»Works by Ludwig van Beethoven, Franz Berwald, Helena Winkelmann and others«
Please contact us for repertoire lists and programe.
8 instrumentalists
September and upon request
B’Rock Orchestra with Jeanine de Bique, soprano // Andreas Küppers, artistic direction and keyboard instruments // B’Rock Vocal Consort
»Transformers« (working title)
Versatile Jeanine de Bique, adventurous sister in mind of B’Rock, joins the ensemble for an evening full of change and metamorphosis: transformative experiences of opera protagonists form a caleidoscope of different life changing (or ending) experiences, from Ikarus (Phaeton by Lully) flying to the sun to Acis (Handel) turning into a river, from Platée (Rameau), who goes mad, to Medea putting a dragon to sleep. From Euridice’s walk into Hades to Arianna (Monteverdi), who laments – and dies. Interwoven with baroque funeral anthems (from life to death), Jeanine de Bique, B’Rock orchestra and Vocal Consort present musical story-telling at it’s best.
B’Rock Orchestra with René Jacobs, direction // Vilde Frang, violin
»Mendelssohn – a new journey«
With performances and recordings of Schubert’s complete symphonies, B’Rock and René Jacobs started a symphonic journey which they now take one step further in time: together they explore the world of Felix Mendelssohn. With his stormy First Symphony, with feet firmly planted in Viennese classicism but looking resolutely ahead, the young composer already showed himself to be a master who could effortlessly combine nuance, swagger and innovation. The same ingredients characterise his famous Fifth Symphony, which he wrote in honour of the 300th anniversary of the Confession of Augsburg, a key document of Protestantism. If the urge is really too great, you can (softly) hum along with Luther’s famous chorale Ein feste Burg ist unser Gott… The highlight of this Mendelssohn programme is undoubtedly the famous Violin Concerto. With its tenderness, roguish wit and grace, the concerto fits Vilde Frang like a glove.
Felix Mendelssohn: Symphonies no. 1 & 5 Violinconcerto in E minor
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.
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)
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
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
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
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.
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
Orchestra of the Eighteenth Century Alexander Janiczek, conductor Ilse Eerens, soprano
»Scena di Berenice«
Joseph Haydn: Scena di Berenice Jean-Fery Rebel: Les Éléments
Alternative programe: Joseph Haydn: Symphony no. 6 in D major “Le Matin” Joseph Haydn: Symphony no. 7 in C major “Le Midi” Joseph Haydn: Symphony no. 8 in G major “Le Soir” Jean-Fery Rebel: Les Éléments
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.
Freiburger Barockorchester with Valer Sabadus, soprano / Terry Wey, alto
N.Fiorenza: Concerto in D major N. Porpora: Crimen adae quantum constat F. Durante: Concerto in C major N.N.:(tbc) G. B. Pergolesi: Stabat Mater in F minor P. 77
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
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.
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.
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
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.
Freiburger Barockorchester with Gottfried von der Goltz, violin & direction / Francesco Corti, harpsichord / Daniela Lieb, flute / Josep Domènech, oboe / Beatrix Hülsemann, violin (Vivaldi)
»Behind Bach Revival«
Johann Sebastian Bach: Cantata „Falsche Welt“ BWV 52 Johann Sebastian Bach: Harpsichord concerto in F major BWV 1057 Tomaso Albinoni: Trio sonata op. 1 no. 12 in B-flat major Alessandro Marcello: Oboe Concerto in d minor Johann Sebastian Bach: Cantata „Ich liebe den Höchsten“ BWV 174 Antonio Vivaldi: Concerto Grosso in D minor op. 3 no. 11 RV 565 Johann Sebastian Bach: Triple Concert in A minor BWV 1044
21 instrumentalists
19 February
Freiburger Barockorchester with n.n., bass („Nachtwächter“)
»Carnival Ballets«
with works by Pavel Josef Vejvanovsky, Heinrich Ignaz Franz Biber, Carlo Farina, Johann Rosenmüller, Johann Heinrich Schmelzer, Claudio Monteverdi, amongst others
Finnish Baroque Orchestra with Carolyn Sampson, soprano
»UN’ ALMA INNAMORATA – Italian Cantatas by Händel«
Händel’s Italian cantatas are among the most beautiful compositions that the Halle-born artist left to posterity. The interpretation by the Finnish Baroque Orchestra and soprano Carolyn Sampson promises a pulsating life as if under the southern sun!
with works by Georg Friedrich Händel, Antonio Vivaldi and Domenico Scarlatti
Freiburger Barockorchester with Kristian Bezuidenhout, fortepiano and direction / Lorenzo Coppola, clarinet / Corina Golomoz, viola
»Mozart Evolution «
Wolfgang Amadeus Mozart: Symphony no. 25 KV 183„Kegelstatt“ Wolfgang Amadeus Mozart: Trio in E-flat KV 498 Wolfgang Amadeus Mozart: Piano concerto no. 9 in E-flat major KV 271 „Jenamy“
