- Agenda
2026 | |||
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July 19, 11:00
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Austria
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Kollegienkirche, Salzburg 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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SOLD OUT |
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July 20, 20:30
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Austria
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Kollegienkirche, Salzburg 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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SOLD OUT |
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July 21, 22:30
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Austria
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Kollegienkirche, Salzburg Via Crucis, Die 14 Stationen des Kreuzwegs – F. Liszt Vox Luminis +
For the first time, Vox Luminis will perform Franz Liszt’s impressive Via Crucis. This work, dedicated to the fourteen stations of the cross (Die 14 Stationen des Kreuzwegs), is one of Liszt’s last compositions. The work occupies a special place in Liszt’s oeuvre: it is a work of great tranquillity and spiritual intensity, in which he explores the boundaries of the tonality that was common at the time. At the same time, Liszt makes explicit reference to the tradition of J.S. Bach’s chorales.
The Rosary Sonatas, also known as the Mystery Sonatas or Copper-Engraving Sonatas constitute a major work by composer Heinrich Ignaz Franz Biber, composed around 1678. Although conceived outside of any liturgical context, the work is nevertheless inspired by a religious programme: it is intended to encourage prayer and meditation on episodes from the lives of the two main characters in the Rosary, Mary and Jesus. Intimate in character, without any virtuoso effects, it is representative music imbued with a deep, mystical feeling. |
LAST TICKETS |
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August 1, 18:00
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Belgium
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Eglise Saint-Sébastien, Stavelot Motets – J.S. Bach +
Bach’s motets constitute one of the most daring and impressive chapters in his vocal oeuvre. In Leipzig, he found the space to realise his ideal of church music, resulting in six exceptional works for five to eight voices in which rich polyphony and incisive textual interpretation reinforce one another. Once regarded as a curiosity, they are now considered milestones within the Lutheran tradition. Vox Luminis brings this music to life in historically informed performances, with instrumental accompaniment as Bach himself would have known it.
Coproduction: Perpodium |
LAST TICKETS |
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August 3, 20:00
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Belgium
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Sint-Jakobskerk, Bruges Motets – J.S. Bach +
Bach’s motets constitute one of the most daring and impressive chapters in his vocal oeuvre. In Leipzig, he found the space to realise his ideal of church music, resulting in six exceptional works for five to eight voices in which rich polyphony and incisive textual interpretation reinforce one another. Once regarded as a curiosity, they are now considered milestones within the Lutheran tradition. Vox Luminis brings this music to life in historically informed performances, with instrumental accompaniment as Bach himself would have known it.
Coproduction: Perpodium |
LAST TICKETS |
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August 5, 21:00
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Spain
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Catedral-Basílica de la Asunción, Mondoñedo Motets – J.S. Bach +
Bach’s motets constitute one of the most daring and impressive chapters in his vocal oeuvre. In Leipzig, he found the space to realise his ideal of church music, resulting in six exceptional works for five to eight voices in which rich polyphony and incisive textual interpretation reinforce one another. Once regarded as a curiosity, they are now considered milestones within the Lutheran tradition. Vox Luminis brings this music to life in historically informed performances, with instrumental accompaniment as Bach himself would have known it.
Coproduction: Perpodium |
SOLD OUT |
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August 15, 21:00
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France
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Basilique Saint-Sauveur, Rocamadour The Early Cantatas – J.S. Bach +
Vox Luminis tackles Johann Sebastian himself, in a programme of cantatas composed in 1707/1708, which are thus among the composer’s earliest. Notable among them is the poignant cantata Gottes Zeit ist die allerbeste Zeit (BWV 106), also known as the ‘Actus tragicus’, which was composed for a funeral ceremony. Bach was therefore just twenty-two years old when he wrote this cantata, which opens with a deeply moving dialogue for recorders and continues with the equally fervent chorus ‘Gottes Zeit…’.
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LAST TICKETS |
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August 23, 19:00
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Germany
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St. Cyprian- und Corneliuskirche, Ganderkesee Motets – J.S. Bach +
In previous years, the Atelier “Wege zu Bach” has explored the key composers who inspired Bach. These came from all over Europe and included Giovanni Gabrieli, Jan Pieterszoon Sweelinck, Heinrich Schütz and Dieterich Buxtehude, but also his own family. This year, under the direction of Lionel Meunier once again, the Atelier puts the spotlight on Bach himself. Although Bach’s six motets BWV 225–230 represent only a tiny fraction of his vast catalogue of sacred music, they occupy a special place within it.
