- / Cancelled / Sold out
LocationGrand Auditorium Calouste Gulbenkian Foundation
This concert will be broadcast live on 23 February at 19:00.
25% – Under 30
10% – Over 65
50% – Under 30
15% – Over 65
Coro Gulbenkian was founded in 1964 by the Calouste Gulbenkian Foundation as a full symphonic body of around 100 singers. The choir joins the Orquestra Gulbenkian and other orchestras to perform Classical, Romantic and Contemporary choral-symphonic repertoire, but can also perform a cappella. It has performed – and often premiered – many 20th century works by Portuguese and international composers.
Coro Gulbenkian has been invited to collaborate with major international orchestras, under the direction of conductors such as Claudio Abbado, Colin Davis, John Nelson, Emmanuel Krivine, Esa-Pekka Salonen, Frans Brüggen, Franz Welser-Möst, Gerd Albrecht, Michael Gielen, Michael Tilson Thomas, Rafael Frübeck de Burgos, René Jacobs and Leonard Slatkin, among others.
Besides its regular season of concerts in Lisbon and frequent national tours, Coro Gulbenkian has repeatedly toured Argentina, Belgium, Brazil, Canada, Denmark, France, Germany, Hungary, India, Iraq, Israel, Italy, Japan, Macao, Malta, Monaco, Netherlands, Spain, the United Kingdom, the United States of America and Uruguay.
Coro Gulbenkian has recorded extensively for Philips, Deutsche Grammophon, Erato, Cascavelle, Musifrance, as well as FNAC-Music, performing a wide range of repertoire, from Early-Renaissance polyphony to Xenakis. Several of these albums received international awards.
In 1962, the Calouste Gulbenkian Foundation decided to establish a permanent orchestral ensemble. Originally with only twelve musicians (strings and continuo) it was named “Orquestra de Câmara Gulbenkian”. This collective was successively enlarged and today the “Orquestra Gulbenkian” (the name it has adopted since 1971) has a permanent body of sixty instrumentalists, a number that can be expanded depending on the repertoire.
This structure allows the Gulbenkian Orchestra to interpret works from the Baroque and Classical periods, a significant part of 19th century orchestral literature and much of the music of the 20th century, including works belonging to the current repertoire of the traditional symphonic orchestras. In each season, the orchestra performs on a regular series of concerts at the Gulbenkian Grand Auditorium in Lisbon, where it has had the opportunity of working together with some of leading names of the world of music (conductors and soloists). It has also performed on numerous locations all over Portugal, in an effort to decentralize music and culture.
The orchestra has been constantly expanding its activities in the international level, performing in Europe, Asia Africa, and the Americas. In the recording field, Orquestra Gulbenkian is associated to labels as Philips, Deutsche Grammophon, Hyperion, Teldec, Erato, Adès, Nimbus, Lyrinx, Naïve and Pentatone, among others, and this activity was recognized with several international prizes.
Matthew Halls was named Chief Conductor-designate of Finland’s Tampere Philharmonic in September 2022. He returns to Tampere this autumn to conduct Bruckner’s Seventh Symphony, before debuting with the Orchestre de chambre de Paris and Minnesota Orchestra, and continuing long-standing partnerships with the Mozarteumorchester Salzburg, Houston Symphony and Indianapolis Symphony.
Matthew regularly guest conducts the Cleveland Orchestra, Seattle Symphony, Iceland Symphony, Wiener Symphoniker, Finnish Radio Symphony, Dallas Symphony and Los Angeles Chamber Orchestra among others. Recent highlights include Mahler’s “Resurrection” Symphony with the Toronto Symphony, the US premiere of James MacMillan’s Fourth Symphony with Pittsburgh Symphony (Matthew previously conducted the world premiere of MacMillan’s European Requiem) and his Chicago Symphony debut.
With a background in period-performance, Matthew was one of the first to guest conduct Nikolaus Harnoncourt’s Concentus Musicus Wien. His discography includes Bach’s Harpsichord Concertos directed from the keyboard, the premiere recording of Handel’s Parnasso in Festa (which won the Stanley Sadie Handel prize) and Bach’s Easter and Ascension Oratorios. In the theatre, his operatic credits range from Handel’s Ariodante to Puccini’s Madama Butterfly.
