Haydn: Seven Last Words Featuring a collaboration between Seraphic Fire and the Spektral Quartet

April 9th - 18th, 2014 Seraphic Fire’s Chicago performance of Haydn: Seven Last Words is made possible through a generous grant by The Clinton Family Fund, Bruce and Martha Clinton.

Program Wednesday, April 9, 2014 Thursday, April 10, 2014 Friday, April 11, 2014 Saturday, April 12, 2014 Sunday, April 13, 2014 Wednesday, April 16, 2014 Sunday, April 18, 2014

St. Sophia Greek Orthodox Cathedral, Miami St. Gregory’s Episcopal Church, Boca Raton First United Methodist Church, Coral Gables All Saints Episcopal Church, Fort Lauderdale All Souls Episcopal Church, Miami Beach Rockefeller Memorial Chapel, Chicago, IL Lawrence Memorial Chapel, Appleton, WI

The Seven Last Words of Christ i. Introduzione ii. No. 1 Vater, vergib ihnen iii. No. 2 Fürwahr, ich sag es dir iv. No. 3 Frau, hier siehe deinen Sohn v. No. 4 Mein Gott, mein Gott vi. Introduzione vii. No. 5 Jesus rufet: Ach, mich dürstet! viii. No. 6 Es ist vollbracht! ix. No. 7 Vater, in deine Hände x. Il Terremoto, Er ist nicht mehr

Franz Joseph Haydn (1732-1809)

Seraphic Fire Patrick Dupré Quigley, Founder and Artistic Director Spektral Quartet Aurelien Fort Pederzoli, violin Austin Wulliman, violin Doyle Armbrust, viola Russell Rolen, cello 7

Text and Translations The Seven Last Words of Christ

Franz Joseph Haydn

No. 1 Vater, vergib ihnen Vater, vergib ihnen, denn sie wissen nicht, was sie tun.

Father, forgive them, for they know not what they do.

Vater im Himmel, o sieh hernieder vom ewigen Thron! Vater der Liebe, dein Eingeborner, er fleht für Sünder, für deine Kinder, erhöre den Sohn! Ach, wir sind tief gefallen, wir sündigten schwer; doch allen zum Heil, uns allen, floss deines Sohnes Blut. Das Blut des Lamms schreit nicht um Rach’; es tilgt die Sünden. Vater der Liebe, lass uns Gnade finden, erhöre den Sohn! O Vater, o Vater, erhöre den Sohn!

Father from heaven, Look down from your eternal throne! Loving Father, your only begotten Son prays for sinners, for your children, grant the prayer of your Son! Alas, we have fallen from grace, we have grievously sinned, but for us all and for our salvation your Son has shed his blood. The blood of the Lamb does not cry out for vengeance; it redeems our sins. Loving Father, let us find grace, grant the prayer of your Son! O Father, o Father, hear your Son!

No. 2 Fürwahr, ich sag es dir Fürwahr, ich sag es dir: Heute wirst du bei mir im Paradiese sein.

Truly, I say unto you: today you will be with me in Paradise.

Ganz Erbarmen, Gnad’ und Liebe, bist du Mittler, Gotteslamm. Kaum ruft jener reuig auf zu dir: Wenn du kommest in dein Reich, ach, so denke mein! So versprichst du ihm voll Milde: Heut wirst du bei mir im Paradiese sein. Herr und Gott! Blick auf uns! Sieh an deines Kreuzes Fuße unsre wahre Reu` und Buße! Sieh, o Vater, unsere Reue! Gib uns auch zur letzten Stunde jenen Tost aus deinem Munde: Heut wirst du bei mir im Paradiese sein.

Full of mercy, grace and love, you are the mediator, the Lamb of God. If he but calls to you, full of remorse: when you enter into your kingdom, alas, think of me! To him you did promise, full of pity: today you shall be with me in Paradise. Lord God! Look upon us! See at the foot of your Cross our true remorse and repentance! O Father, see our remorse! Grant us in our final hour that consolation from your lips: today you shall be with me in Paradise.

No. 3 Frau, hier siehe deinen Sohn Frau, hier siehe deinen Sohn, und du, siehe deine Mutter!

Woman, behold your son, and you, behold your mother !

