In the frame of Académie Bach Festival

In the frame of Académie Bach Festival

In the frame of the Festival Oude Muziek Utrecht

Im Rahmen des Festivals "Neue Töne aus Preussen" | Erstaufführung der Oper seit der Entstehungszeit

Im Rahmen der Merseburger Orgeltage | Händels "Messiah" in der deutschen Bearbeitung von Adam Hiller

In the frame of Südtirol Festival | Solo program with Leipzig-based baroque group Combo CAM ("Care About Music")

Im Rahmen der 17. Köstritzer Museumsnacht | Soloprogramm mit der Leipziger Barockgruppe Combo CAM ("Care About Music")

Motette mit dem neuen Thomaskantor Andreas Reize

Wege von Praetorius zur Meininger Hofkapelle | Abschlusskonzert des Festivals Güldener Herbst

F. Mendelssohn: Hymne "Hör mein Bitten | Krysztof Penderecki: "Agnus Dei"

F. Mendelssohn: Hymne "Hör mein Bitten | Krysztof Penderecki: "Agnus Dei"

Weiteres Konzert um 18:00 Uhr

Weiteres Konzert um 15:00 Uhr

Weiteres Konzert am 12.12. um 17:00 Uhr

Weiteres Konzert am 11.12. um 20:00 Uhr

Die Veranstaltung findet unter 2G+-Bedingungen statt.

Weiteres Konzert am 19.12. um 20:00 Uhr

Die Veranstaltung findet unter 2G+-Bedingungen statt.

Weiteres Konzert am 18.12. um 17:00 Uhr

Die Veranstaltung findet unter 2G-Bedingungen statt.

Musik im Gottesdienst zum 2. Weihnachtstag

Flensburger Bachchor | Symphonischer Chor Hamburg

Flensburger Bachchor | Symphonischer Chor Hamburg

Die Veranstaltung findet unter 2G-Bedingungen statt.

This world premiere tells the story of Jan van Leyden. This sixteenth-century Dutchman saw himself as a prophet and established a fundamentalist community of anabaptists in Münster, Germany. Florian Sievers will sing the title role of Jan van Leyden. | Music: J. S. Bach, Panos Iliopoulos | Libretto: Thomas Höft | Stage direction: Serge van Veggel | Musical direction: Hernán Schvartzman

This world premiere tells the story of Jan van Leyden. This sixteenth-century Dutchman saw himself as a prophet and established a fundamentalist community of anabaptists in Münster, Germany. Florian Sievers will sing the title role of Jan van Leyden. | Music: J. S. Bach, Panos Iliopoulos | Libretto: Thomas Höft | Stage direction: Serge van Veggel | Musical direction: Hernán Schvartzman

This world premiere tells the story of Jan van Leyden. This sixteenth-century Dutchman saw himself as a prophet and established a fundamentalist community of anabaptists in Münster, Germany. Florian Sievers will sing the title role of Jan van Leyden. | Music: J. S. Bach, Panos Iliopoulos | Libretto: Thomas Höft | Stage direction: Serge van Veggel | Musical direction: Hernán Schvartzman

This world premiere tells the story of Jan van Leyden. This sixteenth-century Dutchman saw himself as a prophet and established a fundamentalist community of anabaptists in Münster, Germany. Florian Sievers will sing the title role of Jan van Leyden. | Music: J. S. Bach, Panos Iliopoulos | Libretto: Thomas Höft | Stage direction: Serge van Veggel | Musical direction: Hernán Schvartzman

This world premiere tells the story of Jan van Leyden. This sixteenth-century Dutchman saw himself as a prophet and established a fundamentalist community of anabaptists in Münster, Germany. Florian Sievers will sing the title role of Jan van Leyden. | Music: J. S. Bach, Panos Iliopoulos | Libretto: Thomas Höft | Stage direction: Serge van Veggel | Musical direction: Hernán Schvartzman

This world premiere tells the story of Jan van Leyden. This sixteenth-century Dutchman saw himself as a prophet and established a fundamentalist community of anabaptists in Münster, Germany. Florian Sievers will sing the title role of Jan van Leyden. | Music: J. S. Bach, Panos Iliopoulos | Libretto: Thomas Höft | Stage direction: Serge van Veggel | Musical direction: Hernán Schvartzman

H. PURCELL: King Arthur - The British Worthy (opera in five acts). Booklet by John Dryden.

Eintritt frei

Mitsingkonzert im Rahmen des Deutschen Chorfestes

Aufführung im Rahmen der Händel-Festspiele Halle in Kooperation mit dem Puppentheater Carlo Colli e Figli.

Aufführung im Rahmen der Händel-Festspiele Halle in Kooperation mit dem Puppentheater Carlo Colli e Figli.

Aufführung im Rahmen der Händel-Festspiele Halle in Kooperation mit dem Puppentheater Carlo Colli e Figli.

