Vienna Philharmonic Orchestra
Please note that Yannick Nézet-Séguin will conduct the Vienna Philharmonic Orchestra in place of Valery Gergiev. The program remains unchanged.
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Yannick Nézet-Séguin: Also performing , and , and April 15, , and April 28, , and June 12, , and June 18, , and October 16, , and October 31, , and December 9, , and February 4, 2026, , and March 1, 2026, , and March 10, 2026, , and May 5, 2026, , and May 29, 2026, , and June 11, 2026, , and and June 18, 2026.
Performers
Vienna Philharmonic Orchestra
Yannick Nézet-Séguin, Conductor
Program
PROKOFIEV Selections from Romeo and Juliet
TCHAIKOVSKY Symphony No. 6, "Pathétique"
Event Duration
The printed program will last approximately two hours, including one 20-minute intermission.At a Glance
This concert presents two contrasting works by Russian masters, one from the 19th century, the other from the 20th. Prokofiev’s Romeo and Juliet, written mid-career, is a kaleidoscopic compilation of the composer’s many styles, from delicately neoclassical to crushingly dissonant. There is plenty of passion, as befits its subject, but Prokofiev inserts his own acrid irreverence, reflecting Shakespeare’s vision of young love assaulted by harsh reality. Critics thought the music too cold and lacking sensuality, and Prokofiev had to fight for six years starting in 1934 to get his “undanceable” ballet produced in Russia. Nonetheless, this massive score has always been popular as concert music, offering tremendous color, variety, and a Wagnerian tissue of motifs that represent not only specific characters, but also their thoughts and fantasies. Tchaikovsky’s “Pathétique” Symphony, his final work, is more emotionally unified. It is his darkest symphony, heralding a new emotional honesty. It embraces despair rather than heroically struggling against it, as with his Fourth and Fifth symphonies. Yet it has Tchaikovsky’s unmistakable sound, his uninhibited Russianness, and his incomparable gift for melody. Typical of Tchaikovsky’s composition process, it cost him considerable angst in its creation, although he came to regard it as his best and “most sincere” creation. At one point, he contemplated destroying the finale, perhaps his most powerful and original symphonic movement. In keeping with Tchaikovsky’s bad luck, the symphony was received indifferently at its 1893 premiere, but was enthusiastically embraced at subsequent performances a month later—right after his sudden, tragic death. Despite its profound melancholy, it has been popular ever since.