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Home  >  2Pacific Baroque Orchestra

Pacific Baroque Orchestra

“The Pacific Baroque Orchestra under Alexander Weimann are sensitive partners, the flutes especially buttery…” – Grammophone review of Nuits Blanches (2020)

“Kudos must go to Weimann for his versatile precision, focus and energy, often playing harpsichord with his left hand while conducting with his right. His right hand always knew what his left was doing.” – Vancouver Presents (2023)

The Pacific Baroque Orchestra (PBO) is recognized as one of Canada’s most exciting and innovative ensembles performing “early music for modern ears”. PBO brings the music of the past up to date by performing with cutting edge style and enthusiasm. Formed in 1990, the orchestra quickly established itself as a force in Vancouver’s burgeoning music scene with the ongoing support of Early Music Vancouver.

In 2009 PBO welcomed Alexander Weimann as Artistic Director. His imaginative programming and expert leadership have drawn in many new concertgoers, and his creativity and engaging musicianship have carved out a unique and vital place in the cultural landscape of Vancouver.

PBO regularly joins forces with internationally celebrated Canadian guest artists, providing performance opportunities for Canadian musicians while exposing West Coast audiences to a spectacular variety of talent. The Orchestra has also toured BC, the northern United States and across Canada as far as the East Coast. The musicians of the Pacific Baroque Orchestra have been at the core of many large-scale productions by Early Music Vancouver in recent years, including many summer festival performances led by Alexander Weimann.

Upcoming Concerts

Vivaldi’s The Four Seasons
Summer Festival 2026

Vivaldi’s The Four Seasons

Guest director Rachel Podger leads the Pacific Baroque Orchestra through Vivaldi’s best-known concertos, which revolutionized ideas about what orchestral music could achieve.

Friday, August 7, 2026 | 7:30pm
Chan Centre for the Performing Arts
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Music for the Little Ice Age
2026-2027 Season

Music for the Little Ice Age

This programme features the premiere of Snow Skills, a newly commissioned work by composer Peter Hannan that blends humans with electronics, and the past with the present. Stories unfold through Renaissance letters and speech set against contemporary digital transmissions, performed by a small vocal ensemble, with the Pacific Baroque Orchestra on period instruments and electronic tracks.

Friday, September 18, 2026 | 7:30pm
Christ Church Cathedral
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A Little Night Music with Mozart 
2026-2027 Season

A Little Night Music with Mozart 

Mozart’s KV 525, Eine Kleine Nachtmusik, is arguably one of the most recognizable pieces in the history of classical music. But it is only one of countless “Serenatas” or serenades – pieces written for entertainment in the evening hours. We pair Mozart’s classic tune, freshly performed on period instruments, with a lesser-known piece from his earlier life in Salzburg: The Serenata Notturna, KV 239. This eclectic programme also includes a fanciful quintet by Boccherini about 18th century night-life in Madrid, instrumental songs by Dowland and Purcell, and an intriguing night-watch tune by Austrian composer Heinrich Ignaz Franz Biber, in which even the audience will participate.

Saturday, October 17, 2026 | 7:30 pm
Christ Church Cathedral
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Festive Cantatas: Gloria with Vivaldi & Bach 
2026-2027 Season

Festive Cantatas: Gloria with Vivaldi & Bach 

For much of his adult life, Antonio Vivaldi worked as a teacher at the Ospedale della Pietà, a charitable convent, orphanage and music school established by Venetian nuns in the 14th century. It was for those children that Vivaldi composed such pieces as The ‘Gloria’, and in doing so attracted travelers from around Europe to see them perform. Inspired by Vivaldi’s work with young people, we have invited the Vancouver Youth Choir to perform ‘Gloria’ with us this holiday season, which is sure to be an extraordinary celebration of light and joy. 

