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.
James Gaffigan, Verbier Festival Junior Orchestra and Behzod Abduraimov
Select date and time
E-tickets: Print at home or at the box office of the event if so specified. You will find more information in your booking confirmation email.
You can only select the category, and not the exact seats.
If you order 2 or 3 tickets: your seats will be next to each other.
If you order 4 or more tickets: your seats will be next to each other, or, if this is not possible, we will provide a combination of groups of seats (at least in pairs, for example 2+2 or 2+3).
Verbier Festival 2021
The Verbier Festival, now in its 28th year, announces its return for 17 days of concerts, masterclasses, talks and education events in the picturesque setting of the Swiss Alps.
James Gaffigan debuts as Music Director of the Verbier Festival Junior Orchestra in this concert of Russian masterpieces bookended by two works inspired by Romeo and Juliet. The orchestra is joined by mesmerizing pianist Behzod Abduraimov.
Tchaikovsky’s Romeo and Juliet concert overture isn’t a programmatic retelling of the story, but a depiction of its characters and moods. Bookending the work is a sombre clarinet and bassoon melody representing the Friar, while most famous of all is its soaring lovers’ theme, which after a violent climax gets recast in newly tragic, minor-tonality guise. The 7th and 24th of Rachmaninoff’s glittering variations on Paganini’s 24th Caprice for Solo Violin then actually quote the Dies Irae, highlighting its similarity to the famous Paganini melody; and the Paganini is indeed so famous that the variations open playfully with what effectively is just its accompaniment, requiring us to mentally fill in the tune ourselves. Prokofiev meanwhile was so pleased with the melodies to his Romeo and Juliet ballet that he pulled three concert suites from its score.