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Concert Mario Brunello (cello). Conductor: Valery Gergiev. Mozart. Janacek. Schumann. Stravinsky (Concert in memory of Richard Colburn)
World famous Mariinsky Ballet and Opera - Mariinsky II (New Theatre)


Schedule for Mario Brunello (cello). Conductor: Valery Gergiev. Mozart. Janacek. Schumann. Stravinsky (Concert in memory of Richard Colburn) 2022

Conductor: Maestro Valery Gergiev
Composer: Igor Stravinsky
Composer: Wolfgang Amadeus Mozart
Composer: Robert Schumann
Composer: Leos Janacek
Soprano: Mlada Khudoley
Bass: Vladimir Felyauer
Cello: Mario Brunello
Mezzo soprano: Yulia Matochkina
Tenor: Mikhail Vekua

Orchestra: Mariinsky Theatre Symphony Orchestra

PERFORMERS:
Mlada Khudoley (soprano)
Yulia Matochkina (mezzo-soprano)
Mikhail Vekua (tenor)
Vladimir Feliauer (bass)
Mario Brunello (cello)

The Mariinsky Orchestra
Conductor: Valery Gergiev


PROGRAMME:
Wolfgang Amadeus Mozart
Eine Kleine Nachtmusik in G Major, KV 525

Leos Janacek
Glagolitic Mass for soloists, double chorus, organ and orchestra, JW 3/9

Robert Schumann
Cello Concerto in A Minor, Op. 129

Igor Stravinsky
Suite from the ballet The Firebird


In 1850 Robert Schumann became the Director of Music in Dusseldorf. On 24 October he conducted the first subscription concert of the local Musikverein and, the same day, completed the sketchfor his Cello Concerto. The concerto was first performed ten years later – following Schumann’s death. The composer himself named the piece somewhat differently – Konzertstuck – thus stressing that this was a one-movement piecefor a virtuoso. In fact, there are three movements that are performed without interruption, revealing the cello’s immense monologue in which the laconic orchestral tutti appear as a series of punctuation marks.
Schumann’s concerto is the quintessence of the romantic image of the instrument. The cello part demands perfect “song” from the instrument with a flawlessly beautiful sound, and it is adorned with elegiac hues. The concerto was orchestrated with a very light hand. The lyricism of Schumann’s music, particularly in the first movement, at times brings to mind certain pages of Tchaikovsky’s scores – for example, the transposition to the second movement conjures up the Letter Scene from the opera Eugene Onegin.
Although Schumann himself was against virtuoso skillfor its own sake, the cello concerto is certainly not devoid of such features: there are passages in the first movement and songful double notes in the second. The cadenza in the concerto’s finale, however, seems to be too modestfor many soloists, and they expand it significantly.
Anna Bulycheva

Diaghilev’s Ballets russes production of The Firebird on 25 June 1910 at the Opйra de Paris proved a sensational success. Created in close co-operation with the choreographer Michel Fokine and the designer Golovin with outstanding ballet dancers, The Firebird was, in the words of one Parisian critic, “a miracle of the enchanting balance between movements, sounds and forms.” Soon after the premiere, Stravinsky composed the Firebird orchestral suite (1911), not just because of the success of the music but also due to his wish to perfect the music in the concert hall. In 1919 a new suite emerged in which the composer abandoned the grandiose full orchestra used in the score for the ballet. Twenty-five years later, in 1945, Stravinsky once again edited his orchestration of the suite. In the 1919 version the suite includes the episodes Introduction, Dance of the Firebird, Round Dances of the Tsarevnas, Kashchei’s Infernal Dance, the Cradle Song and Finale.





Schedule for Mario Brunello (cello). Conductor: Valery Gergiev. Mozart. Janacek. Schumann. Stravinsky (Concert in memory of Richard Colburn) 2022


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