Posts Tagged ‘Ruben Valenzuela’
Bach Collegium San Diego Brings Distler’s Mystical ‘Totentanz’ to San Diego
A late medieval meditation on life’s fragility, called the Dance of Death, stimulated the imagination of painters more than musicians. It was such a gloriously macabre 15th-century painting in Lübeck, Germany, by Bernt Notke—Death summoning folks from every station and walk of life—that inspired Hugo Distler’s 1934 choral work Totentanz (Dance of Death). Ruben Valenzuela’s…
Read MoreBach Collegium’s Brilliant Concert Digs Deep into the the Bach Treasure Trove
Bach Collegium San Diego Music Director Ruben Valenzuela brought an engaging, polished performance of two quite unknown choral cantatas by J. S. Bach to All Souls’ Episcopal Church in Point Loma Saturday (October 15) . . .
Read MoreRare Buxtehude Cantata Shines Brightly in Pacific Beach
San Diego Pro Arte Voices brought Dietrich Buxtehude’s extended Lenten devotional cantata “Membra Jesu Nostri” out of the archives and into a moving live performance Tuesday (March 22) in Pacific Beach
Read MoreBach Collegium San Diego: ‘Messiah’ Redeemed
The Bach Collegium San Diego brought its dazzling period performances of ‘Messiah’ last weekend (December 5-7) to three different venues in San Diego County . . .
Read MoreBach Collegium San Diego’s Comforting ‘Requiem’ by Herbert Howells
In a week that began on the Christian calendar with All Saints’ Day and included All Souls’ Day, Bach Collegium SanDiego performed Herbert Howells’ a cappella “Requiem” in a noontime concert on Wednesday, November 4 . . .
Read MoreBach Collegium San Diego: J.S. Bach Finds His Roots
I can recall a time when J.S. Bach’s Brandenburg Concertos and a few oratorios by G. F. Handel were all a classical music aficionado needed to know about “early music,” but Ruben Valenzuela’s Bach Collegium San Diego brings international standards of today’s period music performance to San Diego. Their most recent outing was a celebration of German Baroque choral music of J.S. Bach and his Leipzig predecessors . . .
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