2024 | |||
March 25, 19:30
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Switzerland
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Martinskirche, Basel Sebastiani – Matthäus Passion + Johann Sebastiani – Matthaüs Passion
Agostino Steffani – Stabat Mater German composer Johann Sebastiani’s (1622-1683) interpretation of the Matthew’s Passion is three times shorter than Bach’s masterpiece and precedes it by about half a century. By the 17th century, settings of the Passion narrative had become the speciality of the Lutheran church. Sebastiani is said to have been the first to incorporate Lutheran chorales into the score, providing the solo voices with an accompaniment of strings and continuo. His score alternates recitatives for the evangelist and the words of Christ with hymns and chorales provided by the other singers. The work has a subtle alternation of the different movements thanks to a deliberately chosen instrumentation – only two violins accompany the words of Christ, while the chorales of the soprano solo are accompanied only by the four violas. Agostino Steffani’s Stabat Mater from 1728 completes this beautiful Passion concerto. Coproduction: Perpodium |
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March 27, 20:00
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Belgium
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AMUZ, Antwerp Sebastiani – Matthäus Passion + Johann Sebastiani – Matthaüs Passion
Agostino Steffani – Stabat Mater German composer Johann Sebastiani’s (1622-1683) interpretation of the Matthew’s Passion is three times shorter than Bach’s masterpiece and precedes it by about half a century. By the 17th century, settings of the Passion narrative had become the speciality of the Lutheran church. Sebastiani is said to have been the first to incorporate Lutheran chorales into the score, providing the solo voices with an accompaniment of strings and continuo. His score alternates recitatives for the evangelist and the words of Christ with hymns and chorales provided by the other singers. The work has a subtle alternation of the different movements thanks to a deliberately chosen instrumentation – only two violins accompany the words of Christ, while the chorales of the soprano solo are accompanied only by the four violas. Agostino Steffani’s Stabat Mater from 1728 completes this beautiful Passion concerto. Coproduction: Perpodium |
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March 28, 19:30
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Germany
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Friedenskirche, Jena Sebastiani – Matthäus Passion + Johann Sebastiani – Matthaüs Passion
Agostino Steffani – Stabat Mater German composer Johann Sebastiani’s (1622-1683) interpretation of the Matthew’s Passion is three times shorter than Bach’s masterpiece and precedes it by about half a century. By the 17th century, settings of the Passion narrative had become the speciality of the Lutheran church. Sebastiani is said to have been the first to incorporate Lutheran chorales into the score, providing the solo voices with an accompaniment of strings and continuo. His score alternates recitatives for the evangelist and the words of Christ with hymns and chorales provided by the other singers. The work has a subtle alternation of the different movements thanks to a deliberately chosen instrumentation – only two violins accompany the words of Christ, while the chorales of the soprano solo are accompanied only by the four violas. Agostino Steffani’s Stabat Mater from 1728 completes this beautiful Passion concerto. Coproduction: Perpodium |
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March 29, 17:00
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Germany
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Philharmonie, Essen Sebastiani – Matthäus Passion + Johann Sebastiani – Matthaüs Passion
Agostino Steffani – Stabat Mater German composer Johann Sebastiani’s (1622-1683) interpretation of the Matthew’s Passion is three times shorter than Bach’s masterpiece and precedes it by about half a century. By the 17th century, settings of the Passion narrative had become the speciality of the Lutheran church. Sebastiani is said to have been the first to incorporate Lutheran chorales into the score, providing the solo voices with an accompaniment of strings and continuo. His score alternates recitatives for the evangelist and the words of Christ with hymns and chorales provided by the other singers. The work has a subtle alternation of the different movements thanks to a deliberately chosen instrumentation – only two violins accompany the words of Christ, while the chorales of the soprano solo are accompanied only by the four violas. Agostino Steffani’s Stabat Mater from 1728 completes this beautiful Passion concerto. Coproduction: Perpodium |
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March 31, 20:00
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Belgium
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Concertgebouw, Bruges Et resurrexit + ‘Kommt, eilet und laufet’, because this Easter Sunday resident artists Vox Luminis are celebrating their 20th anniversary with Bach’s festive Easter Oratorio from 1725. As befits a real spiritual drama, four Biblical characters each highlight an aspect of Jesus’s miraculous Resurrection in some of Bach’s most beautiful arias. The festivities continue with Jan Dismas Zelenka’s Easter Mass, written in 1726 for the magnificent Catholic court of Dresden. Happy (re)birthday!
