Wczytywanie
actus humanus GDAŃSK // 12-16.04.2017
ARTISTS
WILLIAM CHRISTIE
WILLIAM
CHRISTIE
WILLIAM
CHRISTIE
Born in the USA, William Christie is a conductor and harpsichordist, founder of the Les Arts Florissant ensemble, prominent promoter and interpreter of the French Baroque, and an outstanding performer of the repertoire from the 16th, 17th and 18th centuries. After graduating from Harvard and Yale in 1971, he left America to study at the Paris Conservatorium. He founded Les Florissants in 1979. As the ensemble leader, he made a very profound and personal contribution to restoring and rediscovering the repertoire of almost the entire musical heritage of the French baroque after a long period of neglect. He played an instrumental role in the resurgence of interest in such genres as tragédie-lyrique, opéra-ballet and the French motet, and has made innumerable outstanding performances and recordings of Italian and English pieces of the period, including madrigals of Gesuald and Monteverdi as well as Purcell’s and Handel’s operas.
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RENÉ JACOBS
RENÉ
JACOBS
RENÉ
JACOBS
A singer, conductor, researcher and teacher with over 250 recordings, René Jacobs is one of the most prominent artists of early music. A formative moment of his artistic journey was his meeting with the Kuijken brothers, Gustav Leonhardt and Alfredem Dellere, which happened when he enrolled in vocal studies alongside classical philology. Thanks to the Kuijken brothers, René Jacobs turned to baroque music and trained his voice as a countertenor. In 1977, he founded Concerto Vocale, which he then expanded to a full-size opera orchestra. René Jacobs is a regular conductor at Aix-en-Provence festival, in Théâtre des Champs-Élysées and Salle Pleyel in Paris. His opera performances are mainly presented in Berlin and Vienna. He has received many prestigious musical awards, such as the Grammy Award for the Best Opera Recording for Mozart’s The Marriage of Figaro.
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RINALDO ALESSANDRINI
RINALDO
ALESSANDRINI
RINALDO
ALESSANDRINI
Founder and the leader of the Concerto Italiano ensemble, their harpsichordist, organist and pianist ready to play historical instruments. According to The Times, Alessandrini is the man who made Italian music sound Italian again, because by focusing mainly on the Italian Mannerist and Baroque repertoire, Alessandrini tries to fill his interpretations with the melodiousness and expressions characteristic of 17th and 18th century style. Apart from running Concerto Italiano, Rinaldo Alessandrini performs intensively as a soloist, appearing at festivals around the world, starting from Japan, through Europe and across the United States. He is often engaged as a visiting conductor, and also performs in numerous opera projects. His recordings received many awards and distinctions from international music critics, including “Grand Prix du Disque” and “Deutschen Schallplattenkritik” award.
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OTTAVIO DANTONE
OTTAVIO
DANTONE
OTTAVIO
DANTONE
Harpsichordist, organist and conductor of Accademia Bizantina, with which he recorded a number of memorable records with instrumental and opera music. After successful appearances in competitions in the mid- of 1980s, he quickly won popularity among critics and audiences. In 1989, he joined the forces of Accademia Bizantina and in 1996 he was appointed its director. Under his leadership the ensemble has gained an exceptional position and global recognition in the musical world. Ottavio Dantone conducts chamber ensembles and orchestras, enriching his repertoire with classicist and romanticist pieces. Since 1999 he has focused on opera projects, but has continued to pursue his career as a soloist. He has recorded for such labels as Decca, Deutsche Grammophon, Naïve, Harmonia Mundi and won numerous international awards.
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BJÖRN SCHMELZER
BJÖRN
SCHMELZER
BJÖRN
SCHMELZER
Born in 1975 in Antwerp, Björn Schmelzer is an anthropologist, ethnomusicologist, and multidisciplinary artist. He created Graindelavoix, an ensemble specialising in Mediaeval and Renaissance music. Interested in the style and functional ornamentation in Mediterranean music, Schmelzer went on study visits to Italy (Sardinia, Sicily), Spain, Portugal and Morocco, researching their vocal repertoire and performance styles. He embarked on a thorough analysis of numerous mediaeval singing traditions, and their continuations and remnants that survived until more recent times. Combining this work with a perspective derived from anthropology, history, ethnomusicology and cultural geography, Björn Schmelzer has developed concert programmes and produced many publications. He is also a cinematographer.
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MARCIN ŚWIĄTKIEWICZ
MARCIN
ŚWIĄTKIEWICZ
MARCIN
ŚWIĄTKIEWICZ
