Nederlandse Bachvereniging
Hans-Christoph Rademann, dirigent

Benedikt Kristjánsson, evangelist
Carine Tinney, sopraan
Kristen Witmer, sopraan
Terry Wey, alt
Olivia Vermeulen, alt
Georg Poplutz, tenor
James Gilchrist, tenor
Matthias Winckhler, bas
Tobias Berndt, bas

Kampen Boys Choir

Nederlandse Bachvereniging
Hans-Christoph Rademann, dirigent

Benedikt Kristjánsson, evangelist
Carine Tinney, sopraan
Kristen Witmer, sopraan
Terry Wey, alt
Olivia Vermeulen, alt
Georg Poplutz, tenor
James Gilchrist, tenor
Matthias Winckhler, bas
Tobias Berndt, bas

Kampen Boys Choir

Nederlandse Bachvereniging
Hans-Christoph Rademann, dirigent

Benedikt Kristjánsson, evangelist
Carine Tinney, sopraan
Kristen Witmer, sopraan
Terry Wey, alt
Olivia Vermeulen, alt
Georg Poplutz, tenor
James Gilchrist, tenor
Matthias Winckhler, bas
Tobias Berndt, bas

Kampen Boys Choir

Nederlandse Bachvereniging
Hans-Christoph Rademann, dirigent

Benedikt Kristjánsson, evangelist
Carine Tinney, sopraan
Kristen Witmer, sopraan
Terry Wey, alt
Olivia Vermeulen, alt
Georg Poplutz, tenor
James Gilchrist, tenor
Matthias Winckhler, bas
Tobias Berndt, bas

Kampen Boys Choir

Nederlandse Bachvereniging
Hans-Christoph Rademann, dirigent

Benedikt Kristjánsson, evangelist
Carine Tinney, sopraan
Kristen Witmer, sopraan
Terry Wey, alt
Olivia Vermeulen, alt
Georg Poplutz, tenor
James Gilchrist, tenor
Matthias Winckhler, bas
Tobias Berndt, bas

Kampen Boys Choir

Nederlandse Bachvereniging
Hans-Christoph Rademann, dirigent

Benedikt Kristjánsson, evangelist
Carine Tinney, sopraan
Kristen Witmer, sopraan
Terry Wey, alt
Olivia Vermeulen, alt
Georg Poplutz, tenor
James Gilchrist, tenor
Matthias Winckhler, bas
Tobias Berndt, bas

Kampen Boys Choir

Nederlandse Bachvereniging
Hans-Christoph Rademann, dirigent

Benedikt Kristjánsson, evangelist
Carine Tinney, sopraan
Kristen Witmer, sopraan
Terry Wey, alt
Olivia Vermeulen, alt
Georg Poplutz, tenor
James Gilchrist, tenor
Matthias Winckhler, bas
Tobias Berndt, bas

Kampen Boys Choir

Nederlandse Bachvereniging
Hans-Christoph Rademann, dirigent

Benedikt Kristjánsson, evangelist
Carine Tinney, sopraan
Kristen Witmer, sopraan
Terry Wey, alt
Olivia Vermeulen, alt
Georg Poplutz, tenor
James Gilchrist, tenor
Matthias Winckhler, bas
Tobias Berndt, bas

Kampen Boys Choir

Nederlandse Bachvereniging
Hans-Christoph Rademann, dirigent

Benedikt Kristjánsson, evangelist
Carine Tinney, sopraan
Kristen Witmer, sopraan
Terry Wey, alt
Olivia Vermeulen, alt
Georg Poplutz, tenor
James Gilchrist, tenor
Matthias Winckhler, bas
Tobias Berndt, bas

Kampen Boys Choir

Nederlandse Bachvereniging
Hans-Christoph Rademann, dirigent

Benedikt Kristjánsson, evangelist
Carine Tinney, sopraan
Kristen Witmer, sopraan
Terry Wey, alt
Olivia Vermeulen, alt
Georg Poplutz, tenor
James Gilchrist, tenor
Matthias Winckhler, bas
Tobias Berndt, bas

