Programme of Excellency for Early Music


Academy Season 1

August 1st-21st, 2022

Concerts 2022

Handel – Purcell/German Baroque Song – Vivaldi

Faculty 2022

CVs and photos

Programme of Excellency for Early Music

In cooperation with Hochschule für Musik Mainz and Johannes Gutenberg-Universität Mainz Barock Vokal Akademie offers a unique programme for specialization on the field of Early Music, addressing advanced young singers.

From around 1600 until well into the 18th century vocal music is based on the so called basso continuo. The singers’ focus on chamber music and their desire for (textual) expressivity gave way to vanity and the lust for excessive use of vocal embellishment and agility at the beginning of the 18th century. However, drama and virtuosity of late baroque and classical music couldn’t have developed without the profound understanding of vocal chamber music and soloistic ensemble singing.

This is our motivation to dedicate the work at BVA to arias from the 18th century and from the early baroque period, to the so-called main repertoire and lesser known pieces in German, Italian and French. We wish to offer insight in special aspects and general principles of baroque performance practice and how to use that knowledge practically. And maybe we can also kindle our participants’ curiosity to dive into the wonderful world of unpublished repertoire.

Academy Season 1 – August 1st-21st, 2022

For the first season of Baroque Vocal Academy we chose 12 young internatinal singers in order to work on pieces of early, high and late baroque in our Early Music “boot-camp”. They come from Brazil, New Zealand, England, Hungary, South Korea, Israel and Germany. From individual coaching in recitative, vocal on ornamentation, performance to ensemble sessions and round tables on topics of professional relevance we will be offering e wide range of courses – theory and practice merging into valid interpretations.

The results of our work will be shared with the public in concerts. Three concerts are planned and will be prepared under the baton of famous conductors, all of them experts in historic performance practice: Paul Goodwin (GB), György Vashegyi (HU) and Federico Maria Sardelli (I). The Electoral Castle in Mainz and the famous Basilica of Kl. Eberbach in the Rheingau valley will host the opening and final concerts, the Red Hall at Hochschule für Musik Mainz on campus of Johannes Gutenberg-University the chamber music concert.

Admission to all concerts is free, but we would enjoy Your supporting us with a donation at the exit!
Registration is possible via the links or QR-codes.

Concerts 2022

The opening concert is dedicated to arias of the great Baroque composer George Frideric Handel. The  most exquisit singers of his time created heroes, commanders, sorceresses, queens, kings and wizards … and ever so often (un-) happily entangled lovers, who -after long suffering and perusals finally experience a happy ending. In the meantime (i.e. during the opera) Handel gave them wonderful arias to sing, intertwined duets and ensembles with ample opportunity to show their feelings.

And even in the 21st century we are caught by the furious, passionate or sentimental arias, which are as challenging for singers today as they were then.

Enjoy Julius Cesar, Cleopatra, Alcina and their fellows with the fascinating and ravishing music of George Frideric Handel!

Vocal chamber music from the end of the 17th century form Great Britain and Germany is in the focus of our chamber music concert.

Henry Purcell is undoubtedly THE composer in Britain during the second half of the 17th century. Beside an impressive number of representative music for the royal houshold we today can feast of a rich selection of vocal chamber music, very charming and witty, spiced with a certain amount of spice of British humour.

German composers Johann Philipp Krieger and Adam Krieger wrote music around the turn of the century, its purpose entertainment and “easy listening”. Their drinking songs and jolly tunes, revealing thoughts about the character of women, the follies of men or the quirks of lovers are still quite funny and enlightening in our times!

During recent years and a little later than Handel, the musical world has discovered the operas of Antonio Vivaldi, and they are enjoying a real renaissance.

Like Handel, Vivaldi was most successful in writing moving and intriguing tunes for the prime donne and primi uomini (the castrati) of his time. Operas with magic, with tragedies, operas with heroes, lunatics and people falling prey to madness (certainly to be salvaged at the end of the opera) – the tpoics of the libretti are manifold.

And the scope of emotions is, too, providing vast opportunities for electrifyingly virtuoso arias, intense and moving melodies that make the singers’ pulse rise and quicken the audience’s heartbeat!

Faculty of the Barock Vokal Akademie 2022

Daniele Boccaccio (harpsichord, language coach Italian)
works as harpsichordist, organ player and conductor. He performs as soloist as well as continuo player with chamber music groups and orchestras. And besides teaching, he edits musical manuscripts.

Paul Goodwin (conductor, Handel)
Paul Goodwin started out as Baroque oboist, working with the leading Baroque orchestras, before turning to conducting. He is enjoying a distinguished career as conductor of Baroque bands and symphonic orchestras and has held positions as artistic director of prestigeous festivals like the Carmel Bach Festival. He also is a dedicated teacher and commits himself to educational programmes.

Marie Kuijken (Baroque gesture)
plays the Baroque violin and fortepiano and works as stage director. Early music and historic performance practice run in the family, and so her stage work is inspired by studies of historic sources about Baroque gesture and stage performance. 

Prof. Felix Koch (chamber music)
heads the Collegium Musicum at the Johannes Gutenberg-University Mainz and teaches Baroque chamber music and musical outreach at the Hochschule für Musik Mainz. He is the artistic director of the orchestra Neumeyer Consort and initiated the Telemann-project which is scheduled to edit, perform and record Telemann’scomplete  French Cantata Cycle for the first time – a fascinating new discovery on the field of Early Music. 

Prof. Dr. Ursula Kramer (musicology)
is professor for musicology at the Johannes Gutenberg-Universität Mainz. One of her favourite research topics is the music by Christoph Graupner. Her interest in the Baroque era goes beyond musicology, being not “just” a scholar but also (historical) bassoon-player.

Prof. Andreas Scholl (Baroque singing, ornamentation)
has been enjoying a career as one of the leading countertenors of the world for more than 30 years, performing at the most distinguished concert and opera venues like e.g. the Metropolitan opera New York or the Salzburger Festspiele. His repertoire comprises  also Baroque cantatas, madrigals, solo and ensemble pieces and oratorio. He is a professor for Baroque singing at the Mozarteum Salzburg.

Prof. Elisabeth Scholl (Baroque singing, ornamentation and recitative; artistic director of BVA)
is a soprano with musicological background and specialization in Baroque singing. She has acquired expertise on the field of Baroque opera, oratorio and cantata throughout her extensive work with conductors and ensembles specialized in historic performance practice. 

Markus Stein (harpsichord, chamber music, managing director of BVA)
teaches basso continuo at the HfM Mainz and is a sought-after accompanist for singers and chamber musicians, as well on the organ as on the harpsichord. He’s one of the relevant minds behind the telemann-project. 

Federico Maria Sardelli (arias, Vivaldi)
plays the recorder, flute is a renowned conductor with emphasis on Baroque opera, and is responsible for the Ryom-Verzeichnis (catalogue of the works of Vivaldi). His numerous recordings comprise a lot of first-time recordings of Vivaldi operas. Moreover he edits musical manuscripts. 

György Vashegyi (chamber music, Purcell)
currently heads the Hungarian Academy of Arts and just launched the Haydneum, Hungarian Centre for Early Music. As musician, musicologist, conductor and teacher he possesses profound knowledge and experience with historic performance practice and musical outreach.


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