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.

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First up is a performance of Mozart’s Mass in C minor, conducted by Maxim Emelyanychev. The soloists include Lucy Crowe, Anna Dennis, Thomas Walker, and Edward Grint. The Mass is paired with Mozart’s Symphony No. 38.

Performance Dates: Oct. 3 & 4, 2024

Václav Luks conducts Bach’s Christmas Oratorio. Soloists include Julia Doyle, Helen Charlston, Robin Tristchler, and Florian Störtz.

Performance Dates: Nov. 28 & 29, 2024

Soprano Magdalena Kuzma is the featured soloist for the New Year’s Gala. Joana Carneiro conducts a program of music by Strauss, Léhar, and Bernstein.

Performance Dates: Jan. 1 – 4, 2025

Roderick Williams solos in a program of music by Berlioz, Gipps, Vaughan Williams, and Fauré. Andrew Manze conducts the program.

Performance Dates: Feb. 27 & 28, 2025

Gregory Batsleer conducts a performance of Macmillan’s “Seven Last Words.”

Performance Dates: April 12, 2025

Maxim Emelyanychev conducts Haydn’s Mass in D minor with such soloists as Anna Dennis, Katie Bray, Neal Davies, and Anthony Gregory. Also on the program are works by Brahms and Beethoven.

Performance Dates: May 8 & 9, 2025

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The Leeds Lieder Festival has announced the 2024 event schedule.

For its 20th anniversary celebration soprano Nikola Hillebrand, Joseph Middleton and Oliver Casanovas Nuevo perform the “Schubertiade lunchtime opening recital.”

Performance Date: April 14, 2024

The “Young Artists Schubertiade” features Richard Stokes and the Leeds Lieder Young Artists.

Performance Date: April 14, 2024

The “Schubertiade 20th Anniversary Gala recital” stars baritone Roderick Williams, Hillebrand, pianists Roger Vignoles and Middleton, as well as the Leeds Lieder Young Artists.

Performance Date: April 14, 2024

Sir Thomas Allen gives “Friends’ Festival Masterclass I.”

Performance Date: April 15, 2024

Soprano Nina Kanter, baritone Oscar Castellino and pianist Keval Shah perform in “Evening Recital.”

Performance Date: April 16, 2024

“Schools Culmination Concert I – Living Lieder”  and “Schools Culmination Concert II – Discovering Lieder” takes place in part of the festival’s education project.

Performance Date: April 17, 2024

“Composers & Poets Forum Showcase: A Leeds Songbook” follows the education project events.

Performance Date: April 17, 2024

James Newby and Middleton present an “Evening Recital.”

Performance Date: April 17, 2024

Dame Felicity Lott leads the “Festival Masterclass II.”

Performance Date: April 18, 2024

Soprano Sarah Fox, bass-baritone Florian Störtz, and Graham Johnson, give a “Lunchtime lecture recital.”

Performance Date: April 18, 2024

Graham Johnson leads the “Festival Masterclass III”

Performance Date: April 18, 2024

An “Evening recital” features tenor James Gilchrist and Anna Tilbrook, with a pre-concert talk by Professor Barbara Kelly.

Performance Date: April 18, 2024

A “Lunchtime recital” is performed by the Young Artists.

Performance Date: April 19, 2024

James Gilchrist and Anna Tilbrook lead the “Festival Masterclass IV.”

Performance Date: April 19, 2024

Carolyn Sampson and Middleton give an “Evening recital,” with a pre-concert talk given by Dr. George Kennaway.

Performance Date: April 19, 2024

Mezzo-soprano Claire Barnett-Jones and pianist Libby Burgess perform in “Late night caberet.”

Performance Date: April 19, 2024

“Festival Masterclass V” is given by Benjamin Appl.

Performance Date: April 20, 2024

Soprano Harriet Burns, tenor Nick Pritchard, Christopher Glynn and Kate Wakeling perform in a “Lunchtime recital.”

Performance Date: April 20, 2024

Up next is the “Bring and Sing! concert: Vivaldi Gloria.”

Performance Date: April 20, 2024

An “Evening recital” is given by Ema Nikolovska and Middleton.

Performance Date: April 20, 2024

Later that evening the “Lieder Lounge” starts the Leeds Lieder Young Artists.

Performance Date: April 20, 2024

Mezzo-soprano Fleur Barron and Middleton perform in a “Lunchtime recital.”

Performance Date: April 21, 2024

The “Sense ficció – Brava, Victoria!” film screening takes place before the finale events.

Performance Date: April 21, 2024

The “Final Concert” features the Leeds Lieder Young Artists.

Performance Date: April 21, 2024

An “Evening closing recital” is performed by baritone Benjamin Appl and pianist Sholto Kynoch.

Performance Date: April 21, 2024

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Between Jan. 22-27, 2023, the program will feature a series of emerging vocalists and collaborative pianists as they are coached by world-renowned artists, including the famed American diva. This year will also include public master classes with Graham Johnson on Jan. 22; one with Nicholas Phan on Jan. 23, and another by soprano Angel Blue on Jan. 24. Fleming will give her master class on Jan. 26.

The program culminates in a Young Artists recital on Jan. 27 featuring Will Liverman as Creative Advisor for the very first time.

Additionally, all participants will get two-on-one private lessons and coachings with Fleming and such artists as Javier Arrebola, Harmut Höll, and Myra Huang.

This year’s vocal participants include Khayakazi Madlala,  Gabrielle Barkidjija, Ruby Dibble, Chuanyuan Liu, Edmond Rodriguez, Felix Gygli, Gabriel Rollinson, and Florian Störtz. They are joined by pianists Natalie Sherer, Anni Laukkanen, Tzu Kuang Tan, Ye In Kwak, Daniel Peter Silcock, Aleksandra Myslek, Yuriko Watanabe, and Jeong-Eun Lee.

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