Salle des Combins is the Verbier Festival’s main concert hall. It normally seats 1,419. Each row is on a separate tier, which guarantees an excellent view of the stage. Improvements to the soundproofing and heat insulation make this a very high-quality non-permanent venue. All of the Festival’s symphonic concerts, operas, large world music, jazz, dance events and some recitals are presented here.
Leonidas Kavakos (violin), Gautier Capuçon (cello) and Yuja Wang (piano)
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Verbier Festival 2022
The classical world's most anticipated, highest-altitude festival of the year returned in summer 2022. The Verbier Festival came back on July 15 – 31, 2022. It brought the biggest and brightest stars in classical music, revisiting favorite works and taking on brand-new repertoire in the storied Salle des Combins and Verbier Église. Beloved performers of Verbiers past are once again on the docket—alongside some exciting Verbier debuts—in this blockbuster event from the gorgeous Swiss Alps, where the only thing more breathtaking than the view is the music.
A mighty trio comprising stars Gautier Capuçon, Yuja Wang and Leonidas Kavakos will captivate audiences with Shostakovich’s melancholy Trio for violin, cello and piano Op. 67 and Tchaïkovsky Piano Trio for piano, violin, and cello.
An eerie solo cello, high in its harmonics, opens Shostakovich’s elegiac Piano Trio No 2 of 1944, remembering the wartime suffering of Russia’s Jewish population. Violin and piano then join to build a taut fugue, and traditional forms continue across the work: after an ironic scherzo comes a passacaglia lament, which tips without pause into a dark, mechanised klezmer-like finale, dying out on the passacaglia chords and more eerie harmonics.
Tchaikovsky’s symphonic-length Piano Trio in A minor was to the memory of his friend, the pianist and conductor Arthur Rubinstein, who had died from tuberculosis aged 45. While previously he’d vowed never to write a trio (“the different timbres of these instruments sound as if they are battling one another. I find it genuine torture to listen to”), he was very pleased with it, albeit while worrying it may be “an arrangement of orchestral music”. The first movement opens mournfully, but moves through multiple keys, tempi and moods. The second is a nostalgia-toned theme and variations including an energetic fugue and a playful mazurka. After a flamboyant A major Variazione finale, A minor returns for the Lugubre coda reintroducing the work’s very opening theme as a fortississimo tragic lamentation. It eventually slows to finish on a quiet, exhausted funeral march.