The maestro Metzmacher makes new sounds sound familiar and familiar sounds sound new. So what new and familiar sounds will he find in our Sibelius? And what will he find in the music of master modernist Wolfgang Rihm, the composer known for his wide stylistic palette and astonishing productivity? What is it about his expressive music that sounds so oddly familiar?
The sensational premiere of his Kullervo symphony in 1892 made Jean Sibelius (1865–1957) a national celebrity overnight, prompting Robert Kajanus, then conductor of what is now the HPO, to suggest he compose a popular piece for small orchestra. Sibelius duly obliged, and conducted the first performance of En Saga in 1893. It wasn’t quite what the audience had expected after the success of Kullervo; it wasn’t readily accessible, and despite being called a Saga, there didn’t seem to be an obvious story. It appeared to tie in with symbolist art and Edda poetry, and of course the Finnish national epic Kalevala. Sibelius himself never suggested a plot, but he did say that, psychologically, it was one of his most profound works; that it encompassed his whole youth, and that nowhere else did he so express his soul. The listener is possibly therefore best advised to simply sit back and enjoy the enchanting timbres and moods.
In 1926, Jean Sibelius (1865–1957) was asked by US conductor Walter Damrosch to compose a symphonic poem lasting about 15 minutes on a topic of his choosing. The result was Tapiola, named after the god of the forests in ancient Finnish mythology. Sibelius suspected that non-Finnish listeners might not be familiar with the myth so added a preface to the score: “Wide-spread they stand, the Northland’s dusky forests, Ancient, mysterious, brooding savage dreams; Within them dwells the Forest’s mighty god, And wood-sprites in the gloom weave magic secrets.” The Finnish premiere by the HPO in 1927 was a tremendous success, for it spoke to the very heart of the Finns, though the audience at the premiere in New York in 1926 had been a little baffled. But Damrosch himself wrote to Sibelius: “We were all enthralled by the dark pine forests and the shadowy gods and wood-nymphs who dwell therein. The coda with its icy winds sweeping through the forest made us shiver.”
Ingo Metzmacher (born 1957 in Germany) has conducted renowned orchestras and led productions at great opera houses and festivals across the globe. In 2022, his debut with the Helsinki Philharmonic Orchestra received a glowing review in Helsingin Sanomat.
The 2024–2025 season brings Metzmacher’s fifth tour with the Gustav Mahler Jugendorchester and his performances with the Gewandhausorchester, the Orquesta Sinfónica de RTVE, the Wiener Symphoniker, the SWR Symphonieorchester, the NDR Elbphilharmonie Orchester, the Armenian National Philharmonic Orchestra, and the Czech Philharmonic. In summer 2025, Metzmacher will present his tenth edition of the KunstFestSpiele Herrenhausen in Hannover.
Metzmacher has served as General Music Director of the Staatsoper Hamburg, Chief Conductor of the Dutch National Opera in Amsterdam, and Chief Conductor and Artistic Director of the Deutsches Symphonie-Orchester Berlin. He has been honoured with numerous significant awards for his artistic achievements.
Yes, but only before or after the concert. During the concert we just want you to enjoy the music. This way you won’t disturb the musicians or other audience members.
Only the orchestra has a dress code. You can dress as you like.
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