Uploaded August 2023 | Updated September 2026, 3 weeks ago
Mozart: Piano Concerto No. 20 / Schumann: Piano Concerto Op. 54
Silvestrov: The Messenger / Mozart: Symphony No. 40
Hélène Grimaud headlines a spectacular evening with the illustrious Camerata Salzburg at the famed Elbphilharmonie in Hamburg. She selected pieces that are all in minor keys yet composed during intensely creative periods in both Mozart’s and Schumann’s careers. Mozart did not write many works in minor tonalities but Grimaud choosed it, because it “provides a glimpse behind the mask of jollity that surrounds many of his famous works.“ “Hélène Grimaud and the Salzburg Camerata hypnotise the audience in Hamburg’s Elbphilharmonie on this unforgettable evening with piano
concertos of the early romantic era of Mozart and Schumann that are unique in terms of sound.“ (operaversum.de)
Facebook: facebook.com/CmajorEntertainment
Instagram: instagram.com/cmajor_entertainment
Cmajor Shop: shop.cmajor-entertainment.com
Mozart: Piano Concerto No. 20 / Schumann: Piano Concerto Op. 54
Silvestrov: The Messenger / Mozart: Symphony No. 40
Hélène Grimaud headlines a spectacular evening with the illustrious Camerata Salzburg at the famed Elbphilharmonie in Hamburg. She selected pieces that are all in minor keys yet composed during intensely creative periods in both Mozart’s and Schumann’s careers. Mozart did not write many works in minor tonalities but Grimaud choosed it, because it “provides a glimpse behind the mask of jollity that surrounds many of his famous works.“ “Hélène Grimaud and the Salzburg Camerata hypnotise the audience in Hamburg’s Elbphilharmonie on this unforgettable evening with piano
concertos of the early romantic era of Mozart and Schumann that are unique in terms of sound.“ (operaversum.de)
Facebook: facebook.com/CmajorEntertainment
Instagram: instagram.com/cmajor_entertainment
Cmajor Shop: shop.cmajor-entertainment.com
![Mozart: Cosi fan tutte - Nikolaus Harnoncourt
“He was out to to create something ‘unheard-of’,” observed conductor Nikolaus Harnoncourt beforehand. And true to form: What the conductor had offer as he commenced his Mozart/Da Ponte cycle in the Theater an der Wien was something we “had never before heard like this” (Kurier). Nikolaus Harnoncourt, “master” of period performance practice, realized a project that had long been one of his dearest wishes: for the first time, he and his “original-sound orchestra” Concentus Musicus and his personal choice of singers were presenting the complete Mozart/Da Ponte cycle and harvesting the fruits of his Mozart research – an “enthusiastically acclaimed cycle!” (news.at). During an intensive phase of rehearsal and preparation, he was in search of a Mozart hermeneutic resting on historical sources and yet anchored in our own time, in order to stage the whole Da Ponte “trilogy” – Le nozze di Figaro, Don Giovanni and Così fan tutte – in a matter of a mere six weeks. “The culmination of Harnoncourt’s involvement with [Mozart’s Da Ponte operas] – „A Mozart drawn from historical sources and yet anchored in our own time.” (Die Presse)
PART III: Cosi fan tutte + Documentary: Nikolaus Harnoncourt - Between Obsession and Perfection (Cosi fan tutte)
Facebook: facebook.com/CmajorEntertainment
Twitter: twitter.com/CmajorEnt1
Cmajor Shop: www.shop.cmajor-entertainment.com/ Mozart: Cosi fan tutte - Nikolaus Harnoncourt](https://i.ytimg.com/vi/hefSHU-XDXM/mqdefault.jpg)









