Since its founding in 1981 by Helmuth Rilling, the Internationale Bachakademie Stuttgart has been dedicated to the music of Johann Sebastian Bach through benchmark-setting performances and vibrant educational initiatives. This mission also embraces the music of Bach’s contemporaries, as well as his predecessors and successors. With Bach at its core, the Bachakademie’s repertoire encompasses sacred vocal music, oratorios, and choral symphonic works from the 17th century to the present day.
Since 2013, the institution has been led by conductor Hans-Christoph Rademann, who in 2016 unified the former ensembles Gächinger Kantorei (choir) and Bach-Collegium Stuttgart (orchestra) into a newly restructured ensemble consisting of a reformed choir and a newly founded Baroque orchestra under the name Gaechinger Cantorey. In this ensemble, a Baroque orchestra and a carefully selected choir form a finely tuned original-sound ensemble. Under the direction of artistic director Hans-Christoph Rademann, the ensemble has made it its mission to promote an internationally recognized “Stuttgart Bach style.”
The Internationales Bachfest Stuttgart, a two-week festival, brings together young and seasoned artists from around the world who devote themselves to Bach and his era. Additionally, the Bachakademie maintains its own subscription concert series in Stuttgart and Ludwigsburg and is actively engaged in a busy concert schedule both nationally and internationally.
“What Hans-Christoph Rademann, his Gaechinger Cantorey, and the carefully selected soloists reveal here in terms of vocal-instrumental balance, tonal refinement, and rhetorically informed artistry surely represents the pinnacle of historically informed performance today!”
concerti, 13 november 2023
“To the audience of 2023, it spoke directly from the heart.”
April 2028 ST. JOHN PASSION Choir and Orchestra ot Gaechinger Cantorey / Hans-Christoph Rademann, conductor
The Gaechinger Cantorey, under the direction of Hans-Christoph Rademann, has set itself the goal of promoting a “Stuttgart Bach style” internationally. Among the many milestones achieved since its reestablishment in 2016, the St John Passion undoubtedly stands out—its emotional complexity is explored in remarkable depth and performed with great passion by both the ensemble and its conductor.
Concerto Copenhagen (CoCo) combines artistic authenticity and innovation through original and uncompromising interpretations that breathe new life into music, making it relevant for a modern audience. Since 1999, the collaboration between CoCo and Lars Ulrik Mortensen has led to an exciting artistic and musical journey, highly praised by audiences and critics worldwide. With a unique repertoire that blends well-known European music with lesser-known works of Scandinavian origin, as well as new compositions, CoCo celebrated its 30th anniversary in 2021.
„As conductor of his ensemble Concerto Copenhagen, which he has led to the forefront of the international scene, he (Lars Ulrik Mortensen) also delivers exemplary work in the theologically grounded articulateness of sound.”
Frankfurter Allgemeine Zeitung, 9 November 2025
“During the Adagio, I even had the feeling that the composer was perched on the conductor’s shoulder to congratulate him!”
Dates upon request QUEEN KRISTINA Concerto Copenhagen / Lars Ulrik Mortensen, conductor
The project traces the extraordinary life of Queen Kristina of Sweden (1626–1689), a brilliant and unconventional monarch who abdicated her throne at just 28 to pursue intellectual and spiritual freedom. Her journey led her from Stockholm through Innsbruck to Rome, where she converted to Catholicism and became a celebrated patron of the arts.
Works by A. Düben, W. Young, A. Stradella, B. Pasquini, A. Corelli, A. Scarlatti, C. Gesualdo, J. H. Kapsberger, A. Stradella
Dates upon request SIX NEW BRANDENBURG COCNERTOS Concerto Copenhagen / Antoine Torunczyk, oboe / Lars Ulrik Mortensen, conductor
Concerto Copenhagen presents J. S. Bach’s six organ trio sonatas in a newly imagined orchestral version inspired by the Brandenburg Concertos. In close collaboration with CoCo’s musicians and artistic director Lars Ulrik Mortensen, oboist Antoine Torunczyk has re-orchestrated the works for an ensemble featuring instruments such as flute, recorder, oboe d’amore, oboe da caccia, viola d’amore, natural horn, violoncello da spalla, and bassoon. The result is a captivating sound world in which Bach’s music feels both familiar and refreshingly new. This program celebrates the composer’s creative spirit, revealing his genius through a vibrant and colorful lens.
