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16/08/2010 „The best came from the orchestra pit…“ It has been an exciting stay at the Festival d’Aix-en-Provence for the musicians of the FBO, with altogether 15 performances of Mozart’s „Don Giovanni“ and of Gluck’s „Alceste“. Now they have safely returned to Freiburg and found a bunch of excellent reviews by the international press.
„Le rythme était dans la direction de Louis Langrée, sanguine et équilibrée, naturelle dans l’enchaînement des tempi, toujours relancée. On n’a jamais entendu la fosse de l’Archevêché sonner aussi bien: les instruments de l’Orchestre baroque de Fribourg, exemplaires de rebond et de chaleur, résonnent là où on les croyait condamnés à être étouffés.“ (Christian Merlin on Mozart’s „Don Giovanni“ with the FBO under Louis Langrée at the Festival d’Aix-en-Provence in Le Figaro from 7 July 2010)
„Gluck est bien servi, grâce aussi à la direction d’Ivor Bolton, animée sans être trépidante, trouvant le juste équilibre entre héritage baroque et style classique, avec un Orchestre baroque de Fribourg qui se confirme, le lendemain de Don Giovanni, comme un des ensembles d’instruments anciens les plus virtuoses.“ (Christian Merlin on Gluck’s „Alceste“ with the FBO under Ivor Bolton at the Festival d’Aix-en-Provence in Le Figaro from 6 July 2010)
„Through it all the period-instrument Freiburger Barockorchester, conducted by Ivor Bolton, is impeccable.“ (Judy Fayard on Gluck’s „Alceste“ with the FBO under Ivor Bolton at the Festival d’Aix-en-Provence in France Today from 3 July 2010)
„Le bonheur est venu de la fosse, où s’épanouissaient les sonorités de l’Orchestre baroque de Fribourg sous la direction de Louis Langrée. Ce mozartien grand teint a fait preuve de sa finesse et de son élégance accoutumées, lesquelles n’excluent ni douleur ni véhémence.“ (Marie-Aude Roux on Mozart’s „Don Giovanni“ with the FBO under Louis Langrée at the Festival d’Aix-en-Provence in Le Monde from 3 July 2010) __________________
01/07/2010 The FBO at the Festival d’Aix After two weeks of intensive rehearsals the musicians of the FBO will be performing in two different opera productions at the Festival d'Aix-en-Provence this month.
Tonight the curtain of the Théâtre de l’Archeveché rises for the first night of Mozarts "Don Giovanni" conducted by Louis Langrée. The exquisite singer cast features Bo Skovhus (Don Giovanni), Kristina Opolais (Donna Elvira), Marlis Petersen (Donna Anna), Colin Balzer (Don Ottavio), Kyle Ketelsen (Leporello), Kerstin Avemo (Zerlina), David Bizic (Masetto), Anatoly Kotscherga (Commendatore) and the English Voices.
Further performances will take place on 3, 5, 7, 9, 12, 14, 16, 18 and 20 July. The performance on 5 July is transmitted live on the ARTE channel (starting at 9.25 p.m.)
Tomorrow night it will be Gluck at the Théâtre de l’Archeveché with the FBO under the baton of Ivor Bolton: the Paris Version of the opera "Alceste". The wonderful cast of singers includes Veronique Gens (Alceste), Joseph Kaiser (Admète), Bo Kristian Jensen (Evandre), Joao Fernandes (Apollon/Herault), Tomas Oliemans (Hercule), Andrew Schroeder and others. Further performances will take place on 6, 8, 10, and 13 July.
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16/04/2010 Ensemble Academy Freiburg: Passion Music students and professional musicians interested in the performance practice of Historical and Contemporary music may now register for this year's ensemble academy in Freiburg (deadline: 1 June 2010). This year we would like to focus our attention on "passion". For more information please visit our new website www.ensemble-akademie.de __________________
06/04/2010 FBO goes Far East On 10 March the Freiburg Baroque Orchestra set sails for the Far East. Together with conductor René Jacobs the musicians embarked on a tour with two concerts in Hong Kong (Arts Festival, City Hall on 13 and 14 March) and with two concerts in New Zealand (Wellington, NZ International Arts Festival on 17 and 18 March). The programme was an all-classical one with Mozart’s „Prague“ and „Jupiter“ symphony, his F major piano concerto K. 459 (Sebastian Wienand, fortepiano), E flat major horn concerto (Teunis van der Zwart, natural horn), violin concerto in A major K. 219 (Gottfried von der Goltz, violin), and with Haydn’s symphonies No. 91 and 92 („Oxford“ ). In Hong Kong, one day was also devoted to teaching, with a workshop in the performance practice of Baroque music given by Gottfried von der Goltz (violin), Katharina Arfken (oboe) and Dane Roberts (doublebass).