Gottesdienst in der Bachzeitordnung

Origens Männerensemble entführt in die Salonwelt der Romantik. Ein poetischer Abend, Schubert gewidmet, mit Liedern, Chorwerken, Szenenspiel. Besetzung: Maximilian Vogler | Jo Holzwarth | Martin Logar | Florian Sievers | Johannes Hill | Nikolaus Fluck | Sönke Tams Freier | Mathis Koch | Thomas Wypior

Origens Männerensemble entführt in die Salonwelt der Romantik. Ein poetischer Abend, Schubert gewidmet, mit Liedern, Chorwerken, Szenenspiel. Besetzung: Maximilian Vogler | Jo Holzwarth | Martin Logar | Florian Sievers | Johannes Hill | Nikolaus Fluck | Sönke Tams Freier | Mathis Koch | Thomas Wypior

Origens Männerensemble entführt in die Salonwelt der Romantik. Ein poetischer Abend, Schubert gewidmet, mit Liedern, Chorwerken, Szenenspiel. Besetzung: Maximilian Vogler | Jo Holzwarth | Martin Logar | Florian Sievers | Johannes Hill | Nikolaus Fluck | Sönke Tams Freier | Mathis Koch | Thomas Wypior

Origens Männerensemble entführt in die Salonwelt der Romantik. Ein poetischer Abend, Schubert gewidmet, mit Liedern, Chorwerken, Szenenspiel. Besetzung: Maximilian Vogler | Jo Holzwarth | Martin Logar | Florian Sievers | Johannes Hill | Nikolaus Fluck | Sönke Tams Freier | Mathis Koch | Thomas Wypior

Origens Männerensemble entführt in die Salonwelt der Romantik. Ein poetischer Abend, Schubert gewidmet, mit Liedern, Chorwerken, Szenenspiel. Besetzung: Maximilian Vogler | Jo Holzwarth | Martin Logar | Florian Sievers | Johannes Hill | Nikolaus Fluck | Sönke Tams Freier | Mathis Koch | Thomas Wypior

Origens Männerensemble interpretiert Schuberts romantische «Deutsche Messe» und die selten gehörte «Messe Villageoise» (Dorf-Messe) von Friedrich von Flotow. Besetzung: Maximilian Vogler | Jo Holzwarth | Martin Logar | Florian Sievers | Johannes Hill | Nikolaus Fluck | Sönke Tams Freier | Mathis Koch

Origens Männerensemble interpretiert Schuberts romantische «Deutsche Messe» und die selten gehörte «Messe Villageoise» (Dorf-Messe) von Friedrich von Flotow. Besetzung: Maximilian Vogler | Jo Holzwarth | Martin Logar | Florian Sievers | Johannes Hill | Nikolaus Fluck | Sönke Tams Freier | Mathis Koch

Origens Männerensemble interpretiert Schuberts romantische «Deutsche Messe» und die selten gehörte «Messe Villageoise» (Dorf-Messe) von Friedrich von Flotow. Besetzung: Maximilian Vogler | Jo Holzwarth | Martin Logar | Florian Sievers | Johannes Hill | Nikolaus Fluck | Sönke Tams Freier | Mathis Koch

Origens Männerensemble interpretiert Schuberts romantische «Deutsche Messe» und die selten gehörte «Messe Villageoise» (Dorf-Messe) von Friedrich von Flotow. Besetzung: Maximilian Vogler | Jo Holzwarth | Martin Logar | Florian Sievers | Johannes Hill | Nikolaus Fluck | Sönke Tams Freier | Mathis Koch

Origens Männerensemble interpretiert Schuberts romantische «Deutsche Messe» und die selten gehörte «Messe Villageoise» (Dorf-Messe) von Friedrich von Flotow. Besetzung: Maximilian Vogler | Jo Holzwarth | Martin Logar | Florian Sievers | Johannes Hill | Nikolaus Fluck | Sönke Tams Freier | Mathis Koch

Works for up to 40 voices including the famous "Spem in alium" by Thomas Tallis and "Ecce beam lucem" by Alessandro Striggio.

Works for up to 40 voices including the famous "Spem in alium" by Thomas Tallis and "Ecce beam lucem" by Alessandro Striggio.

Hosted by the Musikfest Bremen and invited by Lionel Meunier, founder and leader of Vox Luminis, I will be teaching solo and ensemble vocal coachings for young professional singers. In this Musikfest Atelier "Wege zu Bach" participants will prepare works by Johann Pachelbel, Johann Kuhnau, among others. The results of this masterclass will be presented in a closing concert on September 3rd.

Hosted by the Musikfest Bremen and invited by Lionel Meunier, founder and leader of Vox Luminis, I will be giving solo and ensemble vocal coachings for young professional singers. In this Musikfest Atelier "Wege zu Bach" participants will prepare works by Johann Pachelbel, Johann Kuhnau, among others. The results of this masterclass will be presented in a closing concert on September 3rd in Ganderkesee.

