WOLFGANG AMADEUS MOZART OVERTURE TO • SYMPHONY NO. 32 • ARIAS ANTONÍN DVORÁK SYMPHONY NO. 8 THOMAS HENGELBROCK CONCERTGEBOUW AMSTERDAM The Royal Concertgebouw Orchestra Amsterdam (RCO) is joined by Overture to Don Giovanni celebrated conductor Thomas Hengelbrock and – for the first time “L’amerò, sarò costante” from ever – by German star soprano Diana Damrau. Together they perform “Bella mia fiamma, addio! – Resta, o cara”, K. 528 well-loved arias and orchestral works by Wolfgang Amadeus Mozart, as well as Antonín Dvořák’s Symphony No. 8. Symphony No. 32 in G major, K. 318 “E Susanna non vien! – Dove sono i bei momenti” Dedicated to the genius of Mozart, the first half of the concert kicks off from Le Nozze di Figaro with the overture to Don Giovanni, played with gusto by the RCO and Thomas Hengelbrock, an expert in historically informed performance ANTONÍN DVOŘÁK practice. In the following Mozart arias, among the highlights of the Symphony No. 8 in G major, Op. 88 programme, they are joined by one of the brightest stars in the singers’ firmament, Diana Damrau. “L’amerò, sarò costante” is a sincere declaration of love while the concert aria “Bella mia fiamma, addio” is a dramatic farewell letter to a loved one which Damrau performs Soprano Diana Damrau with great passion. The German star soprano has shone in the role of Conductor Thomas Hengelbrock Countess Almaviva in Mozart’s Le nozze di Figaro repeatedly, thus the Orchestra Royal Concertgebouw Orchestra aria “Dove sono i bei momenti” fits her like a glove. The RCO under Hengelbrock then turns to Mozart’s Symphony No. 32 in G major, K. 318, which is as compact as it is inventive. Produced by Castus Video Director Dick Kuijs The programme is rounded off by Antonín Dvořák’s Symphony No. 8 in G major, Op. 88. Blending Bohemian folk music with classical forms Length: approx. 100' brilliantly, the piece is an exuberant ode to the great outdoors. Maestro Shot in HDTV 1080/50i Hengelbrock is full of praise for the Czech composer: “Dvořák is one of Cat. no. A 865 50035 0000 the great composers who really write for the pleasure of the orchestra, for the pleasure of the musicians and for the audience as well.”

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