Alexander Lonquich/ Ilya Gringolts, violin/ Narek Hakhnazaryan, cello

Alexander Lonquich was born in Trier, Germany. In 1977 he won the first prize at the Casagrande competition dedicated to Schubert. Since then he has given concerts in Japan, the United States and major European music centers. Professionally engaged with conductors such as Claudio Abbado, Kurt Sanderling, Ton Koopman, Emmanuel Krivine, Heinz Holliger, Marc Minkowski. And especially the relationship he has maintained with Sandor Vègh and Camerata Salzburg, of which he is still a regular guest as soloist-conductor.

The Russian violinist Ilya Gringolts captures audiences thanks to his virtuoso performances and his sensitive interpretations, and is always on the lookout for new musical challenges. Highly sought-after as a soloist, he dedicates himself both to the great orchestral repertoire and to contemporary and less popular works. He gave the very first performances of works by Peter Maxwell Davies, Augusta Read Thomas, Christophe Bertrand and Michael Jarrell. He is also very interested in historical performance practice and collaborates with renowned ensembles such as the Finnish Baroque Orchestra, Arcangelo or Oxford Philharmonia.

Narek Hakhnazaryan

Following the victory of the First Prize and the Gold Medal at the XIV International Ciajkovskij Competition in 2011, at the age of 22, Narek Hakhnazaryan has performed with the most renowned orchestras and in recitals and chamber music for the world’s most prestigious festivals. Narek Hakhnazaryan is a compelling artist, a true virtuoso with an innate musicality and an exceptional talent for relating  with his audience.

May | Monday | 25  | H 20.30

Teatro Auditorium Manzoni




Triple concert in C major for piano, violin and cello op. 56


Symphony n. 3 in F major op. 90


Triple concert in C major for piano, violin and cello op. 56

Year of composition: 1795


  1. Adagio molto; Allegro con brio
    2. Larghetto
    3. Scherzo: Allegro vivace
    4. Allegro molto

For Beethoven it is an intensely busy and feverish period, to whom irony is not unfamiliar, what is the background to the composition of the Triple Concert, defined by the same author with the redundant formula of “Grand Concert concertant”. A piano, violin and cello trio, and an orchestra: more characteristic of chamber music ensembles with the addition of a symphonic orchestra, an experimental endeavour, the Triple Concert, traditionally considered the least popular of his concertos, takes on a particular value in the Beethovian process of “symphony” in concert form. The plot of the continual postponements between soloists and orchestra is supported by a wealth of thematic invention that stands out in the initial Allegro, then transfigures in the singing Largo dominated by the cello, and still refers to tradition with the character traits of the ending.

Symphony n. 3 in F major op. 90

Year of composition: 1883

First execution: December 2, 1883


  1. Allegro con brio
    2. Andante
    3. Poco allegretto
    4. Allegro

Composed fairly quickly after a short period of maturation, the Third Symphony turned out to be considerably more mature and organic than in the previous rehearsals. Brahms it seems, wanted to return to the more serious and demanding intentions of the First Symphony, recasting as much as there may have been experimental or constructively heretical in a superior formal and stylistic synthesis. Among his symphonies, the Third can be defined as the most Brahmsian: a melting pot where the most disparate expressive needs merge continuously and restlessly, each symbolized by different thematic proposals and rhythmic, harmonic and timbral connotations.


With its long-standing tradition, the Orchestra of the Teatro Comunale di Bologna has been led by Musical Directors like Sergiu Celibidache, Zoltán Peskó, Vladimir Delman, Riccardo Chailly, Daniele Gatti, Michele Mariotti. Some of the conductors who have worked with the ensemble include Gary Bertini, Myung-Whun Chung, James Conlon, Pinchas Steinberg, Valery Gergiev, Eliau Inbal, Vladimir Jurowskij, Daniel Oren, Peter Maag, Neville Marriner, Kurt Masur, Riccardo Muti, Mstislav Rostropovič, Esa Pekka Salonen, Georg Solti, Christian Thielemann, Charles Dutoit, Georges Prêtre. The Orchestra of the Teatro Comunale is often invited abroad (The Netherlands, Romania, Spain, France, and Switzerland) and has played in many prestigious festivals (Amsterdam 1987, Parma 1990, Wiesbaden 1994, Santander 2004 and 2008, Aix en Provence 2005, Savonlinna 2006, Macao 2013, Muscat 2015, Guanajuato in Mexico 2017, Paris 2018). A special connection  with Japan has brought to several tours, including the tour in June 2019 in Osaka, Tokyo, Yokohama, Fukuoka, with performances of Rigoletto directed by Alessio Pizzech, and of Il Barbiere di Siviglia directed by Federico Grazzini. 

Its numerous recordings include La Favorite conducted by Richard Bonynge; Oberto Conte di San Bonifacio conduted by Zoltán Peskó, Il Barbiere di Siviglia conducted by Giuseppe Patané, La Fille du Régiment conducted by Bruno Campanella, Le Maschere and La Bohème conducted by Gianluigi Gelmetti, La Scala di Seta conducted by Gabriele Ferro, Macbeth, Manon Lescaut, Rigoletto, La Cenerentola, Messa Solenne, and the video production of Vespri siciliani and Giovanna d’Arco and Werther conducted by Riccardo Chailly, Armide conducted by  Daniele Gatti, Simon Boccanegra conducted by Michele Mariotti.

The Orchestra, conducted by Michele Mariotti, has recorded a CD under the label Decca with sacred arias sung by Juan Diego Flórez, and an album under Sony with Romantic arias sung by Nino Machaidze. Under Deutsche Grammophon the Orchestra recorded Le Comte Ory with Flórez, and La Nuit de Mai – a selection or arias and songs by Leoncavallo – with Placido Domingo. Under the label PENTATONE it recently released a CD containing overtures by Rossini, to celebrate 150 years since the death of the composer.  

In March 2013 the artistic ensembles of the Teatro Comunale di Bologna, led by Michele Mariotti, opened the IV International Festival Mstislav Rostropovich in Moscow, where they performed Verdi’s Messa da Requiem. In October 2015, again with Michele Mariotti on the podium, they opened the Lingotto Music Festival at the Auditorium Giovanni Agnelli in Turin, where they performed Stabat Mater by Rossini, and his Overture and Ballet Music from Guillaume Tell. 

After working with the Rossini Opera Festival for nearly thirty years (from 1988 to 2016), the year 2017 brought new collaborations between the Teatro Comunale di Bologna and the Verdi Festival in Parma, where the Orchestra performed, among other productions, the Stiffelio directed by Graham Vick. Staged at the Teatro Farnese, the show was highly appreciated by audience and critics alike and was granted the Special Prize at the 37th edition of the “Franco Abbiati” Critics award. The Orchestra’s engagements with the Verdi Festival for the Fall of 2019 include Luisa Miller at the Chiesa di San Francesco del Prato in Parma, and Aida at the Teatro Verdi in Busseto. 

The Teatro Comunale’s 2018 production of La Bohème staged by Graham Vick received the Abbiati Award as best show.