RADIALE NACHT BEETHOVEN V
Building on the successful project The Sound of Light with Teodor Currentzis and musicAeterna in March 2015, the year of celebrations for the 10th anniversary of the arts space Radialsystem V began in January 2016 with a program featuring the same orchestra and conductor: the Radial Night Beethoven V (in cooperation with Andreas Richter Cultural Consulting, Radialsystem V, the Radial Foundation, and sasha waltz & guests).
With the transformation of a listening experience into a spatial event, and a combination of light and dance embedded in music extending from Beethoven and Mozart up to modern times, the Radialsystem V arts space – which was once a pumping station on the Spree River – offered a synesthetic experience that broke down old listening habits and created spaces for dialogue. The elimination of traditional boundaries between orchestra and audience – along with the combined effect of music, dance, staging, and lighting concepts that worked together as equals – created a unique and extraordinarily powerful listening experience – as evidenced by the extended standing ovations at the end.
The idea was to connect classical music to other contexts, to enrich the pure listening experience using visual effects, to include other art forms such as light installations and dance, and to liberate classical music from traditional presentation conventions. With the Radial Night Beethoven V, music and dance fans alike were invited to share a fascinating concert experience far removed from traditional norms. One of the most innovative and inspiring orchestras in Europe – whose home is far beyond the borders of the European Union – was invited to Radialsystem V with its charismatic leader and one of the most exciting violinists of our time, Patricia Kopatchinskaja. Radialsystem V is a place that offers everything – everything except tradition and convention.
“And if Beethoven really was the wildly emotional man we like to think he was, then this performance of his 5th Symphony would have suited him perfectly. It went from paroxysms of rage to paroxysms of joy, brilliantly played: a continuous manic state that ended with a shout from the audience after the final chord. Teodor Currentzis bridged the chasm between classical and rock music using classical means.” (Berliner Zeitung, 18 January 2016)
Review on kulturaExtra.