Mutter Jesu, die du trostlos, weinend, seufzend bei dem Kreuze standst

Mother of Jesus, weeping in despair, standing and sighing by the Cross,

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Text and Translations und die Qualen seines Leidens in der Stund’ des bittern Scheidens siebenfach in dir empfandst. Kaum mehr fähig, dich zu fassen, und doch standhaft und gelassen, nimmst als Sohn den treuen Jünger und mit ihm auch uns als Kinder an. Mutter Jesu, o du Zuflucht aller Sünder, hör das Flehen deiner Kinder. O du Zuflucht aller Sünder Steh uns bei im letzten Streit, Mutter voll der Zärtlichkeit. O steh uns allen bei! Wenn wir mit dem Tode ringen und aus dem beklemmter Herzen unsre Seufzer zu dir dringen, lass uns, Mutter, lass uns da nicht unterliegen! Hilf uns dann den Feind besiegen und steh uns bei im letzten Streit! Wenn wir mit dem Tode ringen, o da zeige dich als Mutter und empfehl uns deinem Sohn, o Mutter!

and in the hour of bitter parting, the torments of his suffering you did feel in sevenfold measure. Barely conscious in your anguish, yet ever steadfast and composed, you did take as your son the faithful disciple and did take all of us as your children. Mother of Jesus, refuge of all sinners, hear the plea of your children. Refuge of all sinners, Be with us in our final throes, Mother full of tenderness. O be our relief! When with death we struggle And the sighs of our fearful hearts are sent aloft to you, let us not, Mother, let us not succumb! Help us to overcome the enemy and be with us in our final throes! When at last with death we struggle, show us that you are our Mother And intercede for us with your Son.

No. 4 Mein Gott, mein Gott Mein Gott, mein Gott, warum hast du mich verlassen?

My God, my God, why hast thou forsaken me?

Warum hast du mich verlassen? Wer sieht hier der Gottheit Spur? Wer? Wer kann fassen dies Geheimnis? O Gott der Kraft, o Gott der Macht und Stärke, wir sind deiner Hände Werke, und deine Lieb, o Herr, hat uns erlöst. O Herr, wir danken dir von Herzen. Unserwegen littst du Schmerzen, Spott, Verlassung, Angst und Pein. Herr, wer sollte dich nicht lieben dich mit Sünden noch betrüben? Wer kann deine Huld verkennen? Nein, nichts soll uns von dir trennen, allhier und dort in Ewigkeit.

Why have you forsaken me? Who can see God’s work in this? Who can grasp the mystery? O God of strength and might, O God of might and power, We are the works of your hand, and your love, O Lord, has redeemed us. O Lord, we thank you from our hearts. For our sakes you did suffer pain, Mockery, abandonment, fear and torment. Who could fail to love you, Lord, who could sadden you with sin? Who could deny your grace? No, nothing will part us from you, Here and in eternity.

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Text and Translations No. 5 Jesus rufet: Ach, mich dürstet! Jesus rufet: Ach, mich dürstet!

Jesus said: Alas, I thirst!

Hemmt nun die Rache, stillt eure Wut! Menschen, lasset Mitleid euch erweichen, ruft Erbarmung in das Herz! Jesus rufet: Ach, mich dürstet! Ihm reicht man Wein, den man mit Galle mischet. So labt man ihn. Kann Grausamkeit noch weiter gehn? Nun kann er nicht mehr fassen den Schmerz, der ihn allmächtig drückt, den Schmerz, der Wohltun war.

Curb your vengeance, calm your anger! Men, let pity soften you, summon mercy to your hearts. Jesus said: Alas, I thirst! They give him wine to drink mingled with gall, that is how they refresh him. Can cruelty be harsher? Now he can no longer endure the pain, that pushes him to God the pain, of all his good deeds.

Text and Translations No. 6 Es ist vollbracht! Es ist vollbracht!

It is finished.

An das Opferholz geheftet, hanget Jesus in der Nacht; und dann ruft er laut: Es ist vollbracht. Was uns jenes Holz geschadet, wird durch dieses gut gemacht. Weh euch Bösen, weh euch Blinden, weh euch allen, die ihr Sünden immer häuft auf Sünden! Menschen, denket nach! Werdet ihr Erbarmung finden, wenn er kommt in seiner Herrlichkeit und seiner Macht? Rett uns, Mittler, vom Verderben! Höre, Gottmensch, unser Schrein! Lass dein Leiden und dein Sterben nicht an uns verloren sein. Lass uns einst den Himmel erben und mit dir uns ewig freun.

