Laurence Cummings directs The English Concert in German baroque programme|
When the great J. S. Bach’s fifth child, Carl Philipp Emmanuel Bach, was born, he selected his friend Georg Philip Telemann as his son’s namesake and godfather. This extended family of German baroque composers comes together in The English Concert’s March programme, Godfather, Father and Son, guest directed by Laurence Cummings. The concerts take place on 25 March at the Wigmore Hall, and 26 March at the University of Birmingham’s Barber Institute.
THEODORA 'Flawless and Uplifting!'|
Considering the flop of his oratorio Theodora in 1750, Handel wryly observed, ‘the Jews will not come to it because it is a Christian story, and the ladies will not come because it is a virtuous one’.
And for 240 years it remained in the shadows, only acquiring its present popularity thanks to Peter Sellars’ inspired Glyndebourne production starring the late great Lorraine Hunt Lieberson in 1996. And as a celebration of religious tolerance and freedom of thought, it does indeed lack the lurid glamour of most Baroque tragedy: the passions which drive it have a glowing inwardness, as does Handel’s music.
Chief Executive Gijs Elsen wins ABO/Rhinegold Award!|
Gijs Elsen, Chief Executive of The English Concert (TEC), has been awarded Orchestra Manager of the Year at the Association of British Orchestras (ABO)/Rhinegold Awards, it was announced Wednesday night by the ABO.
'Theodora' Ravishes the Senses!|
Theodora (1749), the Handel oratorio indelibly associated with Lorraine Hunt Lieberson’s transcendent performances in the Bay Area, Glyndebourne, and beyond, returned to Northern California on Saturday night. To say that the performance was ravishing, especially in the splendid acoustics of Weill Hall, is to tell but part of the tale.
The English Concert brings an AMAZING B Minor Mass to Malta! *****|
“The Announcement of the Greatest Musical Work of All Times and All People” was how Hans Georg Nägeli, the first publisher of the work, described Bach’s Mass in B minor. Albert Schweitzer described the duality in the work as “...one in which the sublime and intimate co-exist side by side, as do the Catholic and Protestant elements, all being as enigmatic and unfathomable as the religious consciousness of the work’s creator.”
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