Postavke privatnosti

Buy tickets for concert Ludovico Einaudi - 04.03.2026., Wiener Konzerthaus, BeÄŤ, Austria Buy tickets for concert Ludovico Einaudi - 04.03.2026., Wiener Konzerthaus, BeÄŤ, Austria

CONCERT

Ludovico Einaudi

Wiener Konzerthaus, BeÄŤ, AT
04. March 2026. 19:30h
2026
04
March
Photo by: Domagoj Skledar/ arhiva (vlastita)

Tickets for Ludovico Einaudi Solo Piano at Wiener Konzerthaus in Vienna - ticket sales and seats

Experience Ludovico Einaudi at Wiener Konzerthaus in Vienna: find tickets and seat options plus clear details for ticket purchase for the concert. This page is focused on ticket sales, availability checks, and planning your visit with practical venue information

A concert that turns silence into a story

Ludovico Einaudi arrives in Vienna with a program that is simultaneously intimate and monumentally popular, with the concert scheduled for 04.03.2026 at 19:30 in the Wiener Konzerthaus, in the GroĂźer Saal space, with an announced duration until approximately 21:30. On stage, there is only the piano and the author, but the experience that the audience usually describes as cinematic does not arise from spectacle but from precisely measured repetitions, tiny dynamic shifts, and melodies that are remembered without effort. This is precisely why tickets for such an evening often become a topic long before the date itself, because Einaudi's solo format in a large concert hall merges two worlds: chamber-like closeness and the energy of mass interest. If you are planning a trip or want to ensure the best seat in the hall, ticket sales and seat availability are a key part of the story already. Secure your tickets for this event immediately!

The musical signature of Ludovico Einaudi

Einaudi is a composer and pianist whose style grew at the intersection of classical tradition and minimalism, with recognizable patterns that repeat and gradually change, as if leading the listener through the same landscape in different lights. The Konzerthaus program emphasizes that this is an artist moving between classical music and minimalism and reminds of his early formative steps, from studies in Turin and Milan to experiences that opened doors to American minimalism. In this aesthetic, there is no need for grand gestures, as tension is built patiently through pulse and harmonies that hover, which is one of the reasons why his compositions live outside concert halls as well, in film, series, and private listening rituals. At the same time, popularity does not diminish craftsmanship discipline; on the contrary, it intensifies audience expectations, and that is why tickets and passes become a kind of barometer for the interest of the city where the concert takes place. Buy tickets via the button below and plan an evening without last-minute improvisation.

What the Solo Piano format brings

The concert announcement in the Konzerthaus clearly positions it as a “Solo Piano” evening, which means the focus is on the pure, stripped-down core of Einaudi's language, without a band, without orchestration, and without production layers that could hide the nuances of the keystrokes. Such a format intensifies every detail, from the way a phrase “breathes” to the moment when silence turns into expectation, so the audience often reacts almost in a chamber-like manner, with an attention that is felt in the large hall as a shared rhythm. Although the set-list in such performances can vary, the context highlighted by the Konzerthaus, from the breakthrough album “Le Onde” to themes of nature, time, and emotions, suggests an evening that will move through recognizable motifs but also leave room for spontaneity of interpretation. This is exactly where the added value lies for those who have followed his work for years, because the same compositions sound different in different halls and evenings, depending on the acoustics and the energy of the audience, so choosing the right ticket is also choosing a listening perspective. Tickets for this concert are disappearing fast, so buy your tickets on time.

“Le Onde” and the logic of waves in Einaudi's aesthetics

The Konzerthaus reminds us that Einaudi's breakthrough is linked to the solo album “Le Onde” from 1996, inspired by Virginia Woolf's novel “The Waves”, and that motif of waves can still be heard today as a principle, not just as a title. A wave in Einaudi's music is not an effect but a structure, a repetition that returns but never exactly the same, as the accent, the density of the arpeggio, or the direction of the harmony changes, giving the listener the feeling that the music carries them without sudden cuts. This approach explains why his works reach an audience that otherwise does not follow the classical repertoire, but also why the classical background audience often listens to them as a contemporary response to the old idea of variation. In the last few years, Einaudi has also linked new energy to a more recent studio cycle, including the album “The Summer Portraits”, whose official information speaks of nostalgia and memories of summer landscapes, which naturally continues his obsession with time and atmosphere. When such an opus comes to Vienna, tickets are not just an entry to an event, but an entry into a specific way of listening that rewards concentration and a good position in the hall.

