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Classical concerts featuring
Hamburger Camerata

Overview

Quick overview of musician Hamburger Camerata by associated keywords

CitiesFrequently performs in

Hamburg
Germany
Hamburg
17

ProgramFrequently performs

Johann Sebastian Bach
Works by
Johann Sebastian Bach
3
Wolfgang Amadeus Mozart
Works by
Wolfgang Amadeus Mozart
3
Works by
Andreas Peer Kähler
2
Antonín Dvořák
Works by
Antonín Dvořák
2
Benjamin Britten
Works by
Benjamin Britten
2
Dmitri Shostakovich
Works by
Dmitri Shostakovich
2
Joseph Haydn
Works by
Joseph Haydn
2
Works by
Mieczysław Weinberg
2
Sergei Prokofiev
Works by
Sergei Prokofiev
2
Works by
Amilcare Ponchielli
1

MusiciansFrequently collaborate with

Musician
Joanna Kamenarska
4
Musician
Vilmantas Kaliunas
3
Musician
Andreas Peer Kähler
2
Musician
Johann-Peter Taferner
2
Musician
Tamar Inbar
2

New Arrivals

These concerts featuring Hamburger Camerata became visible lately at ConcertPulse.

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Upcoming Concerts

Concerts featuring Hamburger Camerata in season 2024/25 or later

February 8, 2025
Artistic depiction of the event

Hamburger Camerata / Valentin Egel

Sat, Feb 8, 2025, 20:00
Laeiszhalle, Großer Saal (Hamburg)
Hamburger Camerata, Tamar Inbar (Oboe), Reinhold Friedrich (Trumpet), Joanna Kamenarska (Violin), Valentin Egel (Director)
If there is a group of works that matches the Hamburger Camerata’s season’s motto »Camerata concertante« like pot and lid, it is the »Brandenburgischen Konzerte« by Johann Sebastian Bach! The six »Concerts avec plusieurs instruments«, which the Köthener Hofkapellmeister wrote in 1721 as his artistic calling card for Margrave Christian Ludwig von Brandenburg, are a real playground for concerting soloists and ensembles in all conceivable constellations. On the 275th anniversary of Bach’s death, which is celebrated by the Musikwelt on 28 July 2025, the Hamburger Camerata, with soloists from its own ranks as well as musical friends finally dedicated themselves to the entire »Six Pack« in one evening with soloists from its own ranks and musical friends.
Info & Ticket (www.elbphilharmonie.de)
February 22, 2025
Artistic depiction of the event

Altonaer Singakademie / Hamburger Camerata

Sat, Feb 22, 2025, 19:30
Laeiszhalle, Großer Saal (Hamburg)
Altonaer Singakademie, Neuer Knabenchor Hamburg, Jugendchor Voci.ssimo, Hamburger Camerata, Antonia Strieder (Soprano), Inka Stubbe (Alto), Andreas Preuß (Tenor), Sönke Tams Freier (Bariton), Christoph Westphal (Director)
Antonín Dvorák wrote his Mass in D major op. 86 for the consecration of a village castle chapel in 1887, so it can be seen as a kind of occasional composition, with the occasion acting as a most welcome trigger of ready forces. Sacred compositions had always played a role in Dvořák’s oeuvre, even if they seem to have taken a back seat to his symphonic works. Nevertheless, it was the Stabat Mater of 1877 that laid the foundation for the international reception of his music. The Mass in D major is much more modestly conceived, in keeping with the village setting and the possibilities of the chapel. Nevertheless, even in the original organ version, Dvorák shows his full mastery. In the compositional simplicity, the proximity to classical music, especially to Schubert as a role model, can be felt at all times. At the same time, Dvořák succeeds in capturing the cheerful, carefree atmosphere of the lovely Bohemian countryside and the simplicity of a deeply religiously rooted country folk with his own folkloristic originality of melody. Dvorák created the rarely performed orchestral version heard in this concerto in 1892, in which he remains very close to the original conception, but skilfully uses the possibilities of the orchestra to differentiate the dynamics more finely and realise a richer harmony. The »Mass of the Children«, written by John Rutter in 2002 in memory of his son Christopher, who died at the age of 19, is much more than a mass with an obbligato children’s choir part. Rutter counterpoints the mass text of the Latin Missa brevis with poetic texts in English, including verses from the pen of Bishop Thomas Ken (1637–1711), who wrote them for the scholars of Winchester College. They set the Mass in the context of a daily routine, from waking (»Awake, my soul...«) to going to sleep (»Glory to thee, my God, this night...«) and are mainly sung by the children’s choir. In this way, Rutter focuses on the Mass text from a child’s perspective, while the large choir illuminates the adult perspective. The »Mass of the Children« also sheds light on different musical perspectives. Coming from the English choral tradition himself, Rutter enriches his style in general and the Mass in particular with elements from jazz and pop by integrating them into a multi-layered harmony and rhythm. Rutter’s melodic inventiveness in the Kyrie may evoke musical associations for some, while the unusual rhythms in the Gloria are reminiscent of South American dances. In Dona nobis, Rutter quotes a canon by Thomas Tallis (ca. 1505–1585) and thus draws a line back to his own musical roots.
Info & Ticket (www.elbphilharmonie.de)
February 23, 2025
Artistic depiction of the event

