There are indeed many recordings of Monteverdi’s Vespers of the Blessed Virgin, but the special thing about this particular recording is that it was produced following the performances of a scenic interpretation with the Spanish stage director Calixto Bieito. What now follows is a musical exploration forming a sequel to scenic occupation with the Vespers. Since 2017 Il Gusto Barocco has been the guest ensemble for the four-part Monteverdi cycle initiated by opera director Albrecht Puhlmann at the Mannheim National Theater. From the musician’s perspective, the scenic exploration of music rooted in the liturgy does in fact clearly differ from a performance during a religious service or a non-scenic concert performance. During the time-intensive process prior to the staging of an opera, scenes, images, and figures gradually take shape. In each stage figure the quest is for an emotional truth from which her or his artistic nature, aesthetic character, and credibility result – and ultimately word and tone, in order to produce empathy and engage the public. Another important aspect of this recording is the great number of diminutions in all the instrumental and vocal parts, all of which were improvised at the particular moment. During the shared scenic preparation for the opera stage, the individual movements of the Marian Vespers obtained a definite emotional space in the dramaturgical sequence. Accordingly, sections and their basic characters were defined and invented at the particular moment for each performance and for this recording.

How fascinating must it have sounded when Johann Sebastian Bach competed with an entire orchestra at the organ? Under the direction of Jörg Halubek, the baroque ensemble il Gusto Barocco becomes a musical think tank. Together, they attempt to reconstruct three of Bach's organ concertos, which today are primarily treated as harpsichord concertos. The recordings of the soloist ensemble presented here convey a tangible and unique impression thereof.

Introducing Il Gusto Barocco's latest album, a new approach to Baroque music. Each ensemble member is given a platform to showcase their talents as a soloist, choosing their own program and interpreting the selected works in a very special way. Director Jörg Halubek believes in the concept of "extended chamber music," where players must always think and perform as soloists while still valuing the importance of ensemble playing.

The members of Il Gusto Barocco all studied at the Schola Cantorum Basiliensis, which has led to a shared aesthetic background. The ensemble's goal is to bring the music to life and not impose their own personal listening habits on the audience. Flautist Claire Genewein performs Johann Sebastian Bach's Flute Partita in A minor on the album, playing it without bass accompaniment, as Bach most likely intended. This recording offers a unique interpretation, especially regarding playing speeds, that sets it apart from others. Il Gusto Barocco's latest album is a must-listen for fans of Baroque music looking for a fresh take on the genre.

The large-scale Bach Organ Landscapes project featuring J.S. Bach’s entire organ oeuvre recorded on a range of instruments aims to provide an overview of organ-playing and organ-building traditions that were key to Bach’s composing. With a keen eye to the unique cultural organ legacy of the places associated with Bach, Halubek has placed Bach’s original sound at the heart of his project. The recordings are accompanied by digital material that offer an almost tactile access to the great composer’s sound universe. This Album features the legendary Silbermann organ in Freiberg near Dresden.

The large-scale Bach Organ Landscapes project featuring J.S. Bach’s entire organ oeuvre recorded on a range of instruments aims to provide an overview of organ-playing and organ-building traditions that were key to Bach’s composing. With a keen eye to the unique cultural organ legacy of the places associated with Bach, Halubek has placed Bach’s original sound at the heart of his project. The recordings are accompanied by digital material that offer an almost tactile access to the great composer’s sound universe. This Album features the legendary Silbermann organ in Freiberg near Dresden.

Although the Greek gods were mightier than the vermin that they had build their temples, they were not immune to human impulses. Jealousy in particular often confused them – as Johann Sigismund Kusser showed the Stuttgart court around 1700, when he sent the "divine" opera heroes into a commotion. Cupid shoots wildly in every direction, causing Apollo to be after Daphne and Venus burns for Adonis, who in turn is only interested in a lively hunt – until finally an arrow hardened by Vulcan penetrates and he succumbs to the goddess of love. She weakens his aim and so a wild boar takes him by the tusks. It was long thought that this exquisite, effervescent opera was lost. However, it was tracked down and rediscovered by an Australian scholar in the Württemberg State Library in 2005, enabling Halubeck and il Gusto Barocco to record it and add another gem to the catalogue of baroque opera.