Our season opens with four cantatas that display Bach’s artful inventiveness with the chorale melody, evinced in the carefully wrought musical architecture he builds within and around each. Together they lead us on a musical odyssey—from anticipation to plea, vigilance to fulfilled joy. Nun komm, der Heiden Heiland, BWV 61, begins with a regal Advent invocation, shaped by an introductory French‑overture movement. At the program’s center stands the rarely heard Nimm von uns, Herr, BWV 101, a strict chorale‑cantata whose unusually sharp dissonances make Bach’s “Vater unser” plea strikingly intense. Wachet auf, BWV 140, offers both animated and serene readiness in its similar chorale-based approach. Herz und Mund und Tat und Leben, BWV 147, concludes the program with joyful assurance, framing each part with the same chorale melody now cherished as “Jesu, Joy of Man’s Desiring.”

Elijah McCormack, soprano solo

Kristen Dubenion-Smith, alto solo

Andrew Bearden Brown, tenor solo

Paul Max Tipton, bass solo

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Wolfgang Amadeus Mozart's Requiem haunts the imagination like no other work in the choral canon — left unfinished at its composer's death in 1791, it carries an almost mythic weight, a meditation on mortality written in the shadow of the composer's own, moving from shattering dramatic power to moments of heartbreaking tenderness.

For this performance, we use the completion by scholar and pianist Robert Levin, whose 1991 edition returned to Mozart's manuscripts with scrupulous care and deep stylistic sympathy.

Alongside it, we offer a revelation: the Missa Brevis in G, K. 49, Mozart's earliest surviving mass, composed when he was just twelve years old — already graceful, radiant, and fully alive to the sacred texts it sets.

Together, the two works frame an entire life in music, from its astonishing beginnings to its transcendent close.

This program also marks a joyful milestone: the first collaboration between The Emmanuel Choir and our chamber orchestra-in-residence, Mount Vernon Virtuosi, led by cellist and conductor Amit Peled, with soloists drawn from within the choir itself.

Join us for this free season-opening concert!

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Wolfgang Amadeus Mozart's Requiem haunts the imagination like no other work in the choral canon — left unfinished at its composer's death in 1791, it carries an almost mythic weight, a meditation on mortality written in the shadow of the composer's own, moving from shattering dramatic power to moments of heartbreaking tenderness.

For this performance, we use the completion by scholar and pianist Robert Levin, whose 1991 edition returned to Mozart's manuscripts with scrupulous care and deep stylistic sympathy.

Alongside it, we offer a revelation: the Missa Brevis in G, K. 49, Mozart's earliest surviving mass, composed when he was just twelve years old — already graceful, radiant, and fully alive to the sacred texts it sets.

Together, the two works frame an entire life in music, from its astonishing beginnings to its transcendent close.

This program also marks a joyful milestone: the first collaboration between The Emmanuel Choir and our chamber orchestra-in-residence, Mount Vernon Virtuosi, led by cellist and conductor Amit Peled, with soloists drawn from within the choir itself.

Join us for this free season-opening concert!

TICKETS & MORE INFORMATION

Wolfgang Amadeus Mozart's Requiem haunts the imagination like no other work in the choral canon — left unfinished at its composer's death in 1791, it carries an almost mythic weight, a meditation on mortality written in the shadow of the composer's own, moving from shattering dramatic power to moments of heartbreaking tenderness.

For this performance, we use the completion by scholar and pianist Robert Levin, whose 1991 edition returned to Mozart's manuscripts with scrupulous care and deep stylistic sympathy.

Alongside it, we offer a revelation: the Missa Brevis in G, K. 49, Mozart's earliest surviving mass, composed when he was just twelve years old — already graceful, radiant, and fully alive to the sacred texts it sets.

Together, the two works frame an entire life in music, from its astonishing beginnings to its transcendent close.

This program also marks a joyful milestone: the first collaboration between The Emmanuel Choir and our chamber orchestra-in-residence, Mount Vernon Virtuosi, led by cellist and conductor Amit Peled, with soloists drawn from within the choir itself.

Join us for this free season-opening concert!

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Sylvia is the alto soloist in Pergolesi’s Stabat Mater, performed in liturgical setting for the Mass of Our Lady of Sorrows. Featuring an ensemble of some of the region’s finest period instrumentalists.

Free admission.

In the golden acoustic of the Basilica of St. Patrick's Old Cathedral, Res Facta Vocal Ensemble brings to life the music of Josquin des Prez and the Franco-Flemish masters — the composers who, in the late fifteenth and early sixteenth centuries, shaped the Golden Era of Western choral music.

