Victoria Hall is a prominent concert hall housed in a majestic neoclassical building. This historic venue is celebrated for its exceptional acoustics, making it a favored destination for music enthusiasts. While occasionally featuring other musical genres, Victoria Hall remains predominantly dedicated to the world of classical music.
Gautier Capuçon (cello) and Mirabelle Kajenjeri (piano) present an intimate programme of chamber music, juxtaposing Debussy’s lyricism with Mendelssohn’s classical clarity. The programme continues with Schumann’s three Fantasiestücke in the cello-piano version and Brahms’s richly textured Second Cello Sonata, Op. 99. Expect sensitive dialogue, warm tone and finely calibrated phrasing as the two artists explore contrasts of colour and intimacy, drawing listeners into a concentrated and expressive musical journey.
Led by conductor Daniele Gatti with pianist Mao Fujita, this symphonic programme presents Beethoven’s Piano Concerto No. 4 in G major, Op. 58, followed by the luminous Symphony No. 6 in F major, Op. 68, the ‘Pastoral’. The evening explores intimate dialogue between soloist and orchestra, balancing crystalline pianism with warm orchestral colours and naturalistic, evocative textures. The pacing and dynamic contrasts promise a contemplative, vividly atmospheric interpretation.
Following its exploration of Bach’s Brandenburg Concertos, Christmas Oratorio and Mass in B minor, the ensemble Gli Angeli presents Bach’s St John Passion (BWV 245). More direct and theatrical than the St Matthew Passion, the work is marked by dramatic intensity, striking contrasts and powerful expressivity. Under the direction of Stephan MacLeod and featuring soloists Guy Cutting, Aleksandra Lewandowska, Zoë Brookshaw, Christopher Lowrey, Thomas Hobbs and Drew Santini, the performance brings rigorous baroque interpretation and vivid emotional immediacy.
Led by saxophonist and conductor Branford Marsalis, this programme pairs jazz heritage and orchestral refinement. Jeff Beal’s Concerto for Saxophone — commissioned for the ensemble — foregrounds improvisatory phrasing against luminous chamber textures. Beal’s arrangement of Duke Ellington’s “Duke’s Harlem” (Swiss premiere) revisits 1930s themes with big-band motifs reworked for a tight ensemble, while Javier Diaz’s adaptation of Gershwin’s An American in Paris blends orchestral sweep with jazz inflections. The evening unfolds without pause, emphasizing intimate interplay and rhythmic momentum.
Under the direction of Leonardo García-Alarcón, Bach’s St Matthew Passion (BWV 244) is presented by Cappella Mediterranea in collaboration with the Chœur de Chambre de Namur and the Maîtrise du Conservatoire populaire de Genève. Soloists Sophie Junker, Hugh Cutting, Valerio Contaldo (Evangelist), Laurence Kilsby, Alex Rosen (Jesus) and Andreas Wolf (Pilate) give the narrative voice. The performance balances intimate chamber textures and dramatic choral outbursts, weaving counterpoint and sacred drama into a solemn, immersive and emotionally charged journey lasting over two and a half hours.
Argentinian pianist Nelson Goerner offers an intimate piano recital exploring lyricism and drama across three distinct Romantic and Classical landscapes. The programme juxtaposes Leoš Janáček’s evocative In the Mists, Robert Schumann’s tender Kinderszenen Op. 15 alongside his fiery Toccata Op. 7, and Ludwig van Beethoven’s Variations on a Waltz by Diabelli Op. 120. Goerner’s refined touch and structural clarity reveal contrasts between introspective miniatures and virtuosic outbursts, inviting close listening and emotional immersion.
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