Seraphic Fire Magazine, Vol. 4, Iss. 2

Photo: David Johnson Photography

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

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).

Dear Friends,

Welcome to the third annual installment of Seraphic Fire’s Enlightenment Festival. In my conversations with audience and ensemble members about the power of music to inspire and comfort during the pandemic, no composer’s music was more frequently mentioned than that of Johann Sebastian Bach. As such, we have decided in our 20th Anniversary Season to dedicate our entire festival to his music.

Bach has been lauded as many things by many people: a musical genius, a master of counterpoint, a bedrock of musical composition. And while all of these designations are true, the most important aspect of Johann Sebastian Bach is that his music is a rare point of consensus for musicians and music lovers across time, place, and culture.

Bach’s music has an indescribable quality that makes the listener and performer pause and take notice. Bach’s works offer introspection, comfort, inspiration, peace, and enlightenment to those who experience them. Written during the 18th century, rediscovered in the 19th century, and reexamined in the 20th century, the music of Bach offers a 21st century audience a taste of both musical tradition and innovation.

We at Seraphic Fire are passionate about the music of Johann Sebastian Bach, and we hope over this two week exploration of Bach’s music you are able to explore your own relationship with this timeless art.

Patrick Dupre Quigley Artistic Director

Dear

Fellow Patrons

of Seraphic Fire,

From Seraphic Fire’s founding, the music of Johann Sebastian Bach has been at the ensemble’s core. Early performances of Bach’s Mass in b minor helped form the distinctive sound of the ensemble, and a one-per-part disc of Bach’s six Motets was one of the earliest additions to Seraphic Fire’s recording catalogue. Do you, like I, remember Seraphic Fire’s first performances of the St. John Passion, the St. Matthew Passion, and the Magnificat that seemed both timeless and refreshingly new? Or, perhaps, you have yet to hear Seraphic Fire perform Bach’s opus.

Whatever your previous experience with Seraphic Fire’s Bach presentations, the Enlightenment Festival’s two weeks of performances of cantatas and oratorios will hopefully provide a refreshing and bracing reminder as to why the performance of Bach’s work is so important for the South Florida musical community. Thank you for coming to the Enlightenment Festival and celebrating the musical creations of Johann Sebastian Bach.

Joanne Schulte Co-Founder

Artist Roster

For complete artist bios, visit SeraphicFire.org/About

SOPRANO

Artist Highlight

Reginald Mobley

Noted for his ‘shimmering voice’ (BachTrack), GRAMMY®-nominated American countertenor Reginald Mobley is globally renowned for his interpretation of the Baroque, Classical and modern repertoire and leads a very prolific career on both sides of the Atlantic.

An advocate for diversity in music and its programming, Reginald became the first-ever programming consultant for the Handel & Haydn Society following several years of leading H&H in his community-engaging Every Voice concerts. He also holds the position of Visiting Artist for Diversity Outreach with the Baroque ensemble Apollo’s Fire, and is a regular guest with Philharmonia Baroque Orchestra, Washington Bach Consort, Seraphic Fire, and Agave Baroque. With the latter, Reginald recorded ‘American Originals’, a collection of spirituals, which granted his nomination to the GRAMMY® Awards in 2022.

His recordings have been received with great critical acclaim. His first solo album with ALPHA Classic will be released in June 2023. It will showcase a collection of spirituals accompanied by the worldrenowned French pianist Baptiste Trotignon. In Europe, Reginald has been invited to perform with Orchester Wiener Akademie, City of Birmingham Symphony Orchestra, Balthasar Neumann Chor & Ensemble, Bach Society in Stuttgart, and Holland Baroque Orchestra, among others.

Elisse Albian New York, NY | 4th Season elissealbian.com

ALTO

Amanda Crider Miami, FL | 12th Season amandacrider.com

Elijah McCormack New Haven, CT | 1st Season elijahmccormacksoprano.com

Douglas Dodson Atlanta, GA | 9th Season dougdodson.com

Rebecca Myers Philadelphia, PA | 9th Season rebeccamyerssoprano.com

Cecilia Duarte Houston, TX | 1st Season ceciliaduartemezzosoprano.com

Laura

Stuart Washington, DC | 2nd Season laurachoistuart.com

Reginald Mobley

Boston, MA | 17th Season reginaldmobley.com

Choi

Artist Highlight

Nickolas Karageorgiou

Tenor Nick Karageorgiou has both established himself as a formidable chamber musician and soloist. Recently located to NY for work at St. Thomas Church on Fifth Ave, he has kept himself busy singing five services a week, spanning a wide range of sacred rep. Additionally, Nick has been heard in many projects under Julian Wachner and the Trinity Wall Street Chorus, most recently a collaboration with LA Opera and Beth Morrison Projects, premiering Ellen Reid’s opera, p r i s m Other recent engagements of his include concerts with Cantus, Spire Chamber Ensemble, TrueConcord, The Thirteeen, The Crossing, and The Rose Ensemble.

As a soloist, Nick has been heard tackling Baroque gems under Matt Glandorf and Choral Arts Philadelphia, some of which include Monteverdi’s Vespers of 1610, Bach’s complete Christmas Oratorio, in addition to a handful of secular and sacred Bach cantatas. This March, Nick will be joining as a soloist for Bucknell College’s annual Bach Festival under Beth Willer.

Brad Diamond Sterrett, AL | 11th Season

Nickolas Karageorgiou New York, NY | 4th Season

Jacob Perry Washington, D.C | 1st Season jacobperryjr.com

James K. Bass Associate Conductor Los Angeles, CA | 20th Season

John Buffett Los Angeles, CA | 11th Season

Steven Eddy New York, NY | 7th Season steveneddybaritone.com

“An evening with Seraphic Fire always lifts one out of the mundane.”

– Seraphic Fire Patron

FLUTE

Joseph Monticello Miami, FL monticelloflute.com

OBOE

Jennifer Grim Miami, FL jennifergrim.com

Craig Morris Miami, FL craigmorristrumpet.com

Perry Sutton New York, NY

TIMPANI

Geoffrey Burgess Philadelphia, PA Meg

Owens Washington, DC

BASSOON

Anna Marsh Tacoma, WA annamarshmusic.com

TRUMPET

Josh Cohen Washington, DC joshcohentromba1.com

VIOLIN

Matthew Kibort Miami, FL

Jeffrey Girton New York, NY

Emily Hale Boston, MA emilyrhale.com

Renée Hemsing

Boston, MA Katie Hyun New York, NY katiehyun.com

Edson Scheid, concertmaster New York, NY edsonscheid.com

Chloe Fedor New York, NY Susannah

Foster New York, NY susannahfoster.com

VIOLA

Kyle Miller New York, NY

Annie Garlid New York, NY anniegarlid.space

CELLO

Sarah Stone

New York, NY

sarahabigaelstone.com

BASS

Nathaniel Chase

New York, NY

KEYBOARD

Leon Schelhase

Philadelphia, PA

leonschelhase.com

Coming Up Next this Season

March 22 - 26, 2023

MARÍA GUINAND, GUEST CONDUCTOR

María Guinand, internationally lauded director of the Schola Cantorum de Venezuela, joins Seraphic Fire to weave a program that contrasts the heavenly love of Johann Sebastian Bach’s Jesu, meine Freude with secular, Spanish-language Renaissance and contemporary works on earthly themes of humor, desire, and the sea. Disparity and contradiction are on display in this thought-provoking program.

