FESTIVAL: Lørdag d. 18. august 2018
HVEM & HVAD: Artist Talk
HVOR: Sydbanks Arkade, Næstved
HVORNÅR: Lørdag d. 18. august 2018 - kl. 11.00
ADGANG: Gratis Adgang

montevivaldi 2018 a

HVEM & HVAD: Middagskoncert med Herlufs Vokaler
HVOR: Sydbanks Arkade, Næstved
HVORNÅR: Lørdag d. 18. august 2018 - kl. 12.15
ADGANG: Gratis Adgang


HVEM & HVAD: Operaforestilling: Antonio Vivaldi: 'Il Giustino'
HVOR: Det nye Ridehus, Næstved
HVORNÅR: Lørdag d. 18. august 2018 - kl. 14.00


Giustino: Steffen Jespersen (counter tenor) – Arianna: Beate Mordal (soprano)
Anastasio: Fanny Kempe (mezzo) – Amanzio: Frøy Hovland Holtbakk (soprano)
Leocasta: Julia Ojansivu (soprano) – Vitaliano: Johan Olsson (tenor)


Operaen ‘Il Giustino’

Næstved Early Music Festival - NEMF præsenterer barokoperaen ‘Il Giustino’ af italienske Antonio Vivaldi, 17-19. august.

Vivaldi som særligt er berømt for alle sine violinkoncerter blandt andre ‘De fire Årstider’ skrev også en lang række sjældent opførte operaer. NEMFs kunstneriske leder, violinist Peter Spissky har valgt operaen 'Il Giustino', der handler om bonden Giustino, som redder en prinsesses liv og derpå bliver involveret i nogle magtkampe om kejsertronen i Konstantinopel.

Det er lykkedes NEMF at få fat på italienske Deda Cristina Colonna til at instruere operaen i Næstved med nogle af skandinaviens mest lovende sangere. Colonna var i 2015 nomineret til en Reumert for en anden Vivaldi-opera under Copenhagen Opera Festival

Instruktør: Deda Cristina Colonna
Musikalsk ledelse: Peter Spissky
Orkester: Camerata Øresund
Giustino: Steffen Jespersen (counter tenor)
Arianna: Beate Mordal (soprano)
Anastasio: Fanny Kempe (mezzo)
Amanzio: Frøy Hovland Holtbakk (soprano)
Leocasta: Julia Ojansivu (soprano)
Vitaliano: Johan Olsson (tenor)

Deda Christina Colonna, Opera Director

Deda Christina Colonna, Opera Director
Deda Christina Colonna, Opera Director

Deda Cristina Colonna is a director and choreographer; her favourite repertoire is Baroque and Classical opera, as well as all the works through-composed. Her style is deeply influenced by her own stage experience, with a special expertise in baroque dance, rhetorical gesture and period acting. Although it is based on historically informed practice , her work reaches out to today's audiences through the use of a modern stage style, influenced also by drama and other forms of contemporary theater.

Deda Cristina Colonna graduated in classical ballet at Civico Istituto Musicale Brera (Novara) and at Ecole Supérieure d’Etudes Chorégraphiques (Paris). She graduated from the Sorbonne, specialising in Renaissance and Baroque Dance. Later she graduated from the acting school of Teatro Stabile di Genova and acted in productions from Shakespeare to Chekhov and Genet in Italy, France and Germany. She has worked with the company Theater der Klänge (Düsseldorf) and was a soloist and guest choreographer with the New York Baroque Dance Company.

As a director she created original works, among which Voluptas Dolendi - I Gesti del Caravaggio, from the 15th and 16th Centuries Tetraktys ovvero la prima età del mondo (Teatro Verdi, Trieste), and has choreographed and / or staged over 25 works, among which, recently: Ottone in Villa by F. Vivaldi (Copenhagen Opera Festival: nomination for the Reumert Award for best opera 2014), Il Giasone by F. Cavalli and Il Matrimonio Segreto by D. Cimarosa (Drottningholm Palace Theatre), L'Incoronazione di Poppea by C. Monteverdi and Gesualdo-Shadows by the contemporary composer Bo Holten (Copenhagen Royal Opera/Takkelloftet), Armide by J.B. Lully (Innsbruck Festival of Early Music / Music Festival Potsdam Sanssouci), Nina, o sia la Pazza per Amore by G. Paisiello and Comala by P. Morandi for Vadstena-Akedemien (Sweden), Didone Abbandonata by L. Vinci (Opera Florence / Maggio Musicale Fiorentino). She has been teaching baroque dance, gesture and acting for over 25 years and has taught courses and master classes in various Institutions in Italy and abroad. In 2014 she was Guest Visiting Professor at University of Stockholm/Performing Premodernity.

