- Agenda
2026 | |||
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October 30, 20:00
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Belgium
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BOZAR, Brussels Missa in Angustiis (“Nelson Mass”) – J. Haydn +
Does the epithet Missa in angustiis (Mass for Troubled Times) refer to the stressful composition process for Joseph Haydn or tensions on the world stage in 1798? Both this added layer of meaning and the musical energy of the piece are still relevant today. Cost-cutting at the Esterházy court meant that the woodwind section had to be replaced by an organ, leading to an unusual instrumentation in Haydn’s masses.
The Requiem in D Minor by W.A. Mozart also took on a life of its own after the composer’s death: the unfinished mass was completed by his former student Franz Xaver Süszmayr, with a skill matched only by the sense of mystery in the piece. Belgium’s pride, Vox Luminis, and the acclaimed ensemble Camerata Salzburg link up these two shining examples of late 18th century church music. Coproduction: Perpodium |
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October 31, 20:00
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Belgium
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DE SINGEL, Antwerp Missa in Angustiis (“Nelson Mass”) – J. Haydn +
Does the epithet Missa in angustiis (Mass for Troubled Times) refer to the stressful composition process for Joseph Haydn or tensions on the world stage in 1798? Both this added layer of meaning and the musical energy of the piece are still relevant today. Cost-cutting at the Esterházy court meant that the woodwind section had to be replaced by an organ, leading to an unusual instrumentation in Haydn’s masses.
The Requiem in D Minor by W.A. Mozart also took on a life of its own after the composer’s death: the unfinished mass was completed by his former student Franz Xaver Süszmayr, with a skill matched only by the sense of mystery in the piece. Belgium’s pride, Vox Luminis, and the acclaimed ensemble Camerata Salzburg link up these two shining examples of late 18th century church music. Coproduction: Perpodium |
LAST TICKETS |
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November 1, 19:30
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Spain
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Auditorio Nacional de Música, Madrid Missa in Angustiis (“Nelson Mass”) – J. Haydn +
Does the epithet Missa in angustiis (Mass for Troubled Times) refer to the stressful composition process for Joseph Haydn or tensions on the world stage in 1798? Both this added layer of meaning and the musical energy of the piece are still relevant today. Cost-cutting at the Esterházy court meant that the woodwind section had to be replaced by an organ, leading to an unusual instrumentation in Haydn’s masses.
The Requiem in D Minor by W.A. Mozart also took on a life of its own after the composer’s death: the unfinished mass was completed by his former student Franz Xaver Süszmayr, with a skill matched only by the sense of mystery in the piece. Belgium’s pride, Vox Luminis, and the acclaimed ensemble Camerata Salzburg link up these two shining examples of late 18th century church music. Coproduction: Perpodium |
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November 2, 20:00
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Spain
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Teatro de la Maestranza, Sevilla Missa in Angustiis (“Nelson Mass”) – J. Haydn +
Does the epithet Missa in angustiis (Mass for Troubled Times) refer to the stressful composition process for Joseph Haydn or tensions on the world stage in 1798? Both this added layer of meaning and the musical energy of the piece are still relevant today. Cost-cutting at the Esterházy court meant that the woodwind section had to be replaced by an organ, leading to an unusual instrumentation in Haydn’s masses.
The Requiem in D Minor by W.A. Mozart also took on a life of its own after the composer’s death: the unfinished mass was completed by his former student Franz Xaver Süszmayr, with a skill matched only by the sense of mystery in the piece. Belgium’s pride, Vox Luminis, and the acclaimed ensemble Camerata Salzburg link up these two shining examples of late 18th century church music. Coproduction: Perpodium |
LAST TICKETS |
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November 4, 19:30
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Spain
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Auditorio Principe Felipe, Oviedo Missa in Angustiis (“Nelson Mass”) – J. Haydn +
Does the epithet Missa in angustiis (Mass for Troubled Times) refer to the stressful composition process for Joseph Haydn or tensions on the world stage in 1798? Both this added layer of meaning and the musical energy of the piece are still relevant today. Cost-cutting at the Esterházy court meant that the woodwind section had to be replaced by an organ, leading to an unusual instrumentation in Haydn’s masses.