With her versatility spanning a diverse repertoire, Christina Landshamer is a globally soughtafter concert, opera, and lieder singer. Currently based in Stuttgart, she pursued her vocal studies at the Munich University of Music and later with Dunja Vejsovic in Stuttgart.
Renowned conductors such as Herbert Blomstedt, Manfred Honeck, Alan Gilbert, Marek Janowski, Franz Welser-Möst, and Christian Thielemann regularly invite her to perform with top-tier orchestras such as the Berlin Philharmonic, the Bavarian Radio Symphony Orchestra, the NDR Elbphilharmonie Orchestra Hamburg, the Gewandhaus Orchestra Leipzig, the SWR Stuttgart Radio Symphony Orchestra, the Munich Philharmonic, as well as the Concertgebouw Orchestra Amsterdam, the Tonhalle Orchestra Zurich, the Orchestre de Paris, the Accademia Nazionale di Santa Cecilia Rome, and the Swedish Radio Symphony Orchestra Stockholm. In the USA, she has appeared with ensembles including the New York Philharmonic Orchestra, the Pittsburgh Symphony Orchestra, and the Montreal Symphony Orchestra.
The upcoming 2023/24 season promises a series of musical highlights in concert performances. These include Mendelssohn's Symphony No. 2 ("Lobgesang") with the
Vienna Symphony Orchestra conducted by Marie Jacquot at the Vienna Musikverein, as well as another performance with Herbert Blomstedt, this time with the Saxon State Orchestra Dresden. She will also present Brahms' A German Requiem with the Bavarian Radio Choir at the Elbphilharmonie in Hamburg and Samuel Barber's rarely performed "Knoxville: Summer of 1915" paired with Mahler's Symphony No. 4 with the Salzburg Mozarteum Orchestra. Her engagements with Beethoven include a performance of the C Major Mass with the Tonhalle Orchestra Zurich under Giovanni Antonini, and she will conclude the season with Beethoven's Symphony No. 9 on New Year's Eve with the Munich Philharmonic under Pablo Heras Casado and with the Bonn Beethoven Orchestra under Dirk Kaftan.
In the realm of opera, Christina Landshamer's engagements have led her to the Stuttgart State Opera, the Opéra du Rhin in Strasbourg, the Komische Oper Berlin, the Theater an der Wien under Nikolaus Harnoncourt, and the Salzburg Festival under Sir Simon Rattle. She portrayed Pamina at the Bavarian State Opera and Het Muziektheater Amsterdam in Simon McBurney's unique production of "The Magic Flute." Other roles include Ännchen in the new production of Weber's "Der Freischütz" under Christian Thielemann at the Semperoper Dresden, Almirena/Rinaldo at Glyndebourne, and Sophie/Rosenkavalier at the Lyric Opera of Chicago. Her most recent appearance at the Bavarian State Opera was as Woglinde in Wagner's "Das Rheingold" under Kirill Petrenko. In the spectacular La Fura dels Baus production of Haydn's "The Creation," she performed the soprano parts in Paris and at the Mostly Mozart Festival in New York.
In May 2024, Christina Landshamer will once again portray Pamina in a production by Nikolaus Habjan with the Cleveland Orchestra under Franz Welser-Möst. With her warm and lyrical soprano voice, Christina Landshamer is a passionate lieder singer. Alongside her piano partner Gerold Huber, she is a welcome guest at prominent lieder centers such as the Schubertiade Schwarzenberg, the Berlin Pierre Boulez Saal, the Hugo Wolf Academy, the Wigmore Hall in London, the Weill Recital Hall at Carnegie Hall in New York, and the Kioi Hall in Tokyo.
Numerous CD and DVD recordings for labels including Decca, Deutsche Grammophon, Sony Music, Pentatone, BR Klassik, Oehms Classics, Phi, EMI, and Unitel document her artistic endeavors. In 2022, her solo CD featuring works by Haydn, Mozart, and Beethoven was released under the Pentatone label, accompanied by the Academy for Ancient Music Berlin.
