Selected Engagements

Pierre Derhet, tenor
Maxime Melnik, tenor
Julius Drake, piano
Sophie Daneman, staging

Melodies by Vaughan Williams, Britten, Bernstein, Weill

Two artists who are complete opposites take the same road: that of the journey towards the unknown. From the English tradition, carried by Ralph Vaughan Williams, Benjamin Britten, Ivor Gurney and Roger Quilter, to the more eclectic repertoires that extend their echoes, their worlds intersect, confront each other and end up in dialogue.

At the heart of the program, Songs of Travel, Ralph Vaughan Williams’ emblematic cycle on poems by Robert Louis Stevenson, becomes the point of convergence of these trajectories. A real initiatory journey unfolds: an inner journey where wandering, memory and the quest for oneself are mixed.

Carried by the complicity of Pierre Derhet and Maxime Melnik — associate artists of the Festivals de Wallonie 2026 — this show comes to life under the fingers of pianist Julius Drake, a major figure in international vocal accompaniment, guest of the greatest stages and partner of many renowned singers. Sophie Daneman’s staging brings a sensitive dimension and a narrative thread.

In resonance with the theme “Travels” of the 2026 season, this program explores the multiple paths—geographical, poetic, and interior—that shape all existence.

Ian Bostridge, tenor
Julius Drake, piano

Schubert, Ian Bostridge and Julius Drake. More recommendation is not really necessary. Or it must be that the pair juxtapose Schubert songs with those of Hugo Wolf, two complete opposites – Wolf is sometimes called the Wagner of the Song – that reinforce each other. And who together show all aspects of the art of song 19th century. A recital to enjoy Schubert and fall in love with Wolf’s songs.
“Julius Drake and Ian Bostridge are a unit,” the music magazine Luister once simply stated with a recording of Schubert songs. Actually, that’s all there is to it. After about fifteen hundred concerts together, the singer and pianist are fully attuned to each other and dare to take risks. The latter in particular contributes to the fact that every recital is a new adventure. P

Program:

Hugo Wolf:
Harfenspieler I-III
Grenzen der Menschheit
Prometheus
Ganymed
Der Rattenfänger
Wandrers Nachtlied
Franz Schubert:
An den Mond
Ganymed
Wandrers Nachtlied I
Gesänge des Harfners I-III
Wandrers Nachtlied II
Der Musensohn
An die Entfernte
Am Flusse
Willkommen und Abschied
An den Mond D296

Marie Seidler, Mezzo-Soprano
Jusung Gabriel Park, Baritone
Julius Drake, Piano

Published by Achim von Arnim and Clemens Brentano in the early 19th century, Des Knaben Wunderhorn has remained the largest and most influential collection of songs in German literature, and its more than 700 poems served as a virtually inexhaustible source of inspiration not only for Gustav Mahler. In the season’s first Lied und Lyrik program, Julius Drake is joined by mezzo-soprano Marie Seidler and baritone Jusung Gabriel Park to present famous and lesser known Wunderhorn songs from the 18th to the 20th centuries, complemented by readings of the original texts.

Program
Achim von Arnim & Clemens Brentano
Texts from Des Knaben Wunderhorn
Readings in German
Settings by Reichardt, Weber, Loewe, Mendelssohn, Schumann, Brahms, Mahler, Strauss, Zemlinsky, and Schoenberg

Pierre Derhet, tenor
Maxime Melnik, tenor
Julius Drake, piano
Sophie Daneman, staging

Melodies by Vaughan Williams, Britten, Bernstein, Weill

Two artists who are complete opposites take the same road: that of the journey towards the unknown. From the English tradition, carried by Ralph Vaughan Williams, Benjamin Britten, Ivor Gurney and Roger Quilter, to the more eclectic repertoires that extend their echoes, their worlds intersect, confront each other and end up in dialogue.

At the heart of the program, Songs of Travel, Ralph Vaughan Williams’ emblematic cycle on poems by Robert Louis Stevenson, becomes the point of convergence of these trajectories. A real initiatory journey unfolds: an inner journey where wandering, memory and the quest for oneself are mixed.

