Kirill Petrenko and Víkingur Ólafsson with Brahms and Strauss

Kirill Petrenko energetically conducts the orchestra. He holds a baton and gestures with his other hand, surrounded by musicians playing various string instruments.
Kirill Petrenko | Picture: Stephan Rabold
Vikingur Olafsson
Vikingur Olafsson | Picture: Ari Magg

    Concert information


    Info

    Acclaimed for his distinctive and imaginative interpretations, Víkingur Ólafsson joins the Berliner Philharmoniker and Kirill Petrenko at short notice, stepping in for the indisposed Daniil Trifonov as soloist in Johannes Brahms’s First Piano Concerto. Written when Brahms was still in his twenties, the concerto combines symphonic scale and power with moments of intimate dialogue between piano and orchestra. The concert’s second half features Richard Strauss’s Also sprach Zarathustra. Opening with a hymn-like sunrise, the work traces the philosopher Zarathustra’s journey to humanity: dramatic, mystical and splendorous in sound.
     


    Artists

    Berliner Philharmoniker
    Kirill Petrenko conductor
    Víkingur Ólafsson piano (replacing Daniil Trifonov)


    Programme

    Johannes Brahms
    Concerto for Piano and Orchestra No. 1 in D minor, op. 15

    Víkingur Ólafsson piano (replacing Daniil Trifonov)

    Interval

    Richard Strauss
    Also sprach Zarathustra (Thus spoke Zarathustra), op. 30

    Programme note


    Additional information

    Duration ca. 2 hours (incl. 20 minutes interval)


    Dates and tickets


    Main Auditorium

    50 to 161 €

    Introduction
    19:15
    with Dr. Kerstin Schüssler-Bach

    Series F: Concerts with the Berliner Philharmoniker


    Main Auditorium

    50 to 161 €

    Series K: Concerts with the Berliner Philharmoniker


    Main Auditorium

    50 to 161 €

    Series N: Concerts with the Berliner Philharmoniker

    Background

    Richard Strauss’ “Also sprach Zarathustra”
    Five questions about the famous work

    Sunset over snow-capped mountains, with rays of sunlight streaming through dramatic clouds, casting shadows and warm light across the sky.

    We all know them: the first five notes of Richard Strauss’ tone poem Also sprach Zarathustra. Loosely based on the philosopher Friedrich Nietzsche’s novel of the same name published fifteen years earlier, the work is now one of the best known in the classical repertoire, not least thanks to its almost excessive use in film and television. But who was Zarathustra? Why has the work achieved such cult status? And what is the connection between it and the Berliner Philharmoniker? We have compiled answers to five such questions for you.

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