Tafelmusik and Rachel Podger: Love at First Bow

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Flying across bridges of time spread over ornate baroque landscapes, bellicose classical terrains, early romantic gardens, and idiosyncratic 21st-century reliefs, Tafelmusik Baroque Orchestra travels at a speed precious few ensembles could match. Three years short of a 50th anniversary, the Toronto-based ensemble opens their 2025-26 season with a star-studded cast of guest directors and soloists.

Rachel Podger

“We’re starting our second season with Rachel Podger as principal guest director,” says violist Brandon Chui, one of Tafelmusik’s three artistic directors. Building on a decade-long symbiotic relationship, Tafelmusik and Podger kick off with Mozart’s Symphony No. 40 in G minor, one of the most recognizable and beloved classical music masterpieces, and Schubert’s Symphony No. 5 in B-flat major on Sept. 26, 27 and 28 at Koerner Hall. Excitement surrounds this program as the orchestra hasn’t performed Schubert in many years, says Chui.

A leading baroque violinist, soloist, and director, Podger has founded some of the world’s finest period ensembles. Following her Tafelmusik debut in the 2010s, her return to the orchestra proved pivotal. “It was almost like love at first visit for her and us; there was that instant connection,” explains Chui. In November, Podger will lead the orchestra as it tours Western Canada, and traverses the U.S. West Coast.

In late January/early February 2026, Podger and Tafelmusik reunite to perform four of Bach’s six Brandenburg Concerti. These gold standards of baroque repertoire form the orchestra’s musical backbone, dating back to Tafelmusik’s celebrated 1995 Juno-winning recording.

Podger concludes her season with Tafelmusik in mid-April with a program exploring the impact of two of J.S. Bach’s most influential sons, C.P.E. and J.C. Bach, on their classical heirs, Haydn and Mozart. Aptly titled Influencers, the program showcases Podger as the soloist in Mozart’s Violin Concerto No. 3 and Tafelmusik’s own Keiran Campbell in C.P.E. Bach’s Cello Concerto in A major.

“C.P.E. Bach was kind of Zelenka-ish,” says Chui, referring to Jan Dismas Zelenka, a 17- to 18th-century Bohemian composer known for his daring harmonic flair. “J.C. Bach was far more gallant in style. Our program starts with J.C. Bach, followed by Mozart, C.P.E. Bach, and Haydn. It’s going to be fascinating to hear how one leads into the other.”

At each end of its tightly packed season, Tafelmusik will host two spectacular guest directors, both internationally acclaimed violin soloists: Spain’s Lina Tur Bonet and Japan’s Shunske Sato.

Lina Tur Bonet

A prolific recording artist, concertmaster of some of the finest period orchestras, and professor at the University of Music Franz Liszt in Weimar and the Reina Sofia School of Music in Madrid, Bonet will guest on Oct. 23-26. In a program titled Vivaldi’s World, Bonet leads the orchestra in some of the most challenging concerti by Vivaldi and Geminiani, peppered with hidden gems by Zelenka and Albicastro. This will be her second collaboration with Tafelmusik. “She’s such a dynamic, visceral player,” says Chui. “She’s got tons of flair: she owns it, and she loves it. You can feel that she has the audience in the palm of her hand.”

Shunske Sato. Photo: Elvira Demerdzhy

Closing Tafelmusik’s 2025-26 season is Shunske Sato, a wonder child of historic performance practice, the former concertmaster and artistic director of the Netherlands Bach Society.

“I’ve been a huge fan for years now,” admits Chui. Renowned for his mastery of 18th- and 19th-century style, techniques and repertoire, Sato will be making his debut with Tafelmusik in Beethoven’s Symphony No. 3 “Eroica” and Joseph Bologne’s Violin Concerto Op. 3, No. 2 on May 29-31. “With [Sato], we will dive deep into historical performance practice. I’m sure the audience will not have heard Beethoven played live like this in Toronto before,” Chui adds.

Amanda Forsythe. Photo: Tatiana Daubek

In a second collaboration between Grammy-winner soprano Amanda Forsythe and Tafelmusik, the ensemble will perform music by female composers such as Élisabeth Jacquet de La Guerre, Camilla de Rossi, Mrs. Philharmonica, Maria Grimani, as well as female operatic roles by Handel, Pergolesi, and Telemann. Titled Hearing Her Voice, the program includes a baroque-inspired work by Canadian Métis composer Karen Sunabacka, with text by Joyce Clouston (April 30-May 3).

Closer to canonic baroque repertoire, Tafelmusik Chamber Choir Director Ivars Taurins will lead the choir and orchestra in four programs: Lotti’s and Handel’s Dixit Dominus (Nov. 28-30), Handel’s Messiah (Dec. 18-20), culminating with a sing-along Messiah on Dec. 21, and a selection of Bach cantatas titled A Bach Celebration (March 12-15).

Tafelmusik completes its marathon season with a collaboration with Juilliard 415, the famed music school’s early-music program, giving four concerts in Toronto in February, followed by performances in New York City and Boston. The orchestra has included many Juilliard graduates and teachers. “Our principal bassoonist and one of the artistic co-directors, Dominic Teresi, teaches at Juilliard and at least three of our current members have gone through their program,” says Chui.

“One of the special things about Tafelmusik is our strong sense of collaboration. That’s something that Rachel found distinct about working with us. You’re serving us the ball; we’ll serve it back to you and see what happens,” Chui adds proudly.