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CARNEGIE HALL PRESENTS

Orchestre Métropolitain de Montréal

Friday, November 22, 2019 8 PM Stern Auditorium / Perelman Stage
Yannick Nézet-Séguin by Jan Regan, Joyce DiDonato by Chris Singer
Powerful emotions, soaring melodies, and superstar artists make this a concert you won’t want to miss. The flowing lyrical line and robust coloratura of Sesto’s aria "Parto, parto, ma tu ben mio" from Mozart’s opera La clemenza di Tito are ideally suited to Joyce DiDonato’s bravura vocalism. Mozart’s splendor is well-matched in Bruckner’s transcendent “Romantic” Symphony. Rousing opening horn calls set the stage for a work with thrilling waves of brass and swirling strings in its famous Scherzo, and noble affirmation of the heroic in its finale.

Part of: Yannick Nézet-Séguin Perspectives and Joyce DiDonato Perspectives

Performers

Orchestre Métropolitain de Montréal
Yannick Nézet-Séguin, Artistic Director and Principal Conductor
Joyce DiDonato, Mezzo-Soprano

Program

MOZART Overture to La clemenza di Tito

MOZART "Parto, parto, ma tu ben mio" from La clemenza di Tito

MOZART "Non più di fiori" from La clemenza di Tito

BRUCKNER Symphony No. 4, "Romantic"


Encores:

MOZART "Voi che sapete" from Le nozze di Figaro

ARCHER Poem for Orchestra (excerpt)

Event Duration

The printed program will last approximately two hours, including one 20-minute intermission. Please note there will be no late seating before intermission.
The Trustees of Carnegie Hall gratefully acknowledge the generosity of Mr. and Mrs. Donald Fried in support of the 2019-2020 season.
In honor of the centenary of his birth, Carnegie Hall’s 2019–2020 season is dedicated to the memory of Isaac Stern in recognition of his extraordinary contributions to Carnegie Hall, arts advocacy, and the field of music.

At a Glance

Mozart and Bruckner are two Austrian composers who are often featured together on concert programs. They were as different in their means and methods as were the aesthetic principles of the two eras, a century apart, in which they lived. Both, however, possessed the gift for touching on the sublime in music—intimations of worlds beyond the material realm.

Mozart reached his greatest heights when he was writing for the human voice. Despite his deteriorating health and financial pressures, the last year of his life was one of frantic creativity. While in the midst of composing both Die Zauberflöte and the Requiem, Mozart received a commission that resulted in his penultimate opera, La clemenza di Tito.

The Fourth, or “Romantic,” Symphony is the most frequently performed of Bruckner’s mighty “symphonies to God.” Perhaps that is because it is also the one that stays closest to our own world in the chivalric imagery of its first movement and the earthy pleasures of its Scherzo, suggesting the rural life of Upper Austria he never really left behind.

Bios

Orchestre Métropolitain de Montréal

Since its founding in 1981, the Orchestre Métropolitain de Montréal (OM) has had but one mission: to share its passion for symphonic music and make it accessible to all. ...

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Yannick Nézet-Séguin

Artistic director and principal conductor of the Orchestre Métropolitain de Montréal since 2000, Yannick Nézet-Séguin is also music director of The Philadelphia ...

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Joyce DiDonato

A multiple Grammy Award winner and the 2018 Olivier Award winner for Outstanding Achievement in Opera, Kansas-born mezzo-soprano Joyce DiDonato charms audiences around the globe. She has ...

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