The Bach Festival Society of Winter Park’s mission is to inspire the human spirit through extraordinary music, featuring powerful choral performances and innovative programming that celebrates the legacy of J.S. Bach. The 91st Season will showcase a dynamic array of world-class musicians and vocalists performing classical masterworks and contemporary compositions that will delight, challenge, and inspire listeners.
Photo credit: Scott Cook
OFFICERS
Dr. John W. Schott, M.D., President
Mr. Richard O. Baldwin, Jr., Vice President
Mr. Michael J. Kakos, Treasurer
Mrs. Beverly J. Slaughter, Secretary
TRUSTEES
Dr. Jefferson S. Flowers
Dr. B. Grant Hayes
Kelly Rai Light, Marketing Manager
The Hon. Cynthia Mackinnon
Dr. William C. Oelfke
Mr. Victor Alexander Tiedtke
TRUSTEES EMERITI
The late M. Elizabeth Brothers
J. Michael Murphy
The late Rev. Eric Ravndal, III
STAFF
Dr. John V. Sinclair, Artistic Director and Conductor
Kathy Johnson Berlinsky, Executive Director
Rhonda Burnham, Artistic Manager
Sondra Jones, Education Manager
Kelly Raia Light, Marketing Manager
Savanna Huls, Operations Manager
Steven Branstetter, Business Manager
Luke Noles, Administrative Coordinator
Regunia Griggs, Choir Liaison
Lynn Peghiny, Bach Choir Accompanist
Rebecca Hammac, Youth Choir Director
Vivian Cook, Young at Heart Choral Director
Sofia Cardi Bonfil, Youth Choir and Young at Heart Choral Accompanist
Major Support Provided By
Our 91st Season is supported by many generous individual donors as well as Orange County Government through the Arts & Cultural Affairs program; United Arts of Central Florida, your local agency for the arts; Elizabeth Morse Genius Foundation; Dr. Phillips Charities; Elinor & T.W. Miller Foundation; Pabst Steinmetz Foundation; Winifred Johnson Clive Foundation; AdventHealth; Edyth Bush Charitable Foundation; Florida Department of State, Division of Arts and Culture; The Joe & Sarah Galloway Foundation; and Rollins College.
JOHN V. SINCLAIR
ARTISTIC
DIRECTOR AND CONDUCTOR
John V. Sinclair has established a national reputation as one of the leading conductors of choral masterworks while locally being known as one of the hardestworking and in demand artists of the Central Florida cultural community. In his 36th season as Artistic Director and Conductor of the Bach Festival Society, he has broadened the society’s musical offerings of masterworks by both classical and contemporary composers into the repertoire of the Society while perpetuating his reputation as a scholarly interpreter of J.S. Bach’s music. He continues his imaginative programming, creative interpretations, and expressive conducting.
Dr. Sinclair, known as a master teacher, is Director of Music at Rollins College and holds the John M. Tiedtke Endowed Chair. As a career educator, Sinclair keeps the Society’s educational focus vital by providing a broad range of musical programs and experiences for individuals of all ages. As a conductor who is equally adept at directing choral and orchestral music, he has been referred to as Central Florida’s “resident conductor”. He has appeared as conductor for more than a thousand EPCOT Candlelight performances in addition to his work as a clinician and lecturer. The Bach Festival, under his leadership, has achieved international recognition by touring in Europe, producing nationally released CDs and broadcasts, and performing with the London Symphony Orchestra and the Royal Philharmonic Orchestra during their Florida residencies.
credit: David Bean
Dr. Sinclair holds a masters and doctoral degree from the University of Missouri-Kansas City’s Conservatory of Music. His undergraduate school, William Jewell College honored him with its most prestigious Citation for Achievement. In addition to editing and interpreting historical choral works through the Moravian Music Foundation, he has authored an anecdotal book entitled Falling Off the Podium and Other Life Lessons. The late Wall Street Journal’s arts critic, Terry Teachout wrote, “John is a gifted conductor, a great educator, and the best of all possible colleagues.” He has twice been named “Outstanding Educator of the Year” by United Arts of Central Florida and was listed as a state of Florida “Power Player in the Arts” by the Florida International Magazine. Most recently he was honored as one of the “10 All-Time Influentials,” chosen from 10-years of accumulated Winter Park Magazine honorees. For more than three decades, John Sinclair has shared his talent and dedication to musical excellence with the Central Florida community and beyond.
Photo
Photo credit: Mary Kent
Bach Festival Society of Winter Park Presents
DANIEL ADAM MALTZ, FORTEPIANO
John V. Sinclair, conductor
Bach Festival Chamber Choir and Orchestra | Caitlin Mohr, soprano
October 19, 2025 | 3:00pm | Tiedtke Concert Hall
P R O G R A M
Te Deum, Hob XXIIIc (8’)
I. Allegro Moderato
II. Adagio
III. Allegro
Piano Sonata No. 17 in B-flat Major, K. 570, Allegro
Daniel Adam Maltz, fortepiano
Chorus: Ricevete, o padroncina from Le nozzi di Figaro, K. 492 (Receive, o young mistress)
Aria: Una donna a quindici anni from Cosí fan tutti, K. 588 (At fif teen a woman should know)
Caitlin Mohr, soprano
Franz Joseph Haydn
Mozart
Piano Sonata No. 17, K. 570, Adagio
Aria: Porgi, amor, qualche ristoro from Le nozzi di Figaro, K. 492 (O, love, bring some relief)
Chorus: O Isis und Osiris, welche Wonne! from Die Zauberflöte, K. 620 (O Isis and Osiris, grant the spirit of wisdom)
Aria: Dove sono from Le nozzi di Figaro, K. 492 (Where are those happy moments?)
Piano Sonata No. 17, K.570, Allegretto
Aria: Vado, ma dove? O Dei!, K. 583 (I go, but where, Ye gods?)
Chorus: Godiam la pace from Idomeneo, K. 366 (Let us enjoy peace)
Maya Clausen, Victoria Prefost, John Niss, Michael Creighton – soloists
I N T E R M I S S I O N
W.A.
Andante ‘favori’ in G Major, WoO 57 (10’)
Andante grazioso con moto
Ludwig van Beethoven
Daniel Adam Maltz, fortepiano
Symphony No. 92 in G Major (Oxford) (25’)
I. Adagio – Allegro spiritoso
II. Adagio
III. Minuet – Trio
IV. Finale. Presto
FOR ADDITIONAL information about this performance, click here to view the digital program.
Franz Joseph Haydn
Please turn off cell phone and electronic devices prior to the start of this performance. The Bach Festival Society’s policies strictly prohibit photography, filming, or recording of any kind during performances without the express written permission of the Society.
DANIEL ADAM MALTZ, FORTEPIANO
Daniel Adam Maltz, based in Vienna, Austria is the leading fortepianist of his generation and is a much sought-after soloist, director, and Lied accompanist, performing in 50+ cities every year. He is also an esteemed educator, visiting 40+ universities as a guest artist and clinician.
Daniel specializes in Viennese Classicism — especially the works of Haydn, Mozart, and Beethoven — performed on the Viennese fortepianos of their time and brings his expertise in the Viennese sound, culture, philosophies, and performance practices of the Classical era to his interpretations. Daniel hosts Classical Cake, a podcast about Viennese classical music and culture. “Maltz is a marvelous and sincere artist... He is careful and deliberate, yet his performance also projects the dramatic intent, musical personality, warmth, and even the humor we find in the scores.” (Marblehead Current)
Daniel studied fortepiano performance at the Universität für Musik und darstellende Kunst in Vienna and the Royal Academy of Music in London. He refined his command of historical practices through private study with Andreas Staier and Ingomar Rainer and made his Carnegie Hall (Weill) debut at age 22.
CAITLIN MOHR, SOPRANO
Caitlin Mohr’s “powerful and expressive” (Boston Musical Intelligencer) soprano and commanding stage presence have made the East Coast native a sought-after performer. She has appeared with orchestras across Central Asia, Europe, and North America, in repertoire ranging from oratorio and concert works to opera and musical theater.
As a versatile soprano soloist, Mohr has interpreted a broad array of oratorio masterpieces including Mozart's Requiem, Rutter’s Requiem, Schubert's Mass in G, and The Armed Mass for Peace by Karl Jenkins. She was lauded as “the most expressive actor” for her portrayal of Abra in Vivaldi’s Judith Triumphans (Orlando Sentinel) with the Bach Festival Society of Winter Park, and was featured in Christoph Graupner’s ‘Magnificat’ and also in ‘Evenstar,’ from the ‘Lord of the Rings’ movie ‘The Two Towers.’ Mohr most recently performed Handel’s Messiah at the Steinmetz Hall in November 2023.
From the historic churches of Italy to the vibrant cultural scenes of Turkmenistan, Caitlin continues to captivate audiences worldwide. Mohr performed with the State Symphony Orchestra of Turkmenistan in Central Asia, commemorating Leonard Bernstein’s Centennial, conducted by Michael Lewanski (Ensemble dal Niente). In Italy and Bulgaria, she was featured in the Mozart Requiem under the baton of Gregory Buchalter.
Caitlin Mohr is celebrated for her innovative curation of art song recitals, where she brings a thoughtful approach that invites listeners into the stories and emotions of each piece. Recent recitals include American Songbook: Bernstein & Copland, Timeless Voices, Sehnsucht, A Celebration of Women Composers, Ladies of Note, Courageous Voices and a lecture recital called Art Songs & Spirituals of African American Women featuring Rollins alumni.
Caitlin Mohr completed her undergraduate musical studies at Davidson College (B.A.), continuing with a M.M. at Longy School of Music of Bard College, and completed her D.M.A. at the University of
Photo credit: Courtesy of the Artist
Photo credit: Kristia Knowles
North Texas. Dr. Mohr is an Associate Professor of Music (Voice) at Rollins College where she teaches classes including Women in Music, Health & the Musician, Singing Diction, and is the director of opera productions. She has completed her certification in The Lovetri Institute for Somatic Voicework™ for Commercial Music styles and currently serves as the President of the Central Florida Chapter of NATS. Caitlin maintains a private voice studio in Winter Park, Florida.
TE DEUM, HOB XXIIIC, FRANZ JOSEPH HAYDN
I. Praise to the Trinity (Allegro)
We praise thee, O God: we acknowledge Thee to be the Lord. All the earth doth worship Thee, the Father everlasting. To Thee all Angels cry aloud: the Heavens and all the powers therein. To Thee Cherubim and Seraphim continually do cry, Holy, Holy, Holy: Lord God of Sabaoth; Heaven and earth are full of the Majesty of Thy Glory. The glorious company of the Apostles praise Thee. The godly fellowship of the Prophets praise Thee. The noble army of Martyrs praise Thee. The holy Church throughout all the world doth acknowledge Thee; The Father of an infinite Majesty; Thine honourable, true, and only Son; Also the Holy Ghost: the Comforter.
II. Praise of Christ (Adagio)
Thou art the King of Glory, O Christ. Thou art the everlasting Son of the Father. When Thou tookest upon Thee to deliver man: Thou didst not abhor the Virgin's womb. When Thou hadst overcome the sharpness of death, Thou didst open the Kingdom of Heaven to all believers. Thou sittest at the right hand of God in the glory of the Father. We believe that Thou shalt come to be our Judge. We therefore pray Thee, help Thy servants whom Thou hast redeemed with Thy precious blood. Make them to be numbered with Thy Saints in glory everlasting.
III. Prayers (Allegro moderato)
O Lord, save Thy people: and bless Thine heritage. Govern them and lift them up for ever. Day by day we magnify Thee; and we worship Thy Name, ever world without end. Vouchsafe, O Lord, to keep us this day without sin. O Lord, have mercy upon us. O Lord, let Thy mercy lighten upon us: as our trust is in Thee. O Lord, in Thee have I trusted: let me never be confounded.
CHORUS RICEVETE, OH PADRONCHINA
(Receive, oh young mistress) from The Marriage of Figaro
CONTADINELLE
PEASANT GIRLS
Ricevete, oh padroncina, Receive, o noble lady, queste rose e questi fior, These roses and these flowers, che abbiam colti stamattina Which we have picked this morning per mostrarvi il nostro amor. To show you our affection Siamo tante contadine, We are only humble girls e siam tutte poverine, from the village, ma quel poco che rechiamo but the little that we can give ve lo diamo di buon cor. We offer with all our hearts.
ARIA UNA DONNA A QUINDICI ANNI
(At fifteen a woman should know) from Cosi Fan Tutti
DESPINA DESPINA
Una donna a quindici anni
At fif teen a woman Dèe saper ogni gran moda, should know the ways of the world, Dove il diavolo ha la coda, where the devil keeps his tail Cosa è bene e mal cos’è. What is right and what is wrong.
Dèe saper le maliziette
She should the wiles Che innamorano gli amanti, that ensnares lovers, Finger riso, finger pianti, how to feign laughter or tears Inventar i bei perché. And to make up good excuses.
Dèe in un momento
At one and the same moment Dar retta a cento; she must listen to a hundred Colle pupille but speak with her eyes Parlar con mille; to a thousand, Dar speme a tutti, hold out hope to all, Sien belli o brutti; be they handsome or plain, Saper nascondersi know how to hide things Senza confondersi; without getting flustered, Senza arrossire know how to tell lies, Saper mentire; without every blushing. E, qual regina And, like a queen Dall’alto soglio, on her lofty throne, Col «posso e voglio» get her own way Farsi ubbidir. With “I can” and “I will” fra sé Aside
Par ch’abbian gusto It seems they’re taking Di tal dottrina. To this doctrine; Viva Despina Hooray for Despina, Che sa servir! She knows how to do it.
ARIA PORGI, AMO QUATCHE RISTORO
(O love, bring some relief) from The Marriage of Figaro
LA CONTESSA COUNTESS
Porgi, amor, qualche ristoro O love, bring some relief al mio duolo, a’ miei sospir. To my sorrow, to my sighs; O mi rendi il mio tesoro, O give me back my loved one o mi lascia almen morir. Or in mercy let me die.
CHORUS O ISIS UND OSIRIS, WELCHE WONNE?
(O Isis and Osiris, bestow the spirit of wisdom) from The Magic Flute
SARASTRO und CHOR
O Isis und Osiris schenket
SARASTRO and CHOR
O Isis and Osiris, bestow Der Weisheit Geist dem neuen Paar!
The spirit of wisdom on this Die ihr der Wandrer Schritte lenket, young couple! Stärkt mit Geduld sie in Gefahr -
You who guide the wanderers’ steps, Lasst sie der Prüfung Früchts sehen.
Strengthen them with patience in danger. Doch sollten sie zu Grabe gehen,
CHOR So lohnt der Tugend kühnen Lauf,
Let them see the fruits of trial; Nehmt sie in euern Wohnsitz auf.
