PHANTASM, an award-winning consort of viols, was founded in 1994 by Laurence Dreyfus. The ensemble quickly set a new standard for consort playing internationally both in the depth of its interpretations and its commitment to flawless string technique.
The winner of three Gramophone Awards among other prominent citations, the consort has travelled the world over, performing on concert series and in festivals throughout Europe, the Americas and Asia. Phantasm’s performances and over 20 recordings have garnered steady praise with critics singling out their ‘intensity and homogeneity of tone and their acuity to the music’s ever-active emotional flux’. Their most recent honours are the 2017 Gramophone Award for Early Music and the 2017 Diapason d’or de l’année bestowed for their recording of Dowland’s Lachrimae.
The members of Phantasm (from the UK, Finland and Germany) were Consort-in-Residence at the University of Oxford and Magdalen College from 2005 to 2015. In 2015, the group’s art activity shifted to Berlin.
Availability upon request The well-tempered Consort: Music by J. S. Bach
In this programme we try to get ‘inside Bach’s head’ to make concrete within Bach’s glorious polyphony not only his vast range of references to arias, concertos, dances, sonatas but also as string players to engage with the astounding variety of characters, styles and emotions lurking beneath the surface of the notes. Even for those familiar with this repertoire from the keyboard will be astounded at how the clarity of lines audible on the viols that seems to result in new works penned by Bach’s genius.
The Art of Being Human is an exploration of how it feels to be alive and to exist among others, in relationships that are perfectly expressed through the polyphony of Early Music – its dissonances and harmonies – and reflected in the movement of dancers’ bodies, in a performance that offers profound insights into the very meaning of life. The Art of Being Human was commissioned by Pierre Boulez Saal, Berlin, where it will premiere in March 2023.
The franz ensemble is a chamber music ensemble of young, internationally renowned soloists and chamber musicians, combining strings, winds and a pianist. The instrumentation allows for an enormous spectrum, ranging from the finest chamber music colours to orchestral sounds.
The musicians came together for the first time in 2017. The enthusiasm for joint concerts with the Octet by Franz Schubert, the ensemble’s namesake, led to the desire to perform together regularly and form a permanent ensemble.
The members of the franz ensemble are top-class soloists, professors, and orchestra members. They are united by many years of profound artistic experience, which stands as a guarantee for the high quality and tonal brilliance of the ensemble. Concerts have taken them to the Kissinger Sommer and the Musikfest Bremen, among others.
Dates available upon request The poor fiddler Janna Mohr, puppeteer
Figure theatre and chamber music as one: actress Janna Mohr and composer Helena Winkelman recreate Grillparzer’s novella Der arme Spielmann with the franz ensemble and tell the bizarre life story of a tragic clown who goes to ruin because of his idealism, which is as noble as it is impractical. Sounds, music stands, instrument parts and shadows take on a life of their own and grow together to form the backdrop of a turbulent folk festival. The premiere took place in Bremen in March 2023. The programme is also available as a concert performance.
L. v. Beethoven: Septett op. 20 H. Winkelmann: “The poor fiddler” (commission work in cooperation with puppeteer Janna Mohr)
La Folia – this term of the baroque era focusses on wildness, fury, jollity and generally on an artistic attitude of liberality and excessive creativity.
Since their foundation in 2007 the La Folia Barockorchester vitalises on period instruments the international music scene. Whether in a chamber music instrumentation or with baroque opulence, whether with instrumental music or together with vocal soloist – the aspiring young orchestra under the direction of the violinist Robin Peter Müller stands for energetic and overwhelming interpretations of the music from the 17th and 18th century. Historically informed the musicians are looking for opportunities to transfer the emotions and contents of the past centuries into contemporary interpretations which have thrilled both audience and critics alike.
The ensemble cooperates regularly with renowned instrumentalists and singers like Hille Perl, the Vienna Boys’ Choir, Regula Mühlemann, Mahan Esfahani and Jan Vogler, Dorothee Oberlinger, Dorothee Mields, Anna Prohaska, Maurice Steger and Stefan Temmingh.
Founder and director Robin Peter Müller, born in Dresden, is one of the most sought-after musicians of his generation performing on period as well as on modern violin.Within a short period he led La Folia Barockorchestra to international reputation.
