Teatro Regio, from Thursday 21 October 2010 till Monday 9 May 2011


The 2010 – 2011 symphony season of the Teatro Regio consists of eight concerts: four with the Filarmonica ’900 and four with the Orchestra of the Teatro Regio. The choice of programming has been dictated by the desire to alternate masterpieces of the symphonic repertoire with lesser known works that undoubtedly deserve more attention.
Music Director Gianandrea Noseda will be on the podium twice, giving ample space to the area of Russian music. In the inaugural concert, he will be conducting Rachmaninov’s Second Symphony and – with the participation of mezzo soprano Nadežda Serdjuk and the Teatro Regio Chorus – the cantata Alexander Nevsky, i.e. Sergei Prokofiev’s work which, despite its medieval subject matter, reflects perfectly the Soviet cultural identity of the 1940s. In March, along with Beethoven’s Fourth Symphony, Noseda will present, together with Enrico Dindo, a work that Shostakovich composed for Rostropovich, the Second Concerto for Violoncello and Orchestra.
Music from the East will also be featured on the program directed by the Russian conductor Vladimir Ponkin: under his baton Shostakovich’s Sixth Symphony will be brought to life, together with the Concerto for Violin and Orchestra by the Armenian composer Aram Ilyich Khachaturian in the interpretation by the young Kuba Jakowicz. In the concert conducted by Pinchas Steinberg, there will be another composition by Beethoven, the Second Symphony. Christian Arming, who by no coincidence comes from Vienna, will conduct the end-of-the-year concert, bringing together works typical of the Austrian tradition (waltzes by Johann Strauss fils and the Hungarian Dances by Brahms) and the portrait of America that Dvořák paints in his famous New World Symphony. Roberto Abbado also finds himself in that domain with the Haydn-Mozart-Beethoven threesome, i.e. the mainstays of Viennese classicism.
With Turkish conductor Gürer Aikal we return to the heart of the twentieth century: on the program are two works that interpret in different ways the formal structure of the solo concerto; on the one hand the Piano Concerto in g by Ravel in Andrea Lucchesini’s interpretation, on the other hand the Concerto for Orchestra by Bartók, extraordinary for its way of presenting the musical ensemble as an extended group of soloists.
The season concludes with an appointment that interlaces various stylistic threads: jazz  (with interpreters Chris Collins, Emanuele Cisi and Furio Di Castri), contemporary music (with commissions to Carlo Boccadoro and James Hartway), and Italian opera (with the performance of important instrumental passages).


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