Seraphic Fire Magazine, Volume 4, Issue 3

Photo: Alex Markow

Seraphic Fire presents the highest quality performances of historically significant and under-performed music, and advance art through the professional development, refinement, and documentation of our musicians’ talents and promote community connectivity through education programs.

In this issue…

To request materials in an accessible format, sign language interpreters, CART, and/or any disability accommodation, please contact JJ Flores at 305.692.0268 or JJ@SeraphicFire.org five days in advance to initiate your request. TTY users may also call 711 (Florida Relay Service).

Welcome to our final two programs of Seraphic Fire’s 20th Anniversary season. In March, Seraphic Fire welcomes María Guinand, lauded director of the Schola Cantorum de Venezuela, to the podium for the first time. Maestra Guinand has devoted her career to the choral music of the Americas, and epitomizes the power of cultural exchange through her years working in international arts policy with the Development Bank of Latin America, the International Federation of Choral Music, and UNESCO’s International Music Council.

In April, our 20th Anniversary concerts, celebrate two decades of Seraphic Fire’s innovation and growth. One of the hallmarks of Seraphic Fire has been the ensemble’s dedication to expanding the American choral canon through commissioning new works. On First|Last you will experience our very first commission—Shawn Crouch’s The Road from Hiroshima alongside World Premiere performances of music by Alvaro Bermudez, Sydney Guillaume, and Tawnie Olson. It’s a delight to welcome back musicians from throughout the ensemble’s history as well as highlight the educational partnerships we’ve developed with UCLA’s Herb Alpert School of Music and University of Miami.

Whether this is your first concert or you’ve been here since the first concert, thank you for being a part of this 20-year journey.

Patrick Dupre

Artistic Director

Quigley

The DeVos Institute of Arts Management at the University of Maryland is honored to collaborate with Seraphic Fire as it celebrates 20 years and navigates a transition in executive leadership. We have been admirers of the organization for many years, and are so impressed by the quality, passion and beauty the ensemble brings to every performance.

As we conduct the search for a new executive director, we will work closely with Seraphic Fire’s staff, board, and Patrick Dupre Quigley to ensure consistent leadership and responsible stewardship of its resources. We’ve also had fruitful discussions with Patrick about the future and have been impressed by his passion and vision for the organization’s next chapter. While 20 wonderful years is indeed an impressive accomplishment for any arts organization, we are certain you’ll be inspired by the many wonderful things still to come.

We look forward to getting to know Seraphic Fire’s family over the course of our work together and thank you for your continued support of this incredible institution.

Michael M. Kaiser

Matthew Kacergis Interim Executive Director Interim Managing Director

Patrick Dupre Quigley

Michael M. Kaiser

Matthew Kacergis

Artist Roster

For complete artist bios, visit SeraphicFire.org/About

Elisse Albian

New York, NY 4th Season elissealbian.com

Gitanjali Mathur

Austin, TX 3rd Season

Rebecca Duren

Rome, GA 4th Season rebecca-duren.com

Rebecca Myers Philadelphia, PA 9th Season rebeccamyerssoprano.com

Chelsea Helm

New York, NY 5th Season chelseahelmsoprano.

Molly Quinn

Chapel Hill, NC 11th Season mollyquinn.com

Vidita Kanniks

Cincinnati, OH 2nd Season

viditakanniks.com

Adriana Ruiz Miami, FL 1st Season cantadria.com

Jane Long

Vancouver, CA 4th Season janelongsoprano.com

Luthien Brackett

London, UK 9th Season luthienbrackett.com

Suzanne Hatcher

Kansas City, MO 8th Season

Artist Highlight

Alexandra Colaizzi Miami, FL

3rd Season alexandracolaizzi.com

Kate Maroney Brooklyn, NY

5th Season katemaroney.com

Molly Quinn

Douglas Dodson

Atlanta, GA 9th Season dougdodson.com

Karen Neal

Miami, FL

2nd Season

Cecilia Duarte Houston, TX

1st Season ceciliaduarte mezzosoprano.com

Gabriela Solis

San Francisco, CA 2nd Season

gabrielaestephaniesolis. com

Soprano Molly Quinn has garnered praise for her thought provoking and delightful interpretation of music from the medieval to the modern. She was a soloist on Trinity Wall Street’s GRAMMY®-nominated recording of Handel’s Israel in Egypt. She has collaborated with notable musicians and arts organizations around the globe including Vancouver Early Music, Trinity Wall Street, The Knights NYC, Portland Baroque Orchestra, Apollo’s Fire, The Bang on a Can All-Stars, TENET, Baldwin Wallace Bach Festival, Ascension Music, Clarion Music Society, Pacific Baroque Orchestra, Quicksilver Ensemble, Seraphic Fire and Acronym. She has appeared as soloist under the baton of Joshua Rifkin, Andrew Parrott, Jane Glover, Julian Wachner, Dan Hyde, John Rutter, John Scott,and Lorenzo Muti. Molly received a master’s degree from Cincinnati Conservatory of Music. She is known as a specialist in early 17th century Italian and German repertoire as well as music of the High Baroque. In addition to her thriving career as a performer, Molly served as professor of voice at Sarah Lawrence College from 20192022. She is also an avid proponent of small ensemble vocal music, singing with America’s brightest and best ensembles and has served as Artistic Representative to the Board of Seraphic Fire since 2019.

“impeccable ensemble performance”

–South Florida Classical Review

About Ensemble Ibis

Ensemble Ibis is the Frost School of Music’s new music ensemble at the University of Miami. Ensemble Ibis has a core of 17 instrumentalists dedicated to performing late 20th and 21st century music from a broad spectrum of contemporary styles. Ensemble Ibis works closely with and performs the music of the Frost Distinguished Visiting Composerin-Residence. Composers who have held this position recently are Anthony Davis (2022), Tania Leon (2021), George Lewis (2020), Melinda Wagner (2019), Christopher Theofanidis (2018), Augusta Read Thomas (2017), Martin Bresnick (2016) and Stephen Hartke (2015). Ensemble Ibis is dedicated to supporting the next generation of young composers though the annual Ensemble Ibis Composition Competition, student composer readings and collaborative concerts and workshops of new opera with the Frost Opera Theater. Shawn Crouch has been the artistic director of Ensemble Ibis since 2015.

Blake Beckemeyer

Indianapolis, IN 3rd Season barrybeckemeyer.com

Andrew Fuchs

New York, NY 5th Season andrew-fuchs.com

Aaron Cates

Charleston, SC 2nd Season

Michael Jones

Philadelphia, PA 1st Season

michaeljonesmusic.com

Derek Chester

Greely, CO 8th Season

Nickolas

Karageorgiou

New York, NY 4th Season

Andrew Crane

American Fort, UT 6th Season

Gregório Taniguchi

New York, NY 2nd Season

gregoriotaniguchi.com

Brad Diamond

Sterrett, AL 11th Season

BASS

Eric Alatorre

San Francisco, CA 4th Season

Thomas McCargar

New York, NY 14th Season

CELLO

Sarah Stone

New York, NY

sarahabigaelstone.com

James K. Bass

Associate Conductor

Los Angeles, CA 20th Season

Edmund Milly Newark, NJ 1st Season edmundmilly.com

ORGAN

Justin Blackwell

Boston, MA

John Buffett

Los Angeles, CA 11th Season johnbuffett.com

Marques Ruff

Tallhassee, FL 1st Season marquesjerrellruff.com

GUITAR

Alvaro Bermudez

Miami, FL

Matthew Goinz Washington, DC 2nd Season

matthewgoinz.com

Paul Max Tipton

New York, NY 6th Season

paulmaxtipton.com

Enrico Lagasca

New York, NY 4th Season enricolagasca.com

Season 21 Preview

Subscriptions Available Now

GODS and MORTALS

November 2-5, 2023

Patrick Dupre Quigley, conductor

Seraphic Fire opens its 21st Season with scenes from Castor and Pollux by Jean-Philippe Rameau. Follow solo voices, chorus, and chamber orchestra through this dramatic story of mythological twins as they struggle with their love of the same woman, and a trip to the underworld.

Miami | Coral Gables | Ft. Lauderdale | Boca Raton

A Seraphic Fire Christmas

December 5-17, 2023

James K. Bass, conductor

Let the gentle glow of candlelight and angelic tones of Seraphic Fire voices usher you into the holiday season. We hope this concert becomes the soundtrack of your season—literally!—since it marks the release of Seraphic Fire’s newest Christmas album. Come hear this concert and bring all your favorites home with you.

Boca Raton | Coral Gables | Cutler Bay | Ft. Lauderdale | Miami | Miami Beach | Naples | Sarasota

IN HER Own VOICE

January 18-21, 2024

Elena Sharkova, conductor

Guest conductor Elena Sharkova returns for a concert highlighting the creative expressions of women composers and poets. Enjoy a diverse program of music where the lives, experiences, passions, and pains of women are described in their own voices.

Naples | Coral Gables | Ft. Lauderdale | Miami Beach

The Enlightenment Festival

February 15-25, 2024

Patrick Dupre Quigley, conductor

Join us for two back-to-back weeks of programming that will expand your horizons as we dive into the music of the 18th century. The first week of the festival will focus on the music of father and son Alessandro and Domenico Scarlatti who were influential in the musical life of Naples, Italy in the Baroque period. In the second week, a special visit to the Esterházy palace by war hero Admiral Lord Nelson and his mistress, Lady Emma Hamilton, inspired a concert of works by Haydn.

Boca Raton | Coral Gables | Ft. Lauderdale | Miami | Miami Beach | Naples

The Fountains of Israel

March 20-24, 2024

Ruben Valenzuela, conductor

Seraphic Fire welcomes guest conductor Ruben Valenzuela for a concert highlighting the music of German Baroque composer Johann Schein. Rarely performed, The Fountains of Israel is an uncommon example of German sacred madrigals.

Miami | Naples | Coral Gables | Ft. Lauderdale | Miami Beach

Mid-Century Modern

April 25-28, 2024

James K. Bass, conductor

Furniture or architecture might come to mind when one hears the phrase mid-century modern, but the creative style also impacted the music of the time. You’ll likely discover a mid-century work you’ve never heard before on this program for a cappella chorus.