Kampen Boys Choir

Nederlandse Bachvereniging
Hans-Christoph Rademann, dirigent

Benedikt Kristjánsson, evangelist
Carine Tinney, sopraan
Kristen Witmer, sopraan
Terry Wey, alt
Olivia Vermeulen, alt
Georg Poplutz, tenor
James Gilchrist, tenor
Matthias Winckhler, bas
Tobias Berndt, bas

Kampen Boys Choir

Nederlandse Bachvereniging
Hans-Christoph Rademann, dirigent

Benedikt Kristjánsson, evangelist
Carine Tinney, sopraan
Kristen Witmer, sopraan
Terry Wey, alt
Olivia Vermeulen, alt
Georg Poplutz, tenor
James Gilchrist, tenor
Matthias Winckhler, bas
Tobias Berndt, bas

Kampen Boys Choir

Nederlandse Bachvereniging
Hans-Christoph Rademann, dirigent

Benedikt Kristjánsson, evangelist
Carine Tinney, sopraan
Kristen Witmer, sopraan
Terry Wey, alt
Olivia Vermeulen, alt
Georg Poplutz, tenor
James Gilchrist, tenor
Matthias Winckhler, bas
Tobias Berndt, bas

Kampen Boys Choir

Carine Tinney, Soprano

Franco Pavan, Lute

João Freitas, visual artist

Not just a concert. Not just an exhibition. Something in between. Das Haus is where music is reconstructed, deconstructed and reborn. Where art is felt, dismantled and remade in a moment.

À la fois concert et performance, Machaut se retournant dans sa tombecrée un dialogue fertile entre ars nova médiéval et expression contemporaine. Au coeur de son canevas musical : la Messe de Notre-Dame de Guillaume de Machaut (v. 1300-1377), oeuvre fondatrice du répertoire sacré occidental. Sous la direction artistique d’Anna Danilevskaia, l’Ensemble Sollazzo, renommé pour sa maîtrise sensible de la musique ancienne et ses interprétations libres de tout dogmatisme, s’associe au plasticien et performeur Olivier de Sagazan, dont le travail de l’argile questionne l’idée du beau.

Sollazzo Ensemble

durch ein Vergebungswort
Johann Sebastian Bach
Allein zu dir, Herr Jesu Christ BWV 33
Johann Ludwig Bach
Ich aber ging für dir über JLB 16

capella sollertia

Carine Tinney, Sopran
Johanna Soller, Orgel und Leitung

Purcell: The Fairy-Queen, Z.629 (160’)

Vox Luminis ensemble
Simon Robson actor & text
Lionel Meunier artistic director
Tuomo Suni first violin

Emilie Lauwers scenography & concept
Benoît De Leersnijder mise-en-espace
Mário Melo Costa video production
David Carney set & lighting
Isaline Claeys dramaturgy & text

Vox Luminis production
Concertgebouw Brugge co-production

Purcell: The Fairy-Queen, Z.629 (160’)

Vox Luminis ensemble
Simon Robson actor & text
Lionel Meunier artistic director
Tuomo Suni first violin

Emilie Lauwers scenography & concept
Benoît De Leersnijder mise-en-espace
Mário Melo Costa video production
David Carney set & lighting
Isaline Claeys dramaturgy & text

Vox Luminis production
Concertgebouw Brugge co-production

Purcell: The Fairy-Queen, Z.629 (160’)

Vox Luminis ensemble
Simon Robson actor & text
Lionel Meunier artistic director
Tuomo Suni first violin

Emilie Lauwers scenography & concept
Benoît De Leersnijder mise-en-espace
Mário Melo Costa video production
David Carney set & lighting
Isaline Claeys dramaturgy & text

Vox Luminis production
Concertgebouw Brugge co-production

Purcell: The Fairy-Queen, Z.629 (160’)

Vox Luminis ensemble
Simon Robson actor & text
Lionel Meunier artistic director
Tuomo Suni first violin

