La Fenice

From the ashes it became

Top Classical, June 2022
Teatro La Fenice in Venice is considered one of the most beautiful opera houses in Europe. 
In 1789 the San Benedetto theatre was destroyed by fire. The Nobile Società di Palchettisti (Noble Association of Box-holders) decided to build a new opera house in Venice. The chosen location for this new opera house was between Contrada Santa Maria Zobenigo and Contrada Sant’Angelo. It would be named ‘La Fenice’, referring to the phoenix, the mythical bird which rises from the ashes.

Giannantonio Selva was the architect in charge of the reconstruction for a neoclassical style building with 174 identical boxes in tiers in a traditional horseshoe shaped auditorium.

Since the opening in 1792, La Fenice has risen twice from its ashes. In 1836, the theatre was destroyed by a fire that destroyed almost everything. Only the foyer and the Apollo rooms were saved. Teatro La Fenice was rebuilt in one year by Giambattista and Tommaso Meduna. In 1996, the theatre was again affected by a fire that burned almost the whole building, while it was closed for maintenance. The facade of the building is the only element which completely survived the two fires.

Many important composers wrote operas specifically for this sumptuous opera house. Examples are Gioachino Rossini with Tancredi (1813) and Semiramide (1823) and Vincenzo Bellini with I Capuleti e i Montecchi (1830) and Beatrice di Tenda (1833). Giuseppe Verdi’s relation with La Fenice started with the premiere of Ernani in 1844. His operas Attila, Rigoletto, La Traviata, and Simon Boccanegra were also performed for the first time in La Fenice. In 1947, Maria Callas made her debut at La Fenice in Richard Wagner’s Tristan and Isolde. Besides operas, many singers and conductors chose La Fenice to premiere their performances. An example is Igor Stravinsky’s The Rake’s Progress in 1951.

Nowadays Teatro La Fenice offers first class operas, concerts and ballets. The latest programmed performances include A Hand of Bridge (Samuel Barber), Il Castello del Principe Barbablù (Béla Bartók), Duse (Alessandra Ferri and the Hamburg Ballett), Rigoletto (Giuseppe Verdi) and L’Elisir d’Amore (Gaetano Donizetti). You can find the entire calendar, including a description, pictures and videos, on the website of Teatro La Fenice: https://www.teatrolafenice.it/ 

The Lucerne Festival

Lucerne Festival 2022: A Resplendent Celebration of Diversity and Musical Excellence

Top Classical, April 2022
In the radiant glow of Lucerne Festival’s 2022 edition, we bear witness to a chapter etched in the annals of musical history—a time when harmony took center stage amidst the resplendent landscapes of Switzerland. This year’s festival unfolded as a triumphant celebration of music’s ability to transcend boundaries and unite souls.

A canvas painted with the hues of international virtuosos and a calendar brimming with concerts spanning from August 9 to September 11—such was the stage set by Lucerne Festival for the summer of 2022. An ensemble of remarkable artists, both seasoned and emerging, converged to weave a tapestry of melodies that would resonate far beyond the Swiss Alps.

The constellation of artists that illuminated the Lucerne Festival stage beckoned the world to engage in a dialogue about diversity. With luminaries like Anne-Sophie Mutter, Lang Lang, Daniel Barenboim, Sir Simon Rattle, Daniil Trifonov, Angel Blue, Elina Garanca, Kirill Petrenko, and Juan Diego Flórez, the festival’s stage transformed into a global forum for artistic discourse.

The 2022 edition of Lucerne Festival embraced the theme of diversity—an overarching motif that reverberated through its myriad performances. This theme was a response to the evolving cultural and social landscape, resonating with institutions worldwide. Notable among these was the Metropolitan Opera’s debut of “Fire Shut Up in My Bones” by Terence Blanchard—an opera by an Afro-American composer. Lucerne Festival, in its own unique way, continued this conversation on its stage.

At Lucerne, the conversation on diversity expanded to encompass not only performers but also composers. The inclusion of voices like Angel Blue, Sheku Kanneh-Mason, Morris Robinson, and Elizabeth Llewellyn enriched the festival’s lineup. The innovative “Sinfonía por el Perú,” a musical education initiative for underprivileged youth by Juan Diego Flórez, echoed the festival’s commitment to fostering new talents. Notably, American soprano Angel Blue and multi-instrumentalist/composer Tyshawn Sorey were honored as ‘artistes étoiles’ for the upcoming edition, adding their unique narratives to the symphony of diversity.