Sunday, December 20, 2026 | 3:00 pm
Chan Centre for the Performing Arts
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Handel’s La Resurrezione with PBO
2026-2027 Season

Handel’s La Resurrezione with PBO

In 1708, George Frideric Handel was just twenty-three years old, a German Lutheran who had been in Rome for only two years, when he undertook one of the most profound subjects of Catholic liturgy: the Passion and Resurrection of Christ. In La Resurrezione, Handel encapsulates all the operatic styles and languages available at the time. The story is bookended by the transcendent fight between heaven and hell, personified by an angel and Lucifer; the earthly actors are Mary Magdalene, Mary Cleophas and John the Baptist. A stellar team of 5 soloists will join the festive orchestra forces with trumpets, oboes, recorders, flute, bassoon, strings, gamba, harpsichord and theorbo.

Thursday, March 25, 2027 | 07:30 pm
Chan Centre for the Performing Arts
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Music Director

Alexander Weimann | Sponsored by Bruce Munro Wright, O.B.C.

The internationally renowned keyboard artist Alexander Weimann has spent his life enveloped by the therapeutic power and beauty of making music. Alex grew up in Munich. At age three he became fascinated by the intense magic of the church organ. He started piano at six, formal organ lessons at 12 and harpsichord at university (along with theatre theory, medieval Latin and jazz piano.) He is in huge demand as a director, soloist and chamber player, traveling the world with leading North American and European ensembles. He is Artistic Director of the Pacific Baroque Orchestra in Vancouver and teaches at the University of British Columbia where he directs the Baroque Orchestra Mentorship Programme.

Alex has appeared on more than 100 recordings, including the Juno-award-winning album “Prima Donna” with Karina Gauvin and Arion Baroque orchestra. His latest album series “The Art of Improvisation” (Volume 1: A Prayer for Peace; Volume 2: Ad libitum; and Volume 3: Canavian Variations, released on Redshift, 2024) unites his passions for both baroque music and improvisation on organ, harpsichord, and piano.

read more…

Orchestra Members

Click on a headshot to read their biography.

Chloe Meyers
Violin & Concert Master

Christi Meyers
Violin

Paul Luchkow
Violin

Elyssa Lefurgey-Smith
Violin

Kathryn Wiebe
Violin

Christine Wilkinson Beckman
Violin

Angela Malmberg
Violin

Majka Demcak
Violin

Mieka Michaux
Viola

Joanna Hood
Viola

Natalie Mackie
Bass

Nathan Helgeson
Bassoon

Katrina Russell
Bassoon

Matthew Jennejohn
Oboe

Curtis Foster
Oboe

Soile Strataukas
Flute

Media

1254 W 7TH AVE
VANCOUVER, BC, V6H 1B6

(604) 732-1610
staff@earlymusic.bc.ca

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Een Romantische Johannes Passion

Historical Performance has been steadily looking toward the nineteenth-century as a source of inspiration, and Orchestra Lagrandt wants to lead the charge into Romantic orchestral performance practice. As an orchestra of ambitious musicians in their twenties from 25 different nations, we aspire to represent the voice of the new generation in Historical Performance.

Een Romantische Johannes Passion is an ongoing project to reimagine the Johannes Passion of J. S. Bach in a late nineteenth century style. The first Passion revivals in the Netherlands took place in Rotterdam in 1870, featuring large symphonic orchestrations, and a radically different musical language than that of the HP and modern classical worlds. In our initial performance with the Tangram Chamber Choir, we pushed the boundaries of what Romantic Bach might have sounded like: exploring changes in orchestration, stoic tempi, rubato, phrasing, nineteenth- century bowing practices, and even portamento. We plan to establish this project as an annual tradition every Easter season, reworking the arrangement each time in the spirit of Romantic spontaneity.


One of the wonderful things about the Historical Performance movement is that we are able to use forgotten practices, this time hailing from the nineteenth century, to present such a beloved and well known-work in a new light.