Wiener Konzerthaus as an instrument of the city

Wiener Konzerthaus is not just an address, but an institution that since its opening in 1913 has been conceived as a space for a wide range of audiences and programs, with architecture that combines elements of late historicism, secession, and art nouveau. The official history of the hall emphasizes how the project, whose construction began in December 1911, was designed so that multiple halls can function simultaneously without mutual interference, which is still part of the house's identity today. For Einaudi's concert, the GroĂźer Saal is crucial, a space of large volume in which an intimate solo performance is transformed into a shared experience, and virtual data from the Konzerthaus states a capacity of 1,865 seats, with clearly divided zones of the parterre, balcony, and gallery. In such a hall, choosing a ticket is not trivial, because the same piece can sound different depending on height and distance, so ticket sales also raise the question: do you want to be close to the piano's mechanics or in a wider sound cloud? Secure your tickets for this event immediately!

Viennese context and the neighborhood around the hall

The Konzerthaus is located at LothringerstraĂźe 20, 1030 Wien, on the edge of the center where a city walk naturally continues towards the Stadtpark and the cultural ring that defines the Viennese experience of music as everyday life. The official tourist guide of the city of Vienna describes the Konzerthaus as a first-class music center in an art nouveau atmosphere, with performers of various genres, which is important because Einaudi's audience often comes from outside strictly classical circles. This urban context makes planning arrival easier, as it is a zone where a pre-evening crowd naturally forms before the concert, and after the concert, the audience flows towards the center, hotels, and public transport. In such a city and such a hall, a concert is not experienced as an isolated appointment, but as part of the Viennese cultural routine, so passes and tickets become a kind of ticket to a city evening, not just the hall. If you are coming from outside Vienna, buying tickets in advance helps you put the rest of the trip together without risk and makes the concert a firm point of your itinerary.

Audience interest and ticket dynamics

On the event page itself, the Konzerthaus displays the price range in euros and the availability status, which in practice is a signal of how quickly interest changes, especially for a performer whose performances often attract audiences of different generations. At the time of publishing this information, there is a sold-out mark next to the event, which does not mean the situation cannot change, but it clearly says that demand is strong and that monitoring ticket sales is crucial if you want to catch a suitable seat. In concerts like this, the audience often looks for a specific zone, because someone wants a wide picture and a “dome” of sound, and someone else wants physical proximity to the piano and pedal details, so individual ticket categories sell out faster than others. An additional factor is that the Konzerthaus announces Einaudi's arrival for two nights, so interest spills over between dates, which can affect the rhythm of ticket availability in both directions. If this evening is important to you, do not wait until the last moment, because in a city like Vienna and in a hall like the Konzerthaus, tickets for sought-after soloists function as a commodity that moves from hour to hour.

How to prepare for an evening in the GroĂźer Saal

Einaudi's “Solo Piano” in a large hall works best when the audience comes ready to listen to nuances, meaning that practical preparation is just as important as emotional expectation. The Konzerthaus, through its infrastructure, offers a logic of movement and reception for a large number of visitors, and the historical description of the building emphasizes how foyers and staircases were designed for the unhindered flow of thousands of people, which is felt on evenings when interest is exceptionally high. In this context, tickets and passes are not just a formality at the entrance, but also a tool for organization, because the seat category directs the movement of the audience and reduces stress before the start. Plan your arrival earlier to have time for the cloakroom, finding the entrance, and a peaceful entry into the hall, because Einaudi's quiet beginnings are easiest to miss if entering at the last minute. Ticket sales are available, and therefore it is smart to have a ticket ready and checked before the trip, and clicking the

button later will be the fastest way to check availability.

Practical information for visitors

The Ludovico Einaudi concert is held at Wiener Konzerthaus, GroĂźer Saal, at the address LothringerstraĂźe 20, A-1030 Vienna, starting at 19:30 and with an announced duration until approximately 21:30, and the ticket is valid for 1 day, which is important if you are combining multiple events during your stay. If you are buying tickets, count on the fact that interest can be high and that availability can change quickly, so it is useful to have plan A and plan B for the seating zone, depending on whether you want to be closer to the stage or have a wider acoustic impression. Information about services within the house and the working hours of the Ticket- & Service-Center is listed by the Konzerthaus on its pages, and in practice, this means that on the day of the event, one should focus on timely arrival and entry, because the box office before the start operates in the regime of the event of the same evening. For visitors coming from Croatia or other countries, Vienna offers simple public transport logistics and walking routes in the center, but the biggest difference is made by the fact that the ticket is already secured and that you do not have to improvise at the last moment. Buy tickets via the button below and check the availability status while it still makes sense to choose, because this is the type of concert where the best seats are remembered as much as the music.

Sources:
- Wiener Konzerthaus: event page “Ludovico Einaudi – Solo Piano” with date, hall, duration, and ticket status information
- Wiener Konzerthaus: Ticket- & Service-Center (address and basic visit information)
- Wiener Konzerthaus: History & Architecture (opening in 1913, architecture and concept of parallel halls)
- Wiener Konzerthaus: Virtual Tour (data on GroĂźer Saal and seating capacity)
- WienTourismus (vienna.info): profile of the Wiener Konzerthaus location and urban cultural context
- Ludovico Einaudi: official page “The Summer Portraits” (album and tracklist information)
- Decca (Einaudi Store): “The Summer Portraits” (release date and official album description)

Everything you need to know about tickets for concert Ludovico Einaudi

+ Where to find tickets for concert Ludovico Einaudi?

