Debussy & Mozart 39
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Omaha Symphony Debussy & Mozart 39 Witherspoon Concert Hall

Larry Rachleff, conductor
Susan Lorette Dunn, soprano

BERLIOZ: Béatrice et Bénédict: Overture
CANTELOUBE: Selections from Chants d’Auvergne
DEBUSSY: Prelude to the Afternoon of a Faun
MOZART: Symphony No. 39 in E flat Major, K. 543

One of the most beloved conductors in the United States, Maestro Larry Rachleff, takes the podium for an afternoon of some of the most gorgeous French music in the repertoire. First is the overture to Berlioz’s Béatrice et Bénédict, an opera adapted from Shakespeare’s Much Ado About Nothing by the composer himself – this overture is an athletic and ostentatious showcase for the entire orchestra. Soprano Susan Lorette Dunn joins the orchestra to sing selections from Canteloube’s Chants d’Auvergne, a set of songs sung in Occitan, the regional language of Auvergne, creatively joined with a crowd favorite, Debussy’s atmospheric and ethereal Prelude to the Afternoon of a Faun. We finish with one of Mozart’s late-great symphonies, the first in the set of his final three, Symphony No. 39 in E flat Major.

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Larry Rachleff, conductor
Susan Lorette Dunn, soprano

BERLIOZ: Béatrice et Bénédict: Overture
CANTELOUBE: Selections from Chants d’Auvergne
DEBUSSY: Prelude to the Afternoon of a Faun
MOZART: Symphony No. 39 in E flat Major, K. 543

One of the most beloved conductors in the United States, Maestro Larry Rachleff, takes the podium for an afternoon of some of the most gorgeous French music in the repertoire. First is the overture to Berlioz’s Béatrice et Bénédict, an opera adapted from Shakespeare’s Much Ado About Nothing by the composer himself – this overture is an athletic and ostentatious showcase for the entire orchestra. Soprano Susan Lorette Dunn joins the orchestra to sing selections from Canteloube’s Chants d’Auvergne, a set of songs sung in Occitan, the regional language of Auvergnecreatively joined with a crowd favorite, Debussy’s atmospheric and ethereal Prelude to the Afternoon of a Faun. We finish with one of Mozart’s late-great symphonies, the first in the set of his final three, Symphony No. 39 in E flat Major.

 LESS INFORMATION