Sonnambula opens its 2025–26 Frick residency with a performance inspired by Ben Jonson's Masque of Blackness (1605), an allegorical court entertainment commissioned by Queen Anne of Denmark and originally staged at the Jacobean court. Featuring music by Alfonso Ferrabosco II (only one song by whom survives), the masque depicts African nymphs journeying to England to seek racial purification, reflecting early modern racial anxieties and imperial fantasies. Music by Ferrabosco, Dowland, Byrd; and griot texts from the 13th–18th centuries.

Feat. Mary Elizabeth Williams as Dido 

Purcell’s ground-breaking opera makes its long-awaited Opera Lafayette debut. Mary Elizabeth Williams returns to Opera Lafayette as Dido, the ill-fated Queen of Carthage, following her internationally lauded performance in last season’s Morgiane. The famously haunting aria “When I Am Laid in Earth” brings the resilient Dido to a crossroad in this woman-centered story line, delivering an unforgettable saga of love, loss, power, and humanity. 

Feat. Mary Elizabeth Williams as Dido 

Purcell’s ground-breaking opera makes its long-awaited Opera Lafayette debut. Mary Elizabeth Williams returns to Opera Lafayette as Dido, the ill-fated Queen of Carthage, following her internationally lauded performance in last season’s Morgiane. The famously haunting aria “When I Am Laid in Earth” brings the resilient Dido to a crossroad in this woman-centered story line, delivering an unforgettable saga of love, loss, power, and humanity. 

Feat. Mary Elizabeth Williams as Dido 

Purcell’s ground-breaking opera makes its long-awaited Opera Lafayette debut. Mary Elizabeth Williams returns to Opera Lafayette as Dido, the ill-fated Queen of Carthage, following her internationally lauded performance in last season’s Morgiane. The famously haunting aria “When I Am Laid in Earth” brings the resilient Dido to a crossroad in this woman-centered story line, delivering an unforgettable saga of love, loss, power, and humanity. 

After many decades of exploring Bach, performing his works both as a violinist and as a conductor, Lewis Kaplan embarked on a long held dream, a Bach Festival. He chose Portland, Maine as the ideal setting to hold the Bach Virtuosi Festival, a week-long celebration of the great master because of his long affiliation with Down East Maine. The festival features instrumental as well as vocal works of Bach, secular and sacred music – performed on both baroque and modern instruments. Held in intimate churches, the venues are similar to the European Bach settings. Through a deep appreciation for Bach, and tremendous respect for Kaplan, the performing artists will gather from around the world to participate in these remarkable concerts.

The iconoclastic Brooklyn collective ChamberQUEER teams up with H+H for BaroQUEER: Historically Informed. Co-curated by superstar countertenor Reginald Mobley and CQ cofounders Brian Mummert + Jules Biber, this concert asks: whose histories inform the way we play and perceive Baroque music, and what would it mean to center performers’ voices & stories? Featuring music by composers ranging from George Frideric Handel and Jean-Baptiste Lully to Julius Eastman and Caroline Shaw, Historically Informed celebrates the queer perspectives that have shaped the early-music revival and influenced generations of boundary-breaking artists.

The iconoclastic Brooklyn collective ChamberQUEER teams up with H+H for BaroQUEER: Historically Informed. Co-curated by superstar countertenor Reginald Mobley and CQ cofounders Brian Mummert + Jules Biber, this concert asks: whose histories inform the way we play and perceive Baroque music, and what would it mean to center performers’ voices & stories? Featuring music by composers ranging from George Frideric Handel and Jean-Baptiste Lully to Julius Eastman and Caroline Shaw, Historically Informed celebrates the queer perspectives that have shaped the early-music revival and influenced generations of boundary-breaking artists.

After many decades of exploring Bach, performing his works both as a violinist and as a conductor, Lewis Kaplan embarked on a long held dream, a Bach Festival. He chose Portland, Maine as the ideal setting to hold the Bach Virtuosi Festival, a week-long celebration of the great master because of his long affiliation with Down East Maine. The festival features instrumental as well as vocal works of Bach, secular and sacred music – performed on both baroque and modern instruments. Held in intimate churches, the venues are similar to the European Bach settings. Through a deep appreciation for Bach, and tremendous respect for Kaplan, the performing artists will gather from around the world to participate in these remarkable concerts.

After many decades of exploring Bach, performing his works both as a violinist and as a conductor, Lewis Kaplan embarked on a long held dream, a Bach Festival. He chose Portland, Maine as the ideal setting to hold the Bach Virtuosi Festival, a week-long celebration of the great master because of his long affiliation with Down East Maine. The festival features instrumental as well as vocal works of Bach, secular and sacred music – performed on both baroque and modern instruments. Held in intimate churches, the venues are similar to the European Bach settings. Through a deep appreciation for Bach, and tremendous respect for Kaplan, the performing artists will gather from around the world to participate in these remarkable concerts.

