1 October - 28 November 2018
This years edition of Copenhagen Renaissance Music Festival explores the Lute instrument family. Renown artists from all over Europe and Middle East perform rare repertoire from the Middle Ages to Early Baroque in 16 concerts - solos, duos, trios and one quartet, with and without singers.
Meet Nicolas Achten, Marc Lewon & Paul Kieffer, Nicolas Lartaun/Ricardo Leitão Pedro/Lukas Henning, Mouhabet Duo (Periklis Papapetropoulos/Cihan Turkoglu), Bilal Irshed, Negar Bouban, Bor Zuljan & Romain Bockler, Michele Carreca, Andreas Arend & June Telletxea, Enea Sorini & Pepe Frana, Marco Horvat, Fredrik Bock, Doyho Sol, Simone Sorini Syrenarum, Jonas Nordberg and Quartetto di Liuti da Milano.
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26 october 2018, 9pm - AMUZ
Zachary Wilder & Les Musiciens de Saint-Julien - Forever Fortune: Scottish Music from the 18th Century
A unique combination of traditional and classical styles is what makes 18th century Scottish music so compelling. Italian composers, specifically Arcangelo Corelli, had a great influence on composers such as William McGibbon, James Oswald, Robert McIntosh and many others. But all of them, without exception, remained true to the traditional Scottish themes, adapting them to the forms and harmonies of the Baroque style. “With superlative virtuosity, François Lazarevitch and his musicians whirl the listeners away, leaving them with their heads in the stars”, Classica wrote. Combining Scottish dance music, songs and airs with variations, Les Musiciens de Saint-Julien present an exceptional programme in which the poetry of early instruments is combined with the energy of traditional music.
26 Octobre - 20h
Chiesa di Caterina da Siena
Via Santa Caterina da Siena, 38 - 80132 Napoli
Lubomyr Melnyk • piano solo
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Thursday 1st November 2018, 7.30pm - St John’s Smith Square [UK - London]
Purcell – The Fairy Queen Thursday
Gabrieli Consort & Players
Anna Dennis, Mhairi Lawson, Rowan Pierce, Carolyn Sampson - SOPRANOS
Jeremy Budd, Charles Daniels, James Way - TENORS
James Newby, Ashley Riches - BARITONES
Paul McCreesh – CONDUCTOR
Purcell's semi-opera The Fairy Queen - written just three years before his untimely death in 1695 - is one of the composer's most glorious scores. Brimming with invention, in lively dances and songs ranging from the sublime to ridiculous, the bittersweet and erotic undertones of Shakespeare’s comedy have rarely been as beautifully captured as they are here. Conductor Paul McCreesh leads the acclaimed Gabrieli Consort & Players and an all-star cast in a joyous exploration of fairytale, magic and enchantment.
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METZ EN SCÈNES – ARSENAL
Cafe Baroque - Dimanche 4 novembre 11h30
La musique de Table de Telemann / Le Concert Lorrain
Ces pièces séduisantes à la mode galante du XVIIIe siècle sont organisées et variées avec un plaisir de gourmet. Elles permettent d’entendre flûtes, violoncelle et clavecin. C’est une œuvre d’un charme exceptionnel qui permet d’entrer avec naturel et vivacité dans la musique instrumentale du XVIIIe siècle.
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Tuesday 6thNovember 2018, 7.30pm
St John’s Smith Square
London Bach Society Bachfest: Steinitz Bach Players 50th Anniversary Concert
This year marks 400th anniversary of the Thirty Years’ War (1618-1648) and 100th anniversary of the end of WW1. The fall-out of both profoundly influenced cultural life in their succeeding decades – for Bach and for the new British Bach revival. In remembrance, our programme “Out of conflict…peace” runs the gamut of human emotion, from fear and hope in Cantata 60 to unalloyed joy in the first Brandenburg as only JSB can create it.
Steinitz Bach Players
Rowan Pierce - SOPRANO
Anna Harvey - MEZZO SOPRANO
Nick Pritchard - TENOR
Benjamin Bevan - BASS
Rachel Beckett - FLUTE
Anthony Robson - OBOE D'AMORE
Ursula Paludan Monberg - HORN
Jane Gordon - VIOLIN
Rodolfo Richter - VIOLIN & DIRECTOR
Bach - Cantata 'O ewigkeit, du Donnerwort' BWV60
Bach - Concerto for two violins in D minor BWV1043
Bach - Cantata 'Sußer Trost, mein Jesus kömmt' BWV151
Bach - Brandenburg Concerto No. 1 in F BWV1046
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8 November to 11 November
"Tage Alter Musik in Herne 2018” take place from November 8th through 11th in the city Herne located in Ruhr region. This year’s edition is focused in nine concerts on the theme “mortal sins” with music from the middle ages up to “péchés de vieillesse” by Rossini performed on fortepiano. WDR 3, the cultural radio of North-Rhine Westphalia, has again invited internationally recognized ensembles like La Cetra Barockorchester, Le Caravansérail, Vocalconsort Berlin, Polyharmonique, Mare Nostrum and others. Highlights will be the first performance in our times of “Amare de fingere” by Stradella and Vivaldis “L’Olimpiade”. All concerts are recorded by WDR 3 and will be offered to the EBU later.
9 November - 17h [ITALY]
Open session to the public of the Baroque singing Masterclass
Chiesa di Santa Caterina da Siena
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11 November 2018, 9 pm - Intermezzi tra PALANDRANA E ZAMBERLUCCO [ITALY]
Teatro ARRIGONI - San Vito al Tagliamento
Opera Buffa ante litteram, the Intermezzo winds between disguises, misunderstandings, cheating and ingenuity between an old, but enterprising widow (for now three days!), And a "young da Bravo", braggart and ready to exploit the opportunities, but at the bottom bumbling and clumsy, which will succumb to the overwhelming end!
The concert concludes the path of the MEDITERRANEAN CROSSOVER Festival, a journey through the musical cultures of the Mediterranean basin, from Central Europe to the Middle East, from the Tunisian Malouf to Andalusia, with a return to the European Baroque and a production of the LABORATORIO PER L'OPERA BAROCCA from the 2018 International Seminars, realized by BAROCCO EUROPEO in collaboration with ERT - Regional Theater Authority of Friuli Venezia Giulia and the Municipality of San Vito al Tagliamento.
Archi del CENACOLO MUSICALE
Mezzosoprano - Anastasia Cazzola
Baritono - Pedro Bomba
Conductor Donatella Busetto
Direction - Marco Bellussi
Dress - Carlos Tieppo
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Lundi 12 novembre 20h – Le Presbytère d’Arques-la-Bataille
Per il Cembalo Solo
Pierre Gallon, clavecin
Ce récital de clavecin donne à découvrir un passage décisif vers l’autonomie de la « pensée instrumentale » propre à l’époque Classique.