J. S. Bach: Concerto VII (after trio-sonata no. 1, BWV 525) J. S. Bach: Concerto IX (after trio-sonata no. 3, BWV 527) J. S. Bach: Concerto XII (after trio-sonata no. 6, BWV 530) J. S. Bach: Concerto X (after trio-sonata no. 4, BWV 528) J. S. Bach: Concerto VIII (after trio-sonata no. 2, BWV 526) J. S. Bach: Concerto XI (after trio-sonata no. 5, BWV 529)
Dates upon request PÄRT AND HÄNDEL Concerto Copenhagen / Tõnu Kaljuste, musical direction / Estonian Philharmonic Chamber Choir
To mark Arvo Pärt’s 90th birthday, Concerto Copenhagen and the Estonian Philharmonic Chamber Choir, conducted by Grammy Award-winner Tõnu Kaljuste, come together to combine works by the celebrated composer with pieces by one of his great inspirations, George Frideric Handel. Performing Pärt’s music on period instruments promises a unique sonic experience – especially in combination with the voices of a choir renowned for its outstanding interpretations of this repertoire.
A. Pärt: Silouan’s Song / Festina Lente für Orchester Trisagion / Cantus in memoriam Benjamin Britten für Orchester Stabat Mater / Berliner Messe für Chor und Orchester G. F. Händel: Concerto grosso op. 6 no. 5 for orchestra / Dixit Dominus for soloists, choir and orchestra
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.
In March 2025, Phantasm launched its own concert series, POLYPHONISCHE BEGEGNUNGEN – POLYPHONIC ENCOUNTERS, at St. Elisabeth Church in Berlin. Each concert is dedicated to a composer exceptionally skilled in polyphonic composition, with a particular focus on the English repertoire: Johann Sebastian Bach, Orlando Gibbons, Henry Purcell, and William Lawes.
Available upon request BYRD AND ENGLISH SONGS Phantasm Viol Consort / Anna Prohaska, soprano
This programme explores the distinctive art of the consort song in William Byrd, where a solo voice intertwines with a viol consort in a finely balanced dialogue. Alongside him, Thomas Tallis, John Dowland and Carlo Gesualdo shape a richly contrasted musical landscape, moving between spiritual devotion, melancholy and more sensual impulses. From intimate elegy to pastoral or politically tinged reflections, these works reveal a striking expressive range, in which each instrumental line seems to extend and illuminate the text without ever overshadowing it.
Availability upon request DANCING WITHOUT DANCERS Phantasm Viol Consort / Elizabeth Kenny, theorbo & lute
Music historians have labelled 16th and 17th-century art music written in dance forms, as ‘stylised dance music’ or even as ‘abstract’ dance music. This nomenclature, however, misses something important. For composers in this period were all well aware of the choreographed movement of dancer’s bodies and set out to incorporate the styles and gestures of feet, hands and facial expression into the facture of the music itself. With its multiple players each assigned an independent voice, the viol consort offers an especially complex field for a choreography that evokes the dance genres in fascinating ways. In this programme devoted to dance music of Anthony Holborne, John Dowland, John Jenkins and William Lawes we encounter such a rich panoply of expression precisely because the music never serves as mere background or accompaniment.
Works byA. Holborne, J. Downland, J. Jenkins & W. Lawes
Availability upon request The Art of Being Human Phantasm Viol Consort / Laurence Dreyfus, treble viol and musical direction / Alexander Polzin, visual concept / Sommer Ulrickson, choreography / Dance: Saeed Hani Moeller, Sami Similae, Yamila Khodr, Camille Jackson, Rodolfo Piazza
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 was premieredn successfully in March 2023.
