{"id":17599,"date":"2026-09-22T19:15:00","date_gmt":"2026-09-22T17:15:00","guid":{"rendered":"https:\/\/www.fazioli.com\/?post_type=news&p=17599"},"modified":"2026-09-18T10:13:03","modified_gmt":"2026-09-18T08:13:03","slug":"stasera-a-concerto-2026-2027","status":"publish","type":"news","link":"https:\/\/www.fazioli.com\/es\/news\/stasera-a-concerto-2026-2027\/","title":{"rendered":"STASERA A CONCERTO 2026\/2027"},"content":{"rendered":"\n

At the Fazioli Concert Hall<\/strong>, the twenty-first season is unveiled: a musical journey through different periods, forms and languages, entrusted to some of the most authoritative and compelling performers on the international scene.
Eight concerts<\/strong>, from October 2026 to March 2027, will take audiences through more than two centuries of music: from major piano recitals and chamber music to four-hand and two-piano repertoire, as well as rarely heard chamber arrangements of Chopin\u2019s Concertos.
As always, the piano<\/strong> takes centre stage, either as the principal voice or as a privileged partner in ensemble music, revealing from concert to concert the extraordinary breadth of its expressive possibilities.<\/p>\n\n\n\n

Repertoire and new perspectives on listening<\/strong>
What happens when a work conceived for orchestra is transformed for two pianos? Or when a Chopin Concerto is heard with a string quintet? What changes when Mozart and Schubert are entrusted to an undisputed master, or when Beethoven enters into dialogue with a contemporary composer such as Valentin Silvestrov?
These are some of the questions explored by the twenty-first season of Stasera a Concerto<\/em>, taking place at the Fazioli Concert Hall from 30 October 2026 to 19 March 2027<\/strong>.<\/p>\n\n\n\n


Eight concerts, offering eight different ways of approaching the piano and chamber repertoire. Different ensembles and arrangements, juxtapositions between historical and contemporary works, and performers from different generations provide a new perspective at every concert.
It is through the relationship between the works and the choices made by the performers that the character of the season takes shape.<\/strong>
In classical music, novelty does not need to be created through elaborate devices: if great music continues to speak to us and move us, even centuries later, it is because all it needs to remain relevant is to be performed by authoritative musicians and heard by curious listeners.<\/strong>
The live experience will, inevitably, always be new<\/strong>: the performer changes, the instrument changes, the space changes, and so does the thinking behind the way a work is selected and placed within a programme. We change too. Whatever period it belongs to, a great work continues to reveal new meanings.
<\/p>\n\n\n\n

In Stasera a Concerto<\/em>, the piano provides the common ground, while the performers determine the perspective each time: artists recognised for their musical exploration and individual approach to repertoire, invited to reveal through their interpretation the different possibilities contained within the same scores.<\/p>\n\n\n\n

\u201cA concert is created through the coming together of many elements: the performer, of course, but also the instrument, the hall and the conditions in which the audience can listen,\u201d<\/em> observes Paolo Fazioli, President of Fazioli Pianoforti<\/strong>. \u201cEver since the Fazioli Concert Hall was built and its first season launched in 2005, we have wanted it above all to be a place where these elements could come together fully. We continue to regard the quality of our pianos and of the acoustic environment not simply as integral parts of the experience, but as essential conditions for high-quality listening.\u201d<\/em><\/p>\n\n\n

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The season at a glance<\/strong>
Opening the season on 30 October<\/strong> will be Richard Goode<\/strong>, one of the pianists who, over recent decades, has done most to keep the great classical repertoire free from both routine and excess.
Mozart, Beethoven and Schubert lie at the heart of his musical experience: composers in whose music Goode seeks above all structural clarity, depth of listening and a naturalness that never needs to draw attention to itself.
The programme places Mozart\u2019s Sonata K. 310 alongside Schubert\u2019s Sonata D. 960, two works separated by little more than half a century yet united by a powerful expressive tension. Between them comes Fancies and Goodnights<\/em>, a collection of miniatures curated by Goode himself, introducing a different relationship with time and with more aphoristic and intimate musical forms.<\/p>\n\n\n\n

On 13 November<\/strong>, the stage will be given to Trio Revolution<\/strong>, a Georgian ensemble comprising Temo Kharshiladze on flute, Sandro Sidamonidze on cello and Ketevan Sepashvili on piano.
The trio brings to chamber music an approach founded on mutual listening and curiosity towards different repertoires and musical languages. Its programme reflects this outlook, bringing together Haydn, the contemporary writing of Michele Allegro, the atmospheric world of Gaubert and the jazz-inflected energy of Kapustin.<\/p>\n\n\n\n

On 27 November<\/strong>, Alberto Ferro<\/strong> takes the stage. The Italian pianist has gained considerable international recognition through a series of major awards, including First Prize at the Ljubljana International Competition in 2026, First Prize at the Beethoven Competition in Bonn in 2017 and the Premio Venezia in 2015, as well as Second Prize at the Busoni Competition in Bolzano in 2015. His programme places the transformation of sound at its centre: from a reimagining of Bach, with the celebrated Chaconne<\/em> in Ferruccio Busoni\u2019s transcription, to the exploration of timbre and the visionary dimension of the early twentieth century through Debussy, Rachmaninoff and Scriabin.<\/p>\n\n\n\n

