Video

Really is spun gold

Awe right cousin serge!

WIELKI, WSPANIAŁY ORLIŃSKI !!!

Comme est si aigüe cette flûte!

Vivian Crawford- Jamaica: Thanks for music to remember

Beautiful voice and beautiful music. Thank you

He is gorgeous and has a gorgeous voice.

What is this song?

Un brin de nostalgie pour le merveilleux contre ténor en pause forcée. Une magnifique voix que l'on n'entend plus assez

Panie Jakubie super

Awesome!

Ist es möglich zu erfahren, welches Stück ab 7:07 gespielt wird? :)

Is it your garden in Montreal Jakub ?

Que mas que pasar una exelente,tarde escuchando a este.exelente artista

You are the best biautiful voic,nice,nice,nice

Now this is shredding

love u baby

quel parfait polyglotte !

Sa voix nous enchante <3

I was there. It was a great experience. You have a beautiful voice. Thank you! An unforgettable evening!

The video of my hands:)

Well, I was there and it was fabulous. I will not soon forget this concert.

Ich finde es immer wieder sehr beeindruckend, was diese Jungs da leisten. Ich bin in der 12. Klasse Gymnasium, und das ist so schon hart... Das ist unvorstellbar...!

Thanks for posting. I heard them both live in Winnipeg last year:-)

Classical music review: Thomanerchor 16-112013 07:58 see the full artivle here:www.montrealgazette.com/story_print.html?id=9171199&sponsor= MONTREAL -- Boy, what a choir. The Thomanerchor of Leipzig arrived on Thursday with all the natural advantages that an ensemble of neatly dressed young gentlemen standing at attention enjoy, to say nothing of the karma that comes from eight centuries of history, including 27 years of artistic oversight by one J.S. Bach. But the hundreds of listeners who packed Notre Dame Basilica for this preliminary offering of the Montreal Bach Festival got real, present-day musical value from the evening. This was singing of remarkable beauty, balance and discipline. Bach items on the program included two cantatas and a motet, the former predating master’s Leipzig period. My indignation over this oddity did not last long. The concluding chorus of Cantata No. 196 (Der Herr denket an uns) was adorned with wonderful cascading Amens that resolved into a graciously understated final cadence. No “baroque” stopping on a dime for these natural musicians.  The highlight was Cantata No. 150, Nach dir, Herr, verlanget mich, a powerful essay in adversity, redemption and - this being Bach - perfection of compositional means. It says something about the interpretive insight of Georg Christoph Biller, the Thomaskantor quietly directing it all, that the freestyle longing of first two choruses should be so impressively fulfilled by the rigour of the last two (including the chaconne that inspired its counterpart in Brahms’s Fourth Symphony). Ask me again in a month or two, but for now this is my favourite cantata. There were boy-soprano solos in each of these works. Duets and trios were rendered with multiple voices per part. Fugal writing in the Motet BWV 225 was admirably clear, but Vivaldi’s simpler style in the popular Gloria and less-known Magnificat RV 610 created an even more striking platform for the focus of the concerted, 40-odd-strong Thomanerchor sonority. Soloists strode up to the front of the chancel and sang like nightingales. A touching spectacle to be sure, but the wonderful sounds - light, dark and in-between - were what mattered. The tiny Leipzig Baroque Orchestra opened the Gloria less potently than do larger groups, but these musicians were subtle accompanists in the middle movements. What a pleasure to hear an organ continuo with lyrical as well as harmonic content. First of two encores was a choral arrangement of Bach’s ubiquitous Air from the Orchestral Suite No. 3. I am not certain old J.S. was smiling from on high. All was forgiven after a crystalline rendering of Mendelssohn’s motet Denn er hat seinen Engeln. akaptainis@sympatico.ca © Copyright (c) The Montreal Gazette