2025 | |||
|
The Netherlands
|
Musis Sacrum, Arnhem Fauré. Requiem + Franz Liszt (1811 – 1886) – Les Préludes (1854) Franz Liszt (1811 – 1886) – Totentanz (1849) Gabriel Fauré (1845 – 1924) – Requiem Op.48 (version 1893) |
BOOK NOW | |
|
Belgium
|
Aula Magna, Louvain-la-Neuve – SOLD OUT Fauré. Requiem + Franz Liszt (1811 – 1886) – Les Préludes (1854) Franz Liszt (1811 – 1886) – Totentanz (1849) Gabriel Fauré (1845 – 1924) – Requiem Op.48 (version 1893) |
BOOK NOW | |
|
Belgium
|
DE SINGEL, Antwerp G. Carissimi, Oratoria + 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, 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.
With the support of Flanders State of the Art
|
BOOK NOW | |
|
United Kingdom
|
Wigmore Hall, London G. Carissimi, Oratoria + 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, 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.
With the support of Flanders State of the Art
|
BOOK NOW | |
|
The Netherlands
|
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 |
BOOK NOW | |
|
The Netherlands
|
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 |
BOOK NOW | |
|
The Netherlands
|
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 |
BOOK NOW | |
|
The Netherlands
|
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 |
BOOK NOW | |
|
Belgium
|
BOZAR, 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.
|
BOOK NOW | |
|
Belgium
|
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.
|
BOOK NOW | |
|
Luxembourg
|
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.
|
BOOK NOW | |
|
Belgium
|
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. |
BOOK NOW | |
|
Germany
|
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.
|
BOOK NOW | |
|
Germany
|
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.
|
BOOK NOW | |
|
Spain
|
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.
|
BOOK NOW | |
|
Spain
|
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.
|
BOOK NOW | |
|
Spain
|
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.
|
BOOK NOW | |
|
Belgium
|
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.
|
BOOK NOW | |
|
Belgium
|
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.
|
BOOK NOW | |
|
Germany
|
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.
|
BOOK NOW | |
|
Belgium
|
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.
|
BOOK NOW | |
|
France
|
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.
|
BOOK NOW | |
|
Spain
|
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.
|
BOOK NOW | |
|
Spain
|
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.
|
BOOK NOW |
VOX LUMINIS
artist in residence at
VOX LUMINIS
exclusively recording for
VOX LUMINIS
is supported by
VOX LUMINIS
is member of
