Barbara Hannigan conducts and sings
Strauss’ Death and Transfiguration, Haydn’s ‘Farewell’, Sibelius, and Khayam
Conductor and soprano Barbara Hannigan leads the Concertgebouw Orchestra in Richard Strauss’ Death and Transfiguration and Haydn’s ‘Farewell Symphony’; she is also the soloist in mesmerising works by Sibelius and Golfam Khayam.
The versatile Barbara Hannigan returns with a moving programme about death, trascience and rebirth.
Concert programme
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Golfam Khayam
I am not a tale to be told
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Joseph Haydn
Symphony No. 45, ‘Farewell’
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-- interval --
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Jean Sibelius
Luonnotar
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Richard Strauss
Death and Transfiguration
Performers
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Barbara Hannigan
conductor, soprano
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null Hannigan
soprano
About this concert
The versatile Barbara Hannigan returns with a moving programme about death, trascience and rebirth. Not only does she conduct the orchestra, she also showcases her flawless soprano. In Sibelius' Luonnotar, she sings about sacrifice and rebirth. European and Persian traditions mingle in Golfam Khayam’s comforting and richly detailed I am not a tale to be told.
As a precocious 25-year-old, Richard Strauss looked ahead to the redemption of death in Tod und Verklärung (Death and Transfiguration). Over a century earlier, Haydn's ‘Farewell Symphony’ also seemed to reflect on death. The orchestra gradually leaving the stage in the final movement was intended as a protest against the working conditions of his musicians, but the effect, at the end of this bittersweet and turbulent symphony, is particularly poignant.
Dates and tickets
About this concert
The versatile Barbara Hannigan returns with a moving programme about death, trascience and rebirth. Not only does she conduct the orchestra, she also showcases her flawless soprano. In Sibelius' Luonnotar, she sings about sacrifice and rebirth. European and Persian traditions mingle in Golfam Khayam’s comforting and richly detailed I am not a tale to be told.
As a precocious 25-year-old, Richard Strauss looked ahead to the redemption of death in Tod und Verklärung (Death and Transfiguration). Over a century earlier, Haydn's ‘Farewell Symphony’ also seemed to reflect on death. The orchestra gradually leaving the stage in the final movement was intended as a protest against the working conditions of his musicians, but the effect, at the end of this bittersweet and turbulent symphony, is particularly poignant.
A preview
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