PROGRAM TO INCLUDE

J.S. Bach: Jesu, meine Freude, BWV 227

Guido López Gavilán: El Guayaboso

Otilio Galíndez: Caramba mi amor

José Antonio Calcaño: Evohé

April 27 - 30, 2023

PATRICK DUPRE QUIGLEY, CONDUCTOR

To honor the conclusion of our 20th Anniversary season, Seraphic Fire celebrates with a program containing both the oldest and newest pieces in our repertoire. William Billing’s Invocation was the first work performed by Seraphic Fire, and the first line of this American hymn—“Majestic God, our Muse inspire, and fill us with Seraphic fire”—is the source for the ensemble’s name. Seraphic Fire will be joined by Ensemble Ibis for Shawn Crouch’s The Road From Hiroshima, the first piece of music commissioned and premiered by Seraphic Fire. Representing Seraphic Fire’s newest projects are three world-premiere performances of works by Alvaro Bermudez, Sydney Guillaume, and Tawnie Olson. The ensemble’s first performance of Thomas Tallis’ massive 40-voice motet Spem in alium is the icing on the birthday cake of this celebration of 20 years of glorious music.

Health and Safety

Please visit SeraphicFire.org/Health-and-Safety to learn more about what to expect when attending a concert this season.

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

Naples | Coral Gables | Ft. Lauderdale | Boca Raton

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.

Week 1

Life | Death

February 16-19, 2023

Miami | Coral Gables | Ft. Lauderdale | Miami Beach

Herr, gehe nicht ins Gericht, BWV 105 Johann Sebastian Bach (1685-1750)

Chorus: Herr, gehe nicht ins Gericht mit deinem Knecht

Recitative: Mein Gott, verwirf ich nicht

Aria: Wie zittern und wanken der Sünder Gedanken

Recitative: Wohl aber dem, der seinen Bürgen weiß

Aria: Kann ich nur Jesum mir zum Freunde machen

Chorale: Nun, ich weiß, du wirst mir stillen, mein Gewissen, das mich plagt

Vergnügte Ruh, beliebte Seelenlust, BWV 170 Bach

Aria: Vergnügte Ruh, beliebte Seelenlust

Recitative: Die Welt, das Sündenhaus

Aria: Wie jammern mich doch die verkehrten Herzen

Recitative: Wer sollte sich demnach

Aria: Mir ekelt mehr zu leben

Reginald Mobley, countertenor

Aus der Tiefen rufe ich, Herr, zu dir, BWV 131 Bach

Chorus: Aus der Tiefen rufe ich, Herr, zu dir

Aria and Chorale: So du willst, Herr, Sünde zurechnen

Chorus: Ich harre des Herrn

Aria and Chorale: Meine Seele wartet auf den Herrn

Chorale: Israel hoffe auf den Herrn

SOPRANO

Elisse Albian

Elijah McCormack

Rebecca Myers

Laura Choi Stuart

ALTO

Amanda Crider

Cecilia Duarte

Reggie Mobley

TENOR

Brad Diamond

Nickolas Karageorgiou

Jacob Perry

BASS

James Bass

John Buffett

Steven Eddy

OBOE

Geoffrey Burgess

Meg Owens

BASSOON

Anna Lee Marsh

VIOLIN

Edson Scheid, concertmaster

Chloe Fedor

Susannah Foster

Jeffrey Girton

Emily Hale

Renée Hemsing

Katie Hyun

VIOLA

Kyle Miller

Annie Garlid

CELLO

Sarah Stone

BASS

Nathaniel Chase

ORGAN

Leon Schelhase

CONDUCTOR

Patrick Dupre Quigley

Life | Death

Herr, gehe nicht ins Gericht, BWV 105

Johann Sebastian Bach

Chorus

Herr, gehe nicht ins Gericht mit deinem Knecht. Denn vor dir wird kein Lebendiger gerecht.

Recitative

Mein Gott, verwirf mich nicht, Indem ich mich in Demut vor dir beuge, Von deinem Angesicht.

Ich weiß, wie groß dein Zorn und mein Verbrechen ist, Dass du zugleich ein schneller Zeuge Und ein gerechter Richter bist.

Ich lege dir ein frei Bekenntnis dar Und stürze mich nicht in Gefahr, Die Fehler meiner Seelen Zu leugnen, zu verhehlen!

Aria

Wie zittern und wanken

Der Sünder Gedanken, Indem sie sich untereinander verklagen Und wiederum sich zu entschuldigen wagen. So wird ein geängstigt Gewissen Durch eigene Folter zerrissen.

Recitative

Wohl aber dem, der seinen Bürgen weiß, Der alle Schuld ersetzet, So wird die Handschrift ausgetan, Wenn Jesus sie mit Blute netzet. Er heftet sie ans Kreuze selber an; Er wird von deinen Gütern, Leib und Leben, Wenn deine Sterbestunde schlägt, Dem Vater selbst die Rechnung übergeben. So mag man deinen Leib, den man zum Grabe trägt, Mit Sand und Staub beschütten, Dein Heiland öffnet dir die ewgen Hütten.

Aria

Kann ich nur Jesum mir zum Freunde machen, So gilt der Mammon nichts bei mir. Ich finde kein Vergnügen hier Bei dieser eitlen Welt und irdschen Sachen.

Chorus

Lord, do not go into court with your servant. For before you, no living person is just.

Recitative

My God, do not reject me, while I bow in humility before you, before your face. I know how great are your wrath and my crime, that you are at the same time a prompt witness and a just judge. I state my confession freely to you and do not throw myself into danger by denying, by concealing the errors of my soul.

Aria

How the sinners’ thoughts tremble and waver, while they bring accusations against each other and dare to make excuses for themselves. In this way a troubled conscience is torn apart by its own torments.

Recitative

But fortunate is he who knows his guarantor, who sets aside his guilt. Then the sentence of condemnation is done away with, when they are wet with Jesus’ blood. He nails them to the cross himself; He will give the account of your goods, body, and life, when your hour of death strikes, to the Father himself. Even though your body, that is carried to the grave, may be covered with sand and dust, your savior opens the eternal tabernacles to you.

Aria

If only I make Jesus my friend, then Mammon has no value for me. I find no pleasure here amidst this vain world and these earthly things.

CONTINUED ON NEXT PAGE

Chorale

Nun, ich weiß, du wirst mir stillen Mein Gewissen, das mich plagt. Es wird deine Treu erfüllen, Was du selber hast gesagt: Dass auf dieser weiten Erden Keiner soll verloren werden, Sondern ewig leben soll, Wenn er nur ist Glaubens voll.

Chorale

Now, I know you will ease my conscience, that torments me. You, ever faithful, will fulfill what you yourself have said: that on this wide earth no one should be lost but should live forever, if only he is full of faith.

Vergnügte Ruh, beliebte Seelenlust

Bach

Aria

Vergnügte Ruh, beliebte Seelenlust, Dich kann man nicht bei Höllensünden, Wohl aber Himmelseintracht finden; Du stärkst allein die schwache Brust. Vergnügte Ruh, beliebte Seelenlust, Drum sollen lauter Tugendgaben In meinem Herzen Wohnung haben.

Recitative

Die Welt, das Sündenhaus, Bricht nur in Höllenlieder aus Und sucht durch Hass und Neid Des Satans Bild an sich zu tragen. Ihr Mund ist voller Ottergift, Der oft die Unschuld tödlich trifft, Und will allein von Racha sagen. Gerechter Gott, wie weit Ist doch der Mensch von dir entfernet; Du liebst, jedoch sein Mund

Macht Fluch und Feindschaft kund Und will den Nächsten nur mit Füßen treten. Ach! Diese Schuld ist schwerlich zu verbeten.

Aria

Wie jammern mich doch die verkehrten Herzen, Die dir, mein Gott, so sehr zuwider sein. Ich zittre recht und fühle tausend Schmerzen, Wenn sie sich nur an Rach und Hass erfreun.

Gerechter Gott, was magst du doch gedenken, Wenn sie allein mit rechten Satansränken Dein scharfes Strafgebot so frech verlacht.

Ach! ohne Zweifel hast du so gedacht: Wie jammern mich doch die verkehrten Herzen!

Recitative Wer sollte sich demnach Wohl hier zu leben wünschen, Wenn man nur Hass und Ungemach Vor seine Liebe sieht?

