Handel / Mozart: Messiah

Netherlands Handel Society: the Messiah

The Concertgebouw is right at the heart of Dutch music. That is why we love to welcome the best amateur orchestras and choirs of the Netherlands. To an amateur musician a performance at the Concertgebouw is always special, often marking the end of an extensive period of rehearsals. Please note: although these concerts are of a high standard, they are not performed by professional ensembles.

Oratorium "Messiah", G. F. Händel

Messiah, composed in 1741 by George Frideric Handel with a libretto by Charles Jennens, tells the story of Jesus Christ in three parts, from prophecies to his birth, life, death, resurrection and eternal life. Combining texts from the Old and New Testaments, the oratorio consists of moving arias and powerful choruses, offering reflection on this "greatest story ever told", especially during Advent, and serves as a festive prelude to Christmas.

Handel's Messiah

Laurence Cummings and AAM join a truly world-class team of soloists for a seasonal performance of Handel’s Messiah.

Händel: Jephtha

Rousing dynamics, magnificent choruses and beguiling arias: »Jephtha« is the last of George Frideric Handel’s oratorios. He composed this grandiose late work in London almost blindfolded. The Monteverdi Choir Hamburg, which is very familiar with Handel’s choral works, will be joined by renowned soloists led by Icelandic star tenor Benedikt Kristjánsson and Concerto Köln under the direction of Antonius Adamske. The work and the cast promise an emotional concert evening. By the way: Handel’s tragic story of Jephtha fortunately ends well! This is thanks to the librettist Thomas Morell, who ensured that Jephtha’s daughter, who is doomed to be sacrificed, is saved by an angel.

Handel: Solomon

Even before George Frideric Handel began his oratorio »Solomon«, he apparently knew that he would have more musicians than usual at his disposal for the premiere. And so Handel took every liberty in his composition, writing for a large wind section, additional strings and powerful double choirs. The subject is made for legendary (sonic) richness: Handel places the biblical King Solomon at the centre of the action and thus the most important stages in the life of the wise ruler – the first act opens with grandiose choruses of joy at the building of the temple in Jerusalem. The second act is full of drama, in which King Solomon has to decide between two women who are fighting over a child. In a touching aria, the composer reveals the real mother’s renounced love. And in the finale, none other than the Queen of Sheba appears to philosophise with King Solomon about the power of music.

Handel: The Resurrection

The British Guardian called the ensemble Les Musiciens du Louvre »one of the best orchestras in the world«. Founded in 1982 by the conductor and oboist Marc Minkowski, it is not the Louvre’s official orchestra – no such ensemble exists. But the reference to the world-famous Parisian museum already illustrates the musicians’ mission: to bring the art of earlier centuries to life at the highest level. Appropriately enough, their forthcoming guest appearance in Hamburg at Easter features a Handel oratorio about the Resurrection of Christ. Composer George Frideric Handel found himself in a double bind in 1708. Firstly, the Pope had imposed a complete ban on opera performances because he feared a series of earthquakes meant that the end of the world was imminent, and restricted sinful entertainment in favour of religious art. This was a problem for Handel, who was an opera man to the core, both artistically and financially. Secondly, he wanted to present a piece about the Resurrection punctually for the Easter weekend, but having Jesus Christ appear on stage in person was an even greater taboo than opera per se. Pragmatic as ever, Handel arrived at the following solution: in his original oratorio »La Resurrezione«, angels and the Devil, apostles and Mary Magdalene debate about the Crucifixion. And in the end, the music itself turned out quite operatic after all.

Händel: »Der Messias«

George Frideric Handel, a true European, a superstar of the Baroque era, composed music in abundance – including the »Messiah« with the world-famous »Hallelujah«. At the Laeiszhalle, the Carl-Philipp-Emanuel-Bach-Choir Hamburg, together with the Dresdner Kapellsolisten and renowned soloists, will perform it as a prelude to the new season – as a sing along!

Mozart: Requiem

What would have happened if Wolfgang Amadeus Mozart had had time to complete his Requiem? What worlds might have opened up to us if the then 35-year-old had not been carried off in 1791 by the »severe miliary fever« – a diagnosis that has not been clearly identified to this day? Now his last, most mysterious and existential work has remained a fragment – albeit skilfully completed by Franz Xaver Süßmayr. It is only logical that the world-famous Dresdner Kreuzchor (boys’ choir) understands the fragmentary nature of the Requiem as a quality and sets it with works by a contemporary composer who is known for his deeply spiritual attitude like almost no other: Arvo Pärt. At the Elbphilharmonie, compositions by the Estonian composer are combined with the masterly sounds of Mozart to create a new whole that illuminates death – and life – from a perspective between then and now.

Academy of Ancient Music & Tenebrae: Handel's Messiah

The Concertgebouw’s famous Main Hall is one of the best concert halls in the world, well-known for its exceptional acoustics and special atmosphere. In the Main Hall, you will feel history. Here, Gustav Mahler conducted his own compositions, as did Richard Strauss and Igor Stravinsky. Sergei Rachmaninoff played his own piano concertos in the Main Hall. This is also where musicians such as Leonard Bernstein, Vladimir Horowitz and Yehudi Menuhin gave legendary performances. Right up to now, the Main Hall offers a stage to the world’s best orchestras and musicians. Buy your tickets now and experience the magic of the Main Hall for yourself!

Mozart Week Salzburg