She was Director of the Dance School of Civico Istituto Brera in Novara, Italy from 2008 to 2013. Her research in baroque dance have been published in the acts of various international conventions and in the trade press. She works in Italian, English, French, German and Spanish.


HVEM & HVAD: Solamente Naturali med Milos Valent: 'GLOBUS MUNDI'
HVOR: Sct. Peders Kirke, Næstved
HVORNÅR: Lørdag d. 18. august 2018 - kl. 17.00

forsideslide naturali

Telemann blev under et ophold i det øvre Schlesien betaget af folkemusikken. Programmet er derfor en symbiose af sange og danse fra slovakiske, moraviske, tyske og engelske barokmanuskripter. En naturlig forbindelse mellem kompositioner fra hoffet og den rustikke folkemusik 'under slottet'.


Solamente Naturali

Solamente Naturali

Solamente Naturali is a creative and flexible combination of musicians dedicated to the presentation of 17th and 18th century music. Dynamic and vibrant in character, Solamente Naturali performs in variable formations depending on the repertoire and given occasion. The rich choice of musical repertoire, often unknown, enables them to choose to perform trios as well as baroque oratorios with a full orchestra and a choir. 

The originality of this group is conveyed through a distinctive approach to the interpretation of 17th and 18th century music.  It is clear that a true restoration of such music and its spirit is simply not possible today. To create a similar atmosphere Solamente Naturali uses period instruments, finds inspiration in historical documents and is united through passion, creativity, and professionalism. But the special treat of the ensemble - as its artistic leader and concertmaster unveils - is spontaneity and naturalism, hence the name Solamente Naturali - Simply Natural, as their version of the musical past.  The ensemble's repertoire offers, along with unknown and unique pieces of Slovak provenience, several baroque essential masterpieces by Vivaldi, Handel, Purcell, Scarlatti, Lully, and Rameau.

In the year 2000, the J.S.Bach Year, Solamente Naturali lied  its concertmaster Miloš Valent performed a thrilling choice of Bach´s works; such as St. Matthew and St. John Passion, Magnificat, Orchestral Suites, a rich selection from Bach's ample cantata output and the Slovak premiere of Musical Offering. 
In summer 2003 Solamente Naturali did present a truly unique collection of baroque music from Slovakia. This lively and intimate combination of repertoire draws upon the European musical tradition juxtaposed by elements of Slovak folk music as well as by the music of itinerant Turkish, Hungarian, Austrian or other Slavic musicians. To hear the music of this collection, tailor-made for Solamente Naturali for its spontaneous way of playing - simply natural - and deeply rooted knowledge and experience of the region's folk music, is a unique opportunity that should not be missed.

Solamente Naturali continues to attract the public through its well established concert series Musica Poetica da Camera in the Slovak National Gallery in Bratislava that serves as the showcase for the soloistic qualities of the ensemble members and as a discovery place of unknown and less frequently performed chamber music.

Solamente Naturali is equally well recognized abroad. They perform regularly at early music festivals in the Czech Republic, Finland, and Austria. Their concerts, in cooperation with Cappella Nova Graz, can be heard on specialized programs of Baroque music on Austrian Radio.


