Singer

A stellar soloist ensemble shines in our concert-version Rosenkavalier – because Strauss’s opera is a festival of singing! Julia Kleiter is an internationally sought-after soprano, audiences cheered her Marschallin at the Wiener Staatsoper and the Lindenoper Berlin. Canadian mezzo-soprano Emily D’Angelo became the first female singer to win all four major prizes at the Operalia Competition, and her career is now taking off at the Met, in Vienna, Munich, Paris, and Covent Garden. The icing on the cake: Jonathan Tetelman in the brief but feared part of the Italian singer. Singing at its finest!

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Richard Strauss: Der Rosenkavalier

Festspielhaus Baden-Baden

This season, the Staatskapelle Berlin and its General Music Director Christian Thielemann will perform at three venues and three renowned European concert halls: the Hamburg Elbphilharmonie, the Munich Isarphilharmonie, and the Vienna Musikverein. In addition to Brahms's impressive German Requiem , they will perform orchestral songs by Strauss and Beethoven's Pastorale – music by composers with whom the orchestra is particularly familiar and with whom it has repeatedly and intensly explored for many years.

Staatskapelle Berlin: Guest performance

Gasteig HP8

Vienna Music Society

Richard Strauss composed more than 40 orchestral songs over a period of decades – all of them are to be performed over several seasons, with a whole range of outstanding singers. No two songs are alike, each one possesses its own tonal characteristics; the range of Strauss’s song art is truly enormous. With his 6th Symphony, Ludwig van Beethoven wrote himself into history as one of the founders of a special kind of “programmatic music”. The Sinfonia pastorale , as he called it, became a powerful work and yet is full of accessibility, grace and charm – in the form of five musical scenes of sharp profile and concise expression that tell of nature and rural life.

Symphony Concert VI

Bebelplatz

The Viennese aristocracy are no strangers to family feuds: boorish Baron Ochs auf Lerchenau interrupts the morning tête-à-tête between his cousin, the Marschallin, and her young lover Octavian, to ask for her help with his wedding plans, which are steered more by financial gain than love. Ochs does not suspect that Octavian himself, who is chosen to deliver the engagement rose, will eventually fall in love with the bride.

Der Rosenkavalier

Jacques Offenbach composed more than 100 operas and operettas, most of them with unique wit and biting satire, original and inspired. At the end of his illustrious career in Paris, which stretched over five decades, he turned to his most ambitious operatic work Les Contes d’Hoffmann (The Tales of Hoffmann), an opéra fantastique based on a play that premiered in 1881.

Les Contes d’Hoffmann

Count Almaviva has himself abolished the iusprimae noctis, or "right of the lord". A fact, however, which does not prevent him from trying to seduce the Countess’s maid, Susanna, just before her marriage to Figaro. A clear case of sexual harassment. But, what happens when the culprit has plenty of money and power? Or, can even bend the law to suit their wishes? Le nozze di Figaro was more than just a comedy back in Mozart’s day. The world portrayed is brim full of criminal machinations and blatant fraud and chicanery by the powerful and almighty. Lorenzo Da Ponte’s libretto based on the scandalous play by the French revolutionary, Beaumarchais, leads the colourful characters of a comedy of the classes into situations so hopeless that emptiness and the desire to die spread to all quarters. And so the Count’s love for his new wife following their marriage suddenly goes ice-cold, although he has just recently spectacularly freed her from the clutches of her custodian. The resourceful Figaro of all people had helped him here, and in gratitude, the Count now employs him as his personal valet, perhaps as questionable compensation for Susanna’s harassment. Hardly conquered, the countess finds herself neglected and longs for either Almaviva's love or her own death. It takes a great deal of intrigue and counter-intrigue to disempower the encroaching count and allow Susanna's wedding to her beloved Figaro to take place after all.