One of the top harpsichordists of the young generation (the winner of 2015 “Polityka” passport), playing various historical keyboard instruments. He regularly collaborates with the best international and Polish early music ensembles, such as Brecon Baroque Rachel Podger, Arte dei Suonatori, Historical Orchestra, Bassociation and Scroll Ensemble, participating in their recordings (for such labels as BIS, Channel Classics, Accent, Alpha, Decca, Linn Records, DUX as well as TV and radio stations across Europe). In 2015, he was the soloist on a double album with late Baroque harpsichord concertos by J.G. Müthel (and won „Diapason d'Or”). In 2016, he received the “Gramophone Award” for the recording of H.I.F. Biber’s Mystery Sonatas (with Rachel Podger).
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AGNIESZKA BUDZIŃSKA-BENNETT
AGNIESZKA
BUDZIŃSKA-BENNETT
AGNIESZKA
BUDZIŃSKA-BENNETT
The vocalist, harpist, musicologist, founder and manager of the Basil-based Ensemble Peregrina. She received two nominations for “Polityka” passports. Agnieszka Budzińska-Bennett graduated from the Faculty of Musicology (Adam Mickiewicz University, Poznan, Ph.D in 2010) and undertook vocal studies at Schola Cantorum Basiliensis. The international Ensemble Peregrina, which she founded, specialises in early medieval polyphony. Agnieszka made seven records with her ensemble that have won significant recognition with international critics. She also collaborates with other early music ensembles (Ensemble Perlaro, Dragma, Ferrara Ensemble, La Cetra, Accademia dell'Arcadia), presenting the Medieval repertoire as well as the music of the 17th and 18th centuries and major festivals in Europe, Asia and the United States.
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MICHAŁ GONDKO
MICHAŁ
GONDKO
MICHAŁ
GONDKO
Born in Warsaw in 1976, Michał Gondko is a lute player connected to Schola Cantorum Basiliensis, where he was a student of Hopkinson Smith. Gondko has played in most of the European countries, the USA, China and the Middle East, performing both as a soloist and an ensemble member, sharing the stage with musicians such as Jordi Savall, Emma Kirkby, and Martin Gester. His musical activity is primarily focused on the La Morra ensemble, which he founded in 2000 and runs together with his wife Corina Marti. La Morra’s concerts and recordings are very popular with the critics and audiences. Their enthusiastic reception translates into recording awards, including “Diapason d'Or”, “Jahrespreis der Deutschen Schallplattenkritik” and the “Noah Greenberg Award”.
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ADAM STRUG
ADAM
STRUG
ADAM
STRUG
Born in 1970 in north-east Mazovia, Adam Strug is a singer of traditional music, an upholder of the Polish oral music tradition, and a performer. Raised by his grandmother, a daughter of a local village cantor and a continuator of the cantor’s role in the community, Adam was immersed in the repertoire of devotional songs. As a child, he listened to the songs performed with mannerisms dating back to the time before the First World War, mainly in natural scales. As a young man of 22, Adam returned to the village to start, what he called, his apprenticeship with the local cantor Wincenty Nasiadko. Currently Adam Strug is a singer and author. He manages the Monodia Polska ensemble and appears at numerous meetings to sing the traditional repertoire along with the participants. He records traditional music and his own compositions, collaborating with other musicians in contemporary renditions of the old repertoire (Folk requiem recorded with Kwadrofonik band).
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ROBERT BACHARA
ROBERT
BACHARA
ROBERT
BACHARA
Born in 1985, Robert Bachara started to play the violin at the age of 8. He studied at the Academy of Music in Wrocław and took part in master classes with Ida Haendel, Grigorij Żyslin and Jadwiga Kaliszewskiej. He also studied the historical principles of violin playing with Sirkka-Liisa Kaakinen-Pilch in Krakow. His fields of interest include early music and solo violin music. In his recitals, Robert wishes to present the violin as a self-sufficient instrument that can meet the requirements of early and contemporary music. Performing early music, Robert Bachara takes on a number of non-standard challenges. He chooses a particularly demanding repertoire, i.e. performs the entire Biber’s Rosary Sonatas in a single concert and holds his violin in a historical position, i.e. at his chest and not his collar-bone.
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 LES ARTS FLORISSANTS
LES ARTS FLORISSANTS
LES ARTS FLORISSANTS
