Bach Christmas Oratorio, Parts 1, 2, 3, 4 & 6
Katherine Watson soprano
Helen Charlston mezzo-soprano
Gwilym Bowen tenor
Matthew Brook bass
Stephen Layton conductor
Choir of Trinity College, Cambridge
Jauchzet, frohlocket, auf, preiset die Tage – Celebrate, rejoice, rise up and praise these days!
Lots of you have been asking for a listen again option for our Bach, the Universe and Everything series at Kings Place, so here it is!Read More
“For the same reason we are bound to believe that, as neither the beautiful neither the ugly is universal,” claimed the French composer Hector Berlioz in 1844. “Certain operas, which are every day represented and applauded (on Earth), will be hissed off the stage on Saturn, Jupiter, Mars and Venus.”Read More
“It’s designed to disturb. It should get under the skin and worry us.”
Mark Padmore explores Bach’s St Matthew Passion, and the advantages of performing it without a conductor.Read More
Leader Matthew Truscott tells us what it’s like to perform Bach’s St Matthew Passion without a conductor, but instead following the breathing of singer and director, Mark Padmore.Read More
Following much-praised accounts of the St John Passion and Christmas Oratorio, conductor Stephen Layton now turns to Bach’s mighty B minor Mass.Read More
Professor Tara Shears came to talk to us about antimatter as part of our Bach, the Universe and Everything series at Kings Place. We learnt there is more connecting Bach and particle physics than you might imagine.Read More
What exactly is a Cantata?
Bach wrote over 200 of these mini-operas in his role as Cantor at various churches. Their sheer volume and unfamiliarity might seem overwhelming, but don’t let that put you off. Our co-principal keyboard Steven Devine explains all as he accompanies soprano Rowan Pierce in Bach’s Cantata Weichet nur, betrübte Schatten (Yield now, troubling shadows) BWV202.
‘The gut strings make a more gutsy sound’
If you think a violin from the 18th Century is the same as one made yesterday, think again…
Violinist Huw Daniel reveals the differences between the baroque instrument and the modern one.Read More
This week Emily and Alex from our Development team took a bunch of OAE Patrons, some of the Orchestra’s most loyal supporters, to Prague. They discovered castles, stag dos, and a little bit of Bach. Emily tells the story:Read More
“The wood makes the sound gentler and more… woody”
Meet the flute that our principal Lisa Beznosiuk uses for playing Bach, Handel, Rameau and people like that.Read More
‘It’s quite a direct, unfiltered sound.’
OAE Principal Horn Roger Montgomery takes us through the Baroque Horn and shows us how it differs from the modern instrument.Read More
Catch him doing the harpsichord thing (no football planned as yet) with the OAE on Sunday at St John’s Smith Square. More info and book ticketsRead More
Here’s the Bach: A Family Affair programme. You can also pick up a physical copy free of charge at the concert.Read More
We’re an orchestra, so we love concerts. But because the traditional concert format is great for some people and not for others, we often ask ourselves the question, “how could concerts be different?” Ten years ago, we looked at the informal ways people used to listen to classical music and created The Night Shift, our rule-breaking late night format.Read More
Margaret Faultless introduces a 1990 recording from BBC Scotland featuring the first movement of Bach’s double violin concerto.
Spot current OAE players Alison Bury (soloist), Cathy Weiss, Richard Tunnicliffe, Annette Isserlis, and Margaret Faultless.
We perform the same piece at St John’s Smith Square on 24 November (with Margaret) and the West London Synagogue on 22 November.
If you were at one of our recent performances of Bach’s St Matthew Passion you will have noted the absence of a usually ubiquitous figure – the conductor.Read More
Pats on backs all round for last week’s St Matthew Passion in London.Read More
In the run-up to our St Matthew Passion concert, we interview counter-tenor Robin Blaze.Read More