2023 | |||
December 16, 20:00
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Belgium
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de Singel, Antwerp J. S. Bach, Weihnachtsoratorium BWV 248 – Cantatas 1,2,3 & 6 + There is no better prelude to Christmas than Bach’s festive Christmas Oratorio. In the run-up to Christmas 1734, fifty-year-old Bach – then at the height of his artistic ability – assembled his entire Christmas oratorio in just a few weeks. To accomplish this, he drew from his entire oeuvre and thus saved some of his finest melodies from oblivion. Vox Luminis brings us four cantatas from Bach’s joyful Christmas story.
Coproduction: Perpodium |
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December 19, 20:00
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France
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Chapelle de la Trinité, Lyon J. S. Bach, Weihnachtsoratorium BWV 248 – Cantatas 1,2,3 & 6 + There is no better prelude to Christmas than Bach’s festive Christmas Oratorio. In the run-up to Christmas 1734, fifty-year-old Bach – then at the height of his artistic ability – assembled his entire Christmas oratorio in just a few weeks. To accomplish this, he drew from his entire oeuvre and thus saved some of his finest melodies from oblivion. Vox Luminis brings us four cantatas from Bach’s joyful Christmas story.
Coproduction: Perpodium |
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December 21, 20:30
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Belgium
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Abbaye musicale de Malonne, Namur – SOLD OUT J. S. Bach, Weihnachtsoratorium BWV 248 – Cantatas 1,2,3 & 6 + There is no better prelude to Christmas than Bach’s festive Christmas Oratorio. In the run-up to Christmas 1734, fifty-year-old Bach – then at the height of his artistic ability – assembled his entire Christmas oratorio in just a few weeks. To accomplish this, he drew from his entire oeuvre and thus saved some of his finest melodies from oblivion. Vox Luminis brings us four cantatas from Bach’s joyful Christmas story.
Coproduction: Perpodium |
BOOK NOW |
December 23, 20:00
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Belgium
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Concertgebouw, Bruges – SOLD OUT + There is no better prelude to Christmas than Bach’s festive Christmas Oratorio. In the run-up to Christmas 1734, fifty-year-old Bach – then at the height of his artistic ability – assembled his entire Christmas oratorio in just a few weeks. To accomplish this, he drew from his entire oeuvre and thus saved some of his finest melodies from oblivion. Resident artists Vox Luminis brings us four cantatas from Bach’s joyful Christmas story.
Coproduction: Perpodium |
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2024 | |||
January 14, 19:30
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Malta
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Teatru Manoel, Valletta H. Purcell, King Arthur + After the Tudor composers and before Handel, it was Henry Purcell who gave the English baroque its soul. With its brilliant mix of tradition and innovation, the Orpheus Britannicus also conquered the heart of Vox Luminis: one of the most celebrated Belgian formations of the moment. With ‘King Arthur’, it serves up a dramatic opera in which the swords of the Saxons clash, Roman and Germanic gods bicker and an epic soundtrack swings from climax to climax.
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January 20, 20:00
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Belgium
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Concertgebouw, Bruges Ein Deutsches Barockrequiem + Because Lutherans do not have a fixed funeral service, Brahms selected texts from various Biblical sources for his German Requiem. Resident artists Vox Luminis trace a path from those texts to some of the familiar and less-familiar pages of their core repertoire, works that set to music exactly the same texts that Brahms selected.
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January 27, 19:30
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Spain
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Teatro Real, Madrid E. de Cavalieri, Rappresentatione di Anima e di Corpo + Cavalieri’s Rappresentatione di anima e di corpo magnifies voices and bodies in what was, at the dawn of the 17th century, the first oratorio to combine scenography, dance and music. Under the direction of Lionel Meunier, the voices of Vox Luminis bring to life the allegorical quarrel between Body and Soul. Emilie Lauwers’ scenography builds a bridge between the past and present in her interpretation of this leading work in art history.