With works by W. Byrd, J. Dowland, W. Lawes, H. Purcell and others
“Dreyfus therefore calls the evening ‘challenging’, but the ensemble succeeds in this challenge brilliantly.”
14 March 2025 / 12 October 2025 / 11 January 2026 / 8 March 2026, St. Elisabeth-Kirche, Berlin POLYPHONISCHE BEGEGNUNGEN – POLYPHONIC ENCOUNTERS Four composer portraits in the spirit of polyphony Phantasm Viol Consort / Laurence Dreyfus, treble viol and artistic leader Guests: Ulrich Wolff, Bassgambe / Lea Rahel Bader, Bassgambe (11 January 2026) / Jean-Claude Kuner, Buchvorstellung (11 January 2026) / Martin Jantzen, Altgambe (12 October 2025 & 8 March 2026)
The Phantasm Viol Consort launched its own concert series in March 2025 at St Elisabeth Church in Berlin-Mitte. A total of four concerts are devoted entirely to polyphony, each focusing on a composer who was particularly distinguished in this compositional technique.
Concert I – The Well-Tempered Consort: Music by Johann Sebastian Bach Concert II –Orlando Gibbons, Peerless Polyphonist Concert III – Henry Purcell, Prophetic Pathfinder Concert IV – William Lawes, Exceptional Eccentric
10 January 2024, Wigmore Hall / 24 Sepember 2024, Musikverein Wien BYRD COMPARED: BYRD AND ENGLISH SONG Phantasm Viol Consort / Laurence Dreyfus, treble viol and musical direction / Anna Prohaska, soprano
On the occasion of the 400th anniversary of William Byrd’s death, Phantasm developed a Byrd Triptych series that places his works in relation to those of later masters. At Wigmore Hall, the ensemble combined Byrd’s music with English songs performed by Anna Prohaska.
Works by W. Byrd, J. Dowland, T. Tallis, C. Gesualdo
“At the Wigmore Hall, her way with music from the English and Italian Renaissance was characterised by impeccable assurance and deep sincerity, her tone a mixture of silk and silver, the words etched with admirable restraint.”
The Guardian, 11 January 2024
„Together with the marvellously well-attuned viol consort Phantasm, this gave rise to an intimate evening that appealed not only to fans of early music.”
Die Presse, 24 September 2024
23, 24, 25 March 2023, Pierre Boulez Saal / 18 June 2023, Aldeburgh Festival /12 March 2025, Elbphilharmonie Hamburg THE ART OF BEING HUMAN Phantasm Viol Consort / Laurence Dreyfus, treble viol and musical direction / Alexander Polzin, visual concept / Sommer Ulrickson, choreography / Dance: Saeed Hani Moeller, Sami Similae, Yamila Khodr, Camille Jackson, Rodolfo Piazza
Works by W. Byrd, J. Dowland, W. Lawes, H. Purcell and other composers
“Dreyfus describes the evening as “demanding,” but the ensemble rises to the challenge with great aplomb.”
rbbkultur, 24. März 2023
„This mesmeric show was physically daring, liberating all ideas of gender and inviting acceptance of difference… The impact was provocative and ethereal.”
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.“
5 May – 30 June 2027 and upon request CLEOPATRA La Folia Barockorchester / Regula Mühlemann, soprano / Robin Peter Müller, violin & artistic leader
From the Baroque era to present day’s pop culture, Cleopatra is a guiding light on which fantasies can be ignited, power strategies can be studied and through which history has become noticeably more feminine and colourful. Together with the cele-brated soprano Regula Mühlemann, the La Folia Baroque Orchestra creates a multi-faceted picture and psychogram of this historical figure and her interpretation in the Baroque.
