Yannick Nézet-Séguin & Mikhail Petrenko

Thursday, 28 June 2018, 8.00 pm        Save in calendar
Munich, Herkulessaal

Programme

Igor Stravinsky
Chant funèbre, op. 5

Francis Poulenc
"Litanies à la Vierge Noire" for Women's Choir and Strings

Interval

Dmitri Shostakovich
Symphony No 13 B-flat minor, op 113 for Bass Solo, Men's Choir and Orchestra "Babi Yar"

Yannick Nézet-Séguin, Conductor

Mikhail Petrenko, Bass

Damenchor des Bayerischen Rundfunks

Männerchor des Bayerischen Rundfunks

Symphonieorchester des Bayerischen Rundfunks

Introduction: 6.45 pm

Tickets online

Tickethotline:
+49 89 5900 10880 (BRticket)

The Canadian star conductor Yannick Nézet-Séguin returns to the helm of the Bavarian Radio Symphony Orchestra with a gripping programme. The main item is Dmitri Shostakovich’s seldom performed Symphony no. 13, subtitled “Babi Yar” (Mariss Jansons’s recording of the same symphony with the Bavarian RSO was awarded a Grammy in 2006). Shostakovich originally drew his inspiration from Yevgeny Yevtushenko’s like-named poem, a memorial to the tens of thousands of Ukrainian Jews massacred by the German Wehrmacht in the ravine near Kiev known as Babi Yar (1941). He also pilloried the Russian anti-Semitism that led to the denial of this unparalleled pogrom. By adding four more Yevtushenko poems he expanded “Babi Yar” into a monumental vocal symphony on the sufferings and “survival humour” of the Soviet people. The Thirteenth Symphony is a harrowing Requiem with Shostakovich’s distinctive penchant for satire and the grotesque – and a heroic challenge for the Russian bass Mikhail Petrenko and the Bavarian Radio men’s choir. The women’s choir then takes the lead in Francis Poulenc’s Litanies à la Vierge Noire, a simple Marian prayer inspired by the composer’s pilgrimage to the famous Back Madonna of Rocamadour in 1936. Nézet-Séguin ends his moving concert with an instrumental “dirge” – a recently rediscovered early work by Igor Stravinsky that was considered lost for more than a century. This late-romantic Chant funèbre, composed in memory of his teacher Rimsky-Korsakov in 1908, contains echoes not only of his revered mentor but especially of Richard Wagner.

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