Richard Wagner’s (1813–1883) overture to his German romantic opera Die Meistersinger von Nürnberg (1867) has become one of the most popular pieces in the concert repertoire. Held in similarly high regard is the Adagietto from Gustav Mahler’s (1860–1911) Symphony No. 5 (1901/02), a wordless declaration of love to his partner Alma that already represents the turn-of-the-century style. Richard Strauss’s (1864–1949) Vier letzte Lieder (Four Last Songs, 1948) – not grouped into a cycle by the composer himself – comprise four late songs (one setting a poem by Eichendorff and three poems by Hesse) and transport us into the years following World War Two. After the interval, we return to the great era of German romanticism with the Overture to Robert Schumann’s (1810–1856) unsuccessful opera Genoveva (1850), which has taken on an independent life of its own, together with the composer’s far more successful sole Piano Concerto from five years previously (1845). The outstanding soprano Katalin Szutrély is equally at home in every stylistic period, though audiences most often encounter her in early-music productions. Dénes Várjon’s piano playing is celebrated by audiences the world over, while György Vashegyi, founder and director of the Purcell Choir and Orfeo Orchestra, has been the general music director of the Hungarian National Philharmonic since October 2022.

Presented by: Hungarian National Philharmonic