Weigold&Böhm


  • Lisa Batiashvili

    Lisa Batiashvili
  • Denys Proshayev

    Denys Proshayev
  • David Garrett

    David Garrett
  • Concerto Köln

    Concerto Köln
  • Nicola Benedetti

    Nicola Benedetti
  • Venice Baroque Orchestra

    Venice Baroque Orchestra
  • Jos van Immerseel

    Jos van Immerseel
  • Philippe Jaroussky

    Philippe Jaroussky
  • Giuliano Carmignola

    Giuliano Carmignola
  • Miguel Harth-Bedoya

    Miguel Harth-Bedoya
  • Anima Eterna Brügge

    Anima Eterna Brügge
  • Gautier Capuçon

    Gautier Capuçon
  • Tal & Groethuysen

    Tal & Groethuysen
  • Alexandre Tharaud

    Alexandre Tharaud
  • Andrea Marcon

    Andrea Marcon
  • Rundfunk-Sinfonieorchester Berlin

    Rundfunk-Sinfonieorchester Berlin
  • Raphaela Gromes

  • Jean-Yves Thibaudet

    Jean-Yves Thibaudet
  • Javier Perianes

    Javier Perianes
  • Jean Rondeau

    Jean Rondeau
  • Russische Nationalphilharmonie

    Russische Nationalphilharmonie
  • Shao-Chia Lü

    Shao-Chia Lü
  • La Cetra Basel

    La Cetra Basel
  • Orfeo 55

    Orfeo 55
  • Katia & Marielle Labèque

    Katia & Marielle Labèque
  • Regensburger Domspatzen

    Regensburger Domspatzen
  • Ensemble Artaserse

    Ensemble Artaserse

Debut with the Bavarian Radio Symphony Orchestra on Feb. 12th and 13th, 2015

On February 12th and 13th, 2015, the italian conductor Andrea Marcon debuted at the Herkulessaal of the Münchner Residenz with the Bavarian Radio Symphony Orchestra. The Abendzeitung writes about the "most musically-sensual among all of the early music specialists". But while opening orally the concert, Andrea Marcon picked up the lyrics of one of the Bach-cantatas: it talks from the false and the right world and he linked the lyrics with the actual political debate about the new concert hall in Munich.

Moreover, the Abendzeitung writes in its article on Feb. 15th, 2015:
"Above all, clever Marcon understands every second of Bach's music as an expression of meaningfulness. (...) An impression remains of a furious performance that will bring about a never-ending flood of invitations for return engagements. Andrea Marcon is the most musically-sensual among all of the early music specialists." (Michael Bastian Weiß)
Read the whole article in german here.

The Süddeutsche Zeitung writes on Feb. 14th/15th, 2015:
"It was following intermission, however, when it became truly enchanting: Carl Philipp Emanuel Bach's Symphony in D-Major, Wq 183, No. 1 is astounding. Tightly interfused with clever changes in expression and tempo, the works hurtles somewhere between baroque, pre-classical and first Viennese school; aloof yet lively. While not a prime example of consistency, music could not be richer with effects. And it is a true pleasure when it is performed with such precision and enthusiasm." (Andreas Pernpeintner)

The Münchner Merkur writes on Feb 14th/15th, 2015
"Of course, they are no period instrument ensemble but the musicians showed no stylistic weakness and, excellently-trained by Marcon, followed a historically-informed ideal." (Tobias Hell)

You can listen to the concerto at the website of BR Klassik.

The programme included:
Johann Sebastian Bach:
"Falsche Welt, dir trau ich nicht", Kantate, BWV 52
"Ich liebe den Höchsten von ganzem Gemüte", Kantate, BWV 174

Carl Philipp Emanuel Bach:
Sinfonia D-Dur, Wq 183/1

Wolfgang Amadeus Mozart:
Symphonie Nr. 29 A-Dur, KV 201

Symphonieorchester des Bayerischen Rundfunks
Chor des Bayerischen Rundfunks

Solists:
Carolyn Sampson, Soprano
Carlos Mena, Countertenor
Julian Prégardien, Tenor
Tobias Berndt, Bass