The Boston Choral Ensemble, Miguel Felipe, Music …miguelfelipe.com/dl/prog-070317-BCE.pdfThe...

PASSIO

Saturday, March 17th, 2007 at 8:00 pm

Sunday, March 18th, 2007 at 2:00 pm

at First Church, UCC Cambridge, Massachusetts

The Boston Choral Ensemble, Miguel Felipe, Music Director, presents

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the Boston Choral Ensemble

6 t h S e as o n , 2 0 0 6 – 2 0 0 7

BCE’s MissionThe Boston Choral Ensemble creates a fun, friendly, and open atmosphere for the musical development of musicians and audiences in the Greater Boston area. Members of the Boston Choral Ensemble grow musically, both as individuals and as an ensemble, through the rehearsal and performance of challenging, high-quality music. We strengthen Greater Boston’s choral community by: making choral music accessible and interesting to all listeners, regardless of musical background; developing musical interest and ability in young adult musicians; and collaborating with other local musicians.

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PASSIO, March 2006

w w w . B o s t o n C h o r a l . o r g

From BCE’s Board President

Dear Friends,

Welcome to the March concert of the Boston Choral Ensemble’s 6th season, at First Church in Cambridge, UCC, in Harvard Square. We’re excited to be singing here once again—this time for both performances.

The music we bring you in this production of Passio has come together only through many people’s energy, time, and dedication. As we, the singers, have tuned our ears to Arvo Pärt’s interesting and challenging dissonances (and eventual resolutions), the main man both behind the scenes and in front of you today has been our fearless director, Miguel Felipe. Be sure to read his program letter to learn more about the piece.

This is certainly one of the most ambitious works prepared by the BCE, and we are thrilled to be able to work with accomplished local musicians Ulysses Thomas and Kevin Hayden, as well as our very talented evangelist quartet, instrumentalists, and organist.

Behind the performance you enjoy, many phone calls, e-mails, meetings, decisions, and hours of preparation have paved the way to what we share with you. I would like to extend my sincere thanks to Miguel, the BCE Board of Directors, all our dedicated members (including one new soprano this concert cycle, Katie Beck), our guest musicians, our volunteers who help make our performances run smoothly, our donors who support the BCE’s mission and efforts both fi nancially and with their expertise and enthusiasm, and fi nally—you the audience. Thank you so much for deciding to become a part of what we’re creating here today, and for supporting our vision of creating high-quality, accessible choral music for Boston audiences within a fun, friendly, and open atmosphere.

While it seems 2007 has barely begun, we will soon begin moving into our fi nal concert cycle of the year. One exciting highlight of the upcoming concert cycle includes a collaborative performance with the Dedham High School choral group, enabled via a grant won by Nick Nicholson, musical director. We look forward to bringing our choral music to students, sharing it with them, and reaching a new audience. To learn more, please be sure to join our mailing list either with the ushers today or on our website at www.BostonChoral.org.

Once again, thank you for taking the time to come out and hear us… and enjoy!

Best wishes,

Andrea Meacham Rosal,2006 – 2007 Board President, Boston Choral Ensemble

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The Boston Choral Ensemble Thanks…

SponsorsJohn Davis & John GrahamJamie & Harry KeshetPerrin Tellock

PatronsMr. & Mrs. Michael Benefi elFay M. GrahamDavid & Margaret McDiarmidCarole Jean Smith & Louis Tsien

FriendsCaitlin DowneyEzra KeshetLynne MeachamDeborah & Alberto Mizrahi

Do you want to see your name here?Visit www.BostonChoral.org/support and join

our growing family of fi nancial supporters!

Nils Erikson for his recording expertise, and Josh Stoddard and Robert McGilvray for recording support; Jeremy Sacco and John Bijur for volun-teering as ushers and house managers; Rebecca Bijur for operational sup-port in the performance; Chip Lockwood for his program notes; Charles Dimmick for his assistance in contracting musicians; The Cambridge Com-mons for supporting the BCE’s post-concert plans; and Peter Johnston and the staff and congregation of First Church in Cambridge, UCC.

John F. McDonaldThe VideoMaster™

8 Hunter Circle . Shrewsbury, MA 01545508 845 9101 . [email protected]

McDONALDPRODUCTIONS

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PASSIO, March 2006


From BCE’s Music Director

Dear Patrons,

Welcome to today’s performance of Arvo Pärt’s Passio. We’ve been looking for-ward to this performance for nearly a year and I am thrilled to welcome you to this, BCE’s most ambitious project to date.

I’ve long been fascinated by the rhythms of the Christian liturgical calendar. Like other faiths, Christianity has a yearly cycle which fl ows through the liturgi-cal (and terrestrial) seasons while focusing on various aspects of faith. During each season Biblical stories, often deeply emotional, remind practitioners of the basis of their faith. As many surely know, we’re currently in the season of Lent: a 40-day period of penitence and waiting. It was during these days that Christ fasted before his eventual and inevitable crucifi xion on Good Friday (observed on April 6th this year). The story, known as the Passion, is told in the Gospels of John, Luke, Mark, and Matthew.

Just as there is an appeal to the ritual and cyclical nature of this tradition, these vivid stories of Christ’s fi nal weeks have evoked from artists some of the most striking and profound works in the entire Western tradition. Indeed, painters, architects, poets, and composers have been moved by the drama for centuries. These artistic testaments come in many forms from medieval chant settings of the Passion story or Renaissance paintings depicting the events in Jerusalem to twentieth century images of Holy Week carved in stone or musical tellings of Good Friday’s crucifi xion. It’s a season and story rife with inspiration for many artists and is the starting point for today’s modern masterpiece.

And so regardless of your beliefs, allow yourself to enter the Lenten season. Imagine the Passion story that billions of people, over millennia, have held as a core element of faith. Imagine this text as recalling the persecution of a man whose progressive faith and evangelism were too radical for the establishment. Imagine a man who so challenged a wealth- and power-obsessed church and state that many clamored for his death. Let the music enter you, retell this an-cient story, and connect you to our human history.

To accompany the music and help carry you through the narrative, you will see a screen near the organ on which we project an English translation of the singer’s words. Further, and as importantly, the screen will show images of the art and architecture that I mentioned above. You’ll see images from various cen-turies that depict both the events at that moment as well as the people or places referenced in the music.

I hope you are moved by today’s performance as we have been in preparing it.

