Hugo Wolf, Italian Serenade for string quartet in G major

Franz Schubert, Quartettsatz in C minor D 703

Richard Strauss, Quartet with piano in C major, op. 13

With the Quartettsatz in C minor D 703 (1820), first movement of a quartet that would remain unfinished, is unveiled what could be a synthesis of Schubert’s richest and most accomplished style: dramatic themes and violent rhythms, tempered by the singing. His dense ideas and how he chose to combine them are what makes this movement one of the composer’s ultimate masterpieces.Written in 1887 by a composer who mostly went down in history for his lieder, the Italian Serenade by Hugo Wolf can be considered as one of the most beautiful examples of the Italian momentum that enriched German Romanticism. This longing for the South is subtly distilled and codified in the work: luminous harmonies, vivid rhythms, a light structure, the evocation of the Tarantella and the Brio so typical of the Comedia dell’arte …Composed by a 20 years old Richard Strauss, this almost neglected Quartet with piano, op. 13 reminds us of Brahms’s quartets with piano, as well as Mendelssohn’s style and music, the large, breathing lyrical dimension of the first fitting with the light-hearted, spiritual scherzos of the second.Picture: Elena Bauer / OnP

Concert Schubert - Wolf – Strauss

With the Quartettsatz in C minor D 703 (1820), first movement of a quartet that would remain unfinished, is unveiled what could be a synthesis of Schubert’s richest and most accomplished style: dramatic themes and violent rhythms, tempered by the sin

Schubert - Wolf - Strauss

Concert Schubert - Wolf - Strauss

Artistic director of the Vienna State Opera from 1919 to 1925, Richard Strauss was one of the most famous conductors of his time, an eminent interpreter of his own works, but also of the operas of Mozart and Wagner. His stylistic and aesthetic importance was considerable. Born in Munich in 1864, the son of a famous Munich horn player and musical prodigy (he was composing by the age of six and conducting an orchestra by the age of nine), in 1884 he met the conductor Hans von Bülow, who invited him the following year to become second conductor at the Meiningen Opera. He held a number of positions (Director of Court Music in Munich, Assistant Court Kapellmeister in Weimar, Principal Conductor of the Munich Opera, etc.), before succeeding von Bülow at the helm of the Berlin Philharmonic Orchestra. In 1894, he conducted Tannhäuser in Bayreuth. As a composer, he first established his reputation with great symphonic poems such as Don Juan, Death and Transfiguration, Till the Mischievous, Thus Spoke Zarathustra, Don Quixote and A Hero's Life. His first operas, Guntram and Feuersnot, strongly influenced by the music of Wagner, met with little success, but Salome, based on Oscar Wilde's play, brought him fame in 1905 as much for the innovative nature of the music as for the sulphurous subject matter. Elektra, in 1909, marked the beginning of a long collaboration with the Austrian poet Hugo von Hofmannsthal, and displayed a violence rarely seen in opera. With Le Chevalier à la rose (1911), Strauss seems to have mellowed, returning to the Viennese tradition of character opera. This was followed by Ariane à Naxos (1912), La Femme sans ombre (1919), Intermezzo (1924), Hélène d'Égypte (1928), Arabella (1933), La Femme silencieuse (1935), Friedenstag (1938), Daphné (1938), L'Amour de Danaé (1938-1940). In his last opera, Capriccio, composed in 1942 to a libretto he wrote himself in collaboration with his friend the conductor Clemens Krauss, he succeeded, at almost 80 years of age, in surpassing himself. A few months before his death, he composed the Four Last Lieder for soprano and orchestra. He died in Garmisch-Partenkirchen in 1949.&nbsp;&nbsp;

GUIOT_Christophe

PALLAS_Elisabeth

LENERT_Jean-Michel

LEFRANC_Jérôme

Vessela Pelovska hails from Sofia, Bulgaria. She studied with Giulia and Constantin Ganev at the Academy of Music in her native city, and perfected her skills in Paris with Nadia and Leslie Wright on a French government scholarship.She is the winner of ten international competitions in Europe and Japan. She regularly gives concerts in Europe, Japan and Australia in recital, chamber music and with orchestra.Since 1999, she has been rehearsal pianist and vocal coach for the Ballet de l'Opéra national de Paris. Since joining the Compagnie, she has performed and recorded for such Ballet productions as Jerome Robbins' The Concert, Dances at the Gatherings and Other dances, George Balanchine's Sonatine and Allegro brillante, Gene Kelly's Pas de Dieux, José Martinez's Scaramouche and Les Enfants du paradis, John Neumeier's La Dame aux camélias and Crystal Pite's Body and soul.

Creatives

Cast

Show more

The acts

Creatives