In this spe­cial con­cert, the young sin­gers of the Bre­men Girls’ Choir and the Bre­mer Barock­or­ches­ter bring the sounds of the “Ospe­da­le del­la Pie­tà” in Venice back to life – the legen­da­ry orpha­na­ge whe­re Anto­nio Vival­di com­po­sed hundreds of works for an orches­tra and a choir of young girls who were cele­bra­ted throug­hout Euro­pe for their vir­tuo­si­ty. With mas­ter­pie­ces such as the maje­s­tic “Glo­ria” by Vival­di, the ensem­ble intro­du­ces lis­ten­ers to the sple­ndid tra­di­ti­on of the “Fig­lie del Cho­ro”. The girls’ choir – accom­pa­nied by the his­to­ri­cal instru­ments of the Baro­que orches­tra – offers a rare­ly heard sound expe­ri­ence of par­ti­cu­lar expres­si­ve­ness. The pro­gram is com­ple­men­ted by a sel­ec­tion of Ita­li­an and Ger­man orches­tral music that reve­als the ver­sa­ti­li­ty of the Baro­que sound world. A spe­cial high­light of the evening is the enter­tai­ning can­ta­ta “Der Schul­meis­ter in der Sing­schu­le” by L. Feh­re (form­er­ly attri­bu­ted to Tele­mann), in which the talen­ted […]

Tog­e­ther with the ensem­ble Los Tem­pe­ra­ment­os, award-win­­ning soloist Alexis Cár­de­nas (vio­lin) and Gram­my win­ners Miguel Siso (cua­t­ro) and Cel­so Duar­te (harp), the Bre­mer Barock­or­ches­ter cele­bra­tes the 300th anni­ver­sa­ry of the world-famous vio­lin con­cer­tos The Four Sea­sons, show­ing them in the con­text of Latin Ame­ri­can sound­scapes. In this pro­gram­me the impres­si­ons of Italy’s natu­ral annu­al cycle, mas­terful­ly cap­tu­red by the Vene­ti­an Vival­di in the 18th cen­tu­ry, meet the 21st cen­tu­ry and the con­tras­ting living envi­ron­ments of Ame­ri­ca. Begin­ning with the con­cert “L’Autunno” (Autumn), the ensem­ble and soloists tell a very per­so­nal sto­ry; they expand and com­ple­ment Vivaldi’s baro­que com­po­si­ti­ons with impro­vi­sa­ti­ons and dances such as Jor­o­pos, Bam­bu­cos, Sones and much more, and in this way reflect the effect that natu­ral phe­no­me­na can have on the Ame­ri­can con­ti­nent. This crea­tes a uni­que encoun­ter bet­ween dif­fe­rent eras, cul­tures and musi­cal styl­es, which is shaped by the rhythm of natu­re: diver­se, con­stant­ly moving and […]

The Bre­mer Barock­or­ches­ter pres­ents an evening dedi­ca­ted to vocal music for the first time in its Barock&Umzu con­cert series. Funi­culì, Funi­cu­là! fea­tures Ensem­ble Quar­to­nal, one of the most sought-after vocal quar­tets in Ger­ma­ny. Pro­gram­me: Phil­ipp Hein­rich Erle­bach (1657-1714) Over­tu­re Suite V in F Major Adria­no Ban­chie­ri (1568-1634) from Festi­no nella Sera del Gio­ve­dì Gras­so Avan­ti Cena “Capric­cia­ta” – “Con­trapun­to Bes­tia­le alla men­te” Johann Sebas­ti­an Bach (1685-1750) Sin­fo­nia from BWV 42 Ph. H. Erle­bach “Trock­net euch ihr hei­ßen Zäh­ren” Johann Abra­ham Peter Schulz (1747-1800) Arr. Nés­tor Fabián Cor­tés Gar­zón (*1983) “Der Mond ist auf­ge­gan­gen” Inter­mis­si­on Hein­rich Isaac (c. 1450.1517) “Inns­bruck, ich muss dich las­sen” Johann Hein­rich Schmel­zer (c. 1623-1680) Sona­te for 2 Vio­lins and Bas­so Con­ti­nuo “Pol­ni­sche Sack­pfei­fen” Hans Leo Hass­ler (1664-1712) “Tan­zen und Sprin­gen” Jac­ques Arca­delt (1507-1568) “Mar­got labou­rez les Vignes” Ph. H. Erle­bach “Nur getrost, lass alles gehen” Hen­ry Pur­cell (1659-95) from King Arthur Passacaglia/”How hap­py the Lover” Lui­gi […]