Miguel FelipeMusic Director, Boston Choral Ensemble

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SEASON KICK-OFF: GALA BENEFIT CONCERT FOR BOSTON SECESSION

Berlin on the CharlesFeaturing Special Guest Artist Nancy Armstrong(soprano) with Jane Ring Frank (piano)

All performances (unless otherwise noted)

First Church in Cambridge Congregational • 8:00 pm11 Garden Street, Harvard Square, Cambridge

For tickets & information visit www.bostonsecession.org or call 617.499.4860

Friday, November 17, 2006

Altered States: Mysticism in MusicExplores traditions of sacred singing

Friday, February 2, 2007

(Un)Lucky in Love An alternative Valentine concert

Friday, March 16, 2007

Surprised by Beauty: Minimalism in Choral MusicRare live performances of modern masterpieces by William Duckworth, Arvo Pärt, Gavin Bryars and Ruth Lomon

Friday, April 27, 2007

Mother Tongue: The Music and Meter of the English LanguagePremiering three 10th anniversary commissions by Byron Adams, Ruth Lomon and Scott Wheeler

THE MUSIC OF IDEAS

TENTH ANNIVERSARY SEASON

2006–2007

TICKETS: WWW.BOSTONSECESSION.ORG

Saturday, October 14, 20067:00 pm reception • 8:00 pm concert

Goethe-Institut • 170 Beacon St., Boston

Jane Ring Frank, Artistic Director

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“ The ensemble is known for its pure, balancedtonal quality, superb intonation and diction, andexpressive flair through repertoire ranging fromthe 14th century to hot-off-the-press.”

— t h e b o s t o n g l o b e

S a t u r d a y, M a r c h 31, 2007, 8:00 pm

Yearning for Peace in a Divided WorldChoral Works Commissioned bythe Foundation for Universal Sacred Music.

Post-concert reception for everyone.

S a t u r d a y, J u n e 2 , 2007, 8:00 pm

What Fools These Mortals Be: Renaissance Madrigals Celebrating Love Works by Morley, Monteverdi, Tallis, Weelkes, Gesualdo, others.

MUSICASACRA

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Musica Sacra2006–2007 Season

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Welcome Yule!English Christmas Carols and Motets

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A Ceremony of Carolswith Mary Jane Rupert, Harp

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Program NoteIn recent years, the Estonian-born Arvo Pärt (b. 1935) has gained interna-tional notoriety for compositions that often leave listeners grasping at words to describe what they have heard. Those who venture such description sometimes invoke concepts such as “transcendence,” “otherworldliness,” and “mysticism.” It should come as no surprise, then, that Pärt is frequently classifi ed, along with his contemporaries John Tavener and Henryk Górecki, as a pioneer of “mystic minimalism” or “sacred minimalism.” (The BCE’s December 2006 concert, “An English Christmas,” included two compositions by Tavener.) Creating worlds of sound that strike listeners as both ancient and startlingly fresh, these composers evince an overtly religious inspira-tion: from Russian Orthodoxy, in the case of Pärt and Tavener, and from Roman Catholicism, in the case of Górecki.

Nevertheless, Pärt is distinctive among these three for the particularly disci-plined compositional style shown in his works of the last thirty years. In the late 1960s, he reached a profound impasse, both personally and musically, when a scandal erupted after the performance of his Credo (1968) for piano, chorus, and orchestra. (The religious implications of that work’s title occasioned offi cial displeasure from the Soviet-backed Estonian regime.) Although he fell silent for a few years, by the mid-1970s Pärt had begun to emerge from this crisis: he joined the Russian Orthodox Church; he immersed himself in the study of early music and Gregorian chant; and he began to develop a unique compositional technique which shows the infl uences of early music without being a superfi cial imitation of it. This tintinnabuli technique (named after the onomatopoeic Latin word tintinnabulum, meaning “bell”), was fi rst employed in 1976 in a short piece for solo piano. The majority of Pärt’s works composed since that time have been choral, rather than purely instrumental, in nature. Yet his commitment to the tintinnabuli technique has remained remarkably persistent, albeit with some technical refi nements.

The tintinnabuli style is based on a simple system for relating the horizon-tal and vertical manifestations of pitch—melody and harmony (scales and arpeggiated triads). The technique is called tintinnabuli because, according to Pärt, “the three notes of the triad are like bells.” (In the key of E major, for instance, the tonic triad is comprised by the notes E, G-sharp, and B). In the two-part homophonic texture of tintinnabuli music, a tintinnabuli voice sounds these notes of the tonic triad, while a melodic voice moves mostly by step around a central pitch (often but not always the tonic). The simultane-ous movement of these two voices produces an ongoing opposition between tonality and dissonance that arguably becomes the “theme” or “subject” of the music. Thus Pärt turns away from the linear or narrative time character-istic of much Western music, in which harmonic changes provide a structur-

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al sense of tension and release, in favor of a circular or mythic time in which tonality, dissonance, and silence are bound up in a repetitive sequence.

According to Paul Hillier, an early music specialist who has been closely associated with Pärt’s music for many years, the alternative conception of musical time that lies at the heart of Pärt’s tintinnabuli technique derives its inspiration largely from the liturgy of the Russian Orthodox Church and from Pärt’s fascination with the sounds of Russian church bells. In his own music, Pärt has sought to imitate two features of these church bells: fi rst,

the way that these bells, when run together, generate a complex of sounds that is changing, yet always the same; and second, the way that each bell, once struck, will seem to sound indefi nitely because the human ear cannot detect the point at which it ceases to vibrate. Tintinnabuli music pro-duces similar effects: by blending diatonic scales and triadic arpeg-gios, it yields a sense of harmonic stasis that is supported by the constant presence (actual or im-

plied) of the tonic triad. It is perhaps this profound sense of stasis that best accounts for the oft-cited “otherworldliness” of Pärt’s tintinnabuli music.

In Pärt’s hands, the tintinnabuli technique allows for a certain inventiveness within the constraints of an overall structure. The relationship between the two essential voices follows a predetermined scheme (which varies in detail from work to work) and is never random or haphazard. Furthermore, the entire structure of a tintinnabuli work is predetermined either by some numerical pattern or by the syntax and prosody of a chosen text. Very often these two ideals are combined. Paul Hillier suggests that, in its emphasis on working creatively with given elements, the tintinnabuli technique resembles the tradition of icon painting within the Russian Orthodox Church: “This objective approach does not eliminate the need for talent; indeed, it requires a very special degree and quality of talent—painting and composing in numbers rather than merely by numbers.”

