The first theme concert will take place March 26 at 7:00 p.m. in the Freiraum in Munich High 5 (Werksviertel, Atelierstraße 10, 81671 Munich). The motto of this year’s series is: Waiting to see you again – What do we hold on to in the course of time? New encounters with old problems.

Dr Lisa Suckert, research associate at the Max Planck Institute for the Study of Societies in Cologne, will give a lecture on the topic: The future won’t wait? Temporality in capitalism.

Capitalism is not only an economic order and a regime of production, but also involves a specific temporal order. Acceleration and future orientation play a special role in this, but also waiting practices, unequal temporal autonomy and a bureaucratic enclosure of the future. Along with the peculiarities of our current capitalist order of time, its attractiveness but also its numerous paradoxes and fractures become clear.

Members of the Bayerisches Staatsorchester play Toshio Hosokawa’s Hour flowers. Hommage à Olivier Messiaen (2008) for clarinet, violin, cello and piano and Olivier Messiaen’s Quatuor pour la fin du temps for clarinet, violin, cello and piano. Hosokawa is considered to be the best-known and most-performed composer in Japan today, whose musical language oscillates between Western avant-garde and traditional Japanese art forms. His work Hourly Flowers was written on the occasion of the 100th birthday of the French composer Olivier Messiaen, whose famous chamber music work Quatuor pour la fin du temps is also used for the composition of the Hourly Flowers. Messiaen completed his “Quartet for the End of Time” in a Nazi prisoner of war camp, where it premiered in 1941.

In cooperation with the Max Planck Society

Photo credit: Pietro Bucciarelli / Connected Archives

On March 25, the Bayerisches Staatsorchester will play under its general music director Vladimir Jurowski in the Isarphilharmonie, the Munich concert hall that only opened in October 2021 and can accommodate almost 2,000 guests. Renaud Capuçon will perform Alban Berg’s violin concerto In Memory of an Angel. The dedication refers to Manon Gropius – daughter of Gustav Mahler’s widow Alma from her first marriage to the architect Walter Gropius – who died at the tender age of 18 from complications of polio. Alban Berg used the twelve-tone technique of his teacher Arnold Schönberg for this, allowing himself a few compositional liberties. Anton Bruckner’s Symphony No. 4, also known as the “Romantic”, was premiered in Vienna in 1881 and was performed nine years later at the Musikalische Akademie under Franz Fischer after the General Music Director Hermann Levi fell ill. The latter was very committed to Bruckner’s music, for example by contributing to the printing costs of the fourth symphony, so that Bruckner, enthusiastic with gratitude, spoke of Munich as his “artistic home” in a letter to Levi.

Photo credit: © Isarphilharmonie im Gasteig HP8

Hornist Milena Viotti introduces herself and talks about the 2017 Asia Tour.

Watch full video here.

The Hermann Levi Academy supports talented young musicians by giving them the opportunity to practice with the orchestra under professional conditions, discovering  opera literature with its specific requirements as well as symphonic music.

The Bayerisches Staatsorchester’s Hermann Levi Academy was originally founded in 2002 under the name “Orchestra Academy of the Bayerisches Staatsorchester”. Its task was to pass on the traditions of one of the oldest German orchestras to young musicians and consequently keep this particularly special sound and performance culture alive for subsequent generations. Since July 2021, the Orchestra Academy has included the “Hermann Levi Academy” title in its name to honour Hermann Levi’s importance in the world of music and in particular his forward-looking creativity at the National Theatre in Munich.

On March 20th, the Hermann Levi Academy will present itself in the Alte Pinakothek, playing Ludwig van Beethoven’s Trio op. 78, arranged for horn, trumpet and trombone, the wind quintet in C major op. 79 by August Klughardt, the fantasy C minor for harp solo op. 35 by Ludwig Spohr and Beethoven’s string quartet in C minor op. 18 no. 4.