Doch, weil ich auch den Feind

Wie meinen besten Freund Nach Gottes Vorschrift lieben soll, So flieht

Mein Herze Zorn und Groll

Und wünscht allein bei Gott zu leben, Der selbst die Liebe heißt.

Ach, eintrachtvoller Geist, Wenn wird er dir doch nur sein Himmelszion geben?

Aria

Mir ekelt mehr zu leben, Drum nimm mich, Jesu, hin! Mir graut vor allen Sünden, Laß mich dies Wohnhaus finden, Wo selbst ich ruhig bin.

Aria

Contented peace,beloved delight of the soul, you cannot be found among the sins of hell, but only where there is heavenly harmony; You alone strengthen the weak. Contented peace, beloved delight of the soul, For this reason, nothing but the gifts of virtue should have any place in my heart.

Recitative

The world, that place of sin, bursts out only in hellish songs and strives through hatred and envy to bear upon itself the image of Satan. Its mouth is full of snake’s venom that often deals a mortal blow to the innocent and only wants to say ‘racha’ [you worthless person]. Most just God, how far are people estranged from you, after all; you love, but their mouths proclaim curses and enmity And they only want to trample their neighbor. Ah! This guilt is difficult to forgive through prayer.

Aria

Therefore, how sorry I feel for those wrong hearts that are so set against you, my God. I truly shudder and feel a thousand pangs When they take delight only in vengeance and hatred. Most just God, what must you then think when, with their truly satanic intrigues, They so insolently deride your strict commands about punishment.

Ah! Undoubtedly you have thought: How sorry I feel for those wrong hearts!

Recitative

Who in these circumstances would wish to live here at all, when only hate and misfortune are seen in place of God’s love? But since I should also love my enemy as if he were my best friend, according to God’s commandment, so flees my heart from anger and resentment and my wish is to live for God alone who is Love itself. Ah, harmonious spirit, When will he give you the promised land of Heaven?

Aria

Living disgusts me, so take me away from here, Jesus! I am horrified by all the sins; let me find this place to live, where even I am at peace.

Aus der Tiefen rufe ich, Herr, zu dir Bach

Chorus

Aus der Tiefen rufe ich, Herr, zu dir. Herr, höre meine Stimme, lass deine Ohren merken auf die Stimme meines Flehens!

Aria and Chorale

Bass:

So du willst, Herr, Sünde zurechnen, Herr, wer wird bestehen? Denn bei dir ist die Vergebung, dass man dich fürchte.

Sopran: Erbarm dich mein in solcher Last, Nimm sie aus meinem Herzen, Dieweil du sie gebüßet hast Am Holz mit Todesschmerzen, Auf dass ich nicht mit großem Weh In meinen Sünden untergeh, Noch ewiglich verzage.

Chorus

Ich harre des Herrn, meine Seele harret, und ich boffe auf sein Wort.

Aria and Chorale

Tenor:

Meine Seele wartet auf den Herrn von einer Morgenwache bis zu der andern.

Alt:

Und weil ich denn in meinem Sinn, Wie ich zuvor geklaget, Auch ein betrübter Sünder bin, Den sein Gewissen naget, Und wollte gern im Blute dein Von Sünden abgewaschen sein Wie David und Manasse.

Chorale

Israel hoffe auf den Herrn; denn bei dem Herrn ist die Gnade und viel Erlösung bei ihm.

Und er wird Israel erlösen aus allen seinen Sünden.

Chorus

Out of the depths I cry to you, Lord. Lord, hear my voice, let your ears notice the voice of my pleading!

Aria and Chorale Bass:

If you want, Lord, to ascribe sin, Lord, who will withstand you? For with you is forgiveness, that we may fear you.

Soprano: Have mercy on me that I have such a burden, take it away from my heart, since you have paid the price for it on the wood [of the cross] with the pains of death, So that I may not with great sorrow drown in my sins, nor despair forever.

Chorus I wait for the Lord, my soul waits, and I hope in his word.

Aria and Chorale

Tenor: My soul waits for the Lord from one morning watch until the next.

Alto:

And because I, in my mind, as I have for a long time lamented, am also a troubled sinner, who is gnawed by his conscience, and would willingly in your blood be washed clean from his sins like David and Manasseh.

Chorale

Israel, hope in the Lord; for with the Lord is grace and much redemption with him. And he shall redeem Israel from all their sins.

Beginning | End

February 23-26, 2023

Naples | Coral Gables | Ft. Lauderdale | Boca Raton

Weihnachts-Oratorium, BWV 248

Part I

Chorus: Jauchzet, frohlocket

Recitative: Es begab sich aber zu der Zeit

Recitative: Nun wird mein liebster Bräutigam

Aria: Bereite dich, Zion

Chorale: Wie soll ich dich empfangen

Recitative: Und sie gebar ihren ersten Sohn

Chorale and Recitative: Er ist auf Erden kommen arm

Aria: Großer Herr, o starker König

Chorale: Ach mein herzliebes Jesulein

Part V

Chorus: Ehre sei dir, Gott, gesungen

Recitative: Da Jesus geboren war zu Bethlehem

Chorus: Wo ist der neugeborne König der Juden

Recitative: Sucht ihn in meiner Brust

Chorus: Wir haben seinen Stern gesehen

Chorale: Dein Glanz all’ Finsternis verzehrt

Aria: Erleucht’ auch meine finstre Sinnen

Recitative: Da das der König Herodes hörte

Recitative: Warum wollt ihr erschrecken

Recitative: Und ließ versammlen alle Hohenpriester

Trio: Ach! wenn wird die Zeit erscheinen?

Recitative: Mein Liebster herrschet schon.

Chorale: Zwar ist solche Herzensstube

Week 2

Intermission

Himmelfahrtsoratorium, BWV 11 Bach

Chorus: Lobet Gott in seinen Reichen

Recitative: Der Herr Jesus hub seine Hände auf

Recitative: Ach, Jesu, ist dein Abschied schon so nah?

Aria: Ach, bleibe doch, mein liebstes Leben

Recitative: Und ward aufgehoben zusehends

Chorale: Nun lieget alles unter dir

Recitative: Und da sie ihm nachsahen gen Himmel fahren

Recitative: Ach ja! so komme bald zurück

Recitative: Sie aber beteten ihn an

Aria: Jesu, deine Gnadenblicke

Chorale: Wenn soll es doch geschehen

Johann Sebastian Bach (1685-1750)

SOPRANO

Elisse Albian

Jessica Carlson*

Elizabeth Fortescue*

Elijah McCormack

Rebecca Myers

Laura Choi Stuart

ALTO

Amanda Crider

Doug Dodson

Cecilia Duarte

Tivoli Treloar*

Carmen Voskuhl*

TENOR

Max Ary*

Brad Diamond

Nickolas Karageorgiou

Jacob Perry

BASS

James Bass

John Buffett

Kevin Corrigan*

Steven Eddy

Ian Schipper*

Joshua Valdes*

*UCLA EAP Student (see pg. 24)

FLUTE

Joseph Monticello

Jennifer Grim

OBOE

Geoffrey Burgess

Meg Owens

BASSOON

Anna Lee Marsh

TRUMPET

Josh Cohen

Craig Morris

Perry Sutton

TIMPANI

Matthew Kibort

VIOLIN

Edson Scheid, concertmaster

Chloe Fedor

Susannah Foster

Jeffrey Girton

Emily Hale

Renée Hemsing

Katie Hyun

VIOLA

Kyle Miller

Annie Garlid

CELLO

Sarah Stone

BASS

Nathaniel Chase

ORGAN

Leon Schelhase

CONDUCTOR

Patrick Dupre Quigley

Weihnachts-Oratorium, BWV 248

Part I

Johann Sebastian Bach

Chorus

Jauchzet, frohlocket! auf, preiset die Tage, Rühmet, was heute der Höchste getan!