Nailed to the tree of sacrifice, Jesus hangs throughout the night, then he loudly cries: It is finished. The harm done to us by that tree is redeemed by this. Woe to you evil ones, woe to you who are blind, woe to you all, who pile sins upon on another! World, consider what has been done! Will you find mercy when he comes in his majesty and power? Save us, our mediator, from damnation! Hear our cries, God-made-man! Let not your suffering and death be for nothing because of us. Let us some day inherit Heaven and eternally rejoice with you.

No. 7 Vater, in deine Hände Vater, in deine Hände empfehle ich meinen Geist.

Father, into your hands I commend my spirit.

In deine Händ’, o Herr, empfehl ich meinen Geist. Nun steigt sein Leiden höher nicht, nun triumphiert er laut und spricht: nimm, Vater, meine Seele. Dir empfehl ich meinen Geist. Und dann neigt er sein Haupt und stirbt. Vom ewigen Verderben hat uns sein Blut errettet; aus Liebe für uns Menschen, aus Liebe starb er den Tod der Sünder. Du gabst uns neues Leben; was können wir dir geben? Zu deinen Füßen liegen wir, o Jesu, tief geruhrt, Nimm unser Herz alls Opfer an!

Into your hands, O Lord, I commend my spirit. Now his sufferings can increase no more, now he triumphs loudly and says: Father, take my soul, to you I commend my spirit. And then he bows his head and dies, From everlasting damnation His blood has redeemed us: For his love for all mankind, for his love He died a sinner’s death. You gave us new life, What can we give to you? At your feet, O Jesus, deeply moved we lie, accept our hearts in sacrifice!

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Text and Translations Il Terremoto, Er ist nicht mehr Er ist nicht mehr.

He has departed.

Er ist nicht mehr! Der Erde Tiefen schallen wider: Er ist nicht mehr! Erzittre, Golgatha, erzittre! Er starb auf deinen Höhen. O Sonne, fleuch und leuchte diesem Tage nicht! Zerreiße, zerreiße, Land, worauf die Mörder stehen! Ihr Gräber, tut euch auf, ihr Väter, steigt ans Licht! Das Erdreich, das euch deckt, ist ganz mit Blut befleckt.

He has departed. The depths of the earth resound: He has departed. Terrible, Golgotha, terrible! He died upon your summit. O, sun, be gone and light this day no more! Tear, tear, the land on which the murderers stand. Graves, open up, fathers, rise up into the light: The earth which covers you is all stained with blood.

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About Seraphic Fire

Entering its second decade, Seraphic Fire is widely regarded as one of the most important vocal ensembles in the United States. Led by Founder and Artistic Director Patrick Dupré Quigley, Seraphic Fire brings the best ensemble singers from around the country to perform repertoire ranging from Gregorian chant to newly commissioned works. This past year, the ensemble’s recordings Brahms: Ein Deutsches Requiem and A Seraphic Fire Christmas were nominated for two 2012 GRAMMY® awards. Seraphic Fire was the only choir in North or South America to be nominated, and the only classical ensemble in the world to be nominated for two separate projects. In addition to a critically-acclaimed chamber choir, the organization has established Firebird Chamber Orchestra, which collaborates with Seraphic Fire on choral-orchestral masterworks as well as independent concerts of orchestral repertoire. The orchestra, like the chorus, is made up of top-tier performers from around the country.

Seraphic Fire’s artistic accomplishments have translated to chart-topping album sales. In the summer of 2010, Seraphic Fire’s recording of Monteverdi’s Vespers of the Blessed Virgin (1610) reached the number one position on the iTunes classical music charts. The ensemble’s GRAMMY®-nominated recording of Brahms: Ein Deutsches Requiem debuted at #7 on Billboard Magazine’s Classical charts, and Seraphic Fire’s newest Christmas album, of which NPR’s Morning Edition proclaims “the singing is just fabulous; this group has a really excellent blend,” broke into the top ten on the iTunes Classical charts on day of its release. Seraphic Fire has just signed a three-year partnership deal with Naxos of America to distribute Seraphic Fire Media. Seraphic Fire is represented worldwide by Columbia Artists Management, Inc.