Taking their name from the title of a short opera by Marc-Antoine Charpentier, Les Arts Florissants was founded in 1979 by the Franco-American harpsichordist and conductor William Christie with a view to performing Baroque music on historical instruments. The ensemble played a pioneer role in the resurgence of interest in the musical heritage of the French baroque. Over a period of almost 40 years, Les Arts Florissants have brought back to life innumerable treasures from the collections of the Bibliothèque Nationale de France, particularly the 17th century French repertoire, but also European music of the 17th and 18th centuries. Since the success of their production of Lully’s Atys in 1987 at the Opéra Comique in Paris, opera has become the field where Les Arts Florissants have been enjoying their greatest success. The ensemble recorded almost one hundred albums for Harmonia Mundi, Warner Classics/Erato and Virgin Classics. They have also produced an impressive collection of opera DVDs.
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 AKADEMIE FÜR ALTE MUSIK BERLIN
AKADEMIE FÜR ALTE MUSIK BERLIN
AKADEMIE FÜR ALTE MUSIK BERLIN
Founded in 1982 and recognised today as one of the world’s most eminent orchestras playing historical instruments, the Akademie für Alte Musik Berlin or Akamus, performs regularly in Europe’s leading musical centres. With spectacular performances at the early music festivals in Poland, it has made its name with the festival audience. For over 20 years their partnership with René Jacobs has produced many celebrated opera and oratorio productions. Akamus often performs with conductors such as Marcus Creed, Daniel Reuss, and Hans-Christoph Rademann, and in the coming season the ensemble will be led by Emmanuelle Haïm, Bernard Labadie, Paul Agnew and Rinaldo Alessandrini. Akamus boasts collaboration with prominent soloists, including Cecilia Bartoli, Andreas Scholl, Sandrine Piau, Isabelle Faust, Andreas Staier, Alexander Melnikov and Anna Prohaska. The international success of the Akademie für Alte Musik Berlin is highlighted by the impressive number of over a million albums sold, winners of all the major international awards.
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 RIAS KAMMERCHOR
RIAS KAMMERCHOR
RIAS KAMMERCHOR
RIAS Kammerchor is a vocal ensemble of 35 professional singers, specialising in contemporary and early music and collaborating with prominent conductors, orchestras and soloists. The history of the choir goes back to 1948, following which the group was conducted by the most prominent maestros, including Fricsay, Karajan, Boehm, Maazel, and later also Abbado, Levine, Barenboim, Rattle and Nézet-Séguin. Since the management of Marcus Creed(1987-2001) and Daniel Reuss (2003-2006), the choir has turned to historic practice and the 17th and 18th century heritage repertoire and was fast to gain an exceptional position in this repertoire. This is documented in numerous performances and recordings made with the best historic instrument orchestras led by, inter alia, Nikolaus Harnoncourt, Frans Brüggen, Roger Norrington, Andrea Marcon, Ottavio Dantone, Rinaldo Alessandrini and René Jacobs. It was the latter who wrote a particularly rich chapter with RIAS Kammerchor, recording a number of grand Baroque works, many of which won top awards from the international critics.
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 CONCERTO ITALIANO
CONCERTO ITALIANO
CONCERTO ITALIANO
Starting with the madrigal repertoire, particularly Monteverdi, and moving to the 18th century orchestral works and operas, Concerto Italiano revolutionised the criteria of early music performance. The ensemble makes regular appearances in major musical centres, boasting numerous tokens of recognition from the musical critics, including four “Gramophone Awards” (1994, 1998, 2002 and 2004), two “Grand Prix du Disque”, three „Deutschen Schalplattenkritik”awards and others. Recently Concerto Italiano has produced a trilogy of Monteverdi operas in La Scala, Milan as well as Monteverdi’s Vespers and has toured Europe with Scarlatti’s z Cain overo il primo omicidi. Concerto Italiano has also prepared a programme of Roman polyphonies from the late 17th century (together with RIAS Kammerchor) as well as numerous projects to celebrate the 450th anniversary of the Master of Cremona in 2017.
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 ACCADEMIA BIZANTINA
ACCADEMIA BIZANTINA
ACCADEMIA BIZANTINA
Accademia Bizantina is one of the best-recognised ensembles of early music in the international arena. Founded in 1983, it is committed to making music with “chamber-like” style and quality: “as if it was a big string quartet”. Initially, Accademia Bizantina was developing through its contacts with artists such as Jörg Demus, Riccardo Muti, Luciano Berio and finally Stefano Montanari, the orchestra’s concert master for 20 years, who led it to the idea of performing their 17th, 18th and 19th century music on period instruments. Ottavio Dantone has played with Accademia since 1989 and became its director in 1996. The Orchestra appears at most prestigious music halls and major festivals. Its numerous recordings with Decca, Harmonia Mundi, Naïve, Deutsche Grammophon, Onyx have received enthusiastic reviews and awards, such as “Diapason d'Or”, “Midem Classic Award” as well as “Grammy” nominations.
