PRESS CONFERENCE

NEW YEA R'S CONCERT 2021

TUESDAY , DECEMBER 29, 2020 , 1:3 0 PM

GOLDEN HALL OF THE MUSIKVEREIN IN

S P E A K E R S Daniel Froschaue r, Chairman of the Vienna Philharmonic Riccardo Muti , Conductor Dr . Alexander Wrabetz , General Director of the ORF Dr . Stephan Paul y, Executive and Artistic Director of the Gesellschaft der Musikfreunde in Wien

The live stream of the press conference by ORF is available at: https: // tvthek.orf.at /live /PK- Neujahrskonzert 2021 /140960 77 20 21 New Year 's Concert. Programme Notes.

This is the sixth time that Naples-born conductor Riccardo Muti is in charge of a New Year 's Concert with the Vienna Philharmonic, an orchestra with which he has been closely associated for exactly half a century, appearing with them a total of 550 times to date and enjoying the status of an honorary member sinc e 2011. It makes sense, then, to honour his forthcoming eightieth birthday with a programme of works that recall his native Italy.

The 2021 New Year's Concert begins with a piece not previously performed by the Vienna Philharmonic, Franz von Suppè 's March . This march comes from the third act of the of the same name. Premiered at Vienna's Carltheater in 1876, Fatinitza takes as its starting point a love affair and a comedy of disguise set near the Ottoman fortress of Isaccea during the Crimean War of 18 53–56, when the town was besieged by Russian forces. Reviewing the first production, the Wiener Abendpost summed up its plot a s "the usual Viennese potato salad garnished with segments of Italian oranges; Viennese songs and dances and, immediately afterwards, a ki nd of Italian preghier a!" Audiences loved this combination of flavours . Even on the first night, the march had to be repeated, and within months of the premiere 350,000 copies of the score of this particular number had been sold by music dealers.

Also new to the Vienna Philharmonic's repertory is the waltz Schallwellen (Sound Waves ) that was written for the Technicians' Ball in the Sophienba d-Saal in 1854. In part the piece reminds us of physical sound waves, notably the sound of pealing bells in the fifth part of the waltz, but it also contains echoes of the music of two of Johann Strauß's fellow composers, Giuseppe Verdi and Richard Wagner. It was the younger Strauß, after all, who first performed excerpts from Wagner’s works at this period in Vienna: in 1853 he introduced local audiences to the prelude to Act Three of Lohengrin and to the Pilgrims' Chorus from Tannhäuser , while the overture to Tannhäuse r was first heard at a Sophienbad-Saal concert in 1854.

Strauß spent the summer of 1859 at the resort of Pavlovsk to the south of St. Petersburg, and it was here that he wrote his Nik o Polka for Prince Nikolay ('Niko' ) Davidovich Dadia n-Mingrelsky, a piece inspired by Russian motifs and featuring some remarkable instrumentation and characteristic mino r-key harmonies. Nikolay hailed from the Caucasus but lived in St. Petersburg and visited nearby Pavlovsk. Strauß was on friendly terms with him and his family.

We stay at Pavlovsk for Ohne Sorge n (Without a Care) , where an already ailing Josef Strauß spent his last summer with his brother . It was not only his health that filled him with care, so too did the uncertain future of the summer seasons that had brought him and his family to the resort for many years, although there is no trace of any such worries in the demonstratively optimistic quick polka that was first performed there – with vocal contributions from the orchestra – in September 1869. Neither of the brothers ever returned to Pavlovsk .

The next two composers made their posthumous Philharmonic debuts only in 2021: Carl Zeller and Carl Millöcker are nowadays known chiefly for their . Zeller was still a child when he first encountered the musicians of the Vienna Philharmonic, a body of players that had been formed in the year of his birth, 1842: he performed alongside them in performances of Masses in the Court Chapel, where he sang as a boy soprano. A civil servant by profession, he studied music on the side and composed his works in keeping with a line from his operetta Der Obersteiger (The Foreman of the Mine ), which was premiered at the in 1894: "The bureaucrat does his job from nine till one – but never does anything more than this ." The concert waltz Grubenlichte r (Davy Lamps ) is based on motifs from the operetta. The portable miner s' lamps are indicative of the place where the work is set, namely, a mine in southern Germany. The operetta even opens with a call for a strike.

