A world-renowned orchestra

Beethoven’s third piano concerto is one of the true masterpieces of all piano literature. Here, with painterly style, young Swedish star-pianist Pontus Carron will depict the menacing barrenness of the first movement and the sublime, dreamy atmosphere of the second. The concerto is rounded off with a dancing, vivacious rondo.

In an inspiring lead-in to Beethoven’s concerto, we will hear Emilie Mayer’s emotionally charged Faust Overture. Emilie Mayer was a significant symphonic musician in Germany in the nineteenth century and Beethoven was one of her great role models, which can be heard in her remarkable overture.

Franz Liszt’s symphonic poem, Les préludes, is a comment on Alphone de Lamartine’s poem by the same name. It is easy to understand Liszt’s fascination with the text, which explores heavenly concertos and “internal music, ineffable harmony, harps I have heard vibrate in the wind”. At times, this music is also dreamy, forward-looking, and here too, the spirit of Beethoven can be heard within it.

The Royal Stockholm Philharmonic Orchestra will be led by the increasingly celebrated Swedish conductor Emil Eliasson.

Please note
The concert will take place with an audience of maximum 50 people in the hall. The costumized seating plan allows for two seats together using the online booking. If more seats together are needed, please call our box office, 08-50 66 77 88. Artists and programmes may be subject to changes.

Read more about how we work for a safe concert visit

Beethoven’s third piano concerto is one of the true masterpieces of all piano literature. Here, with painterly style, young Swedish star-pianist Pontus Carron will depict the menacing barrenness of the first movement and the sublime, dreamy atmosphere of the second. The concerto is rounded off with a dancing, vivacious rondo.

In an inspiring lead-in to Beethoven’s concerto, we will hear Emilie Mayer’s emotionally charged Faust Overture. Emilie Mayer was a significant symphonic musician in Germany in the nineteenth century and Beethoven was one of her great role models, which can be heard in her remarkable overture.

Franz Liszt’s symphonic poem, Les préludes, is a comment on Alphone de Lamartine’s poem by the same name. It is easy to understand Liszt’s fascination with the text, which explores heavenly concertos and “internal music, ineffable harmony, harps I have heard vibrate in the wind”. At times, this music is also dreamy, forward-looking, and here too, the spirit of Beethoven can be heard within it.

The Royal Stockholm Philharmonic Orchestra will be led by the increasingly celebrated Swedish conductor Emil Eliasson.

Please note
The concert will take place with an audience of maximum 50 people in the hall. The costumized seating plan allows for two seats together using the online booking. If more seats together are needed, please call our box office, 08-50 66 77 88. Artists and programmes may be subject to changes.

Read more about how we work for a safe concert visit

Side-by-side with the very well-known Symphony No 5 by Beethoven – the ”Fate Symphony” is no doubt one of the cornerstones of wester classical music – this concert presents something rather unusual : a harp concerto by Reinhold Glière. Despite his French-sounding name, Glière was in fact Russian. The concerto was composed for the acclaimed harpist Ksenia Alexandrovna Erdely (1878–1971).

We will hear a masterful harpist of our time, French Xavier de Maistre, along with French conductor Nathalie Stutzmann, who has appeared with the orchestra numerous times in recent years with great success.

Please note
The concert will take place with an audience of maximum 50 people in the hall. The costumized seating plan allows for two seats together using the online booking. If more seats together are needed, please call our box office 08-50 66 77 88. Artists and programmes may be subject to changes.

Read more about how we work for a safe concert visit

Highly coveted Spanish conductor Pablo Heras-Casado returns to the Royal Stockholm Philharmonic Orchestra. He has appeared with the foremost orchestras and at the world’s great opera houses, such as the Berlin Philharmonic, the Vienna Philharmonic, the Metropolitan Opera and Deutsche Oper Berlin.

Mozart’s Symphony No. 40 is a masterpiece of musical history and an unparalleled milestone. This highly accomplished work is filled with speed and anxiety, as well as elegance and refinement. Mozart usually composed his music for an ordering party, but he composed this symphony entirely for himself. In the introduction, we hear Mozart’s freedom to explore, as the orchestra begins accompanied by the alto violins. The melodies throughout consist of short motifs, and only in the second movement does the dark drama release its grasp on the music.

In the year of 1945 the horrors of World War II were put to an end, and Dmitri Shostakovich had plans for a ”symphony of victory” for soloists, choir and orchestra. However, the Ninth Symphony that he completed in August 1945 was short and playful, more in the spirit of Joseph Haydn. In connection with the world premier, Shostakovich commented, almost setting up a warning: ”In character, the Ninth Symphony differs sharply from my preceding symphonies, the Seventh and the Eighth. If the Seventh and the Eighth symphonies bore a tragic-heroic character, then in the Ninth a transparent, pellucid, and bright mood predominates.” Paradoxically, this was explosive: dances and hints of circus music challenged Josef Stalin’s image of Soviet power, and the symphony was banned in 1948.