Pärt once told Hillier that the tintinnabuli voice (outlining the tonic triad) sig-nifi es “the objective realm of forgiveness,” while the melodic voice (moving along the diatonic scale) is “the subjective world, the daily egoistic life of sin and suffering.” Nevertheless, the wandering melodic voice is always held fi rm by the tintinnabuli voice, which serves to ensure the constant presence of tonality. Tonality, for Pärt, is ultimately a “manifestation of God.” Thus, in bringing together these two voices as one, as a “twofold single entity,” the tintinnabuli style asserts the interpenetration of God and the world. Like a Russian icon, Pärt’s music invites the listener into relationship with a vision of the Incarnate God.

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Pärt’s Passio Domini Nostri Jesu Christi secundum Joannem (Passion of Our Lord Jesus Christ according to John), completed in 1982, is considered by many to be the quintessential example of his tintinnabuli music. Pärt had already begun to sketch out the work before his 1980 emigration, fi rst to Vienna and then to Berlin, with his family. (The move was prompted by the continual frustration of Pärt’s career development as a composer inside the Soviet Union.) In Passio, Pärt uses the tintinnabuli technique on a large scale to convey a prose text of enormous spiritual signifi cance: the story of the Incarnate God’s betrayal, suffering, and crucifi xion. While the Passion story is recounted in all four of the Christian Gospels (Matthew, Mark, Luke, and John), a tradition dating back to the fi fth century dictates that the account from John the Evangelist is to be read (or sung) during the liturgy for Good Friday, the somber day marking Christ’s crucifi xion, because only John was thought to have been present at the foot of the cross.

The Passion story began to be distinguished as a special genre as early as the eighth century. By the thirteenth century different singers were used for dif-ferent characters in the narrative (including Christ, Pontius Pilate, and the Evangelist), with each singer given performance indications concerning speed and dynamics. In the fi fteenth century, polyphonic or multiple-part settings of the turba passages in the Passion story began to appear. (Turba, meaning “crowd” or “mob,” refers to the crowd that calls for Christ’s death.) These ele-ments of performance practice increased the dramatic impact of the Passion story, suggesting that an emphasis on compassio with Christ had overtaken the older didactic rendering of the story. The origin of this new attitude can be found both in the mysticism of suffering propagated by Bernard of Clairvaux and in Franciscan-Dominican piety. Soon after, theological trends reached even beyond compassio to an imitatio Christi (“imitation of Christ”), almost demanding a tangible fi rst-hand experience of the Passion. Martin Luther expressed the point: “The Passion of Christ should not be acted out in words and pretense, but in real life.” It was also during the fourteenth and fi fteenth centuries that paintings depicting the crucifi xion began to introduce greater numbers of fi gures and to project a heightened sense of dramatic detail.

Beginning in the sixteenth century, the history of the Passion genre con-tinued in two distinct manners: one responsorial, generally reserved for accounts from a single Gospel and mixing solo recitation with polyphonic responses; the other through-composed, most often using a composite text drawn for all four Gospels. Featuring various soloists commenting on the events and making their personalized appeals to the suffering Christ, re-sponsorial settings were particularly well-suited to reinforcing the inherent drama of the situation. Later sixteenth-century passions included choral exordium (introduction) and conclusio sections. In the seventeenth century came the development of “oratorio” settings for use in concert (rather than liturgical) settings. These featured instrumental accompaniments and ad-ditional textual and musical material, including sinfonias, parallel scriptural passages, devotional texts, arias, hymns, and chorales. This “oratorio” tradi-tion culminated in Johann Sebastian Bach’s musical settings of the Passion,

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two of which have survived intact to the present day (one based on the Gos-pel of John and the other on the Gospel of Matthew). In the twentieth cen-tury, the Polish composer Krzysztof Penderecki revived the Passion genre with his setting (1965) based on the Gospel of Luke.

Pärt’s Passio draws on varied aspects of this centuries-old Passion genre, picking up the thread of that tradition and continuing it. It resembles earlier responsorial settings in drawing on a single Gospel text and alternating between individual soloists, a small vocal ensemble, and choir, but it also re-calls later Passion oratorios in its use of instrumentalists (violin, oboe, cello, and bassoon) and its function as a concert work. The words of the Evange-list, forming by far the greatest bulk of the text, are delivered by a quartet of four singers and four instruments, heard in every possible combination dur-ing the course of the work. The words of Peter, the High Priest, all the minor characters such as the servants and maidservants, and of course the crowd (turba), are sung by the choir, sometimes doubled by organ. The two truly solo voices are those of Christ and Pontius Pilate, the former a bass singing more slowly and in a distinctly lower register than anyone else, the latter a tenor whose music is the most differentiated in the whole work. Pärt’s Christ is thus invested with a traditional solemnity, while Pilate’s moral ambiguity is suggested by the uncertain interval (a diminished fi fth) that represented the diabolica in musica in medieval music. Both of these parts are accompa-nied throughout by organ.

Passio is formally divided into three parts, with the brief but forcefully ex-pressive exordium and conclusio framing the central narrative section. In the exordium, the melodic voice descends the diatonic scale from C (thereby low-ering the listener into the world of narrative) while in the conclusio, the me-lodic voice ascends the diatonic scale from D (perhaps anticipating Christ’s resurrection). In the narrative section, the tintinnabuli triad for each group (the Evangelist, Christ, Pilate, and the turba) is always fi xed, but the different triads and pitch centers are interconnected in a structure based on three sets of overlapping fi fths: D–A–E–B. The words are set in a rhythmic scheme us-ing three relative note values—short, medium and long—operating at three different speeds.

Overall, Pärt’s use of the tintinnabuli technique allows him to render the highly charged Passion text in a sensitive manner, to allow its meaning to shine forth, while reclaiming the original ritual character of the genre. Paul Hillier fi nds that, in presenting the familiar story as a “kind of frieze,” Pärt reinforces the sense that the Passion narrative “sets up its own sense of time and place, quite removed from the everyday world, and thereby invites meditations on the events as the listener is being pulled along by them.” No matter how dramatic the re-enactment of the story may be, its outcome is known. Thus the element of involvement in Christ’s suffering is subsumed within the greater process of participation in a mystery that—for Pärt as for many others—can never be fully understood.