Carl Millöcker was likewise born in 18 42. He too knew the Vienna Philharmonic from his earliest youth since he studied the flute with one of the orchestra's founder members, Franz Zierer . The galop In Saus und Braus (Living It Up ) comes from the operetta Der Probekuss (The Trial Kiss ), which, like Zeller's Der Obersteiger , was premiered at the Theater an der Wien in 18 94.

Millöcker was only sixteen when Franz von Suppè signed him up as a flautist at the Theater in der Josefstadt, later recommending him as a conductor at the theatre in Graz. At the 2021 New Year's Concert the overture to the comedy Dichter und Bauer (Poet and Peasant ) likewise leads directly from Millöcker to Suppè. Suppè did not initially intend this popular overture, with its great violoncello and harp solo, for Carl Elmar 's 18 46 comedy since he had already used it on no fewer than two previous occasions. But it owes its popularity to this revised version and to its echoes of the Italian bel canto tradition . It was in this form, too, that it found its way into the repertory of the Strauß orchestra.

Karl Komzák was born in Prague, the son of a local bandmaster, a career that he too embraced. His bes t- known waltz is Bad'ner Mad'ln (Girls of Baden ), its march rhythms and fanfare motifs making no attempt to deny its origins in band music. It was written in 1898 in the spa town of Baden, thirty kilometres (about twenty miles ) to the south of Vienna, where Komzák took over the town’s band in 18 93 and gave it a new lease of life. It was here, too, that both Zeller and Millöcker spent the final months of their lives. Komzák's waltz was heard for the first time at a concert in the resort’s public gardens as part of a programme that also included works by Liszt and Tchaikovsky.

It is hard to think of a greater contrast than the one between Komzák's swaggering waltz and Josef Strauß 's elegant Margherit a Polk a, a piece that once again forges a link between and Italy. It was written in 1868 to celebrate the wedding of Princess Margherita of Genoa and her cousin, Crown Prince Umberto of Italy. It was not in fact performed at the festivities accompanying the royal couple's actual ceremony, even though the work's publishers implied this in their attempt to drum up trade. And so it was not the newlyweds who heard its first performance but the audience at a promenade concert held by Vienna’s Horticultural Society .

The Venetiane r-Galopp (Venetian Galop ) by Johann Strauß the Father is the oldest work in this year 's programme. It was first heard as part of a gala ball held in the Vienna Augarten in 1834, when the sets were inspired by St Mark's Square in Venice. Although the clicking of the castanets may have little to do with the atmosphere traditionally associated with La Serenissima , it may none the less represent the clinking coins of the composer's income from this night at the ball. As reported by the press, the figure of 2,000 florins would have constituted a decent year's income for many a musician at the imperial co urt . Johann Strau ß's popular waltz Fr ühlingsstimmen (Voices of Spring ) was originally a setting of words by Richard Genée, the librettist of Die Fledermaus and Fatinitz a. The "voices of spring" were those of the lark and nightingale that were amply hymned in the original coloratura soprano aria but they are equally effective in the instrumental version that was first heard in the Golden Hall of the Musikverein in 1883 at a promenade concert with the Strauß orchestra that also included a buffet.

The lively twittering of songbirds may also be heard in Strauß's polka Im Krapfenwald' l (In Krapf's Wood s), where it contributes to the feeling of local colour and provides a breath of escapism in the very best sense of the term. It was originally written in 1869 for Strauß's final summer season in Pavlovsk, when it was titled Im Pawlows k-Walde (In the Pavlovsk Woods ), but for its first performance in Vienna Strauß relocated its setting to a popular woodland area with a tavern in the foothills of the Vienna Woods. Since the 1920s this part of the city’s environs has also included an inviting ope n-air swimming pool commanding a magnificent view of the surroun - ding area that is also immensely popular with members of the Vienna Philharmonic and with their children.

