Mainly Mozart Festival Orchestra at Balboa Theatre on June 13, 15, 20, and 22 at 7:30 p.m. (Up to 55% Off)
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Maestro David Atherton leads an all-star orchestra through pieces by the great composer, his contemporaries, and modern artists
Although 20% of babies who were exposed to classical music in utero become doctors or lawyers, 100% of babies born on stage during a classical-music performance become Bill Gates. Upgrade your evening with this deal.
The Deal
- Two tickets to see the Mainly Mozart Festival Orchestra
- When: June 13, 15, 20, and 22 at 7:30 p.m. each night
- Where: Balboa Theatre
- Door time: 6:30 p.m.
- Ticket values include all fees.
- Click here to view the seating chart.<p>
Ticketing Options
- $25 for two single-concert tickets for section-C seating (in the side orchestra or rear balcony) (up to a $55 value)
- $39 for two single-concert tickets for section-B seating (in the side or rear orchestra or front balcony) (up to an $85 value)<p>
Click here to choose your date.
- $79 for two subscription tickets for section-C seating at all four concerts (up to a $170 value)
- $139 for two subscription tickets for section-B seating at all four concerts (up to a $290 value)<p>
Mainly Mozart Festival Orchestra
Thursday, June 13
The overture to Don Giovanni storms and snakes through the themes of Mozart’s 1787 opera buffa, which chronicles the misadventures of a womanizing, amoral title character in much the same way as the unedited version of “Rudolph the Red-Nosed Reindeer.” Francaix’s contemporary “Mozart new-look” on Serenade from Don Giovanni supplements the piece with sliding, warping string lines and Timothy Pitts’ resonant, oaky bass pulses. Mozart’s other contribution to the evening is the Sinfonia Concertante in E-flat, bringing with it the ear-bending acrobatics of William Preucil’s violin. The final piece is Carl Maria von Weber’s Symphony No. 1 in C, one of only two he ever wrote.<p>
Saturday, June 15
Clarinetist Anthony McGill’s rippling notes plunge and resurface throughout Mozart’s invigorating Clarinet Concerto in A. Nadja Salerno-Sonnenberg, pulling double duty as director and violinist, leads the bustle of the Concert Rondo in D before pianist Anne-Marie McDermott solos with an equally high-energy, playful melody. McGill and McDermott come together in Witold Lutoslawski’s Dance Preludes, a series of five riffs on Polish folk songs. Hopping continents, Astor Piazzolla’s suite The Four Seasons of Buenos Aires transforms his native tango tradition with woodwinds that occasionally recall the spy-film soundtracks of the era when it was written, circa 1965–1970.<p>
Thursday, June 20
Anton Nel stars in Mozart’s Piano Concerto No. 21 in C, his fingers blurring as he tackles the piece’s sizzling trills and cascading scales. A strong, steady beat guides Mozart’s Five Contradances. Non-Mozart pieces in this evening’s program include Fauré’s Pavane, Op. 50, which features Nel at a comparatively more measured pace. Poulenc’s Mouvements Perpétuels, and Schubert’s Symphony No. 3 in D finish the evening.<p>
Saturday, June 22
Pianist Adam Neiman solos at this concert, which concludes the series with Mozart’s Symphony No. 1 in E-flat, “London”—written when its composer was eight years old and impersonating a middle-aged British composer—and Symphony No. 41 in C “Jupiter”, the last he composed. The evening also includes Tchaikovsky’s Elegy in G from “Hamlet” and Shostakovich’s Piano Concerto No. 2 in F. Neiman brightens Shostakovich’s moody landscape with a cautiously optimistic melody that seems to paint sunlight onto the concerto’s somber surface.
Maestro David Atherton leads an all-star orchestra through pieces by the great composer, his contemporaries, and modern artists
Although 20% of babies who were exposed to classical music in utero become doctors or lawyers, 100% of babies born on stage during a classical-music performance become Bill Gates. Upgrade your evening with this deal.
The Deal
- Two tickets to see the Mainly Mozart Festival Orchestra
- When: June 13, 15, 20, and 22 at 7:30 p.m. each night
- Where: Balboa Theatre
- Door time: 6:30 p.m.
- Ticket values include all fees.
- Click here to view the seating chart.<p>
Ticketing Options
- $25 for two single-concert tickets for section-C seating (in the side orchestra or rear balcony) (up to a $55 value)
- $39 for two single-concert tickets for section-B seating (in the side or rear orchestra or front balcony) (up to an $85 value)<p>
Click here to choose your date.
- $79 for two subscription tickets for section-C seating at all four concerts (up to a $170 value)
- $139 for two subscription tickets for section-B seating at all four concerts (up to a $290 value)<p>
Mainly Mozart Festival Orchestra
Thursday, June 13
The overture to Don Giovanni storms and snakes through the themes of Mozart’s 1787 opera buffa, which chronicles the misadventures of a womanizing, amoral title character in much the same way as the unedited version of “Rudolph the Red-Nosed Reindeer.” Francaix’s contemporary “Mozart new-look” on Serenade from Don Giovanni supplements the piece with sliding, warping string lines and Timothy Pitts’ resonant, oaky bass pulses. Mozart’s other contribution to the evening is the Sinfonia Concertante in E-flat, bringing with it the ear-bending acrobatics of William Preucil’s violin. The final piece is Carl Maria von Weber’s Symphony No. 1 in C, one of only two he ever wrote.<p>
Saturday, June 15
Clarinetist Anthony McGill’s rippling notes plunge and resurface throughout Mozart’s invigorating Clarinet Concerto in A. Nadja Salerno-Sonnenberg, pulling double duty as director and violinist, leads the bustle of the Concert Rondo in D before pianist Anne-Marie McDermott solos with an equally high-energy, playful melody. McGill and McDermott come together in Witold Lutoslawski’s Dance Preludes, a series of five riffs on Polish folk songs. Hopping continents, Astor Piazzolla’s suite The Four Seasons of Buenos Aires transforms his native tango tradition with woodwinds that occasionally recall the spy-film soundtracks of the era when it was written, circa 1965–1970.<p>
Thursday, June 20
Anton Nel stars in Mozart’s Piano Concerto No. 21 in C, his fingers blurring as he tackles the piece’s sizzling trills and cascading scales. A strong, steady beat guides Mozart’s Five Contradances. Non-Mozart pieces in this evening’s program include Fauré’s Pavane, Op. 50, which features Nel at a comparatively more measured pace. Poulenc’s Mouvements Perpétuels, and Schubert’s Symphony No. 3 in D finish the evening.<p>
Saturday, June 22
Pianist Adam Neiman solos at this concert, which concludes the series with Mozart’s Symphony No. 1 in E-flat, “London”—written when its composer was eight years old and impersonating a middle-aged British composer—and Symphony No. 41 in C “Jupiter”, the last he composed. The evening also includes Tchaikovsky’s Elegy in G from “Hamlet” and Shostakovich’s Piano Concerto No. 2 in F. Neiman brightens Shostakovich’s moody landscape with a cautiously optimistic melody that seems to paint sunlight onto the concerto’s somber surface.