Lorin Maazel to Lead Boston Symphony Orchestra in Final Two Programs of Beethoven Symphony Cycle

By -

Maazel Also Schedule to Lead Boston Symphony in Beethoven's Sixth and Seventh Symphonies at Carnegie Hall on November 2nd

Lorin Maazel, one of the world’s most respected conductors, will lead the Boston Symphony Orchestra in the final two programs of the orchestra’s Beethoven’s cycle, including the Sixth, Seventh, Eighth, and Ninth symphonies, October 30-November 7, at Symphony Hall. Mr. Maazel will also lead the BSO in its upcoming Carnegie Hall program—Beethoven’s Sixth and Seventh symphonies, on November 2. Maestro Maazel steps in for BSO Music Director James Levine, whose doctors have advised him to postpone returning to his conducting schedule until he is more fully recovered from surgery that took place earlier this month for a herniated disc.

In his first performances with the Boston Symphony since 1972, Mr. Maazel will lead the orchestra in Beethoven’s Sixth and Seventh symphonies on October 30 and 31, repeating that program at Carnegie Hall on November 2. Mr. Maazel will also conduct Beethoven’s Eighth and Ninth symphonies on November 5, 6, and 7. Soloists for Beethoven’s Ninth Symphony include soprano Christine Brewer, contralto Meredith Arwady, tenor Matthew Polenzani, and bass baritone Eike Wilm Schulte; the Tanglewood Festival Chorus, John Oliver, conductor, will also be featured. As previously announced, Julian Kuerti will conduct Beethoven’s Third and Fourth symphonies on October 27 and 29. All of the BSO’s Beethoven cycle concerts, October 27-November 7, at Symphony Hall in Boston are sold out, with no tickets remaining for those programs.

James Levine and the Boston Symphony Orchestra 2009/10 Season
Mr. Levine will return to the BSO podium for his next scheduled concert of the 2009-10 Symphony Hall season on January 28, leading a program of works by Carter, Berlioz, and Ravel. In addition to the premiere of John Williams’s On Willows and Birches, Concerto for Harp and Orchestra (written as a gift for the BSO’s longtime harpist Ann Hobson Pilot, who retired from the orchestra at the end of the 2009 Tanglewood season), highlights of Mr. Levine’s 2009-10 season with the BSO include the premieres of commissioned works from Peter Lieberson (Farewell Songs for baritone and orchestra), Elliott Carter (Flute Concerto), and John Harbison (Double Concerto for violin and cello); Mendelssohn’s Elijah (in its first BSO performances since 1980); a Pension Fund Concert featuring all four Strausses (both Johanns, Josef, and Richard); and music of Berg, Brahms, Debussy, Mahler, Mozart, Schubert, and Stravinsky.

TICKET INFORMATION—THE BSO AT SYMPHONY HALL IN BOSTON
All of the Boston Symphony’s Beethoven cycle concerts, October 27-November 7, at Symphony Hall in Boston are sold out, with no tickets remaining for those programs. Tickets for other concerts in the Boston Symphony Orchestra’s 2009-10 season, priced $29-$115 (Open Rehearsals are priced at $19, general admission), may be purchased by phone through SymphonyCharge (617-266-1200 or 888-266-1200), online through the BSO’s website (www.bso.org), or in person at the Symphony Hall Box Office (301 Massachusetts Avenue, Boston). There is a $5.50 service fee for all tickets purchased online or by phone through SymphonyCharge.

American Express, MasterCard, Visa, Diners Club, and Discover, as well as personal checks (in person or by mail) and cash (in person only) are all accepted at the Symphony Hall Box Office. A limited number of rush tickets for Boston Symphony Orchestra subscription concerts on Tuesday and Thursday evenings and Friday afternoons are set aside to be sold on the day of a performance. These tickets are sold at $9 each, one to a customer, at the Symphony Hall Box Office on Fridays beginning at 10 a.m. and Tuesdays and Thursdays beginning at 5 p.m. Gift certificates are available in any amount and may be used toward the purchase of tickets (subject to availability) to any Boston Symphony Orchestra or Boston Pops performance at Symphony Hall or Tanglewood. Gift certificates may also be used at the Symphony Shop to purchase merchandise.

Patrons with disabilities can access Symphony Hall through the Massachusetts Avenue lobby or the Cohen Wing on Huntington Avenue. An access service center, accessible restrooms, and elevators are available inside the Cohen Wing entrance. For ticket information, call the Disability Services Information Line at 617-638-9431 or TDD/TTY 617-638-9289.