Carried by the complicity of Pierre Derhet and Maxime Melnik — associate artists of the Festivals de Wallonie 2026 — this show comes to life under the fingers of pianist Julius Drake, a major figure in international vocal accompaniment, guest of the greatest stages and partner of many renowned singers. Sophie Daneman’s staging brings a sensitive dimension and a narrative thread.

In resonance with the theme “Travels” of the 2026 season, this program explores the multiple paths—geographical, poetic, and interior—that shape all existence.

Pierre Derhet, tenor
Maxime Melnik, tenor
Julius Drake, piano
Sophie Daneman, staging

Melodies by Vaughan Williams, Britten, Bernstein, Weill

Two artists who are complete opposites take the same road: that of the journey towards the unknown. From the English tradition, carried by Ralph Vaughan Williams, Benjamin Britten, Ivor Gurney and Roger Quilter, to the more eclectic repertoires that extend their echoes, their worlds intersect, confront each other and end up in dialogue.

At the heart of the program, Songs of Travel, Ralph Vaughan Williams’ emblematic cycle on poems by Robert Louis Stevenson, becomes the point of convergence of these trajectories. A real initiatory journey unfolds: an inner journey where wandering, memory and the quest for oneself are mixed.

Carried by the complicity of Pierre Derhet and Maxime Melnik — associate artists of the Festivals de Wallonie 2026 — this show comes to life under the fingers of pianist Julius Drake, a major figure in international vocal accompaniment, guest of the greatest stages and partner of many renowned singers. Sophie Daneman’s staging brings a sensitive dimension and a narrative thread.

In resonance with the theme “Travels” of the 2026 season, this program explores the multiple paths—geographical, poetic, and interior—that shape all existence.

Pierre Derhet, tenor
Maxime Melnik, tenor
Julius Drake, piano
Sophie Daneman, staging

Melodies by Vaughan Williams, Britten, Bernstein, Weill

Two artists who are complete opposites take the same road: that of the journey towards the unknown. From the English tradition, carried by Ralph Vaughan Williams, Benjamin Britten, Ivor Gurney and Roger Quilter, to the more eclectic repertoires that extend their echoes, their worlds intersect, confront each other and end up in dialogue.

At the heart of the program, Songs of Travel, Ralph Vaughan Williams’ emblematic cycle on poems by Robert Louis Stevenson, becomes the point of convergence of these trajectories. A real initiatory journey unfolds: an inner journey where wandering, memory and the quest for oneself are mixed.

Carried by the complicity of Pierre Derhet and Maxime Melnik — associate artists of the Festivals de Wallonie 2026 — this show comes to life under the fingers of pianist Julius Drake, a major figure in international vocal accompaniment, guest of the greatest stages and partner of many renowned singers. Sophie Daneman’s staging brings a sensitive dimension and a narrative thread.

In resonance with the theme “Travels” of the 2026 season, this program explores the multiple paths—geographical, poetic, and interior—that shape all existence.

Alice Coote, Mezzo-soprano
Julius Drake, piano

Is it necessary to distinguish between the great songs of classical and popular music, to imply that they have fundamentally different qualities? Alice Coote and Julius Drake think not, and in this gently provocative recital these two world-renowned artists present a seamless sequence of songs that encompasses David Bowie, Henry Purcell, Jacques Brel, K.D. Lang, Mahler, Mozart, Lennon & McCartney, and more, in original versions and new arrangements. Alice Coote describes how ‘we have tried to juxtapose works that say some of the things that we possibly all feel, irrespective of “genre”.’ This programme has been heard at venues including Wigmore Hall and the Boulez Saal in Berlin, to rapturous receptions.

