berliner Philharmonikern sowie mit dem Deutschen Symphonie-Orchester Berlin und dem Rundfunk-Sinfonieorchester Berlin
und ihren Chefdirigenten.
Internationales Aufsehen erregt der Rundfunkchor Berlin auch mit seinen interdisziplinären Projekten, die das klassische Konzertformat aufbrechen und Chormusik neu erlebbar machen. Zum Meilenstein wurde die szenische Umsetzung des Brahms-Requiems als »human requiem« durch Jochen Sandig und ein Team von Sasha Waltz & Guests. Nach Gastspielen u.a. in New York, Hongkong, Paris, Brüssel und Athen reiste die Produktion im Frühjahr 2018 erstmals nach Australien. Für sein jüngstes Projekt »LUTHER dancing with the gods« reflektierte der Chor im Herbst 2017 in einer einzigartigen Konzertperformance mit Robert Wilson und Musik von Bach, Nystedt und Reich Luthers Wirkung auf die Künste und in den Künsten. Mit Christian Josts 2014 uraufgeführtem Musik-Tanz-Theater »LOVER« ging der Chor im Frühjahr 2016 auf Asientournee.
Mit seinen Community-Projekten für unterschiedliche Zielgruppen – das große Mitsingkonzert in der Berliner Philharmonie, das Fest der Chorkulturen für Chöre aus aller Welt und die Liederbörse für Berliner Schülerinnen und Schüler– möchte der Rundfunkchor Berlin möglichst viele Menschen zum Singen bringen. Seine breit angelegte Bildungsinitiative SING! zielt auf die nachhaltige Vernetzung verschiedener Partner, um das Singen als selbstverständlichen Teil des Berliner Grundschulalltags zu fördern. Mit der Akademie und Schola sowie der Internationalen Meisterklasse Berlin setzt sich das Ensemble für den professionellen Sänger- und Dirigentennachwuchs ein.
1925 gegründet, feierte der Rundfunkchor Berlin 2015 sein 90-jähriges Bestehen. Der Chor wurde von Dirigenten wie Helmut Koch, Dietrich Knothe, Robin Gritton und Simon Halsey geprägt. Seit der Saison 2015/16 steht der Niederländer Gijs Leenaars als Chefdirigent und Künstlerischer Leiter an der Spitze des Ensembles. Simon Halsey bleibt dem Chor als Ehrendirigent und Gastdirigent verbunden. Der Rundfunkchor Berlin ist ein Ensemble der Rundfunk Orchester und Chöre GmbH Berlin in der Trägerschaft von Deutschlandradio, der Bundesrepublik Deutschland, dem Land Berlin und dem Rundfunk Berlin-Brandenburg.
Benjamin Goodson - Chorus Master
In 2016/17 Benjamin Goodson took up his post as assistant of the principal conductor of the Rundfunkchor Berlin. Born in London in 1990 the British conductor studied music and musicology at the University of Oxford. Furthermore he studied conducting with renowned teachers and conductors like Sir Colin Davis, Paul Spicer and Ulrich Windfuhr.
In England he is the musical director of the award-winning Bath Camerata, which he took over in 2015. In the same year – by the age of 24 – he was named by the university to become Oxford’s youngest director of music, a position that he gave up for the Berlin engagement, while he still holds the position as chorus master at the Dorset Festival Opera. Moreover he is a regular guest conductor of various choirs and orchestras with a broad repertoire ranging from early music to contemporary works. In the season 2017/18 he worked with the, the MDR Rundfunkchor Leipzig, the NDR Chor Hamburg, the Netherlands Radio Choir and the London Symphony Chorus, which he prepared for a performance at the BBC Proms.
In the Rundfunkchor Berlin’s 2018/19 season Benjamin Goodson prepares the choir for several works such as Ralph Vaughan Williams’s “Sea Symphony” und Gustav Mahler’s Symphony No. 2. In 2020/21 he will become principal conductor of the Netherlands Radio Choir.
Sun 27 January 2019 - 4 pm Philharmonie Berlin
- from € 20
- Pre-concert talk with Steffen Georgi: 2.45 pm, Hermann-Wolff-Saal
As the Berlin Philharmonic Hall is a listed building, unfortunately it is not fully accessible in all areas. Further information regarding entrances for the disabled, places in the disabled box, and offers of help for the sight and hearing impaired are available on the website of the Philharmonie.
Concert visitors with severely disabled passes marked B will receive a free ticket for their escort when buying a ticket. Our visitor service (link) is happy to assist with any further questions. On site, you can contact the staff of the events service EVENTTEAM, who will be happy to help you in any way.
The building opens one hour before the start of concerts.
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 foyer or on the first floor opposite Block A right. 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 porter at the stage door (in the direction of Potsdamer Platz) and can be collected from 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.
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.
Snacks and drinks are sold in the foyer of the Philharmonie before concerts and in the concert intervals. These can be ordered in advance for the opening of doors and the interval, please ring tel. 030 265 15 24 or via email to firstname.lastname@example.org.
No food or drink may be taken into the concert hall.
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.
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
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.
Route directions & parking location
It is easy to access the Philharmonie by public transport:
Buses M84, M85, N2 to Kulturforum or Varian-Fry-Str. or Potsdamer Platz + 4 minutes walk, 200 to Philharmonie
Underground U2 to Potsdamer Platz + 10 minutes walk
S-Bahn (city railway) S1, S2, S25, S26 and regional trains to Potsdamer Platz + 10 minutes walk
Current information: due to building works around the Philharmonie, traffic is being diverted in the area of Herbert-von-Karajan-Straße and Tiergartenstraße. For further information, please consult the website of the Philharmonie.
There are a limited number of charged parking spaces on the site of the Philharmonie:
per hour or part-hour 2.50 Euros
day maximum 20.00 Euros
lost ticket 20.00 Euros
evening rate 7 pm to 5 am 7.00 Euros
Sunday flat rate 6.00 Euros
Please also use parking possibilities in the Sony Center (entrances Ben-Gurion- and Bellevuestraße) as well as Potsdamer Platz Arkaden (entrance to underground parking on Reichpietschufer) and in the car park on Schöneberger Ufer. All these are public parking areas belonging to the City of Berlin, on behalf of which they are administrated by APCOA Autoparking GmbH.
The public parking areas on Herbert-von-Karajan-Straße (on the western side of the Philharmonie) provide a limited number of identified parking spaces for the disabled. Unfortunately, it is generally not possible to reserve parking spaces.