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Chief Conductor Mariss Jansons

29 November 2013 – 01 December 2013

Venue: Concert Hall  View Seat Map
Presented by: Sydney Opera House

125 Years in the Making: The Royal Concertgebouw Orchestra at Sydney Opera House

Description

'Standing on the podium before the musicians, I always appreciate just how special they are. Their approach to music-making goes far beyond questions of sound; it is so profound, so deep, so noble. They make you feel that you have entered a very special world'. Mariss Jansons on the Royal Concertgebouw Orchestra
'Standing on the podium before the musicians, I always appreciate just how special they are. Their approach to music-making goes far beyond questions of sound; it is so profound, so deep, so noble. They make you feel that you have entered a very special world'. Mariss Jansons on the Royal Concertgebouw Orchestra

In 2004, Mariss Jansons become only the sixth chief conductor of the Concertgebouw Orchestra, an appointment that is by definition historic. The Latvian-born musician was destined for greatness: one family photograph shows him aged three conducting from a score, baton in hand. His father was a conductor and his mother was a soprano at the Riga opera house. As an adult, Jansons studied with Herbert von Karajan and the luminary Russian conductor Evgeny Mravinsky, becoming his assistant at the Leningrad (now St Petersburg) Philharmonic. A string of prestigious international engagements followed.

Jansons is universally admired. He's a conductor with a reputation for setting himself punishingly high standards, but who has earned the love of musicians for his deep understanding of musicians and music, his meticulous preparation and for his blend of soulfulness and energy. These are qualities he brings to the music he conducts, whether the Romantic giants he cherishes - Mahler, Strauss and Bruckner - or the Classical grace of Haydn.

In 2008, the Concertgebouw Orchestra was voted by Gramophone Magazine to be the best orchestra in the world, but another of Janson's orchestras - the Bavarian Radio Symphony Orchestra - was also in the Top 10. Janson was the only conductor to appear twice in that list, suggesting that the world's best orchestra is led by the world's best conductor.

PROGRAM 1 'LEGENDARY'
WAGENAAR Overture: The Taming of the Shrew, Op.25 (1909)
STRAVINSKY The Firebird: Suite (1919)
TCHAIKOVSKY Symphony No. 5 in E minor, Op.64

PROGRAM 2 'HEROIC'
BEETHOVEN Piano Concerto No.3 in C minor, Op.37 - Yefim Bronfman piano
R STRAUSS A Hero's Life, Op.40
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Pricing Information

Prices correct at the time of publication and subject to change without notice. Exact prices will be displayed with seat selection.

Standard $89 - $499
2 Program Package* $246.50 - $841.50
Booking fee applies per transaction

$8.50 - Contact Centre
$8.50 - Internet
$5.00 - Box Office Counter

Pricing Information Explained

Pricing Information Explained

*Not available online. Transaction fee of $5-$8.50 applies to all booking, excluding Insiders. 15% discount available when you purchase tickets to both programs in the same reserve in the same transaction. Not available on D reserve. Offer strictly limited and not available in conjunction with any other offer (including an Insiders discount).

For events which offer concession pricing, if you purchase concession tickets, please ensure you have your Proof of Concession with you when you attend an event.

Ticket Booking Enquiries: For all general booking enquiries please email the Contact Centre or call on +61 2 9250 7777 for more information.

Groups Bookings: Please email the Group Booking team or call on +61 2 9250 7700 for more information.

Insider Prices: Insiders are Sydney Opera House members. Insiders get waived booking fees, up to 20% off Sydney Opera House Presents shows and more. More Info

Reviews

‘Members of the audience rose to their feet to acknowledge his transcendent tour de force of musicianship.’ Telegraph (UK)

 ‘The best orchestra in the world’ . The Guardian (UK)

‘Their sound is the equivalent of polished mahogany’ . The New York Times

‘The depth and eloquence of the strings, the quick-witted brilliance of the woodwind and the rounded security of the brass are unfailing.’ The Guardian (UK)

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