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LUCERNE FESTIVAL 2017 Annual 2017 ANNUAL GIVE AND TAKE Riccardo Chailly and the LUCERNE FESTIVAL ORCHESTRA “WE WANT TO OPEN DOORS” Wolfgang Rihm and Matthias Pintscher on the LUCERNE FESTIVAL ACADEMY WHO AM I? Summer Focus: “Identity” “YOU NEED TO FORGET ABOUT ALL OF THAT!” John Eliot Gardiner’s Monteverdi Trilogy 1 LUCERNE FESTIVAL | 2017 ANNUAL © LUCERNE FESTIVAL/Priska© LUCERNE Ketterer 2017 Summer Festival Experience the finest orchestras in the world at LUCERNE FESTIVAL Berlin Philharmonic | Chamber Orchestra of Europe | City of Birmingham Symphony Orchestra | Filarmonica della Scala | LUCERNE FESTIVAL ORCHESTRA | Mahler Chamber Orchestra | Mariinsky Orchestra | Orchestra of the LUCERNE FESTIVAL ACADEMY | Orchestre de l’Opéra national de Paris | Pittsburgh Symphony Orchestra | Royal Concertgebouw Orchestra Amsterdam | Royal Philharmonic Orchestra | Shanghai Symphony Orchestra | West-Eastern Divan Orchestra | Vienna Philharmonic, and many others 2 LUCERNE FESTIVAL | 2017 ANNUAL Tickets at: t +41 (0)41 226 44 80 | www.lucernefestival.ch Eigeninserate_Jahresmagazin_2017_Sir Rattle.indd 2 22.09.16 12:18 Editorial Dear Music Lovers, colorful, diverse, richly varied program awaits you at the 2017 LUCERNE FESTIVAL: at Easter, during the summer, and at the gathering of the world’s finest international pianists in late fall. AWith our new magazine, we hope to do more than provide you simply with an overview of all of the events that we have planned. We also want to present our Festival to you from the inside: through interviews, commentary, reports, and photos. In this booklet you can read the latest news about the wonderful LUCERNE FESTIVAL ORCHESTRA and their leader Riccardo Chailly. You’ll get a look behind the scenes at the LUCERNE FESTIVAL ACADEMY, where Wolfgang Rihm and Matthias Pintscher are establishing fresh approaches. You will also learn everything about the summer’s thematic focus on “Identity” and will meet our two “artistes étoiles,” the violinist Patricia Kopatchinskaja and the cellist Jay Campbell, as well as Michael Haefliger composer-in-residence Michel van der Aa. Also included Executive and is an interview with Sir John Eliot Gardiner, who introduces Artistic Director the Monteverdi project he is bringing to Lucerne: three evenings of opera marking the 450th anniversary of the composer’s birth. We’ve also put together many tips for you. The concert calendar section at the center of the magazine consolidates details about all of the concerts, the works and their performers, event dates, how to order tickets, and our subscription offers. It’s always worth traveling to Lucerne, but especially so during the Festival season. We would be delighted to welcome you in 2017 to this idyllic spot on Lake Lucerne and to one of the finest concert halls in the world. Warm regards, LUCERNE FESTIVAL | 2017 ANNUAL 3 Music nourishes the soul Nestlé is Main Sponsor and Partner of the LUCERNE FESTIVAL ORCHESTRA Annonce KKL Programme 210x275mmNEW.indd 1 27.09.16 14:18 6 Riccardo Chailly Contents looks ahead to his second LUCERNE FESTIVAL ORCHESTRA summer as Music Director 6 Give and Take of the LUCERNE FESTIVAL Riccardo Chailly as Music Director ORCHESTRA. of the LUCERNE FESTIVAL ORCHESTRA LUCERNE FESTIVAL ACADEMY 14 The Old-Fashioned Innovator Wolfgang Rihm and the LUCERNE FESTIVAL ACADEMY 17 “We Want To Open Doors” Matthias Pintscher on the Academy’s perspectives 14 “artistes Étoiles” A Pair of Leaders 22 Grounded To Reach Elysium Wolfgang Rihm and The violinist Patricia Kopatchinskaja Matthias Pintscher 26 “The Soul Is Our Arena” talk about their plan for The musical imagination of cellist Jay Campbell the LUCERNE FESTIVAL ACADEMY. ComPoser-in-residence 28 Playing with Identities The music theater of Michel van der Aa Monteverdi TriloGY 30 “You Need To Forget about All of That!" Sir John Eliot Gardiner conducts 30 the three Monteverdi operas 450 Years of Monteverdi Summer Focus: “Identity” Sir John Eliot Gardiner 36 Identity or: Who Am I? on the origins of opera. 38 Gustav Mahler and the Question of Identity 40 An Experiment in Utopia: The West-Eastern Divan Orchestra 43 The Masks of Dmitri Shostakovich 47 Sergei Prokofiev’s Five Piano Concertos: The Journey of a Life 50 The Vienna Philharmonic Celebrates 60 Years at LUCERNE FESTIVAL 22 “We Don,t Play 52 World-Class Quality on Lake Lucerne Notes, We Play Concert Tips for the Summer Emotions”: LUCERNE FESTIVAL YOUNG Patricia Kopatchinskaja 59 Listen and Be Amazed Music for children and youngsters is “artiste étoile.” 62 Finitude and Eternity: The 2017 Easter Festival 36 64 On 88 Keys: The 2017 Piano Festival “Identity” 66 Subscription Series for the 2017 Summer Festival is the theme of 67 How To Get Your Tickets the 2017 Summer 70 Partners Festival. 