Internationally acclaimed harpsichordist Pierre Hantaï headlined Capriccio Baroque’s second annual harpsichord Festival, ‘Festival Capriccio 2025’, with an all-Handel program on October 15, 2025. Hantaï’s performance thrilled the audience, bringing many to their feet repeatedly amidst enthusiastic rounds of applause. In his innovative program, Hantaï played four suites, two of Handel’s ‘Great Suites’ and two suites which he compiled from diverse movements and an overture written by Handel. It was an unforgettable evening of music. Link below to read Washington Classical Review’s full write-up:
https://capricciobaroque.org/wp-content/uploads/2025/12/PierreHantaiCWPicSmall.jpg9001500Carolyn Winterhttps://capricciobaroque.org/wp-content/uploads/2020/12/CapriccioLogoHomePage-300x140.pngCarolyn Winter2025-12-05 13:45:042025-12-05 14:47:21‘Hantaï brings panache to Handel suites in return to Festival Capriccio’
Colin Tilney’s passing is a great loss to the harpsichord and Early Music Community. A student of Gustav Leonhardt, Tilney was an influential researcher and contributor to historically-informed performance practice, a beloved instructor by many, and a much-admired performer and recording artist. Obituaries have been posted widely, including in The Telegraph UK, The Globe and Mail Canada, Classics Today, Y!Entertainment… Colin Tilney issued over 70 commercial recordings, and his final album, produced at age 89, offers a wonderfully rich, almost sultry, interpretation of Bach’s Partitas (J.S. Bach: Harpsichord Partitas, BWV 825-830). Among his many other acclaimed and influential albums is ‘George Frideric Handel – The Harpsichord Suites’ (ARCHIV Production), widely considered a benchmark. Tilney was also an ardent proponent of contemporary music for harpsichord, commissioning some himself. His recordings were often made on original instruments, but also on some of the many instruments in his own, sizeable collection. Amongst his collection was a much-loved after-Zell, built in 1983 by Colin Booth ,which he used extensively in concerts and recordings including ‘Jewels: Treasures, Old & New, for the Harpsichord’. In 2023 Colin passed this instrument on to a new owner who, following some restoration, makes it available to Capriccio for concerts. Colin Tilney was delighted to know that this instrument’s lovely voice would continue to be heard and enjoyed by lovers of harpsichord music.
Justin Taylor’s ‘Bach in Italy’ performance at Capriccio Baroque on March 18, 2023, led to multiple standing ovations from a highly appreciativ audience and garnered an exceptional review from Charles Downey of the Washington Classical Review. The virtuosic, demanding program included a selection of Italian concerto transcriptions made by Bach and works composed by Bach himself in the ‘Italian Style’. For the concert Justin performed on a two-manual harpsichord built by English early keyboard builder and harpsichordist Colin Booth after an extant original instrument by J.C. Fleischer dated to 1710.
Jean Rondeau’s October 26, 2022, performance of J.S. Bach’s ‘Goldberg Variations’ at Capriccio Baroque is rated a 2022 Top Ten Performance by the Washington Classical Review. Given this young French harpsichordist’s mastery this comes as no surprise. Here’s what the Washington Classical Review has to say about this performance:
‘The best thing about a performance of an ultra-familiar work is if it surprises you. The French harpsichordist, who has made two recordings of this Bach masterpiece, surprised over and over again in this dynamic live performance …from an improvised intonato as prelude, through some extravagantly ornamented repeats, to a stripped-down return of the opening Aria.’
https://capricciobaroque.org/wp-content/uploads/2023/02/JRSEASONHIGHLIGHT.png5201450Carolyn Winterhttps://capricciobaroque.org/wp-content/uploads/2020/12/CapriccioLogoHomePage-300x140.pngCarolyn Winter2023-02-28 11:03:382023-02-28 11:18:36Capriccio’s concert featuring Jean Rondeau rated a 2022 Top Ten Performance
Yoann Moulin’s spectacular recording ‘Stylus Luxurians’ focuses on 17th century German harpsichord music by Weckmann, Froberger Ritter, Tunder, and Scheidemann. This was the period in which German music began to reflect elements of the French style after earlier adoption of elements of the Italian style. The result: simply gorgeous, luxurious music. This exquisite, crystal-clear recording of brilliantly played music makes for compulsive listening. Released under the Ricercar-Outhere label.
