The holiday spirit resonated powerfully at the Elbphilharmonie’s recent Christmas-themed concert, a year-end highlight crafted by the Monteverdi Choir and the English Baroque Soloists. Christophe Rousset’s much-anticipated debut as guest conductor, stepping in after Sir John Eliot Gardiner’s departure as artistic director, brought a fresh sense of artistic renewal and festive splendor. Drawing from the rich traditions of French and German Baroque music, Rousset and the ensemble took the audience on an enchanting musical journey, showcasing their exceptional artistry and energy. 

By pairing Charpentier’s “Messe de Minuit” with “Noëls sur les instruments,” Rousset crafted a well-balanced first half through thoughtful programming. The graceful carols served as a charming prelude, while faster-paced pieces after the mass added a spirited finale. This structure not only created a satisfying musical arc but also subtly referenced the tradition of earlier parody masses, where compositions were built on pre-existing tunes. 

Rousset’s direction emphasized dynamic interplay between choir and instruments, highlighting Charpentier’s masterful use of Baroque orchestration. The orchestra’s jubilant tones—especially from the violins, flutes, and basses—captured both the spiritual depth and intricate beauty of the Baroque style. While the positive organ was more limited in tonal range than a grand organ, its rich resonance filled the acoustically stunning Elbphilharmonie. 

Standout Vocalists

The vocalists were standout, blending clarity and expressiveness with remarkable finesse. Their “Kyrie” and “Gloria” radiated festive joy, with soprano lines soaring above the rich choral harmonies. The soloists brought dramatic contrast to the following movements, their voices intertwining with heartfelt precision. A particularly striking moment came with the soprano’s tender “Quoniam tu solus Sanctus,” full of lyrical warmth. The choir’s dynamic control and nuanced articulation shifted the mood effortlessly from the solemn “Crucifixus” to the exuberant “Agnus Dei,” leaving the audience deeply moved by Charpentier’s seamless blend of sacred and popular traditions. 

The second half showcased the young soloists’ brilliance. It opened with Bach’s “Schwingt freudig euch empor,” BWV 36c, a cantata bursting with joy and energy. The oboe d’amore’s lively solo set a cheerful tone, seamlessly leading into the choir’s bright and powerful entrance. Soprano Hilary Cronin’s aria offered a moment of contrast; her voice diverged from the ascending melody, followed by a thoughtful pause that highlighted the interaction with the instruments. Tenor Ruairi Bowen, warmly supported by the oboe d’amore, delivered an emotionally resonant performance. Each soloist sang with clarity and expression, balancing introspective passages with jubilant outbursts.

Rousset’s Inspiring Interpretation

The concert concluded with Bach’s “Unser Mund sei voll Lachens,” BWV 110, a festive cantata composed for Christmas Day 1725. The French-style overture, featuring flute, trumpet, and timpani, set a celebratory tone from the first bar. The choir’s fugal entry filled the hall with joyous energy, drawing appreciative murmurs from the audience. The young soloists embraced a more operatic style in this secular cantata, vividly portraying characters from the joyful to the contemplative while maintaining a dynamic connection with the listeners. Mezzo-soprano Rebecca Leggett conveyed deep introspection and doubt in her aria, offering a reflective counterpoint to the exuberant bass aria. In the latter, Florian Störtz’s commanding voice soared over bold trumpet fanfares and dazzling coloraturas, stirring the crowd. The final triumphant chorale faded, the concert hall erupted with enthusiastic cries of “Merci!” from Rousset’s devoted French fans, adding a heartfelt and spontaneous touch to the evening’s celebration. 

Though the concert faced a conductor change, Mr. Rousset’s debut with the English Baroque Soloists more than made up for any initial disappointment. For devoted Baroque enthusiasts who might have attended Sir Gardiner’s performance with his newly formed ensemble, The Constellation Orchestra, just a week earlier—featuring a similar program—this was a rare opportunity to compare the artistry of two distinguished early music specialists. Ultimately, Rousset’s interpretation stood out for its vitality, elegance, and emotional depth, leaving a lasting impression on all present.

The post HamburgMusik 2024-25 Review: English Baroque Soloists / Monteverdi Choir / Christophe Rousset appeared first on OperaWire.

The group will perform the work on Nov. 22, 23 & 24, 2024 at Jeanne Lamon Hall.