The Requiem in D Minor by W.A. Mozart also took on a life of its own after the composer’s death: the unfinished mass was completed by his former student Franz Xaver Süszmayr, with a skill matched only by the sense of mystery in the piece. Belgium’s pride, Vox Luminis, and the acclaimed ensemble Camerata Salzburg link up these two shining examples of late 18th century church music. Coproduction: Perpodium |
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November 6, 19:00
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Austria
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Mozarteum, Salzburg Missa in Angustiis (“Nelson Mass”) – J. Haydn +
Music is never created in a vacuum. Anyone who listens to the great works of the past is also listening to the era in which they were written, a time of upheaval, conflict and hope. Following the French Revolution, the world order was thrown completely out of balance: the wars waged by the monarchies against Napoleonic France left no one untouched.
This programme echoes that history. Camerata Salzburg, Vox Luminis XL and Lionel Meunier perform works that refer directly to the events of that time centred on Haydn’s impressive Missa in angustiis. Composed amidst the Anglo-French naval conflict, it was named after the British admiral Horatio Nelson, who won the Battle of Abukir. A work that breathed the turmoil of its time and still has something to say to us today, in these once again war-torn times. Coproduction: Perpodium |
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November 8, 11:00
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Austria
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Mozarteum, Salzburg Missa in Angustiis (“Nelson Mass”) – J. Haydn +
Music is never created in a vacuum. Anyone who listens to the great works of the past is also listening to the era in which they were written, a time of upheaval, conflict and hope. Following the French Revolution, the world order was thrown completely out of balance: the wars waged by the monarchies against Napoleonic France left no one untouched.
This programme echoes that history. Camerata Salzburg, Vox Luminis XL and Lionel Meunier perform works that refer directly to the events of that time centred on Haydn’s impressive Missa in angustiis. Composed amidst the Anglo-French naval conflict, it was named after the British admiral Horatio Nelson, who won the Battle of Abukir. A work that breathed the turmoil of its time and still has something to say to us today, in these once again war-torn times. Coproduction: Perpodium |
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November 11, 19:30
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USA
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Center for the Arts at Virginia Tech, Blacksburg Vespro della Beata Vergine – C. Monteverdi +
Claudio Monteverdi’s Vespers for the Blessed Virgin (1610) are so much more than an evening prayer service. The maestro of San Marco takes the traditional vespers formula – a combination of psalms, hymns and canticles – and transforms it into a musical spectacle of the highest order. Opera and liturgy, old and new, pious and sensual: everything collides and merges into one grandiose design. The score breathes the space of the basilica in which Monteverdi designed the sound of the future, as if the graceful galleries, balconies and choir stalls inspired the sound architecture. Monteverdi is a genius with voices, but he also makes use of cornetti, trombones, strings, organ and continuo – not as decorative elements, but as colours on a palette. Some passages are monumental, others sober and narrative or explicitly virtuosic.
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November 12, 19:30
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USA
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Wake Forest University, Winston-Salem Vespro della Beata Vergine – C. Monteverdi +
Claudio Monteverdi’s Vespers for the Blessed Virgin (1610) are so much more than an evening prayer service. The maestro of San Marco takes the traditional vespers formula – a combination of psalms, hymns and canticles – and transforms it into a musical spectacle of the highest order. Opera and liturgy, old and new, pious and sensual: everything collides and merges into one grandiose design. The score breathes the space of the basilica in which Monteverdi designed the sound of the future, as if the graceful galleries, balconies and choir stalls inspired the sound architecture. Monteverdi is a genius with voices, but he also makes use of cornetti, trombones, strings, organ and continuo – not as decorative elements, but as colours on a palette. Some passages are monumental, others sober and narrative or explicitly virtuosic.
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November 14, 19:30
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USA
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Redeemer Presbyterian Church, Austin Vespro della Beata Vergine – C. Monteverdi +
Claudio Monteverdi’s Vespers for the Blessed Virgin (1610) are so much more than an evening prayer service. The maestro of San Marco takes the traditional vespers formula – a combination of psalms, hymns and canticles – and transforms it into a musical spectacle of the highest order. Opera and liturgy, old and new, pious and sensual: everything collides and merges into one grandiose design. The score breathes the space of the basilica in which Monteverdi designed the sound of the future, as if the graceful galleries, balconies and choir stalls inspired the sound architecture. Monteverdi is a genius with voices, but he also makes use of cornetti, trombones, strings, organ and continuo – not as decorative elements, but as colours on a palette. Some passages are monumental, others sober and narrative or explicitly virtuosic.