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 GRAINDELAVOIX
GRAINDELAVOIX
GRAINDELAVOIX
Graindelavoix is an exceptional vocal ensemble performing mediaeval and Renaissance music, operating as a multidisciplinary company of artists, which has a fascination for the voice, the genealogy of vocal repertoires, and their relationships with the human body, history and territory. This Antwerp-based international group was founded in 1999 by anthropologist and ethnomusicologist Björn Schmelzer. The first recording, Ockeghem’s Missa Caput, released in 2006 on the Glossa label, immediately put Graindelavoix on the international scene. What the critics found most valuable was the intriguing archaic singing techniques (emission, ornamentation) juxtaposed with a novel and bold search for a complex identity in the musical works performed.
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DELPHINE GALOU
DELPHINE
GALOU
DELPHINE
GALOU
Specialising in the Baroque repertoire, Delphine Galou is a mezzosoprano collaborating with ensembles such as the Balthasar Neumann Ensemble, I Barocchisti, Accademia Bizantina, Collegium 1704, the Venice Baroque Orchestra, Il Complesso Barocco, Les Siècles, Les Arts Florissants, Le Concert des Nations, Ensemble Matheus, Les Musiciens du Louvre Grenoble, Le Concert d'Astrée, Les Ambassadeurs and Les Talens Lyriques. She appears at major opera stages and festivals in Europe and performs as a soloist at, inter alia, Festival de Beaune, where she collected very favourable reviews for Handel’s Rinaldo and Alessandro, Porpora’s Semiramide, Vivaldi’s Juditha triumphans, Orlando furioso and L'incoronazione di Dario. She maintains close relations with Zurich Opera, where she plays the part of Medoro in Orlando, Ottone in L’Incoronazione di Poppea and Damira in La verità in cimento.
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SUNHAE IM
SUNHAE
IM
SUNHAE
IM
Since her European stage debut in 2000, Sunhae Im’s career has developed, and she has collaborated with prominent conductors in numerous international productions. She performed in, inter alia, Berliner Staatsoper Unter den Linden, Deutsche Oper, Opéra National de Paris, Theater an der Wien led by conductors such as  Iván Fischer, Myung-Whun Chung, Manfred Honeck, Thomas Hengelbrock, Philippe Herreweghe, William Christie,  Fabio Biondi, Herbert Blomstedt, Frans Brüggen, Giovanni Antonini, Kent Nagano, Riccardo Chailly, Lothar Zagrosek, Sylvain Cambreling, Ton Koopman, Marek Janowski  and René Jacobs. She sang with the New York Philharmonic, Pittsburgh Symphony, Muenchner Philharmoniker and developed special relations with Akademie für Alte Musik Berlin and Freiburger Barockorchester.  Her repertoire is mainly the music of the 18th and 19th centuries.
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ROBERTA MAMELI
ROBERTA
MAMELI
ROBERTA
MAMELI
Roberta Mameli sang under the baton of e.g. Claudio Abbado, Umberto Benedetti Michelangeli and Jeffrey Tate. Devoting considerable attention to the Baroque repertoire, she has collaborated with numerous early music ensembles, such as L’Arte dell’Arco, La Risonanza, La Venexiana, Accademia Bizantina, appearing at many European festivals. She recorded for Naïve, CPO, Glossa, Bongiovanni, Nibiru, Airos, RAI 3, MEZZO, Brilliant Classics and Dynamic. Roberta graduated from Piacenza Conservatorio and participated in master classes run by Konrad Richter, Roberta Invernizzi, Bernadette Manca di Nissa, Claudia Desderi and Enzo Dary. She performs regularly at the Vienna Konzerthaus, Concertgebouw in Amsterdam, Cité de la Musique in Paris, Velodrom Theatre in Regensburg, Teatro Ponchielli in Cremona, Teatro La Pergola in Florence, and Teatro Comunale in Bologne.
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BERIT SOLSET
BERIT
SOLSET
BERIT
SOLSET
Berit Solset is a Norwegian soprano. Appearing in both the classic repertoire (Susanna in The Marriage of Figaro, Rosina in The Barber of Seville, Belinda in Purcell’s Dido and Aeneas, Abel in Scarlatti’s oratorio Il primo omicidio) as well as contemporary projects (world premiere of Ragnar Rasmussen’s  Malleus Maleficarum and Friedrich Haas’ Melancholy),  Berit has rapidly become one of the best recognised Nordic singers. Her repertoire ranges from the Renaissance and Baroque to the modern period. She regularly collaborates with conductors such as Benjamin Bayl, Olof Boman, Christopher Bucknall, Herbert Böck, Ottavio Dantone, Simon Gaudenz, Bernard Labadie, Stefan Parkman, Andrew Parrott, Vasily Petrenko, George Petrou, Morten Schuldt-Jensen, Jos van Immerseel, Andrew Wilder, and Michael Alexander Willens.
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JULIAN PRÉGARDIEN
JULIAN
PRÉGARDIEN
JULIAN
PRÉGARDIEN
