A text by Alain Claude Sulzer that explores human beings’ fear of dying forms the basis of Andrea Lorenzo Scartazzini's “Dies illa” for choir and orchestra. The world premiere is scheduled for November 2023 in Basel.

Miroslav Srnka’s orchestral work “Superorganisms” will be premiered by the NHK Symphony Orchestra under the baton of Ryan Wigglesworth in Tokyo on 27 June 2023 after the scheduled premiere in Berlin had to be postponed due to illness. Superorganisms are forms of existence in which kindred beings work together synergistically and in a self-organized manner. An example for superorganisms in human culture are symphony orchestras – and this is where Miroslav Srnka’s new work comes in.

Thanks to an appealing new edition it is possible again to take a look at the very last compositional project of the great Jean-Philippe Rameau. He died while working on the one-act opera-ballet “Io”, thus the work remained unfinished. In this first edition of the work, Sylvie Bouissou, editor of the “Opera omnia Rameau“, combines the surviving parts with the instrumental and danced movements of one of Rameau’s most popular operas, “Platée“. The ballet “Io” also takes place in the world of nymphs. It tells the story of the love affair between the nymph Io and Jupiter in the guise of the shepherd Hylas who rivals Apollo in the guise of Philemon. A first performance will take place with the Opera Lafayette at the Kennedy Center Washington on May 2nd and 3rd, 2023. Avi Stein will conduct the work, director Nick Olcott will be responsible for the production with a choreography by Seán Curran. – (Painting: G. A. Figino: Zeus and Io (1599))

The new edition of Antonín Dvořák's masterwork presents not a “new” Rusalka – conductors, performers, and audiences will find the same Czech masterpiece that has been enjoyed for over 100 years but the opera in its definitive form, with all practical and musicological issues considered, well-documented, and clearly presented.

This new publication offers a source-critical edition of Mozart’s fragmentary “Requiem” (Bärenreiter-Verlag) as well as an alternative to the traditional Süßmayr version. When completing the fragment, the editor Michael Ostrzyga drew on comprehensive comparative and analytical studies of Mozart’s church style and compositional workmanship. The influence of Handel and Bach manifested in his final years, particularly in the “Requiem” fragment, is taken into account in those sections requiring completion or fresh composition. At two points readers may choose between alternative movements (or sections), since proceeding from Süßmayr’s historical version, two divergent options cannot be weighed against each other but each one may well reflect Mozart’s intentions. The new completion offers choirs and orchestras the opportunity to perform this legendary work in a well thought through version based on the most up-to-date research.