SARASTRO
yet if they should go to their deaths, then reward the bold course of virtue: receive them into your abode.
CHOR
Receive them into your abode.
ARIA DOVE SONO
(Where are those happy moments?) from The Marriage of Figaro
Dove sono i bei momenti
Where are those happy moments di dolcezza e di piacer, of sweetness and pleasure? dove andaro i giuramenti
Where have they gone, di quel labbro menzogner?
Those vows of a deceiving tongue? Perché mai se in pianti e in pene
Then why, if everything for me per me tutto si cangiò, is changed to tears and grief, la memoria di quel bene has the memory of that happiness dal mio sen non trapassò?
Not faded from my breast? Ah! Se almen la mia Costanza
Ah! If only my constancy nel languire amando ognor, in yearning lovingly for him always mi portasse una Speranza could bring the hope di cangiar l’ingrato cor.
Of changing his ungrateful heart!
ARIA VADO, MA DOVE? OH DEI!
(I go, but where? Oh God!)
Vado, ma dove? Oh Dei!
I go, but where? Oh God! Se de' tormenti suoi, if for his torments, se de' sospiri miei if for my sighs non sente il ciel pietà!
Heaven feels no pit y!
Tu che mi parli al core,
You who speak to my heart, Guida i miei passi, amore;
Guide my steps, my love; Tu quel ritegno or togli you take away that restraint Che dubitar mi fa. That makes me doubt.
CHORUS GODIAM LA PACE
(Let us enjoy peace) from Idomeneo
CHORUS OF TROJANS AND CRETANS
Godiam la pace, Let us enjoy peace, Trionfi amore: Let love triumph; Ora ogni core Now let ever y heart Giubilerà. will rejoice.
TWO CRETANS
Grazie a chi estinse
Thanks to him who extinguished Face di guerra; the torches of war, Or si la terra now the land Riposo avrà. can have peace.
TUTTI
Godiam la pace, ecc.
TWO TROJANS
Let us enjoy peace, etc.
A voi dobbiamo We owe our liberty Pietosi Numi! to you, E a quei bei lumi merciful gods, La libertà. and to those lovely eyes.
TUTTI
Godiam la pace, ecc.
Let us enjoy peace, etc.
Bach Festival Society of Winter Park Presents
VOCTAVE: CELEBRATING THE 10TH ANNIVERSARY SEASON
Saturday, October 25, 2025 * 7:30pm | Steinmetz Hall
P R O G R A M
Tonight’s program will be announced from the stage
VOCTAVE Members
Kate Loft
Tiffany Coburn
Ashley Espinosa
Sarah Whittemore
Chrystal Johnson
E.J. Cardona
Drew Ochoa
Jamey Ray
Kurt von Schmittou
John Harrigan
Karl Hudson
Please turn off cell phone and electronic devices prior to the start of this performance. The Bach Festival Society’s policies strictly prohibit photography, filming, or recording of any kind during performances without the express written permission of the Society.
FOR ADDITIONAL information about this performance, click here to view the digital program.
VOCTAVE
Voctave is a dynamic 11-member a cappella group hailing from Central Florida, renowned for their intricate and captivating vocal arrangements. Founded in the winter of 2015 by esteemed producer and arranger Jamey Ray, Voctave brings together a rich tapestry of musical backgrounds. The group’s members have performed globally and contributed to numerous recordings, showcasing their versatile talent. They have collaborated with a host of Grammy, Dove, and American Music Award winners, earning acclaim for their exceptional performances. They are proudly represented by Opus 3 Artists management, a testament to their esteemed place in the music industry.
Their impressive discography boasts multiple #1 songs and albums on platforms like iTunes, Amazon, and Spotify, and they have made significant strides on Billboard Magazine’s charts, ranking in the top 25. With over 200 million views across social media platforms, Voctave’s impact on the a cappella scene is undeniable. Their albums are widely available on all digital music and streaming platforms, allowing fans worldwide to experience their stunning vocal artistry.
This festive concert, featuring fan favorites and highlights from their recent tour in Japan, begins Voctave’s 10th Anniversary Season.
Photo credit: Courtesy of the Artist
KATE LOTT – SOPRANO 1
Kate has traveled the world with her voice, and she began with a broad variety of roles in Regional Theaters around the country before moving to Orlando more than a decade ago. Honoring her BFA in Musical Theatre from Shenandoah University, Walt Disney Entertainment invited Kate to move to Orlando, Florida, where she has been singing First Soprano with the Voices of Liberty for over ten years. As a soloist, Kate has sung the National Anthem for the Atlanta Braves, Run Disney, and President Barack Obama. Her signature high notes have been captured on multiple studio recordings. She and her husband Rob reside in Windermere, Florida with their dog, Leo.
TIFFANY COBURN – SOPRANO 2
Tiffany Coburn has been called a singer’s singer! Her love of music is undeniable. Whether you hear her singing with Voctave or performing her own gospel concerts, your heart will be moved by her voice. Her career has been filled with “pinch me” moments!
At the age of 17, she began the “tour” life beginning with the Continental Singers and Orchestra. She has toured with TRUTH, Larnelle Harris and Sandi Patty just to name a few. She has had the privilege of performing as a soloist with the Boston Pops, the Orlando and Charlotte Philharmonic Orchestras, appeared at Lincoln Center, Carnegie Hall and sang for the closing ceremonies of the Special Olympics. She represented the United States at the April Spring Friendship Festival in Pyongyang, North Korea against 40 other countries and brought home First Place Honors. Tiffany was a member of EPCOT’s Voices of Liberty for over 25 years, recorded the theme song “Share a Dream Come True” for Disney’s 100 Years of Magic,” as well as recordings for parades, stage shows and special events for Disney World as well as the other parks worldwide. She became a Dove Award Nominated Artist with her most recent recording “You Are More” in the categories of Inspirational “Album of the Year” and Grass Roots “Song of the Year.” She currently lives in Clermont, FL with her husband of 31 years.
ASHLEY ESPINOZA – SOPRANO/ALTO
Ashley Espinoza lives in Florida with her husband, Christian and children, and is a singer with the Voices of Liberty at Walt Disney World. In her spare time, she is a studio singer, and she records and travels with the viral group, Voctave. She has a Bachelor of Arts degree in music with an emphasis in Vocal Performance, & discovered barbershop at her college, Vanguard University of Southern California. In the past she has been a member of the Harborlites Chorus, Hypnotic, Vogue (2010 Rising Star Champions), Charmed, and Windsor. Along with her love for music, she also enjoys reading, loves cats, and is enjoying learning how to be a good wife & mother.
SARAH WHITTEMORE – ALTO 1
Sarah Whittemore originally hails from Greensboro, North Carolina. Growing up, her passion and talent for singing was apparent, whether in touring children’s choirs, cantering at church, or singing in her own jazz trio. For the past 19 years, she has called Central Florida her home, establishing herself as a premiere live and studio vocalist. Sarah’s signature silky sound can be heard in the world-renowned a cappella group, Voctave. Sarah’s other a cappella accolades stem from her time spent with the Voices of Liberty at Walt Disney World.
Sarah is a highly sought after entertainer, lending her velvety vocals as a guest artist with the Orlando Philharmonic, the Hendersonville Symphony Orchestra, and as a featured soloist at Carnegie Hall and Lincoln Center. While Sarah loves live performance, her talents extend to the studio as well. She has made a name for herself as a veteran of the session world, singing for hundreds of projects. Highlights include recordings for Tokyo Disney Sea, Tokyo Disneyland, Disney Cruise Line, Disney Springs, Norwegian Cruise Line, Hong Kong Disneyland, Disneyland Paris, EPCOT, Disney’s Hollywood Studios, Magic Kingdom, Universal Studios Japan, Purina Dog Show, Nickelodeon, FELD Entertainment, Philadelphia Cherry Blossom Festival, Motiongate Dubai, Hal Leonard, Excelcia Music Publishing, Timeless Psalter & Commentary Project, and albums for Jon Anderson of “Yes” and Broadway’s Marty Thomas. Sarah’s debut solo recording, “Love Song” EP, released on February 5th, 2021. It marks her debut as a solo artist and showcases her vocal jazz bona fides. Most recently, Sarah has expanded her musical reach as a songwriter with Excelcia Publishing and upcoming projects.
CHRYSTAL JOHNSON – ALTO 2
Chrystal Johnson is an accomplished singer and actress who is a 14-year veteran of Disney World’s famed “Voices of Liberty” at Epcot, a lead performer in Disney’s Festival of The Lion King, and many other venues throughout Greater Orlando, Florida. She was raised in the Great Smokey Mountains of North Carolina, where she began her singing career and received a degree in Public Relations and Religion from Lee University in Cleveland, Tennessee. While at Lee, she was a premier singer for the “The Voices of Lee,” where she recorded with numerous artists as well as toured the world with the popular gospel group The Gaithers. She currently resides in Florida with her husband and four children.
E.J. CARDONA – TENOR 1
Born and raised in Orlando, FL, E. J. has performed all over the world in a variety of ensembles and venues. Some of his favorite theatrical credits include, The Hunchback of Notre Dame (Voice of Quasimodo), West Side Story (Chino) and In the Heights (Piraguero) at Musical Theatre West. In his many years with Walt Disney World Entertainment, he has performed featured roles in Finding Nemo: The Musical (Crush), High School Musical 3: Senior Year and various Special Events.
As a session vocalist, he has recorded in studios such as Capitol Records, The
Imagination House, Roy O. Disney Studios, Jim Henson Studios and many more.
E.J. was a contestant in the premier season of The X Factor (FOX), the first winner of Orlando Idol (FOX) and was seen in GAP’s holiday commercial (national). He has sung background vocals for SuperFruit, Jordan Fisher (ABC), Shoshana Bean, Jackie Evancho, Chris Daughtry and others. E.J. has a passion for a cappella music, performing/collaborating with groups such as Pentatonix, The Voices of Liberty (Disney), The American Music Machine. He is also a Director of Live Entertainment at Hawkmoon Creative!
Much love to my entire world, Lindsay and Leo!
DREW OCHOA – TENOR 2
Originally from Ohio, Drew relocated to Orlando, FL to pursue an entertainment career with Walt Disney World. He is a full-time member of The Voices of Liberty and can sometimes be found hanging around with The Dapper Dans. Drew holds a BA in Music Education from Bowling Green State University and a MM in Voice Performance from Roosevelt University. He is an avid a cappella singer in the barbershop style winning the 2018 International Barbershop Quartet Contest with his quartet, After Hours.
JAMEY RAY – TENOR 3/ARRANGER
A native Floridian, Jamey serves as the sole arranger and producer for Voctave, crafting every note the group has ever sung and producing all their recordings. Since founding Voctave in 2015, Jamey has guided the group to prominence with their distinct a cappella renditions of Disney classics, Broadway hits, Christmas favorites, jazz standards, and many other exciting projects. For 14 years, Jamey was a music professor at Rollins College, an experience he is deeply grateful for. Now, he brings his expertise to Excelcia Music Publishing as the choral editor, where he continues to curate the ever-growing choral catalog, ensuring a rich selection of music for choirs of all ages and levels.
With arrangements appearing on albums by Pentatonix, The King’s Singers and The Swingles, Jamey has produced hundreds of recordings and dozens of full albums for multiple Broadway and Disney performers as well as groups including Voctave, the Bach Festival Society of Winter Park and the Liberty Voices.
KURT VON SCHMITTOU – BARITONE
Originally from the Nashville Tennessee area, Kurt was raised in a somewhat musical family. Kurt began playing piano at age 5, and later played trumpet and tuba, eventually attending college on a tuba scholarship. After getting his Bachelor of Music degree majoring in Recording Industry Management from Middle TN State university, performed in several shows at the Opryland theme park, sang as a solo artist on the Grand Ole Opry, and toured internationally as lead vocalist with The Chippendales. He has performed with numerous recording artists including Conway Twitty, Wynona Judd, Loretta Lynn, Brenda Lee, Lee Greenwood, Jessica Simpson, and Yanni to name just a few.
Kurt’s Broadway credits include the closing cast of the original run of CATS and the Original Broadway Cast of CHITTY CHITTY BANG BANG. Performing at Walt Disney World for over 3 decades, Kurt’s voice can be heard either singing or providing voiceovers in every Disney theme park in the world. Currently Kurt spends time traveling with his husband Zach and taking care of his 2 cats, Thunder & Pride.
JOHN HANNIGAN – BARITONE/BASS
John has been Voctave’s baritone sub since 2022, and he was honored to perform with the group for the first time during their Spring 2024 tour and now joins them in 2025 as an official member of the group!
Originally from Long Island, New York, John studied music at Cornell University before receiving a Bachelor of Arts in Economics from NYU. During his 15-year Wall Street career, John performed in local musical theatre productions on nights and weekends before leaving the financial services industry to pursue the arts full-time.
Since then, John has performed at regional theaters across the country, appearing in productions of JERSEY BOYS, FOREVER PLAID, BANDSTAND, and most recently the new barbershop harmony musical, THE APPLE BOYS, at the prestigious Bucks County Playhouse in New Hope, Pennsylvania. He also works professionally as a commercial actor, lifestyle model, and session singer. John currently resides in Brooklyn, New York with his partner, Joe.
KARL HUDSON – BASS
Karl Hudson is a bass singer who has traveled all over the world, sharing his passion for music and the pursuit to uplift humanity through song. He has had the privilege of recording with Grammy Award winner David Benoit at Capitol Records, Shoshana Bean, Pentatonix, Marc Broussard, Mindi Abair and David Foster amongst other amazing artists.
He is the bass singer of MTV’s Top Pop group The Edge Effect, a five-man vocal band who has opened for Robin Thicke, Sky Blue of LMFAO and can be seen touring throughout the year. No stranger to the Mouse, he has been with Disney’s premier a cappella group, Voices of Liberty for ten years. He also plays the role of Kiume in Disney’s Festival of the Lion King and countless special events for the Walt Disney Company. He studied at the Hartt School of Music where he was introduced to the a cappella world through Barbershop. Karl earned an international collegiate gold medal in the group Men in Black who later went on to become an international top ten quartet in the main competition. After graduating with a BFA in Musical Theatre, he started his career working in NYC and regional theaters playing roles from Coalhouse Walker Jr. in Ragtime to Balthasar in Much Ado About Nothing with Tony Award winner Karen Ziemba and Joe in Show Boat. Soon after he began working as a studio voice over actor landing his first big commercial for Centrum Vitamins. Karl is blessed to do what he loves and always grateful for the next opportunity to share it.