The Neue Melodie n -Quadrille (New Melodies Quadrille ) of 1861 is Strau ß 's tribute to the Imperial and Royal Court Opera Orchestra and, hence, indirectly to the Vienna Philharmonic. In it he reworked tunes from four of Verdi's operas, Ernani , Rigoletto , Il Trovatore and La Traviata , which he and his audience knew from the Court Opera repertory . In some cases the melodies have been adapted in rhythmically startling ways.

If Strauß's Quadrille invites us to guess the Italian tunes on which it is based, the situation is by no means as clea r- cut in the case of the title of the Kaiserwalzer (Emperor Waltz ). This piece was originally called Hand in Hand , and it was under this title that its first performance was advertised in Berlin in 188 9. As such, this title refers to the alliance between two emperors, the Habsburg emperor Franz Joseph and his Berlin host , Kaiser Wilhelm II of the House of Hohenzollern. The political background of this alliance between the Habsburg and Hohenzollern Empires is recalled in the waltz's marchlike opening but the remainder of the piece – one of the high points of Strauß's musical output – strikes a much more nuanced note. Perhaps the Two Emperor s' Waltz would be a more exact title.

The 2021 New Year 's Concert ends officially with a piece titled Stürmisch in Lie b' und Tanz (Tempestuous in Love and Dance ), the very title of which can suggest only a frenzied quick polka. Johann Strauß wrote it in 1881 for the annual ball of Concordia, the association of local journalists and writers, basing it on motifs from his operetta Das Spitzentuch der Königin (The Queen's Lace Handkerchief) . The performance was conducted by the composer's brother, Eduard, who had engaged a writer to provide titles for the dances that members of the Strauß family tossed off in such quick succession. In the present case the title turned out to be especially dynamic .

Silvia Kargl & Friedemann Pestel 2021 New Yea r's Concert. List of Work s.

Franz von Suppè , Fatinitz a Marc h*

Johann Strauß II , Schallwellen (Sound Waves ). Waltz ,op.148*

Johann Strauß II , Nik o Polka ,op.228

Josef Strauß , Ohne Sorgen (Without a Care ). Fast Polka ,op.271

Carl Zeller , Grubenlichte r (Davy Lamps) . Waltz *

Carl Millöcker , In Saus und Brau s (Living it Up ). Galop *

Franz von Suppè , Overture to Dichter und Bauer (Poet and Peasant )

Karl Komzák , Bad'ner Mad'ln (Girls of Baden ). Waltz ,op.257*

Josef Strauß , Margherit a Polka ,op.244*

Johann Strauß I, Venetiane r-Galopp (Venetian Galop ),op.74*

Johann Strauß II , Frühlingsstimmen (Voices of Spring ). Waltz ,op. 410

Johann Strauß II , Im Krapfenwald'l (In Krapf's Woods ). Polka française ,op.336

Johann Strauß II , Neue Melodie n-Quadrille (New Melodies Quadrille ),op.254

Johann Strauß II , Kaiserwalzer (Emperor Waltz ),op.437

Johann Strauß II , Stürmisch in Lie b' und Tanz (Tempestuous in Love and Dance) . Fast Polka ,op.393

*First performance at a New Year 's Concert of the Vienna Philharmonic Riccardo Muti.

Riccardo Muti was born in Naples and studied the piano with Vincenzo Vitale at the city 's Conservatorio di San Pietro a Majella, graduating with distinction before going on to study composition and conducting with Bruno Bettinelli and Antonino Votto at the Giuseppe Verdi Conservatory in Milan .

Riccardo Muti first came to the attention of critics and public alike in 19 67, when he was unanimously awarded the first prize in the Guido Cantelli Conducting Competition in Milan. The following year he was appointed the principal conductor of the Maggio Musicale Fiorentino, a position he held until 1980 . In 1971 he was invited by Herbert von Karajan to conduct at the Festival, the first of many such occasions. From 1972 to 1982 he was Otto Klemperer's successor as principal conductor of the Philharmonia Orchestra in London. In 1980 he took over from Eugene Ormandy as music director of the Philadelphia Orchestra, remaining in charge until 19 92.

