Having led Cappella Amsterdam since 1990 and the Ensemble Vocal de Lausanne since 2015, Daniel Reuss proudly brings his two choirs together on the Opéra de Lausanne stage in two big concerts. Alongside one of the most prestigious organisations playing period instruments, the Orchestra of the Eighteenth Century – that the EVL is meeting for the first time – these two choral ensembles are embracing the ultimate pieces: Beethoven’s Missa solemnis, considered by the composer as his “best piece” and his “biggest work”, enabling him to drag himself out of the most painful years of his life, then Mozart and his moving Requiem, perfectly introduced by the Symphony No 40 and its breathless mood in G minor.
Concert excluded from season tickets.
Wednesday, February 5, 2020
Ludwig van Beethoven (1770-1827)
Missa solemnis en ré majeur, op. 123 soloists, choir and orchestra
Founded in 1961 by Michel Corboz, the Ensemble Vocal de Lausanne (EVL) is made up of a core group of professionals joined by top quality choristers and young trainee singers, depending on the pieces. It has a wide repertoire ranging from the beginnings of the baroque period up to the 21st century. Since 2015, Daniel Reuss has been the artistic director. His many recordings (with the Erato, Cascavelle, Aria Music, Avex and Mirare labels) have given him an international reputation. Some thirty albums have received awards, including Mozart’s Requiem (Choc du Monde de la Musique 1999), Fauré’s Requiem (Choc du Monde de la Musique 2007) and Gounod’s Requiem (Choc de Classica 2011). His last opus, Le Roi David by Honegger (1921 version), recorded in Geneva with the Orchestre de la Suisse Romande and conducted by Daniel Reuss, was released in 2017. Nominated for the prestigious Edison Klassik prize, it is the EVL’s 115th recording.
Founded by Jan Boeke en 1970, the chamber choir Cappella Amsterdam has been directed since 1990 by Daniel Reuss. For numerous years he has held a prominent position in both Dutch and international cultural landscapes. Cappella Amsterdam is famous for its homogenous and refined sound, as well as its extraordinary flexibility. The choir excels in modern and classical music repertoires alike. In addition to their own productions, the group enjoys working with other leading choirs, ensembles and orchestras de premier plan. Among them feature Ensemble Intercontemporain, Asko|Schönberg, the Orchestre de Paris, the Orchestra of the Eighteenth Century, Musikfabrik and Berlin’s RIAS Kammerchor. The choir’s recordings with Harmonia Mundi have all received awards and an enthusiastic welcome from the public. Aiming to share experience and knowledge, Cappella Amsterdam is a founder member of Tenso, the European network of professional chamber choirs.
L’Orchestre du XVIIIe siècle est un ensemble instrumental néerlandais fondé en 1981 par Frans Brüggen et Sieuwert Vester. Comme son nom l’indique, il se spécialise dans l’interprétation des musiques du XVIIIe siècle sur instruments d’époque (ou copies d’instruments historiques). L’orchestre fonctionne à la manière d’un collectif dans lequel Frans Brüggen occupe de facto la fonction de chef principal jusqu’à sa mort en 2014, et Sieuwert Vester assure la charge de manager. Composé d’une soixantaine de musiciens recrutés par cooptation, il enregistre de très nombreux disques sous le label Philips, avant de passer chez Glossa.
Daniel Reuss has been the artistic director of the Ensemble Vocal de Lausanne since 2015. He studied the conducting of choirs with Barend Schuurman at Rotterdam Conservatorium. In 1990, he succeeded Jan Boeke at the head of Cappella Amsterdam, where he became the artistic director. At the same time, he conducted the Berlin RIAS Kammerchor from 2003 to 2006, then the Estonian Philharmonic Choir from 2008 to 2013. Bringing together the latter and Cappella Amsterdam, he made two recordings: Golgotha by Frank Martin (nominated in 2010 for a Grammy for best choral performance), and Stabat Mater and Sept répons de ténèbres by Poulenc in 2014. With Cappella Amsterdam, he was awarded in 2017 the Edison Klassik prize for Kanon Pokajanen by Arvo Pärt.