Works by C. H. Graun, G. Legrenzi, G. F. Händel, A. Scarlatti, A. Vivaldi, J. A. Hasse & F. Geminiani
24 January 2026, Liepāja Concert Hall Great Amber / 28 January 2026, De Singel, Antwerpen / 1 February 2026, Philharmonie Essen / 3 February 2026, Tonhalle Zürich CLEOPATRA La Folia Barockorchester / Regula Mühlemann, Sopran / Robin Peter Müller, Violine & musikalische Leitung
At the start of the 2026, the La Folia Barockorchester and its artistic director Robin Peter Müller were joined by the acclaimed soprano Regula Mühlemann: Their successful program Cleopatra relays a multifaceted psychogram of the historical figure Cleopatra and her interpretation in the Baroque era. Alongside famous arias by Handel and Hasse, the program offers exciting new discoveries of works by Graun and Vivaldi.
Works by C. H. Graun, G. Legrenzi, G. F. Händel, A. Scarlatti, A. Vivaldi, J. A. Hasse & F. Geminiani
“With these resounding, magnificent sounds, the audience is sent off into the intermission.”
Online Musik Magazin, 2 February 2026
1 – 22 December 2023, Theater an der Wien LA FINTA GIARDINIERA Paul Schweinester, Don Anchise / Carina Schmieger, Violante / Adrian Autard, Contino Belfiore / Michaella Cipriani, Arminda / Valerie Eickhoff, Cavaliere Ramiro / Elisabeth Freyhoff, Serpetta / Anton Beliaev, Roberto / La Folia Barockorchester / Clemens Flick, conductor / Anika Rutkofsky, stage direction / Adrian Stapf, stage and costumes / Franz Tscheck, light design / Bettina Bartz, dramaturge
In his opera LA FINTA GIARDINIERA, the then 18-year-old Mozart was already exploring one of his central themes – the tension between faithful partnership and erotic temptation, as well as emotional turmoil. Under the musical direction of Clemens Flick, the La Folia Baroque Orchestra followed Mozart’s intricate paths through the labyrinth of feelings and passions at the Wiener Kammeroper. W.-A. Mozart: La Finta Giardiniera
“In the end, there was thunderous applause for everyone involved.”
Der Opernfreund, 03 December 2023
10 Sep 2021, Harbour Front Literaturfestival, Elbphilharmonie Hamburg CELEBRATION OF LIFE AND DEAD La Folia Barockorchester / Robin Peter Müller, direction & violin / Anna Prohaska, soprano / Carolin Emcke, text
Anna Prohaska, Carolin Emke 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.
Works and Songs by O. von Wolkenstein, G. de Machaut, F. Gonzaga, F. Landini, H. Purcell, L. Cohen, J. Lennon and others
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.“
9 – 20 February, 5 – 16 April, 20 August – 10 September, 24 October – 5 November 2028 THE FOUR SEASONS Isabelle Faust, violin / Giovanni Antonini, conductor
A. Vivaldi: Violin concertos op. 8 no. 1 – 4 „The four seasons“
06 March 2023, Konzerthaus Berlin / 07 March 2023, Elbphilharmonie Hamburg VIVALDI – HAYDN Fatma Said, soprano / Giovanni Antonini, conductor
A. Vivaldi: Concerto per archi in e minor RV 134 / Sinfonia in b minor “al Santo sepolcro” RV 169 C. Monteverdi: Lamento di Arianna D. Castello: Sonata decimasesta a quattro in Do A. Vivaldi: Gelido in ogni vena (10′), Gelosia P. A. Locatelli: Concerto grosso “Il Pianto di Arianna” J. Haydn: Arianna a Naxos
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 THE CREATION Anna Lucia Richter, soprano / Maximilian Schmitt, tenor / Florian Boesch, bass baritone / Chor des Bayerischen Rundfunks / Giovanni Antonini, conductor
J. Haydn: The Creation Hob. XXI:2
26. + 7. August 2018 SERPENT & FIRE Anna Prohaska, soprano / Giovanni Antonini, conductor
Works by H. Purcell, C. Graupner, A. Sartorio u.a.
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.
April 2028 ST. JOHN PASSION Freiburger Baroque Orchestra / The Choir of St John’s College, Cambridge / Christopher Gray, conductor / soloists tbc.