ROB A. LOTT – SHOW DIRECTOR
Rob A. Lott has been proudly but quietly writing and directing Voctave’s live shows since 2018. Rob has been a professional performer and director for twenty-five years. From Tokyo and New York, to Las Vegas and Abu Dhabi, he and his teams have created intimate atmosphere shows as well as spectacle stage productions for large audiences. Rob is the Owner and Lead Creative at Blue Trumpet Creative, specializing in creating unforgettable experiences for audiences and artists alike. You can hear his thoughts on Leadership and Creativity on his regularly hosted show, The Leading Creative Podcast as well as Let’s Talk Soon - The Podcast where he and his sister, Tricia, New York Times Best-Selling Author, talk about the latest things they are reading about, writing about, thinking about, and speaking up about. Rob and his wife, Kate (yes, that Kate), live in Orlando, FL with their dog Leo. @RobALott
BRADLEY ROBERTS – MUSIC DIRECTOR
Bradley Roberts has served as Music Director for Voctave since 2020. It is truly one of the greatest and most fulfilling joys of his life. His music making and leadership career has spanned his entire life. From leading choirs and performing in his home state of Tennessee to performing and music directing for Royal Caribbean International to a 15-year career as a tenor and vocal captain for the Voices of Liberty at Epcot, he has a passion for coaching and leadership in every opportunity he is given. Currently, Bradley is honored to serve as the Senior Director of Traditional Music at St. Luke’s United Methodist Church in Orlando in addition to his continuing role with Voctave. “Gratitude guides my steps. And for my Voctave journey and family I am forever grateful!”
KENDALL THOMSEN – SOUND ENGINEER
Kendall has extensive experience in recording production and live sound reinforcement. He began his career in the Air Force Band in Washington DC, touring providing sound reinforcement needs and managing the Air Force’s recording productions. After working in DC for 10 years, Kendall was offered a position as chief engineer and studio manager at Starke Lake Studios in Orlando, FL. Kendall has worked with many prestigious clients such as Warner Bros., Walt Disney Entertainment, Universal Studios, Sea World, NASA, and many others.
Kendall is the owner of Specialized Personnel Locators and provides recording production and musician contracting services for several publishing companies. He is also actively working with the Bach Festival Society of Winter Park Choir and Orchestra and the Orlando Philharmonic Orchestra. He travels with Voctave providing sound reinforcement and recording services.
Bach Festival Society of Winter Park
CARMINA BURANA AND RHAPSODY IN BLUE
John V. Sinclair, conductor
Bach Festival Choir and Orchestra| Bach Festival Youth Choir, Rebecca Hammac, director
Byeol Kim, piano
Clara Rottsolk, soprano | Patrick Muelheise, tenor | Brandon Hendrickson, bass-baritone
November 2, 2025 | 3:00pm | Steinmetz Hall
Hoe-Down from “Rodeo” (3.5’)
Rhapsody in Blue (17’)
P R O G R A M
Byeol Kim, piano
Aaron Copland (1900-1990)
George Gershwin (1898-1937)
Carmina Burana (65’)
O Fortuna (O Fortuna)
From Fortune’s wound I’m weeping (Fortune plango vulnera)
Now the happy face of spring (Veris leta facies)
Sunlight warms all the fields (Omnia sol temperat)
Now, the pleasing (Ecce gratum)
The lordly woods are all ablaze (Floret silva nobilis)
Pedlar, give to me some rouge (Charamer, gip die varwe mier)
Those who are dancing (Swaz hie gat umbe)
Come, come, oh love of mine (Chume, chume, geselle min)
Were the whole world mine (Uvere div werlt alle min)
Burning, here inside (Estuans intrinsicus)
Once the lakes I swam upon (Olim lacus colueram)
The Abbot of Cockaigne I am (Ego sum abbas Cucaniensis)
When we’re in the tavern there (In taberna quando summus)
Love rules all things (Amor volat undique)
I mourn the vast extent (Doleo, quod nimium)
And there the girl stood (Stetit Puella)
Oh, all my supreme delight! (O mi dilectissima!)
If a lad and his sweet lover (Si puer cum puellula)
Come now, come now, come now night (Veni, veni, venias)
At the height of summer’s flowering (Estatis florigero tempora)
It’s time to sport again, o you maidens! (Tempus est iocundum)
If I spok with the tongues of angels and of men (Si linguis angelicus)
When Diana’s crystal light (Dum Diane vitrea)
At daybreak her way she took (Exiit diluculo)
Carl Or ff (1895-1982)
FOR ADDITIONAL information about this performance, click here to view the digital program.
Please turn off cell phone and electronic devices prior to the start of this performance. The Bach Festival Society’s policies strictly prohibit photography, filming, or recording of any kind during performances without the express written permission of the Society.
BYEOL KIM, PIANO
Steinway Artist Dr. Byeol Kim has captivated audiences worldwide with her "ingeniously colorful imagination" [Nowakowska] and "operatic" [Cleveland Classical] piano virtuosity. As a celebrated laureate of prestigious international competitions like the Cleveland and Paderewski, Kim's unparalleled stage presence has earned her consistent recognition as the audience's favorite. Kim is an adventurous multimedia artist, creating innovative interdisciplinary projects, and being deeply committed to community engagement she serves as the founding director of the Rollins College Summer Piano Academy and is the director of the Rollins College Community School of Music in addition to her duties as the piano profession at Rollins College.
CLARA ROTTSOLK, SOPRANO
Soprano Clara Rottsolk has been lauded by The New York Times for her “clear, appealing voice and expressive conviction”. A brilliant and accomplished concert artist, her solo appearances have taken her across the United States, the Middle East, Japan, and South America. She is dedicated to chamber and recital repertoire, and is in demand as a festival soloist, including Carmel Bach, Winter Park Bach, Seattle Bach, St. Louis Bach, and Berkeley Early Music. Currently she is based in Durham, NC and teaches at on the voice faculty of Duke University.
PATRICK MUELHEISE, TENOR
Praised for his “real musicality and finely executed coloratura,” Patrick Muehleise is an acclaimed American tenor specializing in a wide variety of concert soloist repertoire. Recent engagements include the Aspen Music Festival plus many more, and this season continues his residency at UCLA for a second academic year and will return to the world-renowned Aspen Music Festival as Artist-Faculty in partnership with the Grammy-nominated Seraphic Fire Professional Choral Institute. Mr. Muehleise was named the 2019 tenor recipient of The American Prize Chicago Oratorio Award and in 2016 was nominated for a Grammy Award in the Best Choral Performance category.
BRANDON HENDRICKSON, BARITONE
American baritone Brandon Hendrickson is an active performer, domestically and internationally,on the opera, concert, and recital stages and is hailed for his “mellifluous” and “beautiful baritone.” During his academic studies at Louisiana State University (MM and DMA in Vocal Performance) he came to national attention as a regional finalist in the Metropolitan Opera National Council Auditions. A frequent performer of concert repertoire, Hendrickson has been featured as baritone soloist in Carl Orff’s Carmina Burana at Carnegie Hall as well as with the National Philharmonic Orchestra. Dr. Hendrickson serves on the faculty of the Louisiana State University School of Music.
Photo credit: Courtesy of the Artist
Photo credit: Courtesy of the Artist
Photo credit: Courtesy of the Artist
Photo credit: Courtesy of the Artist
BACH FESTIVAL CHOIR
John V. Sinclair, director | Lynn Peghiny, accompanist
Isabel Acuna, 4
Hallie Allen, 2
Katie Anderson, 2
Stewar t Anderson, 5
Sue Antonition, 3
Catalina Arias, 8
Reagan Arnold
Liz Ausburn, 5
Meg Baldwin, 6
Barby Barbara, 7
Will Barbara, 7
Caleb Bartholomew*
Samantha Basso, 3
Jim Beck, 14
Lisa Benincasa
Heather Bissett, 3
Skylar Black*
Karina Blackman*
Frederick Blanchard, 3
Robert Blankenship, 1
Rebecca Blankenship-Vargas, 1
Victoria Blankenship-Waziri, 1
Andrew Bostrom, 1
Rossana Buchtik
Mabel Burridge
Michael Burridge, 26
Gayle Burton, 1
Chantelle Cade, 7
Laurie Calhoun, 7
Andrew Campbell
Melanie Campbell, 1
Sofia Cardi, 2
Julia Carpenter, 14
Charlie Carroll, 1
Ellen Huey Cassel, 15
Richard Chambers, 1
George Chandler, 8
Mandi Chapman
Kateryna Cherenko, 2
Anne Claiborne, 2
Maya Clausen, 5
Tom Cook, 35
Vivian Cook, 7
Michael Creighton, 4
Abigail Cribbs, 1*
Carl Davis, 23
Tim Delcavo, 10
Kollin Dembeck*
Mirjana Diitrovska, 6
Frank DiPietro, 5
Irina Dixon, 3
Jacqueline Dixon, 2
Ricardo Dominguez
Karen Dunscomb, 2
Lillyan Duong, 1*
Dante Duphone, 18
Ashley Duvé, 11
Cynthia Dybas, 10
Tabitha Dybas, 6
Dana Eagles, 15
Patty Eastwood, 2
Jolie Eichler, 18
Marjorie Emmer t, 7
Mar y Frances Emmons, 4
Jonathan Erick, 30
Amanda Faramelli
Raphael Arenas Fernandez, 5
Bob Fields, 7
Jay Forsythe, 2
Alice Fortunato, 6
Larry Fortunato, 11
Lindsay Frase
Brad Gant, 4
Linda Gibson, 2
Rebekah Gibson-Cribbs, 2
Charlot te Giese, 1
Gines Giné, 1
Barbara Gomes Carano, 2
Maribel Gomez, 2
Faith Graves
Cheri Grayson, 2
Alison Greene, 1
Minet Gregory, 12
Regunia Griggs, 26
Luis A. Grisham, 3
Gregg Gronlund, 27
James Guild, 3
Jeanné Hall, 6
Diane Hansen, 12
Grant Hayes, 6
Sarah Hibbs, 1
Jay Himelfarb, 1
Richard Horn, 2
Ariel Hudak, 9
Rebecca Hull, 15
Silvia Ibañez, 9
Howard Jaffe, 6
Jenny Jimenez, 2
Gar y Johnson, 1
Elisabeth Johar, 3
Heather John, 10
Frederick Jones, 2
Sondra Jones, 15
Joey Jones *
Beth Kassander, 10
Megan Kenney, 2*
Amanda Kinder, 8
James T. Kitchens, 4
Lynn Kreps
Yen-Yen Kressel, 19
Rob Landry, 6
Caleb Lang, 1
Elizabeth Lang, 1
Brian Lanier, 1
Beecher Larson, 2
Rebekah Lewis, 2
Gary Li, 1
Kathleen LoPresti, 23
Leyse Lowry, 11
Clara Mansilla, 1
Chris Marcos*
Julie Mathews, 3
Cody Mathewson, 4
Stephanie Matthews, 1*
David Mattson, 19
Carolyn Maue, 4
Elizabeth Maupin, 8
Michael McClory, 2
Justin McGill, 6
Margaret McMillen, 33
Rita Merlot, 17
Janice Meyer, 10
Diego Mihelic, 2
Susan Miller, 4
Aleitha Morgan, 13
Natalie Morgan, 4
Margaret Munro, 2
Gabriel Narvaez, 1*
John Niss, 31
Nelie Noel
Luke Noles, 10
David Nowell
Donna O’Connor, 2
Bill Oelfke, 36
Digna Ojita, 1*
Camryn Ovsek
Betsy Owens, 13
Liana Pacilli, 13
Luis Padilla, 1
Meredith Parker, 3
Kirsten Paulson, 5
Isabelle Perez, 2*
Ashley Peters, 5
Cara Pfost Brown, 3
Mar tin Phillips, 25
Ryan Picard
Kurt Plotts, 20
Dan Preslar, 12
Veronica Prevost, 5
Bj Price, 21
Beverly Rich, 11
Rhonda Rodriquez
Pamela Rosario, 9
Erin Rosel, 2
Michael Rosenblatt
Sebastian Sanchez, 3*
Jane Scamehorn, 11
John Michael Schirard, 8
Chrissy Schreiber
Edward Searl, 3
Daniel Sharp, 6
Karyll Shaw, 11
Amanda Shoopman, 6
Taylor Sinclair, 11
Michael T. Sinelli, 1*
Diana Sisley, 19
Beverly Slaughter, 51
Andrew Smith, 2*
Joshua Song, 1*
Vanessa Spallone, 1
Yvette Stohler, 1
Rebecca Stracener, 1
Justin Stratton
Herbert Suarez, 1
Alona Svydenko, 2
Nataliia Svydenko, 2
Jodi Tassos, 51
Kemi Taylor
Maja Lucic Tepper, 3
Jennifer Thibodeau, 3
Alex Tiedtke, 6
Virginia Ubels, 13
Shoshanna Van Loan
Nobel Vega Bahamundi*
Jeanine Viau, 8
Cezarina Vintilla, 20
Mat thew Walker, 7
Diana Webb, 10
Benjamin Webster, 1*
Sarah Webster, 1*
Jane White, 44
Patty White, 8
Susan Whriteour, 16
Wave Wildman, 3*
Gwendolyn Williams, 20
Neeld Wilson
Richard Wilson, 2
Rowan Wilson, 2*
Cameron Woodson, 1
David Wrenn
Enrique Ynaty, 1*
Emma Youngblood, 1*
Angelica Zabbara*
Mary Lou Zoebel, 9
VIOLIN I
Routa KroumovitchGomez, Concertmaster
Olga Ferroni
Julia Gessinger
Mary Bos
Maurius Tabacila
Kathleen Beard
Ilana Zaks
Shelley Mathews
FLUTE
Nora Lee Garcia
Emma Koi
Tina Edelstein
HORN
Kathy Thomas
The John and Linda Allen Chair
Pam Titus
Justin Git tle
Alan Davis
VIOLIN II
Joni Roos
Rhonda Burnham
Victor Ferroni
Christina Gant
Jennie Rudberg
Olivia Skaja
Thomas Todia
Aysima Anik
OBOE
Sherwood Hawkin
Lora MacPherson
TRUMPET
John Copella
Matt Pieper
Fred Green
PERCUSSION
Jef frey Moore
Christian Snedeker
Thad Anderson
Jeremy Katalenic
VIOLA
Susan Gray
Jesus Alfonzo
Linda Kessler
Daniel Flick
Marla Morgan
SAXOPHONE
Tamra Danielsson
Rex Wertz
Dave McKenzie
CLARINET
Jessica Speak
Erik Cole
TROMBONE
Jeff Thomas
Aaron Lefkowitz
Rodney Maingrette
PIANO
Kristine Griffin
Lynn Peghiny
CELLO
David Bjella
Shona Mcfadyen
Brenda Higgins
Maureen May
Amie Tishkoff
STRING BASS
Rob Kennon
Lee Eubank
BASSOON
Ashley Heintzen
Sasha Enegren
TUBA
Robin Sisk
TIMPANI
Kirk Gay
BACH FESTIVAL YOUTH CHOIR
Rebecca Hammac, director
Sofia Bonfil Cardi, accompanist
Mar ybeth Allen
Calina Campbell (Erivyn)
Elias Campbell
Jingyi Cao (Charles)
Calista Chan
Grace Colon
Madelyn Colon
Melanie Corneille
Caleb Cribbs
Juniper Czarnik
Jayden Dunn
Hazel Florman
Lydia Gibson
Phyllis Guidera
Elizabeth Hammac
Kyle Harwood
Olivia Heim
Addilyn Heinrich
Carlin Kreps
Ava Kurzon
Lee Sage
Grace Muldoon
Kennedy Page
Alexandra Peet
Luci Perez-Alpizar
Isabella Perez
Romy Perez
Lauren Pichardo
Kalina Race
Avni Raghoonandan
Eliana Ramirez
Mauricio Ribeiro
Camila Riera-Gomez
Swathi Sairam
Everlie Shea
Aria Vargas
Lucy Vassalli
Eliza Weidenhamer
Naomi Weidenhamer
Rebecca Ziesig
HOE-DOWN FROM RODEO, AARON COPLAND
Aaron Copland (1900–1990) created a distinctly American sound in classical music. Born in Brooklyn, New York, he studied in Paris with the master pedagogue, Nadia Boulanger, who helped him develop his unique style blending modernism with accessible melodies and folk influences. Copland wrote that “Everything I know about music; I learned from Nadia Boulanger.”
