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Le poème de l’extase (1908) is a symphonic manifesto. His increasingly esoteric, aesthetic and philosophical thinking stands with one foot in the late Romantic tradition and with the other in a radically individualized world of sound. Harmony, form and metaphysics merge. Scriabin starts from an expanded tonality, where the “mystical chords” – built up of quarter and tritone relationships – function as a vibrating center of gravity. This ecstatic symphonic poem can be understood as written in free sonata form, but without clear boundaries between exposition, development and reprise. Thematically – and in this we hear one of the more peculiar features of the work – there is a continuous transformation of the sound and chords of the music, rather than through contrasts. The orchestration is refined: high woodwinds, shimmering strings and a pregnant brass section give a sound that constantly strives upwards, towards an ecstatic climax. The work culminates in a finale, where tonal resolution and dynamic maximalism coincide, but not as conflict, but as confirmation.

The Gothenburg Symphony was formed in 1905 and today consists of 109 musicians. The orchestra's base is Gothenburg Concert Hall at Götaplatsen that has gathered music lovers since 1935. Since the 2019-2020 season, Barbara Hannigan is Principal guest conductor. We are also a proud partner of Barbara Hannigan's Equilibrium mentoring program focusing on young singers at the start of their careers. The title Principal Guest Conductor is shared by Pekka Kuusisto from 2025. Wilhelm Stenhammar was the orchestra's chief conductor from 1907 to 1922. He gave the orchestra a strong Nordic profile and invited colleagues Carl Nielsen and Jean Sibelius to the orchestra. Under the direction of conductor Neeme Järvi from 1982-2004, the orchestra made a series of international tours as well as a hundred disc recordings and established themselves among Europe's leading orchestras. In 1996, the Swedish Riksdag appointed the Gothenburg Symphony as Sweden's National Orchestra. In recent decades, the orchestra has had prominent chief conductors such as Santtu-Matias Rouvali, Mario Venzago and Gustavo Dudamel, following Kent Nagano as Principal Guest conductor. Anna-Karin Larsson is CEO and artistic director, Gustavo Dudamel honorary conductor and Neeme Järvi chief conductor emeritus. The orchestra's owner is the Västra Götaland Region. The Gothenburg Symphony works regularly with conductors such as Herbert Blomstedt, Joana Carneiro, Jukka-Pekka Saraste, Christian Zacharias and Anja Bihlmaier.

Le poème de l’extase (1908) is a symphonic manifesto. His increasingly esoteric, aesthetic and philosophical thinking stands with one foot in the late Romantic tradition and with the other in a radically individualized world of sound. Harmony, form and metaphysics merge. Scriabin starts from an expanded tonality, where the “mystical chords” – built up of quarter and tritone relationships – function as a vibrating center of gravity. This ecstatic symphonic poem can be understood as written in free sonata form, but without clear boundaries between exposition, development and reprise. Thematically – and in this we hear one of the more peculiar features of the work – there is a continuous transformation of the sound and chords of the music, rather than through contrasts. The orchestration is refined: high woodwinds, shimmering strings and a pregnant brass section give a sound that constantly strives upwards, towards an ecstatic climax. The work culminates in a finale, where tonal resolution and dynamic maximalism coincide, but not as conflict, but as confirmation.

The Gothenburg Symphony was formed in 1905 and today consists of 109 musicians. The orchestra's base is Gothenburg Concert Hall at Götaplatsen that has gathered music lovers since 1935. Since the 2019-2020 season, Barbara Hannigan is Principal guest conductor. We are also a proud partner of Barbara Hannigan's Equilibrium mentoring program focusing on young singers at the start of their careers. The title Principal Guest Conductor is shared by Pekka Kuusisto from 2025. Wilhelm Stenhammar was the orchestra's chief conductor from 1907 to 1922. He gave the orchestra a strong Nordic profile and invited colleagues Carl Nielsen and Jean Sibelius to the orchestra. Under the direction of conductor Neeme Järvi from 1982-2004, the orchestra made a series of international tours as well as a hundred disc recordings and established themselves among Europe's leading orchestras. In 1996, the Swedish Riksdag appointed the Gothenburg Symphony as Sweden's National Orchestra. In recent decades, the orchestra has had prominent chief conductors such as Santtu-Matias Rouvali, Mario Venzago and Gustavo Dudamel, following Kent Nagano as Principal Guest conductor. Anna-Karin Larsson is CEO and artistic director, Gustavo Dudamel honorary conductor and Neeme Järvi chief conductor emeritus. The orchestra's owner is the Västra Götaland Region. The Gothenburg Symphony works regularly with conductors such as Herbert Blomstedt, Joana Carneiro, Jukka-Pekka Saraste, Christian Zacharias and Anja Bihlmaier.

