Tenor Robert Getchell began singing at the University of Massachusetts/Amherst where he studied French and Spanish literature. In France he studied French baroque music at the ‘Centre de Musique Baroque de Versailles’ and continued his studies with Margreet Honig at the Amsterdam Conservatory, specializing in early music interpretation with Howard Crook.
Recent performances of note include the title role Handel’s Solomon with Stephen Layton/The Holst Singers, Bach’s St. John Passion with Manfred Honeck and the Stuttgart Symphony Orchestra, a solo recital at the Utrecht Early Music Festival, Bach’s B-Minor Mass at the Salzburger Festspiele with Collegium 1704/Vaclav Luks, several tours with music by J.S. Bach and Henry Purcell under Philippe Herreweghe and Collegium Vocale Gent, and Pergolesi’s Stabat Mater withArchangelo and Jonathan Cohen in Dresden.
PBO regularly joins forces with internationally celebrated Canadian guest artists, providing performance opportunities for Canadian musicians while exposing West Coast audiences to a spectacular variety of talent. The Orchestra has also toured B.C., the northern United States and across Canada as far as the East Coast. The musicians of the Pacific Baroque Orchestra have been at the core of many large-scale productions by Early Music Vancouver in recent years, including many summer festival performances led by Alexander Weimann.
The Pacific Baroque Orchestra (PBO) is recognized as one of Canada’s most exciting and innovative ensembles performing “early music for modern ears”. PBO brings the music of the past up to date by performing with cutting edge style and enthusiasm. Formed in 1990, the orchestra quickly established itself as a force in Vancouver’s burgeoning music scene with the ongoing support of Early Music Vancouver.
Weimann was born in 1965 in Munich, where he studied the organ, church music, musicology (with a summa con laude thesis on Bach’s secco recitatives), theatre, mediæval Latin, and jazz piano, supported by a variety of federal scholarships. From 1990 to 1995, Weimann taught music theory, improvisation, and Jazz at the Munich Musikhochschule. Since 1998, he has been giving master classes in harpsichord and historical performance practice at institutions such as Lunds University in Malmö and the Bremen Musikhochschule, and also at North American universities such as Berkeley (University of California), Dartmouth College in New Hampshire, McGill in Montreal, and Mount Allison in New Brunswick. Since 2007 he has conducted several acclaimed opera productions at the Amherst Early Music Festival. He now teaches at the University of British Columbia and directs the Baroque Orchestra Mentorship Programme there.
Her performances during the season 16/17 includes tours with the Czech ensemble Collegium 1704 under the direction of Václav Luks, and with Ensemble Odyssey, conducted by Andrea Friggi. She also sang the role of Calliope in Handel’s “Il Parnasso in Festa” in Amsterdam Concertgebouw under the baton of Andrea Marcon. Jenny performs for the first time this summer at Early Music Vancouver.
Thomas Hobbs is in demand with many leading baroque and early music ensembles, appearing throughout Europe and the US as a soloist in key works from the 16th, 17thand 18th centuries. Hobbs works frequently with, among others, Philippe Herrewegheand his acclaimed ensemble Collegium Vocale Gent and Raphaël Pichon and hisEnsemble Pygmalion.
This decreasing profile of identity [of thematic and harmonic content] could be graphed in a rough sort of way, moving from a music with precise identities (Bach, Haydn ... Mahler, early Schoenberg) to a music with a marked decline in its profile of identity (the atonal and twelve-tone works of Schoenberg, Webern, Berg, late Scriabin, Ives) to a music entirely lacking in any aurally meaningful, identifiable characteristics (e.g., post-Webern serialist works of Boulez and Stockhausen among others; works of Cage, Feldman, Brown, based on a variety of aleatory approaches; recent works of Elliot Carter, who in an interview, expressed concern that his music cannot be remembered).
Born in Geneva, Stephan MacLeod first played the violin and the piano and then studied singing with Kurt Moll in Cologne and with Gary Magby in Lausanne. Active all over the world as a renowned concert singer since his early twenties, his desire to conduct started together with his singing career and he finally founded eleven years ago his own ensemble, Gli Angeli Genève, where he both sings and leads. Gli Angeli Genève is giving its season of concerts in Geneva since 2005, and is now regularly invited in most European concert halls and leading festivals for ancient music.
The St. John Passion by J.S. Bach is absolutely riveting and is the closest the great composer ever came to writing an opera. Written using text mostly from Martin Luther’s German translation of the Bible, as well as poetry by Barthold Heinrich Brockes (1680-1747), it moves at break neck speed and is filled with an urgency, musical variety and intensity of affect that is unmatched in the history of sacred music. Join the Pacific Baroque Orchestra, the Vancouver Cantata Singers and a cast of international Bach specialists for this dramatic reading of one of the greatest works in the classical repertoire.
Mr. Thompson can be heard on the Boston Early Music Festival’s Grammy-nominated recording of Lully’s Psyché on the CPO label, with the Handel and Haydn Society on their recording of Handel’s Messiah on the Coro label, and also with Les Voix Baroques on Canticum Canticorum, Carissimi Oratorios, and Humori, all on the ATMA label.
Avant-gardism is a deliberate attempt ... to achieve a new quality in music merely through the repudiation of historically evolved norms and rules. This is a gross theoretical error ... We Soviet artists resolutely reject avant-gardism.