Fresh air to classical cliché Review of a concert with the FBO under René Jacobs on 13 March 2010 at the Hong Kong Arts Festival ConcertoNet.com from 14 March 2010 – by Danny Kim-Nam Hui
A wonderful group Review of a concert with the FBO under René Jacobs on 17 March 2010 at the International New Zealand Arts Festival The Wellington Scoop from 17 March 2010 – by Dominic Groom __________________
05/04/2010 Haydn’s „Orlando Paladino“ on DVD with the FBO under René Jacobs At first sight, Haydn’s opera „Orlando paladino“ seems to be a musical trip into the Orient, but at second sight, it rather represents a comical expedition into the human nature: A heroic knight stark raving mad with love for a princess, who rather fancies a wimp. The knight’s clumsy servant who adores a witty shepherdess. And a saracen in pursuit of the knight and looking for trouble. Together they produce a first rate operatic turmoil conceived in 1782 by none less than good old Joseph Haydn, the master of musical wit and comedy. At the end it is a job for the sorceress Alcina to clear up this emotional mess – and to teach all the protagonists a typical lesson of the Enlightenment: „Only love the one, who also loves you!“ Together with an execellent cast of singers, René Jacobs and the Freiburg Baroque Orchestra embarked on a special journey into the realm of the hardly-known opera composer Joseph Haydn. A great success in the Haydn Year 2009 with performances in Berlin and Innsbruck (in May 2009 and August 2009 respectively), this highly acclaimed opera production is now available on DVD. Never before has Haydn been so well served Review of Haydn’s „Orlando Paladino“ on DVD with the FBO under René Jacobs MusicalCriticism.com, 1 March 2010 – by David Laviska
A magnificent musical effort Review of Haydn’s „Orlando Paladino“ on DVD with the FBO under René Jacobs Thestar.com, 9 February 2010 – by John Terauds __________________
14/08/2009 FBO and Ivor Bolton open Salzburg Festival with Handel’s „Theodora“ The opening of this year’s Salzburg Festival on 25 July has been a rather unusual event: In the famous Grosses Festspielhaus, since the days of Herbert von Karajan a traditional home for lavish opera productions, the Freiburg Baroque Orchestra and the Salzburg Bach Choir under the baton of Ivor Bolton performed George Frideric Handel’s oratorio “Theodora” in a staged version directed by Christof Loy. With a cast of exceptional singers and deliberately chaste scenery (a large organ in the background and chairs in front of the stage) the whole production placed a strong emphasis on the music and an interpretation of Handel’s “Theodora” as a psychological drama. The singers were Christine Schäfer (Theodora), Bejun Mehta (Didymus), Johannes Martin Kränzle (Valens), Joseph Kaiser (Septimius), Bernarda Fink (Irene) and Ryland Davies (Messenger). Additionally, in accordance to 18th century performance practice, Bolton and Loy inserted a Handel organ concerto (soloist: James McVinnie). At the end of an evening with four hours of superb music-making the audience was thrilled. Further performances will take place on 16, 21 and 28 August. Bolton and FBO keep the music flowing swiftly Review of Handel’s Theodora with the FBO under Ivor Bolton on 25 July 2009 at the Salzburg Festival Financial Times from 3 August 2009 – by Andrew Clark
The FBO played radiantly under early music specialist Ivor Bolton Review of Handel’s Theodora with the FBO under Ivor Bolton on 25 July 2009 at the Salzburg Festival AFP from 8 August 2009 – by Simon Morgan __________________ 11/03/2009 Bach Solo Cantatas with Bernarda Fink and the FBO on CD Yes, it is possible to release CDs this year that do not refer to Handel, Haydn, Purcell, Mendelssohn and all the other jubilee composers in 2009: The latest CD recording of the Freiburg Baroque Orchestra directed by Petra Müllejans concentrates on J.S. Bach’s solo cantatas for mezzo soprano and features with Bernarda Fink a long-standing partner of the “Freiburgers”. The three works on this CD are the cantatas BWV 35 “Geist und Seele wird verwirret”, BWV 169 “Gott soll allein mein Herze haben” and BWV 170 “Vergnügte Ruh, beliebte Seelenlust”. And Bach would not have been Bach, had he not also inserted instrumental movements in these works, which demand a high degree of virtuosity and ensemble cohesion from the orchestra.
