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Special Concert

Opéra de Lausanne Choir
Weill, Bernstein, Pärt, Rutter
Feb
09
Soloist musicians
Patrick Marie Aubert, Direction
Duration: 1h35
Incl. 1 intermission
CHF: 26.00 - 110.00
8
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Four remarkable pieces from the contemporary vocal repertoire are centred around the power that music has to awaken spiritually.

Das Berliner Requiem (1928) by Kurt Weill, based on poetry by Bertolt Brecht, provides evidence of the composer’s commitment to the new medium represented by the radio. A non-religious requiem, this ‘short cantata’ is designed for people who live in large cities and seeks to stimulate their ability to remember.

The desire to mix genres, cultures and people in a momentum of peace marks the Chichester Psalms (1965) that Leonard Bernstein composed for the Southern Cathedrals Festival. This eclectic work presents an arrangement of extracts from the book of Psalmsin Hebrew.

The secular and spiritual forms also mix in Gloria (1974) by John Rutter. A symphonic piece described by the composer as “inflamed, spiritual and jubilant”, the work evokes Poulenc, Stravinsky and Gregorian chants all at the same time.

Deprofundis (1980) is a very personal piece by Arvo Pärt that bears the mark of the composer’s flight from the Soviet regime. Based on the words of Psalm189, the piece is impregnated with a refined liturgical drama, characteristic of the composer.

Patrick Marie Aubert
Direction
Chœur de l’Opéra de Lausanne

Kurt Weill (1900-1950)
Das Berliner Requiem pour ténor, baryton, chœur d’hommes et formation instrumentale

Leonard Bernstein (1918-1990)
Chichester Psalms pour chœur mixte, garçon soprano, percussions, harpe et orgue

Arvo Pärt (1935)
De Profundis pour chœur d’hommes, percussions et orgue

John Rutter (1945)
Gloria pour chœur mixte, cuivres, percussions et orgue

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