Photo credit: Frank Bloedhorn

More about Leonore Buff: https://www.sophie-drinker-institut.de/buff-leonore

Photo credit: Archive of the Musikalische Akademie

Today, the proportion of women in the Bayerisches Staatsorchester is over a third. That wasn’t always the case: in the photo from 1911, the only female member of the Musikalische Akademie can be seen in the first row, namely the harpist Leonore Kennerknecht-Buff. She was said to be related to Charlotte Kestner (born Buff), who went down in literary history as the historical role model of Lotte in Goethe’s epistolary novel The Sorrows of Young Werther. In 1892, Buff was accepted as a member of the Bayerisches Hoforchester, which later became the Bayerisches Staatsorchester. Other orchestras took much longer to take this step: while the Berlin Philharmonic accepted the first woman as an orchestra member in 1982, the Vienna Philharmonic only followed suit in 1997.

More about women in orchestras: https://www.kulturrat.de/themen/frauen-in-kultur-medien/beitraege-publikationen/gendersrecht-in-berufsorchestern/

More about Leonore Buff: https://www.sophie-drinker-institut.de/buff-leonore

Photo credit: Archive of the Musikalische Akademie

At the age of 23 Richard Strauss was Kapellmeister in Meiningen; during this time he composed the Sonata in E flat major for violin and piano op. 18, in which the musical influence of Johannes Brahms, 31 years older, can be felt. Karl Amadeus Hartmann himself named “Strauss’s Salome und Elektra” as the central influence of his first compositions. Hartmann founded the Munich concert series musica viva, and some of his early works were premiered at the Bavarian State Opera, where he even worked as dramaturge from 1945. In his 1932 Little Concerto for string quartet and percussion, the percussion enriches the string ensemble with unusual timbres. Two months before the premiere of Hans Pfitzner’s opera Palestrina, Thomas Mann expressed his anticipation in a letter to the composer, because “it will mean an apotheosis of the music itself, nothing less”. Before that premiere in 1917 was actually to become Pfitzner’s triumph in Munich, he composed his piano quintet op. 23. It was first performed in 1908 and was dedicated to Bruno Walter, who later became General Music Director of the Bayerisches Staatsorchester.

Photo credit: Magdalena König

About the Hofbräuhaus in München: https://www.hofbraeuhaus.de/bierzeichen/

Photo credit: Wilfried Hösl

The Staatliches Hofbräuhaus brewery in Munich preserves the tradition of beer symbols, also known as beer marks: since the 19th century they have served as a calculating aid and have been part of almost every brewery for a long time; first made of brass, then aluminium, later made of plastic, in the post-war years after the Second World War also in the form of paper notes. Each brand has a specific value, for example “1 Maß light or dark” or “Good for 1 liter of beer”. In the Hofbräuhaus am Platzl, beer tokens can be purchased that keep the value of a beer, even if the prices on the drinks menu go up. Now there is also a beer sign from the Hofbräuhaus in honor of the 500th anniversary of the Bayerisches Staatsorchester.

Worth knowing about the beer brand: https://www.historisches-unterfranken.uni-wuerzburg.de/db/biermarken/biermarken/aufsatz.php

About the Hofbräuhaus in München: https://www.hofbraeuhaus.de/bierzeichen/

Photo credit: Wilfried Hösl

Miriam Noa from the Munich City Museum and the two solo drummers from the Bayerisches Staatsorchester, Pieter Roijen and Ernst-Wilhelm Hilgers, will be showing an instrument that was used in Munich premieres of Richard Wagner’s operas.

In this video, Claudio Estay informs about the Strohfiedel, a special xylophone that is still used during performances of Richard Strauss’ Salome by the Bayerisches Staatsorchester.