Please note
The concert will take place with an audience of maximum 50 people in the hall. The costumized seating plan allows for two seats together using the online booking. If more seats together are needed, please call our box office, 08-50 66 77 88. Artists and programmes may be subject to changes.

Read more about how we work for a safe concert visit

The Royal Stockholm Philharmonic Orchestra opens its regular concert season under the baton of Ryan Bancroft. Welcome to this particularly festive concert. During intermission, the audience will be offered refreshments in the lovely foyers of Konserthuset.

Carl Orff’s Carmina Burana is one of the world’s most famous and beloved pieces for choir and orchestra. It is a magnificent tribute to nature, longing, wine and how wonderful it is to be alive, even if life can be quite painful at times. The evocative music of Carl Orff is based on simple melodies derived from Gregorian music, Bavarian folk music, Italian opera and Lutheran chorales.

While Orff was captivated by melodies, Franz Schreker competes with Claude Debussy and Richard Strauss for the title of most-refined composer of the early-twentieth century. His entire life, he was fascinated by sound and tones. Vorspiel zu einem Drama – Prelude to a drama – is a reworking of the introduction to his opera Die Gezeichneten, The Branded, an expressionist and powerful psychological drama.

Katarina Leyman’s Roller Coaster: Super 8 is inspired by Beethoven’s eighth symphony and childhood experiences on the roller coaster at Gothenburg’s Liseberg amusement park. But this music is not merely a simple illustration of a roller coaster; rather, as Katarina Leyman herself says, “It captures the exhilaration and perhaps the worry one may feel on a ride like that, an adventure at an amusement park or in life …”.

The Royal Stockholm Philharmonic Orchestra opens its regular concert season under the baton of Ryan Bancroft. Welcome to this particularly festive concert. During intermission, the audience will be offered refreshments in the lovely foyers of Konserthuset.

Carl Orff’s Carmina Burana is one of the world’s most famous and beloved pieces for choir and orchestra. It is a magnificent tribute to nature, longing, wine and how wonderful it is to be alive, even if life can be quite painful at times. The evocative music of Carl Orff is based on simple melodies derived from Gregorian music, Bavarian folk music, Italian opera and Lutheran chorales.

While Orff was captivated by melodies, Franz Schreker competes with Claude Debussy and Richard Strauss for the title of most-refined composer of the early-twentieth century. His entire life, he was fascinated by sound and tones. Vorspiel zu einem Drama – Prelude to a drama – is a reworking of the introduction to his opera Die Gezeichneten, The Branded, an expressionist and powerful psychological drama.

Katarina Leyman’s Roller Coaster: Super 8 is inspired by Beethoven’s eighth symphony and childhood experiences on the roller coaster at Gothenburg’s Liseberg amusement park. But this music is not merely a simple illustration of a roller coaster; rather, as Katarina Leyman herself says, “It captures the exhilaration and perhaps the worry one may feel on a ride like that, an adventure at an amusement park or in life …”.

It has been 50 years since the death of Bo Linde at just 37 years of age. With his Violin Concerto, which had its world premiere in 1958, he wanted to create music with power and magnitude for the great music stages. He succeeded in that goal, and this concerto was his breakthrough as a composer. The music is infused with a marvellously dreamy feel, combined with extroverted energy and dramatic strength. The solo part is masterful yet unassuming and humble. This music also contains features that are typical of Linde’s music: lyrical elegance and melodic lightness. The soloist in Linde’s concerto is the Royal Stockholm Philharmonic Orchestra’s own Claudia Bonfiglioli, second violin section leader. She previously performed the solo in Amanda Maier-Röntgen’s rediscovered late-nineteenth century Violin Concerto.

Bränningar is a wonderful “depiction of the sea” written by one of the great, pioneering female composers, Helena Munktell (1852–1919). The piece has been rediscovered in recent years – and has become a speciality of the Royal Stockholm Philharmonic Orchestra. The world premiere of Bränningar was in 1898 in Monte Carlo.

Tchaikovsky’s Symphony No. 5 is exquisitely imaginative. In notes and a manuscript, he likens it to a “complete resignation to fate”. The stealthy fate motif is first heard in the low register of the clarinets and then recurs in all four of the symphony’s movements.

The Royal Stockholm Philharmonic Orchestra will be led by French Nathalie Stutzmann, famed for her parallel careers as an alto soloist and a conductor. She is a regularly returning guest with several of the most prominent international orchestras, including the Royal Stockholm Philharmonic Orchestra, as well as chief conductor of the RTÉ National Symphony Orchestra in Dublin, Ireland, and the Kristiansand Symphony Orchestra in Norway.