HVEM & HVAD: I Fagiolini med Monteverdis ‘The Other Vespers’
HVOR: Sct. Peders Kirke, Næstved
HVORNÅR: Lørdag d. 18. august 2018 - kl. 20.00

forsideslide fagiolini

Det engelske vokalensemble I Fagiolini præsenterer under ledelse af Robert Hollingworth deres anmelderroste version at den italienske Vesper-musik.
Koncerten optages til transmission af DR-P2


I Fagiolini

I Fagiolini
Winner of the Royal Philharmonic Society Ensemble Award, 2005

Grounded in the classics of Renaissance and Twentieth-century vocal repertoire, I Fagiolini is renowned for its innovative and often staged productions of this music. It has staged Handel with masks, Purcell with puppets, and in 2004 premiered The Full Monteverdi, a ground-breaking dramatised account of the composer’s Fourth Book of Madrigals (1603) by John La Bouchardière, since turned into a highly successful film shown all over the world. In 2006 I Fagiolini toured its South African collaboration Simunye and in 2009 created Tallis in Wonderland, a new way of hearing polyphony with live and recorded voices.

I Fagiolini’s recording on Decca Classics, 'Monteverdi: The Other Vespers', was released in April 2017.

Amuse-Bouche (French Choral Delicacies) was released in April 2016, was CD of the Month for Gramophone Magazine and shortlisted for a Gramophone Award. It includes the world premieres of Roderick Williams arrangement of the Adagio from Ravel Piano Concerto in G and Ode à la Gastronomie with an accompanying film by Jean Françaix: “entirely fresh and unexpected, a recording that’s a bit sexy, a bit silly and absolutely, unmissably superb.”

In 2011, I Fagiolini semi-staged Purcell King Arthur with the English Concert and released the world premiere recording of Striggio Mass in 40 Parts on Decca  which stayed at the top of the specialist classical chart for nearly four months and won the 2011 Gramophone Early Music Award and a Diapason d’or de l’année.

2012 featured a Royal Albert Hall Prom debut, a new production for Opera North with shadow puppetry, The Little Match Girl Passion by David Lang, and the release of 1612 Italian Vespers (Gramophone CD of the Month) premiering multi-choir music by Viadana and a reconstructed Gabrieli Magnificat. It also saw the launch of yet another unlikely collaboration, How Like An Angel (HLAA), this time with Australian contemporary circus company, C!RCA. HLAA premiered as part of the Perth International Arts Festival, premiered in New York and continues to tour throughout the UK and EU.

2014-15 included debuts at the new Sam Wanamaker Playhouse ( Shakespeare’s Globe), Carnegie Hall and I Fagiolini’s first tour of Australia with Musica Viva, as well as another collaboration with John La Bouchardière, Betrayal: a polyphonic crime drama. Sung to the music of Gesulado, this immersive theatre work with dancers and singers was set in ‘crime scenes’ and premiered at the Barbican in May 2015.

Forthcoming projects and performances include the return of Striggio 40 Part Mass to Florence, a year-long celebration of Monteverdi’s 450th anniversary, Living Monteverdi, featuring Flaming Heart, 1610 Vespers, The Other Vespers, and L’Orfeo along with a virtual reality project, films, and education work.

The name I Fagiolini continues to be misspelt and mispronounced wherever it goes from Africa to Australia. I Fagiolini has recorded 22 discs and five films and is delighted to be Ensemble-in-Residence at the University of York.

Robert Hollingworth, Conductor

Robert Hollingworth, Conductor
Robert Hollingworth

Robert has spent much of his life looking for ways to share his love of Renaissance and 20th/21st century music, often by creating ground-breaking projects which present music to audiences in innovative ways. He founded I Fagiolini in 1986; with them he has presented their signature projects including Simunye, The Full Monteverdi, Tallis in Wonderland, and How Like An Angel (with Australian contemporary circus group C!RCA), and Betrayal: a polyphonic crime drama (for singers and dancers based on the music of Gesualdo), which premiered at the Barbican in May 2015.

Norddeutscher Rundfunk ChorNederlands Kamerkoor, Narodowe Forum Muzyki, Wrocław (Acis & Galatea),  Symphonieorchester Wuppertal (Judas Maccabeus) and Monteverdi L’Orfeo in Venice. In 2016 he conducted the Danish National Vocal Ensemble in a new conceptual project, Angels and Demons, and makes his debut with RIAS Kammerkoor in 2018.