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November 17, 19:30
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USA
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Saint Brigid Parish, San Diego Vespro della Beata Vergine – C. Monteverdi +
Claudio Monteverdi’s Vespers for the Blessed Virgin (1610) are so much more than an evening prayer service. The maestro of San Marco takes the traditional vespers formula – a combination of psalms, hymns and canticles – and transforms it into a musical spectacle of the highest order. Opera and liturgy, old and new, pious and sensual: everything collides and merges into one grandiose design. The score breathes the space of the basilica in which Monteverdi designed the sound of the future, as if the graceful galleries, balconies and choir stalls inspired the sound architecture. Monteverdi is a genius with voices, but he also makes use of cornetti, trombones, strings, organ and continuo – not as decorative elements, but as colours on a palette. Some passages are monumental, others sober and narrative or explicitly virtuosic.
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November 20, 19:30
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USA
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St. James Cathedral, Seattle Vespro della Beata Vergine – C. Monteverdi +
Claudio Monteverdi’s Vespers for the Blessed Virgin (1610) are so much more than an evening prayer service. The maestro of San Marco takes the traditional vespers formula – a combination of psalms, hymns and canticles – and transforms it into a musical spectacle of the highest order. Opera and liturgy, old and new, pious and sensual: everything collides and merges into one grandiose design. The score breathes the space of the basilica in which Monteverdi designed the sound of the future, as if the graceful galleries, balconies and choir stalls inspired the sound architecture. Monteverdi is a genius with voices, but he also makes use of cornetti, trombones, strings, organ and continuo – not as decorative elements, but as colours on a palette. Some passages are monumental, others sober and narrative or explicitly virtuosic.
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November 22, 18:00
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Canada
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Church of Saint-Léon-de-Westmount, Montréal Vespro della Beata Vergine – C. Monteverdi +
Claudio Monteverdi’s Vespers for the Blessed Virgin (1610) are so much more than an evening prayer service. The maestro of San Marco takes the traditional vespers formula – a combination of psalms, hymns and canticles – and transforms it into a musical spectacle of the highest order. Opera and liturgy, old and new, pious and sensual: everything collides and merges into one grandiose design. The score breathes the space of the basilica in which Monteverdi designed the sound of the future, as if the graceful galleries, balconies and choir stalls inspired the sound architecture. Monteverdi is a genius with voices, but he also makes use of cornetti, trombones, strings, organ and continuo – not as decorative elements, but as colours on a palette. Some passages are monumental, others sober and narrative or explicitly virtuosic.
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LAST TICKETS |
2027 | |||
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January 29, 20:30
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France
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Salle Gaveau, Paris Dido and Aeneas – Henry Purcell (Z. 626) +
The creation of Dido and Aeneas is indirectly attributable to the Dutch Stadtholder William III. One of his first acts as the new King of England was to fire Henry Purcell from his position as court composer. Out of a job and with time on his hands, Purcell wrote his masterpiece at home. The fact that Aeneas is portrayed in the opera as a spineless fool may well have been Purcell’s sweet revenge against William III.
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January 30, 20:15
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The Netherlands
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Muziekgebouw aan ‘t IJ, Amsterdam Dido and Aeneas – Henry Purcell (Z. 626) +
The creation of Dido and Aeneas is indirectly attributable to the Dutch Stadtholder William III. One of his first acts as the new King of England was to fire Henry Purcell from his position as court composer. Out of a job and with time on his hands, Purcell wrote his masterpiece at home. The fact that Aeneas is portrayed in the opera as a spineless fool may well have been Purcell’s sweet revenge against William III.
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SOLD OUT |
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January 31, 19:00
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Belgium
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Concertgebouw, Bruges Dido and Aeneas – Henry Purcell (Z. 626) +
The creation of Dido and Aeneas is indirectly attributable to the Dutch Stadtholder William III. One of his first acts as the new King of England was to fire Henry Purcell from his position as court composer. Out of a job and with time on his hands, Purcell wrote his masterpiece at home. The fact that Aeneas is portrayed in the opera as a spineless fool may well have been Purcell’s sweet revenge against William III.
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LAST TICKETS |
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February 2, 20:00
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Belgium
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Grand Manège, Namur Dido and Aeneas – Henry Purcell (Z. 626) +
The creation of Dido and Aeneas is indirectly attributable to the Dutch Stadtholder William III. One of his first acts as the new King of England was to fire Henry Purcell from his position as court composer. Out of a job and with time on his hands, Purcell wrote his masterpiece at home. The fact that Aeneas is portrayed in the opera as a spineless fool may well have been Purcell’s sweet revenge against William III.
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February 4, 19:30
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United Kingdom
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Wigmore Hall, London Dido and Aeneas – Henry Purcell (Z. 626) +
The creation of Dido and Aeneas is indirectly attributable to the Dutch Stadtholder William III. One of his first acts as the new King of England was to fire Henry Purcell from his position as court composer. Out of a job and with time on his hands, Purcell wrote his masterpiece at home. The fact that Aeneas is portrayed in the opera as a spineless fool may well have been Purcell’s sweet revenge against William III.