Since 2021, Christina Landshamer has been sharing her extensive knowledge and experience as a professor of voice at the University of Music Trossingen.
French-Canadian mezzo-soprano Julie Boulianne has been acclaimed for the agility and expressive power of her dark-hued mezzo-soprano in a wide repertoire, with a special focus on the music of Mozart and Rossini. Among her upcoming projects, Oktavian in Der Rosenkavalier for a new production at La Monnaie in Brussels, Charlotte in Werther at the Wiener Staatsoper, Donna Elvira in Don Giovanni in Québec, Dorabella in Così fan tutte at the Royal Opera House - Covent Garden, she will be part of the world creation of Julien Bilodeau La Beauté du Monde in Montréal.
In the 2019-2020 and 2020-2021 seasons, Julie Boulianne performed with the Royal Opera House on tour in Japan the part of Siébel in Faust, she sang Robin-Luron in Laurent Pelly’s production of Le Roi Carotte with Opéra de Lyon, Rosina in Il Barbiere di Siviglia with Vancouver Opera, Dorabella in Così fan tutte at the théâtre du Capitole de Toulouse and in Glyndebourne.
In past seasons, Julie Boulianne has enjoyed several appearances at the Metropolitan Opera singing Siébel in Faust, Stéphano in Roméo et Juliette conducted by Plácido Domingo, Diane in Stephen Wadsworth’s production of Iphigénie en Tauride, conducted by Patrick Summers, the Kitchen-Boy in Rusalka alongside Renée Fleming, and Ascanio in Francesca Zambello’s production of Les Troyens, conducted by Fabio Luisi.
Ms. Boulianne made her role debut as Miranda in a new production by Robert Lepage of Thomas Adès’s modern masterpiece The Tempest, under the baton of the composer at the Festival Opéra de Québec. In past seasons she made her New York City Opera debut as the wily Lazuli in L’Étoile, directed by Mark Lamos; Cherubino in Le Nozze di Figaro at Vancouver Opera and at Opéra de Montréal; the title role in Massenet’s Cendrillon at Opéra de Montréal and at l’Opéra de Marseille; Rosina in Il Barbiere di Siviglia for her debut at Minnesota Opera; and the title role in La Cenerentola at Aspen Opera Theater, Florida Grand Opera, Glimmerglass Opera, and Pacific Opera Victoria, as well as Fragoletto, the young hero of Offenbach’s Les Brigands, at both Opéra de Toulon and Opéra Comique in Paris.
On the orchestral stage, Julie Boulianne has performed with the Cleveland Orchestra singing in The Cunning Little Vixen conducted by Franz Welser-Möst; Charles Dutoit and the Boston Symphony in L’enfant et les sortilèges, the Baltimore Symphony singing Mendelssohn’s A Midsummer Night’s Dream with Marin Alsop, her Japanese debut at the Saito Kinen Festival in Honegger’s Jeanne d’Arc au bûcher, and the Mostly Mozart Festival in Haydn’s Lord Nelson Mass conducted by Nézet-Séguin at Lincoln Center. She appeared at Carnegie Hall performing Beethoven’s Missa Solemnis with the Orchestra of St. Luke’s under the baton of Sir Roger Norrington as well as performances of Handel’s Messiah with the Colorado Symphony, Haydn’s Theresienmesse with Les Violons du Roy in Québec City, a return to Festival Opéra de Québec in a role debut in Berlioz’ La Damnation de Faust, Mahler’s Symphony No. 2 with Orchestra Iowa, St. Matthew Passion with Orchestre Métropolitain in Montréal, and Beethoven’s Ninth Symphony with Pinchas Zukerman and the National Arts Centre Orchestra in Ottawa. She has also performed Ravel’s Shéhérazade with Emmanuel Villaume and the Utah Symphony, Berlioz’s Les Nuits d’Été with Nézet-Séguin and Orchestre Métropolitain, Messiah and Bach’s Mass in B minor with the Atlanta Symphony, Mahler’s Symphony No. 3 with the Calgary Philharmonic, and Mozart’s Coronation Mass with the Cincinnati Symphony.