The festival’s repertoire resonated with the theme of diversity, featuring works by Samuel Coleridge-Taylor, Stewart Goodyear, Liza Lim, William Grant Still, Tyshawn Sorey, Florence Price, Valerie Coleman, and Brian Raphael Nabors. These compositions, ranging from traditional to contemporary, formed a rich musical tapestry that captured the essence of diverse traditions and trends.

The festival’s theme of diversity was evident from the very first note, as the opening program featured the Chineke! Youth Orchestra—an assembly of musicians from diverse backgrounds aged 11 to 22. Founded in 2015, the orchestra aimed to provide new opportunities for black and ethnically diverse musicians. Their performance included Samuel Coleridge-Taylor’s “Otello Suite,” Stewart Goodyear’s “Callaloo Suite,” and Dvorak’s Eighth Symphony. Chineke! would later grace the festival’s closing ceremony, collaborating with acclaimed British cellist Sheku Kanneh-Mason.

The stages of Lucerne Festival bore witness to a parade of international luminaries. Anne-Sophie Mutter, Lang Lang, Denis Matsuev, Augustin Hadelich, André Schuen, Cecilia Bartoli, Elīna Garanča, and Juan Diego Flórez, among others, adorned the festival with their virtuosity. Their performances, guided by esteemed conductors and augmented by symphonic ensembles from around the world, resonated through the concert halls and into the hearts of the audience.

As the final notes of Lucerne Festival’s 2022 edition faded into the crisp Swiss air, they left behind a resonating legacy—a testament to the unifying power of music. From the rich repertoire to the diverse array of performers, the festival stood as a harmonious reflection of a world that celebrates differences and finds unity in shared melodies.

Elbphilharmonie

The Hamburg’s treasure

Top Classical, February 2022
On Friday, November 4, 2016 the city of Hamburg was jumping of joy when at last, after a long bumpy journey the Elbphilharmonie was officially handed to the mayor, Olaf Scholz. The costs, since the idea was approved in 2005 until the completion of the works, grew 1000%, going from 77 million euros at that time, to 790 million today.

For the Swiss architects Jacques Herzog (1950) and Pierre de Meuron (1950), both born in Basel, the Elbphilharmonie is the most outstanding construction of the new century so far. The team is also the author of brilliant works like the Tate Modern in London, the oscillating university library of Cottbus or the football stadium in the shape of a tire from Munich.

As many cultural emblems, this German monument also has a nickname: Elphi. It is a glass and steel complex built over a historic warehouse for coffee, tea and cocoa based one of the docks of the colossal port of Hamburg. The slender construction includes a large concert hall with capacity for 2,100 spectators; a smaller room for chamber recitals (550); and a wide Plaza that serves a social meeting point for the public before the concert starts. At 80 meters in length, the escalator that leads to the upper floors is the longest in Europe.

The opening concert took place on January 11th, 2017 by the NDR Orchestra – Elbphilharmonie, conducted by Thomas Hengelbrock among emotional tears from some of the musicians who felt overwhelmed by the sentimental importance of the event. 

However, not everything turned out great for this astonishingly beautiful hall. The Japanese specialist Yasuhisa Toyota was in charge of the acoustic design. Ten thousand diffuser panels, made with a mixture of ground rock (from Bavaria) and cellulose pulp (recycled paper and cardboard waste), line the room to achieve a better sound distribution. 

Unfortunately the acoustics of the Elbhilharmonie in Hamburg have had major problems since it was inaugurated. The problem seems to be that the sound of the large auditorium is so sensitive and precise that every little noise (as paper wrapper of a candy) gets magnified, which causes that an orchestra can easily cover a singer voice preventing it from reaching some sectors of the venue. This was exactly what happened the concert of the Basel Symphony Orchestra with Kaufmann. 

In the middle of the recital and when Kaufmann was singing Das Lied von der Erde by Gustav Mahler, a lady from the audience stood up and snapped at the tenor: Mr. Kaufmann we can’t hear you from here; a moment later another spectator was also complaining about the same problem. Some also moved around the room, quickly looking for a better place causing a big chaos on the hall. The reaction by the hall managers was prompt. The prize of the entrance tickets was lowered tickets with immediate effect for those less fortunate sectors of the room. 

Ironically, and with the exception of a few large orchestras that have not yet done so, almost everyone wants to perform at the Elphilharmonie. But is a matter of prestige more than adequacy what moves this will.   