Naples | Coral Gables | Ft. Lauderdale | Boca Raton

Maestra María Guinand

Elevating the Global Appreciation of Choral Music through Passion, Creativity, and Leadership

By Beth Braswell

Born in Venezuela, María Guinand is an internationally renowned choral conductor, having toured globally and received choral conducting awards too numerous to list all but three of the most distinguished: the Helmuth Rilling Preis (2009), the Robert Edler Preis für Chormusic (2000), and the Kulturpreis of the InterNationes Foundation (1998). She was lauded with the Lifetime Achievement Award by the International Federation of Choral Music and, with her consummate presentation of La Pasión según San Marcos, Maestra Guinand received nominations in both the 2002 GRAMMY® Awards and the Latin GRAMMY® Awards. She is internationally recognized as an authentic interpreter and trainer of Latin American choral music of the 20th and 21st centuries and is equally captivated by the performance of new music. Guinand shares her talents not only as a choral director and leader of national and international choral projects but as a college professor and teacher.

She has been diligent in her efforts to permanently establish choral music centers for youth of disadvantaged backgrounds in Venezuela and other Andean countries. Her accomplishments and impact on the music community around the globe, as well as in Latin America, are amazingly diverse and impressive.

In the following interview, Maestra Guinand provides insights into the development of this Seraphic Fire program and her expectations for the performance:

Q: The program that you are conducting is labeled sacred AND profane. Was it a challenge to choose diametrically opposed repertoire?

A: I like my programs to be a little wider in scope because I think this is the way life is today. I don’t think we live in small holes. Actually, Patrick had asked me first for a different type of program. I sent him a program mainly on literature, sacred and profane, but from Spanish and Hispano-American sources. And later, I sent him a program on Bach and other composers with a more formal program.

I had Bach at the center because this is a year where we are commemorating Bach’s arrival to Leipzig; 200 years. And Patrick wrote to me, and said, “Do you think it would be crazy to combine these two programs? Not do the sacred part of the Spanish, but instead do Jesu, meine Freude as a sacred part of the program?” I said, “Why should be this crazy? We live in the same world. It’s not that this music belongs to a different stratosphere.” It’s a program I really like, and I like the challenge.

“Maestra Guinand has been a champion for music writ large in South America, and she has brought that passion to her work in the US. She is absolutely the #1 person for this repertoire, and we wanted the best.”

— Patrick Dupre Quigley, Artistic Director, Seraphic Fire

Q: Can you describe the music that you have selected for the Sacred | Profane program?

A: I divided the program into four sections. I have one section which is devoted to the sea, Al Mar. I have composers from Spain and Venezuela: one is [Catalan composer] Mateo Flecha, and then there are three composers from the Madrigal School of Venezuela. Stylistically speaking, this music is very diverse. They write in very different ways and relate to music and text in very different ways.

Next, we will sing Jesu, meine Freude. And then, we go to a third section, Al Amor, where I have music from the 16th century, from the 20th century, from a Spanish composer, and from Alberto Grau in Venezuela. There is also some music that comes from popular origins. And then the fourth section focuses on humor. Again, music from the Spanish and then two songs that are really popular songs from Latin America: Guararé, which is a very funny and witty song from Panama, and El Guayaboso, which is also wonderful and from Cuba. So, Bach will be beside all these composers, and I love that.

Q: When Patrick reached out to you about conducting for Seraphic Fire, were you familiar with the ensemble?

A: What brought Patrick and I together was Hildegard von Bingen. Patrick did a recording, and I also did this 20 years ago. When he spoke to me, he said that he had always been an admirer of the work I have done. So I think it was really beautiful to come together around a composer that lived 900 years ago in Germany, and we are here in the Americas.

I have been in Miami many times, conducting choirs and working also in FIU for several months helping the choral movement to grow; but Seraphic Fire, it’s different. It’s an ensemble, and one so experienced and professional. That is really challenging. So, what I’m looking forward to is seeing how we can work on this program together in a way that the singers understand the music, the language, the styles, and enjoy music that they may not normally do. We will have possibilities to play around with the music and to play with the audience through the music; to be not singing only from the score, but to be somehow interacting and creating different atmospheres.

Q: As guest conductor, what are some special qualities that you hope to share with Seraphic Fire and the audience?

A: Sometimes there is a big line between the Hispanic cultural background and German English cultural background. There seems to be a wide gap of understanding both culturally and in music, and I think that Patrick’s vision was that I could bring something that could really draw together these two worlds.

You know they call Miami the second capital of Latin America. So, this is a program to be sung in a place like Florida, like Miami. In my country and my culture, we don’t have major differences between academic music and popular music. And you will see that in some of the Spanish songs, for instance, the first one that we open with Mateo Flecha, La Bomba

I was reading some notes of a very interesting musicologist of the 17th century, and he said, ‘in the salad, you throw many herbs and different meats and fishes, olives, and vegetables. And because of that diversity, you make a plate.’ Then he says the composers in the time of Mateo Flecha were attached to the formality of the music of Palestrina and Tomás de Victoria. That was music in Latin, written in the motet style, very formal. With a ‘salad,’ they open a new window. They take some songs—popular songs—and they mix languages; some parts of the text are in Spanish and some are in Latin, but the text has a story. There are also different kinds of textures: homophonic and polyphonic. Audiences today are open to receiving programs that are colorful, creative, and changeable. This is why I’m really happy about this choice of this program.

Q: What do you expect the audience to take away from Seraphic Fire’s Sacred | Profane performance?

A: I think in the world today, choral music is an art that can bring not only beauty through music and singing, but also creativity, joy, and openness. It can build bridges, which we need very much to build bridges between cultures and human beings to keep living on this planet in the best possible way. And I think also Miami is a place of encounter between various cultures that allows many people coming from different places to feel represented somehow; to feel that they have a voice also in the program. So, this is very important for me.

La Bomba

Pregúntale a ese mar

Al mar anochecido

March 22-26, 2023

Miami | Naples | Coral Gables | Ft. Lauderdale | Miami Beach

Al Mar

Mateo Flecha el Viejo (1481-1553)

Inocente Carreño (1919-2016)

Gonzalo Castellanos (1926-2020)

Evohé José Antonio Calcaño (1900-1978)

Jesu, meine Freude, BWV 227

Claros y hermosos ojos

Johann Sebastian Bach (1685-1750)

Al Amor

Francisco Guerrero (1528-1599)

Tres Canciones de Amor Manuel Oltra (1922-2015)

Madrigalillo

Eco

Preludio

Caramba mi amor

Cucú, Cucú

Teresica Hermana

Guararé

Otilio Galíndez (1935-2009)

Arr. Alberto Grau (b. 1937)

Al Humor

Juan del Encina (1468-1529)

Mateo Flecha el Viejo (1481-1553)

Traditional, Panamá arr. Alberto Grau

El Guayaboso Guido López Gavilán (b.1944)

SOPRANO

Chelsea Helm

Vidita Kanniks

Jane Long

Adriana Ruiz

ALTO

Alexandra Colaizzi

Cecilia Duarte

Kate Maroney

TENOR

Andrew Crane

Andrew Fuchs

Gregório Taniguchi

BASS

Eric Alatorre

Matthew Goinz

Edmund Milly

CELLO

Sarah Stone

ORGAN

Justin Blackwell

CONDUCTOR

María Guinand

Sacred | Profane

La Bomba Mateo Flecha el Viejo

¡Bomba, bomba, y agua fuera!

¡Vayan los cargos al mar que nos ymos anegar!

¡Do remedio no se espera!

¡A l’escota socorred!

¡Vosotros id al timón!

¡Qué espacio! ¡Corred, corred!

¿No veis nuestra perdición?

Essas gúmenas cortad porque se amaine la vela.

¡Hazia acá contrapesad!

¡Oh, que la nave se asuela!

¡Mandad calafetear que quizá dará remedio!

¡Ya no ay tiempo ni lugar, que la nau se abre por medio!

¿Qué haremos?

¿Si aprovechará nadar?

¡Oh, que está tan bravo el mar, que todos pereçeremos!

Pipas y tablas tomemos. Mas, triste yo, ¿que haré? Que yo, que no sé nadar, ¡moriré!

Virgen madre, yo prometo Rezar con tino tus horas.

Si, Juan, tu escapas, hiermo moras.

Monserrate luego meto. Yo, triste, ofrezco también, en saliendo deste lago, ir descalço a Santiago, eu yendo a Jerusalén.

¡Santa Virgen de Loreto, sant Ginés, socorrednos!

¡Que me ahogo, santo Dios !

¡Sant Elmo, santo bendito!

¡Oh, virgen de Guadalupe, nuestra maldad no te ocupe.

¡Señora de Monserrate, oý, señora y gran rescate!

¡Oh gran socorro y bonança!

¡Nave viene en que escapemos!

¡Allegad, allegad que pereçeremos!

¡Socorred, no aya tardança!

¡No sea un punto detenido, señores, esse batel!

¡Oh, qué ventura he tenido, pues que pude entrar en él!

Gratias agamus Domino Deo nostro.

Dignum et justum est, de tan grande beneficio reçebido en este dia.

Pump, pump out the water!

Push the barrels into the sea, for we are flooding and expect no remedy!

To the rescue!

You men, go to the wheel!

What a situation! Run, run!

Can’t you see we’re lost?

Cut those cables, loosen the sail.

To this side, make a counterweight!

Oh, the ship is running aground!

Order someone to caulk it, perhaps that will help!

Time’s run out, the ship is breaking up!

What shall we do? What shall we do?

Is it worth trying to swim?

Oh, the sea is so rough that we shall all die.

Casks and planks, let’s take hold of them. But alas, what shall I do? since I can’t swim, I shall die!

Virgin mother, I promise to praise you always. If you escape, Juan, as a hermit you shall live.

I’ll go to Montserrat.

I, miserable one, offer also, if I get out of this lake, to walk barefoot to Santiago: I am going to Jerusalem.

Holy Virgin of Loreto!

St. Gines, save us!

I am drowning holy God!

I am drowning St Elmo, holy saint!

Oh, Virgin of Guadalupe, forget our evil!

Lady of Montserrat, listen to us, Lady, and great assistance!