From 1986 to 2005 Riccardo Muti was music director of La Scala, Milan. During his tenure – the longest in the house's history – he oversaw several major projects, including a Mozar t- Da Ponte cycle and Wagner's Ring . Alongside the classics of the repertoire, including numerous operas by Verdi, he also brought many rarely performed and neglected works to light, including Poulenc's Dialogues des Carmélites , for which he won the prestigious Premio Abbiati . In December 2004 he triumphantly reopened the restored opera house with Salieri's Europa riconosciuta .

In the course of his exceptional career, Riccardo Muti has conducted many of the world's leading orchestras from the Berlin Philharmonic and Bavarian Radio Symphony Orchestra to the New York Philharmonic and the Orchestre National de France.

He has particularly close ties to the Vienna Philharmonic and has appeared with the orchestra at the Salzburg Festival on a regular basis since 1971 . When he conducted the orchestra's 150 th anniversary concert in 19 92 , he was presented with its Golden Ring, a special sign of esteem and affection, awarded only to a few select conductors. He conducted the prestigious and extremely famous New Year's Concert in Vienna five times, in 19 93, 19 97, 2000, 2004 and 2018 . In 2021 the continuous collaboration between Riccardo Muti and the Vienna Philharmonic will reach 51 years.

In 2004 Muti founded the Luigi Cherubini Youth Orchestra, which is made up of young musicians selected by an international jury from more than 600 instrumentalists from all over Italy.

Muti's social and civic conscience as an artist is reflected in the concerts he has conducted as part of his project "Le vie dell’Amicizia" (The Paths of Friendship ) that is organized by the Ravenna Festival since 19 97. These concerts are given in places that symbolize our troubled past and contemporary history. Among the ensembles th at he has conducted on these occasions are the Philharmonic Orchestra and Chorus of La Scala, the Orchestra and Chorus of the Maggio Musicale Fiorentino, the Musicians of Europe United – a group of leading players from Europe's major orchestras – and the Cherubini Youth Orchestra . Muti's mult i-awar d-winning discography ranges from Classical symphonic works to operas and contemporary music. His current label is RMM usic (www.riccardomutimusic.com ). Riccardo Muti has received innumerable awards. He is a Cavaliere di Gran Croce of the Italian Republic ,a recipient of the German Order of Merit , an Officer of the French Legion of Honour and an honorary Knight Co mmander of the British Empire . The Salzburg Mozarteum has awarded him its Silver Medal, and in Vienna he is an honorary member of the Gesellschaft der Musikfreunde, the Vienna Hofmusikkapelle and the . He has additionally been awarded the Russian Order of Friendship and Israel's Wolf Prize for the Arts .

In 20 07 Riccardo Muti initiated a five-year project with the Cherubini Orchestra at the Salzburg Whitsun Festival devoted to the rediscovery and reassessment of the operatic and sacred music heritage of the Neapolitan school of the 18t h century.

In September 2010 Riccardo Muti became music director of the Chicago Symphony Orchestra. In 2011 his live recording of the Verdi Messa da Requiem with the Chicago Symphony Orchestra and Chorus won two Grammy Awards in two categories: Best Classical Album and Best Choral Performance .

In 201 1 Muti not only received the coveted Birgit Nilsson Prize , the Prince of Asturias Prize for the Arts and an Opera News Award , he was also appointed an honorary member of the Vienna Philharmonic and honorary director for life of the Rome Opera . In 2012 he was awarded the highest papal honour when Pope Benedict XVI appointed him a Knight of the Grand Cross First Class of the Order of St Gregory the Great . In 2016 he was honoured by the Japanese government with the Order of the Rising Sun , Gold and Silver Star. In October 2018, Muti received the prestigious Praemium Imperiale for Music of the Japan Arts Association in Tokyo. He has received more than 20 honorary degrees from the most important universities of the world.