Lasset das Zagen, verbannet die Klage, Stimmet voll Jauchzen und Fröhlichkeit an!

Dienet dem Höchsten mit herrlichen Chören, Laßt uns den Namen des Herrschers verehren!

Recitative

Evangelist:

Es begab sich aber zu der Zeit, dass ein Gebot von dem Kaiser Augusto ausging, dass alle Welt geschätzet würde.

Und jedermann ging, dass er sich schätzen ließe, ein jeglicher in seine Stadt.

Da machte sich auch auf Joseph aus Galiläa, aus der Stadt Nazareth, in das jüdische Land zur Stadt David, die da heißet Bethlehem; darum, dass er von dem Hause und Geschlechte David war: auf dass er sich schätzen ließe mit Maria, seinem vertrauten Weibe, die war schwanger.

Und als sie daselbst waren, kam die Zeit, dass sie gebären sollte.

Recitative

Nun wird mein liebster Bräutigam, Nun wird der Held aus Davids Stamm Zum Trost, zum Heil der Erden Einmal geboren werden.

Nun wird der Stern aus Jakob scheinen, Sein Strahl bricht schon hervor.

Auf, Zion, und verlasse nun das Weinen, Dein Wohl steigt hoch empor!

Aria

Bereite dich, Zion, mit zärtlichen Trieben, Den Schönsten, den Liebsten bald bei dir zu sehn!

Deine Wangen

Müssen heut viel schöner prangen, Eile, den Bräutigam sehnlichst zu lieben!

Chorus

Shout for joy, rejoice! Rise up, glorify the day, praise what the highest has done today! Abandon hesitation, banish lamentation, sing with joy and happiness!

Serve the highest with glorious choirs, let us honor the name of our ruler!

Recitative Evangelist: It happened at that time that an order went out from Caesar Augustus that all the world should be assessed. And everyone went, so that he might be assessed, each to his own city. Joseph went up out of Galilee from the city of Nazareth, into the land of Judah to the city of David which is called Bethlehem; for he was of the house and race of David: so that he might be assessed with Mary, his betrothed wife, who was pregnant. And while they were there, the time came for her to give birth.

Recitative

Now my dearest bridegroom, now the hero from the race of David for the consolation and salvation of the Earth shall at last be born. Now the star that comes from Jacob shall shine, its rays already break forth. Rise up, Zion, and abandon your weeping, your well-being climbs aloft!

Aria

Make yourself ready, Zion, with tender desires, to see with you soon, he who is most beautiful, most dear! Your cheeks today must be far more beautiful; hurry, to love the bridegroom dearly!

CONTINUED ON NEXT PAGE

Chorale

Wie soll ich dich empfangen Und wie begegn’ ich dir?

O aller Welt Verlangen, O meiner Seelen Zier!

O Jesu, Jesu, setze Mir selbst die Fackel bei, Damit, was dich ergötze, Mir kund und wissend sei!

Recitative

Evangelist:

Und sie gebar ihren ersten Sohn und wickelte ihn in Windeln und legte ihn in eine Krippen, denn sie hatten sonst keinen Raum in der Herberge.

Chorale and Recitative

Er ist auf Erden kommen arm, Wer will die Liebe recht erhöhn, Die unser Heiland vor uns hegt? Dass er unser sich erbarm, Ja, wer vermag es einzusehen, Wie ihn der Menschen Leid bewegt? Und in dem Himmel mache reich, Des Höchsten Sohn kömmt in die Welt, Weil ihm ihr Heil so wohl gefällt, Und seinen lieben Engeln gleich. So will er selbst als Mensch geboren werden. Kyrieleis!

Aria

Großer Herr, o starker König, Liebster Heiland, o wie wenig Achtest du der Erden Pracht! Der die ganze Welt erhält, Ihre Pracht und Zier erschaffen, Muss in harten Krippen schlafen.

Chorale

Ach mein herzliebes Jesulein, Mach dir ein rein sanft Bettelein, Zu ruhn in meines Herzens Schrein, Dass ich nimmer vergesse dein!

Chorale

How should I receive you and how should I meet you? O longing of the whole world, O ornament of my soul! O Jesus, Jesus, place your light in my own hands, so that what gives you delight, I may know and understand!

Recitative Evangelist: And she gave birth to her first son and wrapped him in swaddling clothes and laid him in a manger, for they had otherwise no room in the inn.

Chorale and Recitative

He has come to Earth in poverty; Who will rightly exalt the love that our Savior harbors for us? So that he may have mercy on us, Indeed, who can see it, how people’s suffering moves him? And to make us rich in Heaven, the Highest’s Son comes into the world, because its salvation pleases him so well, And like his dear angels. That he himself is willing to be born human. Lord, have mercy!

Aria

Great Lord, O mighty king, dearest Savior, O how little you regard earthly splendor! He who maintains the whole world, and created its splendor and adornment, must sleep in a hard crib.

Chorale

Ah little Jesus dear to my heart, make for yourself a clean, soft bed, to rest in the shrine of my heart, so that I may never forget you!

Part V

Chorus

Ehre sei dir, Gott, gesungen, Dir sei Lob und Dank bereit. Dich erhebet alle Welt, Weil dir unser Wohl gefällt, Weil anheut

Unser aller Wunsch gelungen, Weil uns dein Segen so herrlich erfreut.

Recitative

Evangelist:

Da Jesus geboren war zu Bethlehem im jüdischen Lande zur Zeit des Königes Herodis, siehe, da kamen die Weisen vom Morgenlande gen Jerusalem und sprachen.

Chorus and Recitative

Die Weisen:

Wo ist der neugeborne König der Jüden?

Alt:

Sucht ihn in meiner Brust, Hier wohnt er, mir und ihm zur Lust!

Die Weisen: Wir haben seinen Stern gesehen im Morgenlande und sind kommen, ihn anzubeten.

Alt: Wohl euch, die ihr dies Licht gesehen, Es ist zu eurem Heil geschehen!

Mein Heiland, du, du bist das Licht, Das auch den Heiden scheinen sollen, Und sie, sie kennen dich noch nicht, Als sie dich schon verehren wollen. Wie hell, wie klar muss nicht dein Schein, Geliebter Jesu, sein!

Chorale

Dein Glanz all Finsternis verzehrt, Die trübe Nacht in Licht verkehrt.

Leit uns auf deinen Wegen, Dass dein Gesicht

Und herrlichs Licht

Wir ewig schauen mögen!

Aria

Chorus

Let honor to you, God, be sung, for you are to be praised and thanked. All the world exalts you, because our welfare is pleasing to you, because today all our wishes have been achieved, because your blessing pleases us so wonderfully.

Recitative Evangelist: When Jesus was born in Bethlehem in the land of the Jews at the time of King Herod, See, there came wise men from the East to Jerusalem and said: Chorus and Recitative Wise Men: Where is the newborn King of the Jews?

Alto: Look for him in my breast, Here he lives, to my delight and his!

Wise Men: We have seen his star in the East and have come to worship him.

Alto:

Happy are you who have seen the light, it has appeared for your salvation! My Savior, you, you are the light which shall also shine on the Gentiles, and they, they do not know you yet, though they would already worship you. How bright, how clear must your radiance be, Beloved Jesus!

Chorale

Your splendor consumes all darkness, the gloomy night is changed to light. Lead us in your ways, so that your face and your glorious light we may see forever!

Aria

Erleucht auch meine finstre Sinnen, Erleuchte mein Herze

Durch der Strahlen klaren Schein!

Dein Wort soll mir die hellste Kerze

In allen meinen Werken sein;

Dies lässet die Seele nichts Böses beginnen.

Illuminate also my gloomy thoughts, illuminate my heart with the rays of your clear light! Your word will be the brightest candle for me in all my deeds; This lets my soul commence nothing evil. CONTINUED

Recitative

Evangelist:

Da das der König Herodes hörte, erschrak er und mit ihm das ganze Jerusalem.

