Dates and tickets
Unfortunately, no further dates are planned for this production.
Overview
Olivier Messiaen on his Music
I have an inclination towards colourful, scintillating, refined, even lascivious music, a music that is familiar with delicacy and impetuosity; a music that rocks its listeners to and fro, that sings itself out (honour is due to the melody, the melodic phrase!); a music that is enlivened by fresh blood, knows bold gestures, exudes a hitherto unknown scent, resembles a restless bird; a music like church windows where complementary colours seem to have been set into a whirling motion; a music that renders tangible both the limitations of time and its omnipresence, that talks about the resurrected, the divine and supernatural mysteries; a music that resembles a ‘theological rainbow’.
- Olivier Messiaen (1946)
Olivier Messiaen on Turangalîla
“Turangalîla” is a Sanskrit word and contains, like all words from the old, oriental languages, a multitude of meanings. “Lîla“ literally denotes a game, but a game in the sense of divine agency on the cosmic order, the game of creation, destruction, resurrection, the game of life and death. “Lîla” also means love. “Turanga“: This is time, running like a galloping horse; time like sand running through an hour-glass. “Turanga” is movement and rhythm. Therefore, “Turangalîla” means a love song, an ode to joy, time, movement, rhythm, life and death – all at the same time.
- Olivier Messiaen (1991)
General Music Director Stephan Zilias on Messiaen’s Turangalîla Symphonie
As soon as I heard that I would become General Music Director in Hanover, I know that I wanted to perform the Turangalîla Symphonie with my orchestra here. The piece is overwhelming, a symphony of love, and as such a wonderful work for the Advent period. Not classic Advent-music, of course, but a fundamentally life-affirming, optimistic work!
- Stephan Zilias
Pianist Tamara Stefanovich on Messiaen’s Turangalîla Symphonie
This monster of a piece is not only 80 minutes long, it is gut wrenchingly beautiful, exhausting mentally and physically, and on a pianistic level one of the Mount Everests.
- Tamara Stefanovich on Facebook, @StefanovichTamara, October 2020
I have an inclination towards colourful, scintillating, refined, even lascivious music, a music that is familiar with delicacy and impetuosity; a music that rocks its listeners to and fro, that sings itself out (honour is due to the melody, the melodic phrase!); a music that is enlivened by fresh blood, knows bold gestures, exudes a hitherto unknown scent, resembles a restless bird; a music like church windows where complementary colours seem to have been set into a whirling motion; a music that renders tangible both the limitations of time and its omnipresence, that talks about the resurrected, the divine and supernatural mysteries; a music that resembles a ‘theological rainbow’.
- Olivier Messiaen (1946)
Olivier Messiaen on Turangalîla
“Turangalîla” is a Sanskrit word and contains, like all words from the old, oriental languages, a multitude of meanings. “Lîla“ literally denotes a game, but a game in the sense of divine agency on the cosmic order, the game of creation, destruction, resurrection, the game of life and death. “Lîla” also means love. “Turanga“: This is time, running like a galloping horse; time like sand running through an hour-glass. “Turanga” is movement and rhythm. Therefore, “Turangalîla” means a love song, an ode to joy, time, movement, rhythm, life and death – all at the same time.
- Olivier Messiaen (1991)
General Music Director Stephan Zilias on Messiaen’s Turangalîla Symphonie
As soon as I heard that I would become General Music Director in Hanover, I know that I wanted to perform the Turangalîla Symphonie with my orchestra here. The piece is overwhelming, a symphony of love, and as such a wonderful work for the Advent period. Not classic Advent-music, of course, but a fundamentally life-affirming, optimistic work!
- Stephan Zilias
Pianist Tamara Stefanovich on Messiaen’s Turangalîla Symphonie
This monster of a piece is not only 80 minutes long, it is gut wrenchingly beautiful, exhausting mentally and physically, and on a pianistic level one of the Mount Everests.
- Tamara Stefanovich on Facebook, @StefanovichTamara, October 2020
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