Shostakovich: Symphony No. 13, "Babi Yar" London Symphony Orchestra, London Symphony Chorus, London Philharmonic Choir & Gianandrea Noseda

• Dmitri Shostakovich (1906 - 1975): Symphony No. 13 in B-Flat Minor, Op. 113, "Babi Yar":
• 1 Shostakovich: Symphony No. 13 in B-Flat Minor, Op. 113, "Babi Yar": I. Babi Yar. Adagio 13:59
• 2 Shostakovich: Symphony No. 13 in B-Flat Minor, Op. 113, "Babi Yar": II. Humour. Allegretto 07:55
• 3 Shostakovich: Symphony No. 13 in B-Flat Minor, Op. 113, "Babi Yar": III. In the Store. Adagio 11:16
• 4 Shostakovich: Symphony No. 13 in B-Flat Minor, Op. 113, "Babi Yar": IV. Fears. Largo 11:39
• 5 Shostakovich: Symphony No. 13 in B-Flat Minor, Op. 113 "Babi Yar": V. Career. Allegretto 13:20
• Total Runtime 58:09

Info for Shostakovich: Symphony No. 13, "Babi Yar"

In 1961 Russian poet Yevgeny Yevtushenko published "Babi Yar", a reflection on the 1941 massacre of nearly 34,000 Jews at the Babi Yar ravine in Kiev (Kyiv), and a searing condemnation of Soviet condoned anti-Semitism. A long-time sympathiser towards the difficulties faced by Jews in Russia, Dmitri Shostakovich was determined to set the poetry to music. The result is his Symphony No 13—five movements for bass soloist, lower voice chorus, and full orchestra.

Principal Guest Conductor Gianandrea Noseda leads the LSO in this thrilling addition to his Shostakovich symphony cycle. With an unconventional symphonic form and unusual instrumentation, including expanded percussion and exclusively low voices, the music takes an unforgettable journey: from the ominous tolling bells of the opening bars, through moments of ironic humour to the final hushed notes honouring the memory of lives lost.

Marred by controversy before and after its premiere, including being banned after two performances, Shostakovich’s Symphony No 13 remains a brazen protest against institutional racism and a hauntingly original memorial to the silent victims of persecution.

Vitalij Kowaljow, bass
London Symphony Chorus
London Philharmonic Choir
Performers London Symphony Orchestra
Gianandrea Noseda, conductor

Vitalij Kowaljow
is celebrated worldwide as one of the leading bass voices of our time, revered for his resonant timbre and emotionally powerful interpretations that captivate audiences across the globe. With a career spanning over two decades, Vitalij Kowaljow has embodied nearly 50 complex operatic roles on the most prestigious stages, including Teatro alla Scala in Milano, Royal Opera House Covent Garden in London, the Metropolitan Opera in New York, and Semperoper Dresden, Gran Teatre del Liceu in Barcelona, Vienna State Opera, Zurich Opera, Opéra national de Paris, Arena di Verona, Opéra de Monte-Carlo, Bavarian State Opera in Munich, Hamburg State Opera, LA Opera, Theatro Municipal de São Paulo, Teatro di San Carlo in Naples, New National Theatre Tokyo, San Francisco Opera, Washington National Opera, Lyric Opera of Chicago, Festspielhaus Baden-Baden, Palau de les Arts Reina Sofia in Valencia the Sydney Opera House and many more. Additionally, he has appeared at renowned festivals, such as the Salzburg Festival, the Salzburg Easter Festival, Beijing Music Festival, Savonlinna Opera Festival, Tanglewood in the United States and others.

A specialist in Verdi’s bass roles, Vitaly Kowaljow’s interpretation of Zaccaria in Nabucco has been highly acclaimed across Deutsche Oper Berlin, Teatro dell’Opera di Roma, and Teatro alla Scala. His Filippo II in Don Carlo at Semperoper Dresden is equally praised, as is his Banco in Macbeth, performed across major European houses. Il Conte di Walter in Luisa Miller he sang at Teatro alla Scala, Ramfis in Aida at Covent Garden, Gran Teatre del Liceu, Arena di Verona, and the Metropolitan Opera. His interpretations of Don Ruy Gomez de Silva in Ernani at the Sydney Opera House, and Jacopo Fiesco in Simon Boccanegra across Opéra de Monte-Carlo and Bavarian State Opera are equally renowned. He also sang Padre Guardino in La forza del destino at the MET, in Barcelona, Munich, Geneva, Amsterdam and Dresden.

His repertoire includes Wagnerian roles as well; he sang role such as Veit Pogner in Die Meistersinger von Nürnberg at the Salzburg Easter Festival and at Semperoper Dresden, Wotan and Wanderer in Der Ring des Nibelungen, performed at Teatro alla Scala, Semperoper Dresden, LA Opera, at the Salzburg Easter Festival and others, as well as the Dutchman in Der fliegende Holländer at the Canadian Opera Company and at the Hamburg State Opera.

Kowaljow’s Prince Gremin in Eugene Onegin has captivated audiences at the Grand Théâtre de Genève, Zurich Opera, and Theatro Municipal de São Paulo. His interpretation of René in Iolanta in Monte Carlo, Paris and at the Metropolitan Opera was also highly praised.

Recent highlights include Pimen in Boris Godunov and Ramfis in Aida at Bayerische Staatsoper, Banco (Macbeth) in Zurich, Alvise (La Gioconda) at Sydney Opera House, Timur at the Met, at La Scala and in Munich. Upcoming engagements include Il Grande Inquisitore (Don Carlo) at Vienna State Opera, Ivan Khovansky in Mussorgsky’s Khovanshchina at Salzburg Easter Festival and others.

On the concert stage, Vitalij Kowaljow has collaborated with renowned orchestras, such as the Orchestra dell’Accademia Nazionale di Santa Cecilia, Deutsches Symphonie-Orchester Berlin, San Francisco Symphony, Chicago Symphony Orchestra and many others. At the Teatro Nacional de Sao Carlos in Lisbon he can be heard this season in Shostakovich‘s Symphony Nr. 13 “Babi Jar”.

Booklet for Shostakovich: Symphony No. 13, "Babi Yar"