Soloists will include soprano Hélène Brunet, mezzo-soprano Cecilia Duarte, and baritone Jesse Blumberg. Renowned English tenor Charles Daniels will perform the role of the Evangelist.

In a statement, Ivars Taurins, Choir Director said, “Bach Christmas Oratorio offers cathartic joy, solace, contemplation, and refreshment for the soul. It shares with us the gifts of exultation and hope through Bach’s masterful and luminous music.”

Following performances of the “Christmas Oratorio,” the ensemble will perform Händel’s “Messiah” at Koerner Hall on Dec. 20 & 21, and Sing-Along Messiah at Massey Hall on Dec. 22.

The post Tafelmusik to Perform Bach’s Christmas Oratorio appeared first on OperaWire.

Opera Australia’s summer season continued on February 8 with a chance to hear Handel’s favorite among his oratorios.

What was it? 1739’s “Saul?” “Messiah” of 1742? Neither.

In a coproduction with baroque specialists Pinchgut Opera, Opera Australia presented “Theodora,” Handel’s oratorio from 1750. This was a semi-staged version directed by Lindy Hume, who has been Opera Australia’s guest creative director over the summer prior to Jo Davies’ assumption of the role of artistic director. Music was provided by a fine line-up of soloists alongside Pinchgut Opera’s regular choir, Cantillation, and ensemble, the Orchestra of the Antipodes, all under the insightful and devoted direction of Pinchgut’s artistic director, Erin Helyard. It was an opportunity to assess Handel’s view of his work against our own impressions.

Handel acknowledged that audiences of his own day did not exactly flock to “Theodora.” In fact, much to his chagrin, they preferred oratorios like “Messiah.” In his thickly-accented English he complained to a couple of musicians: “You would not go to ‘Theodora’–there was room enough to dance there, when that was perform!” But it is not hard to see why “Theodora” may have challenged audiences back then, and may still do so today. A committed early Christian, Theodora is prepared to sacrifice her life rather than celebrate a feast to Jove. It is a story about faith. Fair enough–Handel and his librettist Thomas Morell were entitled to their world-view–but there is not the sort of struggle that an audience might be expecting in popular theater. The text seems more like devotional poetry.

Theodora professes her faith and reiterates it. Even when taken, “trembling,” to a brothel to test her chastity, her virtue very quickly “prompts the steady mind to prove/ Its native strength in deeds of highest honor.” Neither she nor the male lead, Didymus, experience any of the temptations to recant that might lead to three-dimensional dramatic characterization. Could it be that audiences in Handel’s day found the drama of “Theodora” uninflected, even though the story has a more convincing line than “Messiah?” But tickets to the two performances of “Theodora” offered by Opera Australia were much sought-after, and audiences seemed delighted with the results of this joint Opera Australia-Pinchgut effort.

Hume and Helyard deserve great credit for the theatrical viability of this presentation. You could almost forget that this was a presentation “in concert,” such was the effectiveness of Hume’s staging–made even more dramatic by lighting designer Jason Morphett. In Act Two, Theodora’s white gown virtually glowed under Morphett’s lighting–an apt illustration of the rapt state of her mind. Chorus and orchestra defined a small acting space that was downstage-left, from the audience’s perspective. This elevated the significance of entrances and exits and simple effects. An apt example was the staggered rising to their feet of the ensemble in Handel’s own favorite chorus; “He saw the lovely youth, Death’s early prey…” This is an account of Lazarus’ being raised from the dead–proof of Christ’s power (it could be said) that is recounted rather than seen. And there was even a scene where orchestral layout became a factor as Australian flute soloist Mikaela Oberg came into the acting area at the beginning of Act Two to bookend Australian-British soprano Samantha Clarke’s “With darkness deep as is my woe…” with halting contemplative notes. Orchestral Layout-as-Drama? But of course! This was also musically telling as Clarke vocally revealed the dark despair in Theodora’s soul in this moment, and Oberg maintained compelling intensity in the flute part’s thoughtful silences.

The ‘Christians’ in the cast–Clarke as Theodora, American counter-tenor Christopher Lowrey as Didymus, and Australian-British mezzo-soprano Helen Sherman as Lynda, Theodora’s handmaiden–gave us sympathetic portrayals of Christian conviction. What was the enthusiasm these early Christians must have felt? There was certainly rich hue in Clarke’s interpretation: a three-dimensional musical characterization. And even just in changing colors on the single syllable ra in “The rapturous soul defies the sword,” Lowrey gave us a convincing portrayal of rapture.

