• Tue. Oct 26th, 2021

The Berliner in Santa Cecilia, the orchestra returns to Rome after 17 years


Oct 13, 2021

After 17 years the Berliner Philarmoniker return to Rome. Considered the most prestigious orchestra in the world, the Berliners, led by their musical director Kirill Petrenko, will perform in the Sala Santa Cecilia of the Auditorium Parco della Musica on November 21 at 9 pm, as part of the Symphonic Season of the National Academy of Santa Cecilia, who has a particular bond with the German team. It is no coincidence that tonight, with performances on Friday 15 and Saturday 16, Petrenko will lead the Cecilian orchestra for a concert that typeset music by Mendelssohn, Brahms and Debussy. The concert marks the final stage of the Berliner European tour and aims to be a message of solidarity, hope and brotherhood in memory of all the victims of the pandemic. “When the pandemic reached Europe last year, Italy was hit first, and very hard. Nobody will forget the numerous victims. As a sign of European solidarity, it was natural for Germany to make its hospitals available as well. of Italian patients. The images of Bergamo, and also those of the Italian townspeople who played on their balconies and in their living rooms, thus expressing their faith in the future, will remain indelibly etched in our memory. Germany and Italy, in as founding countries of the European community, they were decisive for European integration. And even today these two countries feel a particular responsibility towards Europe “, declared Ambassador of the Federal Republic of Germany Viktor Elbling.” With this concert we want to demonstrate our deep connection with Italy. As musical ambassadors of Germany, the Berliners perform under the direction of ection by Kirill Petrenko in memory of the victims of the pandemic and as a sign of hope for an increasingly positive future for European cultural life. Only by working together will we be able to mourn for the victims and put culture back at the center of society “, says the Superintendent of the Berliner Andrea Zietzschmann, while Michele dall’Ongaro, President-Superintendent of the National Academy of Santa Cecilia, says: “The return of the Berliners after seventeen years of absence is great news, not only for Rome, but for our country. The National Academy of Santa Cecilia is proud to participate in this event by hosting the great German team in the Auditorium and a master like Kirill Petrenko who has just walked our stage together with our Orchestra. We are confident that music is the best vehicle to witness solidarity and friendship between our peoples and send a convinced message of hope for the future “.” The Romaeuropa Foundation is happy to collaborate with the National Academy of Santa Cecilia at realization of one of the most prestigious events of the international concert season. The performance of the Berliner Philharmoniker directed by Maestro Kirill Petrenko will take place, also thanks to the Musica per Roma Foundation, to crown the Grand Finale of the XXXVI edition of the Festival which will see the protagonist, among others, in the Sala Santa Cecilia itself and in co-realization with Musica for Rome, the Intercontemporain Ensemble in a national premiere with compositions by Steve Reich that include the new piece made for the film by Gerhard Richter “, concludes the General and Artistic Director of the Fondazione Romaeuropa Fabrizio Grifasi. The music in the program covers an arc of time of more than a century. Opening the romantic approach of Felix Mendelssohn who with the Symphony No. 3 “Scottish” retraces the suggestions of a trip to Edinburgh in the footsteps of historical vestiges linked to Maria Stuarda, ‘musical diary’ concluded in 1842, the year in which the composer concludes the Symphony dedicating it to Queen Victoria. A completely different climate in Symphony No. 10 that Dmi tri Shostakovich wrote in 1953 a few months after Stalin’s death, in which he traces the torment of the long years of dictatorship. About eight years separate this symphony from the Ninth, and this chronological break is also reflected in the changed sound climate of the work, marked by a tormented language, rich in chiaroscuro and bitter irony.