Born in Frankfurt in 1984, Julian is a son of Christoph Prégardien and a lyric tenor. He sings, inter alia, the part of Tamino under the baton of Christophe Rousset (Dijon) and the part of Oberon in Weber’s opera. He often collaborates with Akademie für Alte Musik Berlin, conducted by René Jacobs, and has also made records with them (e.g. Mozart’s The Abduction from the Seraglio). The year 2017 will see Julian appear with his father in a special programme dedicated to Monteverdi (with Anima Eterna Brugge led by Jos van Immerseel) and his participation in the performance of Schubert’s complete songs, in a production by the Schubertiade festival (Hohenems/Schwarzenberg) and Wigmore Hall, London. Julian Prégardien is returning to the Salzburger Festspiele (with maestro Ádám Fischer) and he will sing the Padmore Cycle at the invitation of the work’s composer Thomas Larcher.
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BENNO SCHACHTNER
BENNO
SCHACHTNER
BENNO
SCHACHTNER
Specialising in music of the German Baroque and collaborating regularly with a number of top conductors (René Jacobs, Hans-Christoph Rademann, Howard Arman and others), Benno Schachtner is considered one of the most promising countertenors. He performed in the major cities of Europe and America, appearing at prestigious festivals (Innsbruck, Händel Festival, Halle) and concert halls (e.g. Philharmonie de Paris). Benno Schachtner graduated from Schola Cantorum Basiliensis. His recent repertoire focus has been on concert arias and oratorios. He appears in recordings produced with conductors such as René Jacobs, Stefan Temmingh and Christoph Spering and Akademie für Alte Musik Berlin (for  Harmonia Mundi, Sony Classical and other labels).
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CHRISTIAN SENN
CHRISTIAN
SENN
CHRISTIAN
SENN
Born in Chile, Christian Senn is a baritone educated in La Scala Theatre Academy and domiciled in Italy. He worked with conductors such as Riccardo Muti, Riccardo Chailly, Giovanni Antonini, Ottavio Dantone, Fabio Biondia and Jean-Claude Spinosi, performing at the stages of La Scala, Wiener Konzerthaus, Théâtre du Châtelet in Paris, among others. He made successful appearances as Figaro in The Barber of Seville, the Count in The Marriage of Figaro (which he also presented last year in Poland under the baton of Giovanni Antonini), Taddeo in The Italian Girl in Algiers, Papageno in The Magic Flute, Vivaldi’s Bajazet (with Europa Galante and Fabio Biondi) etc. Christian Senn also sings oratorios, including numerous works by Bach (both the Passions, Weihnachtsoratorium, Magnificat, Actus Tragicus and a number of other cantatas). His recent recordings include Tito Manlio with Accademia Bizantina and a  DVD La Pietra del paragone recorded with the Théâtre du Châtelet in Paris (conducted by  Spinosi for Naïve).
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MARTIN VANBERG
MARTIN
VANBERG
MARTIN
VANBERG
Graduate of the Opera Academy in Copenhagen in 2010, Martin Vanberg is a Swedish tenor well appreciated as a soloist in 18th century pieces, Britten’s operas, and the contemporary music and song repertoire from Germany, France, England and Scandinavia. He also appeared as Peter Quint in Britten’s The Turn of the Screw, Lurcanio in Handel’s  Ariodante, Tom in Stravinsky’s  The Rake’s Progress, Tamino in The Magic Flute, Don Ottavio in Don Giovanni, Ferrando in  Cosí fan tutte , Basilio in The Marriage of Figaro, Almaviva in The Barber of Seville, Oronte in Handel’s  Alcina and Fenton in Falstaff. Martin sang the title role in Handel’s oratorio Jephtha with Accademia Bizantina conducted by Ottavio Dantone (at the festivals in Beaune and Krakow, inter alia). He appears in major concert halls in Europe, such as the Concertgebouw in Amsterdam, Konzerthaus in Vienna, Kölner Philharmonie and Tivoli Concert Hall in Copenhagen.
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JOHANNES WEISSER
JOHANNES
WEISSER
JOHANNES
WEISSER
Born in Norway in 1980, Johannes Weisser made his debut at the age of 23 as Masetto. He has since appeared at major European stages and festivals including the Salzburg Festival,  Staatsoper in Berlin, Theater an der Wien, Théâtre de La Monnaie in Brussels, Théâtre des Champs-Elysées etc.) with such maestros as Rinaldo Alessandrini, Fabio Biondi, Alan Curtis, Ottavio Dantone, Stéphane Denève, Diego Fasolis, Ádám Fischer, Philippe Herreweghe, René Jacobs, Marc Minkowski, Andris Nelsons, Andrew Parrott, Kirill Petrenko, Vasily Petrenko, George Petrou, Trevor Pinnock and Christophe Rousset. Johannes forms a duet with the pianist Leif Ove Andsnes. He has recorded Don Giovanni (title part), Telemann' s Brockes Passion,  Haydn’s The Creation, both Passions by Bach (conducted by maestro Jacobs),  Handel’s Giulio Cesare and Giove in Argo with Alan Curtis, Grieg’s songs and other works.
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PROGRAMME
12.04godz. 17:30
JOHANN GOTTLIEB GOLDBERG: 24 POLONAISES // JOHANN SEBASTIAN BACH: 24 PRELUDIEN
MARCIN ŚWIĄTKIEWICZ
Johann Gottlieb Goldberg
24 Polonaises DürG 7