Italian Exuberance in English Baroque Music

Followed by a Buffet of Italian Desserts & Coffee

@ The Church of St. Mary the Virgin

Saturday, April 26, 2025 at 7:30 p.m.

Gasparo Visconti, Trio Sonata Opus 1 No. VII in F Major

Nicola Porpora, Sinfonia da Camera Opus 2 No. V in E Minor

Angelo Maria Fiorè, Sonata di Violoncello in G Major

Pietro Gnocchi, Sonata à Tre No. III in G Major

George Frideric Handel, ‘Gloria’ for Soprano & Strings

Camerata Pacifica:

Our February/March Program, Strawberry Fields interweaves Emi Ferguson, Rachell Ellen Wong, and Ruckus' arrangements of Handel's trio sonatas with Ignatius Sancho's 12 Country Dances. Sancho, a pivotal figure in 18th-century London, was not only one of the first Black musicians to publish compositions but also one of the the first British Africans to vote. His grocery shop in Westminster became a hub for discussions on politics, music, dance, and the arts with Sancho's powerful writings on slavery galvanizing the English abolition movement. This performance promises to be a foot-stomping celebration of these two incredible composers, offering a unique glimpse into the musical and social fabric of 18th-century England.

From Mickey Mouse to Michael Jackson, and Hawaiian traditional song to Kabuki, the falsetto sound is ingrained within our consciousness around the world. What does it evoke, and what does it express? Conflating the intangibility of the countertenor sound with the invisibility of smell molecules in the air, this synesthetic concert experience explores how invisible information can provoke emotion and imprint memory.

From Mickey Mouse to Michael Jackson, and Hawaiian traditional song to Kabuki, the falsetto sound is ingrained within our consciousness around the world. What does it evoke, and what does it express? Conflating the intangibility of the countertenor sound with the invisibility of smell molecules in the air, this synesthetic concert experience explores how invisible information can provoke emotion and imprint memory.

The world’s only period-instrument rock band comes to the Adelphi PAC.

Ruckus is a shapeshifting, collaborative baroque ensemble with a visceral and playful approach to early music. Described as “the world’s only period-instrument rock band” (San Francisco Classical Voice), Ruckus’ core is a continuo group, the baroque equivalent of a jazz rhythm section: guitars, keyboards, cello, bassoon and bass. The NYC-based ensemble aims to fuse the early-music movement’s questing, creative spirit with the grit, groove and jangle of American roots music, creating a unique sound of “rough-edged intensity” (New Yorker) that’s “achingly delicate one moment, incisive and punchy the next” (New York Times). The group’s members are among the most creative and virtuosic performers in North American early music. 

Experience two ensembles at the top of their craft performing together. Downtown Voices and chamber chorus Amor Artis take on a set of monumental works: Frank Martin’s Mass for Double Choir, a deeply spiritual and intricate composition; Thomas Tallis’s Spem in Alium, a 40-part Renaissance motet; and Orazio Benevoli’s Missa Tu es Petrus (for four choirs), featuring opulent Baroque textures and counterpoint.

Directed by Ryan Brandau and Stephen Sands. With Trinity Baroque Orchestra. 

Camerata Pacifica:

Our February/March Program, Strawberry Fields interweaves Emi Ferguson, Rachell Ellen Wong, and Ruckus' arrangements of Handel's trio sonatas with Ignatius Sancho's 12 Country Dances. Sancho, a pivotal figure in 18th-century London, was not only one of the first Black musicians to publish compositions but also one of the the first British Africans to vote. His grocery shop in Westminster became a hub for discussions on politics, music, dance, and the arts with Sancho's powerful writings on slavery galvanizing the English abolition movement. This performance promises to be a foot-stomping celebration of these two incredible composers, offering a unique glimpse into the musical and social fabric of 18th-century England.

Camerata Pacifica:

Our February/March Program, Strawberry Fields interweaves Emi Ferguson, Rachell Ellen Wong, and Ruckus' arrangements of Handel's trio sonatas with Ignatius Sancho's 12 Country Dances. Sancho, a pivotal figure in 18th-century London, was not only one of the first Black musicians to publish compositions but also one of the the first British Africans to vote. His grocery shop in Westminster became a hub for discussions on politics, music, dance, and the arts with Sancho's powerful writings on slavery galvanizing the English abolition movement. This performance promises to be a foot-stomping celebration of these two incredible composers, offering a unique glimpse into the musical and social fabric of 18th-century England.

Camerata Pacifica:

Our February/March Program, Strawberry Fields interweaves Emi Ferguson, Rachell Ellen Wong, and Ruckus' arrangements of Handel's trio sonatas with Ignatius Sancho's 12 Country Dances. Sancho, a pivotal figure in 18th-century London, was not only one of the first Black musicians to publish compositions but also one of the the first British Africans to vote. His grocery shop in Westminster became a hub for discussions on politics, music, dance, and the arts with Sancho's powerful writings on slavery galvanizing the English abolition movement. This performance promises to be a foot-stomping celebration of these two incredible composers, offering a unique glimpse into the musical and social fabric of 18th-century England.