The program features motets, mass movements, chansons, and frottolas by Josquin alongside works by de Rore, Senfl, Manchicourt, Créquillon, and Clemens non Papa — composers who spread the Franco-Flemish style across Europe, from the courts of Burgundy to the chapels of Rome, Vienna, and beyond.

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Sylvia performs Mahler’s Lieder eines fahrenden Gesellen (Songs of a Wayfarer) as a featured soloist on the SFDC Spotlight Recital.

Kathlene Ritch, soprano

Sylvia Leith, mezzo-soprano

Edmund Milly, bass-baritone

Nathan Salazar, piano

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As the University of Oregon celebrates its 150th anniversary, OBF draws a vibrant line across centuries and continents to another great community of learning: the university town of Leipzig. Bach composed many of his most spirited secular works, including ‘The Contest between Phoebus and Pan’ and Vereinigte Zwietracht der wechselnden Saiten while immersing himself in the Collegium Musicum gatherings, local coffee houses, and rich intellectual academic life that shaped Leipzig. In bringing these two cantatas to the stage—full of wit, virtuosity, and musical pageantry—OBF honors Bach’s deep connection to university culture and UO’s legacy as a place where arts and scholarship flourish. Conducted by OBF artistic partner, Jos van Veldhoven.

J.S. Bach: Cantata 201: “The Contest between Phoebus and Pan”
J.S. Bach: Cantata 207: Vereinigte Zwietracht der wechselnden Saiten

Berwick Academy Orchestra
Ilse Eerens, soprano (Momus/Happiness)
Carley Defranco, soprano
Sylvia Leith, alto (Mercury/Gratitude)
Julian Habermann, tenor (Midas/Diligence)
Steven Soph, tenor (Tmolus)
Tobias Berndt, bass (Phoebus/Honor)
Edmund Milly, bass (Pan)
Jos van Veldhoven, conductor

The July 6 performance at Kaul Auditorium is ticketed by Chamber Music Northwest. OBF and the Hult Center do not offer tickets to that event.

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As the University of Oregon celebrates its 150th anniversary, OBF draws a vibrant line across centuries and continents to another great community of learning: the university town of Leipzig. Bach composed many of his most spirited secular works, including ‘The Contest between Phoebus and Pan’ and Vereinigte Zwietracht der wechselnden Saiten while immersing himself in the Collegium Musicum gatherings, local coffee houses, and rich intellectual academic life that shaped Leipzig. In bringing these two cantatas to the stage—full of wit, virtuosity, and musical pageantry—OBF honors Bach’s deep connection to university culture and UO’s legacy as a place where arts and scholarship flourish. Conducted by OBF artistic partner, Jos van Veldhoven.

J.S. Bach: Cantata 201: “The Contest between Phoebus and Pan”
J.S. Bach: Cantata 207: Vereinigte Zwietracht der wechselnden Saiten

Berwick Academy Orchestra
Ilse Eerens, soprano (Momus/Happiness)
Carley Defranco, soprano
Sylvia Leith, alto (Mercury/Gratitude)
Julian Habermann, tenor (Midas/Diligence)
Steven Soph, tenor (Tmolus)
Tobias Berndt, bass (Phoebus/Honor)
Edmund Milly, bass (Pan)
Jos van Veldhoven, conductor

The July 6 performance at Kaul Auditorium is ticketed by Chamber Music Northwest. OBF and the Hult Center do not offer tickets to that event.

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A landmark musical event for America’s 250th anniversary.

Ensemble Altera, one of today’s most compelling professional chamber choirs, makes its New York City debut with the world premiere of Declarations, a major new choral work by Piers Connor Kennedy.

Spanning 75 minutes without intermission, Declarations is a bold and deeply human meditation on the Declaration of Independence—its creation, ideals, contradictions, and ongoing legacy. Drawing on a rich tapestry of texts, from Thomas Jefferson and Langston Hughes, to contemporary voices including Tracy K. Smith, dg nanouk okpik, and William Ashford, among others, the work refracts 250 years of history through a modern, emotionally powerful lens.

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A landmark musical event for America’s 250th anniversary.

Ensemble Altera, one of today’s most compelling professional chamber choirs, makes its New York City debut with the world premiere of Declarations, a major new choral work by Piers Connor Kennedy.

Spanning 75 minutes without intermission, Declarations is a bold and deeply human meditation on the Declaration of Independence—its creation, ideals, contradictions, and ongoing legacy. Drawing on a rich tapestry of texts, from Thomas Jefferson and Langston Hughes, to contemporary voices including Tracy K. Smith, dg nanouk okpik, and William Ashford, among others, the work refracts 250 years of history through a modern, emotionally powerful lens.

TICKETS & MORE INFORMATION

A landmark musical event for America’s 250th anniversary.

Ensemble Altera, one of today’s most compelling professional chamber choirs, makes its New York City debut with the world premiere of Declarations, a major new choral work by Piers Connor Kennedy.