The architectural beauty (designed by the Swiss studio Herzog & Meuron) and the acoustic exquisiteness of the Japanese engineer Yasuhisa Toyota fascinate visitors. The gigantic astonishing hall really deserve a visit, the interior decoration ant he innovative structure are worth admiring.

Salzburg Summer Festival

100 years of breathtaking performances

Top Classical, August 2021
The Salzburg Festival was inaugurated on August 22, 1920, with the premiere of Hugo von Hofmannsthal’s morality play Jedermann on the Domplatz, directed by Max Reinhardt. Since that time, the Salzburg Festival has established itself as the most important festival for opera, drama and concerts. During the six festival weeks in July and August, over 200 events, more than 250,000 visitors arrive to Salzburg. The various events are divided into three areas: drama, opera and concert.  

Initially the festival idea was focused in the desire to hold artistic events of the highest standard in a close relationship with the cultural tradition of Austria. After the First World War, the aim of the festival was intended to support the creation of a new Austrian identity, whereby by referring back to tradition, a cultural restoration took place.  

Traditionally, most of the Festival events take place in the heart of the historic centre: The Festival Hall, the Felsenreitschule and the Haus für Mozart. Since 1920, Jedermann by Hugo von Hofmannsthal is staged at Cathedral Square in front of the Salzburg Cathedral attracting every year thousands of festival guests to Salzburg – enjoying most innovative dramatizations and top class actors. Playing the Jederman in Salzburg is considered as one of the most prestigious stage roles within the German speaking World. Open-air and incorporating Salzburg’s historical city as breathtaking back drop, this unique success story ensures an unforgettable evening. There are also several performances scheduled at Republic nearby, the Mozarteum or the auditorium at the Faculty of Catholic Theology.  

In 2020, 100 years of the Salzburg Festival are being celebrated. Unfortunately, this year due to the corona crisis, the Salzburg Festival was not able to celebrate its hundredth anniversary as planned. However, from August 1rst to 30th, 110 performances took place in 8 locations in Salzburg under strict regulations.  

The festival’s executive director, Lukas Crepaz, recalled that the founders of the festival had planned the first one in 1920 in much more difficult conditions than today, which provided inspiration even as the organisers were aware of the risks. 

“You have to find the balance. We said we wanted a festival that makes sense artistically and is affordable but health and security is above all,” said Crepaz. 

The festival engaged a team of medical experts to provide an overview of all their plans, and, based on their recommendations, it was decided to abandon intervals in all the productions and have no refreshments for sale inside venues. One thing clear from the beginning was that singers and musicians could not feasibly practice social distancing, and the whole cast undergoes a cover swab test after every performance. 

If you’d like to be updated about the festival’s news, you can visit their website: https://www.salzburgerfestspiele.at/en/

– Clara Horner

Marlboro Music

The classical world’s most coveted retreat

Top Classical, July 2021
Marlboro Music was founded in 1951 by Rudolf Serkin, Adolf and Hermann Busch, and Marcel, Blanche, and Louis Moyse. Marlboro is a singular phenomenon. The great Austrian-born pianist Rudolf Serkin, Marlboro’s co-founder and long-time leader once declared that he wished to “create a community, almost utopian,” where artists could forget about commerce and escape into a purely musical realm.

For more over 65 years, Marlboro has had a profound influence on generations of leading chamber music artists and ensembles, recitalists, principals in the world’s major orchestras, singers, composers, artistic directors, and teachers.

Located on the tiny campus of Marlboro College, a former dairy farm, Marlboro brings together 60 to 80 musicians every July and August who explore chamber repertoire without the pressures and distractions that accompany daily life during the rest of the year.  The New Yorker Magazine describes as “The classical world’s most coveted retreat.”  Marlboro is a school that has no teachers or students — only participants, as they are called — from young professionals in their early 20s to veterans in their 80s. After three weeks of daily rehearsals, Marlboro artists begin sharing the results of their in-depth collaborations with audiences in public concerts. All the musicians are purposefully mixed in a workshop environment, which means that weekend concerts are a by-product, announced only a week or so in advance. Still, audiences travel from far and wide, appearing to welcome whatever is put in front of them. 

Today, Marlboro continues to thrive under the leadership of Mitsuko Uchida and Jonathan Biss, alternating the lead role from year to year. 

“I learn a lot,” Uchida said in an interview. “For example, when you play a piano quintet in the big world, I choose that superlatively good string quartet. They come prepared, I come prepared. It is me and the quartet as one. Here when we do a quintet, it’s four separate people plus me. And everyone is in a different stage of development and come from different schools and backgrounds. And there is so much more to sort out. And we have the time to sort it out.”

