Salle des Combins is the Verbier Festival’s main concert hall. It normally seats 1,419. Each row is on a separate tier, which guarantees an excellent view of the stage. Improvements to the soundproofing and heat insulation make this a very high-quality non-permanent venue. All of the Festival’s symphonic concerts, operas, large world music, jazz, dance events and some recitals are presented here.
Lahav Shani, Michael Barenboim, Alisa Weilerstein, Alexandre Kantorow and Verbier Festival Orchestra
E-tickets: Print at home or at the box office of the event if so specified. You will find more information in your booking confirmation email.
You can only select the category, and not the exact seats.
If you order 2 or 3 tickets: your seats will be next to each other.
If you order 4 or more tickets: your seats will be next to each other, or, if this is not possible, we will provide a combination of groups of seats (at least in pairs, for example 2+2 or 2+3).
E-tickets: Print at home or at the box office of the event if so specified. You will find more information in your booking confirmation email.
You can only select the category, and not the exact seats.
If you order 2 or 3 tickets: your seats will be next to each other.
If you order 4 or more tickets: your seats will be next to each other, or, if this is not possible, we will provide a combination of groups of seats (at least in pairs, for example 2+2 or 2+3).
Lahav Shani conducts the VFO in a multi-soloist night, Alexandre Kantorow joining them for Brahms’s mighty Second Piano Concerto, before cellist Alisa Weilerstein and violist Michael Barenboim play the lead roles in Strauss’s ‘Fantastic Variations on a Theme of Knightly Character,’ Don Quixotte.
When Brahms composed his Second Piano Concerto in 1881, it set a new benchmark for size and scope. Scored in four movements rather than the usual three, its opening is strikingly original: a noble horn call, answered by the piano, which then launches into a mood-switching cadenza. The second movement is an impassioned scherzo, followed by an Andante whose music is based on its initial solo cello song, and a rondo finale blending playfulness with grandeur. Strauss’s Don Quixotte of 1897 is a programmatic theme and variations on the famed Cervantes novel about an elderly hidalgo who goes mad, imagines himself to be a knight errant, and sets off on adventure. Casting a cello as ‘Don Quixotte’ and a viola as his servant, Sancho Panza, Strauss’s colourful score brilliantly depicts events such as the mistaking of a flock of sheep for an enemy army (atonal baa-ing). Eventually sanity is restored, and the weary gentleman dies peacefully on a downwards glissando.