- Agenda
2025 | |||
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February 20, 20:15
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The Netherlands
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Amare, The Hague H. Purcell, The Fairy Queen + Vox Luminis brings the enchanting story of The Fairy Queen to life. The Fairy Queen draws its inspiration from Shakespeare’s A Midsummer Night’s Dream, a piece that also strongly stimulates the visual imagination. The brilliant voices of Vox Luminis will resound amongst a spirited shadow play balancing between reality and subconsciousness, a new project by artistic director Lionel Meunier and scenographer Emilie Lauwers, in cooperation with dramaturge Isaline Claeys and filmmaker Mário Melo Costa.
Co-production : Concertgebouw Brugge |
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February 21, 20:15
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The Netherlands
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Muziekgebouw, Eindhoven H. Purcell, The Fairy Queen + Vox Luminis brings the enchanting story of The Fairy Queen to life. The Fairy Queen draws its inspiration from Shakespeare’s A Midsummer Night’s Dream, a piece that also strongly stimulates the visual imagination. The brilliant voices of Vox Luminis will resound amongst a spirited shadow play balancing between reality and subconsciousness, a new project by artistic director Lionel Meunier and scenographer Emilie Lauwers, in cooperation with dramaturge Isaline Claeys and filmmaker Mário Melo Costa.
Co-production : Concertgebouw Brugge |
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February 22, 20:15
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The Netherlands
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TivoliVredenburg, Utrecht H. Purcell, The Fairy Queen + Vox Luminis brings the enchanting story of The Fairy Queen to life. The Fairy Queen draws its inspiration from Shakespeare’s A Midsummer Night’s Dream, a piece that also strongly stimulates the visual imagination. The brilliant voices of Vox Luminis will resound amongst a spirited shadow play balancing between reality and subconsciousness, a new project by artistic director Lionel Meunier and scenographer Emilie Lauwers, in cooperation with dramaturge Isaline Claeys and filmmaker Mário Melo Costa.
Co-production : Concertgebouw Brugge |
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February 23, 19:30
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The Netherlands
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Muziekgebouw aan ’t IJ, Amsterdam – SOLD OUT H. Purcell, The Fairy Queen + Vox Luminis brings the enchanting story of The Fairy Queen to life. The Fairy Queen draws its inspiration from Shakespeare’s A Midsummer Night’s Dream, a piece that also strongly stimulates the visual imagination. The brilliant voices of Vox Luminis will resound amongst a spirited shadow play balancing between reality and subconsciousness, a new project by artistic director Lionel Meunier and scenographer Emilie Lauwers, in cooperation with dramaturge Isaline Claeys and filmmaker Mário Melo Costa.
Co-production : Concertgebouw Brugge |
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March 14, 20:00
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Belgium
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Eglise Notre-Dame de la Chapelle, Brussels Ein deutsches Barockrequiem + Because Lutherans do not have a fixed funeral service, Brahms selected texts from various Biblical sources for his German Requiem. Vox Luminis traces a path from those texts to some of the familiar and less-familiar pages of their core repertoire, works that set to music exactly the same texts that Brahms selected.
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March 15, 19:00
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Belgium
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Abbaye musicale, Malonne Ein deutsches Barockrequiem + Because Lutherans do not have a fixed funeral service, Brahms selected texts from various Biblical sources for his German Requiem. Vox Luminis traces a path from those texts to some of the familiar and less-familiar pages of their core repertoire, works that set to music exactly the same texts that Brahms selected.
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March 16, 17:00
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Luxembourg
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Eglise Saint-Pierre, Lintgen Ein deutsches Barockrequiem + Because Lutherans do not have a fixed funeral service, Brahms selected texts from various Biblical sources for his German Requiem. Vox Luminis traces a path from those texts to some of the familiar and less-familiar pages of their core repertoire, works that set to music exactly the same texts that Brahms selected.
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March 30, 19:00
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Belgium
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BOZAR, Brussels Dies Irae + A woman attacks a wooden box with a hammer as stormy piano chords erupt beside her. Eight double basses echo the same intense phrase repeatedly. Galina Ustvolskaya’s Dies Irae marks the apotheosis of the eponymous performance that concludes Klarafestival 2025. This powerful scenic concert is the brainchild of festival artist Patricia Kopatchinskaja, exploring the question: what answer does classical music have for today’s urgent crises? How can musicians respond to war and climate change?
