Bach Collegium Japan orchestra and chorus,
Masaaki Suzuki, conductor
Photo Credit: K. Miura


Internationally Acclaimed Chorus and Orchestra
MASAAKI SUZUKI, Music Director
 “The performances are, to my ears, of unmatched excellence.”
-Gramophone Magazine
Bach Collegium Japan, hailed in BBC Music Magazine as “Kings from the East,” comprises a baroque orchestra and choir that has been widely recognized among the world’s leading interpreters of J.S. Bach and his contemporaries. Founded in 1990 by its current Music Director Masaaki Suzuki, Bach Collegium Japan introduced the Japanese audience to period instrument performances and subsequently has shared their intriguing performances around the world through their acclaimed BIS recordings. Bach Collegium Japan made their North American debut in April 2003 performing the St. Matthew and St. John Passions of J. S. Bach across the United States in New York at Carnegie Hall, Los Angeles, Berkeley, Ann Arbor, Grand Rapids and Boston. Recent international tours include concerts in Europe’s major music centers – Madrid, Amsterdam (Concertgebouw), London (Barbican), Rome, Paris, Berlin and Brussels – New Zealand, and at leading festivals in Edinburgh, Santiago de Compostela, Tel Aviv, Leipzig, and Melbourne as well as at the BBC Proms.
Dates: October 23-November 8, 2015
Program: All-Bach or Bach-Handel-Vivaldi, each with Joanne Lunn (soprano) soloist
Personnel: 9-10 musicians, including Ms. Lunn and Mo. Suzuki
Dates: April 3-10, 2017
Program: Bach's St. John Passion
Personnel: four soloists, 35-37 orchestra and chorus members, and Mo. Suzuki.
Acclaim: “Musicianship is, to be sure, Mr. Suzuki’s greatest strength…a subtle ear for color, a keen sense of harmonic direction, and an ability to make phrases breathe and rhythms live.” -The New York Times
“I have never heard period instruments played with such purity of tone, so reliably in tune. The small, precise, dramatically alert chorus breathed fire but also revealed a heartbreaking tenderness.” –The Los Angeles Times
“The choruses were trim and nimble, and the group’s compact size allowed for a transparency that kept the text clear and in the foreground. The orchestra also played with an appealing fluidity.” -The New York Times

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