„Standing Ovations für einen überragenden Countertenor mit einem erlesenen Orchester und für ein spannendes, die interpretatorischen Grenzen durchaus tangierendes Programm.“
Easter 2025 Jesus and Pontius Pilatus: Passion Programme with Anna Lucia Richter, mezzo-soprano
Pontius Pilatus suffers from headaches and the pressures of his office, yet longs for nothing more than recognition. He is a complex and contradictory figure in Mikhail Bulgakov’s epoch-making novel The Master and Margarita. The Passion from the point of view of the Roman governor in Judea allows a different view of the last stages of Jesus’ suffering. For example, when Pilate asks the question also found in the Bible: “What is truth?”, but, unlike there, he hears Jesus’ answer: “The truth is above all that your head hurts. You dream that your dog is coming, apparently the only being you are attached to. But your torment will be over in a moment, your headache will pass away.”
Passion compositions by A. Caldara, J. S. Bach, H. Purcell and A. Vivaldi and others. Excerpts from the novel “The Master and Margarita” by Mikhail Bulgakov
10 Sep 2021 Harbour Front Literaturfestival, Elbphilharmonie Hamburg Robin Peter Müller, direction & violin / Anna Prohaska, soprano / Carolin Emcke, text
Anna Prohaska and the La Folia Barockorchester provided musical answers to questions between love and loss from eight centuries. Together, the author and the musicians celebrated “Celebration of Life in Death” on that evening at HARBOUR FRONT SOUNDS and gave expression to hope and grief in times of pandemic.
Il Giardino Armonico, founded in 1985 and conducted by Giovanni Antonini, has long established itself as one of the world’s leading period instrument ensembles, bringing together musicians from some of the most important music institutions in Europe. The repertoire of the ensemble focuses mainly on works of the 17th and 18th centuries. Depending on the requirements of the program, the ensemble consists of three to 30 instrumentalists.
Il Giardino Armonico is regularly invited to festivals all over the world, performing in the most important concert halls, and received the highest acclaim for both their concerts and their staged opera productions, like Monteverdi’s Orfeo, Händel’s Agrippina, Il Trionfo del Tempo del Disinganno and La Resurrezione, Vivaldi’s Ottone in Villa, as well as Handel’s opera Giulio Cesare in Egitto at the Salzburger Festspiele and Pfingstfestival in 2012.
Il Giardino Armonico is regularly invited to festivals all over the world, performing in the most important concert halls, and received the highest acclaim for both their concerts and their staged opera productions, like Monteverdi’s Orfeo, Händel’s Agrippina, Il Trionfo del Tempo del Disinganno and La Resurrezione, Vivaldi’s Ottone in Villa, as well as Handel’s opera Giulio Cesare in Egitto at the Salzburger Festspiele and Pfingstfestival in 2012.
The most recent projects include the recording of Haydn’s The Creation in collaboration with the Bavarian Radio Chorus, published by Alpha Classic in October 2020.
„The clarity of the orchestration is made transparent and gleaming by the soloists of Il Giardino Armonico, who also make the most of every joke or surprise.“
The Guardian, 19 JUN 2021
„De la très belle ouvrage.“
Diapason d’Or, APR 2021
„On the basis of this delightful recording I can only hope that at some point during his Haydn journey Antonini will also tackle Haydn’s other great oratorio, The Seasons.“
Availability upon request with Avi Avital, mandolin
J. Haydn: Overture, Allegro con Espressione from Philemon und Baucis Hob. XXIXa:1 C. W. Gluck: Dance of the Blessed Spirits from Orfeo ed Euridice J. S. Bach: Concerto for two harpsichords in C minor BWV 1060 (transcription for recorder, mandolin and orchestra: Avi Avital) J. S. Bach: Harpsichord concerto No. 1 in D minor, BWV 1052 (transcription for recorder, mandolin and orchestra: Avi Avital) J. N. Hummel: Mandolin Concerto in G major S28 J. Haydn: Symphony No. 43 E flat major Hob. I:43 „Merkur“
10. + 11. May 2019, Herkulessaal der Residenz, München 13. May 2019, Mozartfest Augsburg 14. May 2019, Konzerthaus Wien 23. June 2019, Soli Deo Gloria – Braunschweig Festival 28. June 2019, Rheingau Musik Festival Giovanni Antonini, conductor / Anna Lucia Richter, soprano / Maximilian Schmitt, tenor / Florian Boesch, bass baritone / Chor des Bayerischen Rundfunks
J. Haydn: The Creation Hob. XXI:2
14. November 2018, Konzerthaus Berlin Il Giardino ArmonicoGiovanni Antonini, conductor / Patricia Kopatchinskaja, violin
Works by A. Vivaldi, L. Francesconi, S. Movio, A. Cattaneo
The Freiburg Baroque Orchestra looks back on a success story lasting almost thirty years and is a popular guest at the most important concert halls and opera houses. A glance at the ensemble’s concert calendar shows a diverse repertoire played at a variety of venues, ranging from the Baroque to the musical present and from Freiburg to the Far East. The Freiburgers’ artistic credo, however, remains unchanged: the creative curiosity of each of them, with the intention of playing a composition in as lively and as expressive a manner as possible.
