1st movement

2nd movement

3rd movement

4th movement

Beethoven’s ninth and last symphony is at the same time one of his most ambitious projects, a decisive and formal event in the history of Western music and a symbol of the ethical-political duty that was once endorsed by arts in our culture.“Beauty alone confers happiness on all, and under its influence every being forgets that he is limited. No privilege, no autocracy of any kind, is tolerated where taste rules, and the realm of aesthetic semblance extends its sway.” And Beethoven is deeply aware of Schiller’s words when he chose the poem Ode to Joy to raise a song to a universal union of all beings in what would become the very first symphonic finale assigned to soloists and chorus voices. The Paris Opera OrchestraA coproduction Opéra national de Paris - Telmondis In association with ARTE France and M_MEDIA /ClassicAll TV With the support of Pierre Bergé, patron of the symphonic concerts of the Paris Opera Orchestra and of the Orange Foundation, patron of the audiovisual broadcasts of the Paris OperaWith the support of the Centre national du cinéma et de l'image animéeDirector: Vincent Massip © Opéra national de Paris - Telmondis - 2015Picture: ©Jean-François Leclercq / OnP

jordan

Jordan

Cycle Ludwig van Beethoven - Symphonie n°9

Beethoven’s ninth and last symphony is at the same time one of his most ambitious projects, a decisive and formal event in the history of Western music and a symbol of the ethical-political duty that was once endorsed by arts in our culture. “Beauty 

Ludwig van Beethoven

Ludwig van Beethoven Cycle - Symphony No. 9

Coming from an artistic Swiss family, Philippe Jordan’s is regarded as one of the most established and important conductors of our time. He has been appointed Music Director of the Wiener Staatsoper beginning in September 2020. 
Jordan started his career at the age of 20 as musical director at Theater Ulm. In 1998 he became assistant to Daniel Barenboim at the Berlin State Opera. From 2001-2004 he was principal conductor of Graz Opera and the Graz Philharmonic Orchestra. During this period he also debuted at several of the world’s leading opera houses and festivals, for example the Metropolitan Opera New York, Royal Opera House Covent Garden, Teatro alla Scala, Bavarian State Opera, the Wiener Staatsoper and Festspielhaus Baden-Baden, and the festivals of Aix-en-Provence, Glyndebourne and Salzburg. From 2006-2010 Jordan returned to the Berlin State Opera as principal guest conductor. During this time he also appeared regularly in his hometown at the Zurich Opera. In the summer of 2012 Philippe Jordan debuted at the Bayreuth Festival. In Summer 2021, Philippe Jordan will leave his post as musical director of the Opéra national de Paris, which he has helmed since 2009. During his time as musical director in Paris he has conducted numerous premieres and revivals, including Moses und Aaron, La Damnation de Faust, Der Rosenkavalier, Samson et Dalila, Lohengrin, Don Carlos (French original version), Benvenuto Cellini, Bérénice and Les Troyens, Don Giovanni and the new production of Borodin’s Prince Igor. In his last season as musical director at Opéra national de Paris he will conduct Wagner’s “Ring” cycle in a concert version. 
As a symphonic conductor, Philippe Jordan has conducted the world’s most famous orchestras. He has also been principal conductor of the Wiener Symphoniker from 2014 to 2020. Together with the orchestra he has developed complete cycles of Schubert’s symphonies and Beethoven’s symphonies and piano concerti, and a cycle of J. S. Bach’s major masses and oratorios. In a three-part Bruckner project at the Wiener Musikverein, he performed the composer’s seventh, eighth and ninth symphonies in a contrast-filled dialogue with modern classics by Kurtág, Ligeti and Scelsi. For the Beethoven anniversary year, he also performed a reconstruction of the legendary Grand Concert of 22 December 1808 with performances in Paris and Vienna. 
His recording work with the Paris Opera Orchestra includes discs of Strauss’ Eine Alpensinfonie, Stravinski’s The Rite of Spring, Ravel’s Daphnis et Chloé, Verdi’s Requiem and Beethoven’s and Tchaikovsky’s Symphonies.

Ricarda Merbeth studied in Leipzig and was a member of the Vienna Staatsoper from 1999 until 2005 during which time she made her debut as Marzelline in Fidelio. She went on to perform numerous roles there including the Countess in Le nozze di Figaro, Donna Anna in Don Giovanni, Fjordiligi in Così fan tutte, Pamina in Die Zauberflöte, Chrysothemis in Elektra, Elisabeth in Tannhäuser, Eva in Die Meistersinger von Nürnberg, Sieglinde in Die Walküre, Irene in Rienzi, Elsa in Lohengrin, and the Marschallin in Der Rosenkavalier. In 2004, her career took on an international dimension when she performed the title role in Daphné. She still makes regular guest appearances in Vienna, where she was honoured with the title of “Kammersängerin” in 2010. In 2000, she made her Bayreuth Festival debut as Freia and Gutrune in The Ring and then sang Elisabeth in Tannhäuser and Senta in Die Fliegende Holländer. Ricarda Merbeth is regularly invited to perform at the major international opera houses, including the Deutsche Oper in Berlin, the Hamburg Staatsoper, the Bayerische Staatsoper in Munich, the Dutch National Opera in Amsterdam, La Monnaie in Brussels, the Gran Teatre del Liceu in Barcelona, the Teatro Real in Madrid, La Scala in Milan, the Royal Opera House in London, the New National Theatre in Tokyo and the Paris Opera (where she has performed the roles of Sieglinde, Ariadne, Chrysothemis, Marietta in Die Tote Stadt, Emilia Marty in The Makropulos Affair, and Goneril in Lear). Over the last few seasons, she has added numerous roles to her repertoire including Marie (Wozzeck at Milan’s La Scala), Isolde (Tristan und Isolde at the Hamburg Staatsoper), Elektra (at Milan’s La Scala), the title role in Turandot and Brünnhilde (Siegfried) at the Deutsche Oper in Berlin. During the 2019-2020 season, she appeared as Elektra at the Berlin Staatsoper and sang the title role in Die ägyptische Helena at Milan’s La Scala. She also appeared as Brünnhilde (Die Walküre) at the Teatro Real in Madrid and the Teatro São Carlos in Lisbon. She then reprised the role of Brünnhilde in Siegfried and Gotterdammerung in a version of the Ring recorded at the Paris Opera in the autumn of 2020. She also performs in concert with a repertoire that includes the Wesendonck Lieder, Britten’s War Requiem, Beethoven’s Missa Solemnis, Szymanowski’s Stabat Mater, Leoš Janaček’s Glagolitic Mass, Richard Strauss’s Four Last Songs, the Brentano Lieder, and Gustav Mahler’s Eighth Symphony.

