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Dorothee Mields

2hits in season
2024/25 or later 3hits in
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December 13, 2024

Gewandhausorchester, Thomanerchor Leipzig, Andreas Reize Dirigent

Fri, Dec 13, 2024, 19:00

Thomaskirche Leipzig (Leipzig)

Gewandhausorchester (Orchestra), Thomanerchor Leipzig (Choir), Andreas Reize (Conductor), Dorothee Mields (Soprano), Marie-Claude Chappuis (Alt), Patrick Grahl (Tenor), Andreas Wolf (Bass)

In 1734, Bach compiled six cantatas, some based on existing compositions, for the Christmas season, creating the Christmas Oratorio, performed in Leipzig's main churches. This overshadowed his other Christmas cantatas. After its premiere 300 years ago, Bach continued to perform a related cantata, reminiscent of Part 4 of the Christmas Oratorio. His 1724 Sanctus, later integrated into the Mass in B minor, and the chorale cantata "Liebster Immanuel," intended for Epiphany, also belong to his second Leipzig cantata year.

Info (www.gewandhausorchester.de)

May 17, 2024

Hathor Consort / Dorothee Mields / Romina Lischka

Fri, May 17, 2024, 20:00

Laeiszhalle, Großer Saal (Hamburg)

Hathor Consort, Dorothee Mields (Soprano), Romina Lischka (Viola da gamba), Romina Lischka (Director)

What traces do wars leave on the music of the time? The Hathor Consort, a viol ensemble of to which harp, organ and cornett are added, joins forces with soprano Dorothee Mields to look for echoes of the Thirty Years’ War in the works of composers who witnessed this catastrophic period in European history. With his »Trostgedichten in Widerwertigkeit deß Kriegs«, the poet Martin Opitz wrote an influential treatise of edification in the midst of this fierce conflict that claimed the lives of around a third of the population. The composers of the age attempted to process the deep trauma of violence, hunger and utter defencelessness through their music. This programme brings together four musical witnesses of the time:Heinrich Schütz, Samuel Scheidt, Andreas Hammerschmidt and Heinrich Albert. The acclaimed Hathor Consort focuses mainly on Renaissance and Baroque music, but it regularly combines this with music from other cultures as well as with contemporary works. Dorothee Mields likewise focuses entirely on Early Music, and her clear and intimate soprano is regarded as one of today’s top voices in the field of historic performing practice.

Info (www.elbphilharmonie.de)

March 28, 2024

Bach: St Matthew Passion / Philippe Herreweghe

Thu, Mar 28, 2024, 19:00

Elbphilharmonie, Großer Saal (Hamburg)

Chor & Orchester des Collegium Vocale Gent, Julian Prégardien (Tenor), Florian Boesch (Bass-Bariton), Dorothee Mields (Soprano), Grace Davidson (Soprano), Hugh Cutting (Countertenor), Hugo Hymas (Tenor), Benedict Hymas (Tenor), Konstantin Krimmel (Bariton), Stephan MacLeod (Bass), Philippe Herreweghe (Conductor)

Thank goodness for Mendelssohn! If the 20-year-old Felix Mendelssohn had not brought Bach’s »St Matthew Passion« back to light in 1829, after it had lain forgotten in some archive since the first performance a century earlier, an incomparable masterpiece would be missing from the concert and church music repertoire. More than that, in fact: with his revival of the »St Matthew Passion«, the young composer kicked off a massive renaissance of Bach’s music that has lost none of its momentum to this day. One of the core works in this Bach revival is the »St Matthew Passion«, whose dramatic density and brilliant musical structure cast a spell over audiences 300 years ago, as they still do today. The Easter masterpiece is performed tonight at the Elbphilharmonie by a team of experienced Bach specialists: Philippe Herreweghe conducts the Collegium Vocale Gent together with a hand-picked line-up of soloists. A musical experience that will certainly stay with the audience long after the concert is over.

Info (www.elbphilharmonie.de)

Gewandhausorchester, Thomanerchor Leipzig, Andreas Reize Dirigent

In 1734, Bach compiled six cantatas, some based on existing compositions, for the Christmas season, creating the Christmas Oratorio, performed in Leipzig's main churches. This overshadowed his other Christmas cantatas. After its premiere 300 years ago, Bach continued to perform a related cantata, reminiscent of Part 4 of the Christmas Oratorio. His 1724 Sanctus, later integrated into the Mass in B minor, and the chorale cantata "Liebster Immanuel," intended for Epiphany, also belong to his second Leipzig cantata year.

Hathor Consort / Dorothee Mields / Romina Lischka

Fri, May 17, 2024, 20:00

Laeiszhalle, Großer Saal (Hamburg)

What traces do wars leave on the music of the time? The Hathor Consort, a viol ensemble of to which harp, organ and cornett are added, joins forces with soprano Dorothee Mields to look for echoes of the Thirty Years’ War in the works of composers who witnessed this catastrophic period in European history. With his »Trostgedichten in Widerwertigkeit deß Kriegs«, the poet Martin Opitz wrote an influential treatise of edification in the midst of this fierce conflict that claimed the lives of around a third of the population. The composers of the age attempted to process the deep trauma of violence, hunger and utter defencelessness through their music. This programme brings together four musical witnesses of the time:Heinrich Schütz, Samuel Scheidt, Andreas Hammerschmidt and Heinrich Albert. The acclaimed Hathor Consort focuses mainly on Renaissance and Baroque music, but it regularly combines this with music from other cultures as well as with contemporary works. Dorothee Mields likewise focuses entirely on Early Music, and her clear and intimate soprano is regarded as one of today’s top voices in the field of historic performing practice.

Bach: St Matthew Passion / Philippe Herreweghe

Thu, Mar 28, 2024, 19:00

Elbphilharmonie, Großer Saal (Hamburg)

Thank goodness for Mendelssohn! If the 20-year-old Felix Mendelssohn had not brought Bach’s »St Matthew Passion« back to light in 1829, after it had lain forgotten in some archive since the first performance a century earlier, an incomparable masterpiece would be missing from the concert and church music repertoire. More than that, in fact: with his revival of the »St Matthew Passion«, the young composer kicked off a massive renaissance of Bach’s music that has lost none of its momentum to this day. One of the core works in this Bach revival is the »St Matthew Passion«, whose dramatic density and brilliant musical structure cast a spell over audiences 300 years ago, as they still do today. The Easter masterpiece is performed tonight at the Elbphilharmonie by a team of experienced Bach specialists: Philippe Herreweghe conducts the Collegium Vocale Gent together with a hand-picked line-up of soloists. A musical experience that will certainly stay with the audience long after the concert is over.