Orchestre de chambre de Paris
Andrea Marcon | direction
Johanna Wallroth | soprano
Andrea Marcon and Swedish soprano Johanna Wallroth with a selection of her favourite repertoire featuring arias by Mozart.
Mozart Le Nozze di Figaro, Overture
« Ei parte... senti... ah no! /Per pietà, ben mio, perdona », aria excerpt from Così fan tutte
« Quando avran fine omai / Padre, germani, addio! », aria excerpt from Idomeneo
« Ach ich fühl’s », aria excerpt from Die Zauberflöte
Idomeneo, K. 366, Overture
Exsultate jubilate, K. 165
Beethoven Symphony No. 7 Op. 92
The first half of the concert features a selection of arias in which Mozart explores the depth of the human soul like no other composer. Beethoven composed his Symphony No. 7 just as Napoleon I suffered the series of setbacks which led to his eventual defeat: the disastrous campaign in Russia in 1812, defeat at Vitoria in northern Spain, and at Leipzig in 1813. This political situation partly inspired the jubilant mood of the score and helped to make it a hit when it was premiered on 8 December 1813 in Vienna. Symphony No. 7, which has no slow movement, is built around obsessive rhythms, rising to a euphoric peak in the fast movements. Richard Wagner, referred to it as “the apotheosis of dance”, claiming: “it is dance at the very highest level and the actual principle of bodily motion is embodied in the music”.
Production Orchestre de chambre de Paris