Maria João Pires
50% – Under 30 years old
15% – Over 65 years old
Born on 23 July 1944 in Lisbon, Maria João Pires gave her first public performance at the age of 4 and began her studies of music and piano with Campos Coelho and Francine Benoît, continuing later in Germany, with Rosl Schmid and Karl Engel. In addition to her concerts, she has made recordings for Erato for fifteen years and Deutsche Grammophon for twenty years.
Since the 1970s, she has devoted herself to reflecting the influence of art in life, community and education, trying to discover new ways of establishing this way of thinking in society. She has searched for new ways which, respecting the development of individuals and cultures, encourage the sharing of ideas.
In 1999, she created the Centre for the Belgais Centre for the Study of the Arts in Portugal. Maria João Pires regularly offers interdisciplinary workshops for professional musicians and music lovers. In the Belgais concert hall concerts and recordings regularly take place. In future these will be shared with the international digital community (pay and non-pay).
In 2012, in Belgium, she initiated two complementary projects; the Partitura Choirs, a project which creates and develops choirs for children from disadvantaged backgrounds as in Belgium the „Hesperos Choir, and the Partitura Workshops. All of the Partitura projects have the aim to create an altruistic dynamic between artists of different generations by proposing an alternative in a world too often focused on competitiveness. This philosophy is being spread worldwide at Partitura projects and workshops.
Ignasi Cambra has appeared at Carnegie Hall, the Kennedy Center, the Ravinia Festival and the Mariinsky Theatre. A close collaborator of pianist Maria Joao Pires, he has performed with the Barcelona, Miami, Vancouver and Mariinsky symphony orchestras, under conductors such as Tsung Yeh, Eduardo Marturet, Josep Pons and Salvador Brotons.
An audience favorite in his native Spain, Ignasi Cambra has appeared in most major concert halls in the country, including the Palau de la Música Catalana, Gran Teatre del Liceu and l’Auditori in Barcelona, Auditorio Nacional de Música and Fundación Juan March in Madrid, Auditorio de Zaragoza and many others. He has also been invited as artist in residence at La Pedrera, and his performances have taken him to festivals such as Peralada, the Schubertiade in Vilabertràn and the Quincena Musical in San Sebastián.
A student of Jerome Lowenthal and Matti Raekallio at the Juilliard School, Cambra also holds degrees from Indiana University and the Royal Academy of Music in London, as well as an Executive MBA from IESE Business School. Significant influences include Edward Auer, Menahem Pressler, Alexander Toradze and Rustem Hayroudinoff.
British baritone Thomas Humphreys is fast establishing himself as one of the most in demand baritones of his generation. In opera, his roles include Don Giovanni (Don Giovanni), Il Conte Almaviva (Le nozze di Figaro), Guglielmo (Cosi fan tutte), Escamillo (Carmen), Marcello (La boheme), Tomsky (Pique Dame), Jake Wallace (La fanciulla del West) among others for many of the major opera companies across the UK. He was recently critically acclaimed for his role as Il Conte Almaviva in Dorset Festival Opera’s production of Le nozze di Figaro, directed by Paul Carr and conducted by Maestro Jose-Miguel Esandi.
Thomas is equally in high demand on the concert platform, regularly performing with the premiere choirs and orchestras in the UK, notably the Royal Philharmonic Orchestra, Bournemouth Symphony Orchestra, English Symphony Orchestra, the London Mozart Players and the City of London Choir. He recently made his Royal Festival Hall debut singing Requiem (Verdi) with the London Mozart Players. His repertoire includes Messiah (Handel), Elijah (Mendelssohn), St. John Passion (Bach), Christmas Oratorio (Bach), Ein deutches Requiem (Brahms), Requiem (Mozart), Requiem (Faure), The Creation (Haydn), Nelson Mass (Haydn), Five Mystical Songs (Vaughan Williams).
In recital, career highlights include a recital of Tchaikovsky and Rachmaninov Romances in Moscow and also concerts for the Armonie della Magna Graecia festival in Calabria, Italy. He has performed a live broadcast recital of Schubert Lieder for Radio Varna in Bulgaria. Before the pandemic, Thomas performed Schubert’s Die Winterreise for the first time.