Recitative

Warum wollt ihr erschrecken?

Kann meines Jesu Gegenwart euch solche Furcht erwecken?

O! solltet ihr euch nicht Vielmehr darüber freuen, Weil er dadurch verspricht, Der Menschen Wohlfahrt zu verneuen.

Recitative

Evangelist:

Und ließ versammlen alle Hohepriester und Schriftgelehrten unter dem Volk und erforschete von ihnen, wo Christus sollte geboren werden. Und sie sagten ihm: Zu Bethlehem im jüdischen Lande; denn also stehet geschrieben durch den Propheten:

Und du Bethlehem im jüdischen Lande bist mitnichten die kleinest unter den Fürsten Juda;

denn aus dir soll mir kommen der Herzog, der über mein Volk Israel ein Herr sei.

Aria

Ach, wenn wird die Zeit erscheinen?

Ach, wenn kömmt der Trost der Seinen?

Schweigt, er ist schon würklich hier! Jesu, ach so komm zu mir!

Recitative

Mein Liebster herrschet schon.

Ein Herz, das seine Herrschaft liebet

Und sich ihm ganz zu eigen gibet, Ist meines Jesu Thron.

Chorale

Zwar ist solche Herzensstube

Wohl kein schöner Fürstensaal, Sondern eine finstre Grube; Doch, sobald dein Gnadenstrahl

In denselben nur wird blinken, Wird es voller Sonnen dünken.

Recitative Evangelist: When King Herod heard this, he was afraid and with him all of Jerusalem.

Recitative

Why are you afraid?

Can the presence of my Jesus raise such fear in you?

Oh! Should you not rather rejoice over this, for he promises in this way, to restore the well-being of mankind.

Recitative

Evangelist:

And he gathered together all the high priests and scribes among the people and demanded of them where the Christ should be born. And they said to him: in Bethlehem in the land of the Jews; For it is written by the prophets: And you, Bethlehem in the land of the Jews, are not the least among the princes of Judah; For out of you will come the Prince, who will be the lord over my people Israel.

Aria

Ah, when will the time appear?

Ah, when will he come, who is the comfort of his people?

Be silent, he is really already here! Jesus, ah, then come to me!

Recitative

My beloved already rules. A heart, that loves his reign and gives itself to him completely, is the throne of my Jesus.

Chorale

Indeed, such a place in my heart is certainly no beautiful royal palace, but rather a dark pit; Yet, as soon as the rays of your mercy only gleam within there, it will seem filled with sunlight.

Himmelfahrtsoratorium, BWV 11

Bach

Chorus

Lobet Gott in seinen Reichen, Preiset ihn in seinen Ehren, Rühmet ihn in seiner Pracht; Sucht sein Lob recht zu vergleichen, Wenn ihr mit gesamten Chören

Ihm ein Lied zu Ehren macht!

Recitative

Evangelist:

Der Herr Jesus hub seine Hände auf und segnete seine Jünger, und es geschah, da er sie segnete, schied er von ihnen.

Recitative

Ach, Jesu, ist dein Abschied schon so nah?

Ach, ist denn schon die Stunde da, Da wir dich von uns lassen sollen?

Ach, siehe, wie die heißen Tränen

Von unsern blassen Wangen rollen, Wie wir uns nach dir sehnen, Wie uns fast aller Trost gebricht. Ach, weiche doch noch nicht!

Aria

Ach, bleibe doch, mein liebstes Leben, Ach, fliehe nicht so bald von mir!

Dein Abschied und dein frühes Scheiden Bringt mir das allergrößte Leiden, Ach ja, so bleibe doch noch hier; Sonst werd ich ganz von Schmerz umgeben.

Recitative Evangelist:

Und ward aufgehoben zusehends und fuhr auf gen Himmel, eine Wolke nahm ihn weg vor ihren Augen, und er sitzet zur rechten Hand Gottes.

Chorale

Nun lieget alles unter dir, Dich selbst nur ausgenommen; Die Engel müssen für und für Dir aufzuwarten kommen.

Die Fürsten stehn auch auf der Bahn Und sind dir willig untertan; Luft, Wasser, Feuer, Erden Muß dir zu Dienste werden.

Recitative Evangelist:

Und da sie ihm nachsahen gen Himmel fahren, siehe, da stunden bei ihnen zwei Männer in weißen Kleidern, welche auch sagten:

Chorus

Praise God in his kingdoms, extol him in his honors, acclaim him in his splendor; Seek to express his praise rightly, when with full chorus you sing in his honor!

Recitative Evangelist: The Lord Jesus raised his hands and blessed his followers, and it happened that while he was blessing them he parted from them.

Recitative

Ah Jesus, is your departure already so near? Ah, is it already the hour when we must let you leave us? Ah, see how the hot tears roll down our pale cheeks, how we gaze after you, how almost all our comfort is lost. Ah, do not go away yet!

Aria

Ah, stay yet, my dearest life, ah, do not flee so soon from me! Your departure and your early leaving bring me the greatest suffering. Ah then, stay here still; Otherwise I shall be overwhelmed with sorrow.

Recitative Evangelist: And in their sight he was lifted up and went towards Heaven, a cloud took him away from their eyes, and he sits on the right hand of God.

Chorale

Now all lies beneath you, except for yourself; The angels must for ever and ever come to wait on you. Princes also stand on the path and are willingly subject to you; air, water, fire and earth must all be at your service.

Recitative Evangelist:

And as they gazed after him traveling to Heaven, see, there stood by them two men in white robes, who also said:

Beide:

Ihr Männer von Galiläa, was stehet ihr und sehet gen Himmels Dieser Jesus, welcher von euch ist aufgenommen gen Himmel, wird kommen, wie ihr ihn gesehen habt gen Himmel fahren.

Recitative

Ach ja! so komme bald zurück: Tilg einst mein trauriges Gebärden, Sonst wird mir jeder Augenblick Verhaßt und Jahren ähnlich werden.

Recitative

Evangelist:

Sie aber beteten ihn an, wandten um gen Jerusalem von dem Berge, der da heißet der Ölberg, welcher ist nahe bei Jerusalem und liegt einen Sabbater-Weg davon, und sie kehreten wieder gen Jerusalem mit großer Freude.

Aria

Jesu, deine Gnadenblicke

Kann ich doch beständig sehn. Deine Liebe bleibt zurücke, Dass ich mich hier in der Zeit

An der künftgen Herrlichkeit Schon voraus im Geist erquicke, Wenn wir einst dort vor dir stehn.

Chorale

Wenn soll es doch geschehen, Wenn kömmt die liebe Zeit, Dass ich ihn werde sehen, In seiner Herrlichkeit?

Du Tag, wenn wirst du sein, Dass wir den Heiland grüßen, Dass wir den Heiland küssen? Komm, stelle dich doch ein!

Two Men:

You men of Galilee, why do you stand here and gaze towards Heaven? This Jesus, who has been taken from you to Heaven, will come again, as you have seen him travel to Heaven.

Recitative

Ah then! Return again soon: wipe away once and for all my sad demeanor, otherwise for me each moment will be hateful and the years will become the same.

Recitative Evangelist: But they worshipped him, then went back to Jerusalem from the mount, which is called the Mount of Olives and which is near Jerusalem and is situated a Sabbath’s journey away, and they returned back to Jerusalem with great joy.

Aria

Jesus, your gracious look I can still see continually. Your love remains behind, so that here in this present time, in the glory to come, I may refresh my spirit beforehand, when we will one day stand there before you.

Chorale

When will it happen, when comes the dear time that I shall see him in his glory?

Oh day, when will you come, that we may greet the Savior, that we may kiss the Savior? Come, get here soon!

About UCLA Ensemble Artists 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 student. 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.

“Performing alongside the members of Seraphic Fire…helped me to quickly improve and understand expectations and what skills and dedication this profession takes.”

