What's On

Opera North’s production of Wagner’s Ring combines both visual impact and great singing and playing. In the words of The Times on Das Rheingold, ‘Farnes has done many fine things at Opera North, but his pacing of this 150-minute sweep of music, his care about balance… and the sumptuousness of the orchestral textures – all this constitutes a massive achievement.’ In the penultimate part of this great tragedy of love and power, the hero Siegfried awakens the warrior maiden Brünnhilde, lying in a deep sleep surrounded by a magic fire, and makes her his wife.

Beg, borrow or be like Wotan and steal a ticket… make sure you catch the rest of Opera North’s Ring as it unfolds over the next four years Richard Morrison, The Times

Oliver Condy, Editor of BBC Music Magazine, explains why he has recommended tonight’s concert:

Opera North have risen to the challenge of performing Wagner’s entire Ring Cycle over four years – if the first performance is anything to go by, this third instalment looks set to be as thrilling as ever.

3.15pm Pre-concert talk

Concert performance sung in German with English surtitles. Please note surtitles may not be visible from every seat. Symphony Hall is a large hall and surtitles can be harder to read from the Grand Tier. To be sure of best visibility, book seats in centre stalls, centre circle or centre upper circle or check with box office before booking.

This concert has a running time of c.5 hours and 45 minutes including two intervals of 30 and 60 minutes.

Der Ring des Nibelungen: Part 3, 'Siegfried'

Richard Wagner (1813-1883)

Not quite a night at the movies, but this American-inspired programme borrows much from Hollywood and Broadway. Bernstein's ever-popular Symphonic Dances - so much more than a medley of music from his hit show, West Side Story - is mirrored with Rachmaninov’s autobiographical work of the same name. The two are separated by Korngold’s Violin Concerto, which marked his return to mainstream composing from his highly successful career as a film composer during the Second World War. Buried in the music are themes from many of his fabulous film scores, including The Prince and the Pauper and Another Dawn.

Symphonic Dances from West Side Story

Leonard Bernstein (1918-1990)

Concerto for Violin and Orchestra

Erich Korngold (1897-1957)

Symphonic Dances

Sergey Rachmaninov (1873-1943)

The matchless combination of Andris Nelsons and the City of Birmingham Symphony Orchestra provides all the elements for an astounding concert. And as it takes place at the end of June it’s appropriate to begin with Mendelssohn’s sun-drenched ‘Italian’ Symphony. A ten month tour of Italy in 1830 left him with an overwhelming impression of the ‘land of nature, delighting every heart,’ and inspired him to write his most effervescent symphony three years later.

One of the most moving stories of Beethoven is that one of the soloists at the premiere of his 9th Symphony in 1824 had to turn the deaf composer around so that he could witness the tumultuous applause. Few there could have doubted its seismic status. Visionary in scope, extreme in its gestures and technically daunting (horn players still have cold sweats about one notorious solo), it’s a piece which tears at the boundaries of the classical symphony, nowhere more so than in the choral finale that proclaims the words of Schiller’s Ode to Joy.

Free pre-concert talk, 6.30pm in the auditorium: Neil Bennison previews the 2013-2014 season

Symphony No 4 in A, 'Italian'

Felix Mendelssohn (1809-1847)

Symphony No 9 in D minor, 'Choral'

Ludwig van Beethoven (1770-1827)

The City of Cambridge Symphony Orchestra (CCSO), formerly known as the Cambridge String Players, performs about six orchestral concerts a year, usually at the University Concert Hall in West Road, Cambridge. The repertoire is based on music from the 18th Century to the present day, with occasional works for strings only and others for winds and percussion. CCSO is delighted to welcome new Musical Director, Robert Hodge, who took up his position in February 2012.

Beethoven’s Coriolan Overture is a stirring opening statement for this final concert of the season and leads us into the Violin Concerto, which has been the model for all the great violin concertos that followed and remains a commanding tour de force for aspiring and established virtuosi. We warmly welcome tonight’s soloist, Rebecca Greenstreet, who plays with the CCSO for the first time.

The Pathétique Symphony is Tchaikovsky’s most personal and heartfelt utterance. Few have been able to resist the allure of its soaring melodies, lopsided scherzo, robust march and despairing final movement. Why do we willingly involve ourselves in art that makes us weep? Find the answer at this concert.

Formerly a student at Newnham College, Cambridge, Rebecca is now a postgraduate student at the Royal Academy of Music. As a passionate chamber musician, she continues to participate in master classes with the Endellion String Quartet and the Schubert Ensemble, among others. Past performances include appearances with Robin Ireland in the Kellaway Concert Series, and with Levon Chilingirian at the Mendelssohn on Mull chamber music festival, broadcast by BBC Radio Scotland.

Coriolan Overture

Ludwig van Beethoven (1770-1827)

Concerto for Violin and Orchestra in D

Ludwig van Beethoven (1770-1827)

Symphony No 6 in B minor, 'Pathétique'

Pyotr Tchaikovsky (1840-1893)