Australian tenor Michael Petruccelli was a sympathetic Septimius, the Roman soldier who would side with Theodora and Didymus if he could. Australian bass David Greco was the Roman governor Valens who has proclaimed the celebration in honor of Emperor Diocletian. Greco conveyed villainy in telling use of exaggerated emphasis, as when he sang “Racks, gibbets…” or pronounced the silent syllable in “fame-uh.” Australian tenor Louis Hurley as a Messenger deserves credit for conveying information in such a musically direct manner.

The chorus in “Theodora” offers not so much commentary as confirmation or exhortation, praising Jove as Romans (“And draw a blessing down,/ On his imperial crown,/ Who rules the world below”) or alternately the Christian God (“Blest be the hand, and blest the pow’r,/ That in this dark and dang’rous hour,/ Sav’d thee from cruel strife”). Given that the work is not driven by dramatic reversals or ratcheting up of tension, the chorus’ moments of exhortation were among the most musically exciting of the evening. Perhaps the most riveting theatrical image of the night was the sight of the chorus holding up their bibles, a defiant affirmation of the beliefs Theodora would hold.

One could argue, in the context of so much being achieved through simple means, extra drama may have been effectively created with more imposing costumes. Valens and Didymus wore business suits. Septimius’ military uniform–albeit a modern one–said so much more. Theodora’s glowing white gown captured by Morphett’s lighting was appropriate for her fervor. Consistent assignation of costumes to denote status might have raised the temperature of the whole night just that little bit more. But how low was the heat, after all, when you think that this was a production that could be appreciated just as much in its after-glow?

The post Opera Australia 2023-24 Review: Theodora appeared first on OperaWire.

For the purposes of this article only classical vocal works are included. Events take place throughout Europe.

The 6^th International Festival of Early Music opens with J.S. Bach’s “Cantata” No. 131 and No. 106. Willelm Peerik leads La Calandria Ensemble and soloists from the organ. Soloists are soprano Alida Olivia, alto Bianca Simone, tenor Jiangchen He, and bass Decio Biavati.

Performance Date: March 3, 2024

Skip Sempé conducts the NFM Choir and the Wrocław Baroque Orchestra in Gilles’ “Requiem for Rameau.”

Performance Date: March 3, 2024

The Gesualdo Six’s perform their favorite repertoire for their 10^th Anniversary Concert.

Performance Date: March 5, 2024

Flore Francescut, Terraconto choir, and early music ensemble Jardin D’éden Loire Forez present “Pass’musique.”

Performance Date: March 18, 2024

Next up is “Actus Tragicus” featuring Bach’s “cantata” BWV 106 with complementary cantatas and motets by D. Buxtehude. Soloists are sopranos Stéphanie Revillion and Emily Cunin, alto Julien Freymuth, tenor Jean-Luc Baudoin, and baritone Simon Poux. Other musicians include Stefano Intrieri at the organ and the La Compagnie des Humbles vocal ensemble.

Performance Date: March 20, 2024

“Music For a While” features English music by Dowland, Morley, Purcell, and Lawes. Fanteria provides vocals.

Performance Date: March 21, 2024

The music by J.S.Bach, A. Corelli, G.F.Handel, A. Scarlatti is performed by Nocerino Francesco, Amato Angela, Caiazza Ida, Greco Elisa, Borrelli Claudio in “Follie barocche.”

Performance Date: March 21, 2024

Mezzo-soprano Kadri Tegelmann performs with the Floridante ensemble, vocal consort, and hip hop artist Genka and DJ Paul Oja.

Performance Date: March 21, 2024

Soprano Laiene Alcalá leads “Grand Tour” featuring ancient Baroque English, French and Italian music.

Performance Date: March 24, 2024

Students from the Clermont-Ferrand area are invited to join professional musicians in “Medieval Karaoke.”

Performance Dates: March 25 & 26, 2024

Bruno Bonhoure, Clémence Montagne, Lucas Bedecarrax, and Dalai Daansuren sing in “Visions of Love” in partnership with Clermont Auvergne Opéra.

Performance Date: March 28, 2024

Hervé Niquet leads Le Concert Spirituel choir and orchestra at the Paris Opéra Festival.