See UCLA Ensemble Artist Program students in Week II of the Enlightenment Festival, Beginning | End. University of Miami students will join Seraphic Fire in April 2022 for our 20th Anniversary concert, First | Last. Learn more at SeraphicFire.org/Education

Maxwell Ary is a tenor from Dallas, and an enthusiastic choral musician. Max is a graduate of the University of North Texas where he studied voice with Dr. Jeffrey Snider. Max has sung with notable ensembles including Orpheus Chamber Singers, Verdigris Ensemble, Incarnatus, Dallas Chamber Choir, and Dallas Bach Society. Max is a graduate student at UCLA’s Herb Alpert School of Music.

EAP participant

Seraphic Fire’s Ensemble Artist Program is supported in part by Dunspaugh-Dalton Foundation

Jessica Carlson is a fourth-year undergraduate student studying music education at the UCLA Herb Alpert School of Music. Joining choir at nine years old, she has had opportunities to tour in Italy, New York, Ireland, France, Sweden, and Denmark to perform in venues such as Carnegie Hall, the Notre Dame Cathedral, and the Vatican. She has also competed in multiple choral competitions, winning a gold medal as a featured soloist at the 2019 European Choir Games. Jessica is hoping to gain the skills to pursue a career in professional choral performance and choral conducting.

Kevin Corrigan, tenor, is an undergraduate vocal performance major at the UCLA Herb Alpert School of Music where he is a student of Professor Juliana Gondek. Kevin most recently performed the role of Damon in UCLA Opera’s production of

Acis & Galatea. This spring, he is most looking forward to singing the ensemble role of Minotaur in Kay Rhie’s new opera, Quake,and the role of Lacouf in Les mamelles de Tirésias. Kevin is an alumnus of and former Part Leader for the AllAmerican Boys Chorus and has been recognized for his talents in various local and national competitions.

Soprano Elisabeth Fortescue, a native of San Francisco, is currently working towards her Bachelor of Music as a classical voice performance major at UCLA Herb Alpert School of Music. In 2019, she graduated from the Ruth Asawa San Francisco School of the Arts where she was awarded the title of Student Conductor in 2018. After 13 years of choral experience, she is currently in the UCLA Chamber Choir. This is Elisabeth’s second year in Seraphic Fire’s Ensemble Artist Program, and she is ecstatic to be deepening her education in choral music in such an intimate and renowned environment.

Ian Schipper, bass-baritone, enjoys exploring a wide variety of emotional journeys through music. He sings a mixture of opera, oratorio, and choral performances, delighting in the variety of vocal music in the world. He particularly enjoys singing works of the Baroque and German Romantic. A native of Portland, OR, he also enjoys hiking, composing, and reading the works of JRR Tolkien.

Tivoli Treloar is a mezzo-soprano and a third-year classical voice performance major at UCLA. Tivoli has sung roles including Cherubino (Le nozze di Figaro) and Flora (La traviata). Upcoming, she will sing in the world premiere of the contemporary opera, Quake. Tivoli is amember of the UCLA Chamber Singers and is thrilled to be a part of Seraphic Fire.

Joshua Valdes, bass, is currently pursuing a master’s degree in vocal performance at UCLA. Joshua has played various operatic roles such as “Don Giovanni” and “Figaro” and sung in award-winning choirs such as College of the Canyons’ “Just Jazz” ensemble and Bob Cole Conservatory of Music Chamber Ensemble. Joshua has had the opportunity to sing in renowned venues such as Carnegie Hall, where he sang a solo from Mozart’s Dixit Dominus, and The Mormon Tabernacle.

Carmen Voskuhl, mezzo-soprano is a recent graduate from the UCLA Herb Alpert School of Music with a Bachelor of Music in vocal performance and is currently furthering her education through post-baccalaureate studies through UCLA Extension. Most notably, Carmen originated the role of El Alma in Carla Lucero’s Juana, which gained her praise from the Los Angeles Times for her “commanding vocal and theatrical presence.” Carmen is a member of the UCLA Chamber Singers and was a chorus member in the GRAMMY®-winning recording of Richard Danielpour’s The Passion of Yeshua.

Born in Austin, mezzo-soprano Erica Weisman began singing when young and played violin for over 12 years. She spent her most formative years with the GRAMMY®-nominated Conspirare Symphonic Choir and Austin Symphony Chorus. While pursuing a degree in vocal performance at the University of Washington, she sang Mozart’s The Magic Flute, Handel’s Messiah, Christoph Gluck’s Orpheus and Eurydice, and Arvo Part’s Passio under the GRAMMY®-winning director, Stephen Stubbs in the Pacific MusicWorks Chorus. She has also sung with semi-professional choirs, Seattle Pro Musica and Choral Arts Northwest.

A Look Inside the Seraphic Fire Youth Initiative

“Patrick told me that the singers were going into public schools, and, for me, that was the best thing that Seraphic Fire can do - share and teach the joy of music. I went and watched four of the Seraphic Fire singers work with about 50 fourth graders. They got them involved physically, mentally, and emotionally with the music. They were fantastic.”

Anneliese Duncan Seraphic Fire Education Donor

15 Years of Making Music Matter in Our Schools

by Beth Braswell

Originally named the Miami Choral Academy, this community outreach initiative of Seraphic Fire debuted in 2009. With funding supplied by a generous seed grant from the John S. and James L. Knight Foundation, the goal of the Academy was “to create positive social change through music” and was patterned after the heralded El Sistema, Venezuela’s public music program. Patrick Quigley invited his friend from graduate school, Shawn Crouch, to lead the progressive initiative. As winner of multiple prestigious awards and critical acclaim, Crouch had composed for many accomplished vocal and instrumental ensembles. Leading the Miami Choral Academy meant Crouch could focus on another important element of his musical life, which was “being a proponent of music in society, of finding new ways for music to survive in communities, and change communities, and in the school systems as well.”

The Academy created a tuition-free league of youth choirs open to children from traditionally under-served communities in Miami-Dade County. In addition to vocal training, the multi-layered initiative included a music integration program, which stressed music’s connections with math, writing, and reading, and also provided supplemental academic tutoring.

“We talked about the transformative power of music, that it has more than entertainment value, that it has more potential,” said Crouch.

Fast forward to 2023 and the program has grown stronger than ever, accomplishing its goal to make a positive difference:

“I was the principal at one of the four initial schools, and the Miami Choral Academy was very organized from day one - with field trips and transportation and the instruction and, not only the music instruction, but the educational instruction that accompanied it. It worked to educate the children about music and composers, but it also educated them on their curriculum. As principal, I tracked every child in the Choral Academy and each one passed the state assessment test of reading, math, and writing, usually with a higher score of four or five. I attribute that to the organization of the music curriculum, the instruction of reading the music and the lyrics, and the discipline to keep the children on point and organized. It just was fascinating to me that these people would fly from all over the country, leave their families and their lives to come and sing with my children.” Frank

MacBride, Seraphic Fire Education Committee Board Chair

A Look Inside Seraphic Fire Youth Initiative

“Seraphic Fire’s Director of Education, Suzanne Floyd, offered to come to our school and she brought in a doctoral student from the University of Miami who is so multi-talented and great with the kids. She sings and plays different instruments for the kids, making it fun and engaging, yet she’s very firm with what her goals are with the students. She played the ukulele, and she taught them songs so they could introduce themselves in Hawaiian. We also play recorders, and it’s just been really special to watch her interact with the children. They’re making great progress.”

Jackson Bunn, Music Specialist at Spanish Lakes Elementary

“I am an instrumentalist so I love the focus on the choral and vocal instruction because that’s an area in my own teaching where I feel I could use assistance in the classroom. Students love the Seraphic Fire singers and the field trips and the opportunity to perform. It was huge for them; getting out of school to really go somewhere and be on a stage and be able to demonstrate their musical aptitude. They found in themselves a love for singing and they felt like ‘hey, I can do this.’ The way that music functions in the brain actually connects to everything else.