Seraphic Fire’s Mission Seraphic Fire aims to present high-quality performances of under-performed music with cultural significance. Simultaneously, Seraphic Fire encourages the occupational advancement of musicians by providing a forum for the development and presentation of their talents, and promotes community well-being through musical education programs.

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Patrick Dupré Quigley American conductor Patrick Dupré Quigley is at the vanguard of a new generation of young Baroque specialists: completely at ease at the helm of the modern symphony orchestra while still able to create the passionate, distinctive stylings of the Baroque sound. The Founder and Artistic Director of Seraphic Fire and the Firebird Chamber Orchestra, he has been described by the Miami Herald as,

Patrick has been lauded as an adept arts entrepreneur and a savvy institution builder. In ten seasons, Patrick has grown Seraphic Fire & the Firebird Chamber Orchestra into a vibrant, cutting-edge arts organization— mounting acclaimed performances of Baroque mainstays, introducing new work and exploring under-performed treasures with equal success.

“A musician with a constellation of qualities rarely found in a single conductor: an enthusiastic and audience-friendly personal style, a scholar’s instinct for rooting out obscure but worthy music, a scrupulous and historically informed approach to works that span a wide range of musical periods, an ability to bring out the best in his talented platoon... and a showman’s canny sense of how to appeal to audiences.”

Patrick is the recipient of the 2004 Robert Shaw Conducting Fellowship, given annually by the National Endowment for the Arts and Chorus America to one conductor between the ages of 25 and 40 who demonstrates the potential for a significant professional career. At 26, Patrick was the youngest person to receive this award. Most recently, He was awarded Chorus America’s 2011 Louis Botto Award for Innovative Action and Entrepreneurial Zeal, recognizing his artistic Patrick was nominated for two 2012 and institution-building achievements with GRAMMY® awards for his work with Seraphic Fire. Patrick has been a featured Seraphic Fire: Best Choral Performance for guest on National Public Radio’s All Things Brahms: Ein Deutsches Requiem, and Best Considered and is a sought-after speaker and Small Ensemble Performance for A Seraphic consultant regarding arts entrepreneurship. Fire Christmas. He was the only conductor in the world to be nominated for two Patrick received his M.Mus. in conducting separate projects, and Seraphic Fire was the from the Yale School of Music, his B.A. in only choir in North and South America to musicology from the University of Notre receive a nomination. Under his direction, Dame, and is Seraphic Fire has released eleven recordings a graduate of on the Seraphic Fire Media label, with two the Indiana additional recordings forthcoming this year. U n i v e r s i t y In the past three years, Seraphic Fire has had Center on albums enter the top ten on both the Billboard Philanthropy’s and iTunes classical charts—including the Fu n d r a i s i n g ensemble’s 2010 release of Monteverdi’s Vespers School. of the Blessed Virgin (1610), which reached the number one position on the iTunes classical music charts. 2012 saw Patrick making guest appearances with the San Francisco Symphony’s Community of Music Makers series, Cincinnati’s professional Vocal Arts Ensemble, and two separate appearances with the San Antonio Symphony. With Seraphic Fire, Patrick will conduct over 60 performances across the United States. 5

Spektral Quartet

Founded in 2010, the Spektral Quartet is widely regarded as one of Chicago’s leading chamber ensembles specializing in new music. Now in its fourth season, the quartet serves as ensemble-in-residence at the University of Chicago and is about to unveil the second of three full-length albums recorded this year. Since its inception, the Spektral Quartet has sought out the discourse between the masterworks of the traditional canon and those written this decade, this year, or this week. Rather than simply pairing Brian Ferneyhough with Josef Haydn or Thomas Adès with Béla Bartók, though, the group offers listeners an even more elastic and absorbing experience through its Sampler Pack concert format. For these performances, a regular fixture of the quartet’s seasons, shorter works and single movements are curated in a setlist containing a menagerie of musical styles, spanning centuries. The unexpected similarities and enticing contrasts between two or three composers becomes a conversation between twelve. The 2013/14 season finds the group venturing into another bold endeavor at the intersection of music and everyday life with Mobile Miniatures. For it, forty composers from across the US including David Lang, Augusta Read Thomas, Nico Muhly and Shulamit Ran were commissioned to write ringtone-length pieces for the Spektral Quartet to workshop, 6

