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69th CONCERT SEASON

MARCH 2026 • Magnum Opus Series

Friday, March 20  2026 • 7:30pm | Regent Theatre Oshawa

A SYMPHONIC TITAN • MAHLER’S EPIC 1st SYMPHONY

Pianist Haiou Zhang joins OP for the first time in the popular “Yellow River“ Concerto, a fantastic musical journey on this great Chinese river • One of the most thrilling symphonies ever written, Marco Parisotto and OP perform Gustav Mahler’s epic 1st Symphony, the “Titan” • Mahler expressed that "A symphony must be like the world, it must embrace everything.” • Composed when Mahler was twenty-eight, the Titan is filled with the sounds of Nature, it expresses melancholy, it is meditative, it exudes youthful exuberance and joy, and it ends blaring in the expression of the triumph of the human spirit • You won’t want to miss a beat of this outstanding work!

YIN Chengzong

“Yellow River” Piano Concerto  (Based on XIAN Xinghai)
1. Prelude: The Song of the Yellow River Boatmen (序曲:黄河船夫曲)
2. Ode to the Yellow River (黄河颂)
3. The Yellow River in Wrath (黄河愤)
4. Defend the Yellow River (保卫黄河)
Haiou Zhang, piano soloist
INTERMISSION

Gustav MAHLER

Symphony no.1 in D major, op.47

HAIOU ZHANG • biography

Haiou Zhang is considered as one of the finest pianists in his generation. His Mozart CD with the Heidelberg Symphony Orchestra under Thomas Fey was selected as the official soundtrack for the Spanish Netflix series "Money Heist" (La Casa de Papel) and received attention worldwide. Meanwhile, his newest Glinka & Dvorak album received the Supersonic Award by Pizzicato and nominated for ICMA International Classical Music Award and also in November 2021 for his solo album "My2020". Two more ''Opus Klassik'' nominations for his Mozart CD with NDR Philharmonic String Players. All his 6 CD albums (label hänssler CLASSIC) have been selected by Lufthansa's onboard music program.

Haiou Zhang has a deep and unmistakable passion for piano chamber music, particularly for works in the quintet and sextet repertoire. In recent concert seasons, he has been a regular guest at subscription series and festivals by the Berliner Philharmoniker, NDR Elbphilharmonie Orchestra Hamburg, WDR Symphony Orchestra Cologne, and the Frankfurt Radio Symphony Orchestra.

In the 2025/26 concert season, acclaimed pianist Haiou Zhang returns to the Weilburger Schlosskonzerte (Weilburg Festival), this time performing with the Nuremberg Symphony Orchestra under the baton of rising Hungarian star conductor Martin Rajna.

His season includes further high-profile engagements across the globe. In Bremerhaven and Emden, he will appear with the Bremerhaven Philharmonic, performing Brahms’s Piano Concerto No. 2 under the direction of renowned Chinese conductor Renchang Fu. In the Czech Republic, Zhang takes the stage with the North Czech Philharmonic to perform Tchaikovsky’s Piano Concerto No. 1 conducted by Maestro Charles Olivieri-Munroe. He will also perform Gershwin’s iconic Rhapsody in Blue in China with him and the Wuhan Philharmonic. Another season highlight includes a performance of the "Yellow River" Piano Concerto in Canada with the Ontario Philharmonic, led by chief conductor Marco Parisotto.

Continuing his successful collaboration with the Orquesta Sinfónica Nacional de Colombia, Haiou Zhang embarks on a major 10-concert tour of China, under the direction of chief conductor Yeruham Scharovsky, with appearances in major cities including Beijing and Shanghai.

In addition to his concert career, Haiou Zhang continues to share his artistry as a pedagogue. He has been invited as a guest lecturer for piano masterclasses at leading institutions including the Lucerne University of Applied Sciences and Arts (HSLU) in Switzerland, the Conservatoire de la Ville de Luxembourg, the Hochschule für Musik Karlsruhe in Germany, and the Royal College of Music in London UK. He has also been invited to serve as a jury member for the 15th International German Piano Award (IGPA), which will take place at the Casals Forum of Kronberg Academy from November 21 to 23, 2025.

