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Weekend Tips: What to Do This Weekend in Berlin
August 16 to 18, 2024: Events, concerts, exhibitions and more things to do for your perfect weekend in Berlin. more
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Italia Nera – Sonderkonzert im Rahmen des Musikfest Berlin
Date details
- Date Tuesday, 10/September/2024 20:00
- Venue Philharmonie Berlin
- Address Herbert-von-Karajan-Straße 1, 10785 Berlin-Tiergarten
Public transportation
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Train (S-Bahn)
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S+U Potsdamer Platz Bhf
- S1
- S2
- S25
- S26
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S+U Potsdamer Platz Bhf
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Underground
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Bus
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Philharmonie
- 200
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Philharmonie Süd
- M41
- 300
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Ben-Gurion-Str.
- RE8
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Kulturforum
- M48
- M85
- N2
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Varian-Fry-Str./Potsdamer Platz
- 200
- M41
- M48
- M85
- N2
- 300
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Tiergartenstr.
- 200
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Potsdamer Brücke
- M29
- M48
- M85
- N1
- N2
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S Potsdamer Platz Bhf/Voßstr.
- M41
- M48
- M85
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S+U Potsdamer Platz Bhf
- M41
- 200
- M48
- N2
- 300
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Gedenkstätte Dt. Widerstand
- M29
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Lützowstr./Potsdamer Str.
- M48
- M85
- N1
- N2
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Philharmonie
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Train
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S+U Potsdamer Platz Bhf
- RE3
- RE5
- RE4
- RB10
- RB14
- RE8
- RE5
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S+U Potsdamer Platz Bhf
Italia Nera – Symphony concert as part of the Musikfest Berlin
Italia noir: the orchestra of the Deutsche Oper presents a sultry evening of Italian music. In the acoustic equivalent of cinemascope, Ottorino Respighi transports the orchestra to the bloodthristy arena of ancient Rome, Luigi Nono counters the horrors of the present with life and love. And Giuseppe Verdi’s OTELLO is one of the most tragic of operas – here we hear the finale.
In the first section of his vividly realised sound fresco “Feste romane” Ottorino Respighi leads his audience directly into the ancient Circus Maximus, where the Emperor Nero has a group of martyrs thrown to the lions: the strings take on their choral part, while clarinets, bassoons and trombones imitate the growls of the animals with naturalistic glissandi. By contrast, in his “Canti di vita e d’amore” from 1962, Luigi Nono rejected cruelty in any form, although all three parts are concerned with different aspects of violence and oppression and look for possible ways of counteracting criminal insanity. The bridge in Hiroshima referred to in the subtitle is one indication of this. Alongside these two works, Sir Donald Runnicles and the orchestra of the Deutsche Oper Berlin will also perform Act Four of Giuseppe Verdi’s tragic opera OTELLO, in which the hero (Otello), his unjustly accused wife (Desdemona) and a cold-blooded plotter (Iago) meet in a conventionally-gendered triangle. No other Italian opera composer of the 19th century dealt as ruthlessly with death in his stage works as Verdi: at the very beginning of his career he noted that opera should make its audience feel “tears, horror and death through singing.” He undoubtledly succeeded in this in Act Four of OTELLO, where the orchestra plays a prominent part in its spellbinding effect: sombre chords in the deepest possible instrumental register leave no doubt at the end that the death of the fallen hero will bring no redemption.
The programme includes
Ottorino Respighi [1879 – 1936]Feste Romane Circenses – Il Giubileo– L’Ottobrata – La Befana
Luigi Nono [1924 – 1990]Canti di vita e d’amore: Sul ponte di Hiroshima for soprano, tenor and orchestra
Giuseppe Verdi [1813 – 1901]OTELLO, Act IV
In the first section of his vividly realised sound fresco “Feste romane” Ottorino Respighi leads his audience directly into the ancient Circus Maximus, where the Emperor Nero has a group of martyrs thrown to the lions: the strings take on their choral part, while clarinets, bassoons and trombones imitate the growls of the animals with naturalistic glissandi. By contrast, in his “Canti di vita e d’amore” from 1962, Luigi Nono rejected cruelty in any form, although all three parts are concerned with different aspects of violence and oppression and look for possible ways of counteracting criminal insanity. The bridge in Hiroshima referred to in the subtitle is one indication of this. Alongside these two works, Sir Donald Runnicles and the orchestra of the Deutsche Oper Berlin will also perform Act Four of Giuseppe Verdi’s tragic opera OTELLO, in which the hero (Otello), his unjustly accused wife (Desdemona) and a cold-blooded plotter (Iago) meet in a conventionally-gendered triangle. No other Italian opera composer of the 19th century dealt as ruthlessly with death in his stage works as Verdi: at the very beginning of his career he noted that opera should make its audience feel “tears, horror and death through singing.” He undoubtledly succeeded in this in Act Four of OTELLO, where the orchestra plays a prominent part in its spellbinding effect: sombre chords in the deepest possible instrumental register leave no doubt at the end that the death of the fallen hero will bring no redemption.
The programme includes
Ottorino Respighi [1879 – 1936]Feste Romane Circenses – Il Giubileo– L’Ottobrata – La Befana
Luigi Nono [1924 – 1990]Canti di vita e d’amore: Sul ponte di Hiroshima for soprano, tenor and orchestra
Giuseppe Verdi [1813 – 1901]OTELLO, Act IV
Artists/Collaborators: Sir Donald Runnicles (Dirigent), Orchester der Deutschen Oper Berlin (Orchester), Lilit Davtyan (Sopran (Nono)), Thomas Cilluffo (Tenor (Nono)), Federica Lombardi (Desdemona), Roberto Alagna (Otello), Thomas Lehman (Jago), Karis Tucker (Emilia), Thomas Cilluffo (Cassio), Gerard Farreras (Lodovico, Montano)
In italienischer Sprache mit deutschen und englischen Übertiteln
Eine Veranstaltung der Deutschen Oper Berlin in Kooperation mit Berliner Festspiele / Musikfest Berlin
Eine Veranstaltung der Deutschen Oper Berlin in Kooperation mit Berliner Festspiele / Musikfest Berlin
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