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Dusseldorf Tonhalle presents 'Green Piece' featuring the music of Eve de Castro, Leila Adu, and John Psathas

Concert

At the end of the season, the Tonhalle sends its guests into the desert. In "Scheherazade," Rimsky-Korsakov has woven motifs from "1001 Nights," violin solos, and orchestral sounds into a musical flying carpet that will carry the audience through an Orient full of adventure, poetry, and wanderlust. The certainly very emotional symphonic farewell from GMD Axel Kober is accompanied by the complete performance of the eleven global works created for the major "Green Monday" project, which aim above all to make us all aware of a better world.

Axel Kober has been General Music Director of the Deutsche Oper am Rhein since the 2009/10 season, where the Düsseldorf Symphony Orchestra resides for two thirds of the season. Kober's performances at the Tonhalle are always wonderful musical bridges to the house on Heinrich-Heine-Allee. His interpretations in opera and concert regularly grow into spheres of inspiring inspiration on the foundation of great knowledge of the works, enormous experience and rich musicality. Since 2013, Axel Kober has been a regular guest at the Bayreuth Festival, where he has conducted revivals of "Tannhäuser" (including in 2021 and 2022 under the direction of Tobias Kratzer) and "The Flying Dutchman". He also has a special relationship with the Vienna State Opera, where he made his debut in 2016. In addition to his euphorically received Ring Cycle in 2019 and the immediate re-invitation to further Ring Cycles in 2022, he conducted "Hansel and Gretel", "Arabella", "Fidelio", "Tosca", "Turandot", "Rosenkavalier" and Mahler's 4th Symphony.

On "Green Monday," the Tonhalle spent a season experimenting with its audience to see how a concert evening can become more sustainable, bit by bit. In the "Star Talk" in the Rotunda, interesting discussion partners and activities on the topic of "Green Tonhalle" were presented before the concert began, and the zodiac concert program was expanded to include a work from the joint composition "Green Piece." In the last sign of the 2023/2024 season, all eleven micro-works will be performed together: UPCYCLE by Gordon Hamilton, FURIOUS BURIALS by Eve de Castro Robinson, CIRCULATION by Somei Satoh, RECURRING by Shiva Feshareki, HEAT EFFICIENCY by Aziza Sadikova, DIGITALLY MADE POSSIBLE by Yuan-Chen Li, AGUA ES VIDA by Leila Adu-Gilmore, FLASH, SHIMMER, GLOW, SPARK by Juhi Bansal, OHM – TWILIGHT by Kristjan Järvi, SPINPHONY by Enrico Chapela and VERDURE by Adeline Wong. The New Zealand composer John Psathas wrote transitions and a final section and combined everything into the great "Green Piece", which will celebrate its premiere in the last sign of the 2023/24 season.

Zodiac sign: Scheherazade
Friday, June 28, 2024, 8:00 p.m.
Sunday, June 30, 2024, 11:00 a.m.
Monday, July 1, 2024, 8:00 p.m.
Tickets: 19 to 64 euros, students, trainees and schoolchildren 50% discount in price groups 1-3, 8 euros in price groups 4 and 5

Düsseldorf Symphony Orchestra
Axel Kober CONDUCTOR
John Psathas & Friends
GREEN PIECE (UA)
Nikolai Rimsky-Korsakov
SCHEHERAZADE. SYMPHONIC SUITE OP. 35
Gordon Hamilton
UPCYCLE (GREEN PIECE NO. 1 ON THE TOPIC OF "WASTE AND RECYCLING")
Eve de Castro Robinson
FURIOUS BURIALS (GREEN PIECE NO. 2 ON THE TOPIC OF "ENERGY EFFICIENCY")
Somei Satoh
CIRCULATION (GREEN PIECE NO. 3 ON THE TOPIC OF "PUBLIC TRANSPORT")
Shiva Feshareki
RECURRING (GREEN PIECE NO. 4 ON THE TOPIC OF "NUTRITION")
Aziza Sadikova
HEAT EFFICIENCY (GREEN PIECE NO. 5 ON THE TOPIC OF "HEAT EFFICIENCY")
Yuan-Chen Li
DIGITALLY MADE POSSIBLE (GREEN PIECE NO. 6 ON THE TOPIC OF "DIGITALIZATION")
Leila Adu-Gilmore
AGUA ES VIDA (GREEN PIECE NO. 7 ON THE THEME OF "WATER")
Juhi Bansal
FLASH, SHIMMER, GLOW, SPARK (GREEN PIECE NO. 8 ON THE TOPIC OF "BIODIVERSITY")
Kristjan Jarvi
»OHM – TWILIGHT« (GREEN PIECE NO. 9 ON THE TOPIC OF "ENERGY GENERATION")
Enrico Chapela
SPINPHONY (GREEN PIECE NO. 10 ON THE TOPIC OF "BICYCLE TRAVEL")
Adeline Wong
»VERDURE« (GREEN PIECE NO. 11 ON THE TOPIC OF "CO2 COMPENSATION")