Oh, great help and good!

A ship is coming to save us! Come near, we are about to perish!

Help, do not delay!

Let it not be just a stationary dot, gentlemen, that boat!

Oh, what luck I have had, I managed to get on it!

Let us thank the Lord our God, who is honorable and just, for the great good received this day.

Cantemos con alegría Todos hoy por su servicio.

¡Ea, ea, sus, empecemos!

Empieça tú, Gil Piçarra, A tañer con tu guitarra Y nosotros te ayudaremos. Esperad que esté templada. Tiemplala bien, hi de ruin. Dendén, dendén, dindirindín. ¡Oh, como está destemplada! ¡Acaba, maldito, ya! Dendén, dendén, dindirindín. ¡Es por demás! Sube, sube un poco más. Dendén, dendén, dindirindín. ¡Muy bien está! Ande pues, nuestro apellido, el tañer con el cantar concordes en alabar a Jesús rezién nacido.

Dindirindín, dindirindín. Bendito el que ha venido A librarnos de agonía bendito sea este día que nasció el contentamiento. Remedió su advenimiento mil enojos. Dindirindín, dindirindín Benditos sean los ojos Que con piedad nos miraron Y benditos, que ansí amansaron Tal fortuna.

No quede congoxa alguna, Demos prissa al navegar poys o vento nos ha de llevar. ¡Garrido es el vendaval! No se vio bonança igual sobre tan gran desatiento. Bien ayas tú, viento, que ansí me ayudas contra fortuna. Gritá, gritá, todos a una gritá: ¡Bonança, bonança, salvamento!

Miedo ovistes al tormento, no tuviendo ya sperança. ¡O modicae fidei!

Ello está muy bien ansí. Gala es todo, a nadie hoy duela “la gala chinela, la gala chinela.” Mucho prometemos en tormenta fiera mas, luego ofrecemos infinita çera.

Let’s sing with joy, today for Your help.

Hey Hey Now, let’s begin! You start, Gil Picarra, strumming your guitar, we will all help you. Wait until it is tuned.

Tune it well, you bastard!

Dendén, dendén, dindirindín. Oh, how badly out of tune!

Finish, damn you, now!

Dendén, dendén, dindirindín. Enough is enough!

Up, up a little bit more!

Dendén, dendén, dindirindín. It’s fine now!

Off we go then, our shouting, playing and singing join to praise Jesus, the new-born.

Dindirindín, dindirindín

Blessed be the one who has come to deliver us from suffering. Blessed be this day when contentment was born. His arrival remedied a thousand miseries.

Dindirindín, dindirindín Blessed be the eyes that with pity looked on us, and blessed be those who thus appeased fate.

No more pain. Let us hurry and sail, for the wind shall carry us. The wind is gentle!

Such good fortune never followed such great distress. How good of you, wind, to help me against fate.

Shout, shout all at once, shout: Joy! Joy! We are saved, we are saved!

You were afraid of the torment, having no hope.

O ye of little faith!

All is well. Everything is fine. Pleasure is all, today no one is hurt.

“La gala chinela, la gala chinela”

Much we promise amid a great storm, but then we offer nothing but candles.

“De la gala chinela, la gala chinela.”

¡A Dios, señores!

¡A la vela!

Nam si pericula sunt in mari, pericula sunt in terra et pericula in falsis gratribus.

Pregúntale a ese mar Inocente Carreño

Pregúntale a ese mar donde solía llorar mi corazón, si por su arena, con dulce silbo de veloz sirena, cruzó la virgen que me viera un día contar los granos de la arena mía.

Y a esa virgen nocturna de serena vestidura lunar, túrgida y llena, pregúntale si el mar que la veía despedirse llorando en mi memoria, escribió por la arena aquella historia con su pulso de espuma, triste y suave...

¡Tú también, corazón, ve a la ribera, y con voz de esa brisa que te oyera, pregúntaselo al mar, que el mar lo sabe!

Evohé José Antonio Calcaño

Evohé mare nostrum. Vuela la triangular vela latina y grávida de brisa y luz de aurora.

La barca impele a sumergir la proa que traza inquieta una estela argentina.

Al arrullo del mar se unen mil voces indicernibles, todo es tan intenso que se diría que los Dioses viven aún bajo este cielo inmenso.

Evohé mare nostrum.

“De la gala chinela, la gala chinela.” Farewell, gentlemen! Set sail!

Not all dangers are at sea. There are also dangers on land, and dangers too in false brethren.

Al mar anochecido Gonzalo Castellanos

Ask the sea where my heart cried, if on its sand, with the sweet whistle of the quick mermaid, the virgin crossed who saw me one day counting the grains of my sand.

And to the nocturnal virgin dressed in serene full moon clothing, Ask her if the sea who saw her leave Crying in my memory, Wrote that story on the sand With its pulse and sad, soft foam...

You too, love, go to the shore, And with the voice of that breeze that would hear you, Ask the sea, because the sea knows!

¡Si su belleza en mí morir pudiera como en ti, mar, se borran los colores que el sol divino te dejó, en las flores de luz de toda su gentil carrera!

Mas ¿qué es la muchedumbre, pasajera eterna, de este oleaje de dolores, para tal resplandor de resplandores, alba sola de toda primavera?

¡Mar, toma tú, esta tarde sola y larga, mi corazón, y da a su sufrimiento tu anochecer sereno y extendido.

¡Que una vez sienta él cual tú, en la amarga infinitud de su latir sangriento,

If her beauty in me could die as in you, sea, the colors the divine sun left in you are erased, in the flowers of light all of his gentle race!

But what is the multitude, fleeting eternal, of this wave of pains, for such a radiance of radiances, lonely dawn of all spring?

Sea, take this lonely and long afternoon, my heart, and give to its suffering your evening, serene and extended.

That once it feels like you, in the bitter infinity of its bloody beat,

Evohé, hail our sea. Flying the triangular Latin sail and filled with air and light of the dawn.

The boat impels its prow to plunge Leaving a silver wake.

A thousand indistinguishable voices join the lullaby of the sea, everything is so intense that it seems that the Gods still live under this huge sky.

Evohé, hail our sea.

Jesu Meine Freude

Johann Sebastian Bach

Jesu, meine Freude, Meines Herzens Weide, Jesu, meine Zier, Ach, wie lang, ach lange Ist dem Herzen bange

Und verlangt nach dir!

Gottes Lamm, mein Bräutigam, Außer dir soll mir auf Erden Nichts sonst Liebers werden.

Unter deinem Schirmen

Bin ich vor den Stürmen

Aller Feinde frei.

Lass den Satan wittern, Lass den Feind erbittern, Mir steht Jesus bei.

Ob es jetzt gleich kracht und blitzt, Ob gleich Sünd’ und Hölle schrecken: Jesus will mich decken.

Trotz dem alten Drachen, Trotz des Todes Rachen, Trotz der Furcht darzu! Tobe, Welt, und springe, Ich steh hier und singe In gar sich’rer Ruh. Gottes Macht hält mich in Acht; Erd’ und Abgrund muss verstummen, Ob sie noch so brummen.

Weg mit allen Schätzen! Du bist mein Ergötzen, Jesu, meine Lust!

Weg, ihr eitlen Ehren, Ich mag euch nicht hören, Bleibt mir unbewusst!

Elend, Not, Kreuz, Schmach und Tod Soll mich, ob ich viel muss leiden, Nicht von Jesu scheiden.

Gute Nacht, o Wesen, Das die Welt erlesen, Mir gefällst du nicht.

Gute Nacht, ihr Sünden, Bleibet weit dahinten, Kommt nicht mehr ans Licht!

Gute Nacht, du Stolz und Pracht! Dir sei ganz, du Lasterleben, Gute Nacht gegeben.

Weicht, ihr Trauergeister, Denn mein Freudenmeister, Jesus, tritt herein.

Denen, die Gott lieben, Muss auch ihr Betrüben Lauter Zucker sein.

Duld’ ich schon hier Spott und Hohn, Dennoch bleibst du auch im Leide, Jesu, meine Freude.

Jesus, my joy, pasture of my heart, Jesus, my desire, ah how long, how long is my heart filled with anxiety and longing for you!

Lamb of God, my bridegroom, apart from you on the earth there is nothing dearer to me.

Beneath your protection I am free from the attacks of all my enemies. Let Satan track me down, let my enemy be exasperated –Jesus stands by me. Even if there is thunder and lightning, even if sin and hell spread terror: Jesus will protect me.

I defy the old dragon, I defy the jaws of death, I defy fear as well!

Rage, world, and spring to attack: I stand here and sing in secure peace. God’s might takes care of me; earth and abyss must fall silent, however much they rumble on.

Away with all treasures! You are my delight, Jesus, my joy! Away with empty honours, I’m not going to listen to you, remain unknown to me! Misery, distress, affliction, disgrace and death, even if I must endure much suffering, will not separate me from Jesus.

Good night, existence, chosen by the world, you do not please me. Good night, you sins, stay far behind me. Come no more to the light! Good night, pride and splendor, once and for all, sinful existence, I bid you good night.

Go away, mournful spirits, for my joyful master, Jesus, now enters in. For those who love God, even their afflictions become pure sweetness. Even if here I must endure shame and disgrace, even in suffering you remain, Jesus, my joy!

Claros y hermosos ojos

Francisco Guerrero

Claros y hermosos ojos donde’l divino amor se muestra y bive de donde se reçibe la gloria sin enojos: cada buelta que dàis, llevàis despojos, que, si miráis ayrados, ponéis freno a los más desconçertados y, si miráis piadosos, dáis nueva vida, ojos mios graçiosos.

Tres Canciones de Amor Manuel Oltra

Madrigalillo

Cuatro granados tiene tu huerto. (Toma mi corazón nuevo.) Cuatro cipreses tendrá tu huerto. (Toma mi corazón viejo.) Sol y luna. Luego... ¡ni corazón ni huerto!

Eco

Ya se ha abierto la flor de la aurora ¿recuerdas el fondo de la tarde?

El nardo de la luna derrama su olor frio ¿Recuerdas la mirada de agosto?

