Sternstunden der Musik | Michelangeli spielt Ravel

Sternstunden der Musik | Michelangeli spielt Ravel

Sternstunden der Musik | Michelangeli spielt Ravel

Ein Film von Dag Freyer & Philipp Quiring, ZDF/arte, 43 min.

Sendetermin bei ARTE: 16. März 2025 um 17:40 Uhr

Der Name Arturo Benedetti Michelangeli ist bis heute untrennbar mit dem Klavierkonzert G-Dur von Maurice Ravel verbunden. Wie Michelangeli beispielsweise die Trillerketten so artikuliert, dass die Illusion entsteht, als könne man auf der Klaviatur wie auf einem Streichinstrument von einem Ton zum nächsten hinübergleiten, ist bisher unerreicht.

Gleichzeitig ist Michelangeli ein großes Mysterium: Er war für seine zahlreichen Absagen berühmt-berüchtigt. Kleinste Unstimmigkeiten am Instrument, eine kleine Änderung des Raumklimas von Probe zu Konzert reichten aus, um eine Aufführung platzen zu lassen.

Sein Ruf, als einer der größten seiner Zunft, ist unbestritten. Pianistenlegende Krystian Zimerman erinnert sich an seinen künstlerischen Austausch mit Michelangeli. Für Pierre-Laurent Aimard ist er als Magier der Akustik eine erklärte Inspirationsquelle. Serge Celebidachi, der Sohn von Sergiu Celibidache, gewährt Einblicke in die besondere Künstlerfreundschaft der beiden Perfektionisten. Während sich Marina Baranova in Bayern auf die Suche nach Michelangelis Flügel macht, erinnert sich Cord Garben, Michelangelis Produzent, an die nicht immer einfache Zusammenarbeit. Jazzmusiker Stefano Bollani, ein Bewunderer von Michelangeli, zeigt die Inspiration Ravels durch den Jazz auf.

Magic Moments of Music | The Wrath of Nina Simone

Magic Moments of Music | The Wrath of Nina Simone

Magic Moments of Music | The Wrath of Nina Simone

A film by Magdalena Zieba-Schwind, ZDF/arte, 52 min

In 1965, the civil rights movement in the USA was approaching its climax in the fight against racism and discrimination. Nina Simone – jazz icon and high priestess of soul – performed her first concerts in Europe. In the Netherlands, she presented her own protest songs and songs by Oscar Brown Jr. and Charles Aznavour to a curious (television) audience. An intense, defining moment about the liberating power of music.

It is a special moment in the life of the world-famous singer and pianist. She has just become a mother and has joined the protests of the civil rights movement in America against racism and discrimination against the black population. She predominantly writes and sings protest songs, risking her career because her lyrics are considered controversial in America and are even boycotted in some cases. In Europe, she sees the opportunity to express herself freely and tell the stories of the oppression of black people from her homeland. Through television concerts like this one, she reaches an audience of millions.

The film tells of Simone’s beginnings in music, how she transitioned from classical to jazz, and her courage and relentless fight for equality and freedom. “Tomorrow is my turn, no more doubts, no more fears,” Simone sings in a mix of resignation and defiant hope. She hopes that her voice can be part of the change in the situation of the black population in the USA in the 1960s.

Pianist Gabriela Montero and singer Angélique Kidjo explain how music can be an instrument of resistance. Jazz singer Lizz Wright’s work is still strongly influenced by Nina Simone to this day. Opera singer Victoria Randem explains how important Nina Simone was for the generations after her. They all show how important civil courage, authenticity, and emotionality are on stage and how Nina Simone’s legacy continues to have an impact today.

Magic Moments of Music | Angela Gheorghiu sings “La Traviata”

Magic Moments of Music | Angela Gheorghiu sings “La Traviata”

Magic Moments of Music | Angela Gheorghiu sings "La Traviata"

A film by Holger Preuße and Philipp Quiring, ZDF/arte, 52 min

It was a uniquely uniquely magic moment of music. In what would be the first and only time, the BBC dedicated its prime time weekend schedule to broadcast an opera live to an audience of millions. In place of popular motoring programme Top Gear, the British public were treated to La Traviata by Giuseppe Verdi. Legendary conductor Sir Georg Solti convinced decision-makers at the BBC that it was time to introduce a phenomenal singer and performer to the world: Romanian soprano Angela Gheorghiu. Until this moment, Gheorghiu was a talent known only to a few. Solti himself was at the podium to conduct La Traviata for the first time in his storied career, while the staging was by theatre and feature film director Sir Richard Eyre – likewise working on his very first opera. Eyre agreed on one specific condition. “I wanted a soprano as described by Verdi himself: young, elegant and with a voice full of passion.” Angela Gheorghiu had all of these qualities and more. In an interview she said: “During the broadcast, I felt that my time had arrived. I was in no doubt: it was now or never!”

