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Georg Philipp Telemann: Overture in a minor TWV 55:a1 (from: Six Ouvertures à 4 ou 6, Hamburg 1736)
Antonio Vivaldi: Concerto in F major for flauto dolce, strings and b.c. RV 433 “La Tempesta di Mare”
Jean-Philippe Rameau: « pour les divinités des mers »
Suite from Hippolyte et Aricie (1733, 42, 57 and 67 / Naïs, 1749)

Carin van Heerden, recorder
L’Orfeo Barockorchester
Michi Gaigg, direction

Paris 1733. The performance of a tragédie en musique in five acts, depicting the love story of Hippolyte, the son of Theseus, and Aricia, the daughter of a hostile royal family, heralded a new phase in the life of Jean-Philippe Rameau. All of a sudden the 50-year old Rameau from Dijon was the talk of town and was consequently celebrated as the most significant opera composer of his day. His work Hippolyte et Aricie was repeatedly performed in 1742 and 1757. New dances were included in the later versions, performed as an orchestral suite in this programme. Storms at sea, menacing sea monsters and the appearance of sea gods are topics set to exquisite music.

“A warm welcome to all students and others interested in attending the final rehearsal before our concert!”

Johann Sebastian Bach:
Orchestra Suite No. 2 in b minor BWV 1067
Cantata “Ich habe genung” BWV 82.2
Concerto in A major for Oboe d’amore, Strings and B.c. BWV 1055a
Cantata “Ich armer Mensch, ich Sündenknecht” BWV 55

Anders J. Dahlin, tenor
Marcello Gatti, traverso
Carin van Heerden, oboe d’amore
L’Orfeo Barockorchester
Michi Gaigg, direction

In 1723 Johann Sebastian Bach became cantor at the Thomas Church in Leipzig, a position he held for 27 years until his death in 1750. Bach’s foremost task was to provide music on a weekly basis for the city’s four churches. It was during this period that he composed all the great Passions, the four cantata cycles, the B minor Mass and a number of other church music masterpieces. L’Orfeo Barockorchester, directed by Michi Gaigg, performs two cantatas written in the years 1726–1727: “Ich armer Mensch, ich Sündenknecht”, BWV 55 and “Ich habe genung”, BWV 82. Bach didn’t only compose church music during this period though: in fact, he wrote instrumental music, orchestral works, solo concerts and chamber music during his whole lifetime. In addition to all his obligations in Leipzig he also directed the weekly concert series of the Collegium Musicum that performed to a paying audience. A substantial amount of instrumental music was composed for these occasions. L’Orfeo Barockorchester performs the second Orchestral Suite (BWV 1067) and his Concerto in A major for oboe d’amore (BWV 1055a), better known for its later arrangement for harpsichord.

Georg Philipp Telemann: Das selige Erwägen des bittern Leidens und Sterbens Jesu Christi TWV 5:2
Passion Oratorio in nine comtemplations for soloists, choir and orchestra (1720–22, rev. 1728 & 1763)

Maria Ladurner, soprano (Faith, Zion, Devotion)
Bernhard Berchtold, tenor (Devotion)
Johannes Bamberger, tenor (Petrus)
Rafael Fingerlos, baritone (Jesus)
Matthias Hoffmann, bass (Caiphas)
Collegium Vocale Salzburg
L’Orfeo Barockorchester
Michi Gaigg, conductor

The Passion as musical genre deals with the aspect of time left. Illustrious soloists join us in a performance of Georg Philipp Telemann’s “Seliges Erwägen des bittern Leidens und Sterbens Jesu Christi”, one of the most beautiful and moving Passion Oratorios. It doesn’t always have to be a Bach Passion, does it?

Georg Philipp Telemann: Das selige Erwägen des bittern Leidens und Sterbens Jesu Christi TWV 5:2
Passion Oratorio in nine comtemplations for soloists, choir and orchestra (1720–22, rev. 1728 & 1763)

Maria Ladurner, soprano (Faith, Zion, Devotion)
Bernhard Berchtold, tenor (Devotion)
Johannes Bamberger, tenor (Petrus)
Rafael Fingerlos, baritone (Jesus)
Matthias Hoffmann, bass (Caiphas)
Collegium Vocale Salzburg
L’Orfeo Barockorchester
Michi Gaigg, conductor

The Passion as musical genre deals with the aspect of time left. Illustrious soloists join us in a performance of Georg Philipp Telemann’s “Seliges Erwägen des bittern Leidens und Sterbens Jesu Christi”, one of the most beautiful and moving Passion Oratorios. It doesn’t always have to be a Bach Passion, does it?