Hosted by the Musikfest Bremen and invited by Lionel Meunier, founder and leader of Vox Luminis, I will be giving solo and ensemble vocal coachings for young professional singers. In this Musikfest Atelier "Wege zu Bach" participants will prepare works by Johann Pachelbel, Johann Kuhnau, among others. The results of this masterclass will be presented in a closing concert on September 3rd in Ganderkesee.

Hosted by the Musikfest Bremen and invited by Lionel Meunier, founder and leader of Vox Luminis, I will be giving solo and ensemble vocal coachings for young professional singers. In this Musikfest Atelier "Wege zu Bach" participants will prepare works by Johann Pachelbel, Johann Kuhnau, among others. The results of this masterclass will be presented in a closing concert on September 3rd in Ganderkesee.

Hosted by the Musikfest Bremen and invited by Lionel Meunier, founder and leader of Vox Luminis, I will be giving solo and ensemble vocal coachings for young professional singers. In this Musikfest Atelier "Wege zu Bach" participants will prepare works by Johann Pachelbel, Johann Kuhnau, among others. The results of this masterclass will be presented in the closing concert on September 3rd in Ganderkesee.

Abschlusskonzert der Merseburger Orgeltage

Mit Leonard Martynek (Klavier).

Aufführung am 400. Geburtstag des Komponisten Johann Sebastiani (*30.09.1622, +1683). Maßgeblich hat Johann Sebastiani die barocke Oratorienmusik weiterentwickelt. Ohne ihn hätte Johann Sebastian Bach seine Passionen möglicherweise kaum zu der Blüte bringen können, wie es ihm mit seiner Johannes- und Matthäus-Passion gelungen ist. 1622 wurde Johann Sebastiani in Wismar geboren. Er war Schüler von Heinrich Schütz und knüpfte an das Werk seines Lehrers an, der bereits die Welt der Oper mit ihren Rezitativen und Arien in den sakralen Musikraum überführt hatte. Sebastiani war der erste Komponist, der Choräle in die Gattung der Passion und des Oratoriums einführte.

Neben dem Mozart-Requiem wird – ebenfalls von Mozart – das Stück „Litaniae Lauretanae“ aufgeführt, sowie „Fratres“ von Arvo Pärt. Eine Karte kostet 20 Euro (15 Euro ermäßigt für Schüler und Studenten). Die Karten gibt es an der Abendkasse, sowie im Vorverkauf im Kirchenbüro und in der Tourismuszentrale. Das Konzert beginnt am 2. Oktober um 20 Uhr.

Heinrich Schütz: Musikalische Exequien SWV 279–281 - Werke von Samuel Scheidt, Thomas Selle und Andreas Hammerschmidt

Mehrchörige und klanggewaltige Werke aus Giovanni Gabrieli: Symphoniae Sacrae liber secundus Heinrich Schütz: Psalmen Davids

Heinrich Schütz: Psalmen Davids (Auswahl) - Werke aus dem Altbachischen Archiv von Heinrich Bach, Johann Michael Bach und Johann Christoph Bach

Gottesdienst | Liturgin: Pfarrerin Kathrin Oxen, Ansprache: Christina Rietz (ZEIT Christ & Welt) | Eintritt frei

Werke von Moritz von Hessen, Georg Otto, Christoph Cornett, Heinrich Schütz, Jobst Heider, Johann Neubauer u.a.

Geistliche Konzerte, Madrigale und Instrumentalwerke von Heinrich Schütz, Johann Rosenmüller, Johann Hermann Schein, Tobias Michael, Johann Schelle, David Pohle u.a.

Aufführung der Teile I-III um 15:00 Uhr, Teile IV-VI um 18:00 Uhr.

Opening Concert of the Christmas Festival 2022

With Flensburger Bachchor and Symphonischer Chor Hamburg

With Flensburger Bachchor and Symphonischer Chor Hamburg

Cooperation between Vox Luminis (Lionel Meunier) and Ensemble Pulcinella (Ophélie Galliard)

Cooperation between Vox Luminis (Lionel Meunier) and Ensemble Pulcinella (Ophélie Galliard)

Mozart’s Mass in c minor, just like his Requiem, remained unfinished, but it is undeniably among the best of the religious repertoire. Mozart did not have an immediate reason, but it is likely that he wrote this mass for his beloved Constanze, whom he had just married. The exuberant character and complex passages probably echo a reaction to the break with Archbishop Colloredo, who imposed restrictions on Mozart composing church music. Familiar face Vox Luminis joins forces with B’Rock Orchestra and pairs Mozart’s masterpiece with Michael Haydn’s Requiem, yes, Joseph’s younger brother, who was a composer even Mozart looked on with great admiration!

Mozart’s Mass in c minor, just like his Requiem, remained unfinished, but it is undeniably among the best of the religious repertoire. Mozart did not have an immediate reason, but it is likely that he wrote this mass for his beloved Constanze, whom he had just married. The exuberant character and complex passages probably echo a reaction to the break with Archbishop Colloredo, who imposed restrictions on Mozart composing church music. Familiar face Vox Luminis joins forces with B’Rock Orchestra and pairs Mozart’s masterpiece with Michael Haydn’s Requiem, yes, Joseph’s younger brother, who was a composer even Mozart looked on with great admiration!

