ORT | TJEKNAVORIAN | FLIEDL
For safety reasons, for spectators with a certified disability equal to or greater than 70% a reserved area is set aside near one of the exits at the back of the stalls (4 seats available for disabled people with mobility impairments and 5 seats for disabled people who are able to walk). These spectators are entitled to a reduced ticket and a free ticket for their service companion.
The purchase can be made EXCLUSIVELY by contacting the Teatro Verdi ticket office via email (info@teatroverdionlilne.it), by telephone at 055.21.23.20 or even in person.
This concert can be included in one of the season ticket formulas provided (from € 48.00 to € 250.00):
– ALL-INCLUSIVE (14 concerts)
– OCTET (8 concerts)
– DO-IT-YOURSELF (from 5 to 12 concerts)
– DIY OPEN (3 to 6 concerts)
For more information click here
Tickets for this event can also be purchased with the Teacher’s Card – Culture Bonus and with 18 Apps, both at the theatre ticket office and through the Ticketone website.
Info
Orchestra della Toscana
conductor
Jeremias Fliedl cello
***
Program:
Jean Sibelius / Pelléas et Mélisande Op. 46
Franz Joseph Haydn / Cello Concerto Op. 2
Ludwig van Beethoven / Symphony No. 4 Op. 60
A programm that combines Nordic intensity, classical lyricism and Beethovenian brilliance. On the podium is Emmanuel Tjeknavorian, Austrian, born in 1995, born as a violinist and now established also in conducting, today Music Director of the Orchestra Sinfonica di Milano: energetic gesture, clear vision, narrative sensitivity. Opening with Jean Sibelius‘ Morte di Mélisande, part of the suite inspired by Maeterlinck’s symbolist drama: a few minutes of suspended, transparent music, imbued with fatalism and melancholy.
This is followed by Franz Joseph Haydn‘s Concerto No. 2 in D major for cello and orchestra, composed in the 1780s: an elegant, brilliant page, built on the dialogue between virtuosity and grace. Jeremias Fliedl, a young Austrian cellist, plays it, appreciated for the natural intensity of his phrasing and attention to timbre quality.
The concert closes with Ludwig van Beethoven’s Symphony No. 4 in B-flat Major Op. 60, written in 1806 between the Third and Fifth: a luminous and compact work, less dramatic but no less profound, constructed with architectural intelligence and contagious vitality.
