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The Magdeburg Telemann Days have taken place every two years since 1962 in Magdeburg (Germany), the composer’s birthplace. And despite this long-standing tradition, the festival continues to offer genuine rediscoveries of the celebrated composer, a contemporary and close friend of Johann Sebastian Bach. This is made possible in particular thanks to the strong scholarly foundation of the Telemann Centre.
The French ensemble Doulce Mémoire, specializing in Renaissance music, pays tribute to its founder Denis Raisin Dadre, who passed away last October, and opens a new chapter under the leadership of Elsa Frank and Jérémie Papasergio, long-standing collaborators of the founder. A concert at the Opéra de Tours on March 17 will mark both this tribute and the rebirth of the ensemble.
In March, Zurich aims to become the world capital of early music: shortly before Easter, from March 20 to 29, the new festival “Zürich Barock” will celebrate its first edition. Created by Matthias Schulz, director of the city’s Opera House, the event–featuring international headliners such as Philippe Jaroussky, Cecilia Bartoli, Max Emanuel Cenčić, and Raphaël Pichon–promises to be one of the highlights of the season. Matthias Schulz offers us an overview of this new format, which he envisions as distinctly international.
She has been the new artistic director of the Bruges Early Music Festival (Belgium) since January 1, and is the founder of the Sollazzo ensemble. She’s 38. While Bruges is embarking on a new chapter, Sollazzo is taking a decisive step forward with La Flamboyance, a medieval project for twenty musicians to be released on CD in May.

In March 2026, Total Baroque Magazine celebrates its first anniversary. Twelve months of investigations, interviews, and historical features exploring a repertoire that is at once rooted in heritage and deeply contemporary. This anniversary is an opportunity to take stock and share a few perspectives with you.
At the sources of Italian Baroque, “Nuove Musiche” brings together Furio Zanasi and Xavier Díaz-Latorre around Caccini and Kapsperger. Between vividly shaped monodies and toccatas for chitarrone, this programme in six “canti” explores the birth of the stile moderno. A Passacaille recording of striking expressive clarity.
They are four: Roxana and Yaoré on violins, Suzanne on cello and Louise on harpsichord. Behind the Celtic myth of the “banshee”, they reinvent the concert experience with a freedom shaped as much by Baroque aesthetics as by the spirit of an Irish pub. Their album, to be released in September on Alpha Classics, will explore Venetian and Viennese repertoire.