It has been 50 years since the death of Bo Linde at just 37 years of age. With his Violin Concerto, which had its world premiere in 1958, he wanted to create music with power and magnitude for the great music stages. He succeeded in that goal, and this concerto was his breakthrough as a composer. The music is infused with a marvellously dreamy feel, combined with extroverted energy and dramatic strength. The solo part is masterful yet unassuming and humble. This music also contains features that are typical of Linde’s music: lyrical elegance and melodic lightness. The soloist in Linde’s concerto is the Royal Stockholm Philharmonic Orchestra’s own Claudia Bonfiglioli, second violin section leader. She previously performed the solo in Amanda Maier-Röntgen’s rediscovered late-nineteenth century Violin Concerto.

Bränningar is a wonderful “depiction of the sea” written by one of the great, pioneering female composers, Helena Munktell (1852–1919). The piece has been rediscovered in recent years – and has become a speciality of the Royal Stockholm Philharmonic Orchestra. The world premiere of Bränningar was in 1898 in Monte Carlo.

Tchaikovsky’s Symphony No. 5 is exquisitely imaginative. In notes and a manuscript, he likens it to a “complete resignation to fate”. The stealthy fate motif is first heard in the low register of the clarinets and then recurs in all four of the symphony’s movements.

The Royal Stockholm Philharmonic Orchestra will be led by French Nathalie Stutzmann, famed for her parallel careers as an alto soloist and a conductor. She is a regularly returning guest with several of the most prominent international orchestras, including the Royal Stockholm Philharmonic Orchestra, as well as chief conductor of the RTÉ National Symphony Orchestra in Dublin, Ireland, and the Kristiansand Symphony Orchestra in Norway.

The mysterious, exciting and humorous story of Peter and the Wolf was originally a folk tale that inspired Sergei Prokofiev to compose the orchestral piece Peter and the Wolf. The story told through Prokofiev’s music has entertained generations of children and adults since its composition in 1936.

Peter lives in poverty with his overprotective grandfather. Outcast and bullied by the children of the village, he is friends with a bird, a cat and a scatter-brained duck which all live on the farm. One beautiful spring day, Peter and his friends head out into the appealing yet dangerous woods, where the wolf lies in wait. Despite peril and challenges, Peter demonstrates extraordinary courage and the story has a surprising end.

The characters of the story are musically portrayed through different instruments. And never before have storytelling and classical music been united more vividly than here.

The storyteller is actor Andreas Rothlin Svensson, who has been associated with the Royal Dramatic Theatre since 2013, where he has performed a number of acclaimed roles. He also helped to cofound the free theatre troupes Teater Scenario and Moment:Teater.

The mysterious, exciting and humorous story of Peter and the Wolf was originally a folk tale that inspired Sergei Prokofiev to compose the orchestral piece Peter and the Wolf. The story told through Prokofiev’s music has entertained generations of children and adults since its composition in 1936.

Peter lives in poverty with his overprotective grandfather. Outcast and bullied by the children of the village, he is friends with a bird, a cat and a scatter-brained duck which all live on the farm. One beautiful spring day, Peter and his friends head out into the appealing yet dangerous woods, where the wolf lies in wait. Despite peril and challenges, Peter demonstrates extraordinary courage and the story has a surprising end.

The characters of the story are musically portrayed through different instruments. And never before have storytelling and classical music been united more vividly than here.

The storyteller is actor Andreas Rothlin Svensson, who has been associated with the Royal Dramatic Theatre since 2013, where he has performed a number of acclaimed roles. He also helped to cofound the free theatre troupes Teater Scenario and Moment:Teater.

Under the baton of Venezuelan conductor Rafael Payare, the Royal Stockholm Philharmonic Orchestra performs majestic music with otherworldly power and paradise-like beauty.

Gustav Mahler’s Symphony No. 5 is his best known and most played. The first movement is a funeral march “at a measured pace, strict, like a procession”, and the last is a triumphant finale with a gentle touch of irony. In between, Mahler has charged this piece with a grand and dancing scherzo and the beautiful adagietto, a spherical, nearly spiritual piece of music with the power to alter and elevate the listener’s state of mind.

The spiritual dimension of music is also important to Polar Music Prize-winning Russian composer Sofia Gubaidulina. She describes Fairy Tale Poem as about a piece of chalk which, when picked up from the box, realises it is near a blackboard in a classroom. Its dreams of getting to create pictures of beautiful castles, magnificent gardens and oceans wither away. But soon, something invigorating happens to the chalk.

The music of Icelandic composer Anna Thorvaldsdottir has been played worldwide since she won the Nordic Council Music Prize in 2012. In Metacosmos, she depicts the balance between beauty and chaos and the speculative concept of being sucked into a black hole – the unknown. The music is like a large, living body that expands and contracts, in which a myriad of events describe the power struggle of a sound. Metacosmos was commissioned by the New York Philharmonic, which performed the world premiere of the piece in 2018 under the baton of Esa-Pekka Salonen.