Every year, the Festival Oude Muziek Utrecht is also a treat for the people behind the scenes. Our crew members can hardly wait until August and are happy to share their concert tips!
Tip from Meral Maas, junior marketer
Le Salon: Jawa Manla - Music and Poetry from the Arabic Tradition (Sunday 30 August 22:15, Paushuize / Balzaal)
I love being unexpectedly captivated by music. That’s exactly what happened when I recently listened to the album ‘Distant Roots’ by oud player Jawa Manla. Her music intrigues me. I’m looking forward to seeing her perform live at Le Salon. Late in the evening, host Simon Mulder will be talking to Jawa Manla at the beautiful Paushuize about how music, song and poetry from the Arab tradition are interwoven.
Tip from Hitske Aspers, artistic planning & project lead EMTV
The Lyons Mouth - The Singing Byrd 2: A Flyght Around the Sun (Tuesday 1 september 17:00, Sint-Catharinakathedraal)
I love nothing more than seeing young talent thrive on stage. Every year, I enjoy watching all the ensembles making their debut at the International Van Wassenaer Competition and during the Fringe. That’s how I discovered The Lyons Mouth last year. A British ensemble brimming with energy, with a great connection to the audience and an interesting programme packed with music by the British composer William Byrd. This vocal ensemble was therefore a must-have for our Singing Byrd series at this festival and, as far as I’m concerned, is one of the highlights of FOMU 2026.
Tip from Marjolein Wellink, editor
Les Musiciens de Saint-Julien - Marais' Les voix humaines (sunday 6 September 11:00, TivoliVredenburg / Hertz)
One of my favourite composers in the early music genre is Marin Marais. He wrote extensively for the viola da gamba – an instrument he himself mastered and with which he experimented. But did you know that he also composed for the flute? Not long ago, new flute sonatas were discovered, and Les Musiciens de Saint-Julien were the first to record them. In this concert, we’ll hear not only these sonatas, but also music for the musette (put simply, a kind of bagpipe – absolutely brilliant) and his Les voix humaines – a beautiful piece for viola da gamba. Come and discover the latest from Marais!
Tip from Vera Vos, deputy director
Sophie de Bardonnèche, Justin Taylor & Lucile Boulanger - Destinées (Friday 4 September 11:00, TivoliVredenburg / Hertz)
I am so impressed by the younger generation of musicians, who are not afraid to challenge the conventions and canon of early music. For her first solo album, violinist Sophie de Bardonnèche delved into 100 years of French Baroque music and brought the music of a dozen female composers, who had been completely forgotten, back to life. The music is at least as beautiful as that of their male contemporaries, and I am delighted that they are finally getting their well-deserved place in the spotlight at the festival. Perhaps for the first time, but hopefully not the last!
Tip from Cas van Dijk, audience participation
ĀRT HOUSE 17 & Friends - Over the Rainbow (Tuesday 1 September 20:00, TivoliVredenburg / Grote Zaal)
ĀRT HOUSE 17 offers us a full-length programme featuring a wide variety of artistic disciplines, musical genres and people. I can’t wait to see it! A number of collaborations have been established for this project, and I’m very curious to see how they will take shape on the stage of the Main Auditorium at the Stadsschouwburg. It’s wonderful to see how ĀRT HOUSE 17 juxtaposes early music with contemporary music to demonstrate the relevance and power of music.
Tip from Robin Wiersma, ticket sales & EMTV
Ensemble Odyssee - Theater zonder stemmen (Wednesday 2 September 15:00, TivoliVredenburg / Hertz)
Sometimes music is more than just listening; it’s seeing with your ears. This concert by Ensemble Odyssee promises to be a wonderful baroque musical sleight of hand. What I find so fascinating is that the musicians play with your ears. You hear a trumpet sounding or a drum beating, but on stage you see only recorders, oboes and strings imitating these sounds. It is an inventive game of disguises and echoes in which the instruments constantly swap roles. For me, this is the ultimate proof that Baroque music doesn’t have to be stuffy, but can actually be full of humour and surprise. Will you come and experience how the ‘special effects’ of the Baroque can fool you?