Under the artistic directorship of Gottfried von der Goltz and Kristian Bezuidenhout, and under the baton of selected conductors, the FBO presents it-self with about one hundred performances per year in a variety of formations from chamber to opera orchestra: a self-administrated ensemble with its own subscription concerts at Freiburg’s Concert Hall, Stuttgart’s Liederhalle, and Berlin’s Philharmonie and with tours all over the world.
Andreas Richter Cultural Consulting represents the Freiburg Baroque Orchestra in Asia, Great Britain, Germany and neighboring countries on request.
13 – 16 and 18 – 22 December 2024 MOZART PROGRAMME with Pablo Heras-Casado, direction // Zürcher Sing-Akademie, choir // Kristian Bezuidenhout, piano // soloists tbc.
Once again, Freiburg Baroque Orchestra and its artistic director Kristian Bezuidenhout, conducted by Pablo Heras-Casado, dedicate themselves to the work of Mozart, who was as born with the courage to take risks as these performers.
W. A. Mozart: Mass in C minor K. 427 W. A. Mozart: Piano Concerto no. 17 in G major K. 453
January 2025 IDOMENEO with René Jacobs, direction // soloists tbc.
Plaything of the gods – Mozart’s Idomeneo explores the ambivalent relationship between people and powers in the most penetrating way. One can look forward to the musical storm that the Freiburg Baroque Orchestra under the direction of René Jacobs is sure to unleash!
13 December 2022, deSingel, Antwerpen 14 December 2022, Chiesa di San Pietro, Perugia 15 December 2022, Basilica di San Vittore, Varese 16 December 2022, Franziskaner Konzerthaus, Villingen 18 December 2022, Kölner Philharmonie 19 December 2022, Kammermusiksaal der Philharmonie, Berlin 21 December 2022, Kultur- und Kongresszentrum Liederhalle, Stuttgart 22 December 2022, Konzerthaus Freiburg
MAGNIFICAT Freiburg Baroque Orchestra / Vox Luminis / Lionel Meunier, bass & leader J. S. Bach: Magnificat in E-flat major BWV 243A / J. Kuhnau: Uns ist ein Kind geboren BWV 142, Magnificat in C major
****
bachtrack, 19 December 2022
28 April 2022, Konzerthaus Freiburg 30 April 2022, Staatstheater Wiesbaden 03 May 2022, Kölner Philharmonie 04 May 2022, Elbphilharmonie Hamburg
FREISCHÜTZ Polina Pasztircsák, soprano – Agathe / Kateryna Kasper, soprano – Ännchen / Maximilian Schmitt, tenor – Max / Dimitry Ivashchenko, bass – Kaspar / Christian Immler, bass – Eremit / Max Urlacher, speaker – Samiel / Zürcher Sing-Akademie / Freiburger Barockorchester / René Jacobs, conductor C. M. von Weber: Der Freischütz
“Great hit on the bull’s eye!“
Hamburger Abendblatt, 06 May 2022
“Concertante always also means theatrical with René Jacobs.”
Badische Zeitung, 30 April 2022
10 March 2020, Melbourne Recital Center Gottfried von der Goltz, leader & violin / Kris Bezuidenhout, piano L. v. Beethoven: Piano Concert no. 1 in C major op. 15 / Piano Concerto no. 2 in B flat major op. 19 / Piano Concerto no. 3 in C minor op. 37
11 March 2020, Melbourne Recital Center Gottfried von der Goltz, leader & violin / Kris Bezuidenhout, piano L. v. Beethoven: Ouverture Die Geschöpfe des Prometheus op.43 / Piano Concerto no. 4 in G major op. 58 / Ouverture Coriolan op. 62, Piano Concerto no. 5 in E flat major op. 73
Founded in 1989, the Finnish Baroque Orchestra (FiBO) has been a pioneer in many ways throughout its history. The orchestra is known in Finland and abroad for its skilful performances, its creative approach to concert programming and groundbreaking partnerships, such as the Nordic Baroque Scene. At the core FiBO is a Baroque orchestra, but they also venture into early Baroque and Romanticism as well as Sibelius’ works and new music for period instruments. In addition to its own FiBO Records series, FiBO has made recordings with several record labels. The latest record, Il labirinto armonico (BIS), featuring Locatelli’s violin concerts with soloist Ilya Gringolts, has received significant international recognition such as Gramophone Editor’s Choice (3/2021) and Diapason d’or (5/2021).
