Sorry, this entry is only available in Dutch. For the sake of viewer convenience, the content is shown below in the alternative language. You may click the link to switch the active language. Jos van Immerseel & Ayako Ito (pianoforte), Jakob Lehmann (viool), Pavel Serbin (cello) Wie Schubert zegt, zegt Wenen, 19de eeuw: een schatkamer
Where jazz and classical music meet, George Gershwin holds sway… A prolific composer of songs at a young age, Gershwin’s first flash of fame was earned in music halls and Broadway productions. Despite popular successes such as Lady Be Good and Strike up the Band, Gershwin always aspired to be a ‘classical’ composer as well.
Since 2015, Armenian-French violinist Chouchane Siranossian has been a returning guest of Anima. This season too, she takes front of stage at several occasions. After having starred in Mendelssohn’s and Beethoven’s violin concertos, Chouchane will take on a double role as a concert master and soloist in this all-Russian production. The corner stone of the
Revisiting a successful earlier collaboration, Anima Eterna Brugge presents a new project featuring Christoph and Julian Prégardien – two of the most versatile and expressive tenors of today’s concert stage. With friends such as these, it’s all the more exciting to celebrate the 450th birthday of one of history’s most groundbreaking composers: Claudio Monteverdi (1567-1643),
Beethoven’s 7th symphony – considered his most impressive symphonic creation by his contemporaries – is a brilliant exploration of orchestral colors and rhythmical propositions. Beethoven wrote this ‘apotheosis of dance’ (dixit Wagner) somewhat 12 years after his first contribution to the genre. The time gap separating Mendelssohn’s violin concertos is even more extensive. No less
Anima Eterna Brugge are overwintering with their most faithful companion: Ludwig van Beethoven. Symphony No 7 – the favourite symphony of 19th-century audiences – is a brilliant exploration of the range of colours to be found in an orchestra and a majestic demonstration of rhythmic ingenuity. This ‘apotheosis of dance’ (in the words of Wagner)
Anima holds a tender spot for French orchestral music from the 19th and early 20th centuries – a fondness to which past projects devoted to Berlioz, Fauré, Ravel, Debussy and Poulenc (of which a selection has been assembled in a CD box by Outhere Music/Alpha) proudly testify. French chamber music, too – particularly that of
Dear Antonín Dvořák, Camille Saint-Saëns and Ludwig van Beethoven: let’s pick up where we left off! After having explored Dvořák’s Symphony ‘from the New World’ in 2015, Anima can’t wait to uncover more subtle beauty, intricate colors and irresistible vigor in the symphonic poem Vodnik and the Nocturne opus 40. Bound to become a new