Performance Date: March 28, 2024

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The choir and orchestra said, “We are pleased to announce that the forthcoming tour of Handel’s “Israel in Egypt” with the Monteverdi Choir and English Baroque Soloists will be conducted by Peter Whelan. We are also delighted to announce the return of our Associate Conductor Dinis Sousa to conduct the Orchestre Révolutionnaire et Romantique and the Monteverdi Choir for the May 2024 Beethoven Symphonies in London and Paris.”

The statement added, “In an agreement between the board and management of the Monteverdi Choir and Orchestras and Sir John Eliot Gardiner, we can confirm that John Eliot has decided to extend his time away from public music-making, and it is our shared aim that he will be in a position to return to conduct the Monteverdi Choir and Orchestras later in the year. It is a deserved tribute to John Eliot’s lifetime’s work that the Monteverdi Choir were last week awarded Best Choir at the Oper! Awards 2024.’’

Gardiner added “As announced by the board and management of the Monteverdi Choir and Orchestras today, I am extending my time away from public music-making until later in the year in the wake of last August’s incident – something for which I have accepted full responsibility and profoundly regret. In the meantime, I am proud of the members of the three Monteverdi ensembles and management for bringing to fruition the concerts that were planned between August and now, and I wish to thank Peter Whelan and Dinis Sousa for taking over the forthcoming projects which mark the start of a year celebrating the Choir’s 60th birthday. I would like to thank the Monteverdi family for their strenuous efforts, and I am confident they will continue to deliver their projects at an exceptional standard over the next few months, bringing delight and solace to audiences here and abroad at a time when the world situation requires this more and more.”

The news comes months after Gardiner decided to take a leave of absence after he slapped and punched bass William Thomas during a performance of “Les Troyens” at the Berlioz Festival in teh summer of 2023. The incident caused an international scandal that forced Gardiner to withdraw from the “Les Troyens” tour and issue an apology.

The post Sir. John Eliot Gardiner Extends Leave of Absence; Will Return Later in the Year appeared first on OperaWire.

This week audiences will experience albums from some of the top divas in the opera world as well as Christmas albums that will be great for the holiday season.

Essence

Marina Rebeka releases a new album on Prima Classic. The soprano sings a selection of the best opera arias of all time along the Wrocław Opera Orchestra under the baton of Marco Boemi.

The record includes selections from “Madama Butterfly,” “La Rondine,” “Tosca,” “La Bohème,” “Gianni Schicchi,” “Mefistofele,” “Adriana Lecouvreur,” “Pique Dame,” “La Mamma Morta,” “Pagliacci,” “Rusalka”, and “La Wally.”

Mahler – Scartazzini Cycle

Swiss composer Andrea Lorenzo Scartazzini continues his Composer-in-Residence with the Jena Philharmonic. Scartazzini has been writing a new companion piece to each of Gustav Mahler’s symphonies, which are being performed in Jena as a cycle in chronological order: Mahler – Scartazzini Cycle.

This second volume of the series features Mahler’s Second and Third Symphonies, the Second preceded by Scartazzini’s orchestral Torso and Epitaph and the Third by Spiriti. Jana Baumeister, Evelyn Krahe, and Ida Aldrian perform on the album.

Handel: Messiah

John Nelson records Handel’s Messiah for Erato.

In a statement, Nelson notes, “A lifetime of performing Messiah has brought me enough courage to record this singularly famous piece of music. With the finest musicians and soloists on the planet surrounding me, I’m finally ready to lay down my personal interpretation for posterity.”

The performance is released as a three-disc set, comprising the audio version (2 CDs) and the video (1 DVD). The English Concert is led by Nelson with soloists soprano Lucy Crowe, countertenor Alex Potter, tenor Michael Spyres, and bass Matthew Brook.

Operette: Wein, Berlin & Paris

Soprano Diana Damrau releases a new album that tours three capital cities of operetta, Vienna, Berlin, and Paris.

In the new CD, she sings arias, duets, and a trio from operetta with tenor Jonas Kaufmann. Among the composers on the album are Johann Strauss II, Franz Lehir, Emmerich Kálmán, Robert Stolz, Paul Abraham, André Messager, Henri Christiné, Oscar Straus and Francis Lopez. The Münchner Rundfunkorchester is conducted by Ernst Theis.

