Few musicians will concentrate so many looks, and so expectant, in 2019 as Kirill Petrenko, who in the summer will officially occupy the position of principal conductor of the Berlin Philharmonic. It is not about any newcomer, of course, since he has been scrutinizing audiences and critics for years, but one of the top posts of classical music and, without a doubt, the most mediatic of all of them will impose him new demands This is the case for those who preceded him in the same task (Arthur Nikisch, Wilhelm Furtwängler, Sergiu Celibidache, Herbert von Karajan or Claudio Abbado), who have cemented the legendary aura of the orchestra, a pioneer in using the latest technologies to become the first truly global group. its Digital Concert Hall It allows you to follow live all over the world from your concerts, without cheating or cardboard, with an unusual technical quality.
This permanent exhibition was something very liked by Simon Rattle, his predecessor, who has occupied for 17 years the Berlin podium in the Philharmonie. But the British is a born communicator, who moves like a fish in the water in front of a microphone, unlike the elusive and shy Petrenko, who will not have any choice but to say yes to what he has been dodging with negatives for years . But the main question is whether the Russian will come out of the qualitative jump that passes from the pit of an opera house to the podium of the most famous concert hall in the world. At the moment, it seems that it has dazzled the musicians of the orchestra and a good part of the critics, who has dedicated fiery praises to their last performances in Munich (Parsifal Y Otello) like the first tour in front of his new orchestra last summer. His democratic election three years ago by the Berlin Philharmonic was a carom resulting from a deep dissension that must have surprised, more than anyone, himself. It is now that the moment of truth finally arrives and everything points to the fact that, although a long and arduous path awaits you, it will not disappoint.
The inevitable ephemerides will also mark the musical calendar and this year will commemorate the sesquicentennial of the death of Hector Berlioz. Will open fire a new production of The Trojans, perhaps his magnum opus and almost absurdly ambitious work, which in turn will serve for the Paris Opera to remember the 350 years since its creation (as Académie Royale de Musique, in 1669) and the 30 since François Mitterrand inaugurated the Opera of the Bastille, the "People's Opera". This same month, Jorge Fernández Guerra will give an account in these same pages of the beginning of the celebrations in the French capital.
But the great musical anniversary on the horizon is the 250th anniversary of Beethoven's birth, which will dominate the world's programming in 2020. In this year there will be multiple advances, the most important of which will be the great exhibition -The largest celebrated to date on the composer- which is announced in the Bundeskunsthalle of Bonn, the city where Beethoven was born in 1770. It will be inaugurated at the other end of this 2019, which was premiered on December 17th.