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Konzerthausorchester Berlin, Ton Koopman

The programme opens with Rossini’s cheerful overture to “The Italian Girl in Algiers”, after which the stage in the Great Hall is set for a real woman from music history: She took early piano lessons with Haydn, was mentored by the famous librettist Metastasio, performed as a singer and pianist at court and in Viennese salons, and by age 29 was a recognized composer and member of the Accademia Filarmonica di Bologna – Marianna von Martines (1744–1812) was undoubtedly a remarkable figure in the Vienna of Salieri, Mozart, and Haydn, whose work is now being rediscovered. Mozart, for his part, composed his concert aria K. 505 in 1786 about (supposedly) lost love for a famous young soprano with whom he had fallen in love. She sang the aria accompanied by him—and left Vienna nonetheless. With this piece, Vera-Lotte Boecker bids you farewell as our artist in resicence. Following Mozart’s Divertimento K. 136, the programme concludes with Haydn’s Symphony No. 100, which later earned the nickname “Military Symphony” due to passages reminiscent of military music featuring the triangle, cymbals, bass drum, and trumpet signals.

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Konzerthausorchester Berlin, Ton Koopman

mit Vera-Lotte Boecker

  • Vera-Lotte Boecker

    Vera-Lotte Boecker

    © Simon Pauly

  • Ton Koopman

    Ton Koopman

    © Hans Morren

The programme opens with Rossini’s cheerful overture to “The Italian Girl in Algiers”, after which the stage in the Great Hall is set for a real woman from music history: She took early piano lessons with Haydn, was mentored by the famous librettist Metastasio, performed as a singer and pianist at court and in Viennese salons, and by age 29 was a recognized composer and member of the Accademia Filarmonica di Bologna – Marianna von Martines (1744–1812) was undoubtedly a remarkable figure in the Vienna of Salieri, Mozart, and Haydn, whose work is now being rediscovered. Mozart, for his part, composed his concert aria K. 505 in 1786 about (supposedly) lost love for a famous young soprano with whom he had fallen in love. She sang the aria accompanied by him—and left Vienna nonetheless. With this piece, Vera-Lotte Boecker bids you farewell as our artist in resicence. Following Mozart’s Divertimento K. 136, the programme concludes with Haydn’s Symphony No. 100, which later earned the nickname “Military Symphony” due to passages reminiscent of military music featuring the triangle, cymbals, bass drum, and trumpet signals.

Gioacchino Rossini - Ouvertüre zur Oper „Die Italienerin in Algier“Marianna Martines - Kantate „Berenice, ah che fai"Wolfgang Amadeus Mozart - „Ch'io mi scordi di te - Non temer, amato bene“ – Szene für Sopran mit obligatem Klavier und Orchester KV 505PauseWolfgang Amadeus Mozart - Divertimento D-Dur KV 136Joseph Haydn - Sinfonie Nr. 100 G-Dur Hob I:100 („Militär-Sinfonie“)

Artists/Collaborators: Ton Koopman (Dirigent), Vera-Lotte Boecker (Sopran (Artist in Residence))

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