Ferruccio Furlanetto © Sacharov
Ferruccio Furlanetto, Bass
Tuesday
11
March
2025
19:30
Mozart-Saal
Performers
Ferruccio Furlanetto, Bass
Natalia Sidorenko, Klavier
Programme
Johannes Brahms
Vier ernste Gesänge op. 121 (1896)
Modest Mussorgski
Lieder und Tänze des Todes (1875–1877)
Lieder von Sergej Rachmaninoff
***
Wolfgang Amadeus Mozart
In diesen heil'gen Hallen (Arie des Sarastro aus »Die Zauberflöte« K 620) (1791)
Non più andrai farfallone amoroso »Nun vergiss, leises Flehen, süßes Kosen« (Arie des Figaro aus »Le nozze di Figaro« K 492) (1785–1786)
Madamina, il catalogo è questo »Schöne Donna« (Registerarie des Leporello aus »Don Giovanni« K 527) (1787)
Jules Massenet
O mon maître, o mon grand! (Sterbeszene des Don Quichotte aus »Don Quichotte«)
Modest Mussorgski
Leb wohl, mein Sohn »Boris' Tod« (Arie des Boris aus »Boris Godunow«) (1868–1869/1871–1872/1873)
Giuseppe Verdi
Ella giammai m'amo ... Dormiro sol »Sie hat mich nie geliebt ... Schlaf find' ich erst« (Rezitativ und Arie des Filippo aus »Don Carlos«) (1867)
Presented by
Wiener Konzerthausgesellschaft
A legendary voice
Luciano Pavarotti, José Carreras, Mirella Freni, Dame Joan Sutherland: the legendary singer shared the stage with all of them during his five-decade career. His bass voice, which speaks volumes and fills halls with astonishing power, is still one of the most beautiful in the world. Now he is giving a solo recital at the Wiener Konzerthaus. In the first part, he sings »Vier ernste Gesänge« by Brahms and finally proves that song culture has also produced great works of art outside the German-speaking world, for example in the form of songs by Mussorgsky, full of black romanticism, and Rachmaninoff. In the second half of the concert, Furlanetto brings to life some of the operatic characters he embodies from Mozart's »Magic Flute«, »Le nozze di Figaro« and »Don Giovanni«, but also from Massenet, Mussorgsky and Verdi. Even more than on the opera stage, his unique ability to slip into roles and embody them with the full expressive range of his voice is fundamental in the solo concert: »When you're on stage with costume and make-up, it's somehow easier because the track is already set. When you're alone on stage, with a piano, dressed normally and with your own face, it's all about how you filter that music. You have to live these amazing roles, honestly and with skin and hair. That's the only way to reach the audience. The only way is to live what you sing and find the intentions and colors. If you have to suffer at that moment, you have to suffer. If you enjoy it, you have to feel joy«, says Furlanetto.