record and make available to the public for download to mobile devices. In addition to its coaching duties at the University of Chicago, the Spektral Quartet presents dynamic workshops and masterclasses at institutions such as Northwestern University, The University of Wisconsin at Milwaukee, Illinois State University and Lawrence University. In 2014, the quartet is invited to join the Rush Hour Series’ Backof-the-Yards project, which will offer yearlong music education and outreach in one of Chicago’s most under-served neighborhoods. The 2013/14 season saw the launch of the Spektral Quartet’s debut album, Chambers (Parlour Tapes+). Featuring new works by Chicago composers Marcos Balter, Eliza Brown, Chris Fisher-Lochhead, Ben Hjertmann, Hans Thomalla and Liza White, Chambers is emblematic of the quartet’s insatiable appetite for new work and an affirmation of the quality of composition emanating from the city today. The ensemble’s second album, a Latin jazz collaboration with bandoneon/accordion virtuoso Julien Labro is slated for release in May 2014 on Azica Records. In November of 2013, the Spektral Quartet traveled to Switzerland and France to perform and record Ernest Chausson’s Concerto for violin, piano and string quartet, Op. 21 with violinist Rachel Kolly d’Alba and pianist Christian Chamorel for the Warner Classics label.

Musician Biographies James K. Bass, bass-baritone, is director of choral studies in the School of Music at the University of South Florida and the artistic director of the Master Chorale of Tampa Bay. James was selected by the master conductor of the Amsterdam Baroque Soloists, Ton Koopman, to be one of only 20 singers for a presentation of Cantatas by J.S. Bach in Carnegie Hall, and was an auditioned member of Robert Shaw’s workshop choir at Carnegie. He has prepared choirs for Sir Colin Davis, Sir David Willcocks, Jahja Ling, Michael Tilson Thomas, Gerard Schwarz, Giancarlo Guerrero and Robert Shaw among others. James received the doctor of musical arts degree from the University of Miami– Florida, where he was a doctoral fellow. John Buffett, baritone, has sung with the opera companies of Utah, Sarasota, Utah Festival Opera, The Boston Early Music Festival, the Ohio Light Opera and Eastman Opera Theater. On the concert stage he has performed with the symphonies of Utah, San Antonio, and Syracuse, the Rochester Philharmonic, Apollo’s Fire, Ars Lyrica and the Mark Morris Dance Group. Other career highlights include appearances at the Tanglewood Music Festival and the Mostly Mozart Festival at Lincoln Center.

Megan Chartrand, soprano, feels equally at home singing early music, art song, chamber music, and choral repertoire. Her 2013-14 season will bring her première at the Lincoln Center, singing Dalilah in Handel’s Samson with the American Classical Orchestra, and back to her home province of Alberta as the soprano soloist in Haydn’s Missa in Angustiis with Luminous Voices. This is Megan’s first season singing with Seraphic Fire. An avid chorister, she has sung numerous concerts with professional choirs throughout Canada and the United States including Pro Coro Canada, Scona Chamber Singers and the Yale Schola Cantorum. Highlights of previous seasons include Handel and Mozart arias with the Edmonton Symphony Orchestra, Handel’s Crudel Tiranno Amor with the Alberta Baroque Ensemble, Eve in Haydn’s Die Schöpfung and Bach’s B Minor Mass with Yale Schola Cantorum.

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Musician Biographies Amanda Crider, mezzo-soprano, has sung with numerous opera companies across the US including the Dallas Opera, New York City Opera, Florida Grand Opera, Glimmerglass Opera, Opera Boston, Opera Omaha, Des Moines Metro Opera, Anchorage Opera, Gotham Chamber Opera, and Eugene Opera. She has also appeared as a soloist with ensembles including Charlotte Symphony Orchestra, Eugene Symphony, New World Symphony, Apollo’s Fire, Bach Festival Society of Florida, Charleston Symphony Orchestra, and the International Contemporary Ensemble. Amanda has been a prize winner and finalist in many competitions, including the José Iturbi International Voice Competition, Jensen Foundation Voice Competition, Joy in Singing Debut Artist Competition, Connecticut Opera Guild Competition, Shreveport Opera Singer of the Year Competition, Palm Beach Opera Vocal Competition, Oratorio Society of New York Vocal Competition, Center for Contemporary Opera Competition, and is a recipient of a Richard F. Gold Career Grant from the Shoshana Foundation. Mela Dailey, soprano, has command of both her instrument and the stage: the 2005 National Federation of Music Clubs Young Artist Winner in Woman’s Voice, 2005 Metropolitan Opera District Winner and Mid-South Regional Finalist, 2006 International Opera Singer Competition Finalist, 2007 Gerda Lissner Foundation Competition Career Encouragement Grant Winner, a Rosenblatt Award winner of the 2006 Connecticut Opera Guild Young Artist Competition, and 2007 GRAMMY® Award nominee. Mela (mee-la) has received recognition in a wide variety of musical genres including opera, oratorio, art song, musical theater, vocal jazz, gospel, country, and popular music. Brad Diamond, tenor, is equally adept in the genres of opera, oratorio and song literature. Brad has presented over 400 solo vocal performances in works by Cavalli, Monteverdi, Bach, Handel, Haydn, Mozart, Beethoven, Schubert, Rossini, Berlioz, Orff, Bartok, Janacek and Britten with symphony orchestras and opera companies across North America and Europe. He completed his bachelor of music degree from Westminster Choir College in Princeton, NJ in 1991. He received his master’s and doctorate degrees from the University of Cincinnati’s College Conservatory of Music between 1993 and 2004. Brad currently holds the position of assistant professor of Voice at the University of South Florida.