Leoš Janáček, Author
Julius Zeyer, Libretto
Dominik Pernica, Musical Preparation, Conductor
Jiří Heřman, Director
Dragan Stojčevski, Set and Costume design
Martin Buchta, Chorus Master
Jiří Heřman, Lighting design
Patricie Částková, Dramaturgy

Daniel Kfelíř, Přemysl Bar
Nicky Spence, Ctirad Ten
Eliška Gattringerová – J.H., Šárka Sop
Ondřej Koplík, Lumír Ten
Julius Drake, Pianist

Who has the right to rule? Does it belong to men or women? Princess Libuše ruled together with Přemysl, but after her death, women are ignominiously banished from the council, and the right to rule is claimed exclusively by men. However, the women, led by Vlasta, do not intend to put up with this and decide to claim their rights by force. They set a trap for the men, led by Ctirad, but their straightforward plan becomes unexpectedly complicated…

The first premiere of the season in a festival year is traditionally connected with a new production of a work by Leoš Janáček. This time, it will be an unconventional project. The motto of the 10th edition of the festival is “Roots,” and our contribution, in the form of the Maestro’s first opera, Šárka, points exactly to them. Not at the Janáček Theatre, however, but in the form of a site-specific project that will take us to the Besední dům, a venue deeply connected with Janáček’s influence on Brno’s cultural life.
The opera Šárka exists in two versions – from 1887–1888, when Janáček finished the work only in a piano score, and from 1925, in a revised and orchestrated version. Both versions will be performed at the festival, but director Jiří Heřman has chosen the first for his project to bring the audience in the spaces of the Besední dům right into the middle of the dramatic clash between men and women, which culminates in an unexpected tragedy.
The piano part will be performed by the outstanding British pianist Julius Drake, the role of Ctirad will be sung by British tenor Nicky Spence, and soprano Eliška Gattringerová will take on the role of Šárka.
Janáček set this version aside and forgot about it, but today the piano version offers valuable insight into his compositional style. Despite the apparent romantic influence, one can already feel his profound sense of drama and theater – a power that remains impressive and highly relevant today.

Andrè Schuen (baritone)
Julius Drake (piano)

Experience the magnetic artistry of baritone Andrè Schuen, internationally acclaimed as one of today’s finest Don Giovannis, in an intimate evening of Schumann’s most captivating songs. Joined by the exceptional pianist Julius Drake, Schuen brings rare insight, warmth, and dramatic intensity to Liederkreis, Op. 24 and Dichterliebe. His velvety tone and compelling stage presence, paired with a natural charisma that has captivated audiences across Europe, make this a recital not to miss. Together, these masterpieces unfold a world of poetry, passion, and longing in a performance of striking immediacy and emotional depth.

This concert is generously sponsored by Sir Richard Aikens & Penny Jonas.

Programme
Robert Schumann (1810-1856): Liederkreis opus 24
Robert Schumann (1810-1856): Dichterliebe

Leoš Janáček, Author
Julius Zeyer, Libretto
Dominik Pernica, Musical Preparation, Conductor
Jiří Heřman, Director
Dragan Stojčevski, Set and Costume design
Martin Buchta, Chorus Master
Jiří Heřman, Lighting design
Patricie Částková, Dramaturgy

Daniel Kfelíř, Přemysl Bar
Nicky Spence, Ctirad Ten
Eliška Gattringerová – J.H., Šárka Sop
Ondřej Koplík, Lumír Ten
Julius Drake, Pianist

Who has the right to rule? Does it belong to men or women? Princess Libuše ruled together with Přemysl, but after her death, women are ignominiously banished from the council, and the right to rule is claimed exclusively by men. However, the women, led by Vlasta, do not intend to put up with this and decide to claim their rights by force. They set a trap for the men, led by Ctirad, but their straightforward plan becomes unexpectedly complicated…

The first premiere of the season in a festival year is traditionally connected with a new production of a work by Leoš Janáček. This time, it will be an unconventional project. The motto of the 10th edition of the festival is “Roots,” and our contribution, in the form of the Maestro’s first opera, Šárka, points exactly to them. Not at the Janáček Theatre, however, but in the form of a site-specific project that will take us to the Besední dům, a venue deeply connected with Janáček’s influence on Brno’s cultural life.
The opera Šárka exists in two versions – from 1887–1888, when Janáček finished the work only in a piano score, and from 1925, in a revised and orchestrated version. Both versions will be performed at the festival, but director Jiří Heřman has chosen the first for his project to bring the audience in the spaces of the Besední dům right into the middle of the dramatic clash between men and women, which culminates in an unexpected tragedy.
The piano part will be performed by the outstanding British pianist Julius Drake, the role of Ctirad will be sung by British tenor Nicky Spence, and soprano Eliška Gattringerová will take on the role of Šárka.
Janáček set this version aside and forgot about it, but today the piano version offers valuable insight into his compositional style. Despite the apparent romantic influence, one can already feel his profound sense of drama and theater – a power that remains impressive and highly relevant today.