„From the opening track onwards, elegant playing launches a programme rich in charm from Ilya Gringolts and the Finnish Baroque Orchestra, all on sparkling form.“
Gramophone Magazin, 19.02.2021
„Sharp-edged playing from the Finnish Baroque Orchestra.”
Dates available upon request EROS with Marianna Henriksson, harpsichord & musical direction // Anna Mustonen, Choreography
Eight musicians of the Finnish Baroque Orchestra, five dancers and five singers reach towards each other in this performance, forming versatile constellations of erotic desire. The performance is loosely based on the essay Eros the Bittersweet by Anne Carson.
Works by Biagio Marini, Claudio Monteverdi, Giovanni Felice Sances & Barbara Strozzi.
19 August 2022, Elbphilharmonie Hamburg „Water Music“ G. F. Händel: Suite no. 2 in D major HWV 349 »Water Music« G. F. Händel: Suite no. 1 in F major HWV 348 »Water Music« G. F. Händel: Suite no. 3 in G major HWV 350 »Water Music« G. F. Händel: Music for the Royal Fireworks HWV 351 As well as Finnish traditional works by Viljami Niittykoski
Europa Galante was founded in 1989 by its musical director Fabio Biondi, who wanted to form an Italian period instrument ensemble to play both, the baroque and classical repertoire. The ensemble has a varying structure and often performs chamber music, such as the string sonatas of Italian composers of the seventeenth century. des 17. Jahrhunderts.
The ensemble’s repertoire includes operas of Handel, such as Agrippina and Imeneo, as well as Vivaldi, including Bazajet, Ercole sul Termodonte, Oracolo in Messenia and many pre-eighteenth century instrumental works. The orchestra is widely known for its performances of the works of Alessandro Scarlatti, such as the oratorios (Maddalena, La Santissima Trinità), serenatas (Clori, Dorino e Amore) and operas including Massimo Puppieno, Il Trionfo dell’Onore, La Principessa Fedele and Carlo Re d’Allemagna. Europa Galante regularly collaborates with the Fondazione Santa Cecilia in Rome to rediscover and restore eighteenth-century Italian operas, such as Antonio Caldara’s La Passione di Gesù Cristo, Leonardo Leo’s Sant’Elena al Calvario or Gesu sotto il peso della Croce by F. di Mayo. Last season in Rome, the ensemble presented La Foresta Incantata by Francesco Geminiani, together with an animated film by Fabio Biondi and the director Davide Livermore.
Europa Galante performed in many of the world’s major concert halls and theatres, including La Scala in Milan, Accademia di Santa Cecilia in Rome, Suntory Hall in Tokyo, Concertgebouw in Amsterdam, the Royal Albert Hall in London, Musikverein in Vienna, Lincoln Center in New York and the Sydney Opera House. The ensemble also toured throughout Australia, Japan, Europe, Canada, Israel, the USA and South America.
„… tutto aveva un senso, un’ intelligenza musicale. In tutto, questo Europa Galante si è confermata un’ orchestra che risponde come un corpo unico ma che rivelare tra le sue fila bravi solisti, quando serve. Teatro colmo pubblico un festa come a un concerto rock!”
Gazzetta di Parma, 22 October 2021
„Had Fabio Biondi made no other record, we would know from this one that he was a great violinist.“
The Strad, 2019
„I will certainly be looking out for any future releases he (Fabio Biondi) cares to record.“
March 2025 L’INCORONAZIONE DI POPPEA with Fabio Biondi, künstlerische Leitung und Violine und Ann Hallenberg, Mezzosopran C. Monteverdi: L’ incoronazione di Poppea
In April 2019, Europa Galante and Fabio Biondi debuted Monteverdi’s opera Il Ritorno d’Ulisse in Patria at the Elbphilharmonie Hamburg. The successful debut was followed in 2022 by L’Orfeo – and now the cycle will be completed in spring 2025 with the “sex-and-crime” story L’incoronazione di Poppea.