Alexis Car­denas begeis­ter­te das Bre­mer Publi­kum bereits 2022 mit sei­nem ener­gie­ge­la­de­nen Spiel – nun ist der vene­zo­la­ni­sche Gei­gen­vir­tuo­se zurück im Nor­den und beschließt die Sai­son der Kon­zert­rei­he mit einem Menü à la Car­denas: Vir­tu­os, kraft­voll und dyna­misch. Im Fokus des Abends ste­hen Kom­po­si­tio­nen Paga­ni­nis und sei­ner Weg­be­rei­ter, die sich unter den Fin­gern eines sol­chen Aus­nah­me­künst­lers, der sich in der Klas­sik genau­so zuhau­se fühlt wie im Jazz oder in der latein­ame­ri­ka­ni­schen Folk­lo­re, auf ein­zig­ar­ti­ge Wei­se ent­fal­ten. Pro­gramm Nic­colò Paga­ni­ni (1782-1840) Aus “24 Capric­ci per Vio­li­no Solo” Capric­cio Nr. 16 in g-Moll Giu­sep­pe Tart­i­ni (1692-1770) Sona­te in g-Moll “Der Teu­fel­stril­ler” Anto­nio Vival­di (1678-1741) Kon­zert “Alla Rusti­ca” in G-Dur für Strei­cher und Bas­so Con­ti­nuo RV 151 Toma­so Anto­nio Vita­li (1663-1745) Cha­conne in g-Moll Pau­se Nic­colò Paga­ni­ni Pas­tic­cio Paga­nia­no Toma­so Albi­no­ni (1671-1751) Con­cer­to in D Nés­tor F. Cor­tés Gar­zón (*1983) Pre­ludio y Xaca­ra Nic­colò Paga­ni­ni Capric­cio Nr. 24 in a-Moll Vio­li­ne: Alexis Car­denas

Am Eröff­nungs­abend der Kon­zert­rei­he Barock&Umzu 23/24 heißt das Bre­mer Barock­or­ches­ter die Solis­ten Cla­ra Guld­berg Ravn (Block­flö­te, Kopen­ha­gen) und Fabio D’Onofrio (Oboe, Nea­pel) in der Unser Lie­ben Frau­en Kir­che Bre­men will­kom­men und ent­deckt gemein­sam mit Ihnen fas­zi­nie­ren­de Musik aus ganz Euro­pa. Wer die Block­flö­te bis­her nur aus dem Schul­un­ter­richt kann­te, darf sich hier getrost wun­dern, was man damit alles anstel­len kann…. Wie immer laden wir Sie an der BBO-Bar ein, sich mit erfri­schen­den Geträn­ken zu ver­sor­gen. Ab sofort auch schon vor Kon­zert­be­ginn geöff­net! Kon­zert­ein­füh­rung um 19.15 Uhr Das Pro­gramm: Georg Phil­ipp Tele­mann (1681-1767) Kon­zert für Block­flö­te, Oboe, Vio­li­ne und Bas­so Con­ti­nuo in a-Moll TWV 43:a3 Ouver­tü­re Suite “La Bizar­re” für Strei­cher und Bas­so Con­ti­nuo in G-Dur TWV 55:G2 Giu­sep­pe Samm­ar­ti­ni (1695-1750) Kon­zert für Flö­te, Strei­cher und Bas­so Con­ti­nuo in F-Dur Pau­se Johan Hel­mich Roman (1694-1758) Kon­zert für Flö­te, Strei­cher und Bas­so Con­ti­nuo in G-Dur BeRi 54 Johann Sebas­ti­an Bach (1685-1750) Kon­zert […]