© 2007, Chip Lockwood

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The Boston Choral Ensemble presents

Arvo Pärt’s

PASSIOSaturday, March 17th, 2007, 8:00 PM

Sunday, March 18th, 2007, 2:00 PM

First Church, UCC, Cambridge, Massachusetts

The Boston Choral EnsembleMiguel Felipe, Music Director

Ezra Keshet, Assistant Music Director

Katrina ArmandoMatthew Baggetta*

Celeste BeckKatie BeckDan Brook

Lisa CacciabaudoAlexis Caloza

John DavisNils Erickson

Katherine FoleyJohn Graham

Vardit Haimi-CohenJess Holroyd

Zachary Howard*Meredith Hughes

Ezra Keshet*

Matt LeeChip LockwoodSarah McDougal

Robert McGilvray*Belina Mizrahi

Catherine PappasLisa Plumley

Andrea Meacham Rosal*Cyndi Sacco

Josh StoddardSpiro Stylianopoulos

Perrin TellockAaron Tievsky

Barbara UrbanczykLeopold Wetula

Sara Willis*

*indicates BCE Board members

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Arvo PÄRT Passio (1982) (b. 1935) Passio Domini nostri Jesu Christi secundum Joannem per soli, coro misto, strumenti e organo

Jennifer Ashe, Evangelist (Soprano) Martin Near, Evangelist (Countertenor) Michael Barrett, Evangelist (Tenor) Akira Fukui, Evangelist (Bass)

Ulysses Thomas, Jesus Kevin Hayden, Pilate

Andrew Beer, Violin Henry C. Ward, Oboe Melanie Dyball, Violoncello Sebastian Chavez, Bassoon

Branden Grimmett, Organ

The Boston Choral Ensemble

Miguel Felipe, Conductor

In accordance with the composer’s wishes, today’s perfor-mance is dedicated to the memory of Russian journalist Anna Politkovskaya, killed in Moscow on October 7th, 2006.

Anna Politkovskaya staked her entire talent, energy, and—in the end—even her life on saving people who had become victims of the abuses prevailing in Russia.

– Arvo Pärt

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Jennifer Ashe, Soprano

Described as “the kind of vocal velvet you don’t often hear in contempo-rary music” displaying “rock solid technique” (Boston Phoenix), Jennifer Ashe (Evangelist), soprano, has been hailed by the Boston Globe as giv-ing a performance that was “pure bravura...riveting the audience with a radiant and opulent voice” for her performance in Peter Maxwell Davies’ monodrama, Miss Donnithorne’s Maggot. A strong advocate for new music, Jennifer has participated in countless premieres and recordings for com-posers active in the Boston area and beyond. At New England Conserva-tory Jennifer studied with Mark St Laurent and Lucy Shelton, receiving the Doctor of Musical Arts in Vocal Performance in May 2006. She also holds the Master of Music in Vocal Pedagogy from New England Conser-vatory (NEC). She received the Bachelor of Music from the Hartt School of Music in Voice Performance and Music Education. A current lecturer at College of the Holy Cross in Worcester, Massachusetts, Jennifer has also taught at NEC. A frequent performer of chamber music, she is a member of the fl ute and soprano duo Prana with Alicia DiDonato. She performs regularly with the Callithumpian Consort led by Steven Drury. Recent performances include two premieres with the Firebird Ensemble at NEC’s Jordan Hall, and the Fromm Festival at Harvard. Upcoming projects include the performance of a new opera by Eric Chasalow at the Boston Cyber Arts Festival.

Michael Barrett, Tenor

Michael Barrett (Evangelist) is active in the Boston area as a singer and choir conductor. After completing studies in voice and early music at the Royal Conservatory in The Hague, Michael returned to the US in 2004 to take up conducting positions at Harvard University. While in Europe he was a member of the Huelgas Ensemble (dir. Paul van Nevel) and the Netherlands Bach Society (dir. Jos van Veldhoven).

In the US Michael directs the vocal ensemble Sprezzatura, and has worked with Blue Heron (dir. Scott Metcalfe), Seven Times Salt, Cut Circle (dir. Jesse Rodin), Boston Secession (dir. Jane Ring Frank), and En-semble Trinitas (dir. Tom Zajac). In 2005 he appeared in the Boston Early Music Festival’s production of Boris Goudenow.

Michael received an AB in music from Harvard and an MM in choir con-ducting from Indiana University.

About the Performers

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Miguel Felipe, Conductor

Conductor Miguel Felipe joined the Boston Choral Ensemble (BCE) in 2004 as their second music director. In addition to his duties with BCE, he is director of music at Arlington Street Church, an historic congrega-tion in Boston’s Back Bay. Miguel is also on the faculty of The Boston Conservatory where he is the conductor of the Women’s Choir. In 2005, he was a guest faculty member at Brown University.

Currently, Miguel is a doctoral student at Boston University under the guidance of Dr. Ann Howard Jones and Prof. David Hoose. In 2005, he completed a Master of Music degree in choral conducting, also at BU. While a student, Miguel is assistant to Prof. André de Quadros, direc-tor of the School of Music and board member, International Federation for Choral Music and has co-edited a half-dozen editions of new choral works by South East Asian and African composers.

Most recently, Miguel was artistic director of The Maine Gay Men’s Cho-rus where he served for fi ve seasons. Miguel was also a student at the Pierre Monteux School for Conductors and Orchestral Musicians in Han-cock, Maine, Michael Jinbo, director. Prior to his move to Boston, Miguel lived in Cincinnati, Ohio, where he completed a degree in Music Theory and Conducting at The University of Cincinnati College-Conservatory of Music. In Cincinnati, he worked as a church musician fi ncluding at the Cathedral of St. Peter in Chains, home of the archbishop of Ohio.

Akira Fukui, Bass

Akira Fukui (Evangelist), baritone, is currently a junior Vocal Perfor-mance major pursuing his Bachelor of Music degree from Boston Uni-versity. Akira is a member of the Boston University Opera Workshop program, Boston University Symphonic Chorus, and Boston University Chamber Chorus with whom he has been a soloist. This past year, Akira sang the roles of The Husband in Amelia Goes to the Ball and Guglielmo in Così fan tutte for the BU Opera Workshop scenes program and was also a member of the ensemble for the second act world premiere of Jorge Mar-tín’s Before Night Falls in the BU Fringe Festival and in the men’s chorus for Rossini’s Il barbiere di Siviglia with the Newton Symphony. This sum-mer he will attend the Chautauqua Summer Voice Program under the direction of Marlena Malas. Akira is a student of Phyllis Hoffman.

