Konzerthausorchester Berlin, Ton Koopman

At the start, Rossini's cheerful overture to the “Italian woman in Algiers” is heard, then the stage in the Great Hall is clear for a real woman in music history: early piano lessons with Haydn, supported by the famous librettist Metastasio, appearances as a singer and pianist at court and in Vienna salons, recognized composer and member of the Accademia Filarmonic di Bologna with 29 — Marianna by Martinini It (1744 — 1812) was undoubtedly a special phenomenon in Vienna by Salieri, Mozart and Haydn, whose work is now being rediscovered.

Mozart in turn composed his concert aria K. 505 um (supposedly) lost love in 1786 for a famous young soprano with whom he had fallen in love. She sang the aria accompanied by him — and left Vienna anyway. With us, Vera-Lotte Böcker says goodbye to you as Artist in Residence. After Mozart's Divertimento K. 136, Haydn's 100th Symphony is played at the end, which was later nicknamed “Military Symphony” due to passages reminiscent of army music with triangle, cymbal, bass drum and trumpet signal.

Program: Gioacchino Rossini: Overture to the opera “Die Italienerin in Algiers”; Marianna Martines: cantata “Berenice, ah che fai”; Wolfgang Amadeus Mozart: “Ch'io mi scordi di te - Non temer, amato bene” — scene for soprano with obligatory piano and orchestra K. 505; Wolfgang Amadeus Mozart: Divertimento in D major K. 136; Joseph Haydn: Symphony No. 100 in G major Hob I:100 (“Military Symphony”)