In die­sem Kon­zert erle­ben Sie gemein­sam mit dem inter­na­tio­nal gefei­er­ten Meis­­ter-Cel­­lis­­ten und Kom­po­nis­ten Gio­van­ni Sol­li­ma eine Zeit­rei­se. Von den Anfän­gen der Cel­lo­mu­sik bis in die Gegen­wart spie­len sich Solist und Ensem­ble an die­sem Abend ein­mal quer durch die Musik­ge­schich­te. Ein Muss für alle Cellofans und sol­che, die es noch wer­den wol­len! Kon­zert­ein­füh­rung um 19.15 Uhr Das Pro­gramm: Dome­ni­co Gal­li (1649-1697) aus Trat­ten­imen­to musi­cale sopra il vio­lon­cel­lo a solo Sona­ta II Dome­ni­co Gabri­el­li (1651-1690) Sona­ta I in G-Dur Impro­vi­sa­ti­on zu “The Ita­li­an Ground” Gio­van­ni Bat­tis­ta Cos­tan­zi (1704-1778) Kon­zert für Vio­lon­cel­lo und Strei­cher in F-Dur Gio­van­ni Sol­li­ma (*1962) Kon­zert für Vio­lon­cel­lo “Fecit Neap. 17..” (2011) Pau­se Fran­ces­co Pao­lo Supria­no (1678-1753) aus Prin­ci­pij da impara­re à suo­na­re il vio­lon­cel­lo Toc­ca­ta VII Joseph Haydn (1732-1809) Kon­zert für Vio­lon­cel­lo und Orches­ter in C-Dur Hob VIIb:1 Vio­lon­cel­lo: Gio­van­ni Sol­li­ma BIO­GRA­FIE

Bereits zum zwei­ten Mal steht die welt­weit gefrag­te Gei­ge­rin Mido­ri Sei­ler mit dem Bre­mer Barock­or­ches­ter auf der Büh­ne und prä­sen­tiert Baroque’s Finest! Auf dem Pro­gramm steht nicht nur ein beson­de­res Vio­lin­kon­zert einer Kom­po­nis­tIN, son­dern prin­zi­pi­ell Glanz und Glo­ria der Orches­ter­mu­sik des 18. Jahr­hun­derts. Kon­zert­ein­füh­rung um 19.15 Uhr Das Pro­gramm: Georg Phil­ipp Tele­mann (1681-1768) Ouver­tü­re Suite für 2 Obo­en, 2 Hör­ner, Strei­cher und Bas­so Con­ti­nuo in D-Dur TWV 55:D21 Johann Chris­ti­an Schick­hardt (1682-1762) Kon­zert für Tra­ver­so, 2 Obo­en, Strei­cher und Bas­so Con­ti­nuo in g-Moll Georg Phil­ipp Tele­mann Kon­zert für 3 Vio­li­nen, Strei­cher und Bas­so Con­ti­nuo in F-Dur TWV 53:F1 Pau­se Mad­da­le­na Lau­ra Sir­men (1745-1818) Kon­zert für Vio­li­ne, Obo­en, Hör­ner, Strei­cher und Bas­so Con­ti­nuo in C-Dur op. 3,4 Johann David Hei­ni­chen (1683-1729) Kon­zert für 2 Tra­vers­flö­ten, Oboe, 2 Hör­ner, Vio­li­ne, Strei­cher und Bas­so Con­ti­nuo in F-Dur SeiH 235 Vio­li­ne: Mido­ri Sei­ler

The Bre­men Baro­que Orches­tra opens the con­cert series Barock&Umzu 22/23 with a bang! To the baro­que sounds of Jean-Féry Rebel’s famous suite “Les Elé­ments”, the Unser Lie­ben Frau­en Church will be illu­mi­na­ted with lar­­ge-sca­­le 3-D pro­jec­tions by the revo­lu­tio­na­ry Bie­le­feld agen­cy “The Night Lab”. Learn more about TNL’s fasci­na­ting pro­jects The BBO plays under the direc­tion of French baro­que spe­cia­list Fran­çois Fer­nan­dez and invi­tes the audi­ence with two fasci­na­ting orches­tral works to immer­se them­sel­ves in ano­ther world with all their sen­ses. Pro­gram: Fran­ces­co Gemi­nia­ni (1687-1762) La Fores­ta Incan­ta­ta J.-M. Leclair (1697-1764) Ouver­tu­re op. 13,3 J.-F. Rebel (1666-1747) Les Ele­ments Sym­pho­ny Nou­vel­le Con­cert­mas­ter: Fran­çois Fer­nan­dez Video­map­ping: The Night Lab (TNL)