A graduate of McGill University’s Schulich School of Music, Julie Boulianne won the First Prize in both the Canadian Music Competition and the Joy of Singing Competition in New York. She has also been awarded the International Vocal Arts Institute’s Silverman Prize, and in 2007, the Prix de la Chambre des Directeurs for Most Promising Career at the Concours International de Chant de Montréal.
A graduate of the Conservatoire National Supérieur de Musique de Lyon and member of the Atelier Lyrique de l’Opéra de Lyon, Stéphane Degout quickly came to international attention in his debut as Papageno at the Festival d’Aix-en-Provence. Since then, he has appeared on the world’s best operatic stages, notably the Opéra de Paris, Théâtre des Champs-Elysées, Opéra Comique, Berlin Staatsoper, la Monnaie, Theater an der Wien, Royal Opera House Covent Garden, Lyric Opera Chicago, Metropolitan Opera, Teatro alla Scala, Bayerische Staatsoper, De Nationale Opera in Amsterdam, and Opernhaus Zurich. His numerous festival appearances include Salzburg, Saint Denis, Glyndebourne, Edinburgh, Aix-en-Provence, Tokyo, and Los Angeles and toured at Tokyo Bunka Kaikan and to Yokohama.
Notable roles have included Oreste (Iphigénie en Tauride), Wolfram (Tannhaüser), Raimbaud (Comte Ory), Thésée (Hippolyte & Aricie), Dandini (Cenerentola), Mercutio (Roméo & Juliette), Guglielmo (Cosi fan tutte), Chorèbe (Les Troyens), il Comte Almaviva (Le nozze di Figaro), Valentin (Faust), Rodrigue (Don Carlos), Ford (Falstaff), and the title roles in Thomas’ Hamlet, Conti’s Don Chisciotte, and both Monteverdi’s Orfeo and Il ritorno d’Ulisse in Patria, and has proven to be one of the leading interpreters of Debussy’s Pelléas role for which the public and press have unanimously praised him.
As a recitalist, Stéphane Degout’s has worked a lot on French melody and German Lieder under the guidance of Ruben Lifschitz. Stéphane Degout is renowned for the finesse and sensitivity he conveys in his interpretations ; he has given recitals across Europe with accompanists Alain Planès, Simon Lepper and Cédric Tiberghien while on tour (in Amsterdam, Paris, London, Berlin, Brussels, New York, etc.). In concert, he has performed with the Chicago Symphony Orchestra under Riccardo Muti and the Los Angeles Philharmonic under Esa-Pekka Salonen. At the Monnaie he sang Fauré’s Requiem and Mahler’s Kindertotenlieder under Alain Altinoglu, works which he has also sung with the Orchestre National de France under Emmanuel Krivine. His collaborations also include René Jacobs, Marc Minkowski, John Nelson, Raphaël Pichon and Charles Dutoit.
His dedication to the art has seen him perform numerous roles in operatic creations such as Benoît Mernier’s La Dispute and Philippe Boesmans’ Au Monde and Pinocchio. Most recently he has performed at the Royal Opera House Covent Garden as The King in George Benjamin’s new production Lessons in Love and Violence – a role which was written specifically for his voice. This production’s recording was nominated for a Grammy Award, in the “Best Opera Recording” category.
In 2012, he was appointed ‘Chevalier de l'Ordre des Arts et des Lettres’ and additionally was also named ‘Lyrical Artist of the Year’ at the Victoires de la Musique Classique awards ceremony, an accolade which he won again in 2019. He was chosen as the “2018 Musical Personality of the Year” by the Association Professionnelle de la Critique de théâtre, musique et danse.
Prélude à l’après midi d’un faune
Poème de l’amour et de la mer, op. 19
— Intermission de 20 min —
Requiem, op. 48
After the great success of his debut at Gulbenkian Música in 2023, when he conducted Beethoven’s Missa Solemnis, conductor Matthew Halls returns to lead the Gulbenkian Choir and Orchestra in a programme filled with works by French composers Debussy, Chausson and Fauré. Alongside a successful career as an organist, Halls has established himself as one of the most renowned international conductors, with a particular interest in Baroque music. He has recorded award-winning records with works by Händel and J. S. Bach, highlighting his excellent approach to the choral repertoire.
Sponsor Gulbenkian Music
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