Johann Sebastian Bach
24 Preludien BWV 846-869

Marcin Świątkiewicz - harpsichord
Old Market Town Hall, ul. Korzenna 33/35
12.04godz. 20:00
JOHANN SEBASTIAN BACH: MATTHÄUS-PASSION BWV 244
RENÉ JACOBS / RIAS KAMMERCHOR / AKADEMIE FÜR ALTE MUSIK BERLIN
Johann Sebastian Bach
Matthäus-Passion BWV 244

Sunhae Im - soprano
Benno Schachtner - countertenor
Julian Prégardien - tenore
Johannes Weisser - bass

RIAS Kammerchor
Akademie für Alte Musik Berlin
René Jacobs - dyrygent
St. John's Centre, ul. Świętojańska 50
13.04godz. 20:00
PEDRO RUIMONTE // CAROLUS LUYTHON: LAMENTATIONES HIEREMIAE PROPHETAE
BJÖRN SCHMELZER / GRAINDELAVOIX
Carolus Luython
Lamentationes Hieremiae Prophetae

Feria Quinta
Feria Sexta In Parasceve
Sabbatho Sancto

Pedro Ruimonte
Lamentationes Hieremiae Prophetae

Sabbatho Sancto

graindelavoix

Alice Kamenezky
Anne-Kathryn Olsen
Razek-François Bitar
Albert Riera
Andrés Miravete Fernández
Marius Peterson
Tomàs Maxé
Arnout Malfliet

Björn Schmelzer - artistic direction
Artus Court, ul. Długi Targ 43-44
13.04godz. 17:30
MARE MUSICUM
MICHAŁ GONDKO
Mare Musicum
Lute music from Baltic Sea region

Gdańsk Lute Tablature
Duda
Jechal chop do miasta
Balletto polacho
Balletto ruteno
Balletto dantichano
Balletto polacho
[Courante] Balardus
[utwór bez tytułu]
[Sellenger’s Rounde]
Balletto de Florenza – Currente
Passamezo
Galliarda
[Currentes]
[Fantasia]
Balletto

Królewiec Lute Tablature
Fortuna Duland
A Galliarde John Hoskins
Allemandt à Globe
Jigge of Cooper
Engelsch Stück

Diomedes Cato
Fantasia
Galliarda
Praeludium
Fantasia

Nicolas Vallet
Fantasye
Pavanne en forme de complainte
Galliarde

Matthaeus Waissel's Tablature
Fantasia B[enedictus] D[e] D[rusina]
Polnischer Tantz

Johannes Nauclerus' Tablature
Corrant

Johannes Stobaeus' Tablature
Praeludium

Per Brahe's Tablature
Galiarda the frog - More palatino

Petrus Fabricius' Tablature
Polnisch Tantz

Michał Gondko - 10-chorus Renaissance lute
Main Town Hall, ul. Długa 46
14.04godz. 20:00
MONTEVERDI 450
RINALDO ALESSANDRINI / CONCERTO ITALIANO
Claudio Monteverdi

Vespro della Beata Vergine SV 206 (1610)
Dixit Dominus
Laetatus sum
Magnificat a 6 voci

Libro Primo dei Mottetti di Giulio Cesare Bianchi (1620)
Domine ne in furore tuo SV 298
Cantate Domino SV 293

Selva morale e spirituale (1641)
Confitebor tibi Domine SV 267
Crucifixus SV 259

Messa, salmi concertati e parte da capella, et letanie della B.V. (1650)
Laetanie della Beata Vergine SV 204
Nisi Dominus II SV 201