The Marriage Of Figaro

Max-Joseph-Platz

Munich Residence

Elias

Opernhaus Zürich

Springtime from Vienna

Politeama Rossetti/Rossetti Theatre

Two symphonies that made history: Wolfgang Amadeus Mozart wrote his Prague Symphony before travelling to Prague, where it was premiered in 1787. Conductor Petr Popelka comes from Prague himself and is enchanted by the beauty of this music. Gustav Mahler's Fourth Symphony with its setting of the poem Der Himmel hängt voller Geigen and a musical resurrection of the dead is also gripping. Soprano Julia Kleiter will perform this work together with the Wiener Symphoniker, which Gustav Mahler himself considered to be one of his most powerful works.

The wedding of the servant couple Figaro and Susanna is imminent, and everything could be so wonderful, if it weren’t for the lecherous Count Almaviva, who has been stalking Susanna for some time, as well as the vengeful Doctor Bartolo and his housekeeper Marcellina, who all wish to prevent the wedding. After numerous twists and turns, Figaro and Susanna, with the help of the Countess and thanks to an ingenious plan of revenge, finally succeed in thwarting Almaviva using his own art of seduction so that, in the end, all couples are reunited. Wolfgang Amadeus Mozart’s „The Marriage of Figaro“, which premiered at Vienna’s Hoftheater in 1786, is the first of the three Mozart-da Ponte operas. Despite its quick-fire comedic action, the work foreshadows some of the radical ideas of the French Revolution. In his staging, director Johannes Erath takes the audience on a journey through the different epochs of theatrical history from Commedia dell’arte to the modern age.

Le nozze di Figaro

Semperoper Dresden

One work for wind instruments, one for strings alone, then in the second part one for the full orchestra and two voices, as well as a journey through the musical history of the first half of the 20th century. After the First World War, Igor Stravinsky created a composition which he called Symphonies for Wind Instruments and which contains characteristic intonations such as bell sounds, chorale and folk song melodies as well as dance rhythms in a small space. Richard Strauss described his Metamorphosen as a “study for 23 solo strings”, his last orchestral work, which took shape in 1944/45 under the impact of the destruction of the Second World War, as a harrowing document of the times. At the beginning of the 1920s, Alexander Zemlinsky, biographically positioned between Strauss and Stravinsky, composed the Lyric Symphony, a series of orchestral songs based on texts by the Indian poet (and Nobel Prize winner for literature) Rabindranath Tagore, as a deliberate counterpart to Mahler's Song of the Earth, a work of great expressiveness and urgency.

Abon­ne­ment­kon­zert IV

Philharmonie Berlin

Staatsoper Unter den Linden

"The success was tremendous and unprecedented! Critics, artists, amateurs and music lovers were intoxicated ... The auditorium roared apart, loudly proclaiming the new miracle." Thus a report on the premiere in 1821 at the Berlin Schauspielhaus. Der Freischütz struck a chord with the times, every barrel organ played the "Jungfernkranz", every street singer performed it, as Heine reports. Weber had discovered the material in an old ghost book. The story of the hunter Max, who devotes himself to the devil in order to win his bride, touches on people's primal fears. The forest, the epitome of the "German soul", becomes a battleground between good and evil. Weber's music depicts the plight and despair of the people with gripping emotionality; the hope of a happy ending is evoked with fervor. Romantic drama and folk play in one, Der Freischütz is set somewhere between dream and nightmare, fascinating to this day.

Der Freischütz

Staatsoper Hamburg

​Due to unforeseen circumstances, Julian Prégardien (tenor) is no longer available for the above concert. We are grateful to Mauro Peter (tenor) for stepping in as his replacement – the programme remains the same.

Julia Kleiter soprano; Mauro Peter tenor; Julius Drake piano

Wigmore Hall

Experience the monumental power of freedom and peace through music as the Swedish Radio Symphony Orchestra, under the baton of Case Scaglione, presents "Beethoven's Ninth" on April 19 & 20, 2023, at Berwaldhallen. This exceptional concert also features the esteemed Swedish Radio Choir and a lineup of distinguished soloists: soprano Julia Kleiter, mezzo-soprano Katija Dragojevic, tenor Maximilian Schmitt, and baritone John Lundgren.

