The Flower of Immortality
Featuring seductive fairies and harlequins
Paul Dukas “La Péri” – Music for the Ballet in One Act
Sergei Prokofiev Piano Concerto No. 2 in G minor, op. 16
Igor Stravinsky “Pulcinella” – Music for the ballet of the same name
Sylvain Cambreling - Conductor
Anna Vinnitskaya - Piano
Kora Pavelić - mezzo-soprano
David Fischer - Tenor
Michael Nagl - Basso
Sylvain Cambreling - Conductor
French-born conductor Sylvain Cambreling is a musician with big ideas. A thought-provoking, colourful and dramatic artist, he has a flair for grabbing the attention of audiences, yet his originality is rooted in thorough knowledge of musicology. As the Chief Conductor of the SWR Sinfonieorchester Baden-Baden und Freiburg, and Principal Guest Conductor of Klangforum Wien, he has offered ample proof of his gifts for imaginative programme-planning and persuasive championship of contemporary music.
At the start of the 2018/2019 season he became the new Chief Conductor of the Hamburg Symphony Orchestra. He is Principal Conductor of the Yomiuri Nippon Symphony Orchestra in Tokyo, a position he has held since 2010.
Sylvain Cambreling held the position of General Music Director of the Staatsoper Stuttgart from 2012 – 2018. He was Music Director at La Monnaie for ten years before becoming Music Director at Frankfurt Opera in 1993. Productions notable for the introduction of new and often revolutionary ideas include Pelléas et Mélisande and Les Troyens for the Salzburg Festival; Wozzeck, Fidelio and a Ring cycle in Frankfurt. He has conducted extensively at Opéra National de Paris where his work has included Saint François d’Assise, Pelléas et Mélisande, Katya Kabanova, La Clemenza di Tito, The Love for Three Oranges, Don Giovanni, Le nozze di Figaro, Simon Boccanegra, Les Troyens, Louise, La Traviata, Ariane et Barbe-Bleue and Wozzeck.
He balances his opera engagements with his positions at the Hamburg Symphony Orchestra, Yomiuri Nippon Symphony Orchestra, Klangforum Wien and guest appearances in concert with the world’s leading ensembles. He has performed with orchestras including the Vienna and Berlin Philharmonics, the Tonhalle Orchestra, the radio orchestras of Frankfurt, Hamburg, Berln, Hannover, Köln, Copenhagen, Stockholm and London, as well as the Philharmonia, BBC Symphony, Deutsches Symphonie-Orchester Berlin, Münchner Philharmoniker, Vienna Symphony, Orchestre de Paris and Oslo Philharmonic orchestras. In North America he has conducted the Cleveland Symphony Orchestra, Los Angeles Philharmonic, San Francisco Symphony and Orchestre symphonique de Montréal.
A great believer in imaginative programming Cambreling is famed for the originality of his concert-planning. A speciality is the juxtaposition of contrasting but related works or composers, for example Haydn and Messiaen, or Berlioz’s La Damnation de Faust with Schumann’s Scenes from Goethe’s Faust. Among the boldest of his projects was the performance on consecutive evenings of Messiaen’s three largest works – Turangalîla, Éclairs sur l’au-delà and La transfiguration de notre seigneur Jésus–Christ.
In 2009 Sylvain Cambreling received the Echo Klassik “Conductor of the Year Award” and the Deutsche Schallplatten Jahrespreise 2009 for best orchestral CD, and in 2010 the MIDEM Contemporary Music Award for his recording of Messiaen with the SWR Freiburg and Baden-Baden Symphony Orchestra. In 2012 he was awarded the Federal Cross of Merit of the Federal Republic of Germany.
Anna Vinnitskaya - Piano
Whoever witnesses Anna Vinnitskaya in concert is inevitably enthralled by the aura of this artist. Audiences and critics alike celebrate her ability to paint grand canvases and spark spectacular fireworks. Her technical splendour is not a virtuosic means in itself, but blends with a natural, always colourful sound. Anna Vinnitskaya is a major pianist of our time who tells stories with her music.
Vinnitskaya’s repertoire spans from Johann Sebastian Bach to Sofia Gubaidulina. Her particular emphasis lies on the great Russian piano composers such as Rachmaninov, Prokofiev or Shostakovich, as well as the piano works of Ravel, Debussy and Chopin. In the past few years, her readings of Brahms and Bartók have caused a stir.
The first prize at the Concours Reine Elisabeth in Brussels in 2007 marked the beginning of Anna Vinnitskaya’s international career. Among the conductors with whom she has collaborated are stars of the younger generation such as Andris Nelsons, Kirill Petrenko or Krzysztof Urbanski, as well as seasoned masters such as Charles Dutoit, Vladimir Fedoseyev and Marek Janowski.
Highlights of the 2018-19 season will include Vinnitskaya‘s debuts with Sächsische Staatskapelle Dresden and the Danish National Symphony Orchestra. She return to the Elbphilharmonie Hamburg for three major projects – with the Schleswig-Holstein Festival Orchestra, the Deutsche Kammerphilharmonie Bremen and the NDR Elbphilharmonie Orchester – as well as to the Rundfunk-Sinfonieorchester Berlin, WDR Sinfonieorchester Köln, SWR Symphonieorchester and City of Birmingham Symphony Orchestra.