Emilie Lauwers scenography & concept
Benoît De Leersnijder mise-en-espace
Mário Melo Costa video production
David Carney set & lighting
Isaline Claeys dramaturgy & text

Vox Luminis production
Concertgebouw Brugge co-production

Direction musicale, Lionel Meunier

Vox Luminis

Sans Giacomo Carissimi, l'oratorio n'aurait peut-être jamais existé – ni d'ailleurs le récitatif. Le compositeur italien du XVIIe siècle, important précurseur et source d'inspiration d'Antonio Vivaldi, était brillamment contrariant à l'époque de la Contre-Réforme. Préconisant des compositions remplies d'émotions pour convertir le peuple, il a introduit subrepticement dans la musique sacrée la force d'expression intense de l'opéra. Ses oratorios magistraux – inspirés d'histoires bibliques comme celles de Jeptha et de Jonas, et de considérations sur la fugacité des ambitions matérielles dans Vanitas Vanitatum – sont de véritables opéras. Ils contiennent tout le drame, la tension et le large éventail d'émotions du genre lyrique au XVIIe siècle. L'ensemble Vox Luminis de Lionel Meunier maitrise à la perfection ce langage. Faites l'expérience de la beauté et de l'exaltation de l'oratorio du XVIIe siècle en écoutant les trois meilleurs exemples du genre écrits par Carissimi, qui sont aussi les plus connus.

Direction musicale, Lionel Meunier

Vox Luminis

Sans Giacomo Carissimi, l'oratorio n'aurait peut-être jamais existé – ni d'ailleurs le récitatif. Le compositeur italien du XVIIe siècle, important précurseur et source d'inspiration d'Antonio Vivaldi, était brillamment contrariant à l'époque de la Contre-Réforme. Préconisant des compositions remplies d'émotions pour convertir le peuple, il a introduit subrepticement dans la musique sacrée la force d'expression intense de l'opéra. Ses oratorios magistraux – inspirés d'histoires bibliques comme celles de Jeptha et de Jonas, et de considérations sur la fugacité des ambitions matérielles dans Vanitas Vanitatum – sont de véritables opéras. Ils contiennent tout le drame, la tension et le large éventail d'émotions du genre lyrique au XVIIe siècle. L'ensemble Vox Luminis de Lionel Meunier maitrise à la perfection ce langage. Faites l'expérience de la beauté et de l'exaltation de l'oratorio du XVIIe siècle en écoutant les trois meilleurs exemples du genre écrits par Carissimi, qui sont aussi les plus connus.

In 2025, it will be 600 years since the University of Leuven first opened its doors. What did the world sound like then, and what brilliant music dominated the discourse in the Low Countries at that time?

In this inaugural concert for the 600th anniversary of KU Leuven, the musicians of the vocal-instrumental Sollazzo Ensemble, under the direction of the world-renowned fiddle and Renaissance viol player Anna Danilevskaia, reach back into the vibrant artistic life of six centuries ago.

With unprecedented but magnificent works, for example by the Franco-Flemish polyphonist Johannes Pullois, who worked in Flanders as well as in the Papal Chapel, the Sollazzo Ensemble gives an enthralling concert that represents a world in transition.

A resounding tribute to the 15th century in the magnificent historical setting of the renovated St Peter's Church, one of the finest examples of Brabant Gothic, built at the same time as the University.

With music by Gilles Binchois, Johannes Pullois and other Franco-Flemish polyphonists of the early 15th century.

Sollazzo Ensemble

When we think about the Middle Ages, the image of a jester springs to mind: this emblematic character is one of the clichés associated with the medieval world. In this program, we reflect on the public and private voices of these artists: how does it feel to be on such thin ice, navigating between the role of entertaining and the risks one takes when criticizing others? When does the jester know where to push boundaries or know with whom he can take off his mask? What happens when a jester is alone?