Consisting of members of the Bayerisches Staatsorchester, the Munich Schumann Quartet performed Béla Bartók’s early piano quintet and Arnold Schönberg’s 2nd string quartet with soprano in 1994, the year it was founded. Since then, invitations to concert tours and festivals in Europe, Japan and the USA have followed. The close cooperation with singers and composers enables the ensemble to perform rarely heard works as well as world premieres and experimental pieces in addition to the widely diversified common quartet repertoire, which combine video and language arts beyond pure tonal language. The first violinist Barbara Burgdorf is concert master of the Bayerisches Staatsorchester. Traudi Pauer has been playing here since 1996. Stephan Finkentey has been deputy principal violist since 1988, and one year later Oliver Göske joined the Bayerisches Staatsorchester. For the Schumann Year 2010, the quartet recorded two double CDs, which are available in stores or via http://www.schumann-quartett.de .

Photo credit: Archive Musikalische Akademiee

In her free time, Isolde Lehrmann likes to photograph still lifes and portraits.

Photo credits: Wilfried Hösl

Photo credit: Wilfried Hösl

On February 22, 2010, The Tragedy of the Devil by Hungarian composer Peter Eötvös was premiered with a libretto by Albert Ostermaier in the National Theatre. Eötvös himself conducted the Bavarian State Orchestra. The Ukrainian artist couple Ilya and Emilia Kabakov designed the stage and Balázs Kovalik directed. Find out more about the work and the staging of that time in a contribution with Eötvös, Kovalik, Ostermaier and the Lucifer singer of the premiere Georg Nigl.

https://www.youtube.com/watch?v=MylAsq5_dy0

Photo credit: Wilfried Hösl

Photo credit: Archive of the Musikalische Akademie

Photo credit: © EVISCO

Unique in its kind, OPERcussion, the virtuoso percussion quintet, brings the art of percussion from the depths of the orchestra pit to the front row, realizing a new model of artistic creation while respecting history and championing innovation.

When we study the history of the Bayerische Staatsoper, we learn that the first timpanist with a contract began in 1600 in what was then the Court Orchestra. In more than 400 years of musical tradition, the greatest composers and conductors in history have influenced the members of this traditional orchestra and promoted chamber music activities. The members of the percussion group have not escaped this call and since 2008 have been organized in the formation OPERcussion. Thomas März, Pieter Roijen, Maxime Pidoux, Carlos Vera Larrucea and Claudio Estay bring to the ensemble their virtuosity, their knowledge, the traditions of their countries of origin and their peculiarities. This international ensemble has distinguished itself in the world of percussion and in the music scene in general for the innovation and diversity of its programs, which include collaborations and commissions with contemporary composer:s, as well as arrangements of music not originally written for percussion, from the eras: Baroque, Classical and Impressionist to the interpretation of Latin American music with grandiose improvisational ideas.

Webshop

Photo credit: © EVISCO

Carl Orff’s opera Der Mond was premiered on February 5th, 1939 at the Bavarian State Opera under the musical direction of Clemens Krauss in a production by Rudolf Hartmann. The composer wrote the libretto himself and in doing so took over literal text passages from the fairy tale of the same name by the Brothers Grimm. Orff’s description of this “small world theater” is based on the three scenes of heaven, earth, underworld and the view of a little boy on it. Orff thought about his opera as “a thoughtful parable of the futility of human efforts to disturb the world order and at the same time a parable of being safe in this world order”. The composer himself described the music as his “farewell to romanticism”. Critics were enthusiastic, for example the musicologist Fred Hamel: “So you encounter a creation that has been desired for the opera stage for a long time […] It’s great how Orff’s music also fully expresses this power here the elementary means of rhythm and song form […] With this economy of means, Orff’s melodic invention is so powerful, his rhythmic imagination so inexhaustible, that they evoke a sheer abundance of changing impressions of pictorial power.”