In the 2024/25 season, he made new recital appearances in London as part of the new Bechstein Hall series and returned to the Brucknerhaus Linz after his recital triumph five years ago. He also made his recital debuts in some of Germany’s most prestigious concert series, including the Elbphilharmonie Hamburg (ProArte Hamburg) and the Mercatorhalle Philharmonie Duisburg (Duisburger Philharmoniker) — both of which were met with great acclaim and received prolonged standing ovations. Further highlights included the Colombian premiere of the "Yellow River Piano Concerto" in Bogotá with the National Symphony Orchestra of Colombia under the baton of chief conductor Yeruham Scharovsky. This performance was followed by a successful concert tour in China, performing Rachmaninov’s Piano Concerto No. 3, which began at the Shanghai Concert Hall. Additional engagements included Liszt’s Piano Concerto No. 1 with the Trier Philharmonic under Dutch maestro Jochem Hochstenbach, and Gershwin’s Rhapsody in Blue with the Festival Orchestra of the Immling Festival, conducted by Maestra Cornelia von Kerssenbrock. He also launched new chamber music collaborations with violinist Yury Revich at the International Music Festival Koblenz and the festival Musikalischer Sommer in Ostfriesland, as well as several concerts with the Elphier Quartet.

The 2023/24 season featured a series of exciting debuts and highlights for Haiou Zhang. He performed Mozart’s Piano Concerto No. 9 with the Qatar Philharmonic Orchestra in Doha, and played five concerts in Germany featuring Rachmaninoff’s Piano Concerto No. 3 with the Nordwestdeutsche Philharmonie, conducted by Jonathan Bloxham. His recital appearances included Konzerthaus Berlin and Ehrbar Saal in Vienna, where he presented profound interpretations of Beethoven’s Sonata Op. 111 and Liszt’s Sonata in B minor. In Asia, he received enthusiastic acclaim with performances at Victoria Concert Hall in Singapore, Sumida Triphony Hall in Tokyo, and major venues across China — including the National Centre for the Performing Arts (NCPA) in Beijing, Shenzhen Concert Hall, Qintai Concert Hall in Wuhan and Xinghai Concert Hall in Guangzhou. Another notable success was a German tour featuring six concerts with acclaimed violinist Tianwa Yang, performing an all-Beethoven program. The collaboration was praised by Süddeutsche Zeitung as "a wonderful unity of music-making."

In 2022, Haiou Zhang made his sold-out orchestral debut with Nuremberg Symphony Orchestra at the Elbphilharmonie Hamburg. At the same period have seen major concerts by Haiou Zhang in Germany's most prestigious venues: the great hall of the Philharmonie Berlin, the Gewandhaus Leipzig as well as the Meistersingerhalle Nuremberg or the Philharmonie Essen. Other milestones include Mozart's Piano Concertos with Deutsches Kammerorchester Berlin, Dvorak's Piano Quintet Op. 81 with the Philharmonic String Quartet at the Berlin Philharmonic's official Welcome Back Week festival at the Chamber Music Hall of the Philharmonie Berlin. A special collaboration with the British pop legend Jarvis Cocker at the Berliner Festspiele in the production “Sleepless Nights” by BBC Radio 4.

Haiou Zhang launched his career in 2006 with celebrated debuts at the Braunschweig Classix Festival, and has since appeared at the Schleswig-Holstein Music Festival, the Mecklenburg-Vorpommern Festival, the Kissinger Sommer, the Mozart Festival Augsburg, Festival international de musique de Besançon and many others. In 2010 he toured Canada in 7 concerts with Slovak Sinfonietta under the baton of Maestro Kerry Stratton (Beethoven's piano concerto No.5) acclaimed by both the audience and press - "Pianist is on cusp of great career" was the title of his concert review by Toronto Star. Another important invitation for him was two subscription concerts (Mozart piano concerto K.467 with Heidelberg Symphony under chief conductor Thomas Fey) at Sala São Paulo presented by Mozarteum Brasileiro.

In 2010, he founded his own festival in Lower Saxony, Germany: the International Music Festival Buxtehude/Altes Land/Harburg/Stade, which is aimed primarily at young audiences. During the past 15 years he has programmed over 200 concerts for the festival and it became one of the most dynamic classical music hub in Northern Germany.

Alongside he was artistic director of the Öschberghof Klassik concert series in Donaueschingen from 2020 to 2023 and the Concert Grand Salon in Zurich in 2021, where he invited many internationally established ensembles, soloists and promoted his highly talented young pianist colleagues.

