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The Porto Cathedral Choir (CSCP) will present this Easter 2026 the Cantata “Ich habe genug”, BWV 82, by J.S. Bach, the “Quatre motets sur des thèmes grégoriens”, op. 10 and the Requiem, op. 9, by M. Duruflé.
The performers will be the Porto Cathedral Choir (CSCP), mezzo-soprano Ana dos Santos, baritone Job Tomé, and the Maia Classical Orchestra, under the direction of Maestro Tiago Ferreira.
This program, under the sign of Easter 2026, proposes an unlikely but profoundly coherent dialogue between two pillars of European sacred music: Johann Sebastian Bach and Maurice Duruflé. Separated by more than two hundred years and by confessional boundaries—the orthodox Lutheranism of Leipzig and the mystical Catholicism of Paris—both converge on a fundamental premise: music is not a mere adornment of worship, but the very substance of faith translated into sound.
In this concert, the narrative does not follow historical chronology, but rather a logic of spiritual ascension. We begin with Cantata BWV 82, a work of absolute introspection, where the individual confronts their own finitude. We move through the purity of the "Four Motets," which function as an auditory purification, and culminate in the monumental architecture of Duruflé's "Requiem," where the individual voice merges into the collective plea of humanity.
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The Porto Cathedral Choir (CSCP) will present this Easter 2026 the Cantata “Ich habe genug”, BWV 82, by J.S. Bach, the “Quatre motets sur des thèmes grégoriens”, op. 10 and the Requiem, op. 9, by M. Duruflé.
The performers will be the Porto Cathedral Choir (CSCP), mezzo-soprano Ana dos Santos, baritone Job Tomé, and the Maia Classical Orchestra, under the direction of Maestro Tiago Ferreira.
This program, under the sign of Easter 2026, proposes an unlikely but profoundly coherent dialogue between two pillars of European sacred music: Johann Sebastian Bach and Maurice Duruflé. Separated by more than two hundred years and by confessional boundaries—the orthodox Lutheranism of Leipzig and the mystical Catholicism of Paris—both converge on a fundamental premise: music is not a mere adornment of worship, but the very substance of faith translated into sound.
In this concert, the narrative does not follow historical chronology, but rather a logic of spiritual ascension. We begin with Cantata BWV 82, a work of absolute introspection, where the individual confronts their own finitude. We move through the purity of the "Four Motets," which function as an auditory purification, and culminate in the monumental architecture of Duruflé's "Requiem," where the individual voice merges into the collective plea of humanity.
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