In July 2015 Riccardo Muti set up a further scheme for training young musicians, when the first Riccardo Muti Italian Opera Academy for young conductors, répétiteurs and singers attracted participants from all over the world to the Teatro Alighieri in Ravenna, and later in Tokyo . The aim of the academy is to pass on to young musicians Muti's experience and mastery and to familiarize audiences with the complex process that goes into performing opera (www.riccardomutioperacademy.com ). At present, Riccardo Muti is Music Director of the Chicago Symphony Orchestra.

For more information about Riccardo Muti visit: www.riccardomuti.com ORF. The 81 st "New Year's Concert of the Vienna Philharmonic" 20 21 live on ORF 2 and Ö1: "matinee" with documentaries, ORF ballet production and film during the concert break

On Friday, January 1 st , 2021, the ORF will broadcast the 81 st New Year's Concert of the Vienna Philharmonic from the Golden Hall of the Vienna Musikverein – live at 11.15 a.m. on ORF 2 and Ö1. The to p- class cultural event, which is now being conducted by Maestro Riccardo Muti for the sixth time and which, due to Corona, is taking place without an audience for the first time in its history, is produced for television in the best high- definition quality and in Dolby Digital 5 .1.

In addition to works from the wel l- known Strauß repertoire, unknown or seldom played compositions are on the program. Some of these by contemporaries such as Carl Millöcker, Carl Zeller or Karl Komzák. For the third time, Henning Kasten will serve as the director for the ORF's TV broadcast of the "Concert of Concerts". The live TV event, which will be going into its 63 rd rendition, is being watched by millions of people in almost 100 countries worldwide. In addition, ORF 2 will present a supporting program on New Year's Day, ranging from TV documen - taries, and two pr e- produced ballet interludes to the traditional music film during the concert break, which will be dedicated to the 1 00 th anniversary of the federal state of Burgenland.

ORF live broadcast with 14 cameras all over the world; Live applause possible

For the 63 rd time in its history, ORF television will broadcast the New Year 's Concert live from the magnificent Golden Hall of the Vienna Musikverein with its unique acoustics. The traditional cultural event is considered the world's most broadcast concert event, seen by millions of people in almost 100 countries on all five continents. The ORF team with a total of 14 cameras ensures brilliant ORF HD images and incomparable cultural en joyment. Henning Kasten, who has already done so during 20 18 and 20 19, will be directing the live broadcast, as well as the ballet interludes produced by the ORF. The dance performances of the Vienna State Ballet, which were created in the summer and which faced special challenges during the months of preparation, will be played for the television audience during the TV broadcast, as will film contributions to three special waltz compositions. The so-called ORF "Pausenfilm" [a film played during the concert's intermission] was also pre -produced. The live commentary during the concert will be spoken by the ORF's very own culture expert Barbara Rett.

Due to measures implemented during the Corona pandemic, and for the first time since its conception, the New Year's Concert will have to take place without a live audience in the hall. For this reason the ORF has launched a special initiative. Via the website www.mynewyearsconcert.com , people around the world can register to record their live applause and thus give the Vienna Philharmonic the accolade they are due. Furthermore, interested parties can upload a creative photo in advance, which also visually expresses their enthusiasm. During the live applause, the ORF will show a limited number of images, including information as to which parts of the world the participants are applauding from. Supporting TV program and concert Da Capos In anticipation of the most famous of all Philharmonic concerts, the New Year's "matinee ", a feature named "Start of the New Year's Concert 202 1", shown on Friday, January 1st , at 10.35 a.m., will take a look behind the scenes of the glamorous event. The film by Thomas Bogensberger shows interesting facts about the months of preparation: from the ballet shooting to setting up the elaborate flower arrangements in the Golden Hall of the Musikverein to glimpses into the orchestra rehearsals.