Haiou Zhang performs as a soloist and chamber musicianin Europe, North and South America and Asia; his concert appearances have included venues such as the Hamburg Laeiszhalle, Tonhalle Düsseldorf, Beethoven-Haus Bonn, Nikolaisaal Potsdam, Max-Littmann Saal in Bad Kissingen, Concertgebouw Amsterdam, Grand Theatre Shanghai, CBC Glenn Gould Studio in Toronto, Sala São Paulo, Esplanade Concert Hall Singapore and many others. As soloist his musical partners in Germany were the NDR Radiophilharmonie, the Nuremberg Symphony, the NWD Philharmonie, the Bochum Symphony, the Hamburg Symphony, the WKO Heilbronn, the Leipzig Philharmonic, the Heidelberg Symphony, the State Orchestras of Braunschweig and Oldenburg, the Brandenburg Symphony, the Philharmonie Südwestfalen, the Brandenburg Symphony Orchestra, the Philharmonie Festival, the Bremerhaven Philharmonic, the Trier Philharmonic, as well as internationally with the Russian National Philharmonic, the Orchestre Royal de Chambre de Wallonie, the Jerusalem Symphony Orchestra, the Lithuanian National Symphony, the Macedonian Philharmonic, the Polish Chamber Philharmonic, the Filharmonie Hradec Králové in Czech Republic, the Slovak Sinfonietta, the Estonian Sinfonietta, the National Symphony Orchestra of Ukraine, the Tbilisi Symphony Orchestra, the National Chamber Orchestra of Armenia, the Siberian Symphony Orchestra, the Voronezh State Symphony Orchestra, the Beijing Symphony Orchestra, the Xiamen Philharmonic, the Changsha Symphony Orchestra etc. and conductors such as Andrew Manze, Jonathan Bloxham, Vladimir Spivakov, Nabil Shehata, Vahan Mardirossian, Srba Dinić, Vakhtang Kakhdize, Frieder Bernius, Gerd Schaller, Thomas Fey, Martijn Dendievel, Samuel Lee, Kai Bumann, Wojciech Rajski, Marc Niemann, Hendrik Vestmann,  James P. Liu, Vladimir Verbitsky, Robert Stehli, Juri Gilbo, Florian Merz etc.  

Haiou Zhang's chamber music partners include the vision string quartet, Quatuor Hermès, Quatuor Diotima, Gewandhaus Quartett, Mercore String Quartet, WDR Symphony Orchestra Chamber Players, Hába Quartet, Elphier Quartet and Eldbjørg Hemsing, Sarah Christian, Solenne Paidassi, Alexandra Preucil, Benedict Kloeckner, Alexander Hülshoff, Leonid Gorokhov, Christoph Heesch, Jacob Shaw etc.

He is heard regularly in concerts and interviews for various radio stations and television, such as CCTV China, SF1 Switzerland, NPR, BBC3, CBC, Classical FM96.3, Ontario TV Canada, Radio 4 Netherland, ORF 1Austria, Radio New Zealand, France télévision 3 and has strong presence at German classical radio landscape at BR-Klassik, NDR Kultur, WDR3, SWR2, Hr2,MDR Klassik, rbb3, Deutschland radio Kultur and the Deutsche Welle TV.

His teaching activities covers prominent music conservatories in China such as Beijing, Shanghai, Shenzhen, Wuhan, Xiamen and in Italy - Cagliari, Calabria, Brescia and Catania, as well in the USA, Canada and Singapore.

Born in China, Haiou Zhang first studied at the Central Conservatory of Music attached school in Beijing with Prof. Guangren Zhou, Prof. Manchun Chen and Prof. Hui Zhong - before continuing at the Musikhochschule Hannover (Hanover University of Music, Drama and Media) with Prof. Bernd Goetzke. In autumn 2011 he graduated in Hanover with full of high notes in all subjects.   Haiou Zhang speaks Chinese, German and English fluently and is passionate about literature, history, multiple culture, geography, photography and classical Italian menswear/tailoring.

MARCO PARISOTTO • biography

Born in Montreal of Italian lineage, Marco Parisotto is among Canada's foremost conductors on the international scene. A guest with orchestras around the globe, with unrelentingly high standards of performance, he continues to thrill audiences with his passionate music making. He is the winner of seven major international competitions and crowned these achievements at the1997 “Besançon International Competition for Conductors”, being awarded both the Grand Prix as well as the Prix du Public - a historical first at this elite event.