Preludio

Las alamedas se van, pero dejan su reflejo. Las alamedas se van. pero nos dejan el viento. El viento está amortajado a lo largo bajo el cielo. Pero ha dejado flotando sobre los ríos sus ecos. El mundo de las luciérnagas ha invadido mis recuerdos. Y un corazón diminuto me va brotando en los dedos.

Clear and beautiful eyes where divine love appears and lives from whence is received glory without anger: everywhere you look, you lay waste, so that, if you look in anger, you subdue the most mislead and if you look with pity, you give new life, my gracious eyes.

Four pomegranate trees your orchard has. (Take my new heart.)

Four cypresses will your orchard have. (Take my old heart.) Sun and moon. Later... no heart no orchard!

The dawn flower has already opened Do you remember the background of the afternoon?

The moon’s nose spills its cold smell

Do you remember the look of August?

The groves are gone, but they leave their reflection. The groves are gone. but they leave us the wind. The wind is shrouded throughout under the sky. But has left their echoes Floating on the rivers. The world of fireflies Has invaded my memories. And a tiny heart Sprouts on my fingers.

Caramba mi amor Otilio Galíndez

Arr. Alberto Grau

Caramba, mi amor, caramba, lo bello que hubiera sido si tanto como te quise así me hubieras querido.

Caramba, mi amor, caramba, pasar este invierno triste mirando caer la lluvia que tantas cosas me dice.

Caramba, mi amor, caramba.

Caramba, mi amor, caramba, las cosas que nos perdimos, los chismes que solo escucho entre las piedras del río.

Caramba, mi amor, caramba, el viento con las espigas, aroma de caña fresca y amargos de mandarina.

Caramba, mi amor, caramba…

Cucú, Cucú Juan del Encina

Cucú cucú! Guarda no lo seas tú.

Compadre debes saber, que la más buena mujer, rabia siempre por hoder, harta bien la tuya tú.

Compadre has de guardar, para nunca encornudar, si tu mujer sale a mear, sal junto con ella tú.

Goodness gracious, my love, goodness gracious, how beautiful it would have been if you had loved me as much as I loved you.

Goodness gracious, my love, goodness gracious, to spend this winter being sad watching the rain fall, which tells me so many thing.

Goodness gracious, my love, goodness gracious...

Goodness gracious, my love, goodness gracious, The things we missed, the chatter that I only hear, between the rocks and the river.

Goodness gracious, my love, goodness gracious, the wind with the spikes, the scent of fresh sugar cane and bitters of tangerine..

Goodness gracious, my love, goodness gracious...

Teresica Hermana Juan del Encina

Él: Teresica hermana de la fararirira Hermana Teresa. Si a ti pluguiesse una noche sola contigo durmiesse de la fararirira.

Ella: Una noche sola yo bien dormiría mas tengo gran miedo qu m´empreñaría.

Narrador: Llama a Teresica y no viene tan mala noche tiene llámala su madre y ella calla.

Juramento tiene hecho de matarla ¡Qué mala noche tiene!

Guararé

Traditional, Panamá

Arr. Alberto Grau

Guararé, mi Guararé Voy bailando con mi Guararé Voy cantando con mi Guararé

Coo-coo, coo-coo! Make sure it’s not you.

Mate you must know, that the best of women, is always crazy to screw, and tire out you well.

Mate you must take care, to never be cuckolded, if your wife goes out to pee, go out with her.

Viajando por Guararé la tierra del chucuchuco en un sillón de bejuco solita me acomodé

La hija de Don Ramón lo baila con alegría y canta las melodías que brotan del corazón

El baile del Guararé se baila con disimulo con el ritmo en los pies y las manos en el...

He: Little Teresa, sister; of the fararirira Sister Teresa.

What if I implored you that for a single night with you I might sleep? of the fararirira.

She: One single night I would well sleep (with you) but I am terribly afraid that I might fall pregnant.

Narrator:

(He) calls little Teresa but she won’t show up; so bad a night she has, her mother calls her but she keeps silent.

(Her mother) made an oath that she would kill her. Oh, what a bad night she has!

Guararé, my Guararé I’m dancing with my Guararé I’m singing with my Guararé

Traveling through Guararé the land of the choo choo in a rattan chair I settled myself alone

The daughter of Don Ramón she dances it with joy and sings the melodies that spring from the heart

The Guararé dance is danced with slyness with the rhythm in the feet and in the hands...

El Guayaboso Guido López Gavilán

Yo ví bailar un danzón en el filo de un cuchillo. Un mosquito en calzoncillos, y una mosca en camisón.

Yo ví un cangrejo arando, un cochino tocando un pito Y una vieja regañando, sentada en una butaca.

A una ternerita flaca, que de risa estaba muerta, al ver una chiva tuerta, remendar una alpargata.

I saw a danzón dance on the edge of a knife. A mosquito in underpants and a fly in a nightgown.

I saw a crab plowing, a pig playing a whistle, and an old woman, scolding, sitting in an armchair.

To a skinny little calf, who was dying of laughter, seeing a one-eyed goat mending a sandal.

Digital Library

Hit play and enjoy the witty cast of Seraphic Fire’s artistic company and special guests as they dive into a smart and frank discussion of classical music. Learn the deeper history behind many of the pieces performed in our programs throughout the season, take a deep dive into musical composition, and hear from Seraphic Fire conductors, artists, and special guests. Intended as listening guides for each of our programs this year, Seraphic Saturday podcast episodes will be integral to your concert experience.

“Delightful! This podcast gives fans and friends insight into everything from getting to know the artists, to hearing about different repertoire.”

- Apple Podcasts Reviewer

On-demand, streaming access to select Seraphic Fire performances and productions is now at your fingertips.

Start your 7-day free trial today and continue your access for just $5 per month or $50 per year to view full concerts and extras with new content added monthly!

Digital media projects are made possible by a generous donation from David L. Webb and W. Lynn McLaughlin.

Invocation

20th Anniversary Concert

April 27-30, 2023

Naples | Coral Gables | Ft. Lauderdale | Boca Raton

William Billings (1746-1800)

Douce Espérance (world premiere) Sydney Guillaume (b. 1982)

The Road from Hiroshima: A Requiem Shawn Crouch (b. 1977)

Intro: The Crippled City

Lauds

Introit

Bones

Every Year

Every Month

Every Day

Lux Aeterna

Libera Me

Sandals and Slippers/Dies Irae

In Paradisum

Industry: Before the Bomb

University of Miami Ensemble Ibis

Intermission

To Dream Again (world premiere)* David Vess (b. 1991)

Beloved of the Sky (world premiere)**

I went down deep

I woke with this idea…

Oh, that lazy, stodgy, lumpy feeling

The subject means little

I made a small sketch

*University of Miami Student Composer-in-Residence composition

**Commissioned by the Barlow Endowment for Music Composition at Brigham Young University

Tawnie Olson (b. 1974)

Danzas del Silencio (world premiere)***

La Palabra “Mía”

El Nombre Viento

Musica

Alvaro Bermudez (b. 1973)

Spem in alium**** Thomas Tallis (1505-1585)

***Commissioned with generous support from The John S. and James L. Knight Foundation

****Made possible with the generous support of Daniel Perron & Jonathan Hogg

SOPRANO

Elisse Albian

Jessica Carlson*

Rebecca Duren

Elisabeth Fortescue*

Julia Izquierdo†

Vidita Kanniks

Gitanjali Mathur

Rebecca Myers

Julia Pinn†

Molly Quinn

ALTO

Luthien Brackett

Jamie Bunce†

Alexandra Colaizzi

Doug Dodson

Suzanne Hatcher

Karen Neal

Nicole Plummer†

Gabriela Solis

Tivoli Treloar*

Carmen Voskuhl*

TENOR

Chris Alfonso†

Max Ary*

Scott AuCoin†

Blake Beckemeyer

Aaron Cates

Derek Chester

Brad Diamond

Michael Jones

Nickolas Karageorgiou

Kyle Largey†

BASS

James Bass

John Buffett

David Caldarella†

Kevin Corrigan*

Enrico Lagasca

Thomas McCargar

Marques Ruff

Sam Scheibe†

Ian Schipper*

Paul Max Tipton

Joshua Valdes*

GUITAR

Alvaro Bermudez

ENSEMBLE IBIS

Shawn Crouch, Artistic Director

Cameron Cullen, flute

Camber Flick, oboe

Mark Alvarez, clarinet

Joshua Ingeneri, bassoon

Judeny Lebron, horn

Noel Holloway, percussion

Cory Fica, percussion

Yi Mei Ciou, percussion

Angela Fiedler, violin

Lily West, violin

Armando Torrealba, viola

Aramis Ruiz-Ruiz, cello

Antonio Fernandez, bass

CONDUCTOR

Patrick Dupre Quigley

*UCLA Herb Alpert School of Music Ensemble Artist Program Student

†UM Frost School of Music Ensemble Artist Program Student

This program is made possible by The Clinton Family Foundation and William Jaume

First | Last

Invocation

William Billings

Majestic God our muse inspire, And fill us with seraphic fire, Augment our swells, our tones refine, Performance ours, the glory thine.

Douce Espérance

Sydney Guillaume

Text by Gabriel T. Guillaume

Il y eut un soir, il y eut un matin. Sur l’immense chaos Il étendit la main; Et la Terre et les Cieux, les Astres et les Mers, Tout devient Harmonie, merveilleux Univers.

Il fallait un gérant, un administrateur, Un digne Partenaire au divin Créateur. Créé à son image et à sa ressemblance, L’Humain péniblement pénétra l’existence.

Nous vivons depuis lors l’étonnante aventure Débordante de joies et de grandes blessures. Mais en dépit de tout nous gardons confiance, Car nos cœurs sont remplis d’une douce espérance.

Les fruits sont mûrs et la saison nouvelle, Les échos de la paix fortement nous appellent. Baissons les pont-levis et brisons les barrières; La Justice et l’Amour ignorent les frontières.

Espérance, Espérance, Insondable Espérance!

Que ta flamme à jamais illumine le monde, Et que ton énergie en nos cœurs surabonde.

Sa Bondye sere pou ou, Lavalas paka pote l ale. Ayibobo, Amen ! Amen, Alelouya !