Marlboro Music cancelled its 2020 summer season (which would have been its 70th anniversary season) due to the COVID-19 outbreak. The festival is planning to return for the 2021 season, scheduled for July 17 to Aug. 15 of this year, as well as a 2020-21 Musicians from Marlboro tour schedule. “We will get through this period together, looking toward that time when we will once again be healed and uplifted by the incredible beauty and inspiration of live music,” organizers said. 

The Teatro Colon

When acoustics can’t be closer to perfection

Top Classical, May 2021
This imposing building was inaugurated on May 25, 1908 with the opera Aida by Giuseppe Verdi. Its great acoustics and construction have been witnesses of countless interpretations starring the most famous artists in the opera world throughout more than 100 years of existence.  

The construction of the theater took 20 years. Originally, the dome of the main hall was painted by Marcel Jambon, a French artist. The paintings were made in his atelier in Paris and depicted the god Apollo on a chariot drawn by four white steeds. That painting lasted until 1930s and in wasn’t until mid-1960s, when the dome was finally repainted. Raúl Soldi was then commissioned to decorate the dome. His work, made up of sixteen canvases covering 320 square meters, was originally made on the 11th floor of the San Martín Theater and placed on the Colón dome with a 30-meter scaffold. For its premiere, the theater authorities chose to represent “Aida”, by Giuseppe Verdi. The opera was a disaster. But a disaster on purpose: at that time, it was believed that opening a theater could attract bad luck, so the people in charge of the performance where nonprofessionals and the opening show was reported to be horrible. 

Former Argentinian President Marcelo T. de Alvear was determinate of imposing strict punctuality at the Colón. Apparently, Alvear was a regular at the theater. Until 1926, the public was not very punctual, which upset the President. So, to solve the problem, Alvear decided to stare before through his binoculars, whoever was late when they entered to the theater. Other spectators followed suit, disturbing the latecomers. And surprisingly this trick worked and changed the audience’s bad habit. 

The most famous artists have made their appearances in Teatro Colon, such as Luciano Pavarotti in 1987 with La Bohème, or Martha Argerich in 1969 and José Carreras in 1973 in La Traviata. We could also highlight the concert of the Chilean pianist Claudio Arrau with the National Symphony Orchestra of 1965, the opera Carmen with the notable voices of Grace Bumbry and Jon Vickers from the 1968 season, Monserrat Caballé’s first appearance with the opera Turandot in 1965 and the debut of the Spanish tenor Alfredo Kraus in the opera La Favorita in 1967. 

Between 2003 and 2010, the Colón was restored. 1500 people and $ 340 million were needed to finish the works. The greater challenge was preserving the acoustics, considered one of the best in the world. To reduce the risk of failing a private function was organized, prior to its reopening to the public on May 13, 2010, to make sure the acoustics have been entirely preserved. Luckily for its restorers, it was a resounding success. 

After almost one year closed due to the Corona pandemic, The Teatro Colón experienced this Saturday January 30^th 2021 an unusual premiere. For the first time in its history, one of the best opera houses in the world began to function as an auxiliary space for the health system to collaborate in the fight against the pandemic. We hope that this majestic theater will soon recover its prominent place in the classical music world and will be able to host again the most phenomenal operas with the best international elite artist.

The Gran Teatre del Liceu

Barcelona’s musical treasure

Top Classical, April 2021
The Gran Teatre deI Liceu was built in 1847. Barcelona had long had an opera house, the Teatre de la Santa Creu, renamed Teatre Principal. This building was home to a great opera house but was itself very small, and by the middle of the 19th century, when Barcelona became a major industrial city, a larger opera house seemed necessary.

A rivalry quickly developed between the Liceu and the old Opera: the two houses competed with one another over the price of seats. The Liceu would have won had it not burned down in 1861. The shareholders stepped up, and the architect, Joseph Oriol Mestres, needed just one year to rebuild the theatre, which reopened on 20 April 1862, with Bellini’s I Puritani. The Liceu then set about expanding its productions of operas and ballets. Each season a large number of operas would be staged, mainly from the Italian repertoire.

The most important works of classical music were presented here by the greatest singers of the last two decades. Domingo, Pavarotti, Caballé, Callas, Tebaldi will always have a special place in the heart of the audience. The hall regularly hosts the largest Wagner Festival after the Bayreuth Festival.