Photo credit: Hanns Holdt

Among his childhood heroes there were sporting heroes such as Karl Allgöwer (his direct free-kick goals – awesome!), Lothar Matthäus and Boris Becker and of course also violinist-musical ones like Henryk Szeryng, David Oistrach and especially Gidon Kremer. The best hall in which David Schultheiss has played so far is the Suntory Hall in Tokyo. He also has a special memory of a concert in the aforementioned Suntory Hall: David Schultheiss has never experienced such a tense and expectant silence from the audience between the applause for the conductor and the first sound of the concert.

Photo credit: Wilfried Hösl

In addition to Munich, Christian Loferer feels very comfortable in Sydney and San Francisco. He has busked in Edinburgh before, and if he could make any activity an Olympic event, time telling would give him the best chance of winning a medal.

Photo credit: Wilfried Hösl

Her childhood heroes are The Three Investigators: She heard Paganini for the first time in these radio plays and then absolutely wanted to play it. A special concert for Julia Pfister was the concert with Kirill Petrenko as part of the 2016 European tour at La Scala in Milan. Everyone was in the flow and the atmosphere was unforgettable!

Photo credit: Wilfried Hösl

For Barbara Burgdorf, the best thing about her job is the beauty it offers for the soul, for herself and for others. If she hadn’t become a musician, she would probably have been a biologist.

Photo credit: Wilfried Hösl

His favorite book is Trials and Tribulations by Theodor Fontane and Carlos Kleiber is his favorite conductor. Florian Gmelin would have loved to work with him one day.

Photo credit: Wilfried Hösl

The long-standing collaboration between the Greek composer Minas Borboudakis and the Bavarian State Orchestra has borne fruit, such as the “Musical Theatre for Young People in Eight Scenes” premiered in 2007 entitled liebe.nurliebe, but also Synaptic Arpeggiator for piccolo, English horn, E-flat clarinet, bass clarinet and contrabassoon and most recently the German and German-language premiere of the chamber opera Z in the 2018/19 season. In the composition commissioned by the Bavarian State Opera for the 500th anniversary of the Bavarian State Orchestra entitled Apollon et Dionysos. Patterns, Colors and Dances for Orchestra Borboudakis is dedicated to the musical fusion of Apollonian and Dionysian opposites. Friedrich Nietzsche already stated in his fundamental writing The Birth of Tragedy Out of the Spirit of Musicthat “the further development of art is bound to the duality of the Apollonian and the Dionysian”: light, clarity, harmony and self-knowledge on the one hand and dissolution of boundaries, ecstasy, madness and loss of control on the other side. The ancient god Apollo adorns the gable of the National Theatre Munich to this day.

Felix Mendelssohn Bartholdy’s popular Violin Concerto in E minor was written by the composer for his friend, the violinist Ferdinand David: “I
I would also like to make you a violin concerto for next winter, one
in E minor stands in my head, the beginning of which gives me no rest.” After this announcement, seven winters should elapse before the world premiere in Leipzig. The result is a visionary work that comes up with some compositional innovations: namely the direct introduction of the main theme by the violin without an orchestral prelude, the position of the solo cadenza in the middle of the first movement and the special feature that all three movements musically merge into one another.

Two formative events in Anton Bruckner’s life flowed into his work on the sprawling Symphony No. 7 in E major: the tragic fire in the Vienna Ringtheater in 1881, in which several hundred people lost their lives, occurred at the time of its composition. Bruckner’s apartment was in the immediate vicinity of the Ringtheater, and the composer is said to have owned tickets for the fateful performance of Les contes d’Hoffmann, but spontaneously decided against going there. Bruckner and his manuscripts were spared from the fire. The slow Adagio as the center of the symphony can be understood as a requiem for the death of Richard Wagner in February 1883, which is given special colors by the use of so-called Wagner tubas (these were originally conceived for the Ring des Nibelungen). After Bruckner’s Seventh Symphony had already sparked a storm of jubilation at its premiere in Leipzig in 1884 – such positive reactions from the audience were a new experience for the hitherto rather ridiculed Bruckner – Hermann Levi, from 1872 to 1896 General Music Director and Court Kapellmeister at the Royal Court and National Theatre in Munich, conducted just one year later the Munich premiere of the work as part of the Musikalische Akademie. Levi also helped spread the work internationally by raising money for its publication, which the publisher was asking for. In Levi’s report on Bruckner’s works, the conductor finally ennobles the composer: “In my opinion, Bruckner is by far the most important symphonist of the post-Beethoven period.”