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Kevin Hayden, Tenor

Kevin Hayden (Pilatus) is just as comfortable on the opera stage as he is in oratorio venues. Kev-in will sing on the May concert with the Lynn Concert Singers as the tenor soloist in Schubert’s Mass in G as well as Bruckner’s Requiem in D Minor. He was featured this past December in The Old North Church (Marblehead) Christ-mas concert as the tenor soloist in Ramirez’s Navidad Nuestra and Mozart’s Vesperae solennes de Dominica. Last summer Kevin was a resident opera artist with The Pine Mountain Music Fes-tival in Michigan. He sang the role of Tamino in the main stage production of Mozart’s The Magic Flute. In May 2006, Mr. Hayden earned his Master of Music degree from Boston University where he sang operatic roles such as; The Doctor in Lee Hoiby’s A Month in the Country, Gherardo in Gianni Schicchi, and Romaine in Kurt Weill’s The Czar has his Photograph Taken. Mr. Hayden also covered the role of Count Belfi ore in Mozart’s La fi nta Giardiniera. Last December he was fea-tured as the tenor soloist for the Newburyport Choral Society’s produc-tion of Messiah. Kevin reprised his performance this season in Messiah at Trinity Church in downtown Boston.

Mr. Hayden received his Bachelor of Music from the University of Okla-homa. During his undergraduate studies he sang the roles of Pastore II in Monteverdi’s l’Orfeo and Le Sanglier in Darius Milhaud’s Les Malheurs d’Orphée. Mr. Hayden also performed in La Bohème under the musical di-rection of Maestro Julius Rudel with the Aspen Opera Theater Center in summer 2003. Kevin grew up in Dallas, Texas and is a student of James Demler.

Martin Near, Countertenor

Countertenor Martin Near (Evangelist) has been a professional singer since age nine, working his way up to head chorister at Saint Thomas Fifth Avenue in New York City, and currently sings with Blue Heron Renaissance Choir and with the choir of Church of the Advent. He stud-ied composition at New England Conservatory of Music with Michael Gandolfi . On a grant from the American Composers Forum Boston, Mr. Near served as composer and music director of the one act opera Six Characters in Search of an Opera for Project ARIA (AIDS Response by Inde-pendent Artists), which was given fi ve performances in Boston. Mr. Near is an advocate of the performance of new music and has been a soloist in numerous world premieres, including a microtonal piece in 72-note equal temperament performed in Jordan Hall.

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PASSIO, March 2006


Ulysses Thomas, Bass-Baritone

Ulysses Thomas (Jesus) is currently a doctoral student in vocal performance at Boston Uni-versity. Recent local appearances include an “Emerging Artists Concert” with Peggy Pearson and Winsor Music, where he performed in Can-tata BWV 159 Sehet, wir gehn hinauf gen Jerusalem by J. S. Bach. In October 2006, Mr. Thomas sang in a concert of works by local composer Patricia Van Ness at The Boston Athenæum, commemo-rating its bicentennial. During the summer of 2006, Mr. Thomas took part in advanced studies as a vocal fellow at Tanglewood Music Center (he will return as a fellow in Summer 2007). While at TMC, Mr. Thomas appeared in Hindemith’s comic sketch Hin und Zurück, a concert perfor-mance of Strauss’ Elektra (with James Levine and the TMCO), and a num-ber of concerts and recitals. In April 2006, Mr. Thomas collaborated with conductor Craig Smith and Emmanuel Music in concert performances of The Magic Flute, singing the role of Sarastro. At Boston University, Mr. Thomas participates regularly in the opera programs. Past appearances with BU include A Man with a Cornet Case in Dominick Argento’s Post-card from Morocco, Bustamente in Massenet’s La Navarraise, Rakitin in Lee Hoiby’s A Month in the Country, Simone in Gianni Schicchi, Collatinus in Britten’s The Rape of Lucretia, Pope/Cardinal B in Philip Glass’ Galileo Galilei, and appearances in the ensembles of Don Giovanni, Kurt Weill’s The Tsar Has His Photograph Taken, and La fi nta giardiniera. Mr. Thomas completed his undergraduate studies at Clayton State University in Mor-row, Georgia. Operatic credits at Clayton include Buonafede in Haydn’s The World of the Moon (Il mondo della luna), Jess in Carlisle Floyd’s Slow Dusk, Grandpa Moss in Aaron Copland’s The Tender Land, and in several opera scenes. Apart from school productions, Mr. Thomas has appeared as King Balthazar in Amahl and the Night Visitors with the Cathedral of St. Philip (Atlanta, Georgia) and was a member of the Atlanta Opera Cho-rus, where he sang in productions of Eugene Onegin, Aïda, and The Flying Dutchman (Der fl iegende Holländer).

On the concert stage, Mr. Thomas has been a soloist in performances of Purcell’s Jubilate Deo, J. S. Bach’s Mass in G minor (BWV 235), and Mozart’s Regina coeli (K. 276) and Missa Solemnis (K. 337). Other appearances in-clude Antonio in concert scenes of Le nozze di Figaro with the Greater Boston Youth Symphony Orchestra and ensemble work with Boston Ba-roque. Amongst his honors and awards, Mr. Thomas was a fi nalist in the 2001 Orpheus National Competition for Vocalists, where he received the Richard Strauss Award.

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6 t h S e as o n , 2 0 0 6 – 2 0 0 7

Greater Boston Choral Consortium 2006 – 2007 Season - www.bostonsings.org

Call numbers listed for chorus information or 978-670-7186 for GBCC information

A Cappella Singers, Sharon Brown,Dir.,508/788-8007, www.theacappellasingers.org 12/9, 5/12 Arlington-Belmont Chorale, Dir. Barry Singer, 781-648-5643, psarlington.org,12/10, 3/11, 4/22, 6/8Back Bay Chorale, Scott Allen Jarrett, Dir., 617-648-3885. www.bbcboston.org

Boston Boy Choir, John Dunn, Dir., 617-868-8658, www.bostonboychoir.org. 12/10, 12/15, 12/17 & 5/11.The Boston Cecilia, Donald Teeters Mus Dir 617-232-4540 www.bostoncecilia.org 10/13, 15; 12/8-10; 4/1Boston City Singers, Jane Money, Dir., 617/825-0674, www.bostoncitysingers.org, Conc: 12/16, 5/19

Boston Gay Men’s Chorus, Reuben Reynolds, Dir; 617-542-SING; www.bgmc.orgCambridge Madrigal Singers, Dr. Raymond E. Fahrner, Musical Director, www.cambridgemadrigals.orgCandlelight Choir, Frances Burmeister, dir, 978 465-0602 www.frsuu.org, conc. 10/29, 11/26, 12/17, more