Anna Vinnitskaya’s recordings have been recognized with numerous awards, such as the Diapason d’Or, the Gramophone Editor’s Choice and the ECHO Klassik.
Born in the Russian city of Novorossiysk, Anna Vinnitskaya has called Hamburg her home since 2002. A former master student of Evgeni Koroliov at the Hamburg conservatoire, she now is a professor there herself.
Kora Pavelić - mezzo-soprano
Kora Pavelić wurde in Kroatien geboren und studierte an der Stuttgarter Musikhochschule Gesang bei Dunja Vejzović und Frédérique Friess. Sie belegte Meisterkurse bei bei Tiziana Šojat, Michael Gees, Laurence Cummings, Catherine Denley und Shirley Close. Kora Pavelic ist Stipendiatin des Richard-Wagner-Verbands Zagreb und der Johann Paul Stiftung der Schweiz. 2010 debütierte sie am Kroatischen Nationaltheater Varaždin, 2011 an der Stuttgarter Oper. In Stuttgart sang sie als Mitglied des Opernstudios Tisbe in „La Crenetola“, die Zweite Dame in „Die Zauberflöte“, 1. Beamtin in der Uraufführung wunderzaichen sowie Annina in „La traviata“. Seit der Spielzeit 2014/15 ist sie Ensemblemitglied des Landestheaters Coburg. 2015/16 gastierte Kora Pavelić zuletzt an der Oper Stuttgart als Page in „Salome“ und als Das süße Mädel in „Reigen“. 2017/18 kehrt sie als Hänsel in der Neuinszenierung von „Hänsel und Gretel“ und erneut als 1. Beamtin in „wunderzaichen“ nach Stuttgart zurück.
David Fischer - Tenor
David Fischer is a permanent member of the Bonn Opera solo ensemble since the 2017/18 season and also regularly performs at the Leipzig Opera.
Right in his first season on the Bonn Opera stage he was able to embody the leading role
of John Whitcroft at the world premiere of the opera „Geisterritter“ by James Reynolds, which will also guide him to the Deutsche Oper am Rhein in 2019.
Moreover, David Fischer was seen in Bonn as Rev. Horace Adams in Britten’s „Peter Grimes“, in which José Cura did staging, set and the leading role, Remendado in Bizet’s „Carmen“, Pang in Puccini’s „Turandot“ and some others.
His concert activity leads him through Europe, this year, for example, he sang Bach’s St. Johan Passion with the NDR choir and Radiophilharmonie in the large concert studio of the NDR Hannover under Chief Conductor Andrew Manze and gave a Lied recital with Paulina Tukiainen at the Swiss Festival classique des Haudères. Further Lied recitals with her repeatedly lead him to Geneva and to the Schumannfest Bonn.
The year of 2016 David Fischer could complete by winning the great internaional music
competition Concours de Genève. Within the 48th Easter Festival of the Berlin Philharmonics, David Fischer made is début in 2015 at the Baden-Baden Theater as Trémolini in Offenbach’s Opéra-bouffe „La Princesse de Trézibone“. The next year he travelled to Daegu (Korea) with the ensemble of the Bonn Opera as Jaquino in Beethoven’s „Fidelio“.
David Fischer completed his singing studies in Freiburg with Reginaldo Pinheiro and took
master classes with Brigitte Fassbaender. The early musical education began at the age of three with the first violin lessons – 12 years old he won the German federal competition „Jugend musiziert“ in the solo violin category.
Michael Nagl - Basso
Michael Nagl, Ausbildung am Mozart Knabenchor seiner Heimatstadt Wien. Seit 2013 Gesangsstudium an der Universität für Musik und darstellende Kunst Wien bei Karlheinz Hanser. Erste Opernerfahrungen an der Internationalen Sommerakademie der Universität Wien, im Schlosstheater Wien und am Stadttheater Baden in Rollen wie Don Alfonso (Così fan tutte), Masetto (Don Giovanni), Simone (Gianni Schicci), Gefängnisdirektor Frank (Die Fledermaus) und Leporello (Don Giovanni). Preisträger als bester Nachwuchssänger beim Internationalen Otto Edelmann Wettbewerb 2014, Auszeichnung mit der Gottlob-Frick-Medaille. Zwei Spielzeiten war Michael Nagl Mitglied des Opernstudios in Stuttgart und u.a. als Wagner (Faust), Masetto (Don Giovanni), Erster Soldat (Salome), Graf von Ceprano (Rigoletto), Narumov (Pique Dame) und Zweiter Gralsritter (Parsifal) zu erleben. 2018/19 singt Michael Nagl als Ensemblemitglied Kuno (Der Freischütz), Basilio (Il barbiere di Siviglia), Surin (Pique Dame), Buff (Schauspieldirektor), Zweiter Soldat (Salome) sowie Dritter Offizier in der Neuinszenierung von Der Prinz von Homburg und Vierter Edler in der Neuinszenierung von Lohengrin.
Sun 25 November 2018 - 8 pm Philharmonie Berlin
- from € 20
- Pre-concert talk with Steffen Georgi: 6.45 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 email@example.com.
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.