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Julia Lezhneva And Luca Pianca

VenueMusikverein Brahms Hall
CalendarTue 01 Jun 2027
Synopsis/Details

Experience an evening of exceptional vocal and instrumental artistry with Julia Lezhneva and Luca Pianca at the Musikverein in Vienna. Renowned for her clear, agile soprano and refined musical expression, Julia Lezhneva has established herself as an outstanding interpreter of Baroque and Classical repertoire. Her performances are admired for their technical precision, expressive delicacy, and remarkable ability to bring historical music to life.

Luca Pianca is an accomplished lutenist and a distinguished specialist in early music. His sensitive musicianship and deep understanding of historical performance practices make him an ideal partner for vocal repertoire from earlier musical periods. Together, these two artists offer audiences an opportunity to discover the beauty, intimacy, and expressive richness of music performed with historical awareness and artistic sensitivity.

The Musikverein, one of Vienna’s most celebrated concert venues, provides an elegant setting for this musical encounter. Its renowned concert atmosphere and outstanding acoustics create an ideal environment for appreciating subtle instrumental details and expressive vocal nuances.

Whether you are passionate about Baroque music or simply looking for a memorable classical concert, this performance promises an enriching cultural experience in the heart of Vienna.

Cast

Julia Lezhneva, soprano

Luca Pianca, lute

 

Programme

Giulio Caccini

Dolcissimo sospiro

La bella man vi stringo

Amarilli, mia bella

Belle rose porporine

Claudio Monteverdi

Ecco di dolci raggi il sol armato

Quel sguardo sdegnosetto

Vincenzo Bernia

Toccata cromatica - Allemande

Pietro Paolo Melli

Aria del Gran Duca - Preludio

Corrente La Palatina

Domenico Mazzocchi

Con ghirlanda di rose

Giacomo Carissimi

Tu m’hai preso a consumare

– Interval –

Antonio Vivaldi

Sorge vermiglia in ciel la bella aurora

Goëss-Ebenthal Manuscript

Suite for lute - Prélude/Allmande/Gigue/Sarabande/Chaconne

Giovanni Paisiello

Variations on Nel cor più non mi sento

Ends at approx. 21:30

Venue
Musikverein Brahms Hall

For many years, this hall was known only as the “Kleine Musikvereinssaal”, until in 1937, during the 125th anniversary year of the Gesellschaft der Musikfreunde in Wien, it was given a name that truly reflects its importance: the Brahms Saal. Johannes Brahms not only performed in person in this hall, he was also behind the very first concert to be performed here, by Clara Schumann on 19 January 1870. The standards set that day have been maintained ever since. The Brahms Saal remains one of the most prized locations for the greatest chamber music ensembles and lieder singers performing in the world today.

 

With just under of 600 seats, the hall is designed to showcase the intimate aspects of classical music. The hall acoustics are perfectly attuned to deliver this: the Brahms Saal – 32.50 metres long, 10.30 metres wide und 11 metres high – possesses a similar acoustic brilliance to the Große Musikvereinssaal.

 

When the Musiverein building was opened in 1870, the Kleine Musikvereinssaal was described as a “true little treasure chest”. It was even suggested that this hall might warrant greater praise and wonderment than the Große Musikvereinssaal: “One might even wish to award the prize to this hall for its peacefulness and simple grandeur.” It is abundantly clear that Theophil Hansen’s design for the Brahms Saal created an architectonic masterpiece of the Historicism period. His commitment to the “Greek Renaissance”, evident in the design’s allusions to classical Hellas, make this concert hall an authentic temple of chamber music.

 

In 1993 the Brahms Saal underwent a comprehensive restoration programme. The restoration project involved consulting the original designs held at the Print Room at the Academy of Fine Arts in Vienna.  This made it possible to reconstruct the original colour scheme created by Hansen as the Musikverein’s architect: green walls, red columns and the liberal use of gold.

 

When the Brahms Saal reopened to the public in its new form in 1993, a Vienna newspaper wrote: “Without wishing to raise expectations too high, this has been transformed into the most beautiful, magnificent and prestigious chamber music concert hall we are likely to find anywhere in the world.”

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