R. Strauss: Der Rosenkavalier – first sequence of waltzes Prokofiev: Overture on Hebrew Themes, op. 34/b Ravel: Piano Concerto in G major R. Strauss: Der Rosenkavalier – second sequence of waltzes Prokofiev: Piano Concerto No. 1 in D flat major, op. 10 Ravel: La Valse – choreographic poem Shortly after its Dresden world premiere in May 1911, Budapest audiences could hear Richard Strauss’s opera Der Rosenkavalier. It was a huge success and over a hundred performances were held at the Hung...arian Opera House during Strauss’s lifetime. Hugo von Hofmannsthal’s libretto was set in Maria Theresa’s era, although the waltz, which did not exist before the 1820s, is allotted a key role in Strauss’s music in which he bids farewell to the golden era of the Monarchy. He himself compiled the waltzes into sequences for concert hall performance. The Overture on Hebrew Themes was written in 1919 in America and the original version was for a group of Jewish musicians known as the Zimro Sextet. Sergei Prokofiev required only ten days to lick the themes that had been improvised on piano into their final form and after its successful premiere in New York, decided to arrange the work for small orchestra. He composed his Piano Concerto No. 1 eight years earlier when he was still a student and it was premiered by him in Moscow in 1912. Today’s soloist, Alexander Toradze released a recording of all five Prokofiev concertos in 1997 which the International Piano Quarterly described as the greatest recording of all time. Born in Tblisi, he now lives in the United States and is one of the most authentic interpreters of the Russian repertoire. He works with leading conductors and virtually all the leading orchestras of the world. The audience of the Festival Orchestra first heard him January 2003 as the soloist of Prokofiev’s Second Piano Concerto. La Valse was written in 1919 for the Ballet Rousse – hence its description as a “choreographic poem”. Diaghilev quarrelled with Ravel and ultimately did not premiere the work but this “fantastic and tragic cavalcade” depicting Vienna and the world of the waltz rapidly became his most frequently performed symphonic work.
Parking information
We wish to inform you that in the event that Müpa Budapest's underground garage and outdoor car park are operating at full capacity, it is advisable to plan for increased waiting times when you arrive. In order to avoid this, we recommend that you depart for our events in time, so that you you can find the ideal parking spot quickly and smoothly and arrive for our performance in comfort. The Müpa Budapest underground garage gates will be operated by an automatic number plate recognition system. Parking is free of charge for visitors with tickets to any of our paid performances on that given day. The detailed parking policy of Müpa Budapest is available here.
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