Photo credit: The Ringtheater fire in Vienna 1881. 19th century, Colored lithograph. Theatermuseum © KHM-Museumsverband

Johannes Dengler decided at the age of 10 that he wanted to be a musician after realizing that he couldn’t become an astronaut due to travel sickness. His best medicine for stage fright is practice, practice, practice …

Photo credit: Wilfried Hösl

Photo credit: Bayerische Staatsbibliothek München, Signatur Slg.Her 811

On January 29, 1781, Mozart’s “Dramma per musica in tre atti” premiered in Munich’s Hoftheater, today’s Cuvilliéstheater. The libretto is based on the tragédie lyrique of the same name by Antoine Danchet with music by André Campra and was written by the Salzburg chaplain Giambattista Varesco. Five years later, a version revised by Mozart was performed in Vienna.

In 1775 Mozart’s La finta giardiniera was premiered in Munich, and in 1780 the composer was commissioned by Karl Theodor, the Elector of Bavaria, to create an opera for Munich as the highlight of the carnival season. Mozart attended the rehearsals of both operas. Idomeneo was not finished until he was there, and so Mozart was able to take special account of the vocal possibilities of the singers. A correspondence between Mozart and his father Leopold provides information about the background to the creation of Idomeneo, in which the function of scenes and arias is also discussed.

Mozart Letters and Documents – Online Edition:
https://dme.mozarteum.at/DME/briefe/doclist.php

Photo credit: Bayerische Staatsbibliothek München, Signatur Slg.Her 811

Director Krzysztof Warlikowski gives first insights into his production of Dido and Aeneas ... Erwartung: The combination of Henry Purcell’s baroque opera and Arnold Schönberg’s monodrama composed more than 200 years later has its premiere on January 29th at the Nationaltheater.

The first version of Engelbert Humperdinck’s fairy tale opera was premiered on January 23, 1897 in Munich’s Hoftheater under the musical direction of Hugo Röhr. After the success of Hänsel und Gretel four years earlier, the composer was looking for a text for a comic opera with a popular touch, which was ultimately provided by Elsa Agnes Bernstein, daughter of Humperdinck’s Munich friend Heinrich Porges.

In the years that followed, this melodrama version found its way onto the opera stages of Vienna, Prague, Berlin, Riga, London, Dublin and New York, but disappeared from the repertoire after 1902. The composer revised his melodrama into the through-composed version of the opera known today, for which the text was thoroughly reduced and simplified. Finally, in 1910, this second version was premiered at the Metropolitan Opera in New York.

Photo credit: Archiv Bayerische Staatsoper / Hof-Atelier Elvira München

Verena-Maria Fitz likes to take a vacation in South Africa because her husband was born and raised there, and in South Tyrol. May is her favorite month because it is fresh and colorful and summer is still ahead.

Photo credit: Wilfried Hösl

Photo credit: Dominik Gigler

Unique in its kind, OPERcussion, the virtuoso percussion quintet, brings the art of percussion from the depths of the orchestra pit to the front row, realizing a new model of artistic creation while respecting history and championing innovation.