Joined by Aurora Orchestra and Vox Luminis, Kopatchinskaja gallops through music history, from the Gregorian Dies Irae (‘Day of Wrath’) to Ustvolskaya’s modern reimagining. Along the way, Biber’s baroque Battalia and Lotti’s moving Crucifixus stand side by side with George Crumb’s Black Angels. Both a protest and a call to action, this production leaves the audience inspired and empowered as the musical dust settles. With the support of the Tax Shelter of the Belgian Federal Government. |
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April 7, 20:00
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Germany
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Philharmonie, Berlin J.S. Bach : Johannes Passion + “This music expresses things that until then no one had dared or been able to express.” These are composer Hans Werner Henze’s words about Johann Sebastian Bach’s St John Passion. We can only agree with this statement because Bach’s Passions remain unique in music history. It is clear from the very first notes that this shorter and more dramatic version of the passion story is a ‘must’ to experience live, especially in this interpretation by Vox Luminis together with the Freiburger Barockorchester conducted by Lionel Meunier.
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April 8, 20:00
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Germany
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Liederhalle, Stuttgart J.S. Bach : Johannes Passion + “This music expresses things that until then no one had dared or been able to express.” These are composer Hans Werner Henze’s words about Johann Sebastian Bach’s St John Passion. We can only agree with this statement because Bach’s Passions remain unique in music history. It is clear from the very first notes that this shorter and more dramatic version of the passion story is a ‘must’ to experience live, especially in this interpretation by Vox Luminis together with the Freiburger Barockorchester conducted by Lionel Meunier.
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April 10, 19:30
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Spain
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Auditorio Nacional, Madrid J.S. Bach : Johannes Passion + “This music expresses things that until then no one had dared or been able to express.” These are composer Hans Werner Henze’s words about Johann Sebastian Bach’s St John Passion. We can only agree with this statement because Bach’s Passions remain unique in music history. It is clear from the very first notes that this shorter and more dramatic version of the passion story is a ‘must’ to experience live, especially in this interpretation by Vox Luminis together with the Freiburger Barockorchester conducted by Lionel Meunier.
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April 11, 19:00
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Spain
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Palau de la Musica, Barcelona J.S. Bach : Johannes Passion + “This music expresses things that until then no one had dared or been able to express.” These are composer Hans Werner Henze’s words about Johann Sebastian Bach’s St John Passion. We can only agree with this statement because Bach’s Passions remain unique in music history. It is clear from the very first notes that this shorter and more dramatic version of the passion story is a ‘must’ to experience live, especially in this interpretation by Vox Luminis together with the Freiburger Barockorchester conducted by Lionel Meunier.
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April 13, 11:00
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Spain
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Teatro de la Maestranza, Seville J.S. Bach : Johannes Passion + “This music expresses things that until then no one had dared or been able to express.” These are composer Hans Werner Henze’s words about Johann Sebastian Bach’s St John Passion. We can only agree with this statement because Bach’s Passions remain unique in music history. It is clear from the very first notes that this shorter and more dramatic version of the passion story is a ‘must’ to experience live, especially in this interpretation by Vox Luminis together with the Freiburger Barockorchester conducted by Lionel Meunier.
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April 15, 20:15
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Belgium
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Flagey, Brussels J.S. Bach : Johannes Passion + Vox Luminis cast new light on Bach’s St John Passion. Together with the Freiburger Baroque Orchestra, they perform the second version of this work and not the familiar third. The ink on the opening and closing choruses in this second version was barely dry when they were first performed on 30 March, 1725. These movements give the Passion a more subdued feel. Different yet familiar.
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April 16, 20:00
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Belgium
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Concertgebouw, Bruges J.S. Bach : Johannes Passion + Vox Luminis cast new light on Bach’s St John Passion. Together with the Freiburger Baroque Orchestra, they perform the second version of this work and not the familiar third. The ink on the opening and closing choruses in this second version was barely dry when they were first performed on 30 March, 1725. These movements give the Passion a more subdued feel. Different yet familiar.
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April 18, 18:00
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Germany
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Konzerthaus, Freiburg J.S. Bach : Johannes Passion + “This music expresses things that until then no one had dared or been able to express.” These are composer Hans Werner Henze’s words about Johann Sebastian Bach’s St John Passion. We can only agree with this statement because Bach’s Passions remain unique in music history. It is clear from the very first notes that this shorter and more dramatic version of the passion story is a ‘must’ to experience live, especially in this interpretation by Vox Luminis together with the Freiburger Barockorchester conducted by Lionel Meunier.