Günther Groissböck was born in Austria and studied in Vienna under Robert Holle and José Van Dam. He makes regular guest appearances at many of the great international opera houses, including the New York Metropolitan Opera, Milan’s La Scala, the Bayerische Staatsoper in Munich, the Vienna Staatsoper, the Deutsche Oper in Berlin, and the Salzburg and Bayreuth Festivals. He has performed at the Paris Opera in Das Rhinegold (Fafner), Die Walküre (Hunding), Die Meistersinger von Nürnberg (Pogner), and Parsifal (Gurnemanz). His repertoire includes the roles of Baron Ochs (Der Rosenkavalier), Boris Godunov, Fasolt (Das Rheingold), Hermann, Landgrave of Thuringia (Tannhäuser), King Marke (Tristan und Isolde), Heinrich der Vogler (Lohengrin), Daland (Der fliegende Holländer), Caspar (Le Freischütz), Vodnik (Rusalka), Sarastro (Die Zauberflöte), Rocco (Fidelio), and Fiesco (Simon Boccanegra). He has also performed in concert at the Accademia Santa Cecilia in Rome, the Concertgebouw in Amsterdam, the Gewandhaus in Leipzig, the Philharmonie in Munich and Berlin, the Musikverein and the Konzerthaus in Vienna, Carnegie Hall in New York and Symphony Hall in Boston. He has sung under the baton of Philippe Jordan, James Levine, Yannick Nézet-Séguin, Zubin Mehta, John Eliot Gardiner, Antonio Pappano, Kirill Petrenko and Andris Nelsons, to name but a few. He has also made numerous recordings, including a DVD of Der Rosenkavalier from Salzburg and the Metropolitan Opera (2017) and a disc of the Ninth Symphony with Philippe Jordan. He has also recorded several CDs, including Das Rheingold and Lohengrin with Marek Janowski, Mahler’s 8th Symphony, and Bruckner’s Mass N°3, as well as two albums devoted to Schubert: Winterreise and Schwanengesang. In 2018, he released a CD entitled Herz-Tod (Wagner’s Wesendonck Lieder, Mahler’s Rückert-Lieder, and Brahms’ Vier Ernste Gesänge) on the Decca Classic label. This season he will be tackling the role of Wotan in Die Walküre at the Vienna Staatsoper and the Bayreuth Festival.

Born in Buenos Aires and of Italo-Argentian nationality, José Luis Basso studied piano and orchestral conducting at the University of his hometown. He was appointed Chorus Master at the Teatro Argentino in La Plata where he spent four years preparing operatic and choral works. In 1987, a grant permitted him to pursue his studies at Temple University in Philadelphia. In 1989, he took up the post of Chorus Master at the Teatro Colón in Buenos Aires. That same year, he conducted the chorus of the Buenos Aires Wagner Association and in 1994, he became assistant to the celebrated Chorus master at La Scala Milan, Romano Gandolfi. He was then appointed Chorus Master at the Teatro San Carlo in Naples where he brought to the Opera Chorus a new dynamism, his conducting of Lohengrin and Beethoven’s Ninth Symphony attracting considerable acclaim. In 1996, he joined the Maggio Musicale Fiorentine where he prepared the choir for Parsifal conducted by Semyon Bychkov, Turandot with Zubin Mehta and Lady Macbeth of Mtsensk for which he received the INA-Assitalia Galileo Prize for young conductors 2000. In April 2001, he accompanied the Orchestra and Chorus to Tokyo for the inauguration of the “Italy in Japan 2001” event. He has made a number of recordings for Decca including Turandot, La Bohème, Tosca and Aroldo. As chorus master, he has been invited to the Shanghai Opera, the Mariinski Theatre in Saint Petersburg and the Lyon Opera for Aïda and Carmina Burana. In 2003, he won a Grammy Award with the Chorus of the Maggio Musicale Fiorentino and the soprano Renée Fleming for the album Bel Canto. In the course of the last two decades, he has worked alongside many of the world’s leading conductors: Zubin Mehta, Giuseppe Sinopoli, Claudio Abbado, Riccardo Muti, Georges Prêtre, Antonio Pappano, Seiji Ozawa, Wolfgang Sawallisch, Carlo Maria Giulini, Myung-Whun Chung, Peter Schreier, Bruno Bartoletti, Rafael Frühbeck De Burgos, Semyon Bychkov, Daniel Oren, Valery Gergiev, Stéphane Denève, Jordi Savall, Fabio Luisi, Marc Piollet, Pinchas Steinberg, Michael Boder, Sebastian Weigle, Gerd Albrecht and Josep Pons. From 2004 to 2014 he was Chorus Master and Artistic Consultant at the Gran Teatre del Liceu in Barcelone. Since September 2014 he has been Chorus Master of the Paris Opera.

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