As Artistic Director of the Ontario Philharmonic (OP), a title he has held for over two decades, he has earned praise for the orchestra’s development and adventurous performances, and he is credited with building OP to the high standard it enjoys today. Under his leadership, Ontario Philharmonic has received superlative audience and media recognition.

“…a fantastic orchestra [Ontario Philharmonic] being led by a first-rate conductor” • Musical Toronto.

Marco Parisotto’s close association with orchestras is manifested through the strong relationships he has maintained with ensembles under his leadership. In 2013, he was unanimously elected as Music Director of the Jalisco Philharmonic, transforming this ensemble into one of Latin America’s most distinguished orchestras. Under his direction, the Jalisco Philharmonic garnered international attention with its virtuosic performances and participated in recordings, tours, international festivals and major events such as Operalia, The World Opera Competition. During his tenure, the orchestra undertook major concert tours eliciting great critical and public acclaim as they visited Germany, Austria, the USA and Mexico in leading concert halls of Berlin, Munich, Essen, Vienna, Los Angeles, San Francisco, Busan and Mexico City. As well, through Maestro Parisotto, the orchestra completed significant commercial recording projects, starting with the Philharmonic’s first release under the SONY Classical label.

“Amidst this exciting pillar of sound growing constantly, stands Marco Parisotto. Under his control, directing the orchestra with the greatest finesse, like an architect he gives precise instructions that develop into a majestic edifice of sound…  He ingeniously manages the full spectrum of colors of his orchestra… We hope that this fantastic orchestra with this dynamic conductor will visit our German concert halls more frequently, bringing with them their style of spicy and fiery music-making.” • Klassik Begeistert, Raphael Eckardt

Following a special concert celebrating Canada-China relations in 1999 at the Grand Theatre in Shanghai, Marco Parisotto was appointed Principal Conductor and Artistic Advisor of the Shanghai Symphony Orchestra, a position he held until 2003.

Marco Parisotto has won critical and public praise for his interpretations of the great Austro-German repertoire - as R. Strauss, Bruckner, Wagner, and as an avid Mahlerian. He has also been acclaimed for his readings of Russian masters as Tchaikovsky, Shostakovich, Stravinsky, and for his passionate performances in the operatic field. He has led productions including, among others, Pagliacci, Cavalleria Rusticana, Carmen, Otello, Madama Butterfly, Tosca, La Boheme, Aida, Rigoletto, Don Giovanni and Turandot.

“The star of the evening was without a doubt Marco Parisotto…inspired, passionate and in a virtual state of grace, impressing a supreme flow and agility to this extremely challenging opera [Puccini’s Turandot].” • Opera World.

Marco Parisotto has appeared in major concert halls throughout the world, conducting many leading orchestras including the Orchestre symphonique de Montréal, Philharmonia Orchestra of London, Orchestra Sinfonica di Milano "La Verdi", Orchestra Haydn di Bolzano, New Jersey Symphony, Toronto Symphony, Calgary Philharmonic, Edmonton Symphony, Vancouver Symphony, National Arts Center Orchestra in Ottawa, Orchestre symphonique de Québec, Orquesta Filarmónica de Bogotá, Busan Philharmonic, Osaka Philharmonic, Tokyo Symphony, Tokyo Philharmonic, Seoul Philharmonic, Louisiana Philharmonic, Erfurt Philharmonic, Belgrade Philharmonic, Georges Enescu Philharmonic, Janacek Philharmonic, Orchestre National de France, Orchestre National du Capitole de Toulouse, Opéra de Bordeaux, Opéra de Marseille, Orchestre Philharmonique de Strasbourg and Philharmonique de Liège. He was received with great enthusiasm at the international Festivals of Evian, Menton, Besançon, Festival Cervantino, Wieniawski International Festival (Poland), May Festival of Guadalajara, Festival of Opera in Jalisco, Skaneateles Festival New York, Busan Maru International Music Festival and Bolzano Festival; at the Montreal Opera, Shanghai Opera, Opera Giuseppe Verdi di Trieste, Serbian National Theatre; in Mexico with the Mexico City Philharmonic, Orquesta Filarmonica de la UNAM, Orquesta Sinfonica Sinaloa de las Artes, Orquesta Sinfonica de UANL, Camerata de Coahuila, Sinfonica Carlos Chavez, Camara de Bellas Artes, Orquesta de Baja California; in China with the Shanghai Symphony, China National Symphony and Gui Yang Symphony. He has also led to acclaim the Polish National Radio Symphony, Monte-Carlo Philharmonic, Orchestra Nazionale della RAI of Torino, Orquesta de Cordoba, Orchestre de Bayonne Côte-Basque. On several occasions, at Théâtre des Champs Élysées in Paris, he was a guest of Orchestre des Concerts Lamoureux.  