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April 3, 20:30
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France
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Eglise Saint-Roch, Paris Et resurrexit + ‘Kommt, eilet und laufet’, because Vox Luminis are celebrating their 20th anniversary with Bach’s festive Easter Oratorio from 1725. As befits a real spiritual drama, four Biblical characters each highlight an aspect of Jesus’s miraculous Resurrection in some of Bach’s most beautiful arias. The festivities continue with Jan Dismas Zelenka’s Easter Mass, written in 1726 for the magnificent Catholic court of Dresden. Happy (re)birthday!
Coproduction: Perpodium |
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April 4, 20:00
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France
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Chapelle de la Trinité, Lyon Et resurrexit + ‘Kommt, eilet und laufet’, because Vox Luminis are celebrating their 20th anniversary with Bach’s festive Easter Oratorio from 1725. As befits a real spiritual drama, four Biblical characters each highlight an aspect of Jesus’s miraculous Resurrection in some of Bach’s most beautiful arias. The festivities continue with Jan Dismas Zelenka’s Easter Mass, written in 1726 for the magnificent Catholic court of Dresden. Happy (re)birthday!
Coproduction: Perpodium |
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April 12, 19:30
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Germany
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Georgenkirche Eisenach Et resurrexit + ‘Kommt, eilet und laufet’, because Vox Luminis are celebrating their 20th anniversary with Bach’s festive Easter Oratorio from 1725. As befits a real spiritual drama, four Biblical characters each highlight an aspect of Jesus’s miraculous Resurrection in some of Bach’s most beautiful arias. The festivities continue with Jan Dismas Zelenka’s Easter Mass, written in 1726 for the magnificent Catholic court of Dresden. Happy (re)birthday!
Coproduction: Perpodium |
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April 13, 22:00
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Germany
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Dom St. Marien, Erfurt Herz und Mund und Tat und Leben + Johann Sebastian Bach, Cantata “Herz und Mund und Tat und Leben” BWV 147
Caroline Shaw, creation (world premiere) Awarded the Pulitzer Prize and multiple Grammys: Caroline Shaw is among the most successful composers of the younger generation on the international scene. However, she doesn’t label herself as such; rather, she sees herself simply as a musician who, both interpretively and in writing, doesn’t let genre boundaries confine her. During the Thuringia Bach Festival, Caroline Shaw embarks on the daring task of being creative on-demand: Within a week, she will compose a new cantata and bring it to its premiere. |
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April 25, 19:30
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United Kingdom
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St James’s Spanish Place, London Weimar Kantaten + St James’s Spanish Place is a spiritual oasis in the heart of Marylebone. A close neighbour to Wigmore Hall, this beautiful church can chart its history back to the re-establishment of the Spanish Embassy in London, following the restoration of Charles II. Through this concert explore Bach’s two periods in Weimar, which saw him develop his skills in many areas, notably in terms of the cantatas produced there.
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April 28, 16:00
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Belgium
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Eglise Saint-Loup, Namur Et resurrexit + ‘Kommt, eilet und laufet’, because this Easter Sunday resident artists Vox Luminis are celebrating their 20th anniversary with Bach’s festive Easter Oratorio from 1725. As befits a real spiritual drama, four Biblical characters each highlight an aspect of Jesus’s miraculous Resurrection in some of Bach’s most beautiful arias. The festivities continue with the birthday-motet by Bach Singet dem Herrn ein neues Lied (1727). Happy (re)birthday!
