The Year’s Finale
A festive farewell to 2018 with Beethoven's 9th Symphony and a worl premiere
Georg Katzer New orchestral work (world premiere)
Ludwig van Beethoven Symphony No. 9 in D minor, op. 125 with final choral of Schiller’s “Ode to Joy”
Vladimir Jurowski - Conductor
Iwona Sobotka - Soprano
Vasilisa Bershanskaya - Alto
David Butt Philip - Tenor
Paul Gay - Basso
Rundfunkchor Berlin - Chor
Benjamin Goodson - Chorus Master
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.
Vasilisa Bershanskaya - Alto
Since the 2017/18 season Vasilisa Berzhanskaya is an ensemble member at Deutsche Oper Berlin, where she sings roles such as Rosina in Il Barbiere di Siviglia, Marchesa Melibea in Il Viaggio a Reims, Sonyetka in Lady Macbeth of Mtsensk, Siebel in Faust among others. Other engagements include Angelina in La Cenerentola at Theater Basel and Rosina in Il Barbiere di Siviglia at Salzburger Festival and Mikhailovsky Theater, St-Petersburg.
Vasilisa’s future engagements include her house debuts at ROH Covent Garden, Bavarian State Opera, Amsterdam Concertgebouw, Dutch National Opera and Rundfunk-Sinfonieorchester Berlin, numerous main roles at Deutsche Oper Berlin. She will also return to Salzburger Festival, Rossini Opera Festival in Pesaro and Theater Basel. Her future engagements include such roles as as Vagaus in Juditha Triumphans, Prince Orlofsky in Die Fledermaus, Vittelia in La Clemenza di Tito, Rosina in Il Barbiere di Siviglia, Alt Solo in Beethoven’s 9th Symphony, Aristea in L’Olimpiade, the title role in Carmen, La Muse/ Nicklausse in The Tales of Hoffmann, Olga in Evgeny Onegin etc.
Highlights of 2016/17 season include her debut at Bolshoi Theater Moscow as Despina in Cosi fan tutte and as Marchesa Melibea in Il Viaggio a Reims at the Rossini Opera Festival in Pesaro. In the 2016/17 season she also debuted at the Salzburg Festival 2017 as Madame Pfeil in Mozart’s Schauspieldirektor and participated in a Gala Concert as a member of the Young Artists Program.
In the seasons 2015/17 Vasilisa Berzhanskaya was member of Young Artist Opera Program of Bolshoi Theater. Since then her vocal couch is Dmitry Vdovin.
Vasilisa Berzhanskaya appeared in Vladivostok Opera theatre, in Mariinsky Theatre in St-Petersburg, Tchaikovsky Concert Hall in Moscow, and participated at the 2015 International Musical Olympus Festival in St-Petersburg Philharmony, Tonhalle Zürich and at the Carnegie Hall, New York.
Born 1993 in Yessentuki, Russia, Vasilisa Berzhanskaya graduated from the vocal department of Stavropol Territorial Musical College (STMC) named after V. I. Safonov and the Gnessin Russian Academy of Music (Master’s degree, Prof. R. Lisitsian).
David Butt Philip
David Butt Philip - Tenor
In the 2019/20 season, Butt Philip makes a series of exciting debuts including Florestan in a new Fidelio at Glyndebourne and in Prague; Prince Rusalka at ENO, where audiences can also see him as Don Jose Carmen; a major role and house debut as Lohengrin with Opera Australia; and a company debut at Oper Köln in the title role of Brett Dean’s Hamlet in a new production by Matthew Jocelyn. Highlights on the concert platform include Verdi Requiem with the BBC National Orchestra of Wales and performances of Beethoven Symphony No. 9 with the Radio Symphony Orchestra Berlin at New Year, and with the Hallé Orchestra and Sir Mark Elder at Bridgewater Hall and the Barbican.
Last season, Butt Philip debuted the title role of Der Zwerg in a new production by Tobias Kratzer at Deutsche Oper Berlin which earned him huge international critical acclaim. He also returned to Madrid to sing Froh Das Rheingold in the new Ring Cycle production of Teatro Real. British audiences saw him at Royal Opera House as Grigoriy Boris Godunov; ENO in Daniel Kramer’s new production of Britten’s War Requiem for which he was nominated for an Olivier Award; and at Opera Holland Park in his debut as Count Vaudemont in Tchaikovsky’s Iolanta. His busy concert season included Beethoven Symphony No. 9 on New Years’ Eve with the Radio Symphony Orchestra Berlin and Vladimir Jurowski, Dream of Gerontius at Gloucester Cathedral, Tippet’s A Child of our Time in Lisbon, Beethoven Missa Solemnis with Rundfunkchor Berlin and Kammerakademie Potsdam, Verdi Requiem with the Royal Philharmonic Orchestra at the Royal Albert Hall and Faust La damnation de Faust with the Hallé Orchestra.
