Théâtre des Champs Élysées

Orchestre National de France
Daniele Gatti  direction
Jonas Kaufmann  tenor            

A divine programme from Bruckner's Symphony No.7 to the refined loves of Wagner's Wesendonck Lieder beautifully delivered by Jonas Kaufmann

Liszt  Orphée
Wagner  Wesendonck Lieder
Bruckner  Symphony No. 7

The spirit of Wagner presides over this concert, which echoes the performances of Tristan und Isolde featured here in May. Lizst, the father of Cosima Wagner, Richard Wagner’s second wife, provides an introduction. Wagner himself will then make an appearance through his passion for Mathilde Wesendonck, who influenced his conception of the Lieder, which bear her name, inspired by the legends of Tristan and Isolde. Wagner himself named the lieder in this cycle Studies for Tristan und Isolde. In them, he explores musical ideas which he would later develop for the first time in his opera. For example, Träume recalls the melodies of the lovers’ duet in the second act, while in Im Treibhaus (the last of the five lieder to be composed) the composer employs melodies later developed in the Prelude to the third act. Looking beyond these similarities, the chromatic harmonic style of Tristan is present throughout the cycle, giving it a beautiful cohesion. The orchestra will round off with a performance of Bruckner’s Symphony No. 7, which he composed following a feverish premonition of the death of Wagner, the master whom he worshipped. 


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