TICKET INFORMATION—THE BSO AT CARNEGIE HALL IN NEW YORK
Tickets, priced at: $49, $58, $75, $102, $139, $154, are available at the Carnegie Hall Box Office, 154 West 57th Street, or can be charged to major credit cards by calling CarnegieCharge at 212-247-7800 or by visiting the Carnegie Hall website, www.carnegiehall.org. A limited number of seats, priced at $10, will be available day-of-concert beginning at 11:00 a.m. Monday through Saturday and 12:00 noon on Sunday until one hour before the performance or until supply lasts. These $10 tickets are available to the general public on a first-come, first-served basis at the Carnegie Hall Box Office only. There is a two-ticket limit per customer. In addition, a limited number of partial view (seats with obstructed or limited sight lines or restricted leg room) will be sold for 50% of the full price. For more information on this and other discount ticket programs, including those for students, Notables members, and Bank of America customers, visit carnegiehall.org/discounts.

BOSTON SYMPHONY ORCHESTRA BEETHOVEN CYCLE LISTING

OCT. 27 - NOV.7, 2009
Tuesday, October 27 at 8 p.m.
Thursday, October 29 at 8 p.m.

JULIAN KUERTI, conductor

BEETHOVEN    Symphony No. 4
          Symphony No. 3, Eroica

Friday, October 30 at 8 p.m.
Saturday, October 31 at 8 p.m.
Monday, November 2 at 8 p.m. (Carnegie Hall)

LORIN MAAZEL, conductor

BEETHOVEN    Symphony No. 6, Pastoral
          Symphony No. 7


Thursday, November 5 at 8 p.m.
Friday, November 6 at 1:30 p.m.
Saturday, November 7 at 8 p.m.

LORIN MAAZEL, conductor
CHRISTINE BREWER, soprano
MEREDITH ARWADY, contralto
MATTHEW POLENZANI, tenor
EIKE WILM SCHULTE, bass-baritone
TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor

BEETHOVEN    Symphony No. 8
           Symphony No. 9

Comments

Post a Comment

Popular posts from this blog

The Role of Music in Opera

By -
There are numerous books on the topic, and every composer, librettist, director, singer and audience member has their opinion as to what role the music should play in an opera. In a play without music, the words ought to support the meaning behind a character's actions. However, in the case of action movies, often times the action is what tells the story and there aren't words, just images to forward the plot. We might hear music to accompany action, build tension, but the action tells the story. Musicals tend to speak until the emotion of the moment just "has" to break out in song - unless it's something like "Mama Mia" where the dialog is the rails we travel on between songs; the songs themselves, written before the concept of the musical, are the focus of the production, while the story is secondary. Operas are a different beast. The music provides emotion to the words spoken, but it also plays the role of ambience when there is only action. In &quo
Read more

Episode 210b: Joyeuse le départ

By -
Image
Podcast:  Play in new window  |  Download Subscribe:  Apple Podcasts  |  Android  |  Google Play  |  Stitcher  |  TuneIn  |  RSS Provost Cunningham has Transmigrated, but to where! What is Dr Sage going to do with his body? And how can she bring home her friends, Abigail and Erasmus, without also bring home Cunningham? What are they going to say when they find the “skeleton” she’s hiding in her closet? Cast: Eddie Louise Clark  as Dr Sage Chip Clark  as Professor Savant Justin Bremer  as the Narrator Emily Riley Piatt  as Abigail Entwhistle, Calypso & Dean Stewart Written by  Eddie Louise Theme music by  Unwoman Sound Design by  Chip Michael
Read more

The Art of String Quartets by Brian Ferneyhough

By -
Image
When an artist sets paint to canvas, there are brush strokes used for different effects. Sometimes those strokes are subtle, imperceptible; they produce works of art like the Mona Lisa . Other times the very obvious nature of the stroke is the art, as in works by Van Gogh. With some composers of music, the notes on the page are their craft. How those notes translate into an aural experience is what defines some composers as great artists. Brian Ferneyhough has a masterful command of the techniques of putting notes on the page. These techniques are sometimes so subtle, even though written in black and white, they escape detection. Some of what he attempts with his music is just that, to escape detection, to bury the framework, diverting the ear away from the structure, so only the music is heard . The subtlety is so fine it is almost imperceptible. Even though he studied at several institutions, he is considered self-taught, studying scores from Boule
Read more