His Hoe-Down is the rousing finale of his ballet Rodeo, a work designed to captures the spirit and sound of the American West.
The work draws its primary theme from the traditional fiddle tune “Bonaparte’s Retreat,” which Copland discovered through listening to a recording of a Kentucky fiddler. Copland reimagines this rustic melody with colorful orchestration, syncopated rhythms, and rapid shifts in dynamics and texture, creating a musical portrait of a rollicking Western barn dance.
Copland’s trademark use of open intervals, offbeat accents, and contrasting instrumental colors gives the music a distinctive American sound—both rugged and refined. A slower middle section offers a lyrical respite before the music builds to an exhilarating conclusion.
Although Hoe-Down was originally conceived for the ballet stage, it has since become one of Copland’s most popular concert works and has made its way into popular culture, including television, film, and advertising. With Hoe-Down, Copland distilled the essence of American folk spirit into an infectious orchestral showpiece.
Dr. John V. Sinclair, Artistic Director and Conductor, Bach Festival Society Director of Music and John Tiedtke Professor at Rollins
RHAPSODY IN BLUE, GEORGE GERSHWIN
George Gershwin was arguably the most successful and talented of America’s composers of popular music. His songs constitute the core of the “American Songbook,” whether composed as part of his immensely successful Broadway shows, or as stand-alone popular tunes. Born of Russian Jewish immigrants, he didn’t evince his formidable musical talents until about the age of ten, when a piano was purchased for his older brother and later collaborator, Ira. Much to the latter’s relief, George soon commandeered the piano, and the rest is, as they say, history. His audiences rewarded him substantially— he is estimated to have become the wealthiest composer in modern times. He earned over a quarter of a million dollars for Rhapsody in Blue during the first decade of its life, and it still is bringing in the bucks, as witnessed by the commercials for United Airlines.
Rhapsody in Blue was written in great haste for a 1924 concert in New York’s Aeolian Hall given by Paul Whiteman–billed as “An Experiment in Modern Music.” Notwithstanding the description, you wouldn’t have heard Stravinsky or Schoenberg that night, rather Irving Berlin, Victor Herbert, Jerome Kern, and others of that ilk. However, Jascha Heifetz, Sergei Rachmaninov, and other luminaries of music were in the audience. The poster read that Whiteman would be “assisted by Zez Confrey and George Gershwin”— notice that the composer of “Kitten on the Keys” and “Dizzy Fingers” received top billing to the young Gershwin. Gershwin had been asked late in 1923 to write a piece for the Whiteman orchestra, but he had turned his attention to more pressing matters, and was horrified to read in the New York Tribune on the 4th of January 1924 that he was to première a “jazz concerto” on February 12. Gershwin plunged in
and presented his brilliant succession of “American” themes to Ferde Grofé, Whiteman’s orchestrator, to arrange for large jazz band and piano (the symphonic version came later)—Gershwin didn’t have the skill to do this at this point in his career.
The composition opened the second half of the concert, with Gershwin as soloist—using no music, and probably considerably “enhancing” the solo part. The opening clarinet glissando evocative of traditional Jewish Klezmer music kicked it off, and the now-familiar tunes came rushing by. While Rhapsody in Blue really is not “jazz,” and certainly not a concerto in the traditional sense, Gershwin turned out a masterpiece that is a model of what came to be called “symphonic jazz.”
What is specifically germane to appreciating this composition is the importance of so-called “serious” or “classical” musical interests and training in Gershwin’s life that is quite unprecedented for someone who enjoyed his kind of success. He certainly was not some sort of untutored musical genius who later sought “legitimacy” after having proven himself in the popular world. Rather, early on, as a young boy he studied and performed under traditional piano teachers the music of composers such as Chopin, Liszt, and Debussy. Later, he journeyed to Paris to study under the famed teacher of composition, Nadia Boulanger, as well as Maurice Ravel. However, both rejected him, more or less afraid to compromise the genius evident in his burgeoning success. While in Paris he met and admired the music of eminent composers such as Prokofiev, Poulenc, and Milhaud. Gershwin’s ambitions were such, that long after he had achieved the kind of success that any popular composer would have envied, he assiduously studied formal composition with established teachers. And he was successful. His Rhapsody in Blue, the Concerto in F, An American in Paris, and Porgy and Bess are masterpieces of his unique bridging of the so-called gap between popular art and “high” art.
German composer, Carl Orff’s, Carmina Burana has captivated audiences worldwide for nearly nine decades. So much so, that the opening few notes of this iconic work are so familiar, that only the opening motif of Beethoven’s 5th symphony or the Ode to Joy theme of Beethoven’s 9th symphony are more well known. Carmina Burana is scored for large choir, large orchestra and a soprano, tenor, and bass soloists, with a huge percussion section which includes two pianos. The term “Carmina” simply means song and the Burana is for Beurn (Bee-urn) which refers to a Bavarian monastery where the poems where discovered. A friend told Orff about the 254 poems from the 11th to 13th century which were discovered in 1803 and subsequently published in 1847. These poems captivated Orff’s imagination. He saw it as an opportunity to adapt ideas he had been working on for combining physical elements in the creation and perception of music. He had long been inspired by ideas of educating students through the Dalcroze method of Eurhythmics, and he viewed (rightly so) these poems as a treasure trove of material. Interestingly, next to this work, Orff’s most important legacy has nothing to do with being a composer but that as a music educator. He, along with a colleague, developed the Orff-Schulwerk method which integrates music, movement, and speech into lessons that are modeled after a child’s world of play. This method is still practiced worldwide by music educators today. Orff selected 24 poems that he felt were most suitable The 24 poems Orff selected were written in Latin,
Middle High German, and old French. And after two years of working on the work, it was premiered in 1937 in Germany to rave reviews. It was an immediate sensation. It seems that Orff successfully reduced music to it’s the most basic elements of rhythm and melody, with an extra heavy dose of rhythmic energy. The American premier followed in 1954 in Carnegie Hall, conducted by Leopold Stokowski.
Orff was deeply interested in rhythm, primal expression, and the integration of music with movement and speech. His composition style favored simplicity, repetition, and a kind of visceral power. At the center of his orchestration is the heavy use of percussion and ostinato patterns which emphasized the primal, almost tribal energy.
Carmina Burana is organized into four sections, with the over-arching theme of the cyclical nature of life. The poems are raw, earthy depictions of love, nature, drinking, and, of course, fate. This idea of fate being fickle goes back in time to at least Roman mythology where Fortuna, was the goddess of fortune, luck, and fate. Fortuna is often depicted with a blindfold, signifying that luck is random. Fortuna was also often portrayed holding a wheel which signifies you might be at the top of the wheel until in rotates only to find you at the bottom, thus the nature of fortune, where joy turns to sorrow and vice versa. She was a significant figure in Roman life and had the power to bestow both good and bad luck on people. The work opens and closes with the iconic “O Fortuna or Fortune, Empress of the World.” This movement has been featured in countless films, commercials, and media to underscore drama or doom. The next section, “prima vere,” explores the joys of spring and life in the meadow. The pieces in this section are elegant, dance-like, and lighthearted compared to the opening section. Each movement extols the various joys of the spring season.
And just when you think life might be rather rosy, Orff takes you on a trip to the tavern.
During “In taberna,” drinking and debauchery is on full display, with the whole section being, raucous (rough and gruff). This section features gambling and the roasting of a swan, along with other antics. It only uses male singers, and every experienced male chorister knows these movements for its wickedly fast text. And before we return to as it started, with “O Fortuna,” we are taken to the “Courts of Love,” featuring romantic and even sensual songs of love and desire, with beautiful melodies and acrobatic singing, while holding its intensity all the way to the reprisal.
The work is not without its controversies, however. It was composed and premiered in Nazi Germany and while it is not overtly political and Orff was not a Nazi Party member, the work’s popularity during the Third Reich has led to debates about his status during the era. There is no evidence that Carmina Burana was ideologically aligned with Nazism, but its grand style and non-Christian themes were tolerated by the regime, probably due to its perceived cultural value. After World War II, Orff claimed to have been part of the anti-Nazi White Rose resistance group, however historians have largely debunked this claim, believing he was exaggerating to aid his denazification process. And to his credit, Orff stayed away from writing political works. Like most artists of the day, he was considered a leftist with many Jewish friends. So how do we place Orff in the eye of history? One can reasonable speculate that he was trying to survive this dreadful regime and protect his family, yet his intentions remain a mystery.
However, one other mystery might need explaining. How and why did the monks preserve these not so religious poems and who wrote them? They were stored at the monastery because of the historic nature of manuscripts being preserved by such institutions. And it might be comforting to know that the monks were not the primary authors. The works were mostly
contributed to Goliards who were itinerant scholars, students, and clerics (often dropouts or rebellious members of the clergy.) The poems used satire, irreverence, and humor while celebrating earthly pleasures and mocking authority.
And even given the topics of the poems they were probably used by the monks as example in rhetoric or Latin instruction with clever wordplay. Who knows what the 13th century monks thought of these poems, but I can’t imagine they were ignored, if for no other reason than they possessed scholarly interest for the medieval Church.
Carl Orff’s “Carmina Burana” is much more than a singular musical composition, it is a timeless exploration of the human condition through the medium of music. Each movement takes you on a musical amusement ride where the audience is never sure how the ride will end. Its powerful rhythms, captivating melodies, and profound themes continue to resonate with audiences, ensuring its place as a monumental work in the 20th century classical repertoire.
Dr. John Sinclair, Artistic Director and Conductor, Bach Festival Society of Winter Park Director of Music at Rollins College
CARMINA BURANA, CARL ORFF
1 O Fortuna
O Fortune, like the moon you are changeable, ever waxing and waning; hateful life first oppresses and then soothes as fancy takes it; poverty and power, it melts them like ice. Fate, monstrous and empty, you turning wheel, you are malevolent, your favor is idle and always fades, shadowed, veiled, you plague me too. I bare my back for the sport of your wickedness.
In prosperity or in virtue fate is against me, both in passion and in weakness fate always enslaves us. So at this hour pluck the vibrating strings; because fate brings down even the strong, everyone weep with me.
2
Fortune plango vulnera
I bemoan Fortune’s wounds with weeping eyes, for the gifts she gave me she perversely takes away. It is true, what is written, Opportunity has hair on her brow, but from behind she is bald.
On fortune’s throne I once sat, raised up and crowned with the blossoms of prosperity; though I once flourished, happy and blessed, now I fall from the peak, deprived of glory.
The wheel of fortune turns and I descend, debased; another rises in turn; raised too high the king sits at the top, let him fear ruin: for below the axle we read Queen Hecuba.
3 Veris leta facies
The merry face of spring turns toward the world, sharp winter now flees, vanquished; clothed in diverse garb Flora reigns, the sweet sounds of the woods praise her in song.
Reclining in Flora’s lap Phoebus once again smiles, now covered with many-colored flowers. Zephyr breathes nectar-scented breezes. Let us rush to compete in the race of love.
With harp-like tones the sweet nightingale sings, the meadows now laugh covered with Many flowers, a flock of birds takes flight through the pleasant forests, a chorus of virgins promises a thousand joys.
4 Omnia sol temperat
The sun, pure and gentle, warms all things, and again reveals to the world the face of April, a man’s soul is urged toward love and joys are ruled by the boy-god.
The renewal of all things in spring’s festivity and spring’s power bid us all rejoice; it shows us the familiar way, and in your springtime it is right and true to keep what is yours.
Love me faithfully! See how I am faithful: with all my heart and with all my soul I am with you even when I am far away. Whoever loves this much is turned on the wheel.
5 Ecce gratum
Behold the pleasant and long-sought Spring brings back joy, purple flowers fill the meadows, and the sun brightens everything. Sadness is now at an end!
Summer returns and the harshness of winter now recedes. Now melting and disappearing is snow, ice and the rest, Winter flees, and Spring sucks at Summer’s breast; it is a wretched soul who neither lives nor loves under Summer’s rule. They glory and rejoice in the honeyed sweetness who strive to enjoy Cupid’s reward: at Venus’ command let us glory and rejoice in being the equals of Paris
6 Tanz
7 Floret silva nobilis
The noble forest blooms with flowers and leaves. Where is my lover of old? He has ridden away! Alas, who will love me?
The woods are blooming all around, but I am pining for my love. The woods are greening all around, why is my lover away so long? He has ridden off! Alas, who will love me?
8 Chramer, gip die varwe mir
Merchant, give me rouge to make my cheeks red, so that I can make the young men love me whether they will or not. Look at me, young men! Let me please you!
Virtuous men, give your love to lovely women! Love ennobles your spirit and lets you shine in high honor. Look at me, young men! Let me please you! Hail, o world so rich in joys! I will be obedient to you because of the pleasures you afford. Look at me, young men! Let me please you!
9 Reie
Those who dance around are all maidens who want to do without a man the whole summer long!
Come, come, my love, I long for you, I long for you, come, come, my love. Sweet rose-red lips, come and make me better, come and make me better, sweet rose-red lips.
10 Were diu werlt alle min
Were all the world mine from the sea to the Rhine, I would give it all up to have the queen of England lie in my arms.
11 Estuans interius
Burning inwardly with strong anger in my bitterness I speak to my soul; created from matter, from the ashes of the earth I am like a leaf with which the winds play.