+ How to choose the best seat to enjoy the Ludovico Einaudi concert?

+ When is the best time to buy tickets for the Ludovico Einaudi concert?

+ Can tickets for concert Ludovico Einaudi be delivered electronically?

+ Are tickets for concert Ludovico Einaudi purchased through partners safe?

+ Are there tickets for concert Ludovico Einaudi in family sections?

+ What to do if tickets for concert Ludovico Einaudi are sold out?

+ Can I buy tickets for concert Ludovico Einaudi at the last minute?

+ What information do I need to buy tickets for the Ludovico Einaudi concert?

+ How to find tickets for specific sections at the Ludovico Einaudi concert?

11 February, 2026, Author: Culture & events desk

Find accommodation nearby


You may be interested

Saturday 28.02. 2026 20:00
Great Festival House, Hofstallgasse 1
Sunday 01.03. 2026 20:00
Great Festival House, Hofstallgasse 1
Tuesday 03.03. 2026 19:30
Wiener Konzerthaus, LothringerstraĂźe 20
Wednesday 18.03. 2026 20:00
Teatro Real, Pl. de Isabel II, s/n, Centro
Thursday 19.03. 2026 20:00
Teatro Real, Pl. de Isabel II, s/n, Centro
Saturday 21.03. 2026 20:00
Queen Sofia Palace of Arts, Av. del Professor López Piñero, 1, Quatre Carreres
Monday 23.03. 2026 21:00
Coliseu dos Recreios, Rua das Portas de Santo AntĂŁo 96
Tuesday 24.03. 2026 21:00
Coliseu dos Recreios, Rua das Portas de Santo AntĂŁo 96
Wednesday 25.03. 2026 21:00
Coliseu dos Recreios, Rua das Portas de Santo AntĂŁo 96
Friday 27.03. 2026 20:30
Gran Teatre del Liceu, La Rambla, 59, Ciutat Vella
Saturday 28.03. 2026 20:30
Gran Teatre del Liceu, La Rambla, 59, Ciutat Vella
Saturday 04.04. 2026 14:00
Koepelgevangenis Arnhem, Wilhelminastraat 16
Tuesday 14.04. 2026 19:00
Queen Elisabeth Hall, Koningin Astridplein 20/26
Wednesday 15.04. 2026 19:00
Queen Elisabeth Hall, Koningin Astridplein 20/26
Monday 20.04. 2026 20:15
Concertgebouw, Concertgebouwplein 10
Tuesday 21.04. 2026 20:15
Concertgebouw, Concertgebouwplein 10
Saturday 25.04. 2026 19:00
The Usher Hall, Lothian Rd
Tuesday 28.04. 2026 19:00
Royal Albert Hall, Kensington Gore, South Kensington
Wednesday 29.04. 2026 19:00
Royal Albert Hall, Kensington Gore, South Kensington
Friday 01.05. 2026 19:00
The Glasshouse International Centre for Music, St Mary's Square
Saturday 02.05. 2026 19:00
Symphony Hall, Broad St
Monday 04.05. 2026 19:00
Bristol Beacon, Beacon, Trenchard St
Friday 08.05. 2026 19:00
The Glasgow Royal Concert Hall, 2 Killermont St
Thursday 14.05. 2026 11:15
Tonhalle ZĂĽrich, Claridenstrasse 7
Thursday 14.05. 2026 19:00
Tonhalle ZĂĽrich, Claridenstrasse 7
Saturday 23.05. 2026 20:00
Hercules Hall, ResidenzstraĂźe 1
Sunday 24.05. 2026 20:00
Hercules Hall, ResidenzstraĂźe 1
Monday 25.05. 2026 20:00
Hercules Hall, ResidenzstraĂźe 1
Tuesday 26.05. 2026 20:00
Berlin Philharmonic, Herbert-von-Karajan-StraĂźe 1
Saturday 13.06. 2026 20:00
Navarra Arena, Pl. Aizagerria, nÂş 1
Monday 15.06. 2026 21:00
WiZink Center, Av. de Felipe II, s/n, Salamanca
Tuesday 16.06. 2026 20:30
Palau Sant Jordi, Passeig OlĂ­mpic, 5, Sants-MontjuĂŻc
Friday 19.06. 2026 21:00
Auditorium Parco della Musica, Via Pietro de Coubertin, 30
Saturday 20.06. 2026 21:00
Auditorium Parco della Musica, Via Pietro de Coubertin, 30
Sunday 21.06. 2026 21:00
Auditorium Parco della Musica, Via Pietro de Coubertin, 30
Monday 22.06. 2026 21:00
Auditorium Parco della Musica, Via Pietro de Coubertin, 30
Wednesday 24.06. 2026 21:30
P.za Napoleone, Lucca
Monday 29.06. 2026 20:00
Zenith Nantes Metropole, 1 Bd du Zénith
Tuesday 30.06. 2026 20:00
Arkéa Arena, 48-50 Av. Jean Alfonséa
Wednesday 01.07. 2026 21:30
Théâtre Jean-Deschamps, 1 Pl. Saint-Nazaire
Sunday 05.07. 2026 20:00
Ziggo Dome, De Passage 100
Wednesday 08.07. 2026 20:00
Forest National, Av. Victor Rousseau 208, 1190 Forest
Friday 10.07. 2026 18:30
O2 Arena, Peninsula Square
Saturday 11.07. 2026 18:30
O2 Arena, Peninsula Square