Mozart’s Mass in c minor, just like his Requiem, remained unfinished, but it is undeniably among the best of the religious repertoire. Mozart did not have an immediate reason, but it is likely that he wrote this mass for his beloved Constanze, whom he had just married. The exuberant character and complex passages probably echo a reaction to the break with Archbishop Colloredo, who imposed restrictions on Mozart composing church music. Familiar face Vox Luminis joins forces with B’Rock Orchestra and pairs Mozart’s masterpiece with Michael Haydn’s Requiem, yes, Joseph’s younger brother, who was a composer even Mozart looked on with great admiration!

J. S. Bach: Johannes-Passion, BWV 245 (Fassung 1749) • J. Gallus: Ecce quomodo moritur justus Orgelvorspiele und Choräle der Karfreitagsliturgie – Mitsingen erwünscht! Öffentliche Choralprobe: 19.30 h, Thomaskirche

Im Rahmen des 60. "Festlichen Sommers in der Wies"

Cantatas: "Ihr Menschen, rühmet Gottes Liebe" BWV 167 - "Ärgre dich, o Seele, nicht" BWV 186 - "Ein ungefärbt Gemüte" BWV 24 - Choral "Vor deinen Thron" BWV 668

From August 7-16 2023 in Leipzig. Applications for young professional singers open (link below)! Hosted by the Bach-Archiv Leipzig. Coaches from Vox Luminis, Freiburger Barockorchester and Ensemble Recherche.

Performance of students of the Bach300 Summer Class in the service of St. Thomas Church. Applications for young professional singers open! Hosted by the Bach-Archiv Leipzig. Coaches from Vox Luminis, Freiburger Barockorchester and Ensemble Recherche.

In this closing concert of the Bach300 Summer Class the students present two cantatas of J. S. Bach alongside motets from the Florilegium Portense and chamber music from the baroque and contemporary era. Applications for young professional singers open! Hosted by the Bach-Archiv Leipzig. Coaches from Vox Luminis, Freiburger Barockorchester and Ensemble Recherche.

Cantatas: "Ihr Menschen, rühmet Gottes Liebe" BWV 167 - "Ärgre dich, o Seele, nicht" BWV 186 - "Ein ungefärbt Gemüte" BWV 24 - Choral "Vor deinen Thron" BWV 668

Erstmalige Wiederaufführung des Passionsoratoriums "Des Heilands letzte Stunden" von Louis Spohr (1784-1859) anlässlich des 30-jährigen Jubiläums der Deutschen Kammerphilharmonie in Bremen.

Erstmalige Wiederaufführung des Passionsoratoriums "Des Heilands letzte Stunden" von Louis Spohr (1784-1859).

The opera tells the true story of Jan van Leyden. In the 16th century, this actor, pub landlord and tailor became the leader of a movement proclaiming that the world would fall. A salvation state was established. This radicalised and became a dictatorship. We follow John from his initial enthusiasm, through his equally flamboyant and ruthless kingship to his final confession on death row. We thus experience from the inside how the timeless mechanisms of populism, polarisation and radicalisation do their work. Florian Sievers sings the title role of Jan van Leyden. | Music: J. S. Bach, Panos Iliopoulos | Libretto: Thomas Höft | Stage direction: Serge van Veggel | Musical direction: Hernán Schvartzman

The opera tells the true story of Jan van Leyden. In the 16th century, this actor, pub landlord and tailor became the leader of a movement proclaiming that the world would fall. A salvation state was established. This radicalised and became a dictatorship. We follow John from his initial enthusiasm, through his equally flamboyant and ruthless kingship to his final confession on death row. We thus experience from the inside how the timeless mechanisms of populism, polarisation and radicalisation do their work. Florian Sievers sings the title role of Jan van Leyden. | Music: J. S. Bach, Panos Iliopoulos | Libretto: Thomas Höft | Stage direction: Serge van Veggel | Musical direction: Hernán Schvartzman

The opera tells the true story of Jan van Leyden. In the 16th century, this actor, pub landlord and tailor became the leader of a movement proclaiming that the world would fall. A salvation state was established. This radicalised and became a dictatorship. We follow John from his initial enthusiasm, through his equally flamboyant and ruthless kingship to his final confession on death row. We thus experience from the inside how the timeless mechanisms of populism, polarisation and radicalisation do their work. Florian Sievers sings the title role of Jan van Leyden. | Music: J. S. Bach, Panos Iliopoulos | Libretto: Thomas Höft | Stage direction: Serge van Veggel | Musical direction: Hernán Schvartzman

The opera tells the true story of Jan van Leyden. In the 16th century, this actor, pub landlord and tailor became the leader of a movement proclaiming that the world would fall. A salvation state was established. This radicalised and became a dictatorship. We follow John from his initial enthusiasm, through his equally flamboyant and ruthless kingship to his final confession on death row. We thus experience from the inside how the timeless mechanisms of populism, polarisation and radicalisation do their work. Florian Sievers sings the title role of Jan van Leyden. | Music: J. S. Bach, Panos Iliopoulos | Libretto: Thomas Höft | Stage direction: Serge van Veggel | Musical direction: Hernán Schvartzman