Coproduction: Perpodium |
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May 15, 20:00
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Germany
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Konzerthaus, Freiburg Donnerode + G.P. Telemann – Die Donnerode – TWV 6:3
J.S. Bach – Missa Brevis in F major – BWV 233 This concert brings you the best of both worlds. The world-renowned Belgian vocal ensemble Vox Luminis joins forces with the German Freiburger Barockorchester. Together, they perform Die Donnerode by Telemann and Bach’s Missa Brevis. Telemann wrote the work in response to the devastating Lisbon earthquake on 1 November 1755, which left no fewer than 60,000 dead. This particularly emotional piece is joined by Johann Sebastian Bach’s first Missa Brevis. The four Missae Breves written by J.S Bach between 1736 and 1739 are shrouded in mystery. Bach recycled the best music from his sacred cantatas, the end result of which are a delight for the ears from beginning to end. |
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May 16, 20:00
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Germany
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Philharmonie, Berlin Donnerode + G.P. Telemann – Die Donnerode – TWV 6:3
J.S. Bach – Missa Brevis in F major – BWV 233 This concert brings you the best of both worlds. The world-renowned Belgian vocal ensemble Vox Luminis joins forces with the German Freiburger Barockorchester. Together, they perform Die Donnerode by Telemann and Bach’s Missa Brevis. Telemann wrote the work in response to the devastating Lisbon earthquake on 1 November 1755, which left no fewer than 60,000 dead. This particularly emotional piece is joined by Johann Sebastian Bach’s first Missa Brevis. The four Missae Breves written by J.S Bach between 1736 and 1739 are shrouded in mystery. Bach recycled the best music from his sacred cantatas, the end result of which are a delight for the ears from beginning to end. |
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May 17, 20:00
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Germany
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Liederhalle, Stuttgart Donnerode + G.P. Telemann – Die Donnerode – TWV 6:3
J.S. Bach – Missa Brevis in F major – BWV 233 This concert brings you the best of both worlds. The world-renowned Belgian vocal ensemble Vox Luminis joins forces with the German Freiburger Barockorchester. Together, they perform Die Donnerode by Telemann and Bach’s Missa Brevis. Telemann wrote the work in response to the devastating Lisbon earthquake on 1 November 1755, which left no fewer than 60,000 dead. This particularly emotional piece is joined by Johann Sebastian Bach’s first Missa Brevis. The four Missae Breves written by J.S Bach between 1736 and 1739 are shrouded in mystery. Bach recycled the best music from his sacred cantatas, the end result of which are a delight for the ears from beginning to end. |
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May 18, 20:00
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Belgium
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BOZAR, Brussel Donnerode + G.P. Telemann – Die Donnerode – TWV 6:3
J.S. Bach – Missa Brevis in F major – BWV 233 This concert brings you the best of both worlds. The world-renowned Belgian vocal ensemble Vox Luminis joins forces with the German Freiburger Barockorchester. Together, they perform Die Donnerode by Telemann and Bach’s Missa Brevis. Telemann wrote the work in response to the devastating Lisbon earthquake on 1 November 1755, which left no fewer than 60,000 dead. This particularly emotional piece is joined by Johann Sebastian Bach’s first Missa Brevis. The four Missae Breves written by J.S Bach between 1736 and 1739 are shrouded in mystery. Bach recycled the best music from his sacred cantatas, the end result of which are a delight for the ears from beginning to end. |
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May 24, 20:00
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Germany
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Nikolaïkirche, Leipzig Bach300 – Anniversary Concert X: Cantatas May 1724 + Sie werden euch in den Bann tun, BWV 44 Wahrlich, wahrlich, ich sage euch, BWV 86 Wer da gläubet und getauft wird, BWV 37 |
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June 6, 20:30
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France
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Salle Gaveau, Paris H. Purcell, The Fairy Queen + Vox Luminis brings the enchanting story of The Fairy Queen to life. The Fairy Queen draws its inspiration from Shakespeare’s A Midsummer Night’s Dream, a piece that also strongly stimulates the visual imagination. The brilliant voices of Vox Luminis will resound amongst a spirited shadow play balancing between reality and subconsciousness, a new project by artistic director Lionel Meunier and scenographer Emilie Lauwers, in cooperation with dramaturge Isaline Claeys and filmmaker Mário Melo Costa.