Chorus North Shore, Sonja Pryor, Dir., 978-356-3807, www.chorusnorthshore.org, 12/9-10 & Spring 2007Concord Chorus, Ryan Turner, Mus. Dir., www.concordchorus.org, 12/2, 12/3, 1/20, 5/5, 978-440-9396Coro Allegro, David Hodgkins, Artistic Dir, 617-236-4011 www.coroallegro.org Conc. 11/5, 2/25, 5/13

Golden Tones, Maddie Sifantus, Dir. 508-358-7091, www.goldentones.orgHalalisa Singers, Mary Neumann, 781-862-6353, www.halalisa.org (1/20, 4/28)Harvard Choral Groups, J Marvin, Dir. 617-495-5730, www.fas.harvard.edu/~holchoir/Heritage Chorale, John Finney, Dir., 508-270-3999, www.heritagechorale.org, 11/19, 2/10, 5/12]

In Choro Novo, Thérèse Provenzano, Music Dir. 6170489-3705. www.inchoronovo.com, Concerts 12/9, 5/5.King’s Chapel Concert Series, Heinrich Christensen, Dir., 617 227 2155, www.kings-chapel.orgKoleinu - Jewish Community Chorus of Boston, Carol Marton, Dir., 617-559-8649, www.koleinu.com

Lexington Pops Chorus, R. Lague, Dir., 508-481-6554, www.LexingtonPopsChorus.org, 1/12-13, 5/18-19Longy Chamber Chorus, Richard A. A. Larraga, Dir., 617-876-0956, www.longy.edu, Concerts: 12/10, 5/6Master Singers, Lex., A. Grossman, 781-862-6459, www.themastersingers.org,10/29, 12/10, 3/3, 5/19

Newton Community Chorus, Rick Travers, Dir., 617-969-0866, www.NewtonCommunityChorus.org, 11/5, moreSharing A New Song, Diane Winchester, Dir., 978-456-3802, www.sharinganewsong.org, 9/20,21,11/10Somerville Community Chorus, David Giessow, Dir., 617-741-4053, www.somervillechorus.com, 12/10, 5/19

Stambandet - The Scandinavian Vocal Ensemble, A. LeVines, Dir., 617-697-2183, www.stambandet.orgSounds Of Concord, Joseph Cerutti, Dir. 866-206-9067 x 7622 www.soundsofconcord.org show 4/21/07Treble Chorus of New England, Darren Dailey, Dir., 978-837-5461, www.treblechorus.com

Voices Rising, Leora Zimmer, Art. Dir., 617-959-5377, www.voicesrising.org, 12/9, 12/10, early MayYouth pro Musica, Peter Krasinski, Dir., 617-666-6087, www.youthpromusica.org, 12/10, 6/3Zamir Chorale of Boston, Josh Jacobson, Artistic Director, 617/244-6333, www.zamir.org

Back Bay ChoraleScott Allen Jarrett, Dir., 617-648-3885, Nov.10, 8 PM: Monteverdi Vespers of 1610, Old South Church, Boston. Dec. 15, 8 PM at Old South Church, Boston, and Dec. 17 at 3PM, Marsh Chapel, Boston. A Boston Christmas. Mar. 24: Bach St. Matthew Passion, Sanders Theater, Harvard U., Cambridge. May 19, 8 PM: Psalms of Bernstein, Schutz, others, First Church Cambr., www.bbcboston.org

Boston Children’s ChorusAnthony Trecek-King, Artistic Dir., 617-778-2242. Children ages 7-18 celebrate diversity through song. Jan 15, NEC’s Jordan Hall: 4th Annual Martin Luther King, Jr.Concert featuring special guests the Chicago Children’s Choir and Young People’s Chorus of New York City. For more infor-mation visit www.bostonchildrenschorus.org

Boston Choral EnsembleMiguel Felipe, Dir; Dec. 8 (8pm) & Dec. 10 (2pm) Byrd Mass & English Holiday Music w/ Back Bay Ringers; Mar. 17 (8pm) & Mar. 18 (2pm) Arvo Pärt’s Passio ; May 18 (8pm) & May 20 (2pm) American Music; Performance Locations: First Church in Cambridge, Congregational (Evenings and 3/18) & St. John the Evangelist in Beacon Hill (Afternoons except 3/18); Visit www.BostonChoral.org

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PASSIO, March 2006


Braintree Choral SocietyDanica Buckley, Dir., 781-848-7544. Dec.10, 4 PM: Shubert Magnifi cat, Haydn Mass in Honor of St Nicholas. Dec. 17, 3 PM Messiah Sing. May 6, Vierne Messe Sollenelle. All at Old South Union Congregational, 25 Columbian St. Weymouth, info www.braintreesings.org

Boston SecessionJane Ring Frank, Art. Dir., 617-499-4860. Oct. 14, 7 PM: Berlin on the Charles cabaret fundraiser w/ Nancy Armstrong, Goethe-Institut. Nov. 17, 8PM: Altered States, 1st Ch. Camb., Cong. Feb. 2, 8PM: Unlucky in Love, 1st Ch. Camb., Cong, MJ Hall. Mar. 16, 8 PM: Surprised by Beauty, 1st Ch. Camb., Cong. Apr. 27, 8PM: Mother Tongue, 1st Ch. Camb., Cong. www.bostonsecession.org.

Cantata Singers617-868-5885. David Hoose, Dir. NEC’s Jordan Hall. Nov. 10: Andrew Imbrie’s Adam; Bach Cantatas 105 & 34. Jan. 19: John Harbison’s Pulitzer Prize-winning Flight into Egypt w/ Janet Brown & Sanford Sylvan; Bach Cantata 101. Mar. 16/18: Bach B minor Mass. May 11: Stephen Hartke World Premiere commission w/ oboist Peggy Pearson; Bach Cantatas 161 & 11. www.cantatasingers.org

Cantemus Chamber ChorusGary Wood, Dir., 978-246-7871. Dec. 2, 7:30 PM & Dec. 3, 4:00 PM: The Chorus (& Trumpet) Shall Sound: Kodaly, Distler, Howells, Handel & more, w. baritone & trumpet soloists. May 5, 7:30 PM & May 6, 4:00 PM: Songs of Love, Requited & Not Quite: Monteverdi, Hahn, Brahms & more. First Church of Wenham, Rte 1A. **St. Paul’s Episc., 166 High St., Newburyport. www.cantemus.org

Cantilena - a women’s choraleKenneth Seitz, Dir. Holiday Concert: Dec. 3 at 3 PM Peace Mass by Chilcott, A Ceremony of Carols by Britten, Les Vespres Sonnent by Ropartz. Spring Concert: A Celebration of the Choral Cantata: May 6 at 7 PM, music by Deems Taylor, Amy Beach. Concerts at First Parish U. U. Church, 630 Massachusetts Ave., Arlington. More info at 781-648-2456 or www.cantilena.org

Telling the Talea choral concert

Join Cantilena – a women’s chorale- and baritone soloist, Philip Candilisfor an evening of song and story. Featured will be “The Highwayman”, apoem by Alfred Noyes set to music by Deems Taylor, and “Peter Pan” achoral song cycle by Amy Beach.

