Name: Salonen meets Mattei
Start: 2023-08-24T00:00:00.000Z
End: 2023-08-24T00:00:00.000Z
Location: Berwaldhallen

Organization

Baltic Sea Festival

Director(a) orquestal

Esa-Pekka Salonen

Cantante

Peter Mattei

Voice

Orchestra

Swedish Radio Symphony Orchestra

BERWALDHALLEN

Salonen meets Mattei

Estocolmo

Suecia

Berwaldhallen

Salonen meets Mattei: The Miraculous Mandarin, Orchestral Suite Bartók (+2 More)

Public

El mandarín maravilloso, Suite orquestal

Canciones de un camarada errante

Sinfonía fantástica Op. 14

Válido

Accordionist

Instrumentista

Archlutenist

Baroque Flutist

Baroque Oboist

Baroque Trumpetist

Bassist

Bassoonist

Cellist

Clarinetist

Continuo

Contrabassist

Cornettist

Flutist

Guitarist

Harper

Harpsichordist

Hornist

Lutenist

Mandoline Player

Musette de cour Player

Oboist

Organist

Percussionist

Pianist

Recorder Player

Saxophonist

Tenor Violinist

Timpani

Trombonist

Trumpeter

Tuba Player

Vibraphonist

Viola Pomposa Player

Viola da Gambist

Viola d’amore Player

Violinist

Violino Piccolo Player

Violist

Actor/actriz

Bailarín(a)

Chefdirigent Musiktheater

Chorus Director

Compositor(a)

Coreógrafo(a)

Coro

Director(a) coral

Director(a) de escena

Diseñador(a) de iluminación

Diseñador(a) de sonido

Diseñador(a) de vestuario/Figurinista

Diseñador(a) de video

Dramaturgia

Entrenador(a) vocal

Escenógrafo(a)

Extra

Illustrator

Libretista

Maestro repetidor

Maquillaje

Off-Stage Artist

On-Stage Artist

Orchestra Operations

Orquesta

Otro

Peinado

Photographer

Poet

Producción Ejecutiva

Profesor(a)

Radiodifusión

Stage Manager

Traductor(a)

Wig & Makeup Designer

Writer

Writing and performance

Soprano

Bajobarítono

Contratenor

Mezzosoprano

Bajo

Contralto

Barítono

Tenor

Alto

Papel de hablante

Papel mudo

Vocalista infantil

Romantic programme music may be the subject of debate, but music that tells a story is certainly exciting. For Esa-Pekka Salonen’s return to the Radio Symphony Orchestra he has selected three works that do just that.
The young Gustav Mahler worked as Assistant Kapellmeister at the opera house in Kassel, where he fell head over heels in love with the guesting soprano Johanna Richter. After a brief and upsetting love affair she left him to his stormy emotions, which he channelled into four poems. He initially scored them with piano accompaniment, only orchestrating them ten years later. In Stockholm’s Berwaldhallen Peter Mattei interprets Lieder eines fahrenden Gesellen – a Mahlerian minidrama depicting a spurned lover wandering around the world in an attempt to find peace of mind in nature. Mahler aficionados will recognise two of the songs, as the composer used their thematic material in his first symphony.
In 1827 Hector Berlioz saw the Irish actress Harriet Smithson play Ophelia in a Paris production of Shakespeare’s Hamlet, and his life was never the same again. To say he became obsessed is putting it mildly. After many unanswered letters and years of writer’s cramp caused by his great passion, he laid bare his bleeding heart in his Symphonie fantastique – a work in five movements about an artist burning with desire and the self-destructive ardour of love.
To Berlioz’s disappointment Miss Smithson did not attend the premiere, but when she heard the work two years later it is said that she recognised his genius. One story has it that he threatened to take his life if she did not become his. Be that as it may, they did get married. Their marriage was brief and not particularly happy, but Berlioz saw to everything for Smithson, and to this day they lie buried together at Montmartre Cemetery in Paris.
Béla Bartók’s Suite from The Miraculous Mandarin rather depicts the rawer sides of love, in a brutal plot full of sexuality and violence. Using a dancing girl as bait, three tramps in a slum lure passers-by into a trap with the intention of robbing them. When a Chinese mandarin falls prey to them a dramatic course of events ensues, with the robbers attempting to overpower the mandarin in various bestial ways. The orchestra illustrates this with caustic strings, noisy woodwind, growling brass and orchestral special effects.
“This resounding belching, farting, squeaking and shouting, which is without parallel in any music before it, is put together without recourse to any method or system. Nothing is rational, yet the music is nevertheless supported by a fundamental inner logic and feeling, as Bartók was able to hear everything in his head when he composed,” says Esa-Pekka Salonen about the work, which is one of his favourites.
The Miraculous Mandarin was composed during a period of violent disturbances in Hungary, and in 1926 it was premiered in Cologne as a ballet, but after a single performance it was banned on moral grounds. The orchestral suite from the ballet was premiered a few years later.

English

Salonen meets Mattei by Bartók, Mahler, Berlioz, De (2023/2023), Director Esa-Pekka Salonen, Berwaldhallen, Estocolmo, Suecia

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