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Chicago Symphony Orchestra
Tetzlaff Plays Sibelius
Feb 14-16, 2025
Overview
The rugged, windswept beauty of Sibelius’ Violin Concerto is a perfect showcase for Christian Tetzlaff, whose “fiery and compelling” 2022 CSO performance was named one of the year’s 10 best by Chicago Classical Review. Schoenberg’s Pelleas and Melisande is a lush, quintessentially romantic orchestral portrait of Maeterlinck’s mysterious, symbolist play, while Wagner’s prelude delivers a thrilling opener.
Program
Wagner
Prelude to Act 3 of Lohengrin
Sibelius
Violin Concerto
Bach
Partita for Solo Violin No. 2 in D Minor, BWV 1004: III. Sarabande [Feb 14 Encore]
Bach
Sonata for Solo Violin No. 3 in C Major, BWV 1005: III. Largo [Feb 15 Encore]
Bach
Partita for Solo Violin No. 3 in E Major, BWV 1006: III. Gavotte en Rondeau [Feb 16 Encore]
Schoenberg
Pelleas and Melisande
Performers
Extras
Enhance your concert experience.
Preconcert Dining
Enhance your concert experience by dining at the Thomas Club, offering a prix fixe menu featuring traditional American fare for a seamless preconcert dining experience. Reservations | Learn more and view the menu
Preconcert Conversation
Explore the music in a free preconcert conversation featuring Stephen Alltop in Orchestra Hall 75 minutes before the performance. The talk will last approximately 30 minutes. No additional tickets are needed.
Sponsors & Partners
The appearance of Christian Tetzlaff is made possible by the Grainger Fund for Excellence.
The Chicago Symphony Orchestra Association acknowledges support from the Illinois Arts Council.
Discover more on Experience CSO
Christian Tetzlaff singles out Sibelius' Violin Concerto as his favorite in the form because it contains what he calls "the wildness of the human heart.”
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Early in its first season, the Chicago Orchestra was in the pit of the Auditorium Theatre for performances of Wagner's Lohengrin featuring the Metropolitan Opera Company.
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Conductor David Afkham believes the most fortunate turn of his career was his long-term association with esteemed maestro Bernard Haitink. "It was really a wonderful start," Afkham recalled. "And it became a close friendship.”
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