Video specials

The Abbado era in the Digital Concert Hall

  • Concertwatch
  • European Concert 1991 from Praguewatch
  • European Concert 1994 from Meiningenwatch
  • The Berliner Philharmoniker in Tokyowatch
  • European Concert 1996 from St. Petersburgwatch
  • Documentary »The silence that follows the music«watch
  • New Year’s Eve Concert 1996 »Dances and Gypsy Tunes«watch
  • Johannes Brahms: Ein deutsches Requiemwatch
  • New Year’s Eve Concert 1997 »Tribute to Carmen«watch
  • European Concert 1998 from Stockholmwatch
  • New Year’s Eve Concert 1998 »Songs of Love and Desire«watch
  • W.A. Mozart: Requiem. Herbert von Karajan Memorial Concertwatch
  • New Year’s Eve Concert 1999 »Grand Finales«watch
  • Beethoven: Symphonies Nos. 1–8watch
  • Beethoven: Symphony No. 9 (European Concert 2000 from Berlin)watch
  • New Year’s Eve Concert 2000 »Viva Verdi«watch
  • Beethoven: Chorfantasie / Mendelssohn: Symphony No. 2watch
  • European Concert 2002 from Palermowatch
Claudio Abbado

»I am Claudio to everyone.« With these words, Claudio Abbado introduced himself in 1989 to the Berliner Philharmoniker, who had just elected him as their chief conductor. With this invitation to use his first name, Abbado made it immediately clear that his working methods were different to those of his more aloof predecessor, Herbert von Karajan. The Abbado era was indeed a departure from both a personal and an artistic perspective. In a selection of concert recordings, you can relive this experience in the Digital Concert Hall – from the 1991 European Concert to concerts from 2002, when Abbado laid down his baton as chief conductor of the Berliner Philharmoniker.

With these videos, not only are outstanding concerts of the Berliner Philharmoniker made available, but the development of the orchestra in this time can also be followed. In addition to its rapid rejuvenation, the transformation of the orchestra’s sound is particularly notable. Not least due to the cooperative environment initiated by Abbado, it resulted in a new culture of listening to each other, which was reflected in a growing, almost chamber music-like transparency – an inheritance that the Berliner Philharmoniker still benefit from today.