There was the evening, and there was the morning. Over the vast chaos God’s hand stretched out; And the Earth and the Heavens, the Stars and the Seas, Everything became Harmony - a wonderful Universe.

A manager, an administrator, was needed, A trustworthy Partner to the divine Creator. Made in God’s image and likeness, Human Beings painfully entered existence.

We’ve been living an amazing adventure ever since Overflowing with joy and great suffering. But despite everything, we keep our faith, For our hearts are filled with a sweet hope.

The fruits are ripe and the season is new, The echoes of peace call strongly to us. Put down the drawbridges and break down the barriers; Love knows no bounds, Justice no frontiers.

Sweet Hope, Enigmatic Hope! May your flame always brighten our world, And may your power in our hearts overflow.

What God is holding tight for you, Floods cannot take away. Ayibobo, Amen! Amen, Alleluia!

The Road From Hiroshima: A Requiem

Shawn Crouch

Text from Missa pro defunctis and poems of Marc Kaminsky

Lauds

1.

Unable to sleep, during the days of terror that followed the bombingan old song repeated itself in my head till its words emptied me of words, leaving in their wake a lullaby-belief in nothing more than the daily round

2.

Rains will fall on the ruins of the castle as before

and trees will respond each with its own kind of leaves applauding the sun

3.

And when I stopped this chanting and fell asleep nothing could contain my curses.

Introit

Requiem aeternam dona eis, Domine Et lux perpetua luceat eis.

Bones

In the vegetable garden by the river where hundreds of students burned I scooped up two handfuls of bone and ash

let it run through my fingers into the urn carried it back to the family altar and called it my son

Every Year

A great river runs through Hiroshima

And every year

We bring lanterns

Inscribed with the names of the family dead

Rest eternal grant them Lord And may perpetual light shine on them.

and light them and set them afloatlanterns that carry the dead vows of the living who will never forget them and the way they diedand for miles and full breadth of the river is one mass of flames.

Every Month

My house was close to the place where the bomb fell. My mother was turned to white bone before the family altar

Grandfather and I go to visit her on the sixth of every month

Mother is now living in the temple at Nakajima

Mother must be so pleased to see how big I’ve gotten

But all I see is the Memorial Panel quietly standing there no matter how I try I can’t remember what mother looks like.

Every Day

I still keep two pillows on your side of the bed but instead of puffing them up every morning my hands sink into them

and put back the impression your head left when you slipped noiselessly into the day I was still asleep

when the bomb fell and all that remained of your body was this hollow place

Lux Aeterna

Lux aeterna luceat eis, Domine

Cum sanctis tuis in aeternum Quia pius es.

He was the only one making his way toward the city

Requiem aeternam Dona eis, Domine, Et lux perpetua luceat eis

blue-green fireballs drifted around him

dim figures moved in the darkness he saw one without eyebrows then one bald and vomiting as she walked

Libera Me

Libera me, Domine, de morte aeterna,

then one with black skin in die illa tremenda, and one holding a clock quando coeli movendi sunt et terra,

and one with the bone showing through at the shoulder and one who couldn’t be seen under a burning house dum verneris judicare and a naked one carrying a corpse saeculum per ignem

then one who halted, who would not go on in the black rain,

Sandals and Slippers/Dies Irae

Not aware of what I was doing I jumped down to the track and braced myself against it.

somebody fell on top of me, screaming a stream of pebbles lashed my face

Dies illa, dies irae, calamitatis et miseriare, Requiem aeternam

then I saw a light brown haze obscure everything

May the eternal light shine on them, Lord, with thy saints everlasting, because you are so merciful Rest eternal grant them, Lord, and may perpetual light shine on them

Dies illa, dies irae, calamitatis et miseriare, a chalky ash fell through the air et lux perpetua luceat eis.

there wasn’t a soul on the platform but their shoes!

Dies illa, dies irae, calamitatis et miseriare, Requiem aeternam hundreds of shoes, left and right separated on from the other,

That day, day of wrath, calamity and misery

and may perpetual light shine on them.

That day, day of wrath, calamity and misery

Rest eternal

Deliver me, Lord, from the eternal death,

on that dreadful day,

when heavens and earth shall move,

Dona eis, Domine Requiem aeternam confused with clogs, strewn among sandals and slippers et lux perpetua luceat eis.

only the shoes and hats, shorn of their people!

grant them, Lord Rest eternal

and may perpetual light shine on them.

when you come to judge

the world through fire.

Dies illa, dies irae, Requiem aeternam like headstones and footstones marking the path of disappearance

In Paradisum

In Paradisum deducant Angeli in tuo adventu suscipiant te martyres et perducant te in civitatem sanctam Jerusalem chorus Angelorum te suscipiat aeternam habeas requiem.

That day, day of wrath, calamity and misery

Rest eternal

May the Angels lead you into paradise; at your coming may the martyrs receive you, and conduct you into the holy city of Jerusalem.

May the chorus of Angels receive you,

Eternally may you have rest.

That day, day of wrath, calamity and misery

Rest eternal

To Dream Again

David Vess

Text by William Shakespeare

Be not afeard; the isle is full of noises, Sounds and sweet airs, that give delight, and hurt not. Sometimes a thousand twangling instruments Will hum about mine ears; and sometime voices, That, if I then had waked after long sleep, Will make me sleep again: and then, in dreaming, The clouds methought would open, and show riches Ready to drop upon me; that, when I waked, I cried to dream again.

Beloved of the Sky

Tawnie Olson

Text by Emily Carr

I went down deep into myself and dug up. (June 24, 1937)

I woke with this idea. Try using positive and negative colours in juxtaposition. Complementary are negative to positive. Try working in complementaries; run some reds into your greens, some yellow into your purples. Red-green, blueorange, yellow-purple. (Feb. 7, 1934)

Oh, that lazy, stodgy, lumpy feeling when you want to work and you’re dead! Is it liver, I wonder, or is it old age, or just inertia, or something from which the life has gone forever, that just belongs to youth? (Jan. 11, 1931)

The subject means little. The arrangement, the design, colour, shape, depth, light, space, mood, movement, balance, not one or all of these fills the bill. There is something additional, a breath that draws your breath into its breathing, a heartbeat that pounds on yours, a recognition of the oneness of all things. (Jan. 17, 1936)

God, God, God! Oh, to realize so completely that you could utterly let go and passionately throw your soul upon the canvas. (Jan. 29, 1934)

I made a small sketch and then worked a larger paper sketch from it. The woods were in quiet mood, dreamy and sweet. No great contrasts of light and dark but full of quiet flowing light and fresh from the recent rain, and the growth full, steady and ascending. […] “This is thine hour, O soul, thy free flight into the wordless.” (Sept. 7, 1933)

Danzas del Silencio

Alvaro Bermudez

Text by Oscar Hernandez Monsalve

La Palabra “Mía”

Mía de todo el tiempo

Mía del olvido imposible

De las manos delgadas

Y de los pies besados

Cercana y dulce

Extraña y conocida

The Word, “Mine”

Mine, of all time

Mine, impossible to forget

Of thin hands and kissed feet

Near and sweet, strange and known.

Mía de todos los aromas

Y todos los colores

Cuando sonríes mia

Y cuando llegas o no llegas

Mia entre mis ojos y mis necesidades

Sola mia

Igual a una palabra que siempre nos habita

Mía de todo el tiempo

Desde la vez primera

Hasta la ultima sombra Iluminada

Mia sin remedio

Y sin remedio tuyo

El Nombre Viento

El nombre que es viento vive más que el hombre

El hombre que es polvo, el nombre el sonido

Sobrevive al amo

A su vieja carne

El nombre y su música

Cantan el sepelio

Del dueño y de su viaje

En el hueso más largo

Cantarán los nombres su vida y su ritmo

Y al fin la ceniza será derrotada

Por una canción

Musica

Te oigo

Pareces de alondras

Pareces aire musical

Tiempo que canta, pluma inventada

Desde un viento blanco

Para no ser volada ni violada

Solo pluma y viento

Nada mas que ala sueño y viento

Spem in alium

Thomas Tallis

Spem in alium nunquam habui præter in te, Deus Israël, qui irasceris et propitius eris, et omnia peccata hominum in tribulatione dimittis.

Domine Deus, Creator cæli et terræ, respice humilitatem nostram.

Mine, of every aroma and every color

When you smile, mine

When you arrive, or not

Mine, between my eyes and in my needs

Only mine,

as is the word that always lives in us

Mine, of all time, since the first time

Until the final illuminated shadow. Mine without remedy, and without remedy, yours

The Name Wind

The name, which is wind, lives longer than the man

Man is dust, the name a sound

It survives its master and his old flesh

The name and its music

They sing the burial

Of the owner and his journey

And in the longest bone

The names will sing their life and rhythm

And in the end, ash will be defeated by a song

Music

I hear you

You seem to be from a lark

You seem to be a musical air

Time that sings, an invented feather

From a white wind

Not to be flown or violated

Only feather and wind

Nothing more than wing, dream, and wind

I have never had hope in another, save in thee, O God of Israel; who art angry and wilt again show mercy, and who forgivest all the sins of men when they are in affliction.

O Lord God, maker of heaven and earth, look upon our lowliness.

Composer Spotlight

Alvaro Bermudez

Guitarist and composer Alvaro

Bermudez is a native of White Plains, New York. Alvaro currently heads the guitar program at Ronald Reagan Senior High School’s Classical Arts Academy in Doral, Florida. Alvaro holds the Bachelor of Music Degree and Master of Music Degree from Florida International University in Jazz Studies with an emphasis in guitar.

Alvaro has been recognized for his “fine…contemporary choral music,” which has been described as “lovely” and “contagious.” (South Florida Classical Review, Music in Cincinnati, & Miami Clásica) Seraphic Fire first commissioned Alvaro to write Padre Nuestro, a setting of the Lord’s Prayer, which was premiered by the group in 2007. Universities and professional groups throughout the United States and South and Central America have since performed Alvaro’s compositions and commissioned him to write new works. In 2020, Alvaro was the recipient of a Knight Foundation New Work Award to write Danzas del Silencio, a compelling, choral and guitar collaboration with Seraphic Fire that blends Colombian dance rhythms with Bach’s orchestral structure. Alvaro is a guitarist in high demand all over South Florida. His Latin trio, “Trio Los Clasicos,” plays regularly in the Miami area and has been engaged for performances in Atlanta, Georgia and Boston, Massachusetts.