72 Foundation Friends of LUCERNE FESTIVAL 74 Publishing Credits LUCERNE FESTIVAL | 2017 ANNUAL 5 LUCERNE FESTIVAL ORCHESTRA | Riccardo Chailly Give and Take Give and Take Riccardo Chailly as Music Director of the LUCERNE FESTIVAL ORCHESTRA LUCERNE FESTIVAL | 2017 ANNUAL 77 LUCERNE FESTIVAL ORCHESTRA | Riccardo Chailly Long ago he began his career as an assistant en out of the archive; he wanted to study the numerous recommendations given by the composer to his friend on to Claudio Abbado, and in the summer of 2016 the conductor’s podium – observations that had not he went on to succeed his mentor at the been published at all. And in the Concertgebouw’s ar- chive he bumped into an unusually large kettledrum that LUCERNE FESTIVAL ORCHESTRA. The Italian Mengelberg had ordered to be produced at the sugges- Riccardo Chailly is a strong advocate of continuity tion of Mahler and used for a performance of the Sympho- and yet is making marks of his own. A portrait. ny of a Thousand he led in 1912. A little more than 100 years later, in the summer of 2016, this instrument also came to TEXT: Peter Hagmann be heard in Lucerne when Chailly conducted Mahler’s Eighth in the KKL Concert Hall. hat really interests him these days This 2016 performance signified a beginning and a isn't conducting itself. But the last conclusion at the same time. With it, Chailly not only thing Riccardo Chailly has in mind, of launched his tenure as the new Music Director of the course, it to take a vacation. He’s LUCERNE FESTIVAL ORCHESTRA, but he also brought thinking of his office in Milan, where to a finish the complete cycle of Mahler’s symphonies he engages in the pursuits that espe- that had formed the backbone of the programs Abbado cially attract him between engagements: studying, inves- developed for the ensemble. This homage to his late Wtigating, and mulling things over. This sort of activity friend, who died in 2014, was for Riccardo Chailly an act satisfies his need to discover new things – whether the of honor. And Chailly speaks with the highest admiration novelty in question is new music, or new ideas about al- of the Lucerne Festival Orchestra, which was ready-familiar music. Chailly deems conducting, in con- founded in 2003 by Abbado and the Festival’s Artistic and trast, to be a second step, the way he brings into the real Executive Director Michael Haefliger. During their first world the entire result of those hours spent at his desk rehearsal together, just as the massive pile-up of sonori- pouring over an opened-up score, the reading of which ties – booming organ and peeling brass – that open the had kindled his spirit. Symphony of a Thousand were ushering forth, Chailly said Here we can see connections to Claudio Abbado, he could recognize the Mahler DNA that Abbado had whose successor Chailly became in the summer of 2016 passed on to the Orchestra. He also instantly sensed that when he started helming the Lucerne Festival special spirit that manifests itself in these musicians’ free Orchestra. These connections go beyond the fact that commitment during the summertime, in their friendly both conductors come from Milan, or that in 1971 Chailly attachment, and in their manner of playing and reacting began a two-year period as Abbado’s assistant at La Scala to each another in the style of chamber music. To make to learn the craft. (Chailly was 18 at the time, Abbado about music in this fashion, he says, is pure bliss. 20 years his senior.) Their bond goes much deeper: it has to do with the fact that Abbado himself was a seeker and an New Ways, New Works investigator. During his time as Music Director at La Scala, Chailly also speaks of the Orchestra’s unique quality. And he produced Georges Bizet’s opera Carmen in a revised it is precisely for that reason that in his second season he version that was fundamentally overhauled, going back to will concentrate entirely on the symphonic repertoire (not the sources. And later, in Vienna, he took up the cause of calling for soloists or choruses). The Orchestra and its new Franz Schubert by putting his entirely forgotten opera Fier- music director want to grow together first – and in doing abras in the spotlight as part of a sensational production with the director Ruth Berghaus. During a good many rehearsals, Chailly used to sit behind Abbado and write his observations into the scores. In-depth discussions in the conductor’s loge used by Ab- bado followed; it was through these that they became friends. For Chailly, this critical engagement with the works that he conducts is thus, so to speak, self-explana- A tailor-made debut: Riccardo Chailly being applauded at the end tory. When he was Music Director of the Royal Concert- of the performance of Gustav gebouw Orchestra in Amsterdam and conducted the Mahler’s Eighth Symphony, his first Eighth Symphony of Gustav Mahler in 1995, he requested appearance leading the LUCERNE that the conductor’s score by Willem Mengelberg be tak- FESTIVAL ORCHESTRA.
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