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Musician Biographies Charles Wesley Evans, baritone, has been applauded by The New York Times for his “elegant and mellifluous tones” and as “the peak of the night’s solo work” by the Miami Herald. With a range of genres spanning from baroque to jazz and R&B, he has performed with The Trinity Choir of Trinity Wall Street, Clarion Choir, TENET Ensemble, Conspirare, Berkshire Baroque, Princeton Pro Musica, San Antonio Symphony Orchestra, Delaware Valley Philharmonic and the Dryden Ensemble. Charles earned his bachelor of music from Brewton-Parker College in Mt. Vernon, Ga., with further study at the Boston Conservatory and Westminster Choir College of Rider University. Estelí Gomez, soprano, is quickly gaining recognition as a stylish interpreter of early and contemporary repertoires. She has been praised for her “clear, bright voice” (The New York Times) and “artistry that belies her young years” (Kansas City Metropolis). In 2011, Estelí was awarded first prize in the Canticum Gaudium International Early Music Vocal Competition in Poznań, Poland, and returned in 2012 as soprano soloist for Handel’s Messiah in the 10th International Festival of Boy Choirs. An avid performer of early and new music, Estelí can be heard on the JUNO-nominated recording Salsa Baroque with Montrealbased Ensemble Caprice, as well as the self-titled debut album of new music vocal octet Roomful of Teeth, for which composer Caroline Shaw was awarded the 2013 Pulitzer Prize. Originally from Santa Cruz, California, Estelí received her bachelor of arts with honors in music from Yale College, and master of music from McGill University, studying with Sanford Sylvan. She currently travels and performs full-time. (esteligomez.com) Sara Guttenberg, soprano, sings with professional choirs across the United States. Notable accomplishments include solos with the Oregon Bach Festival and a featured ensemble solo on the Grammy-winning recording of Bolcom’s Songs of Innocence and of Experience. Sara is on the voice and choral conducting faculty at Southern Utah University.

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Musician Biographies Patrick Muehleise, tenor, is rapidly gaining attention in the US as a versatile performer in both operatic and concert repertoire. Currently based in Chicago, Patrick collaborates with companies throughout the country, such as the Santa Fe Desert Chorale, Spire Chamber Ensemble, Haymarket Opera, Santa Fe Opera, Chicago Arts Orchestra, and the Tucson Chamber Artists. His recent engagements include Bach’s St. Matthew Passion, Mozart’s Mass in C minor and Coronation Mass, Purcell’s Dido and Aeneas, Handel’s Messiah, Copland’s The Tender Land, and Britten’s Albert Herring. This season will include performances of David Lang’s Little Match Girl Passion with Bella Voce Camerata, Wagner’s Parsifal with the Lyric Opera of Chicago, Bach’s Magnificat, Haydn’s Creation, and Mozart’s Coronation Mass with Music of the Baroque. Dan Moore, baritone, earned his bachelor of music at Temple University where he studied voice with renowned baritones Dr. William Stone and bass-baritone Eric Owens. He is currently pursuing a master of music at Yale University where he is also a member of the Institute of Sacred Music’s voice program in early music, oratorio and chamber ensemble, studying under tenor James Taylor. Other than Seraphic Fire, Dan enjoys singing with such ensembles as St. Thomas 5th Ave Choir of Men and Boys, Yale Schola Cantorum, New Haven-based American Baroque Orchestra, and Spire Chamber Ensemble in Kansas City. Jessica Petrus, soprano, has been praised for her “impressive clarity and color”(New York Times) and for her “brilliant, agile soprano”(San Diego Story). Highlights for her 2013-2014 season include solo and ensemble appearances with the Handel and Haydn Society, Yale Choral Artists, Tuscon Chamber Artists, Oratorio Chorale of Maine, The Broken Consort, Staunton Music Festival, Seraphic Fire, Central Virginia Chamber Music Society, Cantata Profana, and Skylark Vocal Ensemble. She is a graduate of the Yale Institute of Sacred Music’s Oratorio, Art Song, and Chamber Ensemble program and now lives in Cambridge, MA. www.jessicapetrus.com.