Spanning 75 minutes without intermission, Declarations is a bold and deeply human meditation on the Declaration of Independence—its creation, ideals, contradictions, and ongoing legacy. Drawing on a rich tapestry of texts, from Thomas Jefferson and Langston Hughes, to contemporary voices including Tracy K. Smith, dg nanouk okpik, and William Ashford, among others, the work refracts 250 years of history through a modern, emotionally powerful lens.

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A unique collaboration between outstanding young musicians and an expert on the music of J.S. Bach, the Gamut Bach Ensemble prides itself on stylistically sensitive, earnest, and insightful performances. Directed by Koji Otsuki, the Ensemble embarks on its annual program of cantatas in the luminous Church of the Holy Trinity.

Rebecca Myers, soprano;

Sylvia Leith, mezzo;

James Reese, tenor;

Edmund Milly, baritone

Mary Lynch VanderKolk & Ryan Roberts, oboe/oboe d’amore

Emilie-Anne Gendron & Miho Saegusa, violin

Esteban Hernández Parra, viola

Taeguk Mun, cello

Nathaniel West, double bass

Jonathan Oddie, organ

Bach: Wer nur den lieben Gott lässt walten, BWV 93
Bach: Alles nur nach Gottes Willen, BWV 72
Bach: Selection of Cantata Arias
Bach: Ich hab in Gottes Herz und Sinn, BWV 92

Running time: 2 hours (including intermission)

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O Last Dream of Love

Markham Vineyards
St Helena, CA
May 16th - 6:00pm

General Admission: $90 (includes wine)

Join Aeternum for an unforgettable evening of wine and beautiful music in the beautiful barrel room of Markham Vineyards, in which we will perform works from our first-ever album recording.

Experience stunning choral works that explore love, loss, and transcendence paired with complimentary wine during both a welcome reception and an after-concert mingle with our singers.

Program

Jacob Clemens non Papa: Ego flos campi
Thomas Tallis: If ye love me
Maurice Duruflé: Ubi caritas
Cecilia McDowall: Tota pulchra es
Piers Connor Kennedy: I sleep, but my heart waketh
Pau Casals: O vos omnes
Henry Purcell: Hear my prayer, O Lord
Kerensa Briggs: Media vita
Josef Rheinberger: Abendlied

-Intermission-

Philip Moore: Morning prayers
Arvo Pärt: The Woman with the Alabaster Box
William Walton: Set me as a seal upon thine heart
Pavel Chesnokov: Spaseniye sodelal
Eric Whitacre: Her Sacred Spirit Soars

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Join Aeternum for a moving evening at Mont La Salle Chapel as we perform works from our first-ever professional album recording. Experience this stunning selection of songs in the breathtaking acoustics of the chapel—you won’t want to miss it! This concert marks a milestone in our journey, celebrating the beauty of love through music.

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Conductor Derek Maseloff leads the Great Falls Philharmonic and Voce Chamber Singers in two extraordinary choral masterworks: Bernstein’s Chichester Psalms and Beethovens Symphony No. 9 : Ode to Joy.

Amy Broadbent, soprano solo

Sylvia Leith, alto solo

Matthew Hill, tenor solo

Joseph Hubbard, bass solo

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Washington Bach Consort’s season finale—Bach’s Mass in B Minor—is arguably among the greatest musical compositions in any tradition. Through this work, Bach has given us a reservoir of comfort and healing for the soul. Although he likely never performed the work in its entirety during his lifetime, Bach’s surviving documents suggest a plan for its complete performance. Today, the work remains among the most treasured of any era.

Amy Broadbent & Chelsea Helm, sopranos

Kristen Dubenion-Smith, alto

James Reese, tenor

Jonathan Woody, bass

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Washington Bach Consort’s season finale—Bach’s Mass in B Minor—is arguably among the greatest musical compositions in any tradition. Through this work, Bach has given us a reservoir of comfort and healing for the soul. Although he likely never performed the work in its entirety during his lifetime, Bach’s surviving documents suggest a plan for its complete performance. Today, the work remains among the most treasured of any era.

Amy Broadbent & Chelsea Helm, sopranos

Kristen Dubenion-Smith, alto

James Reese, tenor

Jonathan Woody, bass

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Featuring True Concord Choir & Chamber Players

Highlights from Bernstein’s West Side Story & Choral Arrangements of Hits from The Great American Songbook

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Featuring True Concord Choir & Chamber Players

Highlights from Bernstein’s West Side Story & Choral Arrangements of Hits from The Great American Songbook

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Featuring True Concord Choir & Chamber Players

Highlights from Bernstein’s West Side Story & Choral Arrangements of Hits from The Great American Songbook

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Journey along the ancient Camino de Santiago with Skylark Vocal Ensemble as they perform Joby Talbot’s mesmerizing Path of Miracles in the resonant spaces of the Hispanic Society. This “musical miracle in itself” traces the steps of Spain’s most enduring pilgrimage through four theatrical movements, with seventeen individual voice parts creating an almost orchestral texture that illuminates the universal experiences of journey, transformation, and spiritual discovery.