Leoš Janáček, Author
Julius Zeyer, Libretto
Dominik Pernica, Musical Preparation, Conductor
Jiří Heřman, Director
Dragan Stojčevski, Set and Costume design
Martin Buchta, Chorus Master
Jiří Heřman, Lighting design
Patricie Částková, Dramaturgy

Daniel Kfelíř, Přemysl Bar
Nicky Spence, Ctirad Ten
Eliška Gattringerová – J.H., Šárka Sop
Ondřej Koplík, Lumír Ten
Julius Drake, Pianist

Who has the right to rule? Does it belong to men or women? Princess Libuše ruled together with Přemysl, but after her death, women are ignominiously banished from the council, and the right to rule is claimed exclusively by men. However, the women, led by Vlasta, do not intend to put up with this and decide to claim their rights by force. They set a trap for the men, led by Ctirad, but their straightforward plan becomes unexpectedly complicated…

The first premiere of the season in a festival year is traditionally connected with a new production of a work by Leoš Janáček. This time, it will be an unconventional project. The motto of the 10th edition of the festival is “Roots,” and our contribution, in the form of the Maestro’s first opera, Šárka, points exactly to them. Not at the Janáček Theatre, however, but in the form of a site-specific project that will take us to the Besední dům, a venue deeply connected with Janáček’s influence on Brno’s cultural life.
The opera Šárka exists in two versions – from 1887–1888, when Janáček finished the work only in a piano score, and from 1925, in a revised and orchestrated version. Both versions will be performed at the festival, but director Jiří Heřman has chosen the first for his project to bring the audience in the spaces of the Besední dům right into the middle of the dramatic clash between men and women, which culminates in an unexpected tragedy.
The piano part will be performed by the outstanding British pianist Julius Drake, the role of Ctirad will be sung by British tenor Nicky Spence, and soprano Eliška Gattringerová will take on the role of Šárka.
Janáček set this version aside and forgot about it, but today the piano version offers valuable insight into his compositional style. Despite the apparent romantic influence, one can already feel his profound sense of drama and theater – a power that remains impressive and highly relevant today.

Elisabeth Leonskaja (piano)
Julius Drake (piano)

Programme
Two outstanding international careers will meet on a single keyboard: Elisabeth Leonskaja and Julius Drake, undisputed giants of the piano scene in recent decades, are coming together for an exceptional event to explore Schubert’s personal, visionary creations for four hands. This format, domestic in origin and symphonic in ambition, makes the piano a shared space where breathing, personal presence and phrasing must merge with almost choreographic precision. Playing four hands involves negotiating each instinct, sharing the spotlight and building a single soundscape from two perspectives: an exercise of trust, radical listening and physical rapport that also becomes expressive rapport.

The programme brings together three gems from Schubert’s mature period: the tempestuous, dramatic Allegro D. 947 “Lebensstürme”; the Fantasia D. 940, with its almost orchestral nature and free-spirited architecture; and the expansive and structurally symphonic Grand Duo D. 812. Written towards the end of the composer’s life, these works reflect the budding Romanticism of 1820 Vienna, where piano was becoming a laboratory for extreme emotions. In the interplay of hands – treble and bass, impulse and resonance – the orchestra lying dormant within the keyboard fully emerges. This will be a powerfully poetic evening of sublime musical dialogue.