Shawn Crouch

Gramophone Magazine calls Shawn Crouch a "gifted composer" and the New York Times describes Shawn Crouch's work as music of "gnarling atonal energy". The Miami Herald called his Road from Hiroshima; A Requiem a "staggering achievement, an imaginative, powerful and deeply moving work." Shawn has received grants and awards from such institutions as the American Academy of Arts and Letters, The American Prize,

ASCAP, BMI, Yale University, Society of Composers Inc., Meet the Composer, NewMusicUSA, and the Percussive Arts Society. Shawn has had his works performed and commissioned by ensembles in the United States, Canada and Europe including the Cleveland Orchestra, American Modern Ensemble, Cantori New York, California E.A.R. Unit, Chanticleer, Eighth Blackbird, Essential Voices USA, Prism Quartet, Seraphic Fire, Splinter Reeds, [Switch~ Ensemble], the Yesaroun' Duo, Variant 6, and Volti. Crouch is currently Associate Professor of Professional Practice in Composition and Theory at the University of Miami’s Frost School of Music.

Sydney Guillaume

Praised by the Miami Herald for their “impressive maturity and striking melodic distinction,” Sydney Guillaume’s compositions are known to be intricate, challenging and yet highly spirited. They promote human values and are full of heart and passion. His compositions continually enthrall choirs everywhere and have been performed around the world. They have been featured at numerous conferences and international festivals like the American Choral Directors Association (ACDA), the World Choir Games and Ireland’s Cork International Choral Festival. Guillaume also writes film music – he has written original film and documentary scores for the Los Angeles-based company Loyola Productions.

Originally from Port-au-Prince, Haiti, Sydney Guillaume is currently residing in Portland, Oregon working as a full-time composer, conductor and frequently doing workshops on his music with university and high school choirs throughout North America. Since 2013 he has been the conductor of Imbroglio Sextet, a group of musicians from Haiti, Spain, Bolivia and the United States. In 2017, he was honored by the top music school in Haiti for his “great contribution in the expansion and the promotion of the music and culture of Haiti around the world.”

Tawnie Olson

Described as "taut, focused... colourful" by Gramophone, "mesmerizing," by critic Tim Smith, and "especially glorious... ethereal" by Whole Note, the music of Canadian composer Tawnie Olson draws inspiration from politics, spirituality, the natural world, and the musicians for whom she composes. Her opera Sanctuary and Storm (libretto by Roberta Barker) is the winner of the 2021-2023 National Opera Association Dominick Argento Chamber Opera Competition. Olson is also the winner of the 2018 Barlow Prize, a consortium commission for the BYU Singers, The Crossing, and Seraphic Fire, and of a 2019 Copland House Residency Award. She was the Composerin-Residence of the 2018 Women Composers Festival of Hartford. Her scores are available from the Canadian Music Centre, E.C. Schirmer, Galaxy Music, Hal Leonard's BandQuest and Mark Foster series, and Oxford University Press.

David Vess

University of Miami Student Composer-in-Residence

The music of David Vess has been described as everything from 'ethereal and unique' to 'a real barnburner'. His most

recent original score to Applause Academy's 2022 production of A Midsummer Night's Dream was hailed as "a big highlight, greatly enhancing the audience's immersion into the magical world." Originally from the Blue Ridge Mountains of North Carolina, Vess' music draws inspiration from his eclectic career in music.

Vess was the winner of the 2016 Roger Sessions Memorial Composition Award at the Boston Conservatory. His music has been performed across the United States, Canada, Italy and Japan. David has collaborated with such ensembles and soloists as the Brockton Symphony Orchestra, the Bridgewater State University Wind Ensemble, Boston Musica Viva, the Boston Conservatory Sinfonietta, Shiki Duo and Bailey Street Brass Quintet, Sharan Leventhal and Kevin MacFarland. Vess holds degrees in composition and tuba performance from the Boston Conservatory and the University of North Carolina School of the Arts. David is currently pursuing his Doctorate in composition at the University of Miami Frost School of Music, serving as a Teaching Assistant in Music Theory.

University of Miami Student Conductor in Residence

Seraphic Fire’s collaboration with Frost School of Music Choral Studies Department allows one graduate or DMA student per academic year the opportunity to work closely with Seraphic Fire Artistic Director Patrick Dupre Quigley and Associate Conductor James K. Bass, assist with score preparation, gain experience leading sectional and full ensemble rehearsals, and conduct the professional ensemble in select Seraphic Fire subscription concerts.

Wesley Roy has worked in public high and middle schools for the past ten years in Tallahassee and Orlando, where he directed choirs and taught music theory and private voice lessons. During his time in Tallahassee, he also served as a church music director and member of the Tallahassee Community Chorus. Over the last nine years, he has enjoyed performing nationally and internationally with the Festival Singers of Florida, under

the direction of Dr. Kevin Fenton. Roy has held leadership positions on county and state boards for the Florida Vocal Association and the American Choral Directors Association and served as the coordinator for the Florida ACDA TenorBass Honor Choir. Prior to his work in schools, he received a Master of Music Education degree in Choral Conducting from Florida State University and a Bachelor of Music degree in Music Education from Syracuse University. He is currently working towards his Doctor of Musical Arts degree in Choral Conducting at the University of Miami under the direction of Dr. Amanda Quist.

University of Miami Ensemble Artist Program

Seraphic Fire’s Ensemble Artist Program at UCLA’s Herb Alpert School of Music and University of Miami’s Frost School of Music provides season-long vocal ensemble training to undergraduate and graduate voice students. Participating artists are chosen through competitive auditions through their school’s choral programs. This collaboration aims to help emerging professional singers discover outlets for professional employment while fulfilling Seraphic Fire’s educational mission to encourage the occupational advancement of musicians.

Participating students are invited to perform alongside the professional ensemble in subscription concerts across South Florida.

University of Miami and UCLA students will join Seraphic Fire in April 2022 for our 20th Anniversary concert, First | Last. See Seraphic Fire Magazine Volume 4, Issue 2 for more information about UCLA Ensemble Artist Program participants. Learn more at SeraphicFire.org/Education

Chris Alfonso is a Miami-born, CubanAmerican tenor for whom music has been a part of their entire life. Chris is now a senior vocal performance major at the Frost School of Music at the University of Miami. Chris made their opera debut as Bill from Samuel Barber’s A Hand of Bridge during the Frost Opera Theater Spring 2021 production, “Masquerade”, and can continue to be seen performing in engagements all across Miami. They will be playing the roles of Basilio and Don Curzio in Frost Opera Theater’s upcoming spring production of Mozart’s Le Nozze di Figaro, and the role of Stan in Florida Grand Opera’s community outreach productions of Stone Soup

Scott AuCoin is a conductor, performer, and composer of choral music. He served as Choir Director at Marriotts Ridge High School in Maryland before pursuing his graduate studies in choral conducting at Westminster Choir College and the University of Miami. Scott is in his final year of study for the Doctor of Musical Arts degree studying under Dr. Amanda Quist. He currently serves as the Associate Conductor of the Master Chorale of South Florida and recently conducted a performance of James McCarthy’s

Codebreaker: The Alan Turing Story in a collaboration between the University of Miami Frost School of Music and the Master Chorale of South Florida as a part of his final doctoral project.

Jamie Bunce, mezzo-soprano, is a conductor, singer, and arranger who served for thirteen years as a high school choral director in her home state of New Jersey before moving to Miami to pursue her DMA in choral conducting. She has served as Associate Director of the Princeton Girlchoir, conductor of the Wagner College Treble Choir, and assistant director of Miami Collegium Musicum, and has been featured in Chorus America for bringing early music into the high school choral classroom. Ms. Bunce holds degrees in music education and choral pedagogy from Westminster Choir College of Rider University and Mason Gross School of the Arts at Rutgers University. She is in her third year as a DMA candidate in choral conducting at the University of Miami Frost School of Music.

David Caldarella is a composer and vocalist at the Frost School of Music in Miami, FL. Caldarella furthered his study of music at the ACES Educational Center for the Arts in New Haven, along with private composition lessons with

Polina Nazaykinskaya. Caldarella also studied with pianist-composer Michael Brown, and later conductor Alasdair Neale, as a member of the New Haven Symphony Orchestra’s Youth Composer Project. Presently, Caldarella studies composition at the Frost School of Music. Many of his choral works, such as Mantra and Domine Deus, have seen world premieres with Frost choirs.

Julia Izquierdo is a twenty-year-old soprano pursuing a bachelor’s degree in music education at the University of Miami Frost School of Music. She currently studies opera under worldrenowned baritone Kim Josephson. Julia has performed in churches across the globe as a member of the Frost Chorale at venues such as St. Bartholomew’s Church in London and La Madeleine in Paris. Julia engages the congregation in song as the cantor at Saint Augustine Catholic Church and serves as music director for the University of Miami’s Catholic student organization.

Kyle Largey is a tenor hailing from Pleasantville, NY, with a background spanning choral, operatic, and musical theater repertoire. He is a junior studying music education at the Frost School of Music at the University of Miami. Kyle is also the co-founder and baritone of the barbershop group The Spoons, which sees regular performances across campus. He is also a member of Frost Opera Theatre, and in 2022 was a chorus member for the world premiere of Michael Dellaira’s The Leopard He will be in their production of Le nozze di Figaro as a chorus member and cover for Basilio and Don Curzio.

Julia Pinn hails from the mountains of West Virginia where she received her Bachelor of Music in Vocal Performance from West Virginia University. She is anticipating her graduation in May of 2023 from the University of Miami at the Frost School of Music with a Master of Music degree in Vocal Performance where she studies with Robynne Redmon. She also worked on the debut and recording project of Matthew Heap’s Dillinger: An American

Oratorio, as a soprano soloist, and performed in the chorus of the Philadelphia Symphony Orchestra of Beethoven’s Ninth symphony. She made her role debut as Susanna in Mozart’s Le nozze di Figaro in March 2023 with the Frost Opera Theater.