In 2011, his world premiere recording of Striggio Mass in 40 Parts was released on Decca with an all-star UK line-up, remaining at the top of the specialist classical chart for nearly four months and winning the 2011 Gramophone Early Music Award and a Diapason d’or de l’année. 1612 Italian Vespers was released on Decca in June 2012 and was chosen as Gramophone CD of the Month and was performed live in the 2012 BBC Proms at the  Royal Albert Hall. Robert arranged the music for the album  Shakespeare: The Sonnets and appeared extensively on BBC TV and radio discussing the disc. Amuse-Bouche (French Choral Delicacies) was released on Decca Classics in April 2016, was CD of the Month for Gramophone Magazine, and shortlisted for a 2016 Gramophone Classical Music Award. It includes the world premiere and film of Jean Françaix 12-voice Ode à la gastronomie: “entirely fresh and unexpected, a recording that’s a bit sexy, a bit silly and absolutely, unmissably superb.” (Gramophone) 2017 album releases include Peerson Grave Chamber Music with Fretwork and Monteverdi: The Other Vespers, in collaboration with Monteverdi’s 450th anniversary and the 2017 tour, ‘Living Monteverdi’.

Robert has worked on a number of films and writes and presents for BBC Radio 3 (CD Review, The Early Music Show, The Choir and Discovering Music). In 2012 he ran a conducting masterclass and lecture for the American Choral Directors’ Association conference and was the Special Guest Director & speaker at the Association of British Choral Director’s 30th annual convention (2015). His MA in solo-voice-ensemble singing at the University of York (where he is a Reader in Music) is now in its fourth year.

HVEM & HVAD: Solo-recital
HVOR: Sct. Peders Kirke, Næstved
HVORNÅR: Lørdag d. 18. august 2018 - kl. 22.30
BILLETTER: Adgang, kr. 100,- v. døren - KØB PARTOUTKORT NU > HER

NEMF 2018 2 600px

Kompagnihuset - NEMF Festival Centre

Kompagnihuset - NEMF Festival Centre

Kompagnihuset i Kompagnistræde på hjørnet af Møntergade, facade mod Kompagnistræde og gavl mod Susåen, udgør Festivalcenteret i 2016.
Opført 1493 eller kort efter som gildehus, det eneste bevarede i Norden. Et gilde var en sammenslutning af købmænd.
Kaldes også fejlagtigt Møntergården på grund af forveksling med Erik af Pommerns møntsted i Næstved. Det korrekte, men sjældent brugte navn er Peblingehuset eller Peblingegildets Hus efter det middelalderlige handelsgilde, der vel brugte huset til både oplagring og møder.

Web site

Sct. Peders Kirke

Sct. Peders Kirke

Sct. Peders Kirke 21Sct. Peders kirke ligger midt i den gamle bydel i Næstved. Den er en højgotisk, treskibet langhusbygning fra første halvdel af 1400-t. med et imponerende, polygonalt korparti fra omkring 1375, der blev opført i tilslutning til den tidligere senromanske bygning. Kirkens murværk rummer rester af mindst én tidligere kirke på stedet.

Valdemar 4. Atterdag. Kalkmaleri i Sankt Peders Kirke i Næstved. Valdemar og dronning Helvig ses knælende foran Vorherre og den korsfæstede Kristus. Den latinske indskrift fortæller, at I 1375, dagen før Sankt Chrispinus fest, døde — glem det ikke — kong Valdemar. Han hviler i Kristus.
Kalkmaleriet, der er fra ca. 1400, blev fundet i forbindelse med en restaurering af kirken 1883-85.

Valdemar 4. Atterdag. Kalkmaleri i Sankt Peders Kirke i Næstved. Valdemar og dronning Helvig ses knælende foran Vorherre og den korsfæstede Kristus. Ved en gennemgribende restaurering af kirken 1883-85 fremkom på korets nordvæg et kalkmaleri af Valdemar Atterdag og dronning Helvig, sikkert malet straks efter kongens død i 1375.
Inventaret omfatter bl.a. en fornem krucifiksfigur fra ca. 1250, korstole og stolestader fra 1500-t. og en malmstøbt døbefont fra 1502. Korgitteret er udført omkring 1600 af Abel Schrøder d.æ., prædikestolen i bruskbarok fra 1671 er tilskrevet Lorentz Jørgensen. Kirken er ualmindelig rig på gravminder fra især 1500-1600

Sct. Peders Kirke 05Kirken har gennemgået omfattende restaurering af kalkmalerier samt kalkning, og desuden er opsat to nye orgler. Eule har bygget det store vestorgel, mens Svaleredeorgelet oppe i koret, som bliver omdrejningspunktet for vores festival i 2016, er bygget af Grenzing på sit værksted uden for Barcelona.