Le poème de l’extase (1908) is a symphonic manifesto. His increasingly esoteric, aesthetic and philosophical thinking stands with one foot in the late Romantic tradition and with the other in a radically individualized world of sound. Harmony, form and metaphysics merge. Scriabin starts from an expanded tonality, where the “mystical chords” – built up of quarter and tritone relationships – function as a vibrating center of gravity. This ecstatic symphonic poem can be understood as written in free sonata form, but without clear boundaries between exposition, development and reprise. Thematically – and in this we hear one of the more peculiar features of the work – there is a continuous transformation of the sound and chords of the music, rather than through contrasts. The orchestration is refined: high woodwinds, shimmering strings and a pregnant brass section give a sound that constantly strives upwards, towards an ecstatic climax. The work culminates in a finale, where tonal resolution and dynamic maximalism coincide, but not as conflict, but as confirmation.

The Gothenburg Symphony was formed in 1905 and today consists of 109 musicians. The orchestra's base is Gothenburg Concert Hall at Götaplatsen that has gathered music lovers since 1935. Since the 2019-2020 season, Barbara Hannigan is Principal guest conductor. We are also a proud partner of Barbara Hannigan's Equilibrium mentoring program focusing on young singers at the start of their careers. The title Principal Guest Conductor is shared by Pekka Kuusisto from 2025. Wilhelm Stenhammar was the orchestra's chief conductor from 1907 to 1922. He gave the orchestra a strong Nordic profile and invited colleagues Carl Nielsen and Jean Sibelius to the orchestra. Under the direction of conductor Neeme Järvi from 1982-2004, the orchestra made a series of international tours as well as a hundred disc recordings and established themselves among Europe's leading orchestras. In 1996, the Swedish Riksdag appointed the Gothenburg Symphony as Sweden's National Orchestra. In recent decades, the orchestra has had prominent chief conductors such as Santtu-Matias Rouvali, Mario Venzago and Gustavo Dudamel, following Kent Nagano as Principal Guest conductor. Anna-Karin Larsson is CEO and artistic director, Gustavo Dudamel honorary conductor and Neeme Järvi chief conductor emeritus. The orchestra's owner is the Västra Götaland Region. The Gothenburg Symphony works regularly with conductors such as Herbert Blomstedt, Joana Carneiro, Jukka-Pekka Saraste, Christian Zacharias and Anja Bihlmaier.

This season Ida Falk Winland has made her role debut as Madame Butterfly at the Gothenburg Opera. She has also visited the Royal Theatre in Copenhagen, where she sang the role of Helene in Kasper Holten's production of Manfred Trojahn's Orest. The previous season, she appeared as Donna Anna in Don Giovanni at the Gothenburg Opera and as Violetta in La Traviata at the Royal Opera in Stockholm. Ida Falk Winland has been associated with the Gothenburg Opera since 2014. Here she has sung Gilda in Rigoletto, Mimì in La Bohème, Ilia in Idomeneo, Adalgisa in Norma, Morgana in Alcina, Cleopatra in Julius Caesar, Rosina in The Barber of Seville, The Countess and Susanna in The Marriage of Figaro, Nedda in Pajazzo and Beate Bella Bravura in Julglitter och Operakaos. Ida Falk Winland has guested at the Glyndebourne Festival in the role of Fiordiligi in Così fan tutte. She has also performed Così fan tutte at the Opéra National de Paris, The Magic Flute and Xerxes at the Royal Swedish Opera and Peter Grimes at the Teatro alla Scala in Milan. She has also appeared at the Helsinki Festival, Opéra National de Lorraine, Covent Garden and at the Internationale Händel–Festspiele in Göttingen. In 2018, Ida Falk Winland was winner of the Opera Prize for her performance as Adalgisa in the Gothenburg Opera's production of Norma, an award voted for by the readers of the magazine Opera. She is educated at the Royal College of Music and the National Opera Studio in London.