With origin in the sacred world and its mysticism, the jester becomes a political and social figure in the fourteenth century. In opposition to royal wisdom, his word is ironic, critical, insolent, and, most importantly, accepted. We can find similarities in musical works and the repertoire selected presents pieces which stand out through moralistic and commentative texts paired with humorous rhetorics.

Through our program, we aim to trace a portrait of an imaginary jester, through a selection of deep and refined madrigals, filled with metaphors, but also simpler songs in which quick wittiness overpowers any other aspect.

SOLLAZZO ENSEMBLE

Carine Tinney, soprano

Jonatan Alvarado, tenor

Lior Leibovici, tenor

Mara Winter, traverso

Roger Helou, organetto

Franziska Fleischanderl, psalterio

Christoph Sommer, lute

Anna Danilevskaia, vielle and direction

Carine Tinney, Soprano

Judy Brown, Alto

Joseph Doody, Tenor

Jerome Knox, Bass

St Giles’ Camerata

St Giles‘ Cathedral Choir

Michael Harris - Master of the Music

Netherlands Bach Society

Lars Ulrik Mortensen, organ and leader

Carine Tinney, Soprano

Alex Potter, Alto

Daniel Johannsen, Tenor

Mathew Brook, Bass

Lars Ulrik Mortensen – artistic director of Concerto Copenhagen – is leading the ensemble from the organ in cantatas 1, 4, 5 and 6 from Bach’s great Christmas work. These cantatas tell the story of the proclamation of the birth of Jesus, his christening and the three wise men from the East who follow the star of Bethlehem to get to the infant Jesus. Right from the opening notes – the characteristic drumbeats of cantata 1 – the Christmas festivities get going: Jauchzet, frohlocket, auf, preiset die Tage! And the party spirit is completed by the expressive and flamboyant Mortensen.

Netherlands Bach Society

Lars Ulrik Mortensen, organ and leader

Carine Tinney, Soprano

Alex Potter, Alto

Daniel Johannsen, Tenor

Mathew Brook, Bass

Lars Ulrik Mortensen – artistic director of Concerto Copenhagen – is leading the ensemble from the organ in cantatas 1, 4, 5 and 6 from Bach’s great Christmas work. These cantatas tell the story of the proclamation of the birth of Jesus, his christening and the three wise men from the East who follow the star of Bethlehem to get to the infant Jesus. Right from the opening notes – the characteristic drumbeats of cantata 1 – the Christmas festivities get going: Jauchzet, frohlocket, auf, preiset die Tage! And the party spirit is completed by the expressive and flamboyant Mortensen.

Netherlands Bach Society

Lars Ulrik Mortensen, organ and leader

Carine Tinney, Soprano

Alex Potter, Alto

Daniel Johannsen, Tenor

Mathew Brook, Bass

Lars Ulrik Mortensen – artistic director of Concerto Copenhagen – is leading the ensemble from the organ in cantatas 1, 4, 5 and 6 from Bach’s great Christmas work. These cantatas tell the story of the proclamation of the birth of Jesus, his christening and the three wise men from the East who follow the star of Bethlehem to get to the infant Jesus. Right from the opening notes – the characteristic drumbeats of cantata 1 – the Christmas festivities get going: Jauchzet, frohlocket, auf, preiset die Tage! And the party spirit is completed by the expressive and flamboyant Mortensen.

Netherlands Bach Society

Lars Ulrik Mortensen, organ and leader

Carine Tinney, Soprano

Alex Potter, Alto

Daniel Johannsen, Tenor

Mathew Brook, Bass

Lars Ulrik Mortensen – artistic director of Concerto Copenhagen – is leading the ensemble from the organ in cantatas 1, 4, 5 and 6 from Bach’s great Christmas work. These cantatas tell the story of the proclamation of the birth of Jesus, his christening and the three wise men from the East who follow the star of Bethlehem to get to the infant Jesus. Right from the opening notes – the characteristic drumbeats of cantata 1 – the Christmas festivities get going: Jauchzet, frohlocket, auf, preiset die Tage! And the party spirit is completed by the expressive and flamboyant Mortensen.