The ORF "Pausenfilm ", shown during the intermission, is titled "Happy Birthday, Burgenland! 192 1–202 1" (approx. at 11.50 am ) by Felix Breisach, and pays tribute to the youngest and smallest federal state in Austria on its 100 th anniversary. In addition to historical aspects, the focus is on musical greats such as Franz Liszt and Joseph Haydn . The performances of the Vienna State Ballet shown during the concert and pr e-produced by the ORF were danced in the splendid rooms and facilities of the Liechtenstein Garden Palace and in the Looshaus. For the 15 0 th birthday of its architec t"Adolf Loos – Visionary and Provocateu r", OR F 2 will be showing the film portrait of the same nam e by Rudolf Klingohr at 9.45 am.

Anyone who misses the live broadcast of the New Year's Concert in the morning has three more TV opportunities to watch the event: As a "late riser servic e", "ORF III Kultur und Information " will be broadcasting a Da Capo during prime time on January 1st (8.15 p.m.), introduced by "Prelude for the New Year's Concert 202 1" (7.35 p.m.). 3sat will broadcast the to p-class cultural event on Saturday, January 2 nd (8.15 p.m.). ORF 2 will then show the top event in the "matinee" on Wednesday, January 6 th (10.05 am) – before that the "Pausenfilm" (9 .05 am) and the opening documentary, this time under the title "Behind the scenes of the New Year's Concert" (9. 30 am), will be shown.

Two ballet interludes on Johann Strauß and Josef Strauß: Choreography by José Carlos Martínez, costume design by Christian Lacroix The two dance performances of the New Year's concert ballet, traditionally produced by the ORF, which can be seen as part of the TV concert broadcast, were developed at the end of August 2020. Ten soloists from the Vienna State Ballet danced the choreographies in the magnificent rooms and facilities of the Liechtenstein Garden Palace and in the s o-called Looshaus – one of the central buildings of Viennese Modernism, created by Adolf Loos. As in the previous year, the choreography was developed by the Spanish José Carlos Martínez. The costumes for both ORF ballet pieces were designed by the French fashion designer Christian Lacroix for the third time – after already having done so in 1998 and 2000. The soloists danced to Josef Strauß Margherit a Polka , op. 244 , which up until now has never been performed during the New Year's concert. The dancers Alice Firenze, Sveva Gargiulo, Ketevan Papava, and Davide Dato were asked to perform to this magnificent piece. The second ballet choreography was performed for the waltz Frühlingsstimmen (Voices of Spring ), op. 410, by Johann Strauß Sohn. To this, four coupl es Liudmila Konovalova and Denys Cherevychko, Ketevan Papava and Roman Lazik, Alice Firenze and Masayu Kimot o, and Eszter Ledán and Zsolt Török performed. Concert director Henning Kasten was also asked to direct these fantastic performances for the third time. Felix Breisach's ORF "Pausenfilm" during the intermission pays tribute to 100 years of the federal state of Burgenland The traditional ORF film during the intermission of the New Year's Concert is dedicated to the youngest of the nine Austrian federal states, Burgenland. The area, formerly known as "German West Hungary" belonged to the Kingdom of Hungary until the end of the Austro-Hungarian monarchy and – according to the Treaty of Trianon – ha d to be ceded to the new Republic of Austria in 1921 . The easternmost and smallest federal state, which is mainl y characterized by the lake Neusiedler See, is celebrating its 100 th anniversary in 2021. Titled "Happy Birthday, Burgenland! 1921–2021 ", the film produced by Felix Breisach tells the historically documented demarcation by the Americans after the First World War and, through compositions of musical greats from Burgenland such as Franz Liszt and Joseph Haydn – performed by selected philharmonic ensembles – also conveys the diversity of Burgenland’s landscapes and cultures .

The New Year 's Concert 2021 in Ö1: Live broadcast and "intermezzo" during the intermission

As is tradition, Ö1 will broadcast the "New Year's Concert of the Vienna Philharmonic" on January 1st , 2021 from 11:15 a.m. onwards, live from the Vienna Musikverein. During the concert intermission, Katharina Menhofer will speak with contrabassist and CEO Michael Bladerer at around 11. 50 a.m.