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SOLD OUT |
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February 5, 20:00
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The Netherlands
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Theater, Heerlen Dido and Aeneas – Henry Purcell (Z. 626) +
The creation of Dido and Aeneas is indirectly attributable to the Dutch Stadtholder William III. One of his first acts as the new King of England was to fire Henry Purcell from his position as court composer. Out of a job and with time on his hands, Purcell wrote his masterpiece at home. The fact that Aeneas is portrayed in the opera as a spineless fool may well have been Purcell’s sweet revenge against William III.
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February 6, 19:30
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Germany
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Reinoldihaus, Dortmund Dido and Aeneas – Henry Purcell (Z. 626) +
The creation of Dido and Aeneas is indirectly attributable to the Dutch Stadtholder William III. One of his first acts as the new King of England was to fire Henry Purcell from his position as court composer. Out of a job and with time on his hands, Purcell wrote his masterpiece at home. The fact that Aeneas is portrayed in the opera as a spineless fool may well have been Purcell’s sweet revenge against William III.
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LAST TICKETS |
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February 7, 17:00
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Belgium
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DE SINGEL, Antwerp Dido and Aeneas – Henry Purcell (Z. 626) +
The creation of Dido and Aeneas is indirectly attributable to the Dutch Stadtholder William III. One of his first acts as the new King of England was to fire Henry Purcell from his position as court composer. Out of a job and with time on his hands, Purcell wrote his masterpiece at home. The fact that Aeneas is portrayed in the opera as a spineless fool may well have been Purcell’s sweet revenge against William III.
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LAST TICKETS |
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February 27, 20:00
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Belgium
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Salle Philharmonique, Liège Bach & Buxtehude +
In 1704, in the middle of winter, Johann Sebastian Bach undertakes a 400-kilometre walk to the Hanseatic city of Lübeck in order to meet the renowned organist and composer Dietrich Buxtehude. The journey begins in Arnstadt, the birthplace of Johann Michael Bach (1648–1694) and Johann Christoph Bach (1642–1703). By placing Christ lag in Todesbanden by Johann Sebastian Bach alongside works by composers of the previous generation, the programme seeks to contextualise his music and highlight its roots and development.
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March 13, 19:30
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Australia
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Melbourne Recital Centre, Melbourne Johannes Passion – J.S. Bach +
“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.
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March 14, 14:30
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Australia
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Arts Centre, Melbourne Johannes Passion – J.S. Bach +
“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.
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March 15, 19:30
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Australia
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Melbourne Recital Centre, Melbourne Johannes Passion – J.S. Bach +
“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.
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March 16, 19:30
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Australia
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Town Hall, Adelaide Johannes Passion – J.S. Bach +
“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.
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March 18, 19:30
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Australia
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City Hall, Newcastle Johannes Passion – J.S. Bach +
“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.
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March 20, 19:00
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Australia
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City Recital Hall, Sydney Johannes Passion – J.S. Bach +
“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.
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BOOK NOW |
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March 21, 14:00
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Australia
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City Recital Hall, Sydney Johannes Passion – J.S. Bach +
“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.
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BOOK NOW |
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March 22, 19:00
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Australia
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Queensland Performing Arts Centre, Brisbane Johannes Passion – J.S. Bach +
“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.
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BOOK NOW |
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March 23, 20:00
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Australia
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City Recital Hall, Sydney Johannes Passion – J.S. Bach +
“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.
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BOOK NOW |
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March 24, 19:00
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Australia
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City Recital Hall, Sydney Johannes Passion – J.S. Bach +
“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.
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April 8, 20:30
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Italy
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Basilica di San Vittore, Varese Missa Papae Marcelli – G. P. da Palestrina +
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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April 10, 16:00
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Italy
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Teatro della Pergola, Florence Missa Papae Marcelli – G. P. da Palestrina +
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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BOOK NOW |
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May 4, 19:30
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Spain
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Auditorio Nacional de Música, Madrid Mass in B minor (BWV 232) – J.S. Bach +
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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May 5, 19:00
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Spain
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Palau de la Música, Barcelona Mass in B minor (BWV 232) – J.S. Bach +
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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BOOK NOW |
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May 14, 19:30
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Spain
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Auditorio Nacional de Música, Madrid Officium Defunctorum – Cristóbal de Morales +
With Cristóbal de Morales, Vox Luminis shines a light on the most important composer from the Iberian peninsula in the first half of the 16th century, nicknamed “la luz de España en la música” (the light of Spain in music). He not only worked in Spanish Cathedrals, but was also a singer in the Papal Choir of the Sistine Chapel for many years. His five-part Missa pro Defunctis, printed in Rome in 1544, is a requiem of magnificent proportions, a true milestone of Western sacred music.