Recent engagements include his company debut with Teatro Real as Robert Devereux, Earl of Essex in Sir David McVicar’s new production of Gloriana as well as taking on the title role of Brett Dean’s Hamlet with Glyndebourne on Tour. Other highlights include Erik Der fliegende Hollander at Opéra de Lille Folco in Mascagni’s Isabeau at Opera Holland Park, Laertes in the premiere of Brett Dean’s Hamlet at Glyndebourne, Narraboth Salome at Royal Opera House and Laca Jenufa with Opera North. On the concert platform, Butt Philip performed Elgar’s Dream of Gerontius with the Hallé Orchestra and Sir Mark Elder, Verdi’s Requiem with the Royal Liverpool Philharmonic Orchestra, Britten’s War Requiem with Opera Orchestra National Montpellier and Orquestra Sinfonica Portuguesa, Brett Dean’s From Melodius Lay with Vladimir Jurowski and the Rundfunk-Sinfonieorchester Berlin and Prokofiev’s Seven, they are seven with the Philharmonia under the baton of Vladimir Ashkenazy. He also made his role debut as Faust La damnation de Faust in a concert performance with the Orchestra of Opera North.
On the concert platform he has performed Froh Das Rheingold with the Hallé Orchestra and the Boston Symphony Orchestra at the Tanglewood Festival, Beethoven 9 with both the Yomiuri Nippon Symphony Orchestra, Tokyo and the London Philharmonic Orchestra at the Royal Festival Hall, Elgar’s The Dream of Gerontius with the Tonnkünstler Orchestra at Musikverein Vienna, Handel’s Messiah with the Mozart Festival Orchestra at the Royal Festival Hall, Prokofiev’s Seven, they are seven with the Bournemouth Symphony Orchestra at the BBC Proms, Mahler Das Klagende Lied with Vladimir Jurowski and the London Philharmonic Orchestra, Rossini Petite Messe Solennelle at the Barbican and Haydn Nelson Mass with the Hallé under Sir Mark Elder.
Butt Philip was born and brought up in Wells in Somerset and was a chorister at Peterborough Cathedral. He is a graduate of Royal Northern College of Music, the Royal Academy of Music, and the National Opera Studio and also a Samling Artist, an Associate of the Royal Academy of Music and winner of the prestigious John Christie Award in 2011.
Paul Gay - Basso
French bass-baritone Paul Gay is known internationally for his portrayals of leading roles in the French repertoire. He collaborates with conductors such as Ivan Fischer, Seiji Ozawa, Michel Plasson, Yannick Nézet-Séguin, Semyon Bychkov, Philippe Jordan, Alain Altinoglu, William Christie, Emmanuelle Haïm and has been invited for new productions by Willy Decker, Luc Bondy, Peter Stein, Richard Jones, Claus Guth, Laurent Pelly, Krzysztof Warlikowski, Robert Carsen.
His principle repertoire includes Golaud (Pelléas et Melisande), a role he has sung at the Paris Opera, at La Monnaie Brussels, in Oslo, Frankfurt, Torino and in Lyon, and Mephisto (Faust), which he has been invited to sing at the Paris Opera, the Maggio Musicale Firenze and at the Bordeaux Opera. Other signature roles include Saint François, which he debuted in a new production at the Bayerische Staatsoper Munich, where he has also appeared in productions of Der Zwerg, I Capuletti e i Montecchi, L’enfant et les sortilèges.
Paul is a regular guest at the Paris Opera where his roles have included Don Fernando (Fidelio), Harasta (The Cunning Little Vixen), Achilla (Giulio Cesare), Don Diègue (Le Cid), Flint (Billy Budd) and Le Comte des Grieux (Manon). He also appears regularly in Brussels, Frankfurt and Lyon and he made his North American debut as Escamillo (Carmen) at the Canadian Opera Company. 2016 also saw him appear as Frère Laurent in Berlioz’s Roméo et Juliette in Amsterdam.
He has taken part in several contemporary creations including ‘L’Ecole des Femmes’ by Rolf Liebermann at the Bordeaux Opera and Philippe Boesmans’ opera, Yvonne Princesse de Bourgogne, a production seen in Paris, Brussels and Vienna.
Having completed his studies, winning a ‘Premier Prix’ at the Paris Conservatory, Paul went on to gain his first operatic experience as a company member in Osnabrück, performing roles such as Colline (la Bohème), a role which he returned to in Barcelona in 2016, Walter (Luisa Miller) and the title role of Don Quichotte. He gained attention as a prize-winner in several international vocal competitions and he continued his vocal development, taking lessons in Cologne with the renowned bass Kurt Moll.
2017/2018 saw his return to the role of Mephisto at Monte Carlo, as well as productions of Aida in Hong Kong, and Les Contes d’Hoffmann at the Dutch National Opera. He appeared at Oviedo Opera in Pelléas et Mélisande and at the Dorset Opera Festival as Don Diegue in Massenet’s Le Cid. He also sang in L’Enfant et les Sortilèges with the Berlin Philharmonic conducted by Seiki Ozawa, for which he received a Grammy Award in 2016 for best opera recording with the same conductor.
The 2018/2019 season will take Paul Gay to Beijing for les Pêcheurs de perles (Nourabad), to Caen for Der Zwerg (Don Estoban) and he will return to the Paris Bastille Opera as Lodovico (Otello) and Le Compte de Saint-Bris (Les Huguenots).
Rundfunkchor Berlin - Chor
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.
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.
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.
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.
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.
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.
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
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.