Camerata Pacifica:

Our February/March Program, Strawberry Fields interweaves Emi Ferguson, Rachell Ellen Wong, and Ruckus' arrangements of Handel's trio sonatas with Ignatius Sancho's 12 Country Dances. Sancho, a pivotal figure in 18th-century London, was not only one of the first Black musicians to publish compositions but also one of the the first British Africans to vote. His grocery shop in Westminster became a hub for discussions on politics, music, dance, and the arts with Sancho's powerful writings on slavery galvanizing the English abolition movement. This performance promises to be a foot-stomping celebration of these two incredible composers, offering a unique glimpse into the musical and social fabric of 18th-century England.

Joined by Varshini Narayanan ’16 (cantaora) and Freddy Vilches and Dušan Balarin (guitar) performs Misa Criolla with additional works from the Iberian Golden Age.

A 26-Course Feast: Baroque Lute Duets

with Daniel Swenberg and Dušan Balarin

Featuring a program of 17th- and 18th-century duets for the Baroque lute. While performances of Baroque lute duets are extremely rare, there is a significant repertoire from the early 17th century to the close of the 18th.

Music by Falkenhagen and Hagen at the court of Bayreuth, Telemann,

Conti, Sammartini, DeVisée, DuFault, and Purcell

Unitarian Universalist Congregation of Princeton

50 Cherry Hill Road, located just off Hwy. 206

February 16, 2025 at 4:00 pm

The Dryden Ensemble’s season begins in less than one week. The Phoenix-season shall soon rise from the ashes—indeed reports of our death were greatly exaggerated. We are delighted to welcome back the Dryden audiences and will be offering all three of our upcoming concerts with free admission.

This 26-course Feast of Baroque Lute Duets offers you a chance to escape the cold and grey winter and our fraught contemporary world. Escape to the rare and ravishing sounds of 18th-century palaces and salons. As Shakespeare wrote: “If music be the food of love, play on!”

A note on our title:

On lutes, a course refers to either a string or a pair of strings (tuned to the same pitch or an octave higher). The typical 18th-century lute (what we today call a Baroque lute) had 13 courses, with a total of 24 strings. When we first imagined this program, it featured two 13-courses lutes. As you’ll see in the photo of our instruments above, we will actually be using a 17th-century style, 11-course lute along with my 13-course. Having advertised our entertainment as a 26-course feast : Prix Fixe (again it’s a free concert), we thought we’d throw in a few more courses. Two sonatas for the mandolino or Baroque mandolin provide a complement and contrast to our lute-based feast.

Baroque violinist Rachell Ellen Wong, Grand Prize winner of the inaugural J.S. Bach Competition, returns to the MSO to lead one of the most iconic treasures in all of the Baroque repertoire: Vivaldi’s The Four Seasons. Vivaldi provided vivid poems to accompany each of these seasonal concertos — in spring, “the goatherd sleeps next to his trusty dog” as birds sing; summer features goldfinches, pines, and a gathering storm; peasants dance and drink in autumn, before a grand hunt begins; and finally winter turns from icy winds to the contentment of resting fireside.

Baroque violinist Rachell Ellen Wong, Grand Prize winner of the inaugural J.S. Bach Competition, returns to the MSO to lead one of the most iconic treasures in all of the Baroque repertoire: Vivaldi’s The Four Seasons. Vivaldi provided vivid poems to accompany each of these seasonal concertos — in spring, “the goatherd sleeps next to his trusty dog” as birds sing; summer features goldfinches, pines, and a gathering storm; peasants dance and drink in autumn, before a grand hunt begins; and finally winter turns from icy winds to the contentment of resting fireside.

Baroque violinist Rachell Ellen Wong, Grand Prize winner of the inaugural J.S. Bach Competition, returns to the MSO to lead one of the most iconic treasures in all of the Baroque repertoire: Vivaldi’s The Four Seasons. Vivaldi provided vivid poems to accompany each of these seasonal concertos — in spring, “the goatherd sleeps next to his trusty dog” as birds sing; summer features goldfinches, pines, and a gathering storm; peasants dance and drink in autumn, before a grand hunt begins; and finally winter turns from icy winds to the contentment of resting fireside.

Organized by Marc Armitano Domingo, whose exhibition is currently on view, the concert is centered on the Baroque Salterio, which will be played by the artist himself. This instrument is a type of psaltery that became incredibly popular during the 18th century. The program will feature the festive side of Italian and Hispanic music, where a small ensemble of two baroque violins, cello, and theorbo compete with the bright timbre of the Salterio. Along with solo pieces, Armitano Domingo and his ensemble will perform sonatas, and larger scale works, including: Antonio Soler’s whimsical Villancico “Ciego y Lazarillo,” and Niccolò Jommelli’s Sinfonia for Salterio (essentially a small scale concerto for the instrument).