Sunday, May 6, 20077:00 p.m.

First Parish Unitarian Universalist Church630 Massachusetts Ave (corner of Mass. Ave and Route 60)

Arlington Center, MA

Handicap accessible.Tickets: 12.00 in advance, 15.00 at the doorFor tickets or information, visit www.cantilena.org or call 781-648-7155

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6 t h S e as o n , 2 0 0 6 – 2 0 0 7

Cappella ClausuraAmelia LeClair, Dir., 617-964-6609. Nov 18, 8PM Parish of the Messiah, Newton, Nov 19, 4PM Forsyth Chapel, JP: “Passionately Un-Conventional: Motets and Madrigals by Nuns...” Feb 10, 8PM Parish of the Messiah, Newton, Feb 11, 7PM Natick Center for the Arts: “Planctus Mariae:A Medieval Opera” May 13, 4PM Parish of the Messiah, May 15, 7PM Boston College St Mary’s Chapel: “The Female Mozart? Premiere of work by Marianna von Martines”. www.clausura.org

Chorus pro MusicaJeffrey Rink, Music Dir., 617-267-7442. Nov. 3, 8 PM: Frank Martin Mass Gorecki Miserere, Old South Church; Dec. 22, 8 PM: An English Christmas, featuring Britten Ceremony of Carols, Old South Church; March 23, 8PM: Bach St John Passion, the Cathedral Church of St. Paul; June 3, 3 PM: Pietro Mascagni Cavalleria Rusticana & Ruggiero Leoncavallo Pagliacci, NEC’s Jordan Hall. www.choruspromusica.org

Concord ChorusRyan Turner, Dir., 978-440-9396. Dec. 2, 8 PM & Dec. 3, 2 PM: Holiday Concert with Brass & Strings,Trinity Ch., Concord. Jan. 20, 8:00 PM: Come to the Cabaret, An Evening of Song with Susan Consoli, Ryan Turner, 51 Walden., Concord:, May 5, 8 PM: Mendelssohn Elijah, with Sarah Pelletier, William Hite, Mark Andrew Cleveland, Cary Hall, Lexington: www.concordchorus.org

Dedham Choral SocietyJonathan Barnhart, Dir. 617-326-1520. The Italian Season: Buon Natale! Vivaldi Gloria, Respighi Laud to the Nativity, St Paul’s Boston, Dec. 1, 8 PM, St Mary’s Dedham, Dec.3, 3 PM: Belleze Vo-cale, Vivaldi Domine ad adiuvandum me festina, Verdi & Rossini Ave Maria, Lauridsen Ubi caritas et amor, Lauridsen Lux aeterna, Jordan Hall, May 13, 3PM. www.dedhamchoral.org

Exsultemus period vocal ensemble “Magnifi cent” Carlisle Mosquito. “Couldn’t have been more beautiful” Goldberg. 2006-2007 Sea-son – Oct. 20 & 22: Music of Renaissance Florence by Isaac & Lorenzo de Medici; Mar. 2 & 4: Art of Imitatio with music by Josquin; Free community outreach concerts in May: Music of Renais-sance Portugal. 857-998-0219 or www .exsultemus.org.

Fine Arts ChoraleLibor Dudas D.M.A., Director, 800-230-7555. Nov. 19, 4 PM, Royal Music for a Coronation, Old South Union Church, So. Weymouth; Feb. 3, 7 PM, “Bavarian Night”, Weymouth Elks Lodge, So. Weymouth; April 29, 5 PM, “An Afternoon at the Opera”, Duxbury Performing Arts Center, Dux-bury. www.fi neartschorale.org

Master SingersA. Grossman, Dir., 781-862-6459 1st Parish Ch. Lexington. Oct. 29 3PM Chor. & Viola, Schumann, Puccini Requiem, Pinkham De Profundis, Janacek. Dec. 10 3PM An Italian Christmas, Caldera, Palestrina, Vivaldi Gloria. Mar. 3 8PM Songs of Games & Contests, Bernstein, Bizet, Lehrer, Le-rner & Lowe. May 19 8PM, Debussy, Ravel, Faure Cantique de Jean Racine, Thompson, Bernstein.

Masterworks ChoraleSteven Karidoyanes, dir., 781-235-6210. All concerts in Sanders Theatre with orchestra. Novem-ber 12, 3PM: “Salzburg Splendor”/All-Mozart. March 11, 3PM: “Winds of Change’/Bruckner-Beethoven-Brahms. May 12, 8PM: J.S. Bach’s Mass in B Minor. www.MasterworksChorale.org

Musica SacraMary Beekman, Dir., 617-349-3400. All 8 PM, 1st Church Cong., 11 Garden St., Camb. Oct. 28: Cho-ral Music for Halloween: Schuman, Elgar, Fine, Rheinberger, Barber. Dec. 16: American Christmas: Music from Appalachia; Pinkham. Mar. 31: Universal Sacred Music: Specially commissioned new works. Jun. 2: Renaissance Madrigals Celebrating Love. Free parking. www.musicasacra.org

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PASSIO, March 2006


Neponset Choral SocietyMichael Turner, Dir., 508-695-2411. The winter concert will be on Dec. 9, 8 PM & Dec. 10, 2:30 PM and will feature J.S. Bach’s Cantata #140. In April, 2007, the NCS concert will feature works by women composers.