The opera tells the true story of Jan van Leyden. In the 16th century, this actor, pub landlord and tailor became the leader of a movement proclaiming that the world would fall. A salvation state was established. This radicalised and became a dictatorship. We follow John from his initial enthusiasm, through his equally flamboyant and ruthless kingship to his final confession on death row. We thus experience from the inside how the timeless mechanisms of populism, polarisation and radicalisation do their work. Florian Sievers sings the title role of Jan van Leyden. | Music: J. S. Bach, Panos Iliopoulos | Libretto: Thomas Höft | Stage direction: Serge van Veggel | Musical direction: Hernán Schvartzman

The opera tells the true story of Jan van Leyden. In the 16th century, this actor, pub landlord and tailor became the leader of a movement proclaiming that the world would fall. A salvation state was established. This radicalised and became a dictatorship. We follow John from his initial enthusiasm, through his equally flamboyant and ruthless kingship to his final confession on death row. We thus experience from the inside how the timeless mechanisms of populism, polarisation and radicalisation do their work. Florian Sievers sings the title role of Jan van Leyden. | Music: J. S. Bach, Panos Iliopoulos | Libretto: Thomas Höft | Stage direction: Serge van Veggel | Musical direction: Hernán Schvartzman

The opera tells the true story of Jan van Leyden. In the 16th century, this actor, pub landlord and tailor became the leader of a movement proclaiming that the world would fall. A salvation state was established. This radicalised and became a dictatorship. We follow John from his initial enthusiasm, through his equally flamboyant and ruthless kingship to his final confession on death row. We thus experience from the inside how the timeless mechanisms of populism, polarisation and radicalisation do their work. Florian Sievers sings the title role of Jan van Leyden. | Music: J. S. Bach, Panos Iliopoulos | Libretto: Thomas Höft | Stage direction: Serge van Veggel | Musical direction: Hernán Schvartzman

The opera tells the true story of Jan van Leyden. In the 16th century, this actor, pub landlord and tailor became the leader of a movement proclaiming that the world would fall. A salvation state was established. This radicalised and became a dictatorship. We follow John from his initial enthusiasm, through his equally flamboyant and ruthless kingship to his final confession on death row. We thus experience from the inside how the timeless mechanisms of populism, polarisation and radicalisation do their work. Florian Sievers sings the title role of Jan van Leyden. | Music: J. S. Bach, Panos Iliopoulos | Libretto: Thomas Höft | Stage direction: Serge van Veggel | Musical direction: Hernán Schvartzman

The opera tells the true story of Jan van Leyden. In the 16th century, this actor, pub landlord and tailor became the leader of a movement proclaiming that the world would fall. A salvation state was established. This radicalised and became a dictatorship. We follow John from his initial enthusiasm, through his equally flamboyant and ruthless kingship to his final confession on death row. We thus experience from the inside how the timeless mechanisms of populism, polarisation and radicalisation do their work. Florian Sievers sings the title role of Jan van Leyden. | Music: J. S. Bach, Panos Iliopoulos | Libretto: Thomas Höft | Stage direction: Serge van Veggel | Musical direction: Hernán Schvartzman

The opera tells the true story of Jan van Leyden. In the 16th century, this actor, pub landlord and tailor became the leader of a movement proclaiming that the world would fall. A salvation state was established. This radicalised and became a dictatorship. We follow John from his initial enthusiasm, through his equally flamboyant and ruthless kingship to his final confession on death row. We thus experience from the inside how the timeless mechanisms of populism, polarisation and radicalisation do their work. Florian Sievers sings the title role of Jan van Leyden. | Music: J. S. Bach, Panos Iliopoulos | Libretto: Thomas Höft | Stage direction: Serge van Veggel | Musical direction: Hernán Schvartzman

The opera tells the true story of Jan van Leyden. In the 16th century, this actor, pub landlord and tailor became the leader of a movement proclaiming that the world would fall. A salvation state was established. This radicalised and became a dictatorship. We follow John from his initial enthusiasm, through his equally flamboyant and ruthless kingship to his final confession on death row. We thus experience from the inside how the timeless mechanisms of populism, polarisation and radicalisation do their work. Florian Sievers sings the title role of Jan van Leyden. | Music: J. S. Bach, Panos Iliopoulos | Libretto: Thomas Höft | Stage direction: Serge van Veggel | Musical direction: Hernán Schvartzman

The opera tells the true story of Jan van Leyden. In the 16th century, this actor, pub landlord and tailor became the leader of a movement proclaiming that the world would fall. A salvation state was established. This radicalised and became a dictatorship. We follow John from his initial enthusiasm, through his equally flamboyant and ruthless kingship to his final confession on death row. We thus experience from the inside how the timeless mechanisms of populism, polarisation and radicalisation do their work. Florian Sievers sings the title role of Jan van Leyden. | Music: J. S. Bach, Panos Iliopoulos | Libretto: Thomas Höft | Stage direction: Serge van Veggel | Musical direction: Hernán Schvartzman

