Mission

Dedicated to the expansion of repertoire for women’s voices, Lorelei Ensemble exposes lesser-known works from the Medieval through Baroque periods, while collaborating with living composers to produce innovative programming that speaks to a wider audience.

Founded in 2007 by music director Beth Willer, Boston’s Lorelei Ensemble is dedi-cated to the performance of new and early music for women’s voices. In an effort to enrich this body of repertoire, Lorelei collaborates with established and emerging composers from the United States and abroad, while continuing to highlight stan-dard and lesser-known repertoire of the Medieval, Renaissance, and early-Baroque periods. Lorelei has hosted both private and public performances in the Boston area, collaborating with various composers, ensembles, guest artists, and organizations to bring innovative programming to a broader audience.

Consisting of eight professional singers from the Boston area, Lorelei performs both as a full ensemble of eight independent voices, and as a combination of smaller chamber ensembles (solo, duet, trio, quartet). Repertoire performed includes works for a cappella, accompanied, and amplified voices.

LINEAGE

Friday, January 18, 8:00 p.m.Marsh Chapel, Boston University735 Commonwealth AvenueBoston, Massachusetts

Saturday, January 19, 8:00 p.m.Memorial Church, Harvard UniversityOne Harvard YardCambridge, Massachusetts

Magnificat

Magnificat

Audivi vocem di caelo venientem

Dedham

Gloria in excelsis Deo

Great-Plain

O Gloriosa Domina

Wake Ev’ry Breath

Program

Tone VIII

Paul Chihara (b. 1938)

John ShePPard (c.1515-1558)

William BillingS (1746-1800)

ShePPard

BillingS

William Byrd (c.1540-1623)

BillingS

intermiSSion

drishti

In manus tuas

Magnificat for the Mothers of the Plaza de MayoMy SoulSuscepitHis NameThe Proud

Sancte Deus

Motet

Mary Montgomery KoPPel (b.1982)

ShePPard

Joshua ShanK (b.1980)

Thomas talliS (c.1505-1585)

Karin höghielm (b.1962)

lorelei enSemBle

Beth Willer, Artistic Director

Sonja Tengblad, sopranoEmily Culler, soprano

Kimberly Soby, sopranoJessica Petrus, sopranoClare McNamara, altoChristina English, alto

Stephanie Kacoyanis, altoEmily Marvosh, alto

Carson Cooman, organJoe Turbessi, piano

A Note from the Director

The lineage between repertoire of sixteenth-century England and that of colonial America is not easily traced. Yet, the vigorous and sometimes raw polyphony of William Billings shares a boldness of musical language with the florid Renaissance settings of Latin texts by Sheppard, Tallis and Byrd. The music of John Sheppard represents the height of pre-Reformation style, with an ingenuity of polyphony that continues to bend our ears and defy our expectations of Palestrinian imitative textures. Though accused of obscuring the text for purely musical motives, it might be argued that such seemingly spontaneous embellishment of a musical line was in fact the highest form of praise, elevating the text to celestial heights. Representing a change in style and doctrine during the reign of Henry VIII, Tallis’ Sancte Deus moves away from the florid style of earlier works toward a Christocentric text delivered in a clear, cadentially-motivated form.

Following the the reign of Protestant Edward VI and the brief yet brutal restoration of Catholicism by “Bloody” Mary Tudor, the Reformation took hold under Elizabeth I. With this dynastic shift came significant implications for both musical style and language. Remaining in the favor of the Queen throughout their careers, William Byrd and Thomas Tallis shared an exclusive license from Elizabeth to print and publish music in England. A Catholic and recusant himself, Byrd continued to compose in both English and Latin, serving both reformers and counter-reformers. His bold commitment to Catholic texts is reflected in O Gloriosa Domina, a hymn to the Blessed Virgin Mary from his Gradualia, published with a license granted from the Bishop of London.

Echoing the bold musical gestures of his distant predecessors with a distinct-ly American character, Billings’ ‘fuging-tunes’ were similarly controversial at their advent. Moving beyond the monody that reigned in eighteenth-century Calvinist churches, his additive method of composition has been noted by Karl Kroeger as “akin to techniques found in Renaissance choral music”: the principle melody in the tenor, with the bass added in constant counter-point against it, the treble composed to fit the tenor and bass lines, and the alto added to fill in the harmony. However, unlike the professional training of Renaissance composers singing at England’s Chapel Royale, Billings was self-taught, adhering to his own rules of composition and encouraging “ev-

ery Composer to be his own Carver.” The resulting indigenous repertoire of psalmody, built by Billings and his contemporaries in New England, remains the earliest representation of a purely-American choral style. Abandoned in the 1820s in favor of a European-dominated repertoire, Billings’ music was preserved by shape-note singers in the rural south, to be rediscovered after World War II.

These diverse repertoires are united in the first half of tonight’s program, sharing the narrative of Mary and her Son, rejoicing in His coming and His resurrection. Recognizing Mary’s human role as the mother of a Son perse-cuted, we draw a parallel to the contemporary grief of Argentinian mothers whose children