Sa­lu­te to Vi­en­na New Ye­ar’s Con­cert Re­vi­sits the Sple­ndor of 1899 Eu­ro­pe

Amerika Woche - - Wir In Amerika -

For two and a half hours, au­di­en­ces are trea­ted to a full orches­tra per­for­ming an ever­green pro­gram­me of mu­si­cal fa­vou­rites drawn from the 1890s, fea­turing pol­kas and ope­ret­ta hits by com­po­sers li­ke Strauss, Lehár, and Kál­mán. Du­ets, ari­as, and clas­si­cal bal­let, as well as­in­ter­na­tio­nal stan­dard ball­room cho­reo­gra­phy, are per­for­med by a Eu­ro­pean cast. The con­cert’s Vi­en­nese con­duc­tor is al­so its mas­ter of ce­re­mo­nies, in­vol­ving the au­di­ence th­rough stor y-tel­ling and gent­le hu­mour. The con­cert is uni­que to North Ame­ri­ca in its tre­at­ment of po­pu­lar mu­sic from al­most 150 ye­ars ago; this mu­sic, which was writ­ten to en­ter­tain and to di­vert, is per­for­med with re­spect to its orig­ins of fri­vo­li­ty and fun, and the cast cle­ar­ly en­joys their time on the sta­ge.

And this is pre­cise­ly the po­int, ac­cor­ding to Ma­ri­on Glatz: „When I was a girl, the Neu­jahrs­kon­zert brought us to­ge­ther around the ra­dio and then la­ter the te­le­vi­si­on set. It wasn’t hea­vy or se­rious, but it was a time whe­re we all pau­sed to lis­ten to so­me of the most ro­man­tic and nost­al­gic mu­sic that we loved from ope­ret­t­as.“Now grand­pa­r­ents them­sel­ves, the Glat­zes say they are even mo­re ke­en­ly awa­re of the im­port­an­ce of ta­king stock as the new ye­ar turns over. „The be­au­ty of this con­cert is that it ma­gi­cal­ly sus­pends us in time and al­lows us to look both back­ward and for­ward,“smi­les Ma­ri­on.

„We are ve­ry proud that our work fos­ters cul­tu­re-sha­ring bet­ween Eu­ro­pe and North Ame­ri­ca,“At­ti­la Glatz says. Pre­ser­ving the he­ri­ta­ge of the Eu­ro­pean-style per­for­man­ces is cru­ci­al to the va­lue of the Sa­lu­te to Vi­en­na con­certs for the pair, and it has paid off. Pro­du­ced sin­ce 1995, Sa­lu­te to Vi­en­na New Ye­ar’s Con­cert will ring in the New Ye­ar in 24 ci­ties across the USA and Ca­na­da this sea­son. At­ti­la Glatz was a con­cert pia­nist be­fo­re they laun­ched a con­cer t pro­duc­tion bu­si­ness over 30 ye­ars ago af­ter im­mi­gra­ting to Ca­na­da, and they now split their time bet­ween their bu­si­ness head­quar­ters in To­ron­to and their bel­oved Vi­en­na whe­re they tra­vel each ye­ar to hi­re so­loists and con­duc­tors.

In 24 ci­ties, bet­ween De­cem­ber 29 and Ja­nu­ar y 5, the Strauss Sym­pho­ny will be un­der the ba­ton of re­now­ned Eu­ro­pean con­duc­tors, whi­le a ta­len­ted so­pra­no and te­nor will per­form along­s­ide ball­room dan­cers and bal­let. The pro­gram­me in­clu­des over­tu­res and selec­tions from such ope­ret­t­as as Die Fle­der­maus, Mer­ry Wi­dow, and Gyp­sy Ba­ron, as well as favourite walt­zes, and as At­ti­la Glatz no­tes, two en­co­re pie­ces that are ne­ver mis­sed: „The Blue Da­nu­be Waltz and the Ra­detz­ky March clo­se ever y con­cer t!“

Ti­ckets, con­cert lo­ca­ti­ons and mo­re in­for­ma­ti­on at sa­lu­te­to­vi­en­na. com or 1-800- 545-7807.

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