Whatever musical genre he applied himself to, J. S. Bach left indelible traces. Only the world of opera remained untouched by his genius, and this fact raises an intriguing question: How might opera music composed by J. S. Bach have sounded? We can find the answer to this in his secular cantatas. It is fascinating to trace how a surprising sense of humour is combined with musical illustration of text in Bach’s supreme compositional mastery.

Collegium 17074 and Collegium Vocale 1704 will perform at the Wiener Konzerthaus within the Resonanzen Festival within the tour with Mezzosoprano Ann Hallenberg.

Handel’s Donna, che in ciel and Telemann’s Die Donnerode (Thunder Ode) are works that were composed in reaction to two of the most destructive earthquakes i n European history, one in Rome, in 1703, the other in Lisbon in 1755. Handel’s Te Deum is an expression of thanksgiving for the signing of the Treaty of Utrecht, in 1713, which ended the bloody war of the Spanish Succession. All three works reflect a fascination with the unconquerable power of nature, and their message is a plea for salvation from the destructive force of earthquakes, both those caused by nature and those caused by men at war.

Collegium 17074 and Collegium Vocale 1704 will perform at Köln Philharmonic within the tour with Mezzosoprano Ann Hallenberg.

Handel’s Donna, che in ciel and Telemann’s Die Donnerode (Thunder Ode) are works that were composed in reaction to two of the most destructive earthquakes i n European history, one in Rome, in 1703, the other in Lisbon in 1755. Handel’s Te Deum is an expression of thanksgiving for the signing of the Treaty of Utrecht, in 1713, which ended the bloody war of the Spanish Succession. All three works reflect a fascination with the unconquerable power of nature, and their message is a plea for salvation from the destructive force of earthquakes, both those caused by nature and those caused by men at war.

Collegium 17074 and Collegium Vocale 1704 will perform at Laeiszhalle Hamburg (within concert series by NDR Das Alte Werk) within the tour with Mezzosoprano Ann Hallenberg.

Handel’s Donna, che in ciel and Telemann’s Die Donnerode (Thunder Ode) are works that were composed in reaction to two of the most destructive earthquakes i n European history, one in Rome, in 1703, the other in Lisbon in 1755. Handel’s Te Deum is an expression of thanksgiving for the signing of the Treaty of Utrecht, in 1713, which ended the bloody war of the Spanish Succession. All three works reflect a fascination with the unconquerable power of nature, and their message is a plea for salvation from the destructive force of earthquakes, both those caused by nature and those caused by men at war.

Collegium 17074 and Collegium Vocale 1704 will perform at Muziekcentrum De Bijloke Gent within the tour with Mezzosoprano Ann Hallenberg. The concert is recorded by Klara Radio.

Handel’s Donna, che in ciel and Telemann’s Die Donnerode (Thunder Ode) are works that were composed in reaction to two of the most destructive earthquakes i n European history, one in Rome, in 1703, the other in Lisbon in 1755. Handel’s Te Deum is an expression of thanksgiving for the signing of the Treaty of Utrecht, in 1713, which ended the bloody war of the Spanish Succession. All three works reflect a fascination with the unconquerable power of nature, and their message is a plea for salvation from the destructive force of earthquakes, both those caused by nature and those caused by men at war.

Concert within the Rencontres Musicales de la Vallée de l'Alzette Festival (RMVA) in Luxembourg. Collegium 1704 under the baton of Václav Luks will perform with Ensemble Vocal de Luxembourg.

This semi-opera, inspired by Vergil’s epic The Aeneid, was continuously the most important English work for the stage until the twentieth century, when Benjamin Britten left his mark in the history of English opera. Purcell was able to combine the libretto with his music in a unique way – his sense of dramatic unity refers back to Shakespearean tradition. The ingenious adaptation of this story from classical antiquity remains to this day a ravishing drama, which captivates us with its timelessness.

The musical setting of Christ’s suffering and the Crucifixion is most often linked with the name J. S. Bach and his Lutheran passions. But the tradition of performing oratorio-passions also has deep roots in Catholic Italy. One of the most remarkable works of this kind is the St John Passion by Alessandro Scarlatti, a master of Neapolitan opera. The seamless arch of Scarlatti’s music constitutes a fascinating monument to Italian Baroque mysticism.

The musical setting of Christ’s suffering and the Crucifixion is most often linked with the name J. S. Bach and his Lutheran passions. But the tradition of performing oratorio-passions also has deep roots in Catholic Italy. One of the most remarkable works of this kind is the St John Passion by Alessandro Scarlatti, a master of Neapolitan opera. The seamless arch of Scarlatti’s music constitutes a fascinating monument to Italian Baroque mysticism.

The musical setting of Christ’s suffering and the Crucifixion is most often linked with the name J. S. Bach and his Lutheran passions. But the tradition of performing oratorio-passions also has deep roots in Catholic Italy. One of the most remarkable works of this kind is the St John Passion by Alessandro Scarlatti, a master of Neapolitan opera. The seamless arch of Scarlatti’s music constitutes a fascinating monument to Italian Baroque mysticism.

Prague still regards Mozart as its adopted son. And he did enjoy to the full his popularity when he arrived in Prague in 1786. He wrote one of his most dazzling symphonies for his admirers there: the ‘Prague Symphony’. Legend has it that, a few years later, on his way to the coronation of Leopold II, he wrote ‘La Clemenza di Tito’ in his carriage. Carl Maria von Weber’s well-known clarinet concerto completes this programme, with the clarinet in the outstanding hands of Vlad Weverbergh.