It is proper for the wise man to build his foundations upon stone, then I am a fool, like a flowing river whose course is always changing. I am carried along like a ship without a steersman, as a wandering bird is carried along paths of air; chains cannot hold me, nor locks imprison me, I seek out men like myself and join with the depraved.
To me a serious heart seems too grave a thing; a joke is pleasant and sweeter than honeycomb; whatever Venus commands is a sweet duty, for she never dwells in faint hearts.
I travel the broad path as is the way of youth, I give myself up to vice, heedless of Virtue, more greedy for pleasure than for salvation, my soul is dead so I look after the flesh.
12 Olim lacus colueram
Once I lived on lakes, once I was beautiful when I was a swan, Miserable me! Now black and roasting fiercely!
The servant turns me on a spit, I burn fiercely upon the pyre, The waiter now serves me up. Miserable me! Now black and roasting fiercely!
Now I lie upon a plate, and can fly no more, I see gnashing teeth. Miserable me! Now black and roasting fiercely!
13 Ergo sum abbas Cucaniensis
I am the abbot of Cockaigne and my congregation is of drinkers, and my desire is to be in the order of gamblers, and whoever seeks me out in the tavern by morning will depart naked by Vespers, and thus stripped of his clothes, will cry out: Wafna, wafna! What have you done, most vile fortune? You have taken away all the joys of my life!
14 In taberna quando sumus
When we are in the tavern we do not consider our mortality, but we hurry to gamble which always makes us sweat. What happens in the tavern where money is host, is something you may well ask, so listen to what I say. Some gamble, some drink, some behave loosely. But of those who gamble, some are stripped bare, while others win new clothes, and others are dressed in sacks. Here no one fears death but throws the dice in the name of Bacchus.
First, it is to the wine merchant that the libertines drink; next they drink to prisoners, Third, they drink to the living, Fourth, they drink to all Christians, Fifth, they drink to the faithful departed, Sixth, they drink to the wayward sisters, Seventh, they drink to the soldiers in the forests. Eighth, they drink to the errant brothers, Ninth, they drink to the dispersed monks, Tenth, they drink to sailors, Eleventh, they drink to squabblers, Twelfth, they drink to the penitent, Thirteenth, they drink to travelers.
They drink without restraint to the pope as well as to the king. The mistress drinks, the master drinks, the soldier drinks, the priest drinks, the man drinks, the woman drinks, the servant drinks with the maid, the quick man drinks, the black man drinks, the faithful man drinks, the aimless man drinks, the bumpkin drinks, the sage drinks, the pauper and the sick man drink, the exile and the stranger drink, the boy drinks, the old man drinks, the bishop and the deacon drink, the sister drinks, the brother drinks, the old woman drinks, the mother drinks, this one drinks and that one drinks, a hundred drink, a thousand drink.
Six hundred coins scarcely suffice, for everyone drinks immoderately and without measure. Although they cheerfully drink, they all slander us, and thus we become poor. May those who Slander us be confounded and not be written in the book of the just.
15 Amor volat undique
Cupid flies everywhere, seized by desire. Young men and young women couple together, as is right. The girl without a lover misses out on all joys; she holds the dark night hidden in her inmost heart: it is a most bitter thing.
16 Dies, nox et omnia
Day, night and everything is against me; the chattering of maidens make me weep, and often sigh, and makes me more afraid.
O friends, you are toying with me, you do not know what you are saying, spare me in my misery, great is my sorrow, advise me, at least, for your honor. Your beautiful face makes me weep a thousand times, you have a heart of ice. To restore me, I would be revived by a single kiss.
17 Stetit puella
A girl stood in a red dress;if anyone touched it, it rustled. Eia. A girl stood like a little rose; her face was radiant and her mouth in bloom. Eia.
18 Circa mea pectora
In my breast are many sighs for your beauty which distress me sorely. Manda liet, mand liet my lover is not coming.
Your eyes shine like the sun’s rays, like a flash of lightning which brightens the darkness. Manda liet, manda liet my lover is not coming.
May God grant, may all the gods grant what I have in mind: that I might loose the chains of her virginity. Manda liet, manda liet my lover is not coming.
19 Si puer cum puellula
If a boy and a girl linger together in a little room, their union is a happy one. Love rises up Equally between them, boredom is driven away and the age-old game begins with their limbs, arms and lips.
20 Veni, veni, venias
Come, come, oh, come, don’t make me die, he-goat, she-goat, nazaza, trillirivos!
Beautiful is your face, the gleam of your eyes, the tresses of your hair, how beautiful your appearance! Redder than the rose, whiter than the lily lovelier than all others, I shall always glory in you!
21 In trutina mentis dubia
In my hesitating feelings, wanton love and chastity oppose each other on the scales. But I choose what I see, and bend my neck to the yoke: such a sweet yoke to which I submit.
22 Tempus est locundum
This is the time of joy, O maidens, rejoice with them, young men.
O, I am all aflower, I am burning all over with my first love, it is new love of which I am dying. I am elated by my promise, I am downcast by my refusal.
O, I am all aflower, I am burning all over with my first love, it is new love of which I am dying!
In wintertime a man is patient, but with the breath of spring he is amorous.
O, I am all aflower, I am burning all over with my first love, it is new love of which I am dying!
My virginity leads me on, my innocence holds me back.
O, I am all aflower, I am burning all over with my first love, it is new love of which I am dying! Come, my mistress, with joy, come, come, my pretty, I am already dying.
O, I am all aflower, I am burning all over with my first love, it is new love of which I am dying!
23 Dulcissime
Sweetest one, I give myself to you wholly.
24 Ave formosissima
Hail, most beautiful one, precious jewel, hail, pride among virgins, most glorious virgin, hail, light of the world, hail, rose of the world, Blanchefleur, Helen, noble Venus!
25 O Fortuna
O Fortune, like the moon you are changeable, ever waxing and waning; hateful life first oppresses and then soothes as fancy takes it; poverty and power, it melts them like ice. Fate, monstrous and empty, you turning wheel, you are malevolent, your favor is idle and always fades, shadowed, veiled, you plague me too. I bare my back for the sport of your wickedness.
In prosperity or in virtue fate is against me, both in passion and in weakness fate always enslaves us. So at this hour pluck the vibrating strings; because fate brings down even the strong, everyone weep with me.
Bach Festival Society of Winter Park
ALL-NIGHT VIGIL (VESPERS), OPUS 37
John V. Sinclair, conductor Sergei Rachmaninoff | Bach Vocal Artists
Tuesday, November 7, 2025 | 7:30pm | Knowles Memorial Chapel
PROGRAM
All-Night Vigil (Vespers), Opus 37 (59’) Sergei Rachmaninoff
Sung in Orthodox Church Slavonic
1. O Come, Let Us Worship
2. Praise the Lord, O My Soul
3. Blessed is the Man
4. O Gladsome Radiance
5. Lord, now Lettest Thou
6. Hail, O Virgin, Birth-giver of God
7. Glor y be to God
8. Praise be the Name of the Lord
9. Blessed Ar t Thou, O Lord
10. In that we have beheld the resurrection of Christ
11. My Soul Doth Magnif y the Lord
12. The Great Doxology
13. Troparion “Today is Salvation”
14. Troparion “Being Risen From the Tomb”
15. O Queen of the Heavenly Host
Please turn off cell phone and electronic devices prior to the start of this performance. The Bach Festival Society’s policies strictly prohibit photography, filming, or recording of any kind during performances without the express written permission of the Society.
FOR ADDITIONAL information about this performance, click here to view the digital program.
BACH VOCAL ARTISTS
John V. Sinclair, conductor
John Grau and John Sinclair, Co-Artistic Directors
Melissa At tebury
Amanda Crider
Anna Eschbach
Meg Dudley
Kerry Ginger
Kate Lucander
Morgan Peckels
Catherine Psarakis
Laura Choi Stuart
Patricia Thompson
Brad Diamond
John Grau
Thomas McCargar
Steven Soph
Thaddaeus Bourne
Brian Ming Chu
Brandon Hendrickson
Stephen Mumbert
Timothy Takach
Joseph Trumbo
SOPRANOS
JESSICA BEEBE – SOPRANO
Soprano Jessica Beebe interprets repertoire spanning from the Renaissance to the contemporary and has a voice that “bounced like a beam of light throughout the sanctuary” (Broad Street Review). She has performed with New York City Chamber Orchestra, Los Angeles Philharmonic, Indianapolis Symphony Orchestra, and Utah Symphony. Jessica’s concert and oratorio repertoire includes major works by Monteverdi, Bach, Mozart, Haydn, Brahms, and Orff. She also performs modern works such as John Adam's El Niño, Rutter's Requiem, and Richard Einhorn's Voices of Light. She is a member of many GRAMMY-nominated and winning vocal ensembles, such as Clarion Society, Seraphic Fire, The Crossing, Lorelei Ensemble, and Choral Arts Society of Philadelphia. Earning her BM from the University of Delaware, her MM in Early Music from Indiana University, and a Performance Certificate from London's Royal College of Music she currently serves on the faculty at both Muhlenberg and Franklin & Marshall Colleges.
MEG DUDLEY – SOPRANO
Meg Dudley, soprano, has established herself as a versatile vocal artist in a variety of genres. She has been a featured soloist in Carnegie Hall (Vivaldi’s Gloria, Dan Forrest’s Lux, Haydn’s Mass in the Time of War and Lord Nelson Mass); in Lincoln Center’s Avery Fisher Hall (Vaughan William’s Mass in G Minor and Leonardo Leo’s Magnificat); with the Boston Symphony Orchestra (Puccini’s Suor Angelica, and Debussy’s Nocturnes); and with the Trinity Baroque Orchestra (Handel’s Messiah and Bach’s Cantatas 64, 89, and 167). A highly sought-after ensemble singer, Ms. Dudley works regularly with the Lorelei Ensemble. Grammy award-winning Conspirare, the Santa Fe Desert Chorale, the Choir of Trinity Wall Street, Grammy award-winning The Crossing, the New York Philharmonic, the American Classical Orchestra, Apollo’s Fire, Oregon Bach Festival’s Berwick Chorus, and the Bard Festival Singers. Some of Ms. Dudley’s recent engagements include collaborations with the Boston Symphony Orchestra, San Francisco Symphony Orchestra, National Symphony Orchestra at the Kennedy Center, Nashville Symphony Orchestra under Giancarlo Guerrero and the Chicago Symphony Orchestra under Marin Alsop. Ms. Dudley holds a BM from the University of Denver, and a MM from Mannes School of Music.
ANNA ESCHBACH – SOPRANO
Soprano Anna Eschbach is highly sought-after as a performer and private voice instructor in Central Florida. Born and raised in Orlando, Ms. Eschbach has performed with numerous companies throughout Florida, including the Bach Festival Society of Winter Park, the Brevard Symphony Orchestra, the Villages Philharmonic, the Bach Vocal Artists, the all-female ensemble Helena, and Opera Orlando. Covering a vast array of repertoire, Ms. Eschbach’s solo oratorio performances include Haydn’s Creation, Bach’s Mass in b minor, Handel’s Messiah and La resurrezione, Monteverdi’s Vespro della beata vergine, Mendelssohn’s Elijah, Mozart’s Coronation Mass, Faur’s Requiem, Poulenc’s Gloria, Rutter’s Gloria and Magnificat, Vaughan Williams’ A Sea Symphony, Einhorn’s Voices of Light, as well as Orff’s Carmina Burana. She premiered the role of Anne Boleyn in an original work, 6 of VIII: The Wives of King Henry VIII in 2019 – a performance which was hailed by the Orlando Sentinel as “soul-rattling.” She has toured internationally throughout her career, singing concerts in Switzerland, the UK, and Kenya. Ms. Eschbach
earned her bachelor’s degree in vocal performance from Appalachian State University and a master’s degree in vocal performance from the University of Tennessee. She maintains a private voice studio in the Orlando area and serves on the voice faculty at Rollins College.
KATE LUCANDER – SOPRANO
Kate Lucander, soprano, is based in Southwest Florida. And specializes in baroque and contemporary works. Kate’s passion is highlighting lesser-known composers in performance. As a co-founder of the vocal quartet Serafina, she furthers this mission by performing works of early women composers. Recently, the quartet appeared as season openers of the SoHIP Boston series. Since moving to Florida, she has worked with the Nautilus Chamber Ensemble to enhance the visibility of 21st-century composers. She has recently appeared as a soloist and ensemble member with Seraphic Fire, Audivi, and Choral Artists of Michigan. Recent solo engagements include Bach’s St. John Passion, Carissimi’s Jephte, and Handel’s Messiah. Kate has sung across Europe with choirs, ranging from a residency at Westminster Abbey to the International Music Festival in Granada, Spain.
CATHERINE PSARAKIS – SOPRANO
Catherine Psarakis, soprano, is noted for her “precise and focused coloratura”, and has appeared with the Chicago Summer Opera and the New England Conservatory production of Bernstein’s Candide. As an advocate of intimate performance through art song and chamber music, Catherine has performed in New England Conservatory’s Liederabend Series and the Boston Art Song Society. Catherine made her oratorio debut in Handel’s Messiah with the Messiah Choral Society in Orlando, FL conducted by Dr. John Sinclair. She recently performed with the European Orchestral and Choral Association in Rossini’s Petite Messe Solennelle. She is a recipient of the Presser Award, first place winner of the Medici International Music Competition, the Toronto Mozart Vocal Competition, the London Classical Music Competition, and the Constantine the Great International Solo Singing Competition. She was a finalist in the Vienna Summer Music Festival Competition and the International Brahms Competition. Catherine received her B.A. from Rollins College on a full merit scholarship, and her M.M. from the New England Conservatory of Music.
MARGOT ROOD – SOPRANO
Margot Rood, soprano, hailed for her “sterling, gleaming tone and magnificent control” by The Washington Post, performs a wide range of repertoire. Recent appearances include those with Cleveland Orchestra, Boston Symphony Orchestra, New Jersey Symphony, Handel & Haydn Society, Seraphic Fire, Lorelei Ensemble, A Far Cry, Boston Modern Orchestra Project, Rhode Island Philharmonic, Blue Heron, TENET Vocal Artists, and Bach Collegium San Diego, as well as on stage with the Boston Early Music Festival, Monadnock Music, and St. Petersburg Opera. In 2023 Margot made her debut with Opera Lafayette, where she was honored to step in and sing the title role in the world premiere of Rameau’s Io. Margot is the recipient of numerous awards including the St. Botolph Emerging Artist Award and the Lorraine Hunt Lieberson Fellowship at Emmanuel Music. Her debut solo recording with composer Heather Gilligan, Living in Light, is now available from Albany Records. Margot holds degrees from the University of Michigan and McGill University.
