Komm, süßer Tod (Come, Sweet Death) — J. S. Bach

Georg Nigl, Baritone
August Diehl, Rezitation
Alexander Gergelyfi, Clavichord, Square Piano

Georg Nigl and his artist friends invite 80 guests to a special kind of serenade.

Alban Berg: Adagio — Second movement of the Chamber Concerto Version for violin, clarinet and piano
Anton Webern: Movement for String Trio
Arnold Schönberg: Chamber Symphony No. 1 op. 9 Version for string quintet by Anton Webern
Arnold Schönberg: Ode to Napoleon Buonaparte op. 41 Version for string quartet, piano and speaker
Johannes Brahms: Clarinet Quintet in B minor op. 115

Isabelle Faust, Violin
Meesun Hong Coleman, Violin
William Coleman, Viola
Julia Hagen, Cello
Júlia Gállego, Flute
Pascal Moraguès, Clarinet
Florent Boffard, Piano
Georg Nigl, Speaker

Abendempfindung (Evening Thoughts) — Mozart’s Clavichord

Georg Nigl, Baritone
August Diehl, Recitation
Alexander Gergelyfi, Clavichord, Square Piano

Georg Nigl and his artist friends invite 80 guests to a special kind of serenade.

Franz Schubert: Die schöne Müllerin op. 25, D 795

Julian Prégardien, Tenor
Sir András Schiff, Piano

Weit von der schönen Erde (Far from the Beautiful Earth) — A Schubertiade

Georg Nigl, Baritone
August Diehl, Recitation
Alexander Gergelyfi, Clavichord, Square Piano

Georg Nigl and his artist friends invite 80 guests to a special kind of serenade.

MASTERCLASS with Patricia Petibon

Patricia Petibon is one of the most versatile interpreters of her generation.
Since her beginnings, she has explored a wide range of repertoire, from baroque to contemporary music. In the course of her career, she has performed on all the major European stages and worked with renowned conductors and directors.
In addition to the operatic repertoire, the Lied / Mélodie Francaise is a cornerstone of her career.
Her recordings, which are very numerous and varied, have been honoured with awards.
She has been giving regular masterclasses in France and Europe for about ten years.

Wolfgang Amadeus Mozart: Don Giovanni KV 527

Davide Luciano, Don Giovanni
Dmitry Ulyanov, Il Commendatore
Nadezhda Pavlova, Donna Anna
Julian Prégardien, Don Ottavio
Federica Lombardi, Donna Elvira
Kyle Ketelsen, Leporello
Ruben Drole, Masetto
Anna El-Khashem, Zerlina
Teodor Currentzis, Conductor
Romeo Castellucci Director, Sets, Costumes and Lighting 
Cindy Van Acker Choreography
Piersandra Di Matteo Dramaturgy 
Theresa Wilson Associate Costume Designer
Maxi Menja Lehmann Assistant Director
Alessio Valmori Assistant Set Designer 
Marco Giusti Associate Lighting Designer
Utopia Choir
Vitaly Polonsky, Chorus Master
Utopia Orchestra

Komm, süßer Tod - J. S. Bach

Georg Nigl, Baritione
Edith Clever, Narrator
Alexander Gergelyfi, Clavichord, Square Piano

Georg Nigl and his artist friends each invite 100 guests to a special kind of sérénade.

Abendempfindung - Mozarts Clavichord

Georg Nigl, Baritione
Edith Clever, Narrator
Alexander Gergelyfi, Clavichord, Square Piano

Georg Nigl and his artist friends each invite 100 guests to a special kind of sérénade.

Francesco Durante: Magnificat
Arcangelo Corelli: Concerto grosso in D major, Op.6 No.4
Georg Friedrich Handel: Nisi Dominus HWV 238
Georg Friedrich Handel: Concerto in B-flat major, HWV 288
Georg Friedrich Handel: Dixit Dominus HWV 232

Evelina Liubonko, Soprano
Olivia Vermeulen, Mezzo-soprano
Florian Sievers, Tenor
Krešimir Stražanac, Bass

Justin Doyle, Conductor
RIAS Kammerchor Berlin
Akademie für Alte Musik Berlin

Highest baroque art in the monastery

The Akademie für Alte Musik Berlin is undoubtedly one of the world's leading historically informed chamber orchestras and is a regular guest in the Rheingau. For more than four decades, the orchestra has proven its versatility time and again with exciting concert projects and musical journeys of discovery. This summer, the ensemble is teaming up with the RIAS Kammerchor Berlin - one of the world's leading choral ensembles - to perform particularly impressive works from the Baroque period. Of course, George Frideric Handel, whose music still touches the hearts and ears of listeners - especially when it is interpreted at the highest level - is not to be missed.