Le poème de l’extase (1908) is a symphonic manifesto. His increasingly esoteric, aesthetic and philosophical thinking stands with one foot in the late Romantic tradition and with the other in a radically individualized world of sound. Harmony, form and metaphysics merge. Scriabin starts from an expanded tonality, where the “mystical chords” – built up of quarter and tritone relationships – function as a vibrating center of gravity. This ecstatic symphonic poem can be understood as written in free sonata form, but without clear boundaries between exposition, development and reprise. Thematically – and in this we hear one of the more peculiar features of the work – there is a continuous transformation of the sound and chords of the music, rather than through contrasts. The orchestration is refined: high woodwinds, shimmering strings and a pregnant brass section give a sound that constantly strives upwards, towards an ecstatic climax. The work culminates in a finale, where tonal resolution and dynamic maximalism coincide, but not as conflict, but as confirmation.

The Gothenburg Symphony was formed in 1905 and today consists of 109 musicians. The orchestra's base is Gothenburg Concert Hall at Götaplatsen that has gathered music lovers since 1935. Since the 2019-2020 season, Barbara Hannigan is Principal guest conductor. We are also a proud partner of Barbara Hannigan's Equilibrium mentoring program focusing on young singers at the start of their careers. The title Principal Guest Conductor is shared by Pekka Kuusisto from 2025. Wilhelm Stenhammar was the orchestra's chief conductor from 1907 to 1922. He gave the orchestra a strong Nordic profile and invited colleagues Carl Nielsen and Jean Sibelius to the orchestra. Under the direction of conductor Neeme Järvi from 1982-2004, the orchestra made a series of international tours as well as a hundred disc recordings and established themselves among Europe's leading orchestras. In 1996, the Swedish Riksdag appointed the Gothenburg Symphony as Sweden's National Orchestra. In recent decades, the orchestra has had prominent chief conductors such as Santtu-Matias Rouvali, Mario Venzago and Gustavo Dudamel, following Kent Nagano as Principal Guest conductor. Anna-Karin Larsson is CEO and artistic director, Gustavo Dudamel honorary conductor and Neeme Järvi chief conductor emeritus. The orchestra's owner is the Västra Götaland Region. The Gothenburg Symphony works regularly with conductors such as Herbert Blomstedt, Joana Carneiro, Jukka-Pekka Saraste, Christian Zacharias and Anja Bihlmaier.

This season Ida Falk Winland has made her role debut as Madame Butterfly at the Gothenburg Opera. She has also visited the Royal Theatre in Copenhagen, where she sang the role of Helene in Kasper Holten's production of Manfred Trojahn's Orest. The previous season, she appeared as Donna Anna in Don Giovanni at the Gothenburg Opera and as Violetta in La Traviata at the Royal Opera in Stockholm. Ida Falk Winland has been associated with the Gothenburg Opera since 2014. Here she has sung Gilda in Rigoletto, Mimì in La Bohème, Ilia in Idomeneo, Adalgisa in Norma, Morgana in Alcina, Cleopatra in Julius Caesar, Rosina in The Barber of Seville, The Countess and Susanna in The Marriage of Figaro, Nedda in Pajazzo and Beate Bella Bravura in Julglitter och Operakaos. Ida Falk Winland has guested at the Glyndebourne Festival in the role of Fiordiligi in Così fan tutte. She has also performed Così fan tutte at the Opéra National de Paris, The Magic Flute and Xerxes at the Royal Swedish Opera and Peter Grimes at the Teatro alla Scala in Milan. She has also appeared at the Helsinki Festival, Opéra National de Lorraine, Covent Garden and at the Internationale Händel–Festspiele in Göttingen. In 2018, Ida Falk Winland was winner of the Opera Prize for her performance as Adalgisa in the Gothenburg Opera's production of Norma, an award voted for by the readers of the magazine Opera. She is educated at the Royal College of Music and the National Opera Studio in London.