Unmissable A five star review of the CD “Bach: Solo Cantatas” with Bernarda Fink and the Freiburg Baroque Orchestra directed by Petra Müllejans The Sunday Times from 22 February 2009 – by Hugh Canning
Beautiful Review of the CD “Bach: Solo Cantatas” with Bernarda Fink and the Freiburg Baroque Orchestra directed by Petra Müllejans BBC from 02 March 2009 – by Charlotte Gardner __________________
16/02/2009 Haydn’s „Creation“ with the FBO at the Barbican “Let there be light”: Haydn’s oratorio “The Creation” is supposed to be the musical work of the Enlightenment par excellence. And on 10 January a thrilled audience at the (fully packed) Barbican in London could experience how enlightening an inspired performance of this masterpiece still is. Julia Kleiter, Maximilian Schmitt and Thomas Quasthoff were the soloists in this concert, with the Freiburg Baroque Orchestra and the RIAS Chamber Choir under the baton of René Jacobs. Infectious Review of Haydn’s “Creation” with the FBO under René Jacobs on 10 January 2009 at Barbican Hall, London MusicalCriticism.com from 11 January 2009 – by Hugo Shirley Read more
RIAS and FBO proved near ideal Review of Haydn’s “Creation” with the FBO under René Jacobs on 10 January 2009 at Barbican Hall, London The Guardian from 12 January 2009 – by George Hall Read more
The very accomplished Freiburg Baroque Orchestra Review of Haydn’s “Creation” with the FBO under René Jacobs on 10 January 2009 at Barbican Hall, London The Independent from 13 January 2009 – by Edward Seckerson Read more
The magnificent Freiburg Baroque Orchestra under René Jacobs Review of Haydn’s “Creation” with the FBO under René Jacobs on 10 January 2009 at Barbican Hall, London Sunday Express from 18 January 2009 – by Michael Arditti Read more
__________________ 15/02/2009 Haydn arias with the FBO and Thomas Quasthoff on CD The FBO’s first contribution to the Haydn year 2009 is a CD recording with the famous bass-baritone Thomas Quasthoff for Deutsche Grammophon. Directed by Gottfried von der Goltz, the recording “Haydn. Italian Arias” features 17 brilliant arias by the so far neglected opera composer Haydn – a long-awaited musical discovery.
A musical treasure trove Review of the CD "Haydn. Italian Arias" with Thomas Quasthoff and the FBO directed by Gottfried von der Goltz “The Times” from 9 January 2009 – by Geoff Brown Read more
Wonderfully varied medley of arias Review of the CD "Haydn. Italian Arias" with Thomas Quasthoff and the FBO directed by Gottfried von der Goltz “Financial Times” from 10 January 2009 – by Andrew Clark
__________________ 23/05/2008 FBO’s latest recording is "editor’s choice of the month" in Gramophone The latest recording of the Freiburg Baroque Orchestra focuses on Mozart’s music with two rather special perspectives. Firstly, it combines his piano concerto K.595 (Andreas Staier, forte piano) with the clarinet concerto K.622 (Lorenzo Coppola, basset clarinet) and thus highlights them as Mozart’s last two contributions to a genre, in which development he had played a central role. Secondly, the orchestra, together with concertmaster Gottfried von der Goltz and soloist Andreas Staier, decided to apply the latest insights from Mozart scholarship to the performance practice of the piano concerto: in Mozart’s autograph “tutti” and “solo” markings have to be read as instructions for a differentiated accompaniment of the soloist with either full strings or a reduced body of strings (i.e. a string quartet). Surviving performance material for some of his piano concertos supports Mozart’s idea of changing sonorities within the orchestra, a performance concept the musicians have chosen for their interpretation of the piano concerto K.595 on this CD. For its originality and outstanding interpretation the FBO’s CD “The Last concertos” has been selected for “editor’s choice of the month” in the May edition of Gramophone.