Monica Piccinini - soprano
Anna Simboli - soprano
Andrea Arrivabene - alto
Gianluca Ferrarini - tenore
Raffaele Giordani - tenore
Matteo Bellotto - bass

Concerto Italiano
Rinaldo Alessandrini - conductor
Artus Court, ul. Długi Targ 43-44
14.04godz. 17:30
WŁADYSŁAW Z GIELNIOWA: ŻOŁTARZ JEZUSOW CZYLI PIĘTNAŚCIE ROZMYŚLENIA O BOŻYM UMĘCZENIU
ADAM STRUG
Władysław z Gielniowa
Żołtarz Jezusow czyli piętnaście rozmyślenia o bożym umęczeniu

Adam Strug - voice
Mateusz Kowalski - hurdy-gurdy
Great Armoury, ul. Targ Węglowy 6
15.04godz. 20:00
MARC-ANTOINE CHARPENTIER: CHANTS JOYEUX DU TEMPS DE PÂQUES
WILLIAM CHRISTIE / LES ARTS FLORISSANTS
Marc-Antoine Charpentier

Nuptiae Sacrae H.412
Tristis est anima mea H.126
Transfige dulcissime Jesu H.251
Victimae paschali laudes H.13
Le Reniement de Saint Pierre H.424
Prière à la Vierge du Pere Bernard H.367
Stabat Mater pour les religieuses H.15
Prélude H.510
O crux spes unica H.349
Dialogus inter Magdalenam et Jesum H.423
Salve regina H.47
Chants joyeux du temps de Pâques H.339

Les Arts Florissants
William Christie - conductor
Artus Court, ul. Długi Targ 43-44
15.04godz. 17:30
LAMENTATIONES
AGNIESZKA BUDZIŃSKA-BENNETT
Lamentationes

Anonim
Nobilis humilis [Orkneys, XII c.]
Breves dies hominis [Paris, XIII c.]

Philippe le Chancelier
O labilis sortis [Paris, XIII c.]

Anonim
Ar ne kuth ich sorghe non [England, XII c.]
Brid one breere [England, XIII c.]
Man mai longe lives weene [England, XIII c.]
Sicut cervus desiderat [Sankt Gallen, IX c.]

Godefroy de Saint-Victor
Planctus ante nescia [Paris, XII c.]

Pierre Abélard
Epithalamica [Nevers, XII c.]

Anonim
Stabat iuxta Christi crucem [Burgos, XIV c.]
De la crudel morte del Christo [Cortona, XIV c.]

Agnieszka Budzińska-Bennett – voice, Romanesque harp, vielle à roue
Main Town Hall, ul. Długa 46
16.04godz. 20:00
GEORGE FRIDERIC HANDEL: LA RESURREZIONE HWV 47
OTTAVIO DANTONE / ACCADEMIA BIZANTINA
George Frideric Handel
La Resurrezione HWV 47

Angelo: Roberta Mameli - soprano
Maddalena: Berit Solset - soprano
Cleofe: Delphine Galou - alto
San Giovanni: Martin Vanberg - tenore
Lucifero: Christian Senn - baritone

Accademia Bizantina
Ottavio Dantone - conductor
St. John's Centre, ul. Świętojańska 50
16.04godz. 17:30
JOHANN SEBASTIAN BACH: 3 PARTITEN FÜR VIOLINE SOLO
ROBERT BACHARA
Johann Sebastian Bach

Sonaten und Partiten für Violine solo BWV 1001-1006
Partita I h-moll BWV 1002
Partita II d-moll BWV 1004
Partita III E-dur BWV 1006