Lillian Gordis’ latest double-disk album ‘Bach’, released under the Paraty label, is a feast for the senses. Comprising her personal selection of Partitas, English Suites and Preludes and Fugues from the Well Tempered Clavier, this is a technical tour de force with the most compelling interpretations.
Qobuz and Pierre-Yves Lascar: “Without doubt, this is well worth a listen.” “These two musical hours are breath-taking in every sense of the word…”
https://capricciobaroque.org/wp-content/uploads/2022/04/Communique1450x520.png5201450Carolyn Winterhttps://capricciobaroque.org/wp-content/uploads/2020/12/CapriccioLogoHomePage-300x140.pngCarolyn Winter2022-04-07 23:24:462022-04-07 23:26:26“Definitely worth a listen!” – Lillian Gordis’ new ‘Bach’ album
At the tip of Africa the Cape Town Baroque Orchestra drives a newly flourishing Early Music Scene under Artistic Director Erik Dippenaar. The Orchestra includes some of South Africa’s finest musicians and vocalists who mainly perform music of the 18th century. Here are two recent recordings by the Orchestra. In the first, the Orchestra plays William Hayes’ (1708-1777) delightful, joyous Harpsichord concerto in G major with Erik Dippenaar directing from harpsichord. The second recording is one of a series in which Orchestra members explore early repertoire originally written to be played and sung at home – Lynelle Kenned (Soprano) and Erik Dippenaar (Early Keyboardist) perform.
https://capricciobaroque.org/wp-content/uploads/2021/10/CapeTownBaroqueOrch.jpg9001500Carolyn Winterhttps://capricciobaroque.org/wp-content/uploads/2020/12/CapriccioLogoHomePage-300x140.pngCarolyn Winter2021-10-07 22:49:202021-10-11 18:04:18Delights from the Cape Town Baroque Orchestra, South Africa
Capriccio’s Saturday, Sept. 18, 2021, concert ‘La joie de vivre’ featuring Jory Vinikour aimed to lift the audiences’ spirits after a prolonged and bleak period when concert halls have been shuttered. Jory more than delivered! The Washington Classical Review’s Charles Downey showered the performance with praise, describing it as “…a sensational evening”. Jory Vinikour’s exceptional technique and bountiful musicality shone in a program packed with “effervescent and devilishly challenging pieces” full of “…finger-twisting calisthenics…” (Charles Downey) by Byrd, Bull, J.S. Bach, D. Scarlatti, Rameau, L. Couperin, and Royer. Read the full review here: https://washingtonclassicalreview.com/2021/09/19/capriccio-baroque-series-reopens-with-versatile-vinikour-at-the-harpsichord/
We’re giddy with delight as we launch our 2021/2022 Season featuring exceptional harpsichordists in extraordinary live!! and virtual concerts. We’ve have a wonderful line-up of harpsichordists who’ll be performing diverse and compelling programs.
While we very much hope the Season will proceed as planned, we must make provision for possible interruptions. This means we’ll open ticket sales for a concert 4 to 6 weeks out from the concert date. On the day we open ticket sales for a concert we’ll send our Subscribers an email announcing this. If you’re not already on the subscriber’s list, do complete one of the sign-up boxes on this website so you are kept informed and don’t miss out on tickets. We’re sorry to announce that we’ll not offer our popular Subscription Packages this Season because of the continuing uncertainties. We request patrons’ understanding on these measures; our intention is to avoid disappointment and a cycle of ticket refunds.
We so look forward to welcoming you back in person to – very hopefully! – a full Season of extraordinary concerts!
Justin Taylor’s liquid-mercury technique and exquisite touch are fully evident in this spectacular album recorded on the Harpsichord Donzelague c. 1730 and, for one cut, an Erard 1891 piano. The album features a gorgeous mix of works by members of the Rameau family – Jean-Philippe, Claude, Claude-François, and Lazare – complemented by works of two composers inspired by Jean-Philippe Rameau, Jean-François Tapray and Claude Debussy. This recording is rightly being showered with laudatory reviews from the critics.