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May 18, 14:30
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Belgium
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Eglise St Gilles de Chaineux, Herve Giovanni Pierluigi da Palestrina, Missa Papæ Marcelli + In the mid-16th century, a heated debate raged in the Vatican about polyphony in religious practice. The complex play of simultaneously sung lines made it difficult to understand the words, sceptics maintained, which was good reason to ban polyphonic music from the liturgy. Their most notorious opponent – as legend has it – was Pope Marcellus II. His adamant insistence that polyphony could in fact be clearly understood may have been the most remarkable statement of his papacy, which only lasted 22 days. Giovanni Pierluigi da Palestrina was charged with writing a new mass to prove the Pope right. The Missa Papae Marcelli is a success in every respect: transparent textures ensure the texts are fluent without the slightest compromise in terms of style or refinement. The piece became a paragon of Tridentine polyphony, inspiring generations of composers and leading to the epithet ‘saviour of polyphony’ for da Palestrina.
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May 20, 20:30
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France
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Oratoire du Louvre, Paris Giovanni Pierluigi da Palestrina, Missa Papæ Marcelli + In the mid-16th century, a heated debate raged in the Vatican about polyphony in religious practice. The complex play of simultaneously sung lines made it difficult to understand the words, sceptics maintained, which was good reason to ban polyphonic music from the liturgy. Their most notorious opponent – as legend has it – was Pope Marcellus II. His adamant insistence that polyphony could in fact be clearly understood may have been the most remarkable statement of his papacy, which only lasted 22 days. Giovanni Pierluigi da Palestrina was charged with writing a new mass to prove the Pope right. The Missa Papae Marcelli is a success in every respect: transparent textures ensure the texts are fluent without the slightest compromise in terms of style or refinement. The piece became a paragon of Tridentine polyphony, inspiring generations of composers and leading to the epithet ‘saviour of polyphony’ for da Palestrina.
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May 22, 20:00
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Spain
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Auditorio Príncipe Felipe, Oviedo Giovanni Pierluigi da Palestrina, Missa Papæ Marcelli + In the mid-16th century, a heated debate raged in the Vatican about polyphony in religious practice. The complex play of simultaneously sung lines made it difficult to understand the words, sceptics maintained, which was good reason to ban polyphonic music from the liturgy. Their most notorious opponent – as legend has it – was Pope Marcellus II. His adamant insistence that polyphony could in fact be clearly understood may have been the most remarkable statement of his papacy, which only lasted 22 days. Giovanni Pierluigi da Palestrina was charged with writing a new mass to prove the Pope right. The Missa Papae Marcelli is a success in every respect: transparent textures ensure the texts are fluent without the slightest compromise in terms of style or refinement. The piece became a paragon of Tridentine polyphony, inspiring generations of composers and leading to the epithet ‘saviour of polyphony’ for da Palestrina.
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May 23, 19:30
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Spain
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Auditorio Nacional de Música, Madrid Giovanni Pierluigi da Palestrina, Missa Papæ Marcelli + In the mid-16th century, a heated debate raged in the Vatican about polyphony in religious practice. The complex play of simultaneously sung lines made it difficult to understand the words, sceptics maintained, which was good reason to ban polyphonic music from the liturgy. Their most notorious opponent – as legend has it – was Pope Marcellus II. His adamant insistence that polyphony could in fact be clearly understood may have been the most remarkable statement of his papacy, which only lasted 22 days. Giovanni Pierluigi da Palestrina was charged with writing a new mass to prove the Pope right. The Missa Papae Marcelli is a success in every respect: transparent textures ensure the texts are fluent without the slightest compromise in terms of style or refinement. The piece became a paragon of Tridentine polyphony, inspiring generations of composers and leading to the epithet ‘saviour of polyphony’ for da Palestrina.
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June 13, 20:00
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USA
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Emmanuel Church, Boston Rossi & Carissimi + Without Giacomo Carissimi, the oratorio and the recitative might never have existed. The 17th-century Italian composer – an important predecessor of, and source of inspiration for Antonio Vivaldi – turned out to be a brilliant free spirit at the time of the counter-reformation. He was an advocate of emotional music to convert the people, and smuggled the intense expression of the opera into spiritual music. Operas were created with his masterly oratorios – inspired by Bible stories such as that of Jeptha, and his reflections on the transience of worldly ambitions in Vanitas Vanitatum. These include all the drama, tension and broad emotional spectrum characteristic of 17th-century opera.