Le poème de l’extase (1908) is a symphonic manifesto. His increasingly esoteric, aesthetic and philosophical thinking stands with one foot in the late Romantic tradition and with the other in a radically individualized world of sound. Harmony, form and metaphysics merge. Scriabin starts from an expanded tonality, where the “mystical chords” – built up of quarter and tritone relationships – function as a vibrating center of gravity. This ecstatic symphonic poem can be understood as written in free sonata form, but without clear boundaries between exposition, development and reprise. Thematically – and in this we hear one of the more peculiar features of the work – there is a continuous transformation of the sound and chords of the music, rather than through contrasts. The orchestration is refined: high woodwinds, shimmering strings and a pregnant brass section give a sound that constantly strives upwards, towards an ecstatic climax. The work culminates in a finale, where tonal resolution and dynamic maximalism coincide, but not as conflict, but as confirmation.

The Gothenburg Symphony was formed in 1905 and today consists of 109 musicians. The orchestra's base is Gothenburg Concert Hall at Götaplatsen that has gathered music lovers since 1935. Since the 2019-2020 season, Barbara Hannigan is Principal guest conductor. We are also a proud partner of Barbara Hannigan's Equilibrium mentoring program focusing on young singers at the start of their careers. The title Principal Guest Conductor is shared by Pekka Kuusisto from 2025. Wilhelm Stenhammar was the orchestra's chief conductor from 1907 to 1922. He gave the orchestra a strong Nordic profile and invited colleagues Carl Nielsen and Jean Sibelius to the orchestra. Under the direction of conductor Neeme Järvi from 1982-2004, the orchestra made a series of international tours as well as a hundred disc recordings and established themselves among Europe's leading orchestras. In 1996, the Swedish Riksdag appointed the Gothenburg Symphony as Sweden's National Orchestra. In recent decades, the orchestra has had prominent chief conductors such as Santtu-Matias Rouvali, Mario Venzago and Gustavo Dudamel, following Kent Nagano as Principal Guest conductor. Anna-Karin Larsson is CEO and artistic director, Gustavo Dudamel honorary conductor and Neeme Järvi chief conductor emeritus. The orchestra's owner is the Västra Götaland Region. The Gothenburg Symphony works regularly with conductors such as Herbert Blomstedt, Joana Carneiro, Jukka-Pekka Saraste, Christian Zacharias and Anja Bihlmaier.

Le poème de l’extase (1908) is a symphonic manifesto. His increasingly esoteric, aesthetic and philosophical thinking stands with one foot in the late Romantic tradition and with the other in a radically individualized world of sound. Harmony, form and metaphysics merge. Scriabin starts from an expanded tonality, where the “mystical chords” – built up of quarter and tritone relationships – function as a vibrating center of gravity. This ecstatic symphonic poem can be understood as written in free sonata form, but without clear boundaries between exposition, development and reprise. Thematically – and in this we hear one of the more peculiar features of the work – there is a continuous transformation of the sound and chords of the music, rather than through contrasts. The orchestration is refined: high woodwinds, shimmering strings and a pregnant brass section give a sound that constantly strives upwards, towards an ecstatic climax. The work culminates in a finale, where tonal resolution and dynamic maximalism coincide, but not as conflict, but as confirmation.

The Gothenburg Symphony was formed in 1905 and today consists of 109 musicians. The orchestra's base is Gothenburg Concert Hall at Götaplatsen that has gathered music lovers since 1935. Since the 2019-2020 season, Barbara Hannigan is Principal guest conductor. We are also a proud partner of Barbara Hannigan's Equilibrium mentoring program focusing on young singers at the start of their careers. The title Principal Guest Conductor is shared by Pekka Kuusisto from 2025. Wilhelm Stenhammar was the orchestra's chief conductor from 1907 to 1922. He gave the orchestra a strong Nordic profile and invited colleagues Carl Nielsen and Jean Sibelius to the orchestra. Under the direction of conductor Neeme Järvi from 1982-2004, the orchestra made a series of international tours as well as a hundred disc recordings and established themselves among Europe's leading orchestras. In 1996, the Swedish Riksdag appointed the Gothenburg Symphony as Sweden's National Orchestra. In recent decades, the orchestra has had prominent chief conductors such as Santtu-Matias Rouvali, Mario Venzago and Gustavo Dudamel, following Kent Nagano as Principal Guest conductor. Anna-Karin Larsson is CEO and artistic director, Gustavo Dudamel honorary conductor and Neeme Järvi chief conductor emeritus. The orchestra's owner is the Västra Götaland Region. The Gothenburg Symphony works regularly with conductors such as Herbert Blomstedt, Joana Carneiro, Jukka-Pekka Saraste, Christian Zacharias and Anja Bihlmaier.