Alongside Angela Gheorghiu, who the film accompanies 30 years later to the Royal Opera House in London – the birthplace of her global success – are memories and reflections from tenor Frank Lopardo, who sang the role of Alfredo, opera director Sir Richard Eyre, BBC film director Peter Maniura, French-Danish singer Elsa Dreisig, conductor Marie Jacquot, opera critic Nick-Martin Sternitzke and the writer Salomé Balthus.

The first act of La Traviata conducted by Sir Georg Solti and featuring Angela Gheorghiu as Violetta is available to enjoy at concert.arte.tv.

Magic Moments of Music | Lang Lang at Carnegie Hall

Magic Moments of Music | Lang Lang at Carnegie Hall

Magic Moments of Music | Lang Lang at Carnegie Hall

A film by Lily Küntzle and Claus Wischmann, ZDF/arte, 52 min

Praised as a virtuoso magician of the keys from China, with the potential to turn the classical world upside down – Lang Lang’s solo debut at New York’s Carnegie Hall becomes the birth of a superstar and a homage to the liberating power of music.

Lang Lang chose a wide-ranging program for his solo debut in 2003. After a more classical first half with works by Robert Schumann and Joseph Haydn, he interprets the Chinese composer Tan Dun after the intermission, finally culminating with Franz Liszt’s Don Juan Fantasy.

Throughout his playing, hardly any pianist is as close to his audience as Lang Lang. His expressive body language anticipates the mood of the compositions. “He makes it easy for the audience, even those who have no idea about classical music,” observes body language expert Stefan Verra. He also plays the virtuosic and feared masterpiece “Réminiscences de Don Juan de Mozart” by Franz Liszt seemingly effortlessly, with infectious enthusiasm.

Even as a small boy, Lang Lang is drilled to be a pianist by his father: He is to become the best piano player in the world. He is rarely allowed to see his mother so that she does not keep him from practicing. When he invites his father on stage at the end of his Carnegie Hall debut to improvise together on a Chinese folk song, one chapter of life ends – and a new one begins.

This defining moment deals with the difficult relationship between freedom and the sacrifices we make for it. Lang Lang lives his father’s dream, which becomes his own dream. It is about musical perfection and personal relationships, about virtuosity and emotions – themes that are reflected in Lang Lang’s performance and in his life. Not only for Lang Lang himself, but also for his long-time companions such as conductor Christoph Eschenbach, composer Tan Dun and his teacher Gary Graffman, this concert was a magical moment. Pianist Claire Huangci has also known Lang Lang since a young age, and Bruce Liu is currently considered the new shooting star on the piano. Together with audio producer Christian Gansch and body language expert Stefan Verra, they retrospectively classify Lang Lang’s legendary recital evening.

Magic Moments of Music | Grace Bumbry is Carmen

Magic Moments of Music | Grace Bumbry is Carmen

Magic Moments of Music | Grace Bumbry is Carmen

A film by Dag Freyer, ZDF/arte and UNITEL, 52 min

Her career almost seems like a fairy tale: Due to racial segregation, she was denied the opportunity to study at the St. Louis Institute of Music, even though she had won a scholarship in a competition.

But Grace Bumbry prevails against all odds: She celebrated her breakthrough in Bayreuth, where Wieland Wagner brought her for his “Tannhäuser”. Initially the victim of racist hostility, the press eventually celebrated her as a “black Venus” and the audience applauded her 40 times in front of the curtain. Carmen became one of her signature roles. Together with Herbert von Karajan, she is at the peak of her vocal and dramatic abilities. Her vocal power, her temperament and her minimalist portrayal continue to inspire singers who take on the role of Carmen to this day. Many have gone on to have great careers. Grace Bumbry’s was more than that: it was important – and “Carmen” was one of her finest moments. But “Carmen” was also a turning point in Bumbry’s career, which also demanded personal sacrifices from her and forced her to retrain from mezzo-soprano to soprano.

For mezzo-soprano Clémentine Margaine, who celebrated her breakthrough with “Carmen”, Garce Bumbry’s interpretation is still the reference. Grace Bumbry’s best friend since her youth, Felicia Weathers, draws parallels between the role of Carmen and Bumbry’s life. Anna Tomowa-Sintow, herself one of the greats of the opera stage, explains what makes Bumbry’s interpretation of “Carmen” so unique. Dominique Meyer, artistic director of La Scala in Milan, looks back on a long collaboration and friendship. And David Lee Brewer reviews Bumbry’s career in Bumbry’s music room on the day the apartment was cleared.