Giuseppe Misliwecek, detto il Boemo: Sinfonia V B-flat major EvaM 10:B3 from: Six Overtures (London 1772)
Carl Stamitz: Simphonie concertante in E-flat major for violin, oboe, viola and bassoon, strings and 2 horns (Paris 1775)
Ludwig Lebrun: Concerto No. 1 in d minor for oboe and orchestra from: Six Concertos (Offenbach 1804)
Carl Philipp Emanuel Bach: Symphony in D major Wq 183,1 / H 663 with 12 obligato parts (1775/76)
Wolfgang Amadeus Mozart: Symphony No. 33 in B-flat major K 319 (Salzburg, 9 July 1779)

Carin van Heerden and Philipp Wagner, oboes
Julia Huber-Warzecha, violin
Lucas Schurig-Breuß, viola
Makiko Kurabayashi, bassoon
L’Orfeo Barockorchester
Michi Gaigg, conductor

Wolfgang Amadeus Mozart spent ten years, two months and eight days – all in all nearly a third of his lifetime – travelling. During these sojourns he met with countless, mainly older, colleagues. These encounters turned out to be never ending sources of inspiration for the rest of his life. The “musical souvenirs” which Mozart collected are included on our Grand Tour of pre-Classical Europe during the 1770s: from Milano to London, from Paris to Berlin. Other leading contributors include a Bohemian in Italy, two much-travelled composers from Mannheim and the Bach of the (late) 18th century.

George Frideric Handel: Saul HWV 53
Oratorio in three parts
Text by Charles Jennens and Abraham Cowley

Nuria Rial, soprano
Elisabeth Breuer, soprano
Berenike Tölle, soprano
Franz Vitzthum, alto
Tilman Lichdi, tenor
Christian Immler, bass
Martin Ellrodt, narrator
FAU-Kammerchor
L‘Orfeo Barockorchester
Julian Christoph Tölle, conductor

A firework of Baroque emotions will be unleashed when internationally acclaimed soloists join the ranks of L‘Orfeo Barockorchester and the FAU Kammerchor, conducted by Julian Tölle, to start the Festival Fränkischer Sommer 2021.

Recitation instead of recitative!
Martin Ellrodt grippingly tells a timeless story about power, betrayal, love, delusions of grandeur, but also of hope: Saul, one of the tragic figures from the Old Testament, is perpetrator and victim at the same time. He is Israel’s first king and by insisting on his power he neglects the signs of the times: he finds himself hopelessly entangled in intrigues of murderous jealousy, his own fear of God, feelings of guilt and issues of state policies.

George Frideric Handel: Saul HWV 53
Oratorio in three parts
Text by Charles Jennens and Abraham Cowley

Nuria Rial, soprano
Elisabeth Breuer, soprano
Berenike Tölle, soprano
Franz Vitzthum, alto
Tilman Lichdi, tenor
Christian Immler, bass
Martin Ellrodt, narrator
FAU-Kammerchor
L‘Orfeo Barockorchester
Julian Christoph Tölle, conductor

A firework of Baroque emotions will be unleashed when internationally acclaimed soloists join the ranks of L‘Orfeo Barockorchester and the FAU Kammerchor, conducted by Julian Tölle, to start the Festival Fränkischer Sommer 2021.

Recitation instead of recitative!
Martin Ellrodt grippingly tells a timeless story about power, betrayal, love, delusions of grandeur, but also of hope: Saul, one of the tragic figures from the Old Testament, is perpetrator and victim at the same time. He is Israel’s first king and by insisting on his power he neglects the signs of the times: he finds himself hopelessly entangled in intrigues of murderous jealousy, his own fear of God, feelings of guilt and issues of state policies.

George Frideric Handel: The Messiah HWV 56
Oratorio in three parts
Text of the Old and New Testament (presumably compiled by Charles Jennens)

Soloists N.N.
Sollner Kantorei
L’Orfeo Barockorchester
KMD Ernst Hagerer, conductor

George Frideric Handel: The Messiah HWV 56
Oratorio in three parts
Text of the Old and New Testament (presumably compiled by Charles Jennens)

Soloists N.N.
Sollner Kantorei
L’Orfeo Barockorchester
KMD Ernst Hagerer, conductor