BACH VOCAL ARTISTS
CLARA ROTTSOLK – SOPRANO
Soprano Clara Rottsolk has been lauded by The New York Times for her “clear, appealing voice and expressive conviction.” With wide-ranging repertoire her appearances have taken her across the United States, the Middle East, Japan, and South America. She specializes in historically informed performance practice, singing with ensembles that include American Bach Soloists, Santa Fe Pro Musica, Colorado Bach Ensemble, Trinity Wall Street Choir, and Seraphic Fire. Clara’s Bach repertoire includes his Mass in b minor, St. Matthew and St. John Passions, and the Easter, Ascension, and Christmas Oratorios. In addition, she has sung in Mozart’s Grand Mass and Requiem, Handel’s Messiah, Vaughan Williams’ Dona nobis pacem, and Richard Einhorn’s Voices of Light. She has performed at the Carmel Bach Festival, Bach Festival Society of Winter Park, Philadelphia Bach Festival, Whidbey Island Music Festival, and Boston Early Music Festival. A native of Seattle, Ms. Rottsolk earned music degrees at Rice University and Westminster Choir College and was awarded recognition for musical excellence by the Metropolitan Opera National Council. Currently she is based in Durham, NC where she is on the voice faculty at Duke University.
LAURA CHOI STUART – SOPRANO
Laura Choi Stuart, hailed as “a lyric soprano of ravishing quality” by the Boston Globe, appears regularly with the Washington Bach Consort and the Washington Master Chorale in addition to solo appearances with many area ensembles. She was honored for art song performances at the National Association of Teachers Singing Artist Awards and as one of the Art Song Discovery Series winners for the Vocal Arts Society. Solo highlights include Messiah and St. Matthew Passion at the Washington National Cathedral, and Bachianas Brasileiras No. 5 with the New Orchestra of Washington. Laura has appeared with Boston Lyric Opera, Opera Boston and Annapolis Opera. She received her training at The New England Conservatory and Dartmouth College, as well as the Santa Fe Opera Apprentice Program for Singers. Laura is Head of Vocal Studies at the Washington National Cathedral, maintains a private teaching studio, and shares resources for adult recreational choral singers at The Weekly Warm-Up
MEZZO-SOPRANOS
AMANDA CRIDER – MEZZO-SOPRANO
Amanda Crider, mezzo-soprano, is a busy soloist and recitalist, who regularly appears with Bach Vocal Artists, Apollo’s Fire, and Seraphic Fire and has appeared with the Nashville Symphony, the Bach Festival Society of Winter Park, Bach Vocal Artists, the New World Symphony, the Jacksonville Symphony and the Calgary Philharmonic Orchestra.
She made her Carnegie Hall debut in the fall of 2007 singing Handel’s Messiah and returned the following season in Haydn’s Lord Nelson Mass and has been a featured recitalist on the Trinity Church Concerts at One Series and with Five Boroughs Music Festival and appeared on Marilyn Horne’s “... the song continues” series at Carnegie Hall. Ms. Crider’s first foray into the operatic world was at the Tanglewood Music Center Boston, New York City Opera, Castleton Festival and Glimmerglass Opera. Miss Crider has been the winner of numerous grants and international competitions. Amanda serves as the Executive Director of Roomful of Teeth and is also the founder and artistic director of IlluminArts, Miami's Art Song and Vocal Chamber Music Series.
KERRY GINGER – MEZZO-SOPRANO
Kerry Ginger, mezzo soprano, is active nationally as a performer, clinician, voice pedagogue, and scholar. Currently Assistant Professor of Voice at The University of the South in Sewanee, Tennessee, Dr. Ginger has appeared as a soloist with the Chattanooga Symphony, Music in the Mountains, The Phoenix Symphony, Arizona Opera, Phoenix Opera, Cal Poly Bach Week, Mid-Columbia Mastersingers, and Quintessence. An avid choral artist, she performs with the Oregon Bach Festival Chorus, Santa Fe Desert Chorale, Kinnara, and True Concord Voices and Orchestra. Kerry appears on Grammy Award-winning recordings by the Phoenix Chorale and True and has written liner notes for Albany Records. She maintains an active portfolio of recitals, oratorio, and vocal music research, specializing in twentieth-century music by women. Kerry also helms a professional quartet, Element, which performs dynamic historical and contemporary vocal chamber music. Kerry earned her Doctor of Musical Arts in Voice and Master of Music in Opera Performance at Arizona State University. Originally from Portland, Oregon, she now resides in beautiful Chattanooga, Tennessee.
THEA LOBO – MEZZO-SOPRANO
Thea Lobo, a Grammy-nominated mezzo-soprano, performs with Ensemble New SRQ, DeSota Baroque, True Concord, Choral Artists of Sarasota, Opera Huntsville, Boston's Symphony Hall and more. Ms. Lobo has previously appeared under conductors Gunther Schuller, Stephen Stubbs, Joshua Rifkin, and Andris Nelsons, and has been featured by the Firebird Ensemble, Boston Baroque, Naples Philharmonic, Boston Early Music Festival, Carmel Bach Festival, Boston Symphony Orchestra, and Europäisches Musikfest Stuttgart. In addition to her performing career, Thea Lobo serves as artistic and executive director of the initiative Indictus Project (www.indictus.org), which amplifies the overlooked classical art music of historically excluded composers of all eras. She is also the newest Classical Host on WSMR (Tampa, Sarasota).
MORGAN DAVIS PECKELS – MEZZO-SOPRANO
Residing in Florida, mezzo-soprano Morgan Davis Peckels has performed extensively on the east coast and is active with many ensembles in Central Florida. Featured in Richard Einhorn's Voices of Light with the Bach Festival Society of Winter Park she was praised for her "hauntingly lamenting tones" and was a soloist in Bach’s B Minor Mass with the Bach Festival Society. She has been seen on stage in Amahl & the Night Visitors and is active with music theatre repertoire, appearing in Kiss Me Kate, Into the Woods, and Fiddler on the Roof. She earned her bachelor’s degree from Elon University and then studied at the Boston Conservatory. As a concert soloist Morgan gives recitals throughout the Orlando area exploring Art Songs in regular recitals at Rollins College where she is on the voice faculty. In addition, Morgan runs a private studio out of Winter Springs, FL where she specializes in teaching classical and musical theatre and serves as an officer of the Central Florida Chapter of the National Association Teachers of Singing (NATS).
PATRICIA THOMPSON – MEZZO-SOPRANO
Patricia Thompson, mezzo-soprano, is a much sought-after adjudicator and is active as an oratorio specialist, appearing with the Indianapolis Baroque Orchestra, the Louisville Choral Arts Society, the Masterworks Chorale of New Jersey, the Hale Library Concert Series, and the Bloomington Early Music
Festival. A dedicated professional choral artist and a member of the international Carmel Bach Festival and the Spire Chamber Ensemble of Kansas City, she is a founding member of the award-winning Luminous Voices in Calgary, Alberta, Canada. With a special interest in jazz and cabaret singing, she performs regularly with the Thundering Cats Big Band in Manhattan, KS, and in solo cabaret shows at the Manhattan Arts Center. Her debut jazz album, It’s Only Natural, is available on iTunes, Spotify, and others. Dr. Thompson holds degrees from the Indiana University Jacobs School of Music (DM and MM) and St. Olaf College (BM) and is currently an Associate Professor of Music at Kansas State University.
TENORS
DANN COAKWELL – TENOR
Dann Coakwell, tenor, praised as a “vivid storyteller” (The New York Times), has performed internationally under acclaimed conductors such as Helmuth Rilling, Masaaki Suzuki, Nicholas McGegan, and Matthew Halls. Coakwell has appeared at Carnegie Hall and Lincoln Center as well as Saint Thomas Church Fifth Avenue and Trinity Church Wall Street. He has been a soloist with organizations such as Internationale Bachakademie Stuttgart in Germany, Bach Collegium Japan, Orquesta Sinfónica de Venezuela, Philharmonia Baroque Orchestra in San Francisco, and Oregon Bach Festival. Specializing in the Evangelist and tenor roles of J.S. Bach, he frequently performs the composer’s major oratorios — St. Matthew Passion, St. John Passion, Christmas Oratorio, and Mass in B-Minor. Other prominent solo roles include Handel’s Messiah, Haydn’s Creation, Mozart’s Requiem, Mendelssohn’s Elijah, and Beethoven’s Missa Solemnis. Dr. Coakwell serves as Assistant Professor of Voice at Ithaca College. He holds an Artist Diploma from the Yale School of Music and Institute of Sacred Music, a Doctor of Musical Arts and Master of Music degree from Texas Tech University, and a Bachelor of Music from the University of Texas at Austin.
BRAD DIAMOND – TENOR
Brad Diamond, known for his musicianship and style, has an active professional career in the United States and Canada, appearing regularly with Seraphic Fire and the Santa Fe Chorale. A specialist in oratorio repertoire, he has sung the Evangelist role in Bach’s St. John Passion and St. Matthew Passion with the Bach Festival Society of Winter Park and Trinity Wall Street. Dr. Diamond completed his Bachelor of Music Degree from Westminster Choir College and received his Master and Doctorate degrees from the University of Cincinnati’s College Conservatory of Music. While attending Westminster, he soloed under the baton of the late Leonard Bernstein. He is currently Professor of Voice and Vocal Pedagogy at Samford University
JOHN GRAU – TENOR
Tenor John Grau has established himself as a renowned performer of oratorio and opera from Baroque to 20th-century music. As a soloist, he has performed at the Boston Early Music Festival, the Bach Festival Society of Winter Park Festival, Boulder Bach Festival, the Rochester Choral Arts Ensemble, the Ravinia Music Festival and the inaugural Duke University Bach Cantata Series, to name a few. John has appeared with professional vocal ensembles such as The Singers-Minnesota Choral Artists, The South Dakota Chorale, The Minnesota Beethoven Festival Chorus and is also the co-artistic director and founding member of the Bach Vocal Artists vocal ensemble based in Winter Park, Florida. Dr. Grau’s scholarly activities contribute to the vocal pedagogy field with his recent research focused on vocal and physical
BACH VOCAL ARTISTS
health and the relation to vocal function and pedagogy. As a committed performer and educator, Dr. Grau also serves as an adjudicator for the National Oratorio Competition for young American singers specializing in oratorio repertoire. John received his BA in biology and music from St. Olaf College, his MM degree in vocal performance from Northern Arizona University, and his Doctor of Musical Arts degree from the University of Minnesota. Dr. Grau currently teaches and is the chair of the Department of Music at Rollins College in Winter Park, Florida. He has previously taught at The University of Colorado-Boulder, and The University of Minnesota-Twin Cities.
ERIK GUSTAFSON – TENOR
Erik Gustafson, tenor, is highly active across the nation as an oratorio soloist and choral artist. A native of Portland, OR he received his education from Arizona State University, and currently resides in Sewanee, TN, where he is a voice instructor at Sewanee: The University of the South. He currently performs with Seraphic Fire (Miami), the Oregon Bach Festival, the Colorado Bach Festival, Bach Society Houston, and the Arizona Bach Festival.
JACOB PERRY – TENOR
Jacob Perry, tenor, is an avid chamber and solo musician based in Washington, DC and has had solo engagements with American Classical Orchestra, Apollo's Fire, Bach Collegium San Diego, Jacksonville Symphony, Philharmonia Baroque, Portland Baroque Orchestra, Tafelmusik, Tempesta di Mare, Washington Bach Consort, Carmel Bach Festival, and the Washington National Cathedral. He has taught and performed in Beijing, China, and in Rome, Italy, at the Kennedy Center and a Bay area tour with Apollo’s Fire.
Jacob is a cantor and chorister at the Basilica of the National Shrine of the Immaculate Conception and teaches private voice lessons in his home in downtown Silver Springs, MD.
DAVID PELINO – TENOR
David Pelino is equally at home on the concert stage, in opera, recital and with professional ensembles. He studied voice at the University of Florida and the University of Missouri. David has appeared with Bach Akademie Charlotte, the Illinois Bach Academy,
As a soloists he has appeared in major works such as Handel’s Messiah, Haydn’s The Creation, Theodore Dubois’s The Seven Last Words of Christ, Benjamin Britten’s Rejoice in the Lamb, and as the Evangelist in J.S. Bach’s St. John Passion. David performs at the Washington National Cathedral and sings with Seraphic Fire, Handel and Haydn Society, Kinnara, the American Spiritual Ensemble, and Prometheus.
STEVEN SOPH – TENOR
Steven Soph, an active Bach interpreter, appears in festivals around the country, including Seraphic Fire’s Enlightenment Festival, Oregon Bach Festival, and San Diego’s Mainly Mozart Festival. Appearances with top American vocal ensembles include Chicago Chorale, Master Chorale of South Florida, Handel Oratorio Society, Apollo Chorus of Chicago, Colorado Pro Musica, and Choral Arts Philadelphia. Steven holds degrees from the University of North Texas and Yale School of Music’s Institute of Sacred Music.
BASS-BARITONE
THADDAEUS BOURNE – BARITONE
Thaddaeus Bourne, baritone, currently maintains an active performing schedule, having sung over forty roles in the US and abroad. Praised for his rich baritone, appearances include Fauré’s Requiem, Bach’s Cantata BWV 86, Mozart’s Requiem, Beethoven’s Choral Fantasy, and Mahler’s Lieder eines fahrenden Gesellen, as well as recitals and masterclasses with the Longy School of Music at Bard College, the Crane School of Music at SUNY Potsdam and EIU Concert Series at the National Opera Center. An accomplished flutist, Dr. Bourne completed undergraduate and graduate degrees in flute performance embarking on his DMA in voice after training as a singer to improve his breath support. Dr. Bourne has taught on the faculties of the University of Florida, Troy University, Butler University, Earlham College, and the University of Connecticut.
BRIAN MING CHU – BARITONE
Brian Ming Chu, as a specialist in oratorio music, is a regular soloist with the Bach Choir of Bethlehem, the Choral Arts Society of Philadelphia, the Washington Bach Consort, and has performed Mendelssohn’s Elijah, Haydn’s Creation, Verdi’s Requiems, the Bach Passions, Orff’s Carmina Burana, Beethoven’s Ninth Symphony, and for the 500th anniversary of the Protestant Reformation, Ludwig Meinardus’ Luther in Worms with the Bach Choir Eisenach and the Dresden Singakademie. Mr. Chu made his Kennedy Center debut in Monteverdi’s Vespers of 1610 with the Choral Arts Society of Washington and has been a US Embassy Cultural Artist in French West Africa and Vienna, Austria. Mr. Chu holds a bachelor’s degree in architecture from Cornell University and did his graduate work at the Peabody Conservatory of Music. Brian is on the voice faculties of Haverford and Swarthmore Colleges, Lehigh University, and Rowan University.
