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Berliner Philharmoniker II
Date details
- Date Friday, 18/September/2026 20:00 ( 2 more dates )
- Venue Philharmonie Berlin
- Address Herbert-von-Karajan-Straße 1, 10785 Berlin-Tiergarten
Public transportation
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Train (S-Bahn)
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S+U Potsdamer Platz Bhf
- S1
- S2
- S25
- S26
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S+U Potsdamer Platz Bhf
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Underground
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Bus
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Philharmonie
- 200
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Philharmonie Süd
- M41
- 300
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Kulturforum
- M48
- M85
- N2
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Varian-Fry-Str./Potsdamer Platz
- 200
- M41
- M48
- M85
- N2
- 300
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Tiergartenstr.
- 200
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Potsdamer Brücke
- M29
- M48
- M85
- N1
- N2
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S Potsdamer Platz Bhf/Voßstr.
- M41
- M48
- M85
- S7B
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S+U Potsdamer Platz Bhf
- M41
- RB10
- 200
- M48
- M85
- N2
- 300
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Gedenkstätte Dt. Widerstand
- M29
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Lützowstr./Potsdamer Str.
- M48
- M85
- N1
- N2
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Philharmonie
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Train
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S+U Potsdamer Platz Bhf
- RE3
- RE5
- RE4
- FEX
- RB10
- RE8
- RE20
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S+U Potsdamer Platz Bhf
Part of:
Berliner Philharmoniker II
Sir Simon Rattle, conductor; de Falla / Milliken / Janáček
Sir Simon Rattle – Ein Mann mit weißen Locken und einem schwarzen Hemd steht vor einer neutralen Wand. Sein Blick in die Kamera ist entspannt.
© Oliver Helbig
In his comic ballet El sombrero de tres picos (The Three-Cornered Hat), Manuel de Falla adopted stylistic features of Cante Flamenco and dance models including the Farrucca, Fandango and Jota. This is all blended into a folkloric tonal display of fireworks with an idealised Iberian national idiom which Sir Simon Rattle and the Berliner Philharmoniker invite you to experience. After the premiere of Cathy Milliken’s why feather yellow for cor anglais and orchestra, there is a diversion via the wide expanse of Russia with Leoš Janáček’s symphonic triptych Taras Bulba based on the eponymous novella by Nikolai Gogol: this dynamic and rhapsodic music alternates between inherent lyricism and gripping drama, concluding with a sonorous chorale.
It was the inspired impresario Sergei Diaghilev who persuaded Manuel de Falla to revise his pantomimic farce El corregidor y la molinera for the Ballets Russes and compose additional dances including a vocal movement for mezzo soprano – all without quoting authentic folklore. This music “without authenticity” (de Falla) ultimately led to the creation of his two-act ballet El sombrero de tres picos, whose celebrated London premiere involved the participation of both Léonide Massine (choreography) and Pablo Picasso (stage design, decoration and costumes). The music and staging, also incorporating inspiration from the young Spanish Flamenco dancer Felix Fernandes García, would become one of the Ballets Russes’ most famous productions. The concert performance of this sun-drenched comedy in which Rinat Shaham sings the mezzo soprano part is then followed by the premiere of the Concerto for cor anglais featuring the Philharmoniker Dominik Wollenweber as soloist composed by the oboist, composer and music teacher Cathy Milliken who was director of the Berliner Philharmoniker education programme between 2005 and 2012. The second half of the concert is dedicated to Leoš Janáček’s sensuous orchestral rhapsody Taras Bulba based on Gogol and set against the background of the Ukrainian wars of liberation against Polish occupation in the 17th century. Despite the ultimate catastrophic defeat of the eponymous Cossack hero, the third and final movement (The Prophecy and Death of Tarus Bulba) culminates in a sonorous chorale, transformed by the sounds of the organ and ringing of bells into a symbol of a vision of freedom.
Manuel de Falla (1876–1946)
El sombrero de tres picos (1917–19)
Ballet in two acts
Concert performance
Cathy Milliken
why feather yellow (2026)
Concerto for cor anglais and orchestra
Commissioned by Berliner Philharmoniker Foundation
World premiere
Leoš Janáček (1854–1928)
Taras Bulba (1915–18)
Rhapsody for orchestra
It was the inspired impresario Sergei Diaghilev who persuaded Manuel de Falla to revise his pantomimic farce El corregidor y la molinera for the Ballets Russes and compose additional dances including a vocal movement for mezzo soprano – all without quoting authentic folklore. This music “without authenticity” (de Falla) ultimately led to the creation of his two-act ballet El sombrero de tres picos, whose celebrated London premiere involved the participation of both Léonide Massine (choreography) and Pablo Picasso (stage design, decoration and costumes). The music and staging, also incorporating inspiration from the young Spanish Flamenco dancer Felix Fernandes García, would become one of the Ballets Russes’ most famous productions. The concert performance of this sun-drenched comedy in which Rinat Shaham sings the mezzo soprano part is then followed by the premiere of the Concerto for cor anglais featuring the Philharmoniker Dominik Wollenweber as soloist composed by the oboist, composer and music teacher Cathy Milliken who was director of the Berliner Philharmoniker education programme between 2005 and 2012. The second half of the concert is dedicated to Leoš Janáček’s sensuous orchestral rhapsody Taras Bulba based on Gogol and set against the background of the Ukrainian wars of liberation against Polish occupation in the 17th century. Despite the ultimate catastrophic defeat of the eponymous Cossack hero, the third and final movement (The Prophecy and Death of Tarus Bulba) culminates in a sonorous chorale, transformed by the sounds of the organ and ringing of bells into a symbol of a vision of freedom.
Manuel de Falla (1876–1946)
El sombrero de tres picos (1917–19)
Ballet in two acts
Concert performance
Cathy Milliken
why feather yellow (2026)
Concerto for cor anglais and orchestra
Commissioned by Berliner Philharmoniker Foundation
World premiere
Leoš Janáček (1854–1928)
Taras Bulba (1915–18)
Rhapsody for orchestra
Artists/Collaborators: Rinat Shaham, Dominik Wollenweber, Simon Rattle
Events by Berliner Philharmoniker Foundation in cooperation with Berliner Festspiele / Musikfest Berlin
Work introduction
45 minutes before the start of each concert, South Foyer
Programme booklet at the venue
Work introduction
45 minutes before the start of each concert, South Foyer
Programme booklet at the venue
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