2
Jan

New Year’s waltz, arias and Spanish fire with Regula Mühlemann and María Dueñas

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New Year’s waltz, arias and Spanish fire with Regula Mühlemann and María Dueñas

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Fri, 2. January 2026 | 11:00 Uhr
KKL Luzern, Konzertsaal
Event Prices:
  • CHF 135
  • 105
  • 75
  • 50
  • 25
  • Individual ticket sales start in July 2025

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Program

  • Johann Strauss (Sohn) (1825–1899)

    • Spanish March, Op. 433 | 4’

  • Éduard Lalo (1823–1892)

    • Symphonie espagnole for Violin and Orchestra, Op. 21 | 33’

  • break

  • Johann Strauss II (1825–1899)

    • Overture to the operetta Die Fledermaus, Op. 362 | 9’

    • Aria "Mein Herr Marquis" from the operetta Die Fledermaus, Op. 362 | 4'

    • Frühlingsstimmen Waltz for soprano and orchestra, Op. 410 | 3'

  • Franz Liszt (1811–1886)

    • Mephisto Waltz No. 1, The Dance in the Village Inn | 11’

  • Giuseppe Verdi (1813–1901)

    • Aria "Mercè, dilette amiche" from the opera I Vespri Siciliani | 5’

  • Luigi Arditi (1822–1903)

    • Il Bacio – Waltz for Soprano and Orchestra | 5’

Symphony Concerts

Event Description

New Year’s Concert with music like sparkling champagne

Every year the Luzerner Sinfonieorchester New Year’s concerts prove that it is not only Viennese waltzes that can awaken the sparkling New Year spirit. Yes, there will be echoes of the Viennese tradition this year with Johann Strauss, but two soloists will give it a spectacular twist: The young Spanish violinist María Dueñas makes a flamboyant appearance in Lalo’s “Symphonie Espagnole”, a veritable solo concerto in which the violin virtuoso fans the flames of Spanish ardour. With coloratura as sparkling as champagne, Lucerne soprano Regula Mühlemann sings Johann Strauss, playing the coquette in “Mein Herr Marquis” from “Die Fledermaus” and inviting the “Voices of Spring” to dance in the orchestral waltz for soprano and orchestra. Yet Mühlemann’s voice is even more versatile: she sings of being drunk on love in Verdi’s “Mercè, dilette amiche”and floats in Luigi Arditti’s operetta hit waltz “Il bacio”, before raising her voice to the heights of grand opera in the Latin rhythms of “Romanza” by Cuba’s answer to George Gershwin, Ernesto Lecuano.

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