Kirken åbnede igen 4. søndag i advent 2015 med en festgudstjeneste kl. 10.00, mens Svaleredeorgelet indvies ved en koncert søndag d. 10. april 2016 kl. 15.00
Her kan man se Sjællandskes fine fotoserie fra restaureringsarbejdet samt et lille nyhedsindslag fra TV2Øst om kalkmaleri-restaureringen.


Web site

Sankt Mortens Kirke

Sankt Mortens Kirke

Sankt Mortens Kirke

Sct. Mortens kirke 4Er formentlig den yngste af de gamle kirker og den har haft en omtumlet tilværelse, da den oven i købet har været truet af lukning og nedrivning i 1800-tallet, hvad der kan få en nutidig byvandrer i Næstved til at gyse.

Før den kirke vi ser, lå der en romansk kvadrestensbygning, men første gang den nuværende ung gotiske kirke nævnes, er i et testamente i 1292.
I 1844 blev Sankt Mortens og Sankt Peders sogne lagt sammen til ét pastorat. Først stod kirken da helt ubenyttet hen, men i 1849-53 var Sankt Peder i så ringe en stand at man igen udførte de kirkelige handlinger i Sankt Mortens.

Sct Mortens int 2
Der har været virkelig strid om hvorvidt kirken skulle omdannes til rådhus eller om man skulle rive den helt ned, men de folk, der ville bevare den, fik overtaget, og den blev restaureret – med hård hånd, siges det 1853-55. I 1922 blev de to gamle pastorater genetableret.

Når man kommer ind i kirken, som jo er relativt lille, overvældes man af den kæmpestore altertavle, et træskærerarbejde i bruskbarok, udført af Abel Schrøder den yngre. Han var desuden organist ved kirken i 42 år. Nævnes skal det også her for sammenhængens skyld at døbefontens kumme er støbt af malm i 1515, ”Da Rasmus (Dag) var abbed (i Skovkloster). Der er altså en nær sammenhæng mellem de tre gamle kirker, som byder os til koncert.

Marianne Olsen

Web site

Skovklostret - Herlufsholm kirke

Skovklostret - Herlufsholm kirke

herlufsholm plænen 1Herlufsholms Kirke

På dette sted har der været musik og åndsliv siden det tolvte århundrede. Det er lang tid for et land så højt mod nord.
Her er vi på Skovklosters område, oprindelig et benediktinerkloster der blev stiftet den 29. november 1135, da den sjællandske høvding, Peder Bodilsen, sammen med sin mor og sine to brødre skænkede omfattende jordbesiddelser i Sydsjælland og Falster til det kommende kloster, så der var grundlag for at leve ved at dyrke jorden og troen på samme tid. Ora et labora: bed og arbejd var Benedikts valgsprog.

Grundlæggeren af Benediktinerordenen, Benedikt af Nursia, der ligger Nordøst for Rom, har lagt navn til ordenen som har sine ganske bestemte leveregler, hvad man kan orientere sig om ved at bevæge sig rundt i området og også ind i kirken.

Herluf Trolle

Ved reformationen i 1536 overtog kongen kirkens gods, og Frederik II mageskiftede Hillerødsholm, det nuværende Frederiksborg, med Herluf Trolle og Birgitte Gøje, så de fik Skovkloster, der fik navnet Herlufsholm.

herlufsholm-52Lige siden Skovkloster blev stiftet har der, så vidt vides, også været undervisning. Vi befinder os altså på et sted, der i næsten tusind år har været fuldt af liv og energi. Den besøgende der kommer hertil med åbent sind, mærker generationernes kommen og gåen – forhåbentlig med glæde og nysgerrighed.

Marianne Olsen


Web site

Ridehuset – Grønnegades Kaserne Kulturcenter