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Musician Biographies Angela Young Smucker, mezzo-soprano, has received critical acclaim for her “rich, secure mezzo-soprano” (Chicago Tribune) and “show-stopping” voice (The St. Paul Pioneer Press). Ms. Smucker continues to build a reputation for her “discerning interpretation” (SanDiego.com) of the works of J.S. Bach and is a recent Virginia Best Adams Master Class Fellow (Carmel Bach Festival). Highlights of the 2013-14 season include debut performances with Les Délices, New Comma Baroque, and Music of the Baroque, a world premiere of a new Robert Kyr composition paired with Bach’s Christmas Oratorio under the baton of James Kallembach, and return appearances with the Haymarket Opera Company, Newberry Consort, Bach Collegium San Diego, Bella Voce, and Seraphic Fire. (www.mezzoangela.com) Steven Soph, tenor, performs as a soloist and chamber musician throughout the United States. 2013 marked his Cleveland Symphony solo debut under Ton Koopman in an all-Handel program in Severance Hall. Recent highlights include: Evangelist in Bach’s St. John Passion with Chicago Chorale, arias in Bach’s St. Matthew Passion with Voices of Ascension, NYC, as well as with the Colorado Bach Ensemble, and Young American Artist performances with the City Choir of Washington D.C. Steven performs with Seraphic Fire, Conspirare, Yale Choral Artists, Musica Sacra, Tuscon Chamber Artists, Cut Circle, Spire, and Sounding Light. He is a graduate of the University of North Texas and Yale School of Music.

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Musician Biographies Virginia Warnken, mezzo-soprano, is hailed by The New York Times as an “elegant,” “rich-toned alto” with a “riveting presence”. She is known throughout the American Early Music community for her heartfelt interpretations of the works of Bach and Handel. Virginia has been featured as a soloist with GRAMMY®nominated ensembles Seraphic Fire and the Trinity Wall Street Choir, TENET, Carmel Bach Festival, Green Mountain Project, Clarion Music Society, Musica Sacra, Oratorio Society of New York, Yale Schola Cantorum, Juilliard 415, and Vox Vocal Ensemble, and has worked with conductors such as Masaaki Suzuki, Nic McGegan, Kent Tritle, Patrick Dupré Quigley, Steven Fox, Stefan Parkman, Andrew Megill, Julian Wachner, and more. In the 2013-2014 season, Virginia will make her Lincoln Center solo debut as Micah in Handel’s Samson with the American Classical Orchestra, and will also join the highly distinguished roster of soloists of Philharmonia Baroque in Vivaldi’s Juditha Triumphans, both led by Nic McGegan. In recent seasons, she has appeared on the main stage of Carnegie Hall as the alto soloist in Bach’s B minor Mass, Handel’s Messiah, and Mozart’s C minor Mass. Virginia is also an advocate of contemporary music, and has performed and premiered works by numerous prominent composers including Louis Andriessen, Caleb Burhans, Merrill Garbus of tUnE-yArDs, Judd Greenstein, Missy Mazzoli, and Steve Reich. She is a member of the widely acclaimed groundbreaking vocal octet Roomful of Teeth, described by WQXR (NYC’s leading classical music radio station) as being “the future of vocal music,” integrating western and non-western vocal techniques such as Tuvan throat singing, Inuit throat singing, yodeling, high Bulgarian belting, and Korean P’ansori, and collaborating with composers to forge a new repertoire for the voice using an expanded sound palette.

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