In January 1994, a fire severely damaged the theatre, destroying the auditorium and the stage. Since 1986, there have been plans to expand and modernize the building. Based on these plans, made by Solà Ignasi de Morales, the Liceu was rebuilt. The original was almost completely preserved, since as many undamaged parts as possible were reused.

Thus, the magnificent foyer and the equally splendid hall of mirrors were reconstructed according to the original rooms. Below the concert hall, an auditorium with a restaurant was built as a break room for the guests, and the stage was equipped with state-of-the-art technology. The curtain has been modernized and was designed by Antoni Miró. The upper floor seats got TV technology installed, since not all seats have a view on the stage. The geometry of the otherwise faithfully recreated concert hall has been slightly adapted to modern acoustics. The Gran Teatre del Liceu reopened in 1999 and now has nearly 2,300 seats on 6 levels. The Liceu is an integral part of Barcelona’s culture of today.

During this year 2020, the Liceu as well had to be locked down due to the world pandemic. In June 2020 to mark Spain’s lifting of lockdown, a very special concert was held. On that occasion musicians played to an unusual audience as thousands of plants filled its seats.

The event was the work of conceptual artist Eugenio Ampudia and included a performance from the UceLi Quartet string quartet. A total of 2,292 plants were packed into the theater, while the string quartet performed Puccini’s “Crisantemi,” according to a statement from the Liceu.

Although humans were not present in the audience, spectators could watch the “Concierto para el bioceno” via livestream.

The Royal Albert Hall

150 years of exclusive art shows

Top Classical, February 2021
With a capacity for more than 5,000 people, The Royal Albert Hall is one of the most important venues in London. Over 390 large-scale events are held here every year, including music concerts, ballet, opera and film screenings, award ceremonies and community events. 

Originally named the Central Hall of Arts and Sciences, which explains the mosaic of artists and scientists that adorns the roof, the building is situated in Albertopolis, the South Kensington district. 

During his lifetime, Prince Albert was committed to the arts, culture, and education for the benefit of his nation. When Queen Victoria laid down the foundation stone in 1867, she changed its name to pay homage to her late husband, Prince Albert, who had passed away six years earlier. She used a golden shovel to do the honor. 

At the top of the building, we can admire the circle of mosaic patterns of 800 feet long covering an area of 5,200 square feet. Seen from the north side counterclockwise, there are 16 themes such as music, sculpture, painting, prominent artists and royals, agriculture, and aerospace.  The gigantic glass dome that covers Royal Albert Hall spans over 20,000 square feet and is the largest unsupported glass dome in the world. The ceiling is not physically attached or adhered to the building but rather just sits on top as its weight keeps it in place.  

Since ancient times, the Royal Albert Hall has been an important venue for large-scale events. Some of those highlights include the first time The Beatles and The Rolling Stones performed together on the same lineup in September of 1963.  But also the speech of South African President Mandela during his visit to the United Kingdom in 1996, the launch of Harry Potter and the Order of the Phoenix JK Rowling in 2003 and the Lang Lang Piano recital, the Adele concert, the Hawking symposium on black holes, now the BBC Proms or The Royal College of Art The graduation ceremony.  

Before the 1960’s Royal Albert Hall had been also famous for lousy acoustics. Artists and composers alike complained they could hear themselves twice with the echo and delay being so bad. So, to solve this problem they brought in 135 fiberglass acoustic diffusers that look like upside-down mushrooms thus giving it its nickname of Mushroom Ceiling. Today they have been cut down to 85. 

The iconic venue is finishing the preparations to celebrate 150 years of music. A program of events including major new commissions, headline shows and historic community events beginning on 29 March 2021 – exactly 150 years on from its opening – and extend into 2022. Highlights include a special birthday concert, led by multi award-winning Bond composer David Arnold. Swan Lake choreographer Matthew Bourne will stage The Car Man – his contemporary take on Bizet’s well-known opera Carmen. 

In a recent interview, the venue’s chief executive, Craig Hassall said “Despite the devastating impact of the pandemic, which has closed our treasured building to the public for the first time since the Second World War, we are determined to host a full celebration of our 150th anniversary.” 

Berliner Philharmoniker

Inovative design, great acoustics

Top Classical, January 2021
The Philharmonie lies on the south edge of the city’s Tiergarten and just west of the former Berlin Wall. It was built to replace the old Philharmonie, destroyed by British bombers on 30 January 1944, the eleventh anniversary of Hitler becoming Chancellor.