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February 2, 18:00
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Germany
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Friedenskirche, Potsdam Sei, lieber Tag, willkommen + Bach’s knowledge of his family’s motets is evidenced by a remarkable collection known as the Altbachisches Archiv. This volume includes some twenty motets and a series of cantatas composed by successive generations of Bachs. It is thought to have passed through the hands of various family members, who made their own contributions and revisions, before Johann Sebastian acquired it sometime around 1739. It was against this backdrop, with the combination of these two hallmarks of Lutheran music — florid counterpoint and the chorale — that Bach composed Jesu, meine Freude.
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February 4, 17:00
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Switzerland
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St. Laurenzen, Sankt-Gallen Sei, lieber Tag, willkommen + Bach’s knowledge of his family’s motets is evidenced by a remarkable collection known as the Altbachisches Archiv. This volume includes some twenty motets and a series of cantatas composed by successive generations of Bachs. It is thought to have passed through the hands of various family members, who made their own contributions and revisions, before Johann Sebastian acquired it sometime around 1739. It was against this backdrop, with the combination of these two hallmarks of Lutheran music — florid counterpoint and the chorale — that Bach composed Jesu, meine Freude.
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February 17, 18:00
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Finland
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Musiikkitalo, Helsinki The Swedish Mass + The main work of the concert is a rarity, Then Svenska Messan by “Sweden’s Händel” Johann Helmich Roman(1694–1758). In 1716–1721, during the Great Northern War that ended the Swedish empire, Roman studied in England and played in Händel’s orchestra. In 1727, Roman was appointed as court conductor and he began giving public concerts in Stockholm. Then Svenska Messan (1752), a missa brevis in Swedish, is written in a galant style and exhibits a profound knowledge of the late Baroque. The programme starts with music from Sweden’s era of great power, from the middle of the 17th century onwards, from composers such as Vincenzo Albrici (1631–1690), Andreas Düben (1597–1662) and Dietrich Buxtehude (1637–1707).
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February 21, 19:30
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United Kingdom
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Wigmore Hall, London Stabat Mater + Domenico Scarlatti’s musical testament to the suffering of the Virgin Mary is unique among Stabat Mater settings of its age for its use of stile misto (“mixed style”). By combining Renaissance a cappella vocal techniques with Baroque instrumental accompaniment practices, Scarlatti offers an innovative approach to sacred vocal-instrumental writing. Scarlatti’s creation is distinctly sombre, meditative, more linked to the text—almost like a madrigal! It is only when the text refers to the gates of paradise that the dance-like music in 3/8 comes alive in an undeniably kind of joy -full of promises.
The program also includes rarer repertory by Domenico Mazzocchi (1592-1665) and Alessandro Della Ciaia (c.1605-70). |
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February 24, 19:00
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Belgium
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Namur Concert Hall, Namur Stabat Mater + Domenico Scarlatti’s musical testament to the suffering of the Virgin Mary is unique among Stabat Mater settings of its age for its use of stile misto (“mixed style”). By combining Renaissance a cappella vocal techniques with Baroque instrumental accompaniment practices, Scarlatti offers an innovative approach to sacred vocal-instrumental writing. Scarlatti’s creation is distinctly sombre, meditative, more linked to the text—almost like a madrigal! It is only when the text refers to the gates of paradise that the dance-like music in 3/8 comes alive in an undeniably kind of joy -full of promises.
The program also includes rarer repertory by Domenico Mazzocchi (1592-1665) and Alessandro Della Ciaia (c.1605-70). |
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February 25, 15:00
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The Netherlands
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Schouwburg, Tilburg Stabat Mater + Domenico Scarlatti’s musical testament to the suffering of the Virgin Mary is unique among Stabat Mater settings of its age for its use of stile misto (“mixed style”). By combining Renaissance a cappella vocal techniques with Baroque instrumental accompaniment practices, Scarlatti offers an innovative approach to sacred vocal-instrumental writing. Scarlatti’s creation is distinctly sombre, meditative, more linked to the text—almost like a madrigal! It is only when the text refers to the gates of paradise that the dance-like music in 3/8 comes alive in an undeniably kind of joy -full of promises.
The program also includes rarer repertory by Domenico Mazzocchi (1592-1665) and Alessandro Della Ciaia (c.1605-70). |
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