The Freiburger Barockorchester plans Bach’s St. John Passion together with one of the oldest and finest choirs in Great Britain, the Choir of St John’s College, Cambridge. Situated at the intersection between sacred music in the service of the liturgy and dramatic storytelling, the Passion engages with overarching themes whose timelessness can also provide spiritual impulses for audiences in secular times.
“This music, with its bewitching beauty, is not of this world.“
Süddeutsche Zeitung, 21 November 2023
“All the colors of Baroque music can be heard from the orchestra pit this evening.“
taz, 21. November 2023
3 May 2023, Elbphilharmonie Hamburg / 6 May 2023, Staatstheater Wiesbaden / 30 June 2023 Philharmonie Berlin A MIDSUMMER NIGHT’S DREAM Freiburg Baroque Orchestra / Max Urlacher, actor / RIAS Kammerchor Berlin / Mi-Young Kim, soprano / Anna Schaumlöffel, mezzo-soprano / Pablo Heras-Casado, conductor
F. Mendelssohn-Bartholdy: A Midsummer Night’s Dream op. 61 F. Schubert: Symphony no. 6 in C major D. 589(Hamburg, Wiesbaden) E. Grieg: „Aus Holbergs Zeit“ suite for string orchestra op. 40
“It sounds like trembling and rustling in the forest, where the elves flit about.”
Hamburger Abendblatt, 5 May 2023
“When the violins, after the three magical opening chords crowned by glowing recorders, begin to whisper on gut strings, that’s when this enchantingly unreal atmosphere unfolds.”
Tagesspiegel Berlin, 1. July 2023
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
Vox Luminis & FBO Marco Borrelli
****
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 BEETHOVEN I Freiburg Baroque Orchestra / 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 BEETHOVEN II Freiburg Baroque Orchestra / 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).
„Captivatingly vivid, clear, precise, and transparent.“
Frankfurter Neue Presse, 25 April 2026
„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 February 2021
„Sharp-edged playing from the Finnish Baroque Orchestra.”
30 June 2023, Nordic Lights Festival, Philharmonie Berlin NORDIC LIGHTS FESTIVAL – OPENING Gottfried von der Goltz, musical leader / Barokkanerne / Concerto Copenhagen / Drottingholms Barocksemble / Finnish Baroque Orchestra / Freiburg Baroque Orchestra Max Urlacher, actor / Pablo Heras-Casado, conductor / RIAS Kammerchor
The NORDIC LIGHTS FESTIVAL brought together the four leading Baroque orchestras of Northern Europe—Barokkanerne (Norway), Concerto Copenhagen (Denmark), the Drottningholm Baroque Ensemble (Sweden), the Finnish Baroque Orchestra (Finland), and the Freiburg Baroque Orchestra—for an inspiring celebration of music in Berlin.
F. Mendelssohn-Bartholdy: A Midsummer Night’s Dream, op. 61 E. Grieg: „Aus Holbergs Zeit“ Suite for string orchestra op. 40
1 July 2023, Nordic Lights Festival, Säälchen auf dem Holzmarkt NORDIC LIGHTS FESTIVAL Barokkanerne & Ragnhild Hemsing, Hardanger fiddle / Concerto Copenhagen & Jakob Bloch Jespersen, bass baritone / Drottningholm Baroque Orchestra & Torbjörn Näsbom, nyckelharpa / Finnish Baroque Orchestra & Petri Kumela, baroque guitar / Freiburg Baroque Orchestra
A long night of music: from Vivaldi’s Four Seasons on the Hardanger fiddle, to Swedish folk music arranged for Baroque orchestra and nyckelharpa, and Baroque music from Sweden and the Danish-German border region, all the way to “Panzerwagen Jazz” from Finland and chamber music of Swedish Romanticism.
