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Salzburg contemporary • Adès • The Cleveland Orchestra I


THOMAS ADÈS Dances from Powder Her Face (2007)

THOMAS ADÈS Concerto for Violin and Orchestra, Op. 23, “Concentric Paths” (2005)

RICHARD STRAUSS Symphonia domestica, Op. 53


End of concert approx. 9:30 pm.

Print programme (PDF)


Franz Welser-Möst in Conversation about „Die Liebe der Danae“ by Richard Strauss

posted in: Opera

( 29 Mar 2016 ) This Festival summer, Franz Welser-Möst will conduct the Strauss opera Die Liebe der Danae, a work closely linked to Salzburg Festival history: in 1944, the Festival was cancelled after the dress rehearsal for the opera had taken place; the work only saw its world premiere in 1952. Since then, the opera appeared on the Festival programme one more time – in 2002. Now it will be shown in a new production. In an exclusive interview, Franz Welser-Möst discusses the serenity in the music of Die Liebe der Danae, the role Strauss plays in his repertoire and his work with singers. Together with his Cleveland Orchestra, he also gives two concerts this Festival summer, conducting not only Richard Strauss, but also works by Thomas Adès and Béla Bartók. We spoke to him about the sound of the Cleveland Orchestra and the Vienna Philharmonic, about Salzburg, Krassimira Stoyanova, Anja Harteros and violinist Leila Josefowicz.

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Motive Salzburg contemporary, © Robert Mertens


Grosses Festspielhaus



Salzburg contemporary is sponsored by Roche
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He began making his mark on British music life from an early age: as a composer, conductor, pianist and festival director. Born in London in 1971, Thomas Adès was never tempted to dream up his music in the seclusion of an ivory tower, but sought out direct exchange with audiences and musicians alike. ‘It is better to write a note spontaneously and only think about its originality later than trying to reinvent the wheel with every piece’, he is convinced. ‘Traditional orchestras can express 100 percent of human existence, body and soul. A violin has something truthful to say today, just as it did in the 18th century.’ A practical musician in the best, most inclusive sense, Adès also actively performs his own works as well as those of selected colleagues and predecessors. It is no wonder that The Sunday Times nominated him as one of the ‘Top 100 Makers of the 21st Century’ – adding the prognosis that Adès would turn out to be ‘Britain’s new Britten’. In Salzburg, this hypothesis may be tested by attending his new opera as well as various concerts. Thus, soloist Leila Josefowicz joins the Cleveland Orchestra under Franz Welser-Möst in his three-movement violin concerto Concentric Paths, in which various circular developments converge dramatically or playfully complement each other. And in his Piano Quintet, Thomas Adès manages to undercut classical form by sophisticated layering of metres and a special dramaturgy of tempi: the result is a baffling new take on musical tradition.

Walter Weidringer

Translated by Alexa Nieschlag