The evening begins with Arnold Schönberg's profound interpretation of the Jewish prayer "Kol nidre," setting the stage for the main highlight: Ludwig van Beethoven's Ninth Symphony. Renowned for its final chorus, the "Ode to Joy," Beethoven's Ninth stands as a universal message of brotherhood and unity.

This concert marks a significant change in the program, with Case Scaglione stepping in for Herbert Blomstedt as conductor, leading to the replacement of the "Missa Solemnis" with Schönberg's "Kol nidre" and Beethoven's Symphony No. 9. This alteration not only brings a fresh perspective to the performance but also emphasizes the themes of freedom and peace more poignantly.

The performance will be broadcast live on Swedish Radio P2 on Friday, April 19, at 7:03 pm, allowing audiences worldwide to partake in this musical journey. Tickets for the live performances on April 19 and 20 are available, with varying availability. Join us for a night of powerful music that celebrates the enduring spirit of humanity and the joy of togetherness.

Beethoven's Ninth

SR Berwaldhallen

Richard Wagner's 1868 »Die Meistersinger von Nürnberg« is one of the composer's most popular works - and a wonderful musical comedy. This takes place around midsummer night in medieval Nuremberg, where the widowed shoemaker Hans Sachs, the town clerk Sixtus Beckmesser and the young aristocratic daredevil Walther von Stolzing sing, write poetry and also fight over Eva. Why? Because the goldsmith Pogner advertised his coveted daughter as a prize in the annual singing competition to make it clear how important art is to him. And so »Die Meistersinger von Nürnberg« becomes a musical masterpiece that poses the question of the importance of art – here music – for our lives and society. Reason enough for director Jens-Daniel Herzog

Die Meistersinger von Nürnberg (The Master-Singers of Nuremberg)

Petr Popelka leads the combined forces of The Cleveland Orchestra and The Cleveland Orchestra Chorus in Ein deutsches Requiem, a contemplative and deeply moving reflection on life written as Brahms grieved the loss of his mother. The Orchestra also presents the world premiere of Distant Lands, an oboe concerto by distinguished American composer Adolphus Hailstork, written specifically for TCO’s own Principal Oboe Frank Rosenwein.

Brahms’s Requiem

Severance Music Center

Intrigue, mistaken identities and amorous adventures in 19th century Vienna. The wealthy Gabriel von Eisenstein is sentenced to prison, but escapes his fate by going to a party.

Soprano

Julia Kleiter

Events

Upcoming events

5 - 8 Nov, 2026

Brahms’s Requiem · The Cleveland Orchestra

Dec 31, 2026 - Jan 6, 2027

Die Fledermaus · Wiener Staatsoper

Past events

17 - 24 May, 2026

Richard Strauss: Der Rosenkavalier · Festspielhaus Baden-Baden

16 - 19 Apr, 2026

Staatskapelle Berlin: Guest performance · Staatskapelle Berlin

Future and recently performed repertoire

Singer in Symphony No. 38 (Prague) by Mozart

Wiener Symphoniker

Singer in Symphony No. 4 by Mahler

Wiener Symphoniker

Agathe in Der Freischütz by Weber

Staatsoper Hamburg

The Countess of Almaviva in The Marriage of Figaro by Mozart

Bayerische Staatsoper

Eva in Die Meistersinger von Nürnberg by Wagner

Semperoper Dresden

Singer in Ein Deutsches Requiem by Brahms

The Cleveland Orchestra

Marshal Princess Werdenberg in Der Rosenkavalier by Strauss

Festspielhaus Baden-Baden

The Marschallin Princess Werdenberg in Der Rosenkavalier by Strauss

Staatsoper Berlin

Rosalind in Die Fledermaus by Strauss

Wiener Staatsoper

Singer in Orchestral Songs by Strauss

Staatskapelle Berlin

La Contessa di Almaviva in Le nozze di Figaro by Mozart

Semperoper Dresden

Antonia, Stella in Les Contes d’Hoffmann by Offenbach

Staatsoper Berlin

About

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