L. Boccherini Grave assai & Fandago from Quintett no. 4 in D major G. 448 / A. Auvinen Excerps from „Andalusian Panzerwagen Jazz“ / J. Haydn Presto from Symphony no. 4 in D major Hob. I:4 / C. Baguer Sinfonia in G major no. 16
19 August 2022, Elbphilharmonie Hamburg WATER MUSIC Finnish Baroque Orchestra
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.“
Dates upon request EUROPE ON THE MOVE Europa Galante / Fabio Biondi, violin & conductor
Europa Galante and Fabio Biondi present “Europe in Motion“, a program featuring composers who left their homelands and proved themselves anew far from home. It also includes works intended to introduce audiences at home to the musical styles of other nations. The program concludes with Telemann’s “Ouverture des Nations“, also known as the “Overture of the Nations.”
Works by M. Mascitti, J.-M. Leclair, J. D. Heinichen, G. F. Händel, A. Vivaldi, J. Helmich Roman, J. Myslivecek and many others
Europe around 1740
“See? It works — at least musically, with the vision of a united Europe.”
Tagesspiegel, 2018
Dates upon request FOUR SEASONS Europa Galante / Fabio Biondi, violin & leader
F. Geminiani: Concerto Grosso „La Follia“ P. Locatelli: Concerto Grosso op. 1 no. 3 A. Corelli: Concerto Grosso op. 6 no. 4 A. Vivaldi: The four seasons
26 July 2024, Festivo, Aschau VIVALDI! Europa Galante / Fabio Biondi, conductor
An especially spirited and virtuosic festival opening in Aschau was presented by Europa Galante and Fabio Biondi, with a program that combined Francesco Geminiani’s arrangement of Arcangelo Corelli’s “La Folia” with Antonio Vivaldi’s “The Four Seasons.”
Works by F. Geminiani, P. Locatelli, A. Corelli & A. Vivaldi
“Vivaldi at its best, breathtaking, unprecedented, and shattering traditional listening habits – Baroque music doesn’t get any better than this.”
Oberösterreichisches Volksblatt
16 February 2022 Elbphilharmonie Hamburg / 18 February 2022 Palau de la Música Barcelona / 20 F’eburary 2022 Auditorio Nacional de Música Madrid / 22 Feburary 2022 Theater an der Wien L’ ORFEO Ian Bostridge (Orfeo) / Monica Piccinini (Euridice, La Musica) / Marina de Liso (Messagera, La Speranza) / RIAS Kammerchor / Europa Galante / Fabio Biondi, conductor
C. Monteverdi: L’ Orfeo. Favola in musica
“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, Elbphilharmonie Hamburg ULISSE Furio Zanasi (Ulisse) / Sara Mingardo (Penelope9 / Ewa Leszczynska (Ericlea) / Matheus Pompeu (Giove) / Coro Costanzo (Porta) / Walter Le Moli, stage director / Fabio Biondi, conductor
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”!
Compagnia di Punto plays symphonies by Beethoven, Mozart and Haydn on period instruments in a chamber music format, arranged by contemporaries Carl Friedrich Ebers and Ferdinand Ries. The symphonies can be combined with each other as desired or supplemented with other small-scale works by Beethoven.
L. v. Beethoven: Sympony no. 1 in C major op. 21, arr. by Karl Friedrich Ebers (1770-1836) L. v. Beethoven: Symphony no. 2 in D major op. 38, arr. by Ferdinand Ries (1784-1838) L. v. Beethoven: Symphony no. 3 in E flat major op. 55, arr. by Carl Friedrich Ebers L. v. Beethoven: Symphony no. 6 “Pastorale” in F major op. 68 W. A. Mozart: Symphony no. 40 in G minor KV 550 J. Haydn: Symphony no. 99 in E flat major Hob. I:99 J. Haydn: Symphony no. 101 in D major Hob. I:101 A. Rosetti: Symphony in G major Murray A41 A. Rosetti: Symphony in F major Murray A35 A. Rosetti: Symphony in C major Murray A3
Complementary works by Beethoven: Serenade for flute, violin, viola op. 25, Sextet op. 81b (with 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)