New England Classical SingersDavid Hodgkins, Dir., 978-474-6090, Dec. 16: Vivaldi Gloria, plus seasonal music. Mar. 3: Dr. Hor-ace Clarence Boyer, “The Old Ship of Zion: A History of Gospel Music,” with students from local high schools. May 5: a cappella and accompanied selections TBD. All concerts: 7:30 PM, Rogers Center for the Arts, Merrimack College, North Andover, MA. newenglandclassical.org

Newburyport Choral SocietyGerald Weale, Dir., 978-462-0650, www.newburyportchoralsociety.org, December 8 and 9 at 8:00, December 10 at 2:30: Music of the Season, Bach B-minor Mass; May 19 at 8:00, May 20 at 2:30: Spring Concert Season. Concerts held at Belleville Church, 300 High Street, Newburyport, MA

Newton Choral SocietyDavid Carrier, Dir., 617-527-SING. All at Our Lady’s Newton: Nov. 19, 3PM: J.S. Bach, Cantata 140 (Wachet auf) and Magnifi cat, M. Anderson, S. Consoli, P. Dellal, D. Williams. Mar. 11, 3PM: Michael Haydn, Requiem and Josef Haydn, Lord Nelson Mass, M. Kelly, K. Watson, May 19, 8PM: Randall Thompson, The Peaceable Kingdom and Frostiana. www.newtonchoral.org

Oriana ConsortWalter Chapin, Dir., 617-547-1798. Dec. 3, 5 PM, Center For The Arts, Natick; Dec. 10, 4 PM, Sweden-borg Chapel, Cambridge; Dec. 16, 8 PM, Church of the Covenant, Boston; “Messages”: Bach Motet 3; Bruckner, Stravinsky, Schütz, more. Apr. 29, 4 PM, Swedenborg; May 5, 8 PM, Covenant; “Respons-es”: Carissimi Jephte, Poulenc Soir de neige; Purcell, Gibbons, more. www.theorianaconsort.org

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Paul Madore ChoralePaul Madore ,Dir, 7815927284- Dec 17 3pm Glorias by Rutter, Vivaldi, and Bass -St. Anne’s Church Salem,MA, Apr 29 3pm - Brahms, Ein Deutches Requiem with Civic Symphony Orchestra of Bos-ton, Regis College Weston,MA June 1 8pm- A Night at the Opera Location TBD.

Polymnia Choral Society, MelroseMichelle Graveline, Dir., 781-779-1362. Dec.2nd, 7:30 p.m. St. Mary’s Ch: Matthew Harris A Child’s Christmas in Wales. Mar. 18th 3 p.m. 1st Congo Ch., A Celtic Celebration: Hymns, Folksongs and Sea Chanteys. June 2nd 7:30 p.m. Memorial Hall, Music of Fantasy from The Magic Flute, Zigeunerlieder, Wicked, Harry Potter. All concerts in Melrose. www.polymnia.org

Reading Community SingersDir.Beth Mosier,781-266-8381 “Holiday Festival Music” Sat.Dec 2,7pm Venue TBD, Traditional carols, Handel’s “Messiah”. Spring-”American Music on Parade” Sat.May 5, 8pm Old South United Methodist CH,Reading Sq. American music,popstandards / guest artist www.readingcommunitysingers.org

Seraphim SingersJennifer Lester, Dir., 617-926-0126. Nov. 12, 3:30 PM , Favorites St. Paul’s, Harv. Sq, Camb.. Feb. 18, 4 PM, Concert Spirituel, Howells, Ramsay, Nystedt, Mission Church, Boston. May 5, 8 PM, St Ig-natius, Commissions Chestnut Hill. Burgo, Dorman, Oak, Penderecki, Sharpe, Swayne, Woodman. Sugg. Donation: $15/$10. www.seraphimsingers.org or J. Lester at [email protected]

Snug Harbor Community ChorusRoy S Kelley, Dir., 781-834-7041, Dec 1 & 2, 8 PM: Christmas Concert, An All-Rutter Show. May 11 & 12, 8 PM: Early May Spring Concert, Details TBA in January. Rehearsals at Ellison Center, Duxbury, on Mon at 7:30 pm. Concerts at Duxbury PAC. More info at www.snugharborcc.org.

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PASSIO, March 2006


For more information on theGreater Boston Choral Consortium, please visit

www.bostonsings.orgor call 978-670-7186

The Spectrum SingersJohn W. Ehrlich, Director, 617-492-8902. November 18, 8 PM: Spiritual works by Finzi, Ferko, Lau-ridsen. March 10, 8 PM: Haydn “Lord Nelson” Mass, Mozart Vesperae Solennes de Dominica, KV 321, Kendra Colton, Emmanuel Music Orch, Boston. May 5, Frank Martin Mass for Double-Cho-rus, Castelnuovo-Tedesco Romancero Gitano, John Muratore, guitar. All concerts at Emmanuel Church. www.spectrumsingers.org

Stow Festival Chorus & Orchestra B. Jones, Dir., 978-562-0302. Hale School, Hartley Rd @ Rt.117, Stow (Nov & Mar): Nov. 19, 3PM, Parker, Hora Novissima featuring McVey, Remington, Bauwens, Honeysucker; Mozart Concerto No.25 K503, E.Goldman piano; Mar.11, 3PM, Zelenka Missa Dei Filii; Mozart Concerto No.11 K413 with Mr. Goldman; Springfest 2007, May 20, 4PM, First Parish Church. www.soundsofstow.org

Wellesley Choral SocietyEdward Whalen, Director. Nov. 19, 3 PM: Mozart Requiem, Mass Bay Comm. College, Wellesley Campus, with Wellesley Symphony Orch. Dec. 3, 4 PM: Messiah Sing. Feb. 24, 7 PM: Concert performance of Gilbert & Sullivan’s The Gondoliers. May 2007, Concert of German Romantic Songs, St. Andrew’s Church, Wellesley. For times and locations, call 781-237-6593 or visit www.wellesleychoralsociety.org.

With gratitude to Celeste,

Matt, the Fishbowl, the

two Johns, and the angels

at Harvard and MGH for

the blessings they have

showered on me while I

have been in Boston.

Pam Beck

The Boston Choral Ensemble presentsMiguel Felipe, Music Director

Americana

including…

Samuel Barber : Agnus DeiAaron Copland : Four MotetsIrving Fine : The Hour-Glass

Tickets for the Friday concert areavailable online, $10/$7, or at the door,$12/$10. The Sunday concert is free. www.BostonChoral.org

Friday, May 18th, 2007, 8:00 pmFirst Church, UCC, 11 Garden St, Cambridge

Sunday, May 20th, 2007, 2:00 pmSt. John the Evangelist, 35 Bowdoin St, Boston

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