Future plans include Requiem (Verdi) at the Sheldonian Theatre, Oxford and Mass in B Minor (Bach) with the Bournemouth Symphony Chorus and Orchestra.
The flourishing career of the Quatuor Hermès takes its members on tours worldwide. The quartet is a regular guest in the United States, where it performs at prestigious halls including the Kennedy Center inWashington and Zankel Hall at Carnegie Hall in NewYork.
Its trajectory has been punctuated by a number of decisive encounters, notably with the Ravel, Ysaÿe and Artemis quartets, with whom the four musicians trained and developed a shared musical philosophy, and with such outstanding personalities as Eberhard Feltz in Berlin, and later Alfred Brendel, an immense inspiration with whom they now work regularly.
The Quatuor Hermès has received numerous prestigious awards, among them ‘Révélation Musicale de l‘Année’ at the Prix de la Critique 2014-15 and the Nordmetall Ensemble Preis 2013 at the Mecklenburg-Vorpommern Festival. It also won the First Prizes of the Geneva International Competition 2011, the FNAPEC Competition 2010, the Lyon International Chamber Music Competition 2009, and the Young Concert Artists International Auditions in New York.
The four musicians were Artists in Residence at the Queen Elisabeth Music Chapel from 2012 to 2016. Since 2015 they have received support from the Fondation d’Entreprise Banque Populaire and the Fondation Singer-Polignac in Paris.
Their last rendition of Schubert two major works, was acclaimed by international critics, and has been awarded CHOC of the French magazine Classica, as well as CD of the week of the Bavarian Radio BR-Klassik. They also received similar accolades for their previous recordings of Debussy, Ravel, and Dutilleux quartets, as well as the complete Schumann string quartets.
Elise Liu plays a violin by Carlo Tononi on loan from Talents & Violon'celles.
Klavierstück em Mi bemol menor, D. 946 n.º 1
Der Tod und das Mädchen, D. 531
Die Krähe (de Winterreise, D. 911)
Das Wirtshaus (de Winterreise, D. 911)
Deconstructing Franz (2006)
work inspired in Schubert‘s String Quartet in D minor, Der Tod und das Mädchen
String Quartet in D minor, D. 810, Der Tod und das Mädchen
— Intermission of 20 min —
Piano Sonata in B-flat major, D. 960
Nacht und Träume, D. 827
*Due to health reasons, Ben Johnson is replaced by Thomas Humphreys.
In early 19th century Vienna, the “Schubertiades”, salon sessions where the composer Franz Schubert was a central figure and where the composer himself and other artists, as well as patrons and friends, performed and celebrated the Austrian composer’s compositions, became famous. These informal events included not only music, but also the recitation of poetry or songs and dances accompanied by the piano. They were intimate moments of sharing, in which art (and music in particular) occupied a central place.
This is the spirit that the pianist Maria João Pires and Judite da Silva Gameiro will recreate during three days at Gulbenkian Música, in four concerts where she will share the stage of the Grand Auditorium with other musicians. A major event not only centered around Schubert’s music, but also based on it and anchored in the idea of music as celebration.
Judite da Silva Gameiro Set Design and Staging
Jean Jacques Sanchez Staging assistant
Cécile Trelluyer Light Design
João Saraiva Dancer and Angel
Laurie Chomel Dancer
Lili Buvat Dancer
Joana Cornelsen and Siça Souza Hair and make-up
Nádia Gama Costumes assistant
"Aventure" Guide dog
Coproduced by the Calouste Gulbenkian Foundation and Philharmonie de Paris.
Special thanks to Briare's City Hall and Château de Trousse-Barrière (France) for the support and cooperation in the staging creation process.
The Calouste Gulbenkian Foundation reserves the right to collect and keep records of images, sounds and voice for the diffusion and preservation of the memory of its cultural and artistic activity. For further information, please contact us through the Information Request form.
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