Britten: War Requiem

Sun, Feb 23, 2025, 20:00
Laeiszhalle, Großer Saal (Hamburg)
Hamburger Camerata, Conventus Cantorum, Bergedorfer Kammerchor, Cappella Vocale Blankenese (Vocal Ensemble), Kammerchor Groß Flottbek, Kammerchor Niendorf, Mädchenchor Hamburg, Johanna Winkel (Soprano), Michael Connaire (Tenor), Georg Gädker (Bariton), Frank Löhr (Conductor)
»My subject is War, and the pity of War, The Poetry is in the pity… All a poet can do today is warn.«
Info & Ticket (www.elbphilharmonie.de)
May 25, 2025
June 5, 2025
Artistic depiction of the event

Hamburger Camerata / Joanna Kamenarska

Thu, Jun 5, 2025, 19:30
Elbphilharmonie, Kleiner Saal (Hamburg)
Hamburger Camerata, Joanna Kamenarska (Violin), Joanna Kamenarska (Director)
Ideally, they should all work together harmoniously: the wind and string instruments of an orchestra. Sometimes, however, it can also lead to astonishing listening experiences to experience the registers separately. And if works for string orchestra have a long tradition in music history anyway, it is only in keeping with the spirit of the »Camerata concertante« motto that the wind players of the Hamburg Camerata are also allowed to present themselves as a »concertante« ensemble at the end of the season! The programme for this concert therefore includes three works that explore the traditional variety of instrumentation in the serenade and divertimento genres in order to bring the different qualities of the orchestral sections to the fore: Dvořák’s all too rarely performed Serenade op. 44 is inspired by Mozart’s great wind piece, the »Gran Partita«. Bartók’s Divertimento, on the other hand, is based on the Baroque form of the »concerto grosso«, which is characterised by the typical alternation of solo and tutti passages within the string orchestra. And Mozart’s Divertimento K. 251 brings the strings and selected wind instruments together in a sonorous way.
Info & Ticket (www.elbphilharmonie.de)
July 3, 2025
Artistic depiction of the event

Jonathan Tetelman / Hamburger Camerata / Frédéric Chaslin

Thu, Jul 3, 2025, 20:00
Elbphilharmonie, Großer Saal (Hamburg)
Jonathan Tetelman (Tenor), Hamburger Camerata, Frédéric Chaslin (Conductor)
Voice and charisma – that is the unanimous, enthusiastic judgement of the critics when it comes to Jonathan Tetelman. »A star par excellence« is how the New York Times describes him. The Chilean-American tenor is on stage as Alfredo in »La Traviata« at the Royal Opera House Covent Garden or as Pinkerton in »Madame Butterfly« at the Metropolitan Opera and demonstrates his skills in a »dark-coloured tenor timbre« (SZ) and with »balsamic verve« (Der Tagesspiegel), while the audience listens spellbound. Jonathan Tetelman makes his Elbphilharmonie debut with a sonorous journey through the most beautiful tenor arias from the great operas of Puccini, Verdi and others.
Info & Ticket (www.elbphilharmonie.de)