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Journey along the ancient Camino de Santiago with Skylark Vocal Ensemble as they perform Joby Talbot’s mesmerizing Path of Miracles in the resonant spaces of the Hispanic Society. This “musical miracle in itself” traces the steps of Spain’s most enduring pilgrimage through four theatrical movements, with seventeen individual voice parts creating an almost orchestral texture that illuminates the universal experiences of journey, transformation, and spiritual discovery.

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Bach | The Early Masses II

The Thirteen completes our survey of Bach’s four short masses, following our “fascinating… stirring” (Washington Classical Review) per- formance of The Early Masses I in 2025. The Masses in A Major and G Minor exhibit all of the mastery of the composer’s massive B Minor Mass in the form of smaller and digestible delights, written by the composer at a highpoint of his career. The Thirteen performs his two early masses featuring Baroque flute and oboe, paired with some of his finest and most beloved instrumental works.

Violinist Adriane Post joins our choir of twelve soloists and our orchestra of period instrumentalists, which “buzz[es] with busy counterpoint and festive energy” (Washington Classical Review).

This program is made possible by a generous gift from Sherman & Maureen Katz.

Pricing:
Preferred Seating: $70 ($10 more if purchased at the door)
General Admission: $45 ($10 more if purchased at the door)
Student Tickets (with Current Student ID): $15 ($10 more if purchased at the door)
Non-resident virtual only ticket: $40
Kids ages 5-17 come free with the purchase of a General Admission ticket for a caregiver.
All in person tickets include access to the virtual performance On Demand.

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Bach | The Early Masses II

The Thirteen completes our survey of Bach’s four short masses, following our “fascinating… stirring” (Washington Classical Review) per- formance of The Early Masses I in 2025. The Masses in A Major and G Minor exhibit all of the mastery of the composer’s massive B Minor Mass in the form of smaller and digestible delights, written by the composer at a highpoint of his career. The Thirteen performs his two early masses featuring Baroque flute and oboe, paired with some of his finest and most beloved instrumental works.

Violinist Adriane Post joins our choir of twelve soloists and our orchestra of period instrumentalists, which “buzz[es] with busy counterpoint and festive energy” (Washington Classical Review).

This program is made possible by a generous gift from Sherman & Maureen Katz.

Pricing:
Preferred Seating: $70 ($10 more if purchased at the door)
General Admission: $45 ($10 more if purchased at the door)
Student Tickets (with Current Student ID): $15 ($10 more if purchased at the door)
Non-resident virtual only ticket: $40
Kids ages 5-17 come free with the purchase of a General Admission ticket for a caregiver.
All in person tickets include access to the virtual performance On Demand.

TICKETS & MORE INFORMATION

Bach | The Early Masses II

The Thirteen completes our survey of Bach’s four short masses, following our “fascinating… stirring” (Washington Classical Review) per- formance of The Early Masses I in 2025. The Masses in A Major and G Minor exhibit all of the mastery of the composer’s massive B Minor Mass in the form of smaller and digestible delights, written by the composer at a highpoint of his career. The Thirteen performs his two early masses featuring Baroque flute and oboe, paired with some of his finest and most beloved instrumental works.

Violinist Adriane Post joins our choir of twelve soloists and our orchestra of period instrumentalists, which “buzz[es] with busy counterpoint and festive energy” (Washington Classical Review).

This program is made possible by a generous gift from Sherman & Maureen Katz.

Pricing:
Preferred Seating: $70 ($10 more if purchased at the door)
General Admission: $45 ($10 more if purchased at the door)
Student Tickets (with Current Student ID): $15 ($10 more if purchased at the door)
Non-resident virtual only ticket: $40
Kids ages 5-17 come free with the purchase of a General Admission ticket for a caregiver.
All in person tickets include access to the virtual performance On Demand.

TICKETS & MORE INFORMATION

Lorelei will join Cantus for a special SATB presentation of their program Land that I Love.  Commemorating the United States’ 250th anniversary, Land That I Love honors America’s diverse heritage with music by composers carrying their own migration stories.

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A performance of Morton Feldman’s Rothko Chapel at Yale with Cantus, along with the US premiere of Katherine Balch’s songs and interludes, and Julius Eastman’s rarely heard Colors performed alongside students from the Yale School of Music and the Peabody Conservatory.

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