Marco Parisotto is the winner of seven important international competitions. Aside from his noteworthy awards at the prestigious Besançon Competition, joining the ranks of maestros like Seiji Ozawa and Michel Plasson, other top prizes have included the Tokyo International Conductors' Competition in Japan, Constantin Silvestri Competition in Romania and the Antonio Pedrotti in Italy. He was moreover honored with all other special awards at these events.  

He took his training both as a violinist and pianist and studied conducting with eminent maestros including Leonard Bernstein, Carlo Maria Giulini, Leonard Slatkin, Charles Brück, Yuri Temirkanov, Georg Tintner and, initially, with Raffi Armenian at the Conservatoire de Musique du Québec in Montreal.

PROGRAM NOTES
by John Green

YIN Chengzong (b. 1941)
Yellow River Piano Concerto
The Yellow River Piano Concerto, an innovative work in Chinese classical music, began life in 1939 as the Yellow River Cantata. The subsequent four movement piano concerto, composed in 1969, came from the cantata’s original eight movements, based on traditional Chinese folk melodies. It arose from a period of political and social turmoil in China in an effort to bolster national pride in the face of adversity. Part of the standard repertoire in Chinese concert halls, it is also performed and frequently recorded by western orchestras, displaying a brilliant blend between the characteristics of both western and Chinese music.

The piano plays a major role in the work, beginning with a prelude, Song of the Yellow River Boatman, illustrating his struggle and determination against the river’s waves. The Prelude is followed by Ode to the Yellow River, a celebration of the river’s historical importance. The Wrath of the Yellow River, depicts the river’s potential destructive force; and finally, Defend the Yellow River, a concluding call to protect the Yellow River.

The concerto is to this day a powerful statement, epitomizing a lasting spirit of the Chinese people.

Gustav Mahler (1860-1911)
Symphony No. 1 in D major

Against a family and childhood background stalked by misery, early death and depression, a six-year-old boy uncovered an old piano in the attic of his grandmother’s house. Despite his father’s insistence that he become a respectable shopkeeper, the discovery of the piano would change Gustav Mahler’s life. From that day in 1886 he sat with incredible patience, sorting through the sounds the instrument made and opening a world of creative and ingenious creativity.  

Mahler’s subsequent rise to musical prominence really began with his enrollment in the Vienna Conservatory at age 15. Here he was introduced to formal musical theory. At the insistence of one of his teachers, he eventually accepted the dubious position of “conductor” of light opera in a run-down Vienna music hall. Payment per month was $12.50. He soon befriended several patrons there, one of whom arranged for him to conduct Felix Mendelssohn’s St. Paul Oratorio complete with professional musicians. The performance was done with such finesse, profoundly affecting the audience—among them, impresario Angelo Neumann—that he was offered the then vacant conducting post at the German opera in Prague. His rise as one of the preeminent conductors in all of Europe had begun.

Freed eventually from his onerous conducting duties, Mahler directed his energies to composition. Great musical works of art, he insisted, meant symphonies, symphonies of great dimension requiring gargantuan musical forces probing the fundamental universal problems of life and death.

The “Titan” Symphony No. 1 in D major (1888), was described by the composer as “the sound of Nature”. The work is scored for very large orchestra, in the typical four-movement structure. The first movement is written in sonata form titled by Mahler as “Spring and no End, the Awakening of Nature.” In it we hear wind, the song of birds, the sound of water. The second movement, a Scherzo followed by a Trio, is shaped in the form of an Austrian Ländler, a peasant dance, predominantly featured in the woodwinds. The third movement is forbidding. Its main theme, sounding vaguely like “Frere Jacques”, is a muted and sinister voice heard in the double basses—a true funereal canon. The Finale, dubbed by one program author, is “an abrupt outburst of doubt from a deeply wounded heart.” Near its closing moments there sounds a glorious theme from the horns—in the words of maestro Bruno Walter, “a triumphant victory over life.”  



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