Concerts

Teatro Regio, from Saturday 12 November 2011 till  Friday 25 May 2012

Presentation

The new symphony season of the Teatro Regio explores an important, if incomplete, musical panorama; beginning with Mozart, an obvious point of reference, it passes through the great German nineteenth century, the best Italian opera and post-Romantic symphonies, to finish with the fertile and articulated twentieth century in which even song-writers like Gianmaria Testa have a legitimate place. The concert season, therefore, spans vastly different styles, as though wanting to put to the test the versatility of its musical groups and stimulate the curiosity of the public.
The task of representing the declaredly classical part of the playbill is given to the Orchestra of the Teatro Regio, on two occasions supported by the full Chorus; instead, the Filarmonica ’900, an ensemble of consolidated “cross-over” vocation, is given the task of exploring less familiar territory, as demonstrated by its collaboration with the Torino Jazz Orchestra in the concert conducted by Christopher Franklin.
Besides the musical variety, the other appealing element of the programming is the prestige of the guest conductors, beginning with Pinchas Steinberg, who has been entrusted with the inaugural evening in repertoire that he knows profoundly and conducts brilliantly. Deserving attention are also the two programmes directed by Yutaka Sado; the Japanese conductor, brought up in the schools of  Bernstein and Ozawa, in fact returns to Torino after making his debut with the Berlin Philharmonic, with a programme that, in five days, ranges from Shostakovich to Mozart, supported – in the last concert – by a cast of specialists: Remigio, Polverelli, Pertusi.
Gianandrea Noseda, instead, has chosen to perform live with the Filarmonica ’900 the music of Rota, already immortalised with a recording, and, in the concert for the end of the year, to give the Chorus of the Regio a prominent role with great works by Verdi. Among the other guests are two musical giants, Valerij Gergiev and Krzysztof Penderecki. Gergiev, to seal the intense month of February in Torino (his Angelo di fuoco, in the Mariinsky staging, is highly-awaited), will conduct the Orchestra of the Regio, thus carving out a meaningful symphonic interlude for himself. Penderecki, instead, will appear in the double role of conductor and composer, moving between the popular Symphony n. 8 by Dvořák and two works (composed in the 1990s) from his own catalogue, a catalogue so dense and extensive as to be considered all but complete. The season concludes with Mozart conducted by Umberto Benedetti Michelangeli.
 

 

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