“What a richness of colour there is in the ensemble Europa Galante, not even two dozen heads strong, under the direction of their concertmaster Fabio Biondi: amazing.”
Availability upon request NATURE’S VOICE with Fabio Biondi, artistic direction and violin // mezzo-soprano tbc. A. Vivaldi: Violin Concerto in E Major op. 8/1 RV 269 ‘Primavera’ Violin Concerto in G minor op. 8/2 RV 315 ‘L’Estate’ Violin Concerto In F Major op. 8/3 RV 293 ‚L’Autumno’ Violin Concerto In F Minor op 8/4 RV 297 ‘L’Inverno H. Purcell: Suites from the Fairy Queen ‘Thus the ever Grateful Spring’ ‘See, see my many Colour’d Fields and others G. F. Händel: Aria ‘Like clouds, stormy winds them impelling’ from The Triumph of Time and Truth Aria ‘Finché d’un Zeffiro Soave’ from Ezio Aria ‘Da Tempeste’ from Giulio Cesare
16 February 2022 Elbphilharmonie Hamburg / 18 February 2022 Palau de la Música Barcelona / 20 Feburary 2022 Auditorio Nacional de Música Madrid / 22 Feburary 2022 Theater an der Wien C. Monteverdi: L’ Orfeo Fabio Biondi, Conductor / Ian Bostridge (Orfeo) / Monica Piccinini (Euridice, La Musica) / Marina de Liso (Messagera, La Speranza) / RIAS Kammerchor / Europa Galante / a.o.
“One can only marvel at the richness of colour in the ensemble Europa Galante, not even two dozen strong, under the direction of its concertmaster Fabio Biondi.”
Hamburger Abendblatt, 17 February 2022
“El excelente conjunto instrumental.”
opera world, 15 February 2022
20 April 2019 C. Monteverdi: Il ritorno d’Ulisse in patria Fabio Biondi, conductor / Furio Zanasi, Ulisse / Sara Mingardo, Penelope / Ewa Leszczynska Ericlea / Matheus Pompeu, Giove / Coro Costanzo Porta / Walter Le Moli (stage director) a.o.
As part of the Ludwig van Beethoven Year 2020 – the 250th anniversary of the birth of the German-born Viennese master -, the Compagnia di Punto has made a recording of his first three symphonies. How is this special?
A remarkable aspect of this recording is that Beethoven’s symphonies, today considered as untouchable and virtually sacred monuments, are here performed by the Compagnia di Punto in arrangements realized by Beethoven’s contemporaries for a chamber ensemble made up of only ten instrumentalists. While this may be considered an affront to some purists, this recording will be welcomed by classical music fans with an open mind as an absolute rarity. On one hand, original arrangements of famous works reveal how loosely the “musical pantheon” could be treated during Beethoven’s time; on the other hand, they manage to cast a completely new light on musical works that are known inside out. With exceptional works such as Beethoven’s symphonies, this is an especially rewarding undertaking. Nominated for an OPUS Klassik 2020 in the category “Ensemble/Orchestra of the year”!
Availability on request Distortions with Ian Bostridge, tenor / Marina Galic, actress
Works by Robert Schumann after poetry by Heinrich Heine with fragments of scenes from Woyzeck by Georg Büchner for singer, actress and chamber ensemble.
Ian Bostridge and Marina Galic as the main characters are joined by the ensemble Compagnia di Punto, which performs on instruments from the early 19th century – the period in which both Schumann and Büchner were active. Through exaggeration and alienation, this unusual, dramatic recital repeatedly draws Schumann’s beautiful songs into the present and poses the question if we, as a society, deal with psychological instability appropriately.
Compagnia die Punto plays Beethoven’s, Mozart’s and Haydn’s symphonies on period instruments in chamber music format, arranged by contemporaries Carl Friedrich Ebers and Ferdinand Ries. The symphonies can be combined at will or supplemented with other works by Beethoven for small ensembles.