Co-prodocution : Concertgebouw Brugge |
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June 7, 19:30
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Germany
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Orchesterzentrum|NRW, Dortmund H. Purcell, The Fairy Queen + Vox Luminis brings the enchanting story of The Fairy Queen to life. The Fairy Queen draws its inspiration from Shakespeare’s A Midsummer Night’s Dream, a piece that also strongly stimulates the visual imagination. The brilliant voices of Vox Luminis will resound amongst a spirited shadow play balancing between reality and subconsciousness, a new project by artistic director Lionel Meunier and scenographer Emilie Lauwers, in cooperation with dramaturge Isaline Claeys and filmmaker Mário Melo Costa.
Co-production : Concertgebouw Brugge |
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June 9, 18:00
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United Kingdom
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Snape Maltings Concert Hall- SOLD OUT H. Purcell, The Fairy Queen + Vox Luminis brings the enchanting story of The Fairy Queen to life. The Fairy Queen draws its inspiration from Shakespeare’s A Midsummer Night’s Dream, a piece that also strongly stimulates the visual imagination. The brilliant voices of Vox Luminis will resound amongst a spirited shadow play balancing between reality and subconsciousness, a new project by artistic director Lionel Meunier and scenographer Emilie Lauwers, in cooperation with dramaturge Isaline Claeys and filmmaker Mário Melo Costa.
Co-production : Concertgebouw Brugge |
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July 11, 19:45
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United Kingdom
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York Minster Quire, York Sacro Monteverdi + In 1641 Monteverdi published his Selva morale e spirituali, a major retrospective that he produced of sacred works produced over nearly three decades as musical director at St Mark’s Basilica in Venice. Covering a wide range of styles and emotions, they make use of the expressive resources he had developed as a master of the church motet, secular madrigal and opera. Vox Luminis’s selection ranges from large-scale, colourfully accompanied motets to intimate creations for just a few singers and players.
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July 21, 11:00
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Austria
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Kollegienkirche, Salzbourg – SOLD OUT Spem in alium + Thomas Tallis: Spem in alium Thomas Tallis : The Lamentations of Jeremiah a 5 John Sheppard: Media vita Alessandro Striggio: Ecce beatam lucem Thomas Tallis: Spem in alium Artistic director Lionel Meunier selected the iconic motet Media Vita of Sheppard, extremely moving music here flanked by two pieces written for 40 a capella voices. Writing for 40 voices implies a series of logistical and technical challenges. Tallis and Striggio probably met in London in 1567. Tallis’s monumental 40-voice work, Spem in alium, was probably inspired by the example of Striggio. Whereas Striggio’s composition Ecce Beatam lucem was probably designed for semicircular performance, Tallis had designed his music to be heard ‘in the round’, with the listener seated within the circle of performers. The music seems as such to ‘rotate’ around a circle. |
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August 28, 20:00
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Belgium
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St.-Pauluskerk, Antwerp Palestrina, Missa Papae Marcelli + In the mid-16th century, a heated debate raged in the Vatican about polyphony in religious practice. The complex play of simultaneously sung lines made it difficult to understand the words, sceptics maintained, which was good reason to ban polyphonic music from the liturgy. Their most notorious opponent – as legend has it – was Pope Marcellus II. His adamant insistence that polyphony could in fact be clearly understood may have been the most remarkable statement of his papacy, which only lasted 22 days. Giovanni Pierluigi da Palestrina was charged with writing a new mass to prove the Pope right. The Missa Papae Marcelli is a success in every respect: transparent textures ensure the texts are fluent without the slightest compromise in terms of style or refinement. The piece became a paragon of Tridentine polyphony, inspiring generations of composers and leading to the epithet ‘saviour of polyphony’ for da Palestrina. The velvet voices of Vox Luminis will make this crown jewel sparkle as brightly as it did in Palestrina’s day.
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