The most touching and compelling in the catalogue Review of the CD “The last concertos” with the FBO directed by Gottfried von der Goltz Gramophone, May 2008 – by Richard Wigmore “Mozart: The Last concertos” runs the rubric on the CD booklet, though as a counter to any sentimental “swansong” associations, it is worth remembering that both works were substantially sketched several years before they reached their final form in 1791. Yet while their valedictory aura may have been over-stressed, they do have in common a serene, sometimes rarefied lyricism and an intimate, chamber-musical interplay between soloists and orchestra.As is the norm these days, Lorenzo Coppola plays the Clarinet Concerto in its restored original form for basset clarinet, whose extra low notes decisively darken the work’s overall tinta. While always sensitive to the music’s tenderness and wistful grace (he uses rubato literally and, on the whole, convincingly), he is more inclined than most to cultivate a raw, throaty tone when he plunges into the deep chalumeau register. In the Adagio Coppola vindicates his slow tempo with his purity and eloquence of line, though the middle section (more rasping chalumeau notes here) is slightly compromised by the otherwise excellent orchestra’s stressing of the repeated-note accompanying figures. A controversial point in the keyboard concerto is the use of single strings to accompany the solo sections, so that much of the work becomes in effect a piano quintet with obbligato woodwind, reinforcing the concerto’s chamber-musical tendencies. Playing an attractive copy of a 1780s Anton Walter fortepiano, with its beautiful silvery treble and light, nutty bass, Andreas Staier confirms his credentials as a Mozartian of flair and insight. He is careful not to overdo the first movement’s elegiac associations. The development, with its close contrapuntal dialogues, unfolds with a fine impassioned sweep. The Larghetto ideally balances simplicity and expressive flexibility, while the gracefully lilting finale has just the right touch of quizzical playfulness. While these beautifully recorded performances may not be to everyone’s taste, they are never less than thought-provoking. And for me Staier’s K.595 takes its place as one of the most touching and compelling in the catalogue, period or modern.
__________________ 21/05/2008 The FBO and Bernarda Fink with Bach at the Barbican On 5 April the Freiburg Baroque Orchestra and Bernarda Fink appeared at the Barbican Hall in London to perform some of J.S. Bach’s finest solo cantatas and concertos. Originally planned as a concert featuring two famous singers, Bernarda Fink and Thomas Quasthoff, the programme had to be changed on short notice due to the latter’s withdrawal because of ill health. Nevertheless, Bernarda Fink and the orchestra with concertmaster Anne Katharina Schreiber, oboist Katharina Arfken, flutist Karl Kaiser, and organist Wolfgang Zerer gave a sparkling concert with Bach’s cantatas BWV 170 “Vergnügte Ruh! Beliebte Seelenlust”, and BWV 35 “Geist und Seele wird verwirret”, together with his well-known double concerto for oboe and violin BWV 1060R, and the famous second orchestral suite with solo flute in b minor (BWV 1067).
Practised refinement Review of the concert with FBO and Bernarda Fink on 5 April 2008 at Barbican Hall, London The Guardian from 08/04/2008 – by Martin Kettle Read more
Highly enjoyable Review of the concert with FBO and Bernarda Fink on 5 April 2008 at Barbican Hall, London Classicalcource.com from 08/04/2008 – by Graham Rogers A very good concert indeed Review of the concert with FBO and Bernarda Fink on 5 April 2008 at Barbican Hall, London Musicweb-international.com from 08/04/2008 – by Anne Ozorio __________________ 30.05.2006 __________________ 26.05.2006 For further information, please visit this site. __________________ 26.05.2006 Anyone who thinks classical music is a dead art should have come along to Cecilia Bartoli's astonishing solo appearance in Glasgow on Sunday. Not that they would have found a seat. __________________ 08.10.2004 For further information and a sound example, please click here. |