Fun­ny, cra­zy, sho­cking and exci­ting orches­tral music from the 17th cen­tu­ry with the Bre­mer Barock­or­ches­ter and Vero­ni­ka Sku­plik. Pro­gramm Hein­rich Ignaz Franz Biber (1644-1704) Sona­ta Nr. 10 aus „Sona­tae tam aris quam aulis” Anonym Sona­ta Jucun­da Bia­go Mari­ni (1594-1763) Pas­sa­ca­lio in d aus op.22 Georg Muf­fat (1653-1704) Sona­ta Nr.2 aus „Armo­ni­co tri­bu­to“ Pau­se Car­lo Fari­na (ca. 1600-1639) Capric­cio Stra­va­gan­te Hein­rich Ignaz Franz Biber Sona­te Nr.4 aus „Sona­tae tam aris..“ Arc­an­ge­lo Corel­li (1653-1713) Con­cer­to grosso op. 6,4 Lei­tung und Vio­li­ne: Vero­ni­ka Sku­plik

Felix Mendels­sohn Bar­thol­dy is regard­ed as one of the most important pio­neers of the renais­sance of J. S. Bach’s works in the 19th cen­tu­ry. His gre­at inte­rest in Baro­que and pre-Clas­­si­­cal art is also reflec­ted in his own com­po­si­ti­ons. This pro­gram­me con­nects Mendelssohn’s fasci­na­ting ear­ly work and the music of the Bach dynasty. Johann Sebas­ti­an Bach (1685-1750) Vio­lin­so­na­te in G-Dur BWV 1021 Felix Mendels­sohn Bar­thol­dy (1809-1847) Capri­ce op. 81 Johann Bern­hard Bach (1676-1749) 1. Ouver­tü­re Suite in g-Moll Felix Mendels­sohn Bar­thol­dy 1. Sin­fo­nie in C-Dur Pau­se Carl Phil­ipp Ema­nu­el Bach (1714-1788) Sin­fo­nia in e-Moll Wq 177 Felix Mendels­sohn Bar­thol­dy Vio­lin­kon­zert in d-Moll Solo vio­lin: Ryo Ter­a­ka­do

In this con­cert, the orches­tra explo­res the world of theat­re. Expe­ri­ence an orches­tral rehear­sal humo­rous­ly staged by Dome­ni­co Cima­ro­sa and music from Chris­toph Wil­li­bald Gluck’s operas “Orfeo ed Euri­di­ce” and “Semi­ra­mis” in com­bi­na­ti­on with other orches­tral works from the exci­ting tran­si­tio­nal pha­se bet­ween the Baro­que and Clas­si­cal eras. Do you alre­a­dy know Mr. Nic­colò Jom­mel­li…? Pro­gram Franz Ignaz Beck (1734-1809) Sym­pho­ny op. 3,3 Dome­ni­co Cima­ro­sa (1749-1801) Il Maes­tro di Cap­pel­la Inter­mis­si­on Nic­coló Jom­me­li (1714-1774) Sym­pho­ny in E flat major Chris­toph Wil­li­bald Gluck (1714-1787) Orches­tral suite from the operas “Orfeo ed Euri­di­ce” and “Semi­ra­mis” Musi­cal direc­tion: Sté­pha­nie Pau­let and Nés­tor Fabián Cor­tés Gar­zón Bari­to­ne: Jor­ge Alber­to Mar­tí­nez (Vien­na)

The Bre­men Baro­que Orches­tra opens the con­cert series Barock&Umzu 22/23 with a bang! Reso­na­ting with the baro­que sounds of Jean-Féry Rebel’s famous suite “Les Elé­ments”, the Unser Lie­ben Frau­en Church will be illu­mi­na­ted with lar­­ge-sca­­le 3-D pro­jec­tions by the revo­lu­tio­na­ry Bie­le­feld agen­cy “The Night Lab”. Learn more about TNL’s fasci­na­ting pro­jects The BBO plays under the direc­tion of French baro­que spe­cia­list Fran­çois Fer­nan­dez and invi­tes the audi­ence with two fasci­na­ting orches­tral works to immer­se them­sel­ves in ano­ther world with all their sen­ses. Pro­gram: Fran­ces­co Gemi­nia­ni (1687-1762) La Fores­ta Incan­ta­ta J.M. Leclair (1697-1764) Ouver­tü­re op. 13,3 J.-F. Rebel (1666-1747) Les Ele­ments Sym­pho­ny Nou­vel­le Con­cert­mas­ter: Fran­çois Fer­nan­dez Video­map­ping: The Night Lab (TNL)

