August 2023

3 + 4 August

Freiburger Barockorchester
with Windsbacher Knabenchor

»Johann Sebastian Bach: St Matthew Passion bwv 244«

number of musicians tbc

24 July – 6 August

Chaarts Chamber Artists
with Anna-Maria and Malte Arkona, acting

»A midsummer night’s dream«

Shakespeare’s legendary stage play combined with Mendelssohn’s playful incidental music – an evening to dream about.
Anna-Maria Arkona had imagined a romantic evening for two differently. Instead of taking her out to dinner, Malte tells her that he has unfortunately mixed up his schedule and now has to go to a performance of Shakespeare’s A Midsummer Night’s Dream. Before she knows it, Anna is on her way with Malte to the scene of the old, but always new, comedy of errors in ancient Athens. Anna, like probably all of us, still roughly remembers the story of two pairs of lovers who get caught up in the marital quarrel of a pair of elves and, thanks to magic flowers, at some point no longer know who they actually love. But how exactly the four different storylines are connected and how many characters there really are, she doesn’t really know any more. Malte rushes to her aid and assigns each character a matching headdress for better recognition. In a game of “changing trees”, the two of them move through Shakespeare’s world and tell his story in their own words. But Anna and Malte are not alone for long. The CHAARTS ensemble accompanies them musically through the story and accompanies the action with appropriate music written by Felix Mendelssohn-Bartholdy. The highlight of the musical journey is the world-famous wedding march at the end of the story for the solemn marriage of all loving couples.

11 instrumentalists

7 – 10 August

Vox Luminis Choir and Orchestra
with Lionel Meunier, bass & direction

»Spem in Alium«

T. Tallis (1505 – 1585): Spem in alium (a 40)
A. Striggio (1536 – 1592): Ecce beata lucem (a 40)
R. Carver (c1485/c1570): O bone Jesus (a 19)
J. Sheppard (1515 – 1558): Media vita in morte sumus (a 6/8)
J. Desprez (1450/1455 – 1521): Qui habitat in adiutorio Altissimi (a 24)
A. Striggio (1536 – 1592): Ecce beata lucem (a 40)

Vox Luminis XL (40 singers a cappella)

25 + 31 August as well as on request

Il Giardino Armonico
with Giovanni Antonini, direction & recorder // Anna Prohaska, soprano

»Serpent & Fire«

Henry Purcell: Overture + Ah! Belinda, I’m press’d with torment from Dido and Aeneas
Christoph Graupner: Holdestes Lispeln der spielenden Fluthen from Dido, Königin von Karthago
Antonio Sartorio: Non voglio amar from Giulio Cesare in Egitto
Matthew Locke: Extracts from The Tempest
D. Castrovillari: A Dio regni, a Dio scettri from La Cleopatra
Antonio Sartorio: Quando voglio from Giulio Cesare in Egitto
Henry Purcell: Chaconne – Dance for Chinese Man and Woman from The Fairy Queen
Christoph Graupner: Der Himmel ist von Donner + Infido Cupido – Agitato da Tempeste from Dido, Königin von Karthago
Giuseppe Sammartini: Concerto in F major for recorder, strings and b. c.
Johann Adolph Hasse: Già si desta la tempesta from Didone abbandonata
Georg Friedrich Händel: Che sento? Oh Dio! … Se pietà di me non senti from Giulio Cesare in Egitto
Dario Castello: Sonata Decimaquinta a quattro in D major
Francesco Cavalli: Re de’ Getuli Altero … Il mio marito from Didone
Johann Adolph Hasse: Morte col fiere aspetto aus Marc Antonio e Cleopatra
Luigi Rossi: Passacaille Del Seigneur Luigi
Henry Purcell: Oft she visits this lone mountain – Thy hand, Belinda.. When I am laid in earth from Dido and Aeneas

orchestration: version with 8 or 16 instruments possible

26 – 31 August

B’Rock Orchestra
with Alexander Melkinov, fortepiano, artistic direction and concept

»Beethoven – The listeners academy«

Beethoven’s Piano Concertos as you have never experienced them before: Just as Leonard Bernstein shared insights into masterpieces of music history with a broad audience (in concert and as a TV format) in “Bernstein on…”, Alexander Melkinov and B’Rock will provide their vision and interpretation of Beethoven’s piano concertos in a well-conceived (and entertaining!) semi-staged format, then perform the full concerto for an audience of activated listeners.