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June 21, 19:30
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Czech Republic
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St Bartholomew Church, Moravský Krumlov Bach Dynasty + Bach’s knowledge of his family’s motets is evidenced by a remarkable collection known as the Altbachisches Archiv. This volume includes some twenty motets and a series of cantatas composed by successive generations of Bachs. It is thought to have passed through the hands of various family members, who made their own contributions and revisions, before Johann Sebastian acquired it sometime around 1739.
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July 2, 20:00
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Hong Kong
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St John’s Cathedral, Hong Kong Bach Dynasty + Bach’s knowledge of his family’s motets is evidenced by a remarkable collection known as the Altbachisches Archiv. This volume includes some twenty motets and a series of cantatas composed by successive generations of Bachs. It is thought to have passed through the hands of various family members, who made their own contributions and revisions, before Johann Sebastian acquired it sometime around 1739. It was against this backdrop, with the combination of these two hallmarks of Lutheran music — florid counterpoint and the chorale — that Bach composed Jesu, meine Freude.
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July 5, 20:00
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Hong Kong
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Tsuen Wan Town Hall, Hong Kong J.S. Bach : double-choir motets + It is well known that Bach was very prolific throughout his life. However, he left us only 6 motets, 4 of which were written for a double choir. At least, this is what is reliably recorded in the Bach’s catalogue.
In the context of this new and exceptional collaboration between Vox Luminis and NOĒMA, the ensembles of Lionel Meunier and Sanders Lau will perform these 4 double-choir motets. |
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July 20, 11:00
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Austria
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Kollegienkirche, Salzburg Timor Dei + Without Giacomo Carissimi, the oratorio and the recitative might never have existed. The 17th-century Italian composer – an important predecessor of, and source of inspiration for Antonio Vivaldi – turned out to be a brilliant free spirit at the time of the counter-reformation. He was an advocate of emotional music to convert the people, and smuggled the intense expression of the opera into spiritual music. Operas were created with his masterly oratorios – inspired by Bible stories such as those of Jeptha and Jonas. These include all the drama, tension and broad emotional spectrum characteristic of 17th-century opera.
Marc-Antoine Charpentier, a disciple of Carissimi, also wrote many oratorios, including some thirty based on biblical stories. The most moving of these, Le Reniement de Saint-Pierre, will be presented at this concert. |
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July 22, 20:30
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Austria
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Kollegienkirche, Salzburg – SOLD OUT J.S. Bach : Johannes Passion + “This music expresses things that until then no one had dared or been able to express.” These are composer Hans Werner Henze’s words about Johann Sebastian Bach’s St John Passion. We can only agree with this statement because Bach’s Passions remain unique in music history. It is clear from the very first notes that this shorter and more dramatic version of the passion story is a ‘must’ to experience live, especially in this interpretation by Vox Luminis together with the Freiburger Barockorchester conducted by Lionel Meunier.
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July 23, 20:30
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Austria
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Kollegienkirche, Salzburg J.S. Bach : Johannes Passion + “This music expresses things that until then no one had dared or been able to express.” These are composer Hans Werner Henze’s words about Johann Sebastian Bach’s St John Passion. We can only agree with this statement because Bach’s Passions remain unique in music history. It is clear from the very first notes that this shorter and more dramatic version of the passion story is a ‘must’ to experience live, especially in this interpretation by Vox Luminis together with the Freiburger Barockorchester conducted by Lionel Meunier.
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August 15, 21:00
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France
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Basilique Saint-Sauveur, Rocamadour
Festival de Rocamadour – opening concert
J.S. Bach, Mass in B minor, BWV 232 + No one knows why, at the end of his life, a Protestant composer gathered up all his knowledge and expertise and expanded a previous arrangement of the Kyrie and the Gloria – a so-called Missa brevis from 1733 – into an entire Catholic Mass. It doesn’t matter anyway. The fact is that in this magnum opus, Bach succeeded in combining beauty and polyphonous complexity like never before. Bach at his best!
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August 26, 20:00
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Austria
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Dom zu St. Jakob, Innsbruck Bach Dynasty + Bach’s knowledge of his family’s motets is evidenced by a remarkable collection known as the Altbachisches Archiv. This volume includes some twenty motets and a series of cantatas composed by successive generations of Bachs. It is thought to have passed through the hands of various family members, who made their own contributions and revisions, before Johann Sebastian acquired it sometime around 1739. It was against this backdrop, with the combination of these two hallmarks of Lutheran music — florid counterpoint and the chorale — that Bach composed Jesu, meine Freude.
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