Mending Wall

The PRISM Quartet releases its newest album, Mending Wall on XAS Records. The album includes soprano Tony Arnold and pianist Arturo O’Farrill in world premiere performances of “Mending Wall,” a fully staged concert exploring the meaning of walls in our world by giving musical form to questions about identity, community, division, and freedom.

The recording features the music of Martin Bresnick, George Lewis, Arturo O’Farrill, and Juri Seo.

Hymn of the Universe

Composer Tina Davidson releases her newest album on Meyer Media LLC.

“Hymn of the Universe” follows the publication earlier this year of Davidson’s memoir “Let Your Heart Be Broken (Boyle & Dalton)” and includes three of her choral works, “Antiphon for the Virgin,” “Hymn of the Universe,” and “Tu Autem, Domine” and features VocalEssence Singers conducted by Philip Brunelle in the first two works and the Society for Universal Sacred Music led by Roger Davidson in Tu Autem, Domine.

Tapestry of Voices

Mahler’s 8th Symphony

Mahler’s 8th Symphony, the “Symphony of a Thousand,” is one of the most ambitious choral symphonies that exists today. The Minnesota Orchestra, four choirs, and the seven vocal soloists performed Mahler’s Eighth Symphony in concerts in June 2022, the largest-scale performance ever conducted at Minnesota’s Orchestra Hall, and the last performance Osmo Vänskä led as music director of the Minnesota Orchestra. The album was recorded live and over a series of recording sessions the week following the concerts.

Internationalized Globalization

Ophelia’s Aria

Mario Bergmann releases a new music video featuring soprano Polly Ott and pianist Chelsey Padilla. The video showcases “À vos jeux, mes amis…” Ophelia’s Aria from Hamlet.

Wagner: Die Meistersinger von Nürnberg

Naxos releases the Deutsche Oper Berlin’s production of Wagner’s epic with a cast that includes Klaus Florian Vogt, Heidi Stober, Johan Reuter, Philipp Jekal, Albert Pesendorfer, and Ya-Chung Huang. John Fiore conducts the recording from 2022.

Rimsky-Korsakov: Christmas Eve

Naxos releases Rimsky-Korsakov’s rarely performed work with a cast that includes Julia Muzychenko, Enkelejda Shkoza, Andrei Popov, Georgy Vasiliev, and Alexey Tikhomirov. The Chor der Oper Frankfurt and the Frankfurter Opern is conducted by Sebastian Weigle.

Verdi: I Lombardi alla prima Crociata

Ivan Repušić’s successful cycle of early Verdi masterpieces on BR-Klassik continues with the rarely performed “I Lombardi.” He conducts a cast that includes Nino Machaidze, Réka Kristóf, Piero Pretti, Galeano Salas, Miklós Sebestyén, Michele Pertusi, Ruth Volpert, and Andreas Burkhart.

1929: The Wild Sound of the Twenties

On October 29, 1923, in the middle of a year of political and economic crises, the age of public radio in Germany was ushered in with the first broadcast of the “Berliner Funkstunde.” Radio offered entirely new possibilities for the production and reception of music, and the two compositions on this CD both benefited from the advent of that medium. Hanns Eisler’s cantata Tempo der Zeit for soloists, narrator, choir, winds, and percussion was written as a commission for the Donaueschingen Festival. Ruth Volpert, Christopher Dollins, Clemens Nicol, and Tomasz Tomaszewski join the Madrigal Choir of the University of Music and Performing Arts, and Münchner Rundfunkorchester under Ernst Theis. BR Klassik releases.

but I like to sing…

English soprano Carolyn Sampson releases a new album featuring well-known and lesser-known lieder by German and Austrian masters such as Schubert, Mendelssohn, Brahms, Richard Strauss, and Hugo Wolf with French songs by Gounod, Poulenc, and Franck, as well as works by Anglo-Saxon composers such as Hubert Parry, Samuel Barber and Ivor Gurney. Female composers include Cheryl Frances-Hoad, the recently deceased Kaija Saariaho and Deborah Pritchard. Joseph Middleton and Jack Liebeck accompany the soprano.

Enigma

Sarah Aristidou, Daniel Arkadij Gerzenberg, and Jörg Widmann’s new album that explores the mystery of verbal communication, seeking an “original” sound as primordial as the cry of a newborn baby or the last sigh of a dying person. The album includes Andreas Tsiartas’s “Lamento Turco,” Rachmaninoff’s “Vocalise,” Schubert’s “Der Hirt auf dem Felsen,” and music by Wolf and Ravel.