Different formats possible:
– compact 1h concert, focus on one Beethoven Concerto (which can then be presented twice or even three times in a day)
– double formats, featuring both Concertos no. 1 and 2 (full evening length)
– mix formats: “Listeners Academy” with focus on one concerto in the first half, 2nd
– half presenting Beethoven Symphony no. 1 and Beethoven Chamber Music with Fortepiano tbc

number of musicians tbc


B’Rock Orchestra
with Evgeny Sviridov, artistic director // Nardus Williams, soprano

»Adventurers, or: a dirty business«

Within Adventurers, B’Rock puts the finger where it hurts and directs the view of its audiences towards a widely overseen fact: the multifaceted relations between (Baroque) Music and oppression of Black People. From economical dependency of Handel’s opera endeavors on the exploitation of Black people to open racism in the European “music industry” of the 18th century, B’Rock wants to point towards mechanisms that still echo in today’s society.

Georg Friedrich Händel:
Overture, from Water Music Suite 1 HWV 348
Recitative and Air, from Acis and Galathea HWV 49
Rigaudon & Menuett from Wassermusik Suite Nr. 3 HWV 350 Arie Make me a clean heart aus Chandos Anthem Nr. 3
Have Mercy upon Me, O God HWV 248
Air aus Wassermusik Suite Nr. 1 HWV 348
Excerpts from Esther HWV 50
Carl Theodor Pachelbel:
God of sleep, for whom I Linguish (with soprano)
Joseph Boulogne Chevalier de Saint-Georges:
Ouverture, from ballet L’amant anonyme
Contredanse, from ballet no. 1 & 6 from L’amant anonyme Symphonie in G op. 11 no. 1

21 musicians


Chaarts Chamber Artists
with Regula Mühlemann, soprano

»Fairy Tales«

In the world of fairies, their enchanting sounds, and beguiling songs – surrounded by the mysticism of the North and its dazzling world of legends – the Swiss soprano Regula Mühlemann and the international chamber ensemble CHAARTS are literally on the ‘wings of song’. Here, grand opera, filigree singspiel and fulminant orchestral suites are fused into gripping immediacy by the congenial instrumental art of Wolfgang Renz for eleven instruments, and in the dialogue between the singer and the eleven musicians, oases of the finest musicality as well as sound spaces of remarkable fullness open up.

Edvard Grieg: Suite from Peer Gynt Nr. 1 op. 46
Vier Lieder: Solveigs Wiegenlied (Peer Gynt), Frühling (Lieder op. 33), Ein Schwan (6 Lieder op. 25), Solveigs Lied (Peer Gynt)
Giuseppe Verdi: Ninfe! Elfi! Silfi! … Sul fil d’un soffio eteseo (Aria of Nannetta from Falstaff)
Felix Mendelssohn Bartholdy: In dem Mondenschein im Walde op. 19 Nr. 4, Ouverture, Bunte Schlangen zweigezüngt, Scherzo, Bei des Feuers mattem Flimmern (Ein Sommernachtstraum)
Antonín Dvořák: Lied an den Mond (Rusalka)
Charles Gounod: Je veux vivre dans le rêve (Aria of Juliette from Roméo et Juliette)

And other works by Jules Massenet, Benjamin Britten, Henry Purcell and others.

11 instrumentalists (5 winds, 5 strings, harp)

on request

B’Rock Orchestra
with Antoine Tamestit, artistic director and viola

»Tears of Melancholy«

“Neither are the tears always shed in sorrowe, but sometimes in joy and gladnesse”
Preceding his Lachrimae or Seven Tears, John Dowland indicates that each tear, each of his seven slow, stately pavanes, is different. Sighing and sad tears next to sincere and loving ones: In this programme, directed by the award-winning French violist Antoine Tamestit, Dowland’s Lachrimae sound like an overture, the prelude to a moving musical journey through which melancholy is woven as a thread.

John Dowland: Lachrimae or Seven Tears
Benjamin Britten: Lachrymae op. 48a for Viola and Strings
Henry Purcell: Suite Z 770
Henry Purcell: Chaconne in g Z 730
Georg Muffat: Concerto IV Dulce Somnium
Paul Hindemith: Trauermusik for Viola and Strings
Georg Muffat: Concerto VI – Saeculum

number of musicians tbc