When we study the history of the Bayerische Staatsoper, we learn that the first timpanist with a contract began in 1600 in what was then the Court Orchestra. In more than 400 years of musical tradition, the greatest composers and conductors in history have influenced the members of this traditional orchestra and promoted chamber music activities. The members of the percussion group have not escaped this call and since 2008 have been organized in the formation OPERcussion. Thomas März, Pieter Roijen, Maxime Pidoux, Carlos Vera Larrucea and Claudio Estay bring to the ensemble their virtuosity, their knowledge, the traditions of their countries of origin and their peculiarities. This international ensemble has distinguished itself in the world of percussion and in the music scene in general for the innovation and diversity of its programs, which include collaborations and commissions with contemporary composer:s, as well as arrangements of music not originally written for percussion, from the eras: Baroque, Classical and Impressionist to the interpretation of Latin American music with grandiose improvisational ideas.

On January 20th, the drum quintet OPERcussion performed in the Muffathalle and presented their new CD on the in-house label BSOrec. Here you can experience the ensemble in a recording of the 10th Monday Concert 2020 with a varied program from Mozart to Claude Debussy to Astor Piazzolla in their own arrangements together with the violinist Julia Pfister, who also performed in the Muffathalle with OPERcussion:

https://www.youtube.com/watch?v=7oiPF874mZk

Photo credit: Dominik Gigler

On January 14th, 1823, the National Theater burned. Although the accident happened during a packed evening performance, nobody was hurt. Warm brewing water from the surrounding breweries was used to extinguish the fire, since the water used by the fire brigade froze in the syringes. The building could not be saved from the flames, but was reopened two years later.

Photo credit: Münchner Stadtmuseum, collection of graphics / paintings P-1134
Artist: unknown; Wolfgang Pulfer (repro)

OperaBrass is one of the chamber music ensembles of the Bavarian State Orchestra. Although the formation also exists in the classic brass quintet formation, it is preferable to enter the stage with four trumpets and trombones, a horn, tuba and, in some cases, drums.

In 1996 the eleven musicians made their debut with two concerts in the Cuvilliés Theater in the Munich Residenz with a program made up of works from a wide variety of stylistic periods. Since all ensemble members are not only at home in classical music, but have also gained a wide range of experience from jazz to pop, this type of music also plays a major role in the formation’s repertoire. Arrangements of opera highlights, jazz standards and big band evergreens specially designed for OperaBrass were commissioned. In addition, the trumpeters Andreas Öttl and Frank Bloedhorn have also contributed their own arrangements to the repertoire. The two musicians are particularly attracted by the fact that they can use all their instruments in the ensemble – from the piccolo trumpet to the flugelhorn.

A tour with the cabaret artist Bruno Jonas and the program “Full Pipe - Hot Air” took them off the beaten track: a satirical tin, so to speak, the content of which dealt with no less than 400 years of love and death in the opera.

The musical collaboration with two former General Music Directors of the Bavarian State Opera, Zubin Mehta and Kent Nagano, and other renowned conductors such as the baroque specialist Ivor Bolton played an important role in the artistic development of the ensemble.

In 2006, OperaBrass organized a concert together with the world-famous King’s Singers in the Prinzregententheater. Under the title “In Perfect Harmony”, both ensembles spanned the musical arc over the centuries. With Wagner & Friends, the musicians from OperaBrass 2012 ventured directly from the orchestra pit onto the stage of the National Theatre with a real crossover programme. Every summer OperaBrass are also involved in the Unicredit Festival Night at the beginning of the Munich Opera Festival.

Apart from that, you can experience the ensemble at the chamber concerts of the Bavarian State Opera and on tours. More recently, after the European tour in 2016 with the Bayerisches Staatsorchester and a guest performance in Asia in 2017, they went to Mallorca in September 2018, where the Munich brass band were guests in Palma Cathedral for the second time.