The world is familiar with stories of clever forgers whose life’s mission is to cunningly reproduce the light and shadows of historical masterworks, from Vermeer’s brushstrokes to Da Vinci’s proportional precision… but what if these crimes of craftsmanship were to extend beyond the visual arts? What if the pieces we know to be by Palestrina, Monteverdi or even Johann Sebastian Bach were in fact stylistic copies, artfully composed by a secret circle of music forgers and passed off as the work of the greats? What if those music forgers are at work as we speak? 

This premise inspires our original program The Music Forgery Workshop. Our early music comedy imagines the lives of such a circle of musical criminals, offering a fresh and lively presentation of historical compositions, not as museum artifacts but as living works in progress. The workshop itself is set up on the stage and its members carry forth the plot in music and words. A narrator in the role of a suspicious inspector lends the performance a theatrical flow. The listener is invited into a satire on high society’s art commerce, while the performers make fun of themselves for having devoted their lives to the niche subject of historical music performance. 

Violinist Elizabeth Sommers combines her skills and experience in traditional music with expertise in the performance and improvisation of medieval and Renaissance repertoires. Multi-instrumentalist Eliot X. Dios (keyboards, bagpipes and flutes) works wholeheartedly to employ storytelling techniques developed through the history of literature and cinema in his early music concerts. Composer Gunnar Haraldsson (violin, guitar) seeks to translate the forms and intentions of early composition for a modern audience. Halldór B. Arnarson (keyboards, voice) has devoted his career to bringing musical craftsmanship from the era of counterpoint to the attention of the public and comedy to the early music scene. Singer and storyteller Ásta S. Arnardóttir brings the storyline to the public with personal immediacy, and through her character work defines the different veins of the show, sometimes hilarious and sometimes serious. 

The story is narrated by the character of the Inspector, acted out by the members of the MFW, and told in rhyming Icelandic verse in one musical pillar of the show, a madrigal composed by our very own 

Halldór in the style of Monteverdi. The show has an entertaining educational dimension. The audience is exposed to a broad sweep of historical and musical information in a condensed form, necessary to understand the musical humour, while dramatic rhythm and scenographic effects prevent overwhelm. We also place particular emphasis on theatrical illusion and synchronisation. One example appears in the opening scene, in which the inspector is seen watching television. On stage, this becomes a complex exercise in coordination: each time the inspector presses a button on the remote control, the musicians instantly switch pieces, creating the impression of rapidly changing television channels. 

This opening scene establishes the tone of the entire show, comical and satirical in its storytelling and diverse in its musical language. It not only introduces the wide range of musical styles that appear throughout the performance, but also functions as the plot’s inciting incident, as the inspector hears a news report about the discovery of a previously unknown concerto by Vivaldi. 

Another important scene takes place when one forger is alone on stage in low light, perusing books on medieval music, while the musicians perform and sing offstage, sounding his audiation as he reads. This intimate moment evokes the sleepless nights spent studying facsimiles and learning historical compositional techniques, by which the forger acquires the inspiration and the expertise necessary to his art, and reveals a hidden side of musical performance: the immense amount of study and preparation that precedes the moment on stage. This setting also creates space for visual and musical comedy, as seen in the trailer video, where a 14th-century melody is played backwards because Halldór is unknowingly reading the facsimile upside-down, only realising the mistake when the music begins to sound absurd. 

Fun and friendship are at the heart of the whole project, though the link between music and crime is an important historical consideration. Classical music was often used as the demonstration of a monarch’s power, music teaching as a cover up for secret affairs, and pieces were published under another’s name for profit. Such examples of “inappropriate practices” carry an exciting and attractive element for the audience which the MFW seeks to exploit. Under this light-hearted surface lies a more serious layer of questions concerning our present-day existence, such as excessive materialism in high society and the threat posed on human craftsmanship and skill by the rise of artificial intelligence. 

Please Note:

The main applicant and creative/intellectual driver of the project must be 30 or under (on May 15th).

The average age of all musicians must not be older than 32, and the maximum age of supporting musicians must be no more than 35 (on May 15th.)