The opera tells the true story of Jan van Leyden. In the 16th century, this actor, pub landlord and tailor became the leader of a movement proclaiming that the world would fall. A salvation state was established. This radicalised and became a dictatorship. We follow John from his initial enthusiasm, through his equally flamboyant and ruthless kingship to his final confession on death row. We thus experience from the inside how the timeless mechanisms of populism, polarisation and radicalisation do their work. Florian Sievers sings the title role of Jan van Leyden. | Music: J. S. Bach, Panos Iliopoulos | Libretto: Thomas Höft | Stage direction: Serge van Veggel | Musical direction: Hernán Schvartzman

The opera tells the true story of Jan van Leyden. In the 16th century, this actor, pub landlord and tailor became the leader of a movement proclaiming that the world would fall. A salvation state was established. This radicalised and became a dictatorship. We follow John from his initial enthusiasm, through his equally flamboyant and ruthless kingship to his final confession on death row. We thus experience from the inside how the timeless mechanisms of populism, polarisation and radicalisation do their work. Florian Sievers sings the title role of Jan van Leyden. | Music: J. S. Bach, Panos Iliopoulos | Libretto: Thomas Höft | Stage direction: Serge van Veggel | Musical direction: Hernán Schvartzman

The opera tells the true story of Jan van Leyden. In the 16th century, this actor, pub landlord and tailor became the leader of a movement proclaiming that the world would fall. A salvation state was established. This radicalised and became a dictatorship. We follow John from his initial enthusiasm, through his equally flamboyant and ruthless kingship to his final confession on death row. We thus experience from the inside how the timeless mechanisms of populism, polarisation and radicalisation do their work. Florian Sievers sings the title role of Jan van Leyden. | Music: J. S. Bach, Panos Iliopoulos | Libretto: Thomas Höft | Stage direction: Serge van Veggel | Musical direction: Hernán Schvartzman

Eines der bedeutendsten Meisterwerke der abendländischen Musik feiert Geburtstag: Vor dreihundert Jahren kam Bachs »Johannes-Passion« in die Welt und mit ihr eine Musik, die von unbegreiflicher Größe ist und zugleich von beeindruckender Menschlichkeit. Uraufgeführt am Karfreitag des Jahres 1724, ist dieses Passions-Oratorium Bachs erstes großes Vokalwerk seiner Leipziger Amtszeit. Verglichen mit der späteren, opernhafteren Matthäus-Passion ist die nach dem Evangelisten Johannes ein Werk, das den Erlösungsgedanken in den Vordergrund stellt. Jesu Sterben soll nicht erschrecken, sondern zur Reflexion über Verantwortung, Liebe, Trost, Leben und Tod anregen. Besonders die dramatisch aufgeladenen Chor-Szenen wollen dabei aufrütteln und den Spiegel vorhalten, der Chor als die Stimme des Volkes und der öffentlichen Meinung. Diesen Part wird in dieser Jubiläums-Aufführung des hr-Sinfonieorchesters und Alain Altinoglus das Vocalconsort Berlin übernehmen, ein Ensemble auf Solistennievau. Oder wie es Sir Simon Rattle einmal auf den Punkt brachte: einfach »bloody good singers«.

The opera tells the true story of Jan van Leyden. In the 16th century, this actor, pub landlord and tailor became the leader of a movement proclaiming that the world would fall. A salvation state was established. This radicalised and became a dictatorship. We follow John from his initial enthusiasm, through his equally flamboyant and ruthless kingship to his final confession on death row. We thus experience from the inside how the timeless mechanisms of populism, polarisation and radicalisation do their work. Florian Sievers sings the title role of Jan van Leyden. | Music: J. S. Bach, Panos Iliopoulos | Libretto: Thomas Höft | Stage direction: Serge van Veggel | Musical direction: Hernán Schvartzman

The opera tells the true story of Jan van Leyden. In the 16th century, this actor, pub landlord and tailor became the leader of a movement proclaiming that the world would fall. A salvation state was established. This radicalised and became a dictatorship. We follow John from his initial enthusiasm, through his equally flamboyant and ruthless kingship to his final confession on death row. We thus experience from the inside how the timeless mechanisms of populism, polarisation and radicalisation do their work. Florian Sievers sings the title role of Jan van Leyden. | Music: J. S. Bach, Panos Iliopoulos | Libretto: Thomas Höft | Stage direction: Serge van Veggel | Musical direction: Hernán Schvartzman

Musik: Johann Sebastian Bach Choreografie, Bühnenbild, Licht und Kostüme*: John Neumeier Fotografie und Videografik: Kiran West Texte: • Auszüge aus dem Gedicht "De Profundis" von Jean Marc Bernard • Das Gedicht "Der Schatten" von Günter Kunert • Auszug aus "Imagine" von John Lennon und Yoko Ono