Unter Lei­tung des inter­na­tio­nal bekann­ten Vio­li­nis­ten Ryo Ter­a­ka­do streckt das BBO sei­ne Füh­ler in Rich­tung Klas­sik aus und erkun­det das sym­pho­ni­sche Werk Joseph Haydns. Pro­gramm: Joseph Haydn (1732-1809) Kon­zert für Cem­ba­lo und Orches­ter in D-Dur Hob. XVIII:11 Kon­zert für Vio­li­ne und Orches­ter in G-Dur Hob VIIa: 4 Johann Micha­el Haydn (1737-1806) Flö­ten­quar­tett in D-Dur P117 Joseph Haydn Sin­fo­nie in f-Moll Hob I:49 “La Pas­sio­ne” Lei­tung und Vio­li­ne: Ryo Ter­a­ka­do

Once again, baro­que works from Latin Ame­ri­ca and Euro­pe meet in this con­cert series. The musi­ci­ans from Bre­men are sup­port­ed by vocal soloists and the excep­tio­nal Vene­zue­lan vio­li­nist Alexis Car­denas in this fes­ti­val of rhyth­ms and impro­vi­sa­ti­on. Pro­gram­me Johann Sebas­ti­an Bach (1685-1759) from Par­ti­ta D Minor BWV 1004: Sara­ban­de – Gigue Hen­ry Pur­cell (1659-1695) from „The Fairy Queen“: A Bird’s Pre­lude – Cha­conne: Dance for the Chi­ne­se Man and Woman Tra­di­tio­nal (Mexi­ko) La Can­de­la* Alde­ma­ro Rome­ro (1928-2007) Fuga con Pája­ra Pin­ta bimo­dal y Seis nume­rao Codex „Mar­tí­nez Com­pa­ñón“ (Peru, 18. Jhdt.) Tona­da del Chi­mo* Tona­da „El Tup­pa­ma­ro de Caxamar­ca“* Tona­da „El Dia­man­te“* Cachua „Den­nos lecen­cia Seño­res“* In coope­ra­ti­on with Los Tem­pe­ra­ment­os Solo­vio­lin: Alexis Car­denas *Arran­ge­ments: Nés­tor Fabián Cor­tés Gar­zón

Die Sai­son 21/22 des Bre­mer Barock­or­ches­ters beginnt mit vir­tuo­sen Con­cer­ti Gros­si und pom­pö­sen Ouver­tü­ren aus der Feder eini­ger der größ­ten euro­päi­schen Barock­kom­po­nis­ten. Pro­gram: Georg Phil­ipp Tele­mann (1681-1767) Sona­ta for trumpet, 2 vio­lins, vio­la and bc in D major TWV 44:1 Giu­sep­pe Valen­ti­ni (1681-1753) Con­cer­to for 4 vio­lins, vio­la and bc in A minor Op.7,11 Arc­an­ge­lo Corel­li (1653-1713) Con­cer­to Grosso in D major Op.6,1 Georg Phil­ipp Tele­mann Suite for trumpet, oboes, strings and bc in D major TWV 55:D7 Musi­cal Direc­tion: Nés­tor F. Cor­tés Gar­zón

Gemein­sam mit der fran­zö­si­schen Barock­spe­zia­lis­tin Sté­pha­nie Pau­let prä­sen­tiert das BBO Wer­ke Johann Sebas­ti­an Bachs und sei­ner fran­zö­si­schen Zeit­ge­nos­sen. Pro­gramm: Jean-Féry Rebel (1666-1747) Capri­ce Michel Pigno­let de Mon­te­clair (1667-1737) aus Sére­na­de ou con­certs divi­sé en trois suite 2ème Suite “Airs tendres” Jean-Marie Leclair (1697-1764) Kon­zert für Flö­te in C-Dur op. 7,3 Johann Sebas­ti­an Bach (1685-1750) Vio­lin­kon­zert in E-Dur BWV 1042 Bran­den­bur­gi­sches Kon­zert Nr. 4 BWV 1049 Lei­tung und Vio­li­ne: Sté­pha­nie Pau­let