Nicole Plummer will receive her Bachelor of Music in May from the Frost School of Music at the University of Miami where she studies with Robynne Redmon. As a member of the Frost Opera Theater, Nicole has performed as Cherubino in Mozart’s Le nozze di Figaro, La Soeur Cadette in Milhaud’s Les Malheurs d’Orphée, and has been seen in countless scenes programs. Most recently, she was selected as a winner of the Mirabell Competition and was seen in recital at the Schloss Mirabell in Salzburg, Austria. Nicole is a passionate student of the French language and pursued a secondary major in French during her time at Miami.

Sam Scheibe is an upcoming composer/ arranger, conductor, and performer of contemporary and traditional choral music. His music has been performed and commissioned by ensembles across the United States and the United Kingdom, with recent premieres by Anchorae, The West Jersey Chamber Music Society, The City of Palms Master Chorale, and The University of Aberdeen Chamber Choir. He received his undergraduate degree from Westminster Choir College, a Master’s degree in Composition from the University of Aberdeen, and is now pursuing a Master’s in Choral Conducting from the University of Miami, under the direction of Dr. Amanda Quist. Sam also sings professionally as a bass-baritone with the West Jersey Chamber Music Society and the Same Stream Choir.

Seraphic Fire’s Ensemble Artist Program is supported in part by

Seraphic Fire education programs are endowed in perpetuity by The Clinton Family Fund Education Endowment with generous additional support from The Hutson-Wiley Echevarria Foundation.

20 Years of Seraphic Fire

What Makes the Seraphic Fire Experience Special?

By Beth Braswell

For two decades, Seraphic Fire has enchanted its audiences with the musical talents of elite musicians. These singers and instrumentalists represent the soul of the ensemble and are the unwavering connection to the audience. They are eager to share their passion for the music; whether it’s a newly commissioned work, a little-known composer, or a new arrangement of a beloved favorite. Many of these musicians also feel very connected to their South Florida audiences through their own week-long homestays with host families, saying that they feel like they are sharing their music with close friends. Here are insights from artists, throughout the last 20 years, expressing what makes the Seraphic Fire experience special.

Reggie Mobley, countertenor

I joined Seraphic Fire at the end of the fourth season which was the first season Patrick decided to bring musicians in from out of town and out of state. Every time we came in, it was like family. In the beginning, we were ‘the little organization that could.’ There was nothing quite like us in the US; a professional ensemble of top-notch singers from all over the US coming together in a small setting for intense rehearsals, spending a lot of time together and performing incredible concerts. It was the beginning of that type of model. The magic that Patrick created was what everyone wanted to do. He would have his core group of six or nine of us and then he would bring in people who had a specific focus. Whatever we did—gospel, Baroque,

or 18th- and 19th-century music, German chorale—had an authenticity to it. Seraphic Fire was revolutionary in its development.

Sarah Stone, cello

The first time I played with Seraphic Fire we did an East Coast tour which was amazing. More recently, I was part of a program that was all women; that was a great concert. Patrick was emulating Vivaldi, who had his choir of all women, including basses and tenors. Patrick also made sure that we also had an all-woman orchestra. It was the most relaxed and wonderful music-making; a highlight for me. Patrick is great at many things but specifically finding the right people for the right projects. The people who are in the room are exactly who should be there. Patrick trusts us to do something magical.

Katie Hyun, violin

During the pandemic everything was so uncertain; concerts were canceled and no sign of when it would start up. One of the things that really moved me was Seraphic Fire keeping in touch and reaching out from time to time just letting me know they were there. It was a really difficult and dark time for me, and it meant so much. Patrick works really hard to create a safe space for artists whenever we’re together; it makes a huge difference. The presence of a live audience now makes a world of difference in our performance. A part of us performing is the act of sharing.

Seraphic Fire audiences have always been so welcoming and warm, really inspiring; so you really want to play well for them.

Blake Beckemeyer, tenor

I had always known that, at some point in my life, I wanted to sing with this group. It’s a room of the smartest singers I know and the smartest conductors with an amazing balance of collaboration and direction. What’s incredibly unique is that Patrick and James point you in the direction of what they want you to do without dictating. It’s a special moment as an artist to feel like you have a contributory opportunity. It’s not just buttons and knobs that the conductor is moving around. You’re a human being that can bring something special and unique, even slightly different that results in something beautiful – and we all accomplish that task at the same moment in time.

Nola Richardson, soprano

I’ve had some really cool Seraphic Fire experiences that I haven’t encountered anywhere else, like doing a program with the Korean conductor E.J. Yoon, focusing on Russian repertoire with Elena Sharkova, and even Nordic repertoire! Patrick brings in interesting and talented guest conductors who have their own unique insight and style. Seraphic Fire offers challenging repertoire with a high level of attention to historic performance practice. This organization has been groundbreaking in raising the level of professional ensemble singing and creating this career of the professional chamber singer that does both solo and ensemble work, travels, and is capable of performing technically and musically challenging repertoire at a very high level.

Josh Cohen, Baroque trumpet

Patrick always chooses top players so the quality of music is always incredible. Donors and patrons are just waiting to see what he’s going to do next, always anticipating something amazing, whether it’s Renaissance, modern, or Baroque. He imports artists from all over the world – the best of the best.

Kathryn Mueller, soprano

Patrick encourages people to use their real voice, not to fit into a vocal box or particular sound, like some conductors do. He challenges us to explore different sounds and colors that we can make within our own scope of talents and the

instrument we have. That just makes you feel like you are always learning new things, but singing in a healthy way. Patrick is a passionate and thrilling conductor and that translates and trickles down into the whole ensemble to give it energy and excitement. Just being in Miami, where so many cultures are coming together, that energy really gets infused into the music.

Luthien Brackett, mezzo-soprano

The group has become much more diverse over the years and has taken the issue of diversity very seriously which I think is wonderful. I’ve participated in our education program where we tour around to different public schools and it’s extraordinary—the kids are so receptive and enthusiastic. But I also love to see that the group has evolved to do more to train up-and-coming professional singers. It’s great that Seraphic Fire, one of the country’s preeminent professional choirs takes the lead in training the next generation of professional ensemble singers.

Our Donors

For Donations Between July 2020 & October 2022

Legacy Society

Anonymous

Dr. Clinton Bush

Patti & Dennis Klein

Marilyn A. Moore

Dr. Audrey Ross

Ruth† & Marvin† Sackner

Cliff Whittle & Scott Cumming

Founder’s Circle

50,000+

Anonymous

The Clinton Family Fund, Bruce & Martha Clinton § Dunspaugh-Dalton Foundation §

Hutson-Wiley Echevarria Foundation §

William Jaume

Meredyth Anne Dasburg

Foundation

Miami-Dade County Department of Cultural Affairs

State of Florida Division of Arts & Culture

Shuttered Venue Operators Grant

David L. Webb & W. Lynn McLaughlin §

National Sponsor

$20,000-$49,999

Dr. Thomas C. Boyd §

Robert R. Brinker & Nancy S. Fleischman

Martha R. Davis & Alix Ritchie

McInerney Family Foundation

Miami-Dade County Youth

Enrichment Program §

Miami-Dade County Tourist Development Program

Quest Foundation

Mel & Barbara VanderBrug

Underwriter

$10,000-$19,999

Alicia Celorio, Do Unto Others Trust, Inc.

Broward County Cultural Division

Michael & Cheryl Del Campo

Harry F. Duncan Foundation §

Funding Arts Broward

Funding Arts Network

Martha Ann Haas & Pamela Poulous

Diana Hammerstein

Marilyn & Bernie Horowitz

Jane Hurt §

The Kirk Foundation §

Key Biscayne Community Foundation

Ana & Raul Marmol §

The Miami Foundation §

Miami Beach Cultural Affairs Council

National Endowment for the Arts §

Patrick Quigley & Rob Peccola

P.L. Dodge Foundation

Peacock Foundation

Margaret A. Rolando

Nirupa Chaudhari & Steve Roper

Susan & Karl Shell §

Sophia Sieczkowski & Joel Krauss

Leonard H. Smith

WLRN Public Radio 91.3 FM

Maestro Circle

$5,000-$9,999

A. Peter Burleigh

Kenneth Easterling & Diego Cardenas

City of Coral Gables

P.R. Farnsworth & J.C. Gill

Alaina Fotiu-Wojtowicz

James† & Billie Hairston

Priscilla & Steve Kutler §

Suzy & Joseph Lacher

Charles L. Marshall, Jr. & Richard

L. Tooke

Dr. John Martin

Marilyn Moore

Elizabeth Newman & John Tillson

John Quaintance & Robert Riggs

Dr. William Roy & Susan Kelley

Peter Rutenberg

Charles Sacher

Sara Solomon

The Stonesifer Kinsley Family Fund

Deborah & Michael Troner

Allan Yudacufski & Mark Mandel §

Sponsor

$2,500-$4,999

Anonymous (2)