The opera tells the true story of Jan van Leyden. In the 16th century, this actor, pub landlord and tailor became the leader of a movement proclaiming that the world would fall. A salvation state was established. This radicalised and became a dictatorship. We follow John from his initial enthusiasm, through his equally flamboyant and ruthless kingship to his final confession on death row. We thus experience from the inside how the timeless mechanisms of populism, polarisation and radicalisation do their work. Florian Sievers sings the title role of Jan van Leyden. | Music: J. S. Bach, Panos Iliopoulos | Libretto: Thomas Höft | Stage direction: Serge van Veggel | Musical direction: Hernán Schvartzman

Musik: Johann Sebastian Bach Choreografie, Bühnenbild, Licht und Kostüme*: John Neumeier Fotografie und Videografik: Kiran West Texte: • Auszüge aus dem Gedicht "De Profundis" von Jean Marc Bernard • Das Gedicht "Der Schatten" von Günter Kunert • Auszug aus "Imagine" von John Lennon und Yoko Ono

Musik: Johann Sebastian Bach Choreografie, Bühnenbild, Licht und Kostüme*: John Neumeier Fotografie und Videografik: Kiran West Texte: • Auszüge aus dem Gedicht "De Profundis" von Jean Marc Bernard • Das Gedicht "Der Schatten" von Günter Kunert • Auszug aus "Imagine" von John Lennon und Yoko Ono

Musik: Johann Sebastian Bach Choreografie, Bühnenbild, Licht und Kostüme*: John Neumeier Fotografie und Videografik: Kiran West Texte: • Auszüge aus dem Gedicht "De Profundis" von Jean Marc Bernard • Das Gedicht "Der Schatten" von Günter Kunert • Auszug aus "Imagine" von John Lennon und Yoko Ono

The opera tells the true story of Jan van Leyden. In the 16th century, this actor, pub landlord and tailor became the leader of a movement proclaiming that the world would fall. A salvation state was established. This radicalised and became a dictatorship. We follow John from his initial enthusiasm, through his equally flamboyant and ruthless kingship to his final confession on death row. We thus experience from the inside how the timeless mechanisms of populism, polarisation and radicalisation do their work. Florian Sievers sings the title role of Jan van Leyden. | Music: J. S. Bach, Panos Iliopoulos | Libretto: Thomas Höft | Stage direction: Serge van Veggel | Musical direction: Hernán Schvartzman

The opera tells the true story of Jan van Leyden. In the 16th century, this actor, pub landlord and tailor became the leader of a movement proclaiming that the world would fall. A salvation state was established. This radicalised and became a dictatorship. We follow John from his initial enthusiasm, through his equally flamboyant and ruthless kingship to his final confession on death row. We thus experience from the inside how the timeless mechanisms of populism, polarisation and radicalisation do their work. Florian Sievers sings the title role of Jan van Leyden. | Music: J. S. Bach, Panos Iliopoulos | Libretto: Thomas Höft | Stage direction: Serge van Veggel | Musical direction: Hernán Schvartzman

The opera tells the true story of Jan van Leyden. In the 16th century, this actor, pub landlord and tailor became the leader of a movement proclaiming that the world would fall. A salvation state was established. This radicalised and became a dictatorship. We follow John from his initial enthusiasm, through his equally flamboyant and ruthless kingship to his final confession on death row. We thus experience from the inside how the timeless mechanisms of populism, polarisation and radicalisation do their work. Florian Sievers sings the title role of Jan van Leyden. | Music: J. S. Bach, Panos Iliopoulos | Libretto: Thomas Höft | Stage direction: Serge van Veggel | Musical direction: Hernán Schvartzman

The opera tells the true story of Jan van Leyden. In the 16th century, this actor, pub landlord and tailor became the leader of a movement proclaiming that the world would fall. A salvation state was established. This radicalised and became a dictatorship. We follow John from his initial enthusiasm, through his equally flamboyant and ruthless kingship to his final confession on death row. We thus experience from the inside how the timeless mechanisms of populism, polarisation and radicalisation do their work. Florian Sievers sings the title role of Jan van Leyden. | Music: J. S. Bach, Panos Iliopoulos | Libretto: Thomas Höft | Stage direction: Serge van Veggel | Musical direction: Hernán Schvartzman

Fokus: Carl Reinecke zum 200. Geburtstag | GewandhausChor, camerata lipsiensis | Anja Pöche Sopran, Nora Steuerwald Alt, Florian Sievers Tenor, Bernhard Hansky Bass, Gregor Meyer Leitung | Werke: Carl Reinecke — Konzertstück "Sommertagsbilder" für Chor und Orchester op. 161 - Carl Reinecke — Belsazar op. 73

Musik: Johann Sebastian Bach Choreografie, Bühnenbild, Licht und Kostüme*: John Neumeier Fotografie und Videografik: Kiran West Texte: • Auszüge aus dem Gedicht "De Profundis" von Jean Marc Bernard • Das Gedicht "Der Schatten" von Günter Kunert • Auszug aus "Imagine" von John Lennon und Yoko Ono