Photo credits: Wilfried Hösl

At the 3rd chamber concert on January 15th, 2023, the OperaBrass ensemble will present a program in the Allerheiligen Hofkirche that is reminiscent of the beginnings of the Bavarian State Orchestra in the 16th century, when the Munich court orchestra at that time was used especially to represent the Bavarian dukes. A chronicler’s report is dated December 10th, 1565 and refers to the heyday of the Munich court orchestra at the time of Albrecht V: “they had three kinds of music during supper: [...] first played on cornetts and trombones, the other sung by several singers, accompanied by fifes and trombones. The third of 5 flutes and a trombone”. The composer Orlando di Lasso, who was already highly regarded internationally at the time, had been engaged to conduct the court orchestra two years earlier, and his pupil Giovanni Gabrieli also worked in Munich a few years later. A polychoral composition by Gabrieli was already heard at the 3rd Academy Concert in 2023 – also performed by brass players from the Byerische Staatsorchester.

Photo credit: Magdalena König

Franz Strauss (1822-1905) was not only the father of the composer Richard Strauss, but also one of the most renowned horn players of his time, who worked in the Royal Bavarian Court Orchestra, today’s Bavarian State Orchestra, and had a significant influence on its sound. The two horn players Milena Viotti and Johannes Dengler provide insights into the special features of the instrument once played by Franz Strauss.

The anniversary year of the Bayerische Staatsorchester is ushered in with a ceremony. General Music Director Vladimir Jurowski conducts music by composers whose selections offer a glimpse of the orchestra’s formidable history: Four of Richard Wagner’s operas were premiered in Munich by the Bayerische Staatsorchester, among which one boasts particularly festive sounds: Die Meistersinger von Nürnberg.

500 years ago, Ludwig Senfl, as musicus intonator or musicus primarius, and a few year-round musicians were engaged by the Bavarian Duke Wilhelm IV to collect sheet music, build up a repertoire and perform both ecclesiastical and secular music: this is the birth of an orchestra that was later also presided over by Orlando di Lasso. The popularity of Lasso’s music among Renaissance contemporaries and the composer’s historical significance for music history can hardly be overestimated. Lasso’s last work Lagrime di San Pietro bears impressive witness to this.

But Richard Strauss also conducted the Bayerische Staatsorchester for two years, and the scores of two of his operas were breathed life into for the first time by the Bayerische Staatsorchester. An Alpine Symphony represents the composer’s last symphonic poem and, in its impressive depiction of the ascent and descent of a mountain hike through a gigantic orchestral apparatus, makes programmatic reference to the Bavarian foothills of the Alps.

Photo creddits: Archiv der Musikalischen Akademie

Photo Credit: Archiv der Musikalischen Akademie

Photo Credits: Archiv der Musikalischen Akademie

Photo creddit: Archiv der Musikalischen Akademie

Zum Termin

Als „Akademien“ wurden schon im 18. und 19. Jahrhundert (oft privat organisierte) Konzerte bezeichnet. Der Münchner Verein Musikalische Akademie e. V. wurde 1811 aus der Mitte des damaligen Hofopernorchesters gegründet. Damit etablierten die Musiker die erste symphonische Konzertreihe Münchens.

Anders als beim Festakt enthält das Programm des 3. Akademiekonzertes ein zweichörig komponiertes Instrumentalwerk des venezianischen Komponisten Giovanni Gabrieli, der in München bei Orlando di Lasso studierte und als Schlüsselfigur an der Schwelle von Renaissance- zu Barockmusik später selbst Komponistengrößen wie Heinrich Schütz unterrichten sollte.

Das Bayerische Staatsorchester erhält nicht nur die großen Werke der letzten Jahrhunderte am Leben, sondern fühlt sich auch der Neuen Musik verpflichtet: Nachdem es unter seinem Generalmusikdirektor Vladimir Jurowski 2020 bereits sehr erfolgreich Brett Deans Testament aufgeführt und im hauseigenen CD-Label Bayerische Staatsoper Recordings veröffentlicht hatte, folgt jetzt die Uraufführung einer Auftragskomposition bei dem australischen Komponisten: Nocturnes and Night Rides. Mit den diesjährigen Münchner Opernfestspielen kommt außerdem seine Oper Hamlet auf die Bühne des Nationaltheaters. 

Zum Termin