BRANDON HENDRICKSON – BARITONE
American baritone Brandon Hendrickson is an active performer on the domestic and international opera, concert, and recital stages. He received his BME from Simpson College and received his MM and DMA in Vocal Performance from Louisiana State University. While at LSU, Hendrickson came to national attention as a regional finalist in the Metropolitan Opera National Council Auditions. Brandon has sung with major national orchestras, including the Oklahoma City Philharmonic, Charleston Symphony Orchestra, New Orleans Symphony Orchestra, Helena Symphony Orchestra, Madison Symphony Orchestra, South Dakota Symphony Orchestra, and Baton Rouge Symphony Orchestra. Hendrickson has been featured in Carl Orff’s Carmina Burana at Carnegie Hall with the National Philharmonic Orchestra, Cantata 212 by Bach, Mozart’s Requiem, Ein Deutsches Requiem by Brahms, Duruflé’s Requiem, and Mahler’s 8th Symphony. Dr. Hendrickson serves on the faculty of the Louisiana State University School of Music, where he teaches Applied Voice, Vocal Pedagogy, Song Literature, and Lyric Diction. He also co-directs the national award–winning University of South Dakota USD Opera.
THOMAS MCCARGAR – BARITONE
Thomas McCargar, baritone, has established himself as both a soloist and sought-after ensemble singer in New York City and around the United States. He sings with the Washington Chorus and NOVUS NY at Carnegie Hall and the Walt Disney Concert Hall in Los Angeles. He has performed with Kanye West at the Hollywood Bowl and appeared with Andrea Bocelli during NBC’s 2015 broadcast of Christmas in Rockefeller Center. As an ensemble singer, Thomas is a member of the acclaimed Choir of Trinity Wall Street and also performs regularly with Pomerium, Seraphic Fire, Grammy Award-winning Roomful of Teeth, Spire, TENET, Musica Sacra, VOX Vocal Ensemble, Antioch, Voices of Ascension, New York Virtuoso Singers, Early Music New York, and Yale Choral Artists. Other highlights include touring the world with Chanticleer; leading over 1,000 people in Times Square in the singing of John Lennon’s “Imagine” for Yoko Ono’s installation Imagine Peace; and singing “You Can’t Always Get What You Want” with the Rolling Stones.
STEPHEN MUMBERT – BASS
Stephen Mumbert, bass, is hailed as a “Scene-stealer” by the Guardian Newspaper for his interpretation of Mozart’s Don Giovanni, Stephen Mumbert is currently an Adjunct Professor of Voice at Rollins College as well as Stetson University and maintains a private voice studio in Orlando FL. He is a graduate of Stetson University where he holds a B.M. in voice performance, and an M.M. in opera from The Boston Conservatory. Performance highlights include singing Khan Kontchak from Borodin’s Polovtsian Dances in Steinmetz Hall with the Royal Philharmonic Orchestra, bass soloist for the Bach Festival Society of Winter Park’s Classic Christmas Concert (which was filmed and aired on PBS this past Christmas), Mozart’s Requiem with the Dakota Valley Symphony (broadcast on Twin Cities Public Television), Handel’s Messiah with the Messiah Choral Society, Jesus in Bach’s St Matthew Passion, bass soloist in Einhorn’s Voices of Light and Faure’s Requiem with the Bach Festival Society of Winter Park. Recent local performances include Rimsky-Korsakov’s Mozart and Salieri with Musical Traditions, Lucifer in Handel’s Resurrezione with the Bach Festival Society of Winter Park, and as a featured soloist in a concert titled “Leading Men of Broadway” with the Space Coast Symphony.
JOSEPH TRUMBO – BASS
Joseph Trumbo, bass, is a young, upcoming singer hailed for his “smooth, deep voice.” Recent choral work has included performances with the Rockford Music Collaborative, as a Young Artist with the Illinois Bach Academy under Dr. Andrew Megill, and as a former member of San Francisco’s elite new music ensemble, Volti. Trumbo received both a BA and BM from Oberlin College & Conservatory and a MM from the University of Illinois, where he was a recipient of the Howard A. Stotler Voice Fellowship. Joseph has been featured in the Mars Symphonic Men’s Choir as part of the Soundiron Olympus Symphonic Choral Collection and has just completed a festival in New York with dell’Arte Opera Ensemble.
ALL-NIGHT VIGIL, SERGEI RACHMANINOSS
The dearest reminiscences of my childhood are the four notes of the Novgorod Saint Sofia Cathedral bells, which I often heard when babushka (grandmother) took me to town on feast days. We also spent hours standing in the beautiful St. Petersburg churches. Being only a young greenhorn, I took less interest in God and religious worship than in the singing, which was of unrivalled beauty, especially in the cathedrals where one frequently heard the best choirs of Saint Petersburg. I usually took pains to find room underneath the gallery and never missed a single note. Thanks to my good memory, I also remembered most of what I heard. This I turned into capital – literally – by sitting down at the piano when I came home, and playing all I heard. For this performance my grandmother never failed to reward me with twenty-five kopecks.
– Sergei Rachmaninoff
Composer, virtuoso, and human being, Sergei Rachmaninoff (1873-1943) was a man of melody. He wrote “melodies of great courage and humanity,” in the words of one critic; endless arcs that recalled the chants of the early Church and timeless folk songs of his native land. In an early essay, he described melody as “the main foundation of all music, because a perfect melody presupposes and brings to life all harmonic structure. Melodic inventiveness in the highest meaning of this world is the main life goal of a composer.”
A friend wrote that, even into adulthood, Rachmaninoff “loved church singing very much and quite often, even in winter, would get up at seven o’clock in the morning and hail a cab in the darkness, mostly to drive to Taganka, to the Andronikov Monastery where he stood in the half-darkness of the enormous church through the whole liturgy, listening to the austere ancient chants sung by the monks in parallel fifths.” Heard in the twilight of Tsarist Russia, these chants became part of Rachmaninoff’s musical capital as well, inspiring, even haunting, all of his compositions.
Rachmaninoff grew to maturity at a time when composers throughout Eastern Europe sought to free their national styles from the “Europeanism” of the 18th and early 19th centuries. Discarding German and Italian models, they turned to the musical vocabulary of native folk song and liturgical chant, exploring its melodic and harmonic possibilities in a return to origins. Tchaikovsky sparked this effort in Russia, and became an important and beloved mentor to Rachmaninoff. In sacred music, the composers Alexandr Kastalsky and Stepan Smolensky, based at the Moscow Synodal School of Church Singing, led a revival in the scholarship and practice of early church music. Smolensky, to whom the All-Night Vigil is dedicated, was able to translate Rachmaninoff’s childhood wonderment into a deeper engagement with this rich musical legacy.
Rachmaninoff composed the All-Night Vigil in just two weeks, in February 1915, for the Moscow Synodal Choir. The language of the work is Old Church Slavonic, an ancestor of modern Russian, Ukrainian and Bulgarian, to which it is closest. Church Slavonic, and the Cyrillic alphabet through which it was transmitted, date from the time of conversion of the Kyivan Rus’ to Christianity in the 10th century. The chant melodies that form the backbone of the work come from several sources: znamenny chant, dating from the 10th and 11th centuries (named for the znamyona, or neumes, in which it was written); Kyiv chant, from 17th century Ukraine and southern Russia (the most widely used today); and Russian “Greek” chant, also from the 17th century (called Greek in an attempt to claim descent from Byzantium). To these ancient tunes, Rachmaninoff added several chants of his own devising – “conscious counterfeits,” as he called them. Rachmaninoff imagined the All-Night Vigil as a dramatic narrative designed for concert performance. It
PROGRAM NOTES
is interpretive rather than literal; a free and personal response to the sacred tradition, its primal, emotional stimulus, rather than a rigorous facsimile of divine worship. The editor and musicologist Vladimir Morosan describes the composer’s approach to the task:
In choosing which hymns from the Vigil service to set, Rachmaninoff’s foremost concern was the large-scale artistic unity and balance of the overall cycle, rather than the more narrow scope of liturgical requirements. ... His lack of intimacy with arcane constructions of Old Church Slavonic and liturgical minutiae of the services actually had a positive effect; as a sensitive artist, he gave thoughtful consideration to every text, using a subjective, personal approach.
The texts Rachmaninoff drew from, and his artful musical treatment of them, are preoccupied with the concept of light in darkness: the only light that can drive out darkness.
One of the boy altos in the original performance of the All-Night Vigil, at a war relief concert in Moscow on March 10, 1915, recalled the “sense of joy” among the singers who were first to experience this lustrous work. It was instantly popular: “Despite the rule that prohibited applause at performances of sacred music, following the final chord of the Vigil the audience burst into tumultuous applause, after which only Rachmaninoff went out onto the empty stage, returning backstage with a twig of white lilac.” A contemporary reviewer wrote that “perhaps never before has Rachmaninoff approached so close to the people, to their style, to their soul, as in this work. And, perhaps, this work in particular bespeaks a broadening of his creative flight, a conquest of new dimensions of the spirit, and, hence, a genuine evolution of his powerful talent.”
Just two years later, Rachmaninoff was to join the first wave of a century of refugees, the millions hounded by war and revolution – a wave that ebbs and flows even today. Eventually settling in New York City, he threw himself into a punishing career of piano performance, composing very little after he left Russia. As the lamps went out all over Europe, the All-Night Vigil lay in obscurity for more than fifty years, until it was rescued and recorded by a Soviet choir under the auspices of scholarly study. Always close to the composer’s heart, it has remained a staple of the choral repertoire in the West ever since – and a testament to the power of light in darkness.
— John Maclay
ALL-NIGHT VIGIL (VESPERS), SERGEI RACHMANINOFF
1 Come, let us worship God, our King. Come let us worship and fall down before Christ, our King and our God. Come, let us worship and fall down before the very Christ, our King and our God. Come, let us worship and fall down before him.
2 Bless the Lord, O my soul, blessed art thou, O Lord. O Lord my God, thou art very great. Thou art clothed with honour and majesty. Blessed art thou, O Lord. The waters stand upon the mountains. Marvellous are thy works, O Lord. In wisdom hast thou made all things. Glory to thee, O Lord, who hast created all.
3 Blessed is the man who walks not in the counsel of the wicked. Alleluia. For the Lord knows the way of the righteous but the way of the wicked will perish. Alleluia. Serve the Lord with fear and rejoice in him with trembling. Alleluia. Blessed are all who take refuge in him. Arise, O Lord! Save me, O my God! Alleluia. Salvation is of the Lord; and thy blessing is upon thy people. Alleluia. Glory to the Father and to the Son and to the Holy Spirit, both now and ever and unto ages of ages. Amen. Alleluia. Glory to thee, O God.
(Evening Hymn)
4 Gladsome light of the holy glory of the Immortal One, the Heavenly Father, holy and blessed, O Jesus Christ.
Now that we have come to the setting of the sun and behold the light of evening, we praise the Father, Son and Holy Spirit, God.
Thou art worthy at every moment to be praised in hymns by reverent voices. O Son of God, thou art the giver of life; therefore all the world glorifies thee.
5 Lord, now lettest thou thy servant depart in peace, according to thy Word. For mine eyes have seen thy salvation which thou hast prepared before the face of all people. A light to lighten the Gentiles and the glory of thy people, Israel.
6 Rejoice O Virgin Theotokos, Mary full of grace, the Lord is with thee. Blessed art thou among women, and blessed is the fruit of thy womb, for thou hast borne the Saviour of our souls.
THE SIX PSALMS
7 Glory to God in the highest, and on earth peace, goodwill among men. O Lord, open thou my lips and my mouth shall proclaim thy praise.
(Polyeleos Verses)
8 PRAISE THE NAME OF THE LORD. Alleluia.
Praise the Lord, O you his servants. Alleluia. Blessed be the Lord from Zion, he who dwells in Jerusalem. Alleluia.
O give thanks to the Lord for he is good. Alleluia. For his mercy endureth for ever. Alleluia. O give thanks unto the God of heaven. Alleluia. For his mercy endureth for ever. Alleluia. (Evlogitaria)
9 BLESSED ART THOU O LORD; teach me thy statutes.
The angelic host was filled with awe when it saw thee among the dead. By destroying the power of death, O Saviour, thou didst raise Adam and save all men from hell.
Blessed art thou ...
‘Why do you mingle myrrh with your tears of compassion, O ye women disciples?’ cried the radiant angel in the tomb to the myrrh-bearers. ‘Behold the tomb and understand: the Saviour is risen from the dead.’ Blessed art thou ...
Very early in the morning the myrrh-bearers ran with sorrow to thy tomb, but an angel came to them and said: ‘The time for sorrow has come to an end. Do not weep, but announce the resurrection to the apostles.’ Blessed art thou ...
The myrrh-bearers were sorrowful as they neared the tomb but the angel said to them:
‘Why do you number the living amongst the dead? Since he is God, He is risen from the tomb.’ Glory to the Father and to the Son and to the Holy Spirit. We worship the Father, and his Son, and the Holy Spirit.
The Holy Trinity, one in essence. We cry with the seraphim: ‘Holy, holy, holy art thou, O Lord.’ Both now and ever and unto ages of ages. Amen. Since thou didst give birth to the Giver of Life, O Virgin, thou didst deliver Adam from his sin. Thou gavest joy to Eve instead of sadness. The God-man who was born of thee has restored to life those who had fallen from it. Alleluia. Glory to thee, O God.
10 Having beheld the resurrection of Christ, let us worship the holy Lord Jesus, the only sinless one. We venerate thy cross, O Christ, and we hymn and glorify thy holy resurrection, for thou art our God and we know none other than Thee. We call on thy name. Come, all you faithful, let us venerate Christ’s holy resurrection. For behold, through the cross joy has come into all the world. Ever blessing the Lord, let us praise his resurrection, for by enduring the cross for us he has destroyed death by death.
11 My soul magnifies the Lord, and my spirit rejoices in God my Saviour. More honourable than the cherubim and more glorious beyond compare than the seraphim, without defilement thou gavest birth to God the Word, true Theotokos, we magnify thee. For he has regarded the lowliness of his handmaiden. For behold, from henceforth all generations shall call me blessed.
More honourable ... For he that is mighty hath done great things for me and holy is his name, and his mercy is on them that fear
him from generation to generation.
More honourable ...
He has put down the mighty from their thrones and has exalted those of low degree; he has filled the hungry with good things and the rich he has sent empty away.
More honourable ...
He has helped his servant Israel, in remembrance of his mercy, as he promised to our forefathers, to Abraham and his seed for ever.
THE GREAT DOXOLOGY
12 Glory to God in the highest and on earth peace, goodwill toward men. We praise thee, we bless thee, we worship thee, we glorify thee, we give thanks to thee for thy great glory. O Lord, Heavenly King, God the Father Almighty, O Lord, the only begotten Son, Jesus Christ and the Holy Spirit.