Sommerkonzert in Kooperation mit dem Theater Ansbach

In diesem Jahr gedenkt die Musikwelt dem 100. Todestag von zwei ganz besonderen Komponisten: Gabriel Fauré und Giacomo Puccini. Deshalb widmen wir beiden Tonkünstlern eine gemeinsame Hommage. Mit der „Messa di Gloria“ von Opernmeister Puccini und dem berückend schönen Requiem des Klangfarbenmalers Fauré stehen zwei besonders beeindruckende chorsinfonische Werke auf dem Programm in der Basilika von Kloster Eberbach. Mit dabei sind der traditionsreiche Windsbacher Knabenchor, ausgewählte Gesangssolisten und die Staatsphilharmonie Nürnberg. Ein Abend, der verspricht, noch lange im Ohr nachzuhallen!

Eintrittsprogramm für Motetten nur an den Eingängen der Kirche (3€ pro Person, Leipzig-Pass/Kinder/Schüler frei). Einlass ab 45 Minuten vor Veranstaltungsbeginn.

Five days of working on baroque repertoire with young professional singers and instrumentalists, forming a baroque ensemble and orchestra. Together with Lionel Meunier, founder and leader of Vox Luminis.

Teil III des Ateliers »Wege zu Bach« stößt neue Türen auf zu den Impulsgebern des barocken Großmeisters. Ein Name taucht dabei immer auf: Dieterich Buxtehude. Zu ihm war Bach 1705 aus Arnstadt nach Lübeck gepilgert, denn hier gab’s die »Abendmusiken«, die wohl älteste öffentliche Konzertreihe der Welt. Die von seinem Vorgänger Franz Tunder in der Marienkirche begründete Tradition hatte Buxtehude zu prachtvollen geistlichen Konzertveranstaltungen ausgebaut. Ein Zeugnis davon ist seine Kantate »Ihr lieben Christen, freut euch nun«, die der junge Bach gehört haben könnte. Von Werken Nicolaus Bruhns’, einem 1697 jung verstorbenen Schüler Buxtehudes, machte Bach wiederum Abschriften und trug nach seiner Rückkehr nach Mitteldeutschland zu deren Verbreitung bei. Unter Einbeziehung der prächtigen Schnitger-Orgel und der Emporen verschafft Lionel Meunier nun mit jungen Musiker:innen aus aller Welt den legendären »Abendmusiken« ein klangvolles Revival!

Abschlusskonzert der Merseburger Orgeltage 2024

Königsberg im Jahr 1672: Der gebürtige Weimarer Johann Sebastiani feilt an den Vertonungen von knapp 70 Gedichten der Dichterin Gertraud Möller. Ihre Texte zeugen vom scharfen Verstand, mit dem die Dichterin die Freuden und Sorgen der Menschen beobachtet: Hier trifft es den Eitlen, dort wird eine Lanze für den Armen gebrochen. Eine Schäferin spielt mit der entflammten Liebe eines Philosophen, es wird zu einer ziemlich skurrilen Hochzeit geladen. Passionslyrik voller barocker Bildsprache und feinsinnige Betrachtungen berühren die großen Fragen nach dem Leben, dem Sterben und der Religion. Die Vertonungen des kurfürstlich brandenburgisch-preußischen Kapellmeisters in Königsberg Johann Sebastiani reichen vom generalbassbegleiteten Sologesang bis zum fünfstimmigen Ensemblegesang. Farbenreich werden viele der Strophenlieder mit kommentierenden, unterstreichenden oder einfach fortspinnenden Geigenritornellen ergänzt. Trotz der Vielzahl an Texten gelingt es Sebastiani stets, als „Diener des Textes“ für alle Verse und Bilder eigene, gewinnende Melodien zu finden. Das zeugt – ebenso wie die Publikation der Parnaß-Blumen 1672 in Hamburg – von der hohen Achtung, die Gertraud Möller und ihrem Werk entgegengebracht wurde. Künstlerische wie gesellschaftliche Anerkennung war auch ihre Aufnahme in den Pegnesischen Blumenorden – als eine von vierzehn Frauen aus dem deutschen Sprachraum im 17. Jahrhundert!

Festkonzert zum 30. Jubiläum der Amici Musicae Leipzig.

Das Werk, das sein Gleichgewicht und seine Spannung durch den Wechsel von Chor und Solopart erhält, verlangt von Sängern und Instrumentalisten ein hohes Maß an Virtuosität. Mit der Aufführung der "Marienvesper" setzt das Sächsische Vocalensemble seine erfolgreiche Interpretation deutscher und italienischer Musik des 17. und 18. Jahrhunderts fort. Zu diesem außergewöhnlichen Konzert laden wir Sie herzlich ein.

Arien von J. S. Bach auf Texte von Christina Mariana von Ziegler und weitere Werke