Anonymous in honor of Joanne Schulte

William Bonn & Ruben Ceballos

Citizens Interested in Arts

Marilyn Connolly

Coral Gables Community Foundation

Gerhard Dahl

Enterprise Holdings Foundation on behalf of Christopher Pennant §

Maria & John Farrey §

Jonathan J. Flores & Brian Levey

Taffy Gould

Dr. Joe & Janus Greer

Susan & George O. Knapp III

Lyza Latham & Mark Kutzleb

The James G. Pepper Fund of the Stonewall Community Foundation

Audrey & Peter Pinney

Diane Rahman

Luis Ramirez & Kimberly Thompson

Frank & Susan Salinger Cultural Initiative

Maeve Anne Sandiford

Daniel & Ileana Sayre

JJ Schmidt

Alice & Joe Smith

Lynne & Paul Steinfurth

Nina Webber

Williamson Cadillac-Buick-GMC

Jeri L. Wolfson Foundation

Patron

$1,000-$2,499

Marcelo & Betty Alvarez

Ronnie Arad

Daniel Ayers & Tony Seguino

Elizabeth & Edward Baker

Helene Berger

Misty & Alvaro Bermudez

Kristi Bettendorf

Bruce Bolton

Blaine Branchick & Christopher Rudman

Fredric & Joanne Boswell

Robert Braunstein in honor of Suzanne Floyd §

Clinton Bush

Steve Carlin & Michael Cormier in honor of William Jaume

Anne Carlucci

George Chesney & Sue Fiorey

Katie Conley & James Glick

Rev. Mary E. Conroy

Nancy J. Davis

Rhett M. Del Campo & Elena D. Madrigal Hall §

Adrienne DiPrima & Donna Smorchoke in memory of Bella Tillis

Ashley C. Drumm

Richard & Marcy Dupere

Firestone Family Foundation

Suzanne Floyd §

David Foerster & Graham HussainLevenstein

Randall P. Fotiu & Ms. Josephine M. Wojtowicz

Ellen Galkin

Mary Beth & Gerardo Garcia

Robert Gittlin

Joan Glade de Pontet

Drs. Joan & Paul Gluck

Maureen & Lawrence Gragg

Tim & Deborah Greene in memory of Phil & Joy Greene, Jerome Licker

Alfredo & Luz Maria Gutierrez

Donald Hill

Lisa Husseini

Bruce Jackson in honor of James Bass

Joseph & Armajean Jannach

Alfred Jonas

Cathy & Evan Jones

Carin Kahgan

Joan Kasner

Suzanne & Brian Keeley in memory of Marvin Sackner

J. Megan Kelly

Gloria Kline

Kurt Krieger & Larry Bailey

Daniel Lewis & Valerie Dillon

George Lindemann

Richard Mahfood

Alberto & Maggie Manrara

Ruth & Sanford† Markham

Margaret & Serge Martin

Leila Morris & Richard Boswell

Betsy & Art Murphy

Kathleen Newell

Stanley Newman & Dr. Brian Rosenthal

Harvey F. Padden

Daniel Perron & Jonathan Hogg

Michael & Mary Ellen Peyton

Nicholas Pisaris

Bill & Debbie Quigley

Andrea Lynne Rice

Jeanne Ann Rigl

Jane Robinson

Audrey Ross & William W. Culbertson, MD

Sara Sackner & Andrew Behar in memory of Marvin Sackner

Leonard & Louise Schaper

Joanne & John Schulte

Sandra Simon

Joe Leigh Simpson

Marte & Paul Singerman

Murry Stegelmann

Ann & Rick Stewart

Lou Strennen

Szilagyi Family Foundation

Tom & Jana Tift

Mark A. Trowbridge

Catherine VanderBrug in memory of Gordon VanderBrug

Richard Vaughan & Walter Sherman

Karen S. Fuller Veloz

M. Therese Vento & Peter MacNamara

Adrian Villaraos & Marika Lynch

Joaquín Viñas & Teresa GalangViñas

Robert Warren

Robin Woodard §

Ted Wolf & Frank Decolator

Jane Worley in memory of Peter C. Worley

Maria José Wright

Douglas & Margaret Yoder

Gregg Zavodny

Dean Ziff & Jania Victoria

Sustainer $500-$999

Alexander/Bassett Charitable Fund

Diane de Vries Ashley

Nadine Asin & Tom van Straaten in honor of Rhett Del Campo

Margrit & Roger Bernstein

Linda C. Binder

Sylvia Blau

Carol J. Boyd

Kay Casstevens in honor of Patrick Quigley

Amanda & Shawn Crouch

Agustin Diaz

Richard DiRenzo & Rev. Charles E. Humphries†

Bonnie & Peter Dockter

Brian R. Dunn

Michael & Phyllis George

Nancy Gillespie & Ulrich Lachler

Frank & Roberta Helsom

Kevin Hennessey

Thomas & Diana Hooton

IBM

Nancy & James Katzoff

Eva Landy

Veronica R. Lopez-Lopez

LSN Law, PA on behalf of Adele Valencia

Sarah Lopez-Luis

Frank & Randi MacBride §

Ian Macdougald

Sandra Mullen

Bernard G. Perron

Roderick N. Petrey in memory of Lucy Petrey

Brenda Richey

Isabelle & Ricardo Roman

Eric Rubio & Naomi Attaway

Margaret & Ted Sarafoglu

Jim Sirbaugh

Steven Soph

Darrin Stafford

Peggy Stanley

Jeanann Testyon

Adele & Leonardo Valencia

Adam & Doris Wanner

Jocelyn Watkins

Marjorie Weber

Priscilla Felisky Whitehead

Jason Wynn in memory of Marvin Sackner

Barbara Zwick

Donor

$250-499

Matthew Anderson

JoAnne Bander

Isa Barzana

Michael & Sheila Berke

James Branegan

Lisbeth & Michael Bustin

David Chatfield

Candace Childrey

Ann & Clark Cochran

George & Maureen Collins

Noble & Alexandra Cook

Shirley & Bo Crane in honor of Ana & Raul Marmol

James & Alice Crosland

Philip & Rebecca Curtis

Roberta David §

Steven Dloogoff & Matthew Kaskel

Mary Sue Donohue

Francis & Janette Engelhardt

The Eyler Family §

Sebastian Fiore

Argelio & Sylvia Garcia

Thomas & Paulette Goetz

Theodora Greanias

Ingrid L. Griffin

David Gury & Elias Baez III

Jane & Douglas Hagerman

Jean M. Irwin

Joanne & Maria Jasin

Marlyn Kefauver

Elizabeth & Donald Kress in memory of Karen Dudley

Carl Kuehner

Brian Legg & Renee De Gagne

Richard Lilley & Carmen Letelier

Enrique & Monica Lopez

Kim Lopez

Catherine Lynn

Stephen Magliocco

Finlay & Joan Matheson

Sarah Melcher

Patrick Metz

Petsy Mezey

Craig & Mary Alice Miller

Linda Morgan

Renata Morgenstern

Patrick Muehleise

Charles & Mary Munroe

William Murphy

William Purdy & John Carter

Maynard & Judith Rabinowitz

Sue Rapperport

Michael Rigsby

Victoria J. Rogers

Virginia Rosen

Robert & Theresa Rust

Rosemarie N. Schadae

Hugh Schmidt

Robert J. Smith

Gail Snetro & Family in memory of Karen Dudley

Arturo Steely

John Strasswimmer

Catherine Swanson-Rivenbark

Jeremy & Marjorie Tabak

Kristian Toimil

Dan Topp & David Cole

Eleanor Williamson

Gigi Wright in memory of Marvin Sackner

Michael & Ruth Wiegand

† deceased

§ GenS Society

2022-23 Volunteers

Seraphic Fire’s volunteers are an indispensable part of our organizational success. Volunteers create a warm, welcoming environment for our patrons by answering questions and assisting with programs, ticketing, and seating during concerts. If you or someone you know is interested in making an impact with Seraphic Fire by volunteering at one of our concerts, please send an email to judelle@seraphicfire.org.

Ellen Anderson

Bruce Dory

Helen Franklin

Joan and Paul Gluck

Sue Groskreutz

Brian Levey

Hortense Leon

Susan Mattes

Lucia Minervini

Become a Host

David Piriano

Anita Platt

Cecilia Rodriguez

Eric Runyan

Kurt Schubert

Barbara Soliday

John Soliday

Vera Stein

Kristian Toimil

Hosting an artist is a unique way to contribute to Seraphic Fire, while also building relationships with our spectacular artists and getting a behind-the-scenes look at concert weeks.

To learn more about artist lodging requirements and how to become a host, please contact Andrea Leon-Moreno, Artistic Operations Manager, at Andrea@SeraphicFire.org.

Host Benefits

• Dedicated program book listings

• 2 complimentary tickets to a concert during your hosting period

Thank you to this season’s hosts

Carol-Ann Bloise

Clint Bush

Janet Copland

Marilyn and Bernie Horowitz

Elizabeth Newman

Steve Roper and Nirupa Chaudhari

Kim Thompson and Luis Ramirez

Mel VanderBrug

2022-23 Administration

Executive

Michael M. Kaiser, Interim Executive Director

Matthew Kacergis, Interim Managing Director

Artistic Administration

Patrick Dupre Quigley, Artistic Director

Andrea Leon-Moreno, Artistic Operations Manager

Alexis Aimé, Artist Contractor

Finance & Operations

JJ Flores, Director of Finance & Operations

Advancement

Lauren Schiffer Leger, Director of Advancement & Grants

Judelle White, Development Associate

Valeria Texeira, Box Office and Arts Administration Associate

Sophia Vidali, Box Office and Arts Administration Associate

Education

Suzanne Floyd, Director of Education

Alexandra Colaizzi, Education Coordinator

Wendy Chen Gunther, Education Liaison

Sarah Bowe, PCI Administrator

Board of Directors

Vacant, Chair

Diane Ashley, Secretary

Robert “Bob” Brinker, Treasurer

Mark Trowbridge, Vice Chair

Ana Marmol, Vice Chair

Matthew Anderson

Misty Bermudez

Nirupa Chaudhari

David Foerster

Alaina Fotiu-Wojtowicz

Karen Fuller Veloz

Megan Kelly

Marilyn Horowitz

Frank MacBride

Daniel Perron

Margaret “Peggy” Rolando

Joanne N. Schulte, Founding Chair

Mel VanderBrug

Edmundo Pérez-de Cobos, Director Emeritus

Michael M. Kaiser, Interim Executive Director, ex-officio

Matthew Kacergis, Interim Managing Director, ex-officio

Patrick Dupre Quigley, Artistic Director, ex-officio

Molly Quinn, Artist Representative, ex-officio

John Buffett, Artist Representative, ex-officio

present

Haydn: The Creation &

Fri, May 19 - Sun, May 21, 2023

Bass Performance Hall | Fort Worth, TX

Seraphic Fire will join Fort Worth Symphony Orchestra to close out Robert Spano's inaugural season as Music Director with Haydn's monumental work, The Creation, a dramatic oratorio for vocal soloists, orchestra, and choir that renders the Biblical text in music. Acclaimed visual artist Elaine J. McCarthy — whose work has appeared at The Metropolitan Opera, San Francisco Opera, on Broadway, and more — lends her talents to bring this ambitious production to life.

Tickets at FWSymphony.org

Seraphic Fire programs would not be possible without the generous support of

Robert Spano, conductor