Le poème de l’extase (1908) is a symphonic manifesto. His increasingly esoteric, aesthetic and philosophical thinking stands with one foot in the late Romantic tradition and with the other in a radically individualized world of sound. Harmony, form and metaphysics merge. Scriabin starts from an expanded tonality, where the “mystical chords” – built up of quarter and tritone relationships – function as a vibrating center of gravity. This ecstatic symphonic poem can be understood as written in free sonata form, but without clear boundaries between exposition, development and reprise. Thematically – and in this we hear one of the more peculiar features of the work – there is a continuous transformation of the sound and chords of the music, rather than through contrasts. The orchestration is refined: high woodwinds, shimmering strings and a pregnant brass section give a sound that constantly strives upwards, towards an ecstatic climax. The work culminates in a finale, where tonal resolution and dynamic maximalism coincide, but not as conflict, but as confirmation.

Le poème de l’extase (1908) is a symphonic manifesto. His increasingly esoteric, aesthetic and philosophical thinking stands with one foot in the late Romantic tradition and with the other in a radically individualized world of sound. Harmony, form and metaphysics merge. Scriabin starts from an expanded tonality, where the “mystical chords” – built up of quarter and tritone relationships – function as a vibrating center of gravity. This ecstatic symphonic poem can be understood as written in free sonata form, but without clear boundaries between exposition, development and reprise. Thematically – and in this we hear one of the more peculiar features of the work – there is a continuous transformation of the sound and chords of the music, rather than through contrasts. The orchestration is refined: high woodwinds, shimmering strings and a pregnant brass section give a sound that constantly strives upwards, towards an ecstatic climax. The work culminates in a finale, where tonal resolution and dynamic maximalism coincide, but not as conflict, but as confirmation.

Le poème de l’extase (1908) is a symphonic manifesto. His increasingly esoteric, aesthetic and philosophical thinking stands with one foot in the late Romantic tradition and with the other in a radically individualized world of sound. Harmony, form and metaphysics merge. Scriabin starts from an expanded tonality, where the “mystical chords” – built up of quarter and tritone relationships – function as a vibrating center of gravity. This ecstatic symphonic poem can be understood as written in free sonata form, but without clear boundaries between exposition, development and reprise. Thematically – and in this we hear one of the more peculiar features of the work – there is a continuous transformation of the sound and chords of the music, rather than through contrasts. The orchestration is refined: high woodwinds, shimmering strings and a pregnant brass section give a sound that constantly strives upwards, towards an ecstatic climax. The work culminates in a finale, where tonal resolution and dynamic maximalism coincide, but not as conflict, but as confirmation.

The Gothenburg Symphony was formed in 1905 and today consists of 109 musicians. The orchestra's base is Gothenburg Concert Hall at Götaplatsen that has gathered music lovers since 1935. Since the 2019-2020 season, Barbara Hannigan is Principal guest conductor. We are also a proud partner of Barbara Hannigan's Equilibrium mentoring program focusing on young singers at the start of their careers. The title Principal Guest Conductor is shared by Pekka Kuusisto from 2025. Wilhelm Stenhammar was the orchestra's chief conductor from 1907 to 1922. He gave the orchestra a strong Nordic profile and invited colleagues Carl Nielsen and Jean Sibelius to the orchestra. Under the direction of conductor Neeme Järvi from 1982-2004, the orchestra made a series of international tours as well as a hundred disc recordings and established themselves among Europe's leading orchestras. In 1996, the Swedish Riksdag appointed the Gothenburg Symphony as Sweden's National Orchestra. In recent decades, the orchestra has had prominent chief conductors such as Santtu-Matias Rouvali, Mario Venzago and Gustavo Dudamel, following Kent Nagano as Principal Guest conductor. Anna-Karin Larsson is CEO and artistic director, Gustavo Dudamel honorary conductor and Neeme Järvi chief conductor emeritus. The orchestra's owner is the Västra Götaland Region. The Gothenburg Symphony works regularly with conductors such as Herbert Blomstedt, Joana Carneiro, Jukka-Pekka Saraste, Christian Zacharias and Anja Bihlmaier.