Repertoire
Franz Schubert: Allegro D 947 “Lebenstürme”
Franz Schubert: Fantasia D 940
Franz Schubert: Grand Duo D 812

Gerald Finley, Bariton
Julius Drake, Klavier

Programme

Robert Schumann
Lehn deine Wang op. 142/2 (Vier Gesänge) (1840)
Es leuchtet meine Liebe op. 127/3 (Fünf Lieder und Gesänge) (1840)
Dein Angesicht, so lieb und schön op. 127/2 (Fünf Lieder und Gesänge) (1840)
Mein Wagen rollet langsam op. 142/4 (Vier Gesänge) (1840)
Dichterliebe. Liederzyklus nach Gedichten von Heinrich Heine op. 48 (1840)

Intermission

Edvard Grieg
Gruß op. 48/1 (1884–1888)
Dereinst, Gedanke mein op. 48/2 (1884–1888)
Verdens Gang »Lauf der Welt« op. 48/3 (1884–1888)
Zur Rosenzeit »I Rosentiden« op. 48/5 (1889)
En dröm »Ein Traum« op. 48/6 (1884–1888)

Samuel Barber
There’s nae lark (1927)
Nocturne op. 13/4 (1940)
Rain has fallen op. 10/1 (1936)
Sleep now op. 10/2 (1936)
I hear an army op. 10/3 (1936)

Charles Ives
A Christmas Carol (1898 vor)

Benjamin Britten
I wonder as I wander

Irving Berlin
White Christmas
und andere festliche Lieder

Gerald Finley, Bariton
Julius Drake, Klavier

Programme

Robert Schumann
Lehn deine Wang op. 142/2 (Vier Gesänge) (1840)
Es leuchtet meine Liebe op. 127/3 (Fünf Lieder und Gesänge) (1840)
Dein Angesicht, so lieb und schön op. 127/2 (Fünf Lieder und Gesänge) (1840)
Mein Wagen rollet langsam op. 142/4 (Vier Gesänge) (1840)
Dichterliebe. Liederzyklus nach Gedichten von Heinrich Heine op. 48 (1840)

Edvard Grieg
Gruß op. 48/1 (1884–1888)
Dereinst, Gedanke mein op. 48/2 (1884–1888)
Verdens Gang »Lauf der Welt« op. 48/3 (1884–1888)
Zur Rosenzeit »I Rosentiden« op. 48/5 (1889)
En dröm »Ein Traum« op. 48/6 (1884–1888)

Samuel Barber
There’s nae lark (1927)
Nocturne op. 13/4 (1940)
Rain has fallen op. 10/1 (1936)
Sleep now op. 10/2 (1936)
I hear an army op. 10/3 (1936)

Charles Ives
A Christmas Carol (1898 vor)

Benjamin Britten
I wonder as I wander

Irving Berlin
White Christmas
und andere festliche Lieder

Gerald Finley, Bariton
Julius Drake, Klavier

Programme

Robert Schumann
Lehn deine Wang op. 142/2 (Vier Gesänge) (1840)
Es leuchtet meine Liebe op. 127/3 (Fünf Lieder und Gesänge) (1840)
Dein Angesicht, so lieb und schön op. 127/2 (Fünf Lieder und Gesänge) (1840)
Mein Wagen rollet langsam op. 142/4 (Vier Gesänge) (1840)
Dichterliebe. Liederzyklus nach Gedichten von Heinrich Heine op. 48 (1840)

Edvard Grieg
Gruß op. 48/1 (1884–1888)
Dereinst, Gedanke mein op. 48/2 (1884–1888)
Verdens Gang »Lauf der Welt« op. 48/3 (1884–1888)
Zur Rosenzeit »I Rosentiden« op. 48/5 (1889)
En dröm »Ein Traum« op. 48/6 (1884–1888)

Samuel Barber
There’s nae lark (1927)
Nocturne op. 13/4 (1940)
Rain has fallen op. 10/1 (1936)
Sleep now op. 10/2 (1936)
I hear an army op. 10/3 (1936)

Charles Ives
A Christmas Carol (1898 vor)

Benjamin Britten
I wonder as I wander

Irving Berlin
White Christmas
und andere festliche Lieder