Share

But I wonder if we will still arrive in Scotland with dry shoes when we are going to experience our Danish superstar Nicolaj Znaider in one of his increasingly rare appearances as a soloist on Danish soil in Max Bruch's Scottish Fantasy – a violin concerto in every way except name. Max Bruch was bitten by a mad Scotsman and so fascinated by the wild people to the north that when he found a sheet music book with folk melodies from the proud people, he simply had to use them. It became a violin concerto, which he did not want to call that because he had stolen them all – but that does not make them any less languid and beautiful in Bruch's warm orchestrations. And in the hands of Nicolai Znaider, we dare say that the wall coverings almost melt in Tivoli's Concert Hall in this rarely heard gem.

Don't miss this unique opportunity to experience classical music's answer to a pulsating rave party, when Tivoli's Concert Hall is transformed into Dante's Inferno for an evening. Fearsome musical forces are unleashed when an amplified Tivoli Copenhagen Phil, together with four outstanding vocal soloists – including our own world star, Stephen Milling – and a number of the country's leading chamber choirs, jointly throw themselves into Giuseppe Verdi's magnificent Requiem . The score unites the violent and dramatic expression of opera with the solemnity of the Catholic funeral mass in a work that is strangely both terrifying, majestic and intimate.

He takes down the largest concert halls around the world. Now he has found his way to Tivoli again with a concert where he has composed the entire program himself. The brilliant, Chilean-born tenor star Jonathan Tetelman comes to Copenhagen together with our resident star soprano Yana Klayn. He has conjured up the idea that the very best opera duets are those between lovers, who, as we already know from the start, often never get to see each other. Something very special happens with both the scenic expression and the composers' imagination when the all-encompassing love, which we as the audience know cannot be allowed to unfold, becomes the focal point.

It is said that there are two cures for heartbreak: time and Chopin's music. We can certainly offer one when piano phenomenon Jan Lisiecki returns to Tivoli's Concert Hall with the work that secured him a recording contract with Deutsche Grammophon at the unheard-of age of 15. On the bill, we have without a doubt one of the world's absolute leading Chopin interpreters: the 29-year-old Canadian superpianist with Polish roots, who broke through as a real prodigy with Chopin's piano concertos and has since toured the world with his delicate and extremely elegant piano playing.

Freedom or love? Verdi wrote the opera La Traviata in 1853 , based on Alexandre Dumas' novel The Lady of the Camellias about the courtesan Marie Duplessis. The novel, as well as Verdi's opera, has since been the basis for many interpretations, such as the films Pretty Woman and Moulin Rouge, as well as a long series of ballets, novels and plays. The woman's decline and her apparent lack of moral compass have always fascinated.

“To be faithful to only one woman is the same as being unfaithful to all the others!” So ​​sings Don Juan. All other things being equal, it is a statement that one can mull over a bit, and has been doing so since 1787, when Mozart and his librettist Lorenzo da Ponte premiered Don Juan . The opera tells the myth of one of the most debated men in the history of music and literature; is he the ultimate man of action or an outdated charlatan? Is it a cheerful comedy, as Mozart himself called it? Or has it become a tragedy about human decadence, sin and penance, with the view of posterity on the work? In addition to the opera's fantastic music, it is a work that has taken a firm hold on society's view of humanity and our self-understanding. Don Juan was an unequivocal success when it premiered in Prague, and for almost 240 years has been one of the most beloved and performed operas worldwide.