The first works to be printed after Bach’s death in 1802/03, they soon gained a foothold in the flourishing middle-class concert scene. They can be performed a cappella or with instrumental accompaniment. Lionel Meunier decided to have the participants of the atelier perform them accompanied by – naturally! – the organ. In combination with one of Schnitger’s best-preserved instruments, their wealth of colours and blend of choral warmth and solistic virtuosity will once again provide an unforgettable experience. |
LAST TICKETS |
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August 28, 20:00
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Belgium
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St.-Carolus Borromeuskerk, Antwerp 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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SOLD OUT |
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August 30, 19:30
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Germany
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Dom zu Verden, Bremen 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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September 2, 17:00
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Germany
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Dreifaltigkeitskirche, Speyer Early Cantatas – Johann Sebastian Bach Private concert, in the context of the Bach Journey organised by Martin Randall Travel. |
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September 6, 20:00
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The Netherlands
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TivoliVredenburg, Utrecht Spem in alium +
Artistic director Lionel Meunier selected the iconic motet Media Vita of Sheppard, extremely moving music here flanked by two pieces written for 40 a capella voices. Writing for 40 voices implies a series of logistical and technical challenges. Tallis and Striggio probably met in London in 1567. Tallis’s monumental 40-voice work, Spem in alium, was probably inspired by the example of Striggio. Whereas Striggio’s composition Ecce Beatam lucem was probably designed for semicircular performance, Tallis had designed his music to be heard ‘in the round’, with the listener seated within the circle of performers. The music seems as such to ‘rotate’ around a circle.
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LAST TICKETS |
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September 10, 20:00
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Switzerland
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Peterskirche, Basel Abendmusiken +
The ‘Abendmusiken’ were a legendary series of concerts organised by Dieterich Buxtehude in Lübeck. Even Johann Sebastian Bach travelled on foot from far afield to attend these concerts of sacred and instrumental music, and there he met the master Buxtehude, the most famous organist in Europe. These experiences left a lasting impression on the young Bach and had a direct influence on his cantata output.
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September 20, 19:30
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United Kingdom
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Wigmore Hall, London 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 |
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September 24, 20:00
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Belgium
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Onze-Lieve-Vrouw-en-Leodegariuskerk, Bornem Musikalische Exequien – H. Schütz +
Musikalische Exequien are one of Schütz’s greatest sacred works. With the Thirty Years’ War raging around them, Lutherans considered death to be the true fulfilment of their earthly life. Prince Heinrich von Reuss organised all the details of his funeral in advance, from the music that would be sung – to be composed and then performed by Heinrich Schütz during the funeral ceremony – to the coffin itself.
Vox Luminis’ recording of Heinrich Schütz’s Musikalische Exequien was a direct hit. The 2011 album received a Diapason d’Or and an International Classical Music Award, and was declared recording of the year by British music magazine Gramophone. |
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September 29, 15:30
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Germany
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Georgenkirche, Eisenach Bach Dynasty Private concert, in the context of the Bach Journey organised by Martin Randall Travel. |
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October 1, 16:00
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Germany
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Herderkirche, Weimar Johannes-Passion – J.S. Bach (BWV 245) Private concert, in the context of the Bach Journey organised by Martin Randall Travel. |
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October 10, 16:00
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Belgium
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Église de Dochamps, Manhay Sacro Monteverdi +
In 1641 Monteverdi published his Selva morale e spirituali, a major retrospective that he produced of sacred works produced over nearly three decades as musical director at St Mark’s Basilica in Venice. Covering a wide range of styles and emotions, they make use of the expressive resources he had developed as a master of the church motet, secular madrigal and opera.
Vox Luminis’s selection ranges from large-scale, colourfully accompanied motets to intimate creations for just a few singers and players. |
SOLD OUT |
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October 11, 14:30
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Belgium
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Église Saint Jean-Baptiste, Herve Sacro Monteverdi +
In 1641 Monteverdi published his Selva morale e spirituali, a major retrospective that he produced of sacred works produced over nearly three decades as musical director at St Mark’s Basilica in Venice. Covering a wide range of styles and emotions, they make use of the expressive resources he had developed as a master of the church motet, secular madrigal and opera.
Vox Luminis’s selection ranges from large-scale, colourfully accompanied motets to intimate creations for just a few singers and players. |
BOOK NOW |
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October 16, 20:00
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Belgium
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St. Jakob’s Church, Bruges Der Schwanengesang – Heinrich Schütz +
A consummate musical testament, in which the composer, at the age of 86, sums up his entire life’s experience. That is Heinrich Schütz’ Schwanengesang, his ‘swan song’. No theatrical effects, but pure expression and a rare combination of inner peace and emotional depth.
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LAST TICKETS |
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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. |
BOOK NOW |
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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. |
BOOK NOW |
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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. |
BOOK NOW |
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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. |
BOOK NOW |
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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. |
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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. |
BOOK NOW |
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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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BOOK NOW |
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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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BOOK NOW |
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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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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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LAST TICKETS |
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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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BOOK NOW |
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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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BOOK NOW |
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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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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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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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BOOK NOW |
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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 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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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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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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