The hall was designed by Hans Scharoun was completed in 1963. The iconic building is asymmetrical in shape appearing like a golden, draped tent. The concert hall is still highly regarded for its original design and acoustic qualities. It opened on 15 October 1963 with Herbert von Karajan conducting Beethoven’s 9th Symphony. Shortly before the new concert hall opened in 1963, experts used pistol shots to test the acoustics, and that’s how the world-renowned Philharmonie came to have its perfect sound. 

The Philharmonie is comprised of two venues with a connecting lobby, the Grand Hall with 2,440 seats for orchestral concerts and the Chamber Music Hall with 1,180. 

The Berliner Philharmonie was one of the first concert buildings to be designed with a central stage, surrounded by audience seating on all four sides. When looking at a section of the building, the main auditorium is shaped to project sound in all directions. The angular ceiling is draped over the auditorium space which heightens the rhythmic sounds. The Philharmonic’s tent-like appearance has made it a favorite venue for musicians and listeners alike.  

On 20 May 2008 a fire broke out in the hall. One-quarter of the roof had considerable damage, as firefighters were required to cut openings in order to reach the flames beneath the roof. The hall interior sustained water damage but was otherwise “generally unharmed”. 

Every Tuesday at 1 pm, the popular free lunchtime concert series presents a superb program of chamber music lasting around 45 minutes. Here, the top-flight musicians play for free, only asking visitors for a donation to the UNICEF Children’s Fund.  

The Berliner Philharmoniker orchestra traditionally mark the end of their season by leaving their hallowed hall and heading for the open-air venue of the Waldbühne. The concert there has a very special atmosphere, and, by popular demand, always ends with the old Berlin operetta tune Das ist die Berliner Luft (That’s the Berlin air), accompanied by the audience clapping enthusiastically! 

In 2020 The Berlin Philharmonic offers live recitals from the Philharmonie on Saturday evenings. Each week a small group of leading musicians from the Berlin Philharmonic will come together for an hour of live chamber music, followed by part of a recorded concert from the orchestra’s archive.  These online concerts are largely followed around the world and have great acceptance from the audiences. If you’d like to join the hall’s on-line community please visit: www.berliner-philharmoniker.de  

The Musikverein

The secret behind perfect acoustics

Top Classical, December 2020
The Musikverein is the most famous center of Classicism. It is placed in an ideal city: Vienna the city of music in all its splendor. It remains the home of Vienna’s concert life, and it still has a prime spot in the pantheon of classical music auditoria.  

The auditorium is praised to be one of the most traditional and the favorite for many first-rate artists. The building on Karlsplatz, a short distance from the splendid boulevard that is the Ringstraße, is reminiscent of a temple, built in 1870 by Theophil Hansen in a historical style, with columns, pediments and reliefs. 

The Musikverein was founded in 1812 as “Society of Music Friends in Vienna”. Since 1831, the society organized concerts in a small hall with only 700 seats.  But with the growing of the social importance of music performances, the Society soon realized that it was in urgent need of a bigger venue. 

Theophil Hansen, one of the most popular Ringstraße architects, was chosen for the construction of the “Musikverein”. He created a massive building in neo-Classical style, which was officially opened in 1870. The “Goldene Saal”, was immediately famous for its excellent acoustics. Even today, it is considered to be among the best concert halls of its size in the World. 

The Great Hall of the Musikverein, also known as the Golden Hall, is famous for its sumptuous contents. Apollo and the muses are the object of all eyes, and the columns have been shaped like women in antiquity. Its design is incomparable, in addition to the acoustics of the hall.  

Acousticians have proved that this opulent ornamentation are the key Musikverein’s brilliant sound. Because the sound bounces off so many different planes and angles, it becomes warmer and richer, converting hall itself in an instrument that works as a resonating chamber. The sensation that sound transmits is unique in the whole world.  

Every year in the Great Hall of the Musikverein the New Year’s Concert of the Vienna Philharmonic Orchestra takes place, which is broadcasted to an audience of millions internationally. 

Since 2004, there are four new rooms in the Musikverein: the Crystal Hall, the Metal Hall, the Stone Hall and the Wood Hall. Here is where the new artists traditionally make their debuts. In this way, for example, the internationally famous soprano Anna Prohaska made her debut at the Crystal Hall. 

This January first 2021 though, because of the Coronavirus crisis, millions of people around the world enjoyed only on television or online the traditional concert:  the Golden Hall remained closed to the public and the applauses came from the speakers.