Rued Langgaard: Songs

Louise McClelland Jacobsen and Kristian Riisager record Rued Langgaard’s songs, many of which are being recorded for the first time. The album also includes the collection “Russian Songs,” set to adaptations of Ukrainian poetry.

Krzysztof Penderecki: Sacred Choral Works

The Latvian Radio Choir under Sigvards Kļava record an album that celebrates the 90th anniversary of the birth of celebrated Polish composer Krzysztof Penderecki.

Arianna Savall, Petter Udland Johansen: El Cant de la Sibil.la & Draumkvedet

Hirundo Maris, an ensemble founded in 2009 by Arianna Savall and Peter Udland Johansen, specializes in early music from the Middle Ages to the Baroque as well as the Savall and Johansen’s compositions, performs two mystical chants from the Middle Ages on this recording.

An Evening of Readings and Carols

The Westminster Chapel Choir, Westminster Concert Bell Choir, Westminster Jubilee Singers, and Westminster Symphonic Choir release a recording that documents the Christmas 2023 broadcast from Westminster Choir College, seen on 300 PBS stations around the United States and marking the institution’s 30th Anniversary. Released on the GIA Choral Works label, the 25-track double album encompasses a wide variety of styles, including traditional Christmas carols, light classical selections, contemporary gospel songs, and new arrangements of favorite tunes.

The post Marina Rebeka, Diana Damrau & Nino Machadize Lead New CD/DVD Releases appeared first on OperaWire.

The concert will be held on Nov. 18 at Calvary Episcopal Church and will feature live narration by Emmy Award-winning television and radio personality Robert Aubry Davis. The event will also showcase Scottish, Italian, French, and English music highlighting different periods of Mary Queen of Scots’ life.

The Baltimore Consort’s program will include soloists Danielle Svonavec (soprano), Mindy Rosenfield (winds), Mary Anne Ballard (viols), Larry Lipkis (viols and recorders), Mark Cudek (cittern), and Ronn McFarlane (lute).

Mark Cudek, founding member of The Baltimore Consort said, “In addition to Scottish music this program incorporates music from the French court Mary would have heard in her childhood, English music from the end of her life, and a short detour to the Italy of her murdered secretary, the lutenist David Rizzio.”

The post Chatham Baroque to Present ‘In Angel’s Wede: Music of Mary, Queen of Scots’ appeared first on OperaWire.

This week several new solo albums will be released. There will also be an album released for the centennial of Victoria de los Ángeles. Here is a look at the new releases.

Forgotten Arias

Philippe Jaroussky releases his latest album which pays tribute to composers of the late Baroque era and to the great librettist of the age, Pietro Metastasio. The album includes music by Gluck, Johann Christian Bach, Jommelli, Hasse, and Piccinni as well as Bernasconi, Ferrandini, Traetta, and Valentini. Jaroussky’s partners on the album with conductor Julien Chauvin and his orchestra Le Concert de La Loge.

Un’alma innamorata

Francesca Aspromonte’s new album was recorded for Pentatone with Boris Begelman and Arsenale Sonoro with an all-Handelian program.

THE DUNBAR/MOORE SESSIONS – VOLUME I

Baritone Will Liverman releases his first “The Dunbar/Moore Sessions – Volume I,” a collection of original art song composed by Liverman himself. Lexicon Classics releases the new album.

Soprano Lauren Snouffer, violinist Lady Jess, and tenor Martin Luther Clark join Liverman. The EP is mixed and produced by Jonathan Estabrooks.

Penitence & Lamentation

Scribe Records releases Penitence & Lamentation, the Byrd Ensemble’s new album marking 400 years since the death of its namesake, William Byrd.

Victoria de los Ángeles – The Warner Classics Edition: Complete Recordings on His Master’s Voice & La Voix de son maître

Warner Classics releases a box set release of Victoria de los Ángeles’ recordings in celebration of her 100th birthday anniversary. The box set includes a 59-CD collection including 21 complete operas and a wealth of songs (recorded in Spanish, Catalan, French, German, Italian, English and Portuguese). The catalog, spanning from 1948 to 1977, primarily utilizes the recordings by the UK label His Master’s Voice and French label La Voix de son maître.