The Bre­mer Barock­or­ches­ter pres­ents a pro­gram based on the work Il Maes­tro di Capel­la by Dome­ni­co Cima­ro­sa (1749-1801), which focu­ses enti­re­ly on the capri­ces and dra­ma­tic move­ment of the music from the second half of the 18th cen­tu­ry. The midd­le of this con­cert show­ca­ses an inter­mez­zo with a full orches­tra and a sin­ger. The audi­ence expe­ri­en­ces an orches­tral rehear­sal in which a con­duc­tor tri­es to make the indi­vi­du­al groups of instru­ments sound accor­ding to his wis­hes. The result doesn’t always seem to satis­fy him. The Nea­po­li­tan Cima­ro­sa uses this attempt of a rehear­sal as an extre­me­ly enter­tai­ning musi­cal encoun­ter, which at the same time could be view­ed as a fine­ly craf­ted and fun­ny orches­tral per­for­mance. In addi­ti­on to this staged Ita­li­an work, music by C. W. Gluck, one of the most famous ope­ra com­po­sers of his time, is per­for­med, as well as a redis­co­very that is pro­ba­b­ly less known to […]

The year 2021 and the seventh sea­son of the con­cert series Baro­que & umzu beg­ins with the ques­ti­on: What actual­ly is Baro­que? The title of the pro­gram “Typisch Barock!?” plays with the many pos­si­ble ans­wers to this ques­ti­on and the sub­con­scious expec­ta­ti­ons. The Bre­mer Barock­or­ches­ter ans­wers: diver­si­ty and emo­ti­on. The focus of the Febru­ary con­cert is on the Recor­der and the Vio­la da Gam­ba, two genui­ne baro­que instru­ments that are com­ple­te­ly absent from the modern orches­tra. The warm sound no lon­ger sui­ted the sound con­cep­ti­ons of the fol­lo­wing era, in which the asser­ti­ve­ness of the instru­ments in the gro­wing sym­pho­ny orches­tra beca­me more and more important. In the Baro­que era, howe­ver, the­se two instru­ments were favo­ri­tes of many com­po­sers, pro­fes­sio­nal musi­ci­ans and the ama­teurs at home. For exam­p­le, G.P. Tele­mann mas­terful­ly uses them in his Con­cer­to for Recor­der and Vio­la da Gam­ba in A minor. What is asto­nis­hing about this […]

We are final­ly back on stage! In the fourth con­cert of 2020, the con­di­ti­ons have chan­ged (the con­cert will take place wit­hout a break and the pro­gram will be slight­ly shor­ten­ed), but we are very plea­sed that, even under the dif­fi­cult con­di­ti­ons and on a small sca­le, we will be allo­wed to play for you all again. We look for­ward to working with Alfre­do Ber­nar­di­ni, one of the most well-known inter­na­tio­nal baro­que obo­ists of our time, who will take on the musi­cal direc­tion of this pro­ject. Under the title “Hohes Holz” (after the French name of the instru­ment “Haut-bois”, a wood­wind instru­ment that sounds in the high regis­ter) we go on a jour­ney of dis­co­very into the par­ti­al­ly still unknown sphe­res of vir­tuo­so baro­que oboe music. Pro­gram: Fran­ces­co Maria Ver­a­ci­ni (1690-1768) Over­tu­re No. 1 in B flat major Gio­van­ni Bene­det­to Plat­ti (1697-1763) Con­cer­to for Oboe in G minor Eva­ris­to Dall’Abaco […]

For the first time, the renow­ned recor­der play­er Doro­thee Ober­lin­ger is a guest with the Bre­mer Barock­or­ches­ter. The 2020 Con­cert Series “Barock & Umzu” opens with an unu­su­al pro­gram that includes both late baro­que music, such as the famous flu­te con­cert “La Not­te” by Anto­nio Vival­di, and works by G.Ph. Tele­mann, as well as music from the 16th Cen­tu­ry. Tog­e­ther, the soloist and ensem­ble explo­re the world of baro­que flu­te music pre­sen­ting works from all over Euro­pe that seem to con­ti­nu­al­ly sur­pass each other in vir­tuo­si­ty, but also skillful­ly show­ca­se the can­ta­bi­le cha­rac­ter of the recor­der. Pro­fes­sor Doro­thee Ober­lin­ger is inter­na­tio­nal­ly known for her lively play­ing at the hig­hest tech­ni­cal level, which repea­ted­ly enti­ces storms of enthu­si­asm among baro­que music lovers and espe­ci­al­ly among lis­ten­ers who pre­vious­ly knew the recor­der from their school years. On various recor­ders, Ober­lin­ger and the Bre­mer Barock­or­ches­ter demons­tra­te the uni­ma­gi­nable pos­si­bi­li­ties in this instru­ment. Pro­gram: […]