On 11 December<\/strong>, Eva Gevorgyan<\/strong>, born in 2004 and of Russian and Armenian nationality, brings to the Fazioli Concert Hall one of the most compelling voices of the new generation of international pianists. Her concert career began at a very young age and developed significantly after she came to wider attention as the youngest finalist at the 2021 Chopin Competition in Warsaw. Alongside this activity, she has built a broad repertoire in which technical command and expressive exploration go hand in hand.
Franck, Ravel, Tchaikovsky and Liszt offer four distinct approaches to the piano as an instrument of colour, invention and narrative.<\/p>\n\n\n\n

The new year begins on 22 January<\/strong> with Nurit Stark<\/strong>, a violinist from Tel Aviv, and Alessandro Stella<\/strong>, a Rome-based pianist and recording artist. Both share a particular interest in twentieth-century and contemporary music alongside the historical repertoire. Their programme arises from the meeting of two anniversaries: the bicentenary of Beethoven\u2019s death and Valentin Silvestrov\u2019s ninetieth birthday. Beethoven\u2019s Sonatas Op. 12 No. 1 and Op. 24, Spring<\/em>, are paired with the Ukrainian composer\u2019s Melodies of the Moments<\/em>, bringing into dialogue two very different conceptions of memory and musical time.<\/p>\n\n\n\n

On 5 February<\/strong>, the piano takes on another perspective with Pavel Kolesnikov and Samson Tsoy<\/strong>. The duo has developed a significant part of its artistic research around repertoire for two pianos and piano four hands, exploring not only its virtuosity but also its orchestral complexity and ensemble dimension. At the heart of the programme are Stravinsky\u2019s The Rite of Spring<\/em> and Rachmaninoff\u2019s Symphonic Dances<\/em>: two works originally conceived for orchestra and reimagined at the keyboard. Transcription becomes another way of entering into the score.<\/p>\n\n\n\n

On 5 March<\/strong>, the spotlight turns to the eagerly awaited Eric Lu<\/strong>, winner of the 19th International Chopin Piano Competition in Warsaw. His interpretations of Chopin have attracted attention for their ability to combine formal control with expressive freedom, without separating sensitivity from fidelity to the score. The programme brings together Brahms, Chopin, Schumann, Rachmaninoff and Prokofiev, tracing through five composers the transformation of pianistic language from Romanticism into the twentieth century.<\/p>\n\n\n\n

Closing the season on 19 March<\/strong> will be Luigi Carroccia<\/strong>, described by the Fort Worth Star-Telegram<\/em> as \u201can aristocrat of the piano\u201d. Winner of the Virtuoso Prize at the Vendome Piano Prize during the 2019 Verbier Festival and of the second Premio Abbado promoted by the Italian Ministry of Education, University and Research, Carroccia will perform Chopin\u2019s two Piano Concertos in their versions for piano and string quintet. Here, one of the central themes of the season perhaps finds its clearest expression. Reducing a concerto for orchestra to a chamber-music setting is not simply a matter of using fewer instruments: the distances change, the relationships between the parts shift, and individual voices acquire a different weight. In this way, even highly familiar works can be heard afresh, from a closer and more intimate perspective.<\/p>\n\n\n\n

Before the music<\/strong>
Each concert will be preceded by a brief introduction by musicologists Roberto Calabretto and Luca Cossettini<\/strong>, both now familiar figures to Fazioli Concert Hall audiences. In just over ten minutes, they will provide context for the programme and suggest several listening points: an accessible introduction to the music that has accompanied the concert season for many years and which is based on a simple idea. Often, just a few points of reference are enough to make listening more informed and, as a result, more rewarding.<\/p>\n\n\n\n

As usual, the spring and summer months will then bring the series dedicated to young pianists who have won prizes at prestigious international competitions held on Fazioli pianos. Planning for WINNERS 2027<\/strong> is already under way.<\/p>\n\n\n\n

SEASON TICKETS AND INDIVIDUAL CONCERT TICKETS<\/strong>
From 28 September<\/strong>, subscribers to the 2025\u201326 season will have the opportunity to retain their existing seats<\/strong> simply by making a bank transfer, or by coming to the venue in person on Thursday 1 and Friday 2 October<\/strong>.
Subscribers wishing to change seats<\/strong> are advised not to make a bank transfer, but instead to come in person on Thursday 8 October<\/strong>, when a more up-to-date seating plan will be available. In the meantime, confirmation by email or telephone of the intention to renew the subscription would be appreciated.
Those interested in purchasing new season tickets<\/strong> will be able to do so online through the Fazioli Concert Hall website from Monday 12 to Friday 16 October<\/strong>.<\/p>\n\n\n\n


For individual concert tickets, and with the aim of encouraging online purchases, each seating category will be available at a more favourable rate online than when purchased in person. Tickets may nevertheless still be purchased at the venue on the evening of each concert.
Single tickets can also be reserved by email or telephone from the Monday preceding each concert and make payment at the venue on the evening of the performance.
For example, for the concert on Friday 30 October, reservations by email will be available from Monday 26 October, with the in-person ticket rate applying.
Online ticket sales for all concerts in the season will open on Monday 19 October.<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

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