A Choral Christmas

VOCES8 releases “A Choral Christmas,” showcasing a joyful, cinematic soundscape-packed hamper of choral and orchestral treats. The album features several world premiere recordings of brand new works and arrangements, including the centerpiece of the album, a major new work for choir and orchestra, Taylor Scott Davis’ “Magnificat,” originally commissioned for VOCES8’s LIVE From London festival.

Monteverdi: L’Incoronazione di Poppea

The Opéra Royal de Versailles releases a 2023 recording of Monteverdi’s opera with Elsa Benoit, Jake Arditti, Ambroisine Bré, Iestyn Davies, and Alex Rosén. The Cappella Mediterranea is conducted by Leonardo García Alarcón.

Gluck: Orfeo ed Euridice

Opus Arte releases Glyndebourne’s production which stars Janet Baker, Elisabeth Speiser, and Elizabeth Gale. The Glyndebourne Festival Chorus, London Philharmonic Orchestra, and conducted by Peter Hall.

Jean Gilles: Messe des Morts. Les Folies Françoises

Les Pages & Les Chantres du Centre de musique baroque de Versailles is conducted by Fabien Armengaud in a new recording that includes Jean Gilles’s mass for the Dead.

Constantine Caravassilis: From Sappho’s Lyre

Orchid Classics releases Caravassilis’ work with Tenth Muse Ensemble. The recording features soloists Jeffrey M. Duban, Jenni Klauder, Ariana Chris, and  Maria Pikoula. The Tallinna Kammerorkester is conducted by Kaisa Roose.

Jean-Baptiste Lully: Acis et Galatée

Naxos releases Lully’s work from the Maggio Musicale Fiorentino. The recording includes soloists Elena Harsányi, Jean-François Lombard, and Luigi De Donato. Federico Maria Sardelli conducts the recording.

The post Will Liverman, Philippe Jaroussky, & Victoria de los Ángeles Lead New CD/DVD Releases appeared first on OperaWire.

Inspired by Milton’s poetry and compiled in a libretto by Charles Jennens, Handel’s work captures a spectrum of human emotions, from joy to melancholy set against an English rural and urban backdrop.

The tour schedule is as follows.

Mass in B Minor & “L’Allegro, ed il Moderato”

Performance Dates: Oct. 20 & 21, 2023, at Harris Theater, Chicago

Mass in B Minor & “L’Allegro, il Penseroso ed il Moderato”

Performance Date: Oct. 23, 2023, at Richardson Auditorium, Princeton

Mass in B Minor

Performance Date: Oct. 25 & 26, 2023, at Carnegie Hall

Mass in B Minor & “L’Allegro, il Penseroso ed il Moderato”

Performance Date: Oct. 28, 2023, at Paroisse Saint Francois d’Assisse, Ottawa

“L’Allegro, il Penseroso ed il Moderato”

 Performance Date: Oct. 31, 2023 at St Martin-in-the Fields, London

Soloists for “L’Allegro, il Penseroso ed il Moderato” include Alex Ashworth, Samantha Clarke, Hilary Cronin, Sarah Denbee, Jonathan Hanley, Bethany Horak-Hallett, Frederick Long, Alison Ponsford-Hill, and Nick Pritchard

Soloists for Mass in B Minor include Alex Ashworth, Hilary Cronin, Jonathan Hanley, Bethany Horak-Hallett, Frederick Long, Reginald Mobley, and Nick Pritchard

The post Monteverdi Choir to Present Works by Bach & Handel on U.S. Tour appeared first on OperaWire.

The performance will feature a presentation of J.S. Bach’s “Mass in B Minor” at the Paroisse Saint François d’Assise in Ottawa. Dinis Sousa conducts the showcase.

Soloists include baritone Gerald Finley, tenor Michael Schade, soprano Nancy Argenta, and countertenor Daniel Taylor.

The showcase will be sponsored by the Theatre of Early Music in collaboration with Music and Beyond, the Ottawa Bach Choir, the Rideau Chorale, Seventeen Voyces, the Ottawa Choral Society, and Caelis.

This concert is part of an ongoing tour for the Monteverdi Choir and Orchestras which sees the ensemble perform across the world in such cities as Chicago, New Jersey, New York, London, Amsterdam, Barcelona, Luxembourg, Versailles, and Hamburg. During this tour, the organization will perform Bach’s B minor mass four times.

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