O Lord God, Lamb of God, Son of the Father, who takest away the sins of the world, have mercy on us. Thou who takest away the sins of the world, receive our prayer. Thou who sittest at the right hand of the Father, have mercy on us.
For thou alone art holy, thou alone art the Lord, Jesus Christ, to the glory of God the Father. Amen. Every day I will bless thee and praise thy name for ever and ever. Vouchsafe, O Lord, to keep us this day without sin. Blessed art thou, O Lord, God of our fathers, and praised and glorified is thy name forever. Amen.
Let thy mercy O Lord, be upon us, as we have set our hope on thee. Blessed art thou, O Lord, teach me thy statutes. Lord, thou hast been our refuge from generation to generation.
I said: ‘Lord have mercy on me, heal my soul, for I have sinned against thee. Lord I flee to thee, teach me to do thy will, for thou art my God, for with thee is the fountain of life and in thy light we shall see light. Continue thy mercy on those who know thee. Holy God, Holy Might, Holy Immortal, have mercy on us. Glory to the Father, and to the Son, and to the Holy Spirit, both now and ever and unto ages of ages. Amen.
Holy Immortal, have mercy on us. Holy God, Holy Mighty, Holy Immortal, have mercy on us
(Resurrection Troparion 1)
13 Today salvation has come to the world. Let us sing to him who rose from the dead, the author of our life. Having destroyed death by death he has given us the victory and great mercy. (Resurrection Troparion 2)
14 Thou didst rise from the tomb and burst the bonds of Hades. Thou didst destroy the condemnation of death, O Lord, releasing all mankind from the snares of the enemy. Thou didst show thyself to thine apostles, and didst send them forth to proclaim thee; and through them thou hast granted thy peace to the world, O thou who art plenteous in mercy.
FIRST HOUR (Kontakion)
15 TO THEE, THE VICTORIOUS LEADER of triumphant hosts, we thy servants, delivered from evil, offer
hymns of thanksgiving, O Theotokos. Since thou dost possess invincible might, set us free from all calamities, so that we may cry to thee: ‘Rejoice, O unwedded Bride!’
Sacred Concerto: The Mother of God in never-slumbering prayer
16 The tomb and death have not been able to hold the Birth-Giver of God, who is in constant supplication, in intercession and unfailing hope: for the Mother of Life is come into the presence of the Life, who took up his abode in her ever- virgin womb.
The Bach Festival Society of Winter Park is proud to be Central Florida's home for extraordinary classical music, enriching lives through performances, education, and community engagement. Each season, we strive to delight, inform, and inspire audiences of all ages.
YOUR SUPPORT MAKES THIS POSSIBLE.
By investing in the power of music, you help sustain Bach's artistry on stage, nurture the next generation in the classroom, and extend our reach throughout the region.
We invite you to join us in this mission. Please consider making a tax-deductible gift to the Bach Festival Society. There are many meaningful ways you can "Give Bach" — and every gift helps keen the music alive.
Thank you!
CONTINUO SOCIETY
The Continuo Society recognizes patrons who have chosen to provide for the Bach Festival Society through their estate plans. These thoughtful legacy gifts will help sustain the Society's mission for many years to come. For more information about major and planned gift opportunities, please contact Executive Director Kathy Belinsky at 407.691.1056 or KBerlinsky@BachFestivalFlorida.org.
CONTINUO SOCIETY MEMBERS
Anonymous (2)
John W. and Linda Cone Allen
P. Andrew and Autumn Ames in honor of John M. Tiedtke
M. Elizabeth Brothers*
Dana and Diana Eagles
Paul M. Harmon
Karen and Mickey Lane in memory of Bernice and Stanley Levy
Rob and Wendy Landry
Bonnie B. and Robert M. Larsen
Leyse Lowry in honor of John V. Sinclair
Pat McKechnie
Dr. Blair and Diane Murphy
Kenneth* and Ann Hicks Murrah
James F. Niss and Judith H. Niss
The Rev.* and Mrs. Eric Ravndal, III
Drs. John and Gail Sinclair
Bosco R. and Beverly J. Slaughter
Dr. Walter Stamm*
Heather and David Torre
IN HONOR OF JOHN V. SINCLAIR ON HIS 25TH ANNIVERSARY
Anonymous (4)
Athalia and Robert Cope
Tim Delcavo
Michael and Aimee Rusinko Kakos
Susan D. Tucker
*deceased
OUR 2024-2025 SEASON DONORS
The Bach Festival Society of Winter Park would like to thank the individuals and community partners below who have generously made a pledge or contribution in support of the dynamic artistic and educational programming and community engagement for the 90th Season.
BACH FESTIVAL SOCIETY VISIONARIES
$100,000 AND ABOVE
Bach Festival Choir
Elizabeth Morse Genius Foundation
Orange County Government through the Arts and Cultural Affairs Program
State of Florida, Department of State Division of Arts and Culture
Rollins College
United Arts of Central Florida
J. S. BACH LEADERSHIP COUNCIL
$50,000 - $99,999
Anonymous
Elinor & T.W. Miller Foundation
Beth and Jack Nagle
Edyth Bush Charitable Foundation
CONDUCTOR'S CIRCLE
$25,000 - $49,999
AdventHealth
The Joe and Sally Galloway Foundation
Mr. Alex and The Hon. Cynthia Mackinnon
Pabst-Steinmetz Foundation
Sally and Jack Schott
Winifred Johnson Clive Foundation
COMPOSERS CIRCLE
$10,000 - $24,999
Theodore and Barbara Alfond, In honor of John Sinclair
Dr. Phillips Charities
Florida Charities Foundation
Ginsburg Family Foundation
Kathryn G. Grammer
Anonymous
Chelsey G. Magruder Foundation
Mrs. Sarah Ravndal, in loving memory of my Husband, The Reverend Eric Ravndall III
Wayne and Robin Roberts
Bosco R. and Beverly J. Slaughter
Leila Edgerton Trismen
CHORAL CIRCLE
$7,500-$9,999
Anonymous
Jeff and Nichole Bromme
The Charles Hosmer Morse Foundation
Festival of Orchestras Endowment Fund
The Thomas P. and Patricia A. O'Donnell Foundation
Borron and Beppy Owen
CHORAL CIRCLE
$5,000 - $7,499
Kathy Johnson Berlinsky
Jeff and June Flowers
Anonymous (4)
Charles Hosmer Morse Foundation
Thomas P. and Patricia A. O’Donnell Foundation
Michael and Aimee Rusinko Kakos
Bonnie B and Robert M Larsen
The Norris Family Foundation
Dr. MK Reischmann
Dr. Joe and Sue Warren
ARTISTIC CIRCLE
$2,500 - $4,999
Dana and Diana Eagles
Barbara and Richard Fulton
Dr. Grant Hayes
The Lee Foundation
David Reynolds Mattson
Borron and Beppy Owen
Ann Morgan Saurman
Tamara L. Trimble
Hardy Vaughn and Betty Brady
Dr. Tracy Truchelut and Mr. Robert A. Whit
BENEFACTORS
$1,000 - $2,499
Keith and Eleanor Ackermann
David and Judy Albertson
John W. and Linda Cone Allen
Mr. and Mrs. Ames,
In Memory of John M. Tiedtke
Ellen Arnold
Mrs. Carol Beyer
Donna Borko
James Burrell
Michael and Mable Burridge
Tom and Kathy Cardwell
Anonymous (4)
Tim and Vivian Cook
Alan and Susan Davis
Geoffrey Del Bene
Deprez Fund
Lee Eubank
Brad and Christina Gant
G. Randall and Nancy Gibbs
James and Fredel Goodrich
Gregg Gronlund Family
Mrs. Janice Granier Gruber
Wallace H. Hall
Paul M. Harmon
Adam Hetnarski
Honorary Consul of the Federal Republic of Germany in Orlando
Allison and Peter Hosbein
Dr. Mimi Hull
Allen T. Irwin
Beth and Jack Isler
Bradford M. Johnson
Heather Kanny
Kobrin Family Foundation
Dr. Susan Cohn Lackman and Dr. Richard David Knapp
Anonymous in memory of
Clifford and Marilyn Lee
Leyse Lowry
Jody and Craig Maughan
Elizabeth Maupin and Jay Yellen
Dr. Margaret McMillen
Jeff and Mindy Moore
D’Arcy Murphy
John Niss and Lisa Mouton
Bj Price
Dr. F. Robert and Norene Rolle
Joan Ruffier
Paul Schmalzer
Sara and Bill Segal
Karyll Shaw
Paula Shives
Frederick Szudlik
Jodi Tassos
George R. and Eleanor C. Taylor, In memory of The Rev. Eric Ravndal, III
Donna and Keith Van Allen
Harold Ward
Katy Moss Warner
Mrs. Gwendolyn B. and Mr. Wilford J. Williams
Betty Jane and Cecil B. Wilson, MD
We are so grateful for all of these generous donors as well as an additional 204 donors who gave up to $999, whose support makes everything we do possible. Each gift, no matter the size, strengthens our mission and allows us to inspire the human spirit through great music. Thank you!
WE EXTEND OUR DEEPEST GRATITUDE TO THE DONORS OF THE UNITED ARTS CAMPAIGN.
Your continued support uplifts not only Bach but also the entire Central Florida arts community. Together, you help ensure that the arts remain a vibrant, inspiring, and essential part of our shared cultural life.
ABOUT BACH
MUSIC-MAKING INITIATIVES
The renowned Bach Festival Choir is comprised of auditioned singers, enjoying weekly rehearsals and specializing in singing choral masterworks in partnership with the Bach Festival Orchestra.
The Young at Heart Chorale is a volunteer singing group for those 55+ years young. The group has weekly rehearsals and performs outreach concerts at local community centers.
The young musicians of the Bach Festival Youth Choirs will continue to refine their musicianship skills through weekly rehearsals and will be featured in performances with the Bach Festival Choir and Orchestra throughout the season, along with outreach concerts in the community.
EDUCATION INITIATIVES
The Bach Festival Society’s Fresh StARTs program places professional musicians in elementary and secondary schools to present unique musical learning experiences. The Bach Vocal Artists offer educational outreach through open rehearsals and in-school visits.
The world-renowned musicians featured in the Bach Festival Society’s Visiting Artists Series often present master classes to students and patrons. These classes offer a unique perspective on the process of creating musical excellence.
Our popular High School Honors Choral Festival provides valuable workshop/clinic feedback from collegiate choral directors recruited from across the
ACCESSIBILITY
country. This festival helps prepare high school choirs for their annual Music Performance Assessments.
Bach Festival Society’s newest Educational program is the Choir of Distinction. Each year, Central FL choirs are invited to compete in a multiphased audition process and adjudicated on tone, preparation and effect. Edgewater High School’s Eagle Chorus, directed by Alex Glover, and Winter Springs High School’s Bear Voices, directed by Kara Ferland, have been named the 2024-2025 “Choirs of Distinction” by the Bach Festival Society of Winter Park. They will enjoy choral mentorship, invitations to Bach Festival Choir rehearsals and the opportunity to perform with the Bach Festival Orchestra.
The Bach Festival Society is committed to making its programs accessible to all audiences. Tiedtke Concert Hall and Knowles Memorial Chapel on the Rollins College campus in Winter Park have accessible entrances and parking options available, as does Steinmetz Hall at the Dr. Phillips Performing Arts Center in downtown Orlando. Please call 407.646.2182 for assistance with questions or concerns.
Photo credit: Sondra Jones
FESTIVAL SUBSCRIPTIONS
THE 91ST ANNUAL BACH FESTIVAL
Join us for a season filled with extraordinary music, world-class artistry, and the timeless works presented by the Bach Festival Society of Winter Park. With an Annual Bach Festival Package, you can enjoy the full experience at a special discounted rate.
Your package includes:
• Admission to all performances during the 91st Annual Bach Festival (February 6th - March 1st)
• A 15% discount on individual ticket prices, offering significant savings compared to purchasing concerts separately.
• A 15% discount code for two concerts in Steinmetz Hall, giving you even more value this season.
Festival Package Pricing:
• Premium: $323 (Compare at $380)
• Preferred: $255 (Compare at $300)
• Standard: $170 (Compare at $200)
Don't miss the chance to secure your seat for one of Central Florida's most anticipated cultural traditions. Reserve your package today and be part of this landmark season!
TICKETS & SUBSCRIPTION
Subscribe to enhance your experience with exclusive benefits and get the best value.
Design-Your-Own Subscriptions
Design Your Own Experience packages allow you to choose three or more programs that fit your schedule and interests, giving you the flexibility to create a season that's uniquely yours.
As an added benefit, you'll enjoy savings of up to 15% on your selections. To take advantage of this special offer, simply enter the code DYE15 at checkout.
Individual Tickets
Reserved seating and limited General Admission tickets are on sale now. Discounted student and educator rush tickets are available “at the door” with school ID pending availability. Group discounts are also available.
For more information, including subscription pricing and seating charts for all venues, please visit bachfestivalflorida.org/subscriptions.
ONLINE:
BachFestivalFlorida.org/tickets
BOX OFFICE HOURS:
PURCHASE NOW!
BY PHONE:
407.646.2182
Monday-Friday | 10:00am-4:00pm
IN PERSON:
203 E. Lyman Ave. Winter Park, FL 32789, 2nd Floor
QUESTIONS? BoxOffice@BachFestivalFlorida.org
TICKET POLICIES
Performance details are subject to change. To learn more, please visit BachFestivalFlorida.org/ticket-policy.
MAILING ADDRESS:
Bach Festival Society of Winter Park 1000 Holt Ave. Box #2763, Winter Park, FL 32789
Photo credit: Sondra Jones
The HEALING POWER
ARTS
91 ST SEASON
2025-2026
Daniel Adam Maltz, fortepiano with Bach Chamber Choir
Voctave: The 10th Anniversary Tour
Carmina Burana & Rhapsody in Blue
Rachmaninoff: Vespers (All-Night Vigil)
A Classic Christmas
Americana: Barber, Bernstein, Copland
October 19, 2025 • 3:00 PM
October 25, 2025 • 7:30 PM
November 2, 2025 • 3:00 PM
November 7, 2025 • 7:30 PM
December 13, 2025 • 1:00 PM & 3:30 PM
December 14, 2025 • 1:00 PM & 3:30 PM
Januar y 30, 2026 • 7:30 PM
91st Annual Bach Festival
Organ Recital: Colin MacKnight
National Oratorio Competition Finals Concert Voces8
Concertos by Candlelight: Guilmant, Paganini, Rachmaninoff
Age of Enlightenment : Haydn, Mozart, Beethoven Fuoco Obbligato
J.S. Bach: St. John Passion
Lysander Piano Trio
Passion Music for Early America with Bach Vocal Artists
