MENDELSSOHN & BARTÓK
DiDonato , Rolando Villazón , Ian Bostridge , Andrè Schuen , Hilary Hahn , Lisa Batiashvili , Clara-Jumi Kang , Andreas Ottensamer , Fazil Say , András Schiff , Jan Lisiecki , Kirill Gerstein , Yeol Eum Son , Paul Lewis , Kit Armstrong , Steven Isserlis , and Emmanuel Ceysson .
Mozart Serenades , Roberto ’ s newest CD recording with the Mozarteumorchester Salzburg for Berlin Classics , has garnered international praise since its release in Summer 2023 . His recordings with the Musikkollegium Winterthur feature works by Mozart , Beethoven , Prokofiev , and Saint-Saëns .
Roberto served as concertmaster of the Orchestra dell ’ Accademia Nazionale di Santa Cecilia for six years , and as the leader of the Musikkollegium Winterthur until summer 2021 . He plays a 1710 Giuseppe Guarnieri ‘ filius Andreae ’ violin kindly loaned to him by five Winterthur families and the Rychenberg Stiftung .
Yeol Eum Son
Yeol Eum Son
Pianist Yeol Eum Son , born in South Korea , in 1986 , is renowned for her exceptional artistry and captivating performances . Yeol Eum has captivated audiences worldwide with her boundless artistic exploration and profound musicality , establishing herself as one of the foremost pianists of her generation .
Yeol Eum ' s playing is marked by its poetic elegance , nuanced expressiveness , and a gift for conveying dramatic contrasts . Her artistry is underpinned by breathtaking technical prowess and a deep emotional connection to the music she interprets . She possesses an insatiable curiosity that drives her to explore a diverse range of musical genres and styles , always striving to reveal the pure essence of each piece .
Her extensive repertoire spans classical masterpieces by composers such as Bach and Mozart to contemporary works by Shchedrin and Kapustin , chosen for their quality and depth . Yeol Eum Son is highly sought after as a recitalist , concerto soloist , and chamber musician , earning critical acclaim for her intelligent interpretations .
Across the 2024 – 25 season , Yeol Eum makes orchestral debuts with the BBC Symphony at the Barbican Centre in London , Vienna Tonkünstler Orchestra at Vienna Musikverein , National Symphony Orchestra of Ireland , and the Los Angeles Philharmonic .
Yeol Eum ’ s past seasons ’ collaborations include , the Konzerthaus Orchestra Berlin , Castilla y León , Spanish Radio and Television Symphony , BBC Philharmonic , and Royal Liverpool Philharmonic . In North America and Australia , Yeol Eum has recently made appearances with Detroit , San Diego , Sydney , and Tasmania Symphony Orchestras .
Recent recital highlights include debut appearances at the Edinburgh International Festival , Rosendal and Risør Chamber Music Festival , and Singapore International Piano Festival , as well as return visits to the Helsingborg Piano Festival in Sweden , and Melbourne Recital Centre .
In addition to Yeol Eum ’ s intense performance diary , she has an active recording schedule with Naïve Records .
NOTES ON THE PROGRAM
By James M . Keller
Wolfgang Amadè Mozart
Born January 27 , 1756 , in Salzburg , Austria Died December 5 , 1791 , in Vienna , Austria
OVERTURE TO THE MAGIC FLUTE [ 1791 ]
Wolfgang Amadè Mozart completed almost all of The Magic Flute ( Die Zauberflöte ) during the spring and early summer of 1791 , but several numbers , including its Overture , remained to be written when , in July , he was commissioned to compose The Clemency of Titus ( La clemenza di Tito ) for festivities surrounding the coronation in Prague of Emperor Leopold II as King of Bohemia . Titus was received mildly at its premiere , on September 6 , but by the end of its run , on September 30 , it grew into a resounding success . Mozart had to enjoy this cliffhanger of a triumph from a distance , since by then he had returned to Vienna to oversee final preparations for the premiere of The Magic Flute . For this singspiel ( an opera with spoken German text interlaced among the musical numbers ), he collaborated with librettist Emanuel Schikaneder , a singer-actordancer-manager-playwright who helmed Vienna ’ s thousand-seat Freihaus-Theater auf der Wieden .
The audience did not embrace the new work immediately , but — mirroring Mozart ’ s experience with Titus — they soon succumbed to its charms . Mozart finally had a much-needed hit on his hands . If he had not died little more than two months following the premiere , The Magic Flute would doubtless have changed the course of his life .
There seems to be a certain amount of hocus-pocus going on in The Magic Flute , some of which is an allegory for Masonic beliefs and rites . Both Mozart and Schikaneder were active Freemasons , with Mozart apparently reaching the rank of Master Mason . Although the details of Freemasonry were then , and remain today , shrouded in secrecy , the movement
22 | OVERTURE | BSOmusic . org