The fourth-grade students that we worked with last year, most of them are in the highest-performing class this year. The kids still ask me about the Seraphic Fire staff. It was a program that brought our whole school together. The program inspired the students to foster their own love for music and showed them that there are different paths that you can take as a musician.” Natalie Lopez, Music Specialist at Fulford Elementary

“I had been hearing about Seraphic Fire since middle school. My high school choir participated in the masterclass and concert with the Seraphic Fire singers, and I remember standing on the risers twitching with excitement. I was next to three Seraphic Fire singers, but when we sang, our voices felt like one voice, and the connection I felt with everyone on that stage was absolutely wonderful and unique. It inspired me to be a better musician and I hope every young artist can experience something like this at least once in their lives. It was one of the reasons I decided to pursue a career in music education at Frost School of Music.” Meli Aguila, student participating in Seraphic Fire High School Masterclass

Seraphic Fire is funded by The Children’s Trust. The Trust is a dedicated source of revenue established by voter referendum to improve the lives of children and families in Miami-Dade County.

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.

Seraphic Fire’s education programs are made possible in part by our generous sponsors:

20 Years of Seraphic Fire: Our Patrons’ Perspective

by Beth Braswell

Seraphic Fire’s patrons and donors come from all walks of life and from various musical backgrounds. Some are talented singers themselves or accomplished musicians. Many have in-depth knowledge of classical music history, which is truly impressive. However, most are simply devotees of music that makes them feel good. The compelling reason why they all look forward to the next Seraphic Fire performance is to experience an other-worldly enchantment; to be mesmerized by the purity of voices and invigorated by the magical energy in the room. The Seraphic Fire artists and musicians strive to deliver exceptional performances that excite their audiences.

For 20 years, Seraphic Fire has had a special relationship with its supporters. They are the reason the ensemble exists and thrives. Not only are patrons the recipient of the very special music the artists and

musicians perform for them, but these champions reciprocate and are the giver of their talents, time, and resources. Seraphic Fire deeply appreciates every performance attendee, online listener, volunteer, and donor. Here are just a few stories that patrons have shared about their Seraphic Fire experiences.

Trae Williamson

Twenty years ago, Joanne Schulte says to me: “I really want you to meet this kid, Patrick Quigley.” Patrick proceeded to tell me about his dream to start Seraphic Fire, even mentioning the model Chanticleer, and I was on board right away. To know Patrick is to appreciate his excellence when you speak with him or see him conduct. Our family business, Williamson Cadillac, is very engaged in the community. We don’t give to causes, we give to people with a passion. We got on board in a big way with a signature event, the

first Messiah almost 20 years ago, and we have been committed since. It was just a no-brainer. I appreciate how Seraphic Fire will take you really interesting places with their music choices and show you things that you wouldn’t have learned about before. It’s nice that there are returning singers that you’ve heard many times but there are new faces. Patrick creates a sense of family in these singers. And the audience is almost like an extended family. There’s a warmth to it. I am always in the audience, and I can imagine us contributing for as long as they do what they do.

Nancy Katzoff

I first heard of Seraphic Fire when I was in the car listening to NPR. I called their office to learn more, and the phone was handed over to Patrick. It was like talking with George Balanchine about his ballet. Patrick told me the program would be a

CONTINUED ON NEXT PAGE

Every person in the room is there for a purpose. It’s exciting for me because I am there to deliver the news, to provide the show. When I get on stage, my goal is to engage and communicate. Sometimes they are smiling at the tone and timbre of your voice, or maybe you have intrigued them to read the translation. I get a lot of energy from the body language of the audience.

“Most of our concerts are friends inviting friends because they know this unforgettable, live music format is something they’ve never experienced.”

James K Bass, Associate Conductor

Enrico Lagasca, Seraphic Fire, Bass

20 Years of Seraphic Fire: Our Patrons’ Perspective

mix of early music as well as some contemporary pieces. He encouraged me to come to see for myself. It was the first concert held in Ft. Lauderdale. I had no idea what to expect. We went and we have been going ever since. What amazed me is that every time they opened their mouths to sing, there was a purity of sound that was coming out.

When it was over, I felt I was walking on air. My spirit was thrilled by the music. My brain felt like it had been engaged and learned something, and the energy of Patrick and the singers was just magnificent. I left everything outside the venue and indulged myself in enjoying the music. What we like about Seraphic Fire is that there is always a surprise. I like being exposed to new music, the unexpectedness of the choices, and

that the pieces all flow together. After I leave the concert, I love meeting the singers, Patrick and James. Even though I have nothing terribly knowledgeable to say, I want to share my delight in what I heard. They make the audience feel seen, we’re not just ticket buyers – we are supporters and groupies. I am proud of them because I’ve seen them develop for so long.

Tina Lane

I have loved Seraphic Fire, and we are so fortunate to have them in Miami. They are unique and marvelous. We have an opera, a ballet, and a symphony but nothing else like Seraphic Fire! I love going because I love the music, and I appreciate their voices and the way they are directed. It’s a lesson as well as a wonderful program to hear. They have added new composers, added different types of

repertoire, which has become more varied. They have made a real name for themselves and also performed a real service for Miami. I support the work they do to train young musicians so that they can make a living doing this kind of work. I am a big supporter of the arts — it’s important to the community.

Ken Easterling

I guess it was season two or three of Seraphic Fire and I was walking down Lincoln Road and saw a poster, and I thought: Who on earth performs Dido and Aeneas in Miami Beach? I had never heard of Seraphic Fire. I was skeptical but went to listen, and I was blown away. The smaller scale was attractive to me, but mostly, the skill and enthusiasm of the artists and the creativity of the program. You’re not just getting ‘the greatest hits of the

last 200 years.’ It’s always something new; I’ve gotten the opportunity to learn a lot of new music through Seraphic Fire. With Seraphic Fire, you are always sure that you are going to hear something that is astonishingly well-performed. The quality of the vocal performances and the enthusiasm of the artists have never changed over the years. I feel like I’m part of the family and not just a spectator.

Anneliese Duncan

I grew up during the Second World War listening to Beethoven and Mozart on an old-fashioned radio. Then the last year, the police came and took the radios away, and there went my music. I was so sad and disappointed, but my mother had a beautiful voice, and she sang to me instead. So, music has always been important to me. One day, I heard something about Seraphic Fire on public radio, and they said it was a cappella, and I had never heard

that word in English, so I looked it up. I said to my husband “voices without music accompaniment?” I was so excited; I said I have to go and find out. It was European masters that I knew and heard as a child on the radio in Germany. I appreciated the singers sharing their gifts of music. It was a healing therapy for me. My heart and my soul react the same way to Seraphic Fire now as the first time I watched them.

Raul and Ana Marmol

Raul’s aunt and uncle went to Patrick’s very first concerts, and they invited us to a Christmas concert. It was amazing and we have been going ever since. We have a tradition that we invite friends and family—at last count, there was 36 of us—and we open the holiday season with A Seraphic Fire Christmas, and then dinner, and we have a blast. The second Seraphic Fire concert we attended was a program Patrick

put together about the impact of Katrina on New Orleans. It was non-traditional for Seraphic Fire but very, very moving, too. We just enjoy listening to good music and live music. We are not aficionados or experts, but they have introduced us to this a cappella music which we just love. Patrick and James just make each piece special and unique with a quality of excellence – every single time. When Seraphic Fire did a performance with Cleveland Orchestra, the Cleveland Orchestra conductor said it was just so pure and so beautiful. Nobody knew that this type of talent had been accumulated by Patrick Quigley down here in South Florida and what a treasure we have. Ana has a passion for education and is one of the leads in developing the Gen Society [for giving to music education initiatives]; working hard to keep us grounded in South Florida and making a local impact.

