Whether you are attracted by the elegance of Viennese waltzes, the splendor of Italian opera or the majesty of Germanic music, New Year's concerts will satisfy all tastes. The musical festivities at the Musikverein, La Fenice or the Berlin Philharmonie reflect the festive spirit and hope that each new year brings.
The transition to the new year is marked by global celebrations, among which New Year's concerts particularly stand out. Bringing together internationally renowned orchestras and conductors, these events have become unmissable events for music lovers, offering a musical stroll through European musical heritage and breathing a breath of joy and optimism for the year to come. At the forefront of these festivities, Vienna, Venice and Berlin host, as every year, concerts which celebrate the traditions specific to their countries while paying tribute to the universality of Western classical music.
The Straussian legacy at the Musikverein
The New Year's concert of the Vienna Philharmonic Orchestra, given on December 30 and 31 as well as December 1East The month of January in the famous Musikverein hall is undoubtedly one of the most prestigious musical events. Since its first edition in 1939, this concert has perpetuated the tradition of celebrating the Strauss family, essential figures of Viennese music. Under the direction of Italian maestro Riccardo Muti, this year's concert continues this legacy. Johann Strauss I (1804-1849), founder of the dynasty, will open the evening with March for Freedom (Freedom March), op. 226. This work evokes the political turbulence of Europe, notably the revolutionary wave which shook the Old Continent in 1848 (known as the People's Spring) and contrasts with the lighter and more festive pieces which will follow.
His son, Josef Strauss (1827-1870), less known, but just as refined, left his mark on the program with two of his compositions, including the waltz Austrian village swallows (The Austrian village swallows), op. 164in bucolic colors. Performed for the tenth time at this prestigious musical event, it has already been conducted by great conductors such as Carlos Kleiber, in 1992, and Zubin Mehta, in 2015. The legacy of Johann Strauss II (1825-1899) dominates without fail. doubt this evening, a spotlight which is part of the bicentenary of the man celebrated as the “king of the waltz”. Among the major works highlighted are Lagoon Waltz (Lagoon Waltz), op. 441, Wine, women and song (Wine, woman and song), op. 333and theOpening of Le baron gitan (Opening of “Le Baron Tsigane”), a Viennese operetta with Hungarian colors, mixing Gypsy folklore and Viennese Gemüth.
The program also ventures off the beaten track of tradition, highlighting little-known pieces, such as walking Fidel brothers (Fraternal March) from the operetta The purple girl (The Violet Girl) by Josef Hellmesberger II (1855-1907) and the False de Ferdinand (Ferdinand Waltz) by Constanze Geiger (1835-1890). Composed at the age of 12 by the woman who would become the wife of Prince Leopold of Saxe-Coburg and Gotha, this waltz marks a historic moment by being the first work by a female composer performed at the prestigious New Year's concert in Vienna .
Italian Opera at La Fenice
After going through the program of the prestigious Viennese New Year's concert, attention now turns to another European cultural capital: Venice. A true epicenter of Italian musical tradition, the Théâtre La Fenice faithfully reflects the refinement of the Venetian opera scene. Since its foundation in the 18th centurye century, it remains a place for the creation and dissemination of opera masterpieces, attracting music lovers from around the world every year. Especially for the New Year's concert. As every year, this emblematic theater par excellence offers a program focused on the lyrical repertoire, particularly highlighting the Italian opera which marked the apogee of European musical romanticism in the 19th century. Under the direction of Daniel Harding, the evening is structured around a dialogue between symphonic and vocal works.
The New Year's concert, as part of a series given from December 29 to 1East January, open Symphony No. 5 in C minor, op. 67 by Ludwig van Beethoven (1770-1827). Often seen as an allegory of struggle and victory over adversity, this work prefigures the romantic upheavals that will mark the 19th century.e century. The program continues with the opening of The thief magpie (The Thieving Magpie) by Gioachino Rossini (1792-1868), prelude to moments of collective fervor, like the emblematic Go, I thought, on golden wings (Go, he thought, on your golden wings) by Giuseppe Verdi (1813-1901), symbol of sublimated Italianness, I want to live in the dreamtaken from Romeo and Juliet by Charles Gounod (1818-1893), the very famous Nobody sleeps (Let no one sleep!), extract from Turandotet Hidden harmony (Secret Harmony), a tune taken from Toscaby Giacomo Puccini (1858-1924), as well as an anthology of pieces by these composers and many others.
The interpretation of the soloists, notably Mariangela Sicilia (soprano) and Francesco Demuro (tenor), promises to faithfully reproduce the emotional intensity and technical virtuosity that these scores demand. The concert will end with Libiam Ne'Lieti Calici (Let us drink from these happy cups) of La Traviata by Verdi, a festive moment to toast the New Year.
Germanic tradition in Berlin
The New Year's Concert in Berlin, conducted by Russian maestro Kirill Petrenko, offers a contrasting experience on December 31, between majesty and exuberance. The program combines symphonic and lyrical works, with particular attention to Germanic music. Performed by virtuoso pianist Daniil Trifonov, the Concerto pour piano n°2, op. 83 by Johannes Brahms (1833-1897) will open the concert on a poignant note. Composed in 1881, this work marks the first steps towards the peak of Brahms' creative maturity. However, despite the scale of this composition, its author describes the sketches asOp. 83in correspondence addressed to his friend, the Viennese surgeon Dr. Theodor Billroth, of “small piano pieces”. Structured in four movements, instead of the traditional three, it juxtaposes passages of absolute virtuosity with moments of deep introspection, where the dramatic intensity reaches the highest peaks.
After the intermission, Wagner's music will take over with the Prelude of The Mastersingers of Nuremberg (The Mastersingers of Nuremberg), WWV96a work that “contains all the contradictions of the world and seeks to reconcile them through art,” according to the Russian chef. The second series of waltzes from Act 3 of The Knight of the Rose (The Rose Knight), an opera in three acts by Richard Strauss (1864-1949). Very popular, but controversial for their anachronism, these waltzes were rearranged by Strauss to allow the public to discover them outside the context of the complete opera. There Dance of the Seven Veilsclimax of the opera Salome standing. 54 by the same composer, will then be performed. It traces the story of Salome, daughter of Queen Herodias, who dances for her father-in-law Herod in exchange for the head of the imprisoned prophet Jochanaan (based on the text by Oscar Wilde) – who is none other than John -Baptiste. in the Christian tradition. Bound by his oath, Herod is forced to order the execution of the austere preacher.
The concert ends with Stormy in love and dance (Impetuous in love and in dance), op. 393a fast polka by Johann Strauss II, marking the dawn of a new year in an atmosphere of joy and elegance.
