The Spitalfields Music Festival's latest offering, 'In the Belly of the Beast', has breathed new life into the works of French Baroque composer Elisabeth Jacquet de La Guerre. The programme, which ran on 27 June 2026 at the Wilton's Music Hall, juxtaposed her compositions with contemporary pieces by living composers, creating a dialogue across centuries.
Rediscovering a Baroque Trailblazer
Elisabeth Jacquet de La Guerre (1665–1729) was a child prodigy who performed for Louis XIV and later became one of the few known female composers of her era. Her music, characterised by intricate harmonies and expressive melodies, was largely forgotten until recent revival efforts. The festival's artistic director, Sarah Connolly, said: 'Jacquet de La Guerre's work is a testament to the enduring power of musical innovation. We wanted to place her in conversation with today's composers to highlight her relevance.'
A Programme of Contrasts and Connections
The concert featured two of Jacquet de La Guerre's cantatas from her 1711 collection, 'Cantates françoises sur des sujets tirez de l'Ecriture', alongside new works by British composers Hannah Peel and Shiva Feshareki. Peel's 'The Unfolding' used electronic textures to evoke the same sense of spiritual yearning found in Jacquet de La Guerre's sacred texts. Feshareki's 'Spirals of Time' employed microtonal shifts, mirroring the Baroque composer's adventurous harmonic language.
Performers included the period-instrument ensemble La Rêveuse, led by harpsichordist and musicologist Béatrice Martin. The ensemble's precise articulation and warm tone brought out the nuances of Jacquet de La Guerre's writing. Soprano Anna Dennis delivered the cantatas with clarity and emotional depth, particularly in the poignant 'Le passage de la mer Rouge'.
Critical Reception and Audience Response
The audience of approximately 300 filled the intimate venue, responding with a standing ovation. Music critic Fiona Maddocks of The Guardian described the evening as 'a revelation, proving that Jacquet de La Guerre's music can stand alongside the best of her male contemporaries'. The festival reported that tickets sold out within days of the announcement, reflecting growing interest in historically overlooked composers.
The programme's title, 'In the Belly of the Beast', alludes to the challenges faced by women in the male-dominated world of Baroque music. Connolly explained: 'Jacquet de La Guerre navigated a system that often dismissed female creativity. Her success is a story of resilience, and we wanted to honour that.'
Broader Impact on Classical Music Programming
The Spitalfields Festival's commitment to gender parity in its programming has set a benchmark. According to festival statistics, 45% of works performed in the 2026 edition are by women, up from 30% in 2024. This shift aligns with broader industry efforts to diversify the classical canon. The festival's executive director, James Grieve, said: 'Audiences are hungry for new narratives. By championing figures like Jacquet de La Guerre, we're expanding the story of music itself.'
The concert also included a pre-talk by musicologist Dr. Rebecca Cypess, who highlighted Jacquet de La Guerre's role as a publisher of her own works—a rarity for women at the time. 'She controlled her own legacy,' Cypess noted. 'That entrepreneurial spirit is something modern musicians can learn from.'
Looking Ahead
The success of 'In the Belly of the Beast' has prompted the festival to plan a follow-up programme for 2027, focusing on female composers of the 18th century. Meanwhile, recordings of the concert are expected to be released later this year on the Linn Records label.