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May 15, 20:30
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Spain
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Auditorio Ciudad, León Officium Defunctorum – Cristóbal de Morales +
With Cristóbal de Morales, Vox Luminis shines a light on the most important composer from the Iberian peninsula in the first half of the 16th century, nicknamed “la luz de España en la música” (the light of Spain in music). He not only worked in Spanish Cathedrals, but was also a singer in the Papal Choir of the Sistine Chapel for many years. His five-part Missa pro Defunctis, printed in Rome in 1544, is a requiem of magnificent proportions, a true milestone of Western sacred music.
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BOOK NOW |
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May 16, 20:30
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Spain
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Auditorio Fonseca, Salamanca Officium Defunctorum – Cristóbal de Morales +
With Cristóbal de Morales, Vox Luminis shines a light on the most important composer from the Iberian peninsula in the first half of the 16th century, nicknamed “la luz de España en la música” (the light of Spain in music). He not only worked in Spanish Cathedrals, but was also a singer in the Papal Choir of the Sistine Chapel for many years. His five-part Missa pro Defunctis, printed in Rome in 1544, is a requiem of magnificent proportions, a true milestone of Western sacred music.
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BOOK NOW |
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May 19, 20:15
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The Netherlands
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Muziekgebouw aan ‘t IJ, Amsterdam Officium Defunctorum – Cristóbal de Morales +
With Cristóbal de Morales, Vox Luminis shines a light on the most important composer from the Iberian peninsula in the first half of the 16th century, nicknamed “la luz de España en la música” (the light of Spain in music). He not only worked in Spanish Cathedrals, but was also a singer in the Papal Choir of the Sistine Chapel for many years. His five-part Missa pro Defunctis, printed in Rome in 1544, is a requiem of magnificent proportions, a true milestone of Western sacred music.
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May 20, 19:30
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Luxembourg
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Philharmonie, Luxembourg Officium Defunctorum – Cristóbal de Morales +
With Cristóbal de Morales, Vox Luminis shines a light on the most important composer from the Iberian peninsula in the first half of the 16th century, nicknamed “la luz de España en la música” (the light of Spain in music). He not only worked in Spanish Cathedrals, but was also a singer in the Papal Choir of the Sistine Chapel for many years. His five-part Missa pro Defunctis, printed in Rome in 1544, is a requiem of magnificent proportions, a true milestone of Western sacred music.
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BOOK NOW |
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May 21, 20:00
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Belgium
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Cultuurcentrum, Hasselt Officium Defunctorum – Cristóbal de Morales +
With Cristóbal de Morales, Vox Luminis shines a light on the most important composer from the Iberian peninsula in the first half of the 16th century, nicknamed “la luz de España en la música” (the light of Spain in music). He not only worked in Spanish Cathedrals, but was also a singer in the Papal Choir of the Sistine Chapel for many years. His five-part Missa pro Defunctis, printed in Rome in 1544, is a requiem of magnificent proportions, a true milestone of Western sacred music.
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BOOK NOW |
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May 25, 20:00
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Belgium
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Grand Manège, Namur King Arthur – H. Purcell +
After the Tudor composers and before Handel, it was Henry Purcell who gave the English baroque its soul. With its brilliant mix of tradition and innovation, the Orpheus Britannicus also conquered the heart of Vox Luminis: one of the most celebrated Belgian formations of the moment. With King Arthur, it serves up a dramatic opera in which the swords of the Saxons clash, Roman and Germanic gods bicker and an epic soundtrack swings from climax to climax.
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May 26, 19:00
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Belgium
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Aula Magna, Louvain-la-Neuve King Arthur – H. Purcell +
After the Tudor composers and before Handel, it was Henry Purcell who gave the English baroque its soul. With its brilliant mix of tradition and innovation, the Orpheus Britannicus also conquered the heart of Vox Luminis: one of the most celebrated Belgian formations of the moment. With King Arthur, it serves up a dramatic opera in which the swords of the Saxons clash, Roman and Germanic gods bicker and an epic soundtrack swings from climax to climax.
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May 29, 20:00
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Germany
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Laeiszhalle, Hamburg The Fairy Queen – H. Purcell +
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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