June 28, 2024 20:00 — July 01, 2024 22:00   ·   Mendelssohn Hall

Orchestra Wellington | The Jazz Age

Concert

SOUNZ Commission for Orchestra and Arohanui Strings

Porgy and Bess | George Gershwin (1898 – 1937), arr. Russ Garcia (1916 – 2011)
Deborah Wai Kapohe
Eddie Muliaumaseali'í
Siliga Sani Muliaumaseali'í
Signature Choir

Gershwin based his opera on a 1925 novel by DuBose Heyward about a crippled Charleston man who got around on a goat-cart. The novel, turned into a play by DuBose and his wife, became a tremendously successful play. In 1934, Gershwin was invited to the Heyward’s summer house at Folly Beach, near Charleston. Catfish Row, the fictional location of Porgy and Bess, is based on a street in nearby James Island mostly inhabited by the Gullahs, descendants of the African coastal towns who made their living as fishermen and stevedores. Gershwin immersed himself in the Gullah’s musical and speech rhythms, and attended their religious revivals, which had their own unique vocal patterns. The result, which Gershwin called a folk opera, blended classical, jazz, gospel, spirituals and blues in a completely new way. The story of between Porgy, a crippled beggar blessed with optimism, and Bess, an outcast woman cursed with a violent jailbird boyfriend, is rich with drama, danger, love, danger and compassion.

Russ Garcia arranged the opera in 1956 for the second complete recording of the opera and the first to use, instead of classically-trained performers, jazz singers (in this case Mel Torme and Frances Faye) and musicians drawn from, among other groups, the Duke Ellington Band. Garcia recorded it again in 1957 with Ella Fitzgerald and Louis Armstrong in the lead roles, and a big orchestra of strings, horns and woodwinds. The album won a Grammy Hall of Fame award.

November 09, 2024 19:30   ·   Michael Fowler Centre, Wellington

Orchestra Wellington | A Modern Hero

Concert

Hour of Lead | Eve de Castro Robinson (1956-)
War Requiem | Benjamin Britten (1913 – 1976)
Morag Atchison - soprano
Benson Wilson - baritone
The Orpheus Choir of Wellington

Britten was steeped in the English choral tradition and its liturgical music. In 1962, he was able to fulfil his long-held desire to compose a large‑scale choral work when he was asked to provide music for the dedication of Coventry Cathedral, rebuilt after Luftwaffe bombs Coventry’s beloved 14th-century Cathedral. An important symbolic occasion, it allowed Britten to air in public his pacifist beliefs and his faith in humanity’s capacity for compassion. In a break from tradition, he blended the traditional Latin mass for the dead with nine of Wilfred Owens’ poems from WW1. In Britten’s own words, he offered the War Requiem as “an act of reparation”. On the title page of the score, he quoted the poet, "My subject is War, and the pity of War. The Poetry is in the pity …All a poet can do today is warn.”

The Requiem requires huge forces: a very large orchestra, a smaller chamber orchestra which accompanies the soloists, two organs, three soloists, main chorus, and boys’ choir. When it was first recorded, the Requiem sold 200,000 copies within five months — a rare example of a contemporary work that was immediately embraced by the public.

Stravinsky noticed, and sniped, "Behold the critics as they vie in abasement before the wonder of native-born genius. Kleenex at the ready, and feeling as though one had failed to stand up for God Save The Queen, one goes from the critics to the music…”

Britten could give as well as take, saying of Stravinsky’s The Rake’s Progress, "I liked the opera very much. Everything but the music."

December 07, 2024 19:30   ·   Michael Fowler Centre, Wellington
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