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 and Martha Clinton §

Dunspaugh-Dalton Foundation §

Hutson-Wiley Echevarria Foundation §

William Jaume

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

Meredyth Anne Dasburg Foundation

Martha R. Davis & Alix Ritchie

Jane Hurt §

McInerney Family Foundation

Miami-Dade County Youth

Enrichment Program §

Miami-Dade County Tourist

Development Program

Quest Foundation

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

The Kirk Foundation §

Key Biscayne Community Foundation

Ana & Raul Marmol §

The Miami Foundation §

Miami Beach Cultural Affairs Council

National Endowment for the Arts §

P.L. Dodge Foundation

Peacock Foundation

Patrick Quigley & Rob Peccola

Margaret A. Rolando

Nirupa Chaudhari & Steve Roper

Susan & Karl Shell §

Sophia Sieczkowski & Joel Krauss

Leonard H. Smith

Sara Solomon

Mel & Barbara VanderBrug

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 A. Moore

Elizabeth Newman & John Tillson

John Quaintance & Robert Riggs

Dr. William Roy & Susan Kelley

Peter & Sara Rutenberg

Charles Sacher

The Stonesifer Kinsley Family Fund

Deborah & Michael Troner

Allan Yudacufski & Mark Mandel §

Sponsor

$2,500-$4,999

Anonymous

William Bonn & Ruben Ceballos

Citizens Interested in Arts

Marilyn Connolly

Coral Gables Community Foundation

Gerhard Dahl

Enterprise Holdings Foundation §

Jonathan J. Flores & Brian Levey

Taffy Gould

Dr. Joe & Janus Greer

Susie & George O. Knapp III

Lyza Latham & Mark Kutzleb

Christopher Pennant §

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

Mark A. Trowbridge in honor of Joanne Schulte

Nina Webber

Williamson Cadillac-Buick-GMC

Jeri L. Wolfson Foundation

Patron

$1,000-$2,499

Ronnie Arad

Daniel Ayers & Tony Seguino

Elizabeth & Edward Baker

Helene Berger

Misty & Alvaro Bermudez

Margrit & Roger Bernstein

Kristi Bettendorf

Bruce Bolton

Blaine Branchick & Christopher Rudman

Robert Braunstein § in honor of Suzanne Floyd

Clinton Bush

Steve Carlin & Michael Cormier in honor of William Jaume

George Chesney & Sue Fiorey

Katie Conley & James Glick

Rev. Mary E. Conroy

Nancy J. Davis

Rhett M. Del Campo §

Adrienne DiPrima & Donna Smorchoke in memory of Bella Tillis

Ashley C. Drumm §

Richard & Marcy Dupere

Maria & John Farrey §

Firestone Family Foundation

Suzanne Floyd §

David Foerster & Graham HussainLevenstein

Lewis Ashley Fomon in honor of Joanne Schulte

Randall Fotiu & Josie Wojtowicz

Teresa Galang-Viñas & Joaquín

Viñas

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

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

George Lindemann

M. Therese Vento & Peter MacNamara

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

Debra Dupre & Bill 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

Catherine VanderBrug in memory of Gordon VanderBrug

Richard Vaughan & Walter Sherman

Karen S. Fuller Veloz

Adrian Villaraos & Marika Lynch

Robert Warren

Ted Wolf & Frank Decolator

Robin Woodard

Maria José Wright

Douglas & Margaret Yoder

Gregg Zavodney

Dean Ziff & Jania Victoria

Sustainer

$500-$999

Anonymous

Alexander/Bassett Charitable Fund

Marcelo & Betty Alvarez

Diane de Vries Ashley

Nadine Asin Tom van Straaten in honor of Rhett Del Campo

Linda C. Binder

Sylvia Blau

Carol J. Boyd

Kay Casstevens in honor of Patrick Quigley

Agustin Diaz

Richard DiRenzo in memory of Rev. Charles Humphries

Bonnie & Peter Dockter

Brian R. Dunn

Priscilla Felisky Whitehead

Michael & Phyllis George

Nancy Gillespie & Ulrich Lachler

Frank & Roberta Helsom

Kevin Hennessey

IBM

Nancy & James Katzoff

Eva Landy

Veronica R. Lopez-Lopez

Sarah Lopez-Luis

LSN Partners

Frank & Randi MacBride §

Stephen Magliocco & Michael

Carroll

MoveWell Technologies in memory of Marvin Sackner

Sandra Mullen

Bernard G. Perron

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

Jane Worley in memory of Peter C. Worley

Barbara C. Zwick

Donor

$250-$499

Matthew Anderson

Michael & JoAnne Bander

Isa Barzana

Michael & Sheila Berke

Lisbeth & Michael Bustin

David Chatfield

Candace Childrey

Ann & Clark Cochran

George & Maureen Collins

Noble & Alexandra Cook

James & Alice Crosland

Amanda & Shawn Crouch

Rebecca & Philip Curtis

Roberta David §

Gina & John Despres

Steven Dloogoff

Mary Sue Donohue

Francis & Janette Engelhardt

The Eyler Family §

Sebastian Fiore

Argelio & Sylvia Garcia

Thomas & Paulette Goetz

Theodora Greanias

Steven G. Grupe

David Gury & Elias Baez III

Jane & Douglas Hagerman

Thomas & Diana Hooton

Jean M. Irwin

Joanne and Maria Jasin

Marlyn Kefauver

Donald A. & Elizabeth A. Kress in memory of Karen Dudley

Brian Legg & Renee De Gagne

Richard Lilley & Carmen Letelier

Enrique & Monica Lopez

Kim Lopez

Catherine Lynn

Finlay & Joan Matheson

Patrick Metz

Petsy Mezey

Craig & Mary Alice Miller

Linda Morgan

Renata Morgenstern

Charles & Mary Munroe

William P. Murphy

Rod, Susan & Sarah Petrey in memory of Lucy Petrey

Stefania Pittaluga & Jay Branegan in honor of Kathryn Mueller

William Purdy & John Carter

Maynard & Judith Rabinowitz

Brenda Richey

Michael Rigsby in honor of Kenneth Easterling

Victoria J. Rogers

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

Dan Topp & David Cole

Gigi Wright in memory of Marvin Sackner

† deceased § GenS Society

2022-23 Administration

Executive

Michael Kaiser, Interim Executive Director

Learn more about our search for the next executive director at SeraphicFire.org/Blog

Artistic Administration

Patrick Dupre Quigley, Artistic Director

Andrea Leon-Moreno, Artistic Operations Manager

Alexis Aimé, Artist Contractor

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

Finance & Operations

JJ Flores, Director of Finance & Operations

Education

Suzanne Floyd, Director of Education

Alexandra Colaizzi, Education Coordinator

Wendy Chen Gunther, Education Liaison

Sarah Bowe, PCI Administrator

Volunteers

Ellen Anderson

Bruce Dory

Helen Franklin

Joan and Paul Gluck

Sue Groskreutz

Brian Levey

Hortense Leon

Susan Mattes

Lucia Minervini

David Piriano

Anita Platt

Cecilia Rodriguez

Board of Directors

Vacant, Chair

Diane Ashley, Secretary

Robert “Bob” Brinker, Treasurer

Mark Trowbridge, Vice Chair

Joanne N. Schulte, Founding Chair

Matthew Anderson

Misty Bermudez

Nirupa Chaudhari

David Foerster

Alaina Fotiu-Wojtowicz

Karen Fuller Veloz

Megan Kelly

Marilyn Horowitz

Frank MacBride

Ana Marmol

Daniel Perron

Margaret “Peggy” Rolando

Mel VanderBrug

Edmundo Pérez-de Cobos, Director Emeritus

Micahel Kaiser, Interim Executive Director, ex-officio

Patrick Dupre Quigley, Artistic Director, ex-officio

Molly Quinn, Artist Representative, ex-officio

John Buffett, Artist Representative, ex-officio

Eric Runyan

Kurt Schubert

Barbara Soliday

John Soliday

Vera Stein

Kristian Toimil

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