Robert Bachara - violin
Old Market Town Hall, ul. Korzenna 33/35
VENUES
St. John’s Centre
St. John’s Centre
The first written mention of a small chapel dedicated to St. John comes from 1358. The church’s style is typical for late-Gothic architecture of the 14th and 15th centuries, with its heavy, buttressed structure, triple nave interior and flat-ended presbytery. The church took on its current form in the second half of the 15th century. In 1543, the church tower was destroyed by fire to be rebuilt 24 years later. In March 1945, the church burned down but its overall structure survived. After the war, the gutted building was roofed and its valuable vaults secured, but the church was designated a lapidarium. The Gdansk Diocese has been using it for services on Sundays and holidays since the 1990s. In 1995, the church was transferred to the management of the Baltic Sea Culture Centre (BSCC), which is reconstructing it with a view to converting it into a professional centre of culture.
Artus Court
Artus Court
In its day, Artus Court was home to the Brotherhood of St. George, providing a meeting place for nobles, merchants and courts. Currently, Artus Court is a branch of the Gdansk History Museum and is regarded as one of the city’s main tourist attractions. The history of Artus Court goes back to the middle of the 14th century - the building was erected in 1348–1350 and named after King Arthur, reflecting aspirations to the ideals of knightly virtue perfectly embodied by the legendary Celtic leader, and of equality and partnership symbolised by the Round Table at which Arthur sat with his knights. The building’s name, curia regis Artus (Royal Artus Court), was first mentioned in 1357. Artus Court is part of a route known as the Royal Way in the historic Main Town. Its interior is organised as one vast Gothic-style hall. In 1530, this seat of various brotherhoods, a meeting point and festival venue, took on another important role as a chamber for open court hearings. The Grand Hall’s acoustic properties were recognised in the late 17th century and regular concerts were held.
Main Town Hall
Main Town Hall
The Great Wety Hall (the White Hall) is located in the eastern wing of the first and most elegant storey of the building. When the Polish kings visited Gdansk, the hall served as a throne room and a place where the royal burgrave received oaths and issued court judgments. The Great Wety Hall hosted commemorations of Polish citizenship and, until the middle of the 16th century, was the venue of City Council meetings. Starting from 1526, the Hall was used for sittings of the common folk chamber (the Third Ordynek) and the Wety Court. Between 1817 and 1921, the Great Wety Hall was mostly referred to as the City Council Hall (Stadtverordnetensaal) as it hosted the meetings of City Representatives. In 1840-1841, its interiors were rebuilt in a neo-gothic style based on the summer refectory from the Grand Master’s Palace in Malbork Castle. In 1909, a 16th century Renaissance portal, that was originally located in the merchant’s house at Chlebnicka 11, was placed over the entry to the Main Hallway. In 1945, the destroyed hall was reconstructed following the design Stanisław Bobiński and brought back to its pre-1941 condition.
Old Market Town Hall
Old Market Town Hall
Created by Anthonis van Obberghen, the Old Market Town Hall was erected in late 16th century in the Dutch Mannerist style. Built for the Old Town authorities, the building was a centre of the political, economic, scientific and social life of this part of Gdansk for many centuries. It was there that city debates were held, that the Grand Hall hosted official ceremonies, while balls and parties were organised there in the evenings. A famous Gdansk-based scholar and astronomer Johannes Hevelius resided in the Old Market Town Hall as an assessor and the first councillor, storing his home-made beer in the town hall cellars. With its landmark silhouette, the town hall is a major urban highlight of the Old Town. Regardless of many reconstructions, the town hall envelope has remained unchanged until now. Multiple modifications of its interior have enriched the building with exceptional objects. The first floor features an elegant hallway and an imposing Grand Hall, now known as the Bourgeoisie Hall, with an original wooden ceiling.
Grand Armoury
Grand Armoury
The Grand Armoury in Gdansk, also called the Arsenal, is one of the most imposing civilian buildings of Renaissance Gdansk. In the late 16th century, faced with a growing threat from Sweden, Gdansk citizens decided to build an arsenal, i.e. the Grand Armoury. Erected in 1602-1605, the building was designed by one of the most prominent Gdansk architects of that time Anthonis van Obbergen. The Armoury is built of small red bricks in the Dutch style, and is decorated with sandstone and rich golden ornamentation. Its palatial structure looks as if the building consisted of four separate parts. The Piwna Street façade boasts two grand portals crowned with cartouches presenting Gdansk coats of arms held by lions. The Targ Węglowy façade features modest portals and apices, with two musketeers, an ensign, a constable and a captain. In 1945, the building burned down during the war. It was rebuilt in 1947-1965 and the tower helms and apex masonry were restored.
Uphagen’s House
Uphagen’s House
The merchant’s house, located at 12 Długa Street, was purchased in 1775 by a Gdansk councillor Jan (Johann) Uphagen. It took 10 years to finish the house and make changes to adapt it to the needs of a new and wealthy owner. Thanks to the first owner’s testament, which forbade his heirs to modify the interior, Uphagen’s House preserved its original character. In 1911, it was converted into a museum. In 1944, a number of its pieces of furniture were removed, thus saving them from destruction in March 1945. In 1993-1998, the 19th century character was restored in the rebuilt merchant’s house, which was turned into a Museum of Bourgeois Interiors. Today Uphagen’s House is one of a handful of 18th century merchant houses open to visitors in Europe. As you make your tour around the house, you experience a typical merchant’s house of the 18th century bourgeoisie, full of historic furniture and everyday objects.
MAP

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