L. v. Beethoven: Symphony No. 1 in C major, Op. 21, edited by Karl Friedrich Ebers (1770-1836) L. v. Beethoven: Symphony No. 2 in D major, Op. 38, edited by Ferdinand Ries (1784-1838) L. v. Beethoven: Symphony No. 3 in E flat major, Op. 55, edited by Carl Friedrich Ebers L. v. Beethoven: Symphony No. 6 “Pastoral” in F major, Op. 68 W. A. Mozart: Symphony No. 40 in G minor, K. 550 J. Haydn: Symphony No. 99 in E flat major, Hob. I:99 J. Haydn: Symphony No. 101 ” The clock” in D major, Hob. I:101 A. Rosetti: Sinfonie G major Murray A41 A. Rosetti: Sinfonie F major Murray A35 A. Rosetti: Sinfonie C major Murray A3
Additional works by Beethoven: Serenade for flute, violin and viola Op. 25, Sextett Op. 81b (2 horns and piano), Horn Sonata
Die Sammlung André - Compagnia di Punto
Symphony No. 2 in D Major, Op. 36: IV. Allegro molto (Arr. for Small Orchestra by Ferdinand Ries)
B’Rock Orchestra was set up in Ghent in 2005 on the basis of an urge for renewal and rejuvenation in the world of Early Music. The selected international musicians specialise in historically well-founded performance practices. They distinguish themselves by their open mind and flexibility of repertoire and playing style.
In the choices it makes for its concert programmes, B’Rock combines established works of baroque composition with the lesser-known repertoire of the 17th and 18th centuries. In addition, the orchestra pursues a bold and innovative programme policy, in which early and contemporary music meet and enrich each other. It focuses especially on giving first performances of new music written with its historic instruments in mind. Yet, the orchestra has a reputation for cross-genre productions, too. Finally, early music in combination with theatre, visual art and/or video are also a part of the orchestra’s DNA.
B’Rock Orchestra regularly engages prominent guest conductors and soloists such as René Jacobs, Jérémie Rhorer, Leonardo García Alarcón, Peter Dijkstra, Bejun Mehta, Alexander Melnikov, Kristian Bezuidenhout, Dmitry Sinkovsky, Sophie Karthäuser and many others. It frequently collaborates with leading choral ensembles such as RIAS Kammerchor, Collegium Vocale Ghent, the Nederlands Kamerkoor and Cappella Amsterdam ND has developed structural partnerships in the fields of opera and musical theatre with De Munt/La Monnaie and Muziektheater Transparant.
„But, under Mr. Jacobs’s baton, B’Rock still sounded like a small chamber orchestra: nimble, clear, precise. And restrained, reserving its most powerful sound for dramatic effect, which added a sense of theater to a piece…”
New York Times, January 2019
„It’s a very special experience, from which the world can learn a great deal.“
December 2024 WEICHNACHTSORATORIUM with Peter Dijkstra, conductor // Nederlands Kamerkoor // Katharina Conradi, Sopran TBC // Wiebke Lehmkuhl, Alt // Reinoud van Mechelen, Tenor TBC // Arttu Kataja, Bass TBC
Johann Sebastian Bach: Christmas Oratorio, BWV 248
Availability upon request MONTEVERDI IN FLANDERS with Andreas Küppers, artistic direction & keyboard instruments // B’Rock Vocal Consort
Claudio Monteverdi left Italy only twice in his long life. As a member of the court of Vincenzo Gonzaga, the Duke of Mantua, he embarked in 1599 on a journey into the region from which many of his most important musical influences originated: Flanders. B’Rock follows Monteverdi on his trip to Flanders in a program that brings together his most significant Flemish influencers and the music, which mirrors these and develops them further and into a new age.
With works by C. Monteverdi, J. Desprez, A. Willaert, O. di Lasso, G. de Wert
Portrait of Claudio Monteverdi by Bernardo Strozzi (1640).
25 + 26 February 2023 B’Rock Orchestra, René Jacobs, Christiane Karg VENGA LA MORTE! C. M. von Weber: Overture to the opera „Der Freischütz” W. A. Mozart: Cocert arias K.272, K.369 & K.490 Franz Schubert: Symphony no. 9 in C major D 944 „The Great”
“The orchestral sound is impressively transparent, you can hear every single voice, everything seems slender, supple, never fatted by vibrato.”
Die Rheinpfalz, 27 January 2023
11 + 19 March 2018 B’Rock Orchestra, René Jacobs, Robin Johanssen F. Schubert: Symphony no. 1 in D major D 82 F. Schubert: Symphony no. 6 in C major D 589