Culture & events desk

The editorial team for arts, music and events brings together journalists and volunteers who have spent years living alongside stages, clubs, festivals and all those spaces where art and audience meet. Our writing comes from long-standing journalistic experience and genuine involvement in cultural life: from endless evenings in concert halls, from conversations with musicians before and after performances, from improvised press corners at festivals, from premieres that end with long discussions in theatre corridors, but also from small, intimate events that attract only a handful of curious people yet remain engraved in their memory for a lifetime.

In our newsroom write people who know what a stage looks like when the lights go out, how the audience breathes while waiting for the first note, and what happens behind the curtain while instruments or microphones are still being adjusted. Many of us have spent years standing on stage ourselves, participating in programme organisation, volunteering at festivals or helping artist friends present their projects. This experience from both sides of the stage gives us the ability to view events not merely as items in a calendar, but as living encounters between creators and audiences.

Our stories do not stop at who performed and how many people attended. We are interested in the processes that precede every appearance before the public: how the idea for a concert or festival is born, what it takes for a comedy to reach its audience, how much time is spent preparing an exhibition or a multimedia project. In our texts we try to convey the atmosphere of the space, the energy of the performers and the mood of the audience, as well as the context in which all this happens – why a certain performance is important, how it fits into the broader music or art scene, and what remains after the venue empties.

The editorial team for arts, music and events builds its credibility on persistence and long-term work. Behind us are decades of writing, editing, talking with artists and observing how scenes change, how some styles come to the forefront while others retreat into the background. This experience helps us distinguish fleeting hype from events that truly push boundaries and leave a mark. When we give something space, we strive to explain why we believe it deserves attention, and when we are critical, we explain our reasons, aware of the effort behind every project.

Our task is simple and demanding at the same time: to be reliable witnesses of cultural and entertainment life, to write honestly toward the audience and honestly toward performers. We do not deal in generic praise; we aim to precisely describe what we see and hear, knowing that every text may be someone’s first encounter with a certain band, festival, comedian or artist. The editorial team for arts, music and events therefore exists as a place where all these encounters are recorded, interpreted and passed on – humanly, clearly and with respect for the very reason it exists at all: the live, real event in front of a real audience.

COPYRIGHT NOTICE
This article is not affiliated with, sponsored by, or approved by any sports, cultural, entertainment, music, or other organization, association, federation, or institution mentioned in the content.
Names of events, organizations, competitions, festivals, concerts, and similar entities are used solely for accurate public information purposes, in accordance with Articles 3 and 5 of the Media Act of the Republic of Croatia, and Article 5 of Directive 2001/29/EC of the European Parliament and of the Council.
The content is informational in nature and does not imply any official affiliation with the mentioned organizations or events.
NOTE FOR OUR READERS
Karlobag.eu provides news, analyses and information on global events and topics of interest to readers worldwide. All published information is for informational purposes only.
We emphasize that we are not experts in scientific, medical, financial or legal fields. Therefore, before making any decisions based on the information from our portal, we recommend that you consult with qualified experts.
Karlobag.eu may contain links to external third-party sites, including affiliate links and sponsored content. If you purchase a product or service through these links, we may earn a commission. We have no control over the content or policies of these sites and assume no responsibility for their accuracy, availability or any transactions conducted through them.
If we publish information about events or ticket sales, please note that we do not sell tickets either directly or via intermediaries. Our portal solely informs readers about events and purchasing opportunities through external sales platforms. We connect readers with partners offering ticket sales services, but do not guarantee their availability, prices or purchase conditions. All ticket information is obtained from third parties and may be subject to change without prior notice. We recommend that you thoroughly check the sales conditions with the selected partner before any purchase, as the Karlobag.eu portal does not assume responsibility for transactions or ticket sale conditions.
All information on our portal is subject to change without prior notice. By using this portal, you agree to read the content at your own risk.