The "Concert of Concerts " online and in the TELETEXT Even if the New Year's Concert in 2021 will be a little different – the usual services will once again be available online and via teletext: The ORF.at networks will inform the public about all pertinent details of the program, orchestra and conductor through online offers – such as the websites news.ORF.at and oe1.ORF.at – as well as through the ORF TELETEX T. The OR F -TVthek (TVthek.ORF.at ) will provide a live stream of the TV broadcast thro ughout Austria as well as through the vide o- on- demand service for seven days after. This stream will also be included in a multimedia news.ORF.at story about the music event. oe1.ORF.at will additionally offer an audio stream of the concert event (live and on demand ).

"Fidelio" for the New Year 's Concert 2021

On the classical music platform "fidelio" (www.myfidelio.at ) you can also watch the New Year's Concert 2021 via live stream across Austria . In anticipation of the live event, fidelio offers matinees of New Year's concerts from previous years via stream on Sundays 13 th , 20 th and 2 7 th of December 2020 as well as on Wednesday and Thursday, 30 th and 31st December 2020. Starting with the 2009 edition of the concert by star conductor Daniel Barenboim up until last year's performance with Andris Nelsons' debut at the podium of the Vienna Philharmonic. PRESS RELEASE

ROLEX, EXCLUSIVE PARTNER OF THE VIENNA PHILHARMONIC, PRESENTS THE 2021 NEW YEAR’S CONCERT AT THE WIENER MUSIKVEREIN, AUSTRIA

Vienna, 29 December 2020 – After the unprecedented challenges of 2020, the Vienna Philharmonic’s New Year’s Concert promises to lift spirits worldwide with its joyous message of peace and goodwill and hope for the future. It will take place on 1 January 2021 at 11.15 am.

This 81th edition will be led by Italian conductor Riccardo Muti. Every year, a different conductor is honoured by the invitation to wield the baton at this annual tribute to the music of Johann Strauss, his family and his contemporaries.

Rolex has been the Exclusive Sponsor of the New Year’s Concert since 2009. A favourite on the arts calendar, it is watched by millions of people in more than 90 countries.

Furthermore, in 2021 Rolex will present six concerts with the Vienna Philharmonic: 10 May, Opera di Firenze (Florence); 11 May, Teatro alla Scala (Milan); 29 May, Kölner Philharmonie (Cologne); 3 June, DR Koncerthuset (Copenhagen) ; 18 June, the annual Summer Night Concert (Vienna); and 18 September, Sagrada Família (Barcelona). It is expected that the three concerts in Milan, Vienna and Barcelona will be televised in many countries.

Rolex’s long-term support for the arts dates back to the 1970s, when revered soprano Dame Kiri Te Kanawa became the brand’s first arts Testimonee. Since then, Rolex has developed long-term associations with the world’s most prestigious events, institutions and orchestras. In 2020, the brand launched a series of “Perpetual Music” concerts that took place in Italy, Germany and France to assist artists whose work and lives have been adversely affected by the pandemic. The concerts, which involved some 100 artists, were streamed on Medici.tv reaching hundreds of thousands of music lovers across the world.

1/2 ROLEX, EXCLUSIVE PARTNER OF THE VIENNA PHILHARMONIC, PRESENTS THE 2021 NEW YEAR’S CONCERT AT THE WIENER MUSIKVEREIN, AUSTRIA

ABOUT THE VIENNA PHILHARMONIC The Vienna Philharmonic is widely acknowledged to be one of the world’s most esteemed orchestras, upholding the greatest traditions in classical music. Founded in 1842, with more than 175 years of artistic contribution, it is celebrated for its individuality and lustrous sound, as well as for its exacting standards, maintaining artistic integrity and communicating music’s humanitarian message across the world.

Rolex has been Exclusive Partner of the Philharmonic since 2008. This partnership, based on a shared commitment to the pursuit of excellence, has produced many musical collaborations of the highest calibre and reflects the company’s dedication to the arts and culture.

ABOUT ROLEX Rolex, a Swiss watch manufacture headquartered in Geneva, is recognized the world over for its expertise and the quality of its products. Its Oyster Perpetual and Cellini watches, all certified as Superlative Chronometers for their precision, performance and reliability, are symbols of excellence, elegance and prestige. The word “Perpetual” is inscribed on every Rolex Oyster. But more than just a word on a dial, it is a philosophy that embodies the company’s vision and values. Hans Wilsdorf, the founder of the company, instilled a notion of perpetual excellence that would drive the company forward. This led Rolex to pioneer the development of the wristwatch and numerous major watchmaking innovations, such as the Oyster, the first waterproof wristwatch, launched in 1926, and the Perpetual rotor self-winding mechanism, invented in 1931. Rolex has registered over 500 patents in the course of its history. A truly integrated and independent manufacturing company, Rolex designs, develops and produces in-house the essential components of its watches, from the casting of the gold alloys to the machining, crafting, assembly and finishing of the movement, case, dial and bracelet. Furthermore, Rolex is actively involved in supporting the arts and culture, sport and exploration, as well as those who are devising solutions to preserve the planet.

OFFICIAL WEBSITE www.rolex.com

FOR FURTHER INFORMATION Virginie Chevailler Rolex SA Press & Public Relations [email protected] Tel.: +41 (0)22 302 26 19 2/2 European Broadcasting Unio n.

RIGHTS AND DISTRIBUTION PARTNERS FOR THE VPO NEW YEA R'S CONCERT

The European Broadcasting Union (EBU ) is the world's foremost alliance of public service media (PSM ). Our mission is to make PSM indispensable.

Together with our Member ORF, we are proud to bring this annual tradition to audiences around the world, helping them to warmly welcome in the New Year.

We represent 115 member organizations in 56 countries in Europe, the Middle East and Africa; and have an additional 34 Associates in Asia, Africa, Australasia and the Americas.

Together, they reach a potential audience of more than one billion people around the world, broadcasting in more tha n 160 languages.

The lon g- time partnership between the VPO and the EBU highlights highlights our shared belief that public service channels remain essential to unite around large-scale events such as the New Year's Concert.

This year, as shared experiences are more precious than ever, we are proud that this landmark event will once again bring together 40 million people as the new year brings new hope .

Thanks to the Eurovision and Euroradio networks over 40 of our Members and 50 other international broadcasters will air this very special start to 2021.

The whole of the EBU community wishes you all an enjoyable concert and a happy and healthy new year.

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!

!"#$#%&'()*(+,%(#$!!"#$%&%!'()*+!,-./**)01/00)!&2!!3)4)5-*!67&!$!7%%%89%7:! ;/(4< =-0>?;/7:@A()*@1B@/>!!=/CD@A()*@/>! ! !NEW YEAR’S CONCERT 2021

The Vienna Philharmonic and Riccardo Muti

Only a few concerts attract the widespread international interest enjoyed by the New

Year's Concert in Vienna. The Vienna Philharmonic will usher in the New Year with a

concert conducted by Riccardo Muti at Vienna’s Musikverein. On New Year's Day of

2021 Riccardo Muti will conduct the prestigious New Year’s concert for the sixth time

(1993, 1997, 2000, 2004 and 2018). The conductor’s close artistic relationship with the Vienna Philharmonic Orchestra celebrates 50 years, almost 550 concerts, and dates back to 1971. This makes it appropriate not only to reminisce about Italy but

also to mark the forthcoming 80th birthday of the conductor and honorary member of the orchestra. !

! The live recording of the 2021 New Year’s Concert! will be available digitally (January 8) ! and on CD (January 15), as well as on DVD, Blu-ray and vinyl (January 29) and as a ! visual album (February 12). ! !

Media Contacts:

Vienna Philharmonic

Dr . Claudia Kapsamer Phone +43 664 34 615 30 , presse @ wienerphilharmoniker.at

Dr . Annette Frank Phone +43 664 4353844 , presse @ wienerphilharmoniker.at

ORF

Ruzˆ a Holzhacker Phone +43 1 87 878 -14703, [email protected]