JS Bach superstar, Masaaki Suzuki, takes on a European tour of the Christmas Oratorio with the Orchestra of the Age of the Enlightenment which will be heard in its entirety at London’s Queen Elizabeth Hall in early December

World renowned authority on the works of JS Bach, Masaaki Suzuki, founder and music director of Bach Collegium Japan, joins forces with the Orchestra of the Age of Enlightenment (OAE) for what promises an exhilarating performance of Bach’s Christmas Oratorio (BWV 248) at London’s Queen Elizabeth Hall where the OAE is one of the resident orchestras.  

Taking place over two evenings, the performance offers a rare opportunity for one to experience the entire work as a seasonal treat. Therefore, Parts I-III will be heard on Saturday 2 December followed by Parts IV-VI on Sunday 3 December. Both concerts start at 7.00pm. 

The performance is part of an international tour therefore the show also takes in the Festspielhaus Bregenz (Thursday 30 November), Kölner Philharmonie (Friday 1 December), Prague Castle (Tuesday 5 December), Hamburg Elbphilharmonie (Wednesday 6 December), Théâtre des Champs-Élysées Paris (Friday 8 December) and BOZAR Brussels (Sunday 10 December). Masaaki Suzuki will lead the OAE alongside a stellar cast of soloists comprising Madison Nonoa (soprano), Hugh Cutting (counter-tenor), Guy Cutting (tenor) and Florian Störtz (bass-baritone). 

‘I am honoured and immensely proud to be part of this performance of Bach’s Christmas Oratorio with the OAE,’ enthused Masaaki Suzuki. ‘The opportunity to share this timeless masterpiece with audiences across Europe fills me with immense joy and anticipation. Together, we embark on a musical journey that celebrates the spirit of the festive season. I can't wait to share this profound experience with all of you.’ 

The Christmas Oratorio belongs to a group of three oratorios written in 1734/35 for a major feast day - the other two being the Ascension Oratorio (BWV 11) and the Easter Oratorio (BWV 249). All three of these oratorios to some degree parody earlier compositions but the Christmas Oratorio is by far the longest and most complex work of the three and the structure of the story is largely defined by the requirements of the church calendar for Christmas 1734/35. Bach abandoned his usual practice when writing church cantatas of basing the content upon the Gospel reading for that day to achieve a coherent narrative structure. 

The Christmas Oratorio was written for performance on the six feast days of Christmas during the winter of 1734/35. The original score, containing details of when each part was performed, was incorporated within services of the two most important churches in Leipzig: St Thomas and St Nicholas. The work, though, was only performed in its entirety at St Nicholas’ Church. 

Therefore, the first part, Christmas Day, describing the Birth of Jesus, was heard in the morning at St Nicholas and the afternoon at St Thomas; the second, 26 December, the Annunciation to the Shepherds (morning at St Thomas, afternoon at St Nicholas); the third, 27 December, the Adoration of the Shepherds (morning at St Nicholas); the fourth, New Year’s Day, the Circumcision and Naming of Jesus (morning at St Thomas, afternoon at St Nicholas); the fifth, first Sunday after New Year, the Journey of the Magi (morning at St Nicholas); the sixth, Epiphany, the Adoration of the Magi (morning at St Thomas, afternoon at St Nicholas). The Flight into Egypt, though, takes place after the end of the sixth part. 

 As a composer of such extraordinary genius and widespread influence so firmly embedded in Western culture, it is difficult to comprehend that Bach’s music and reputation once languished in obscurity, virtually unknown to all but a few specialists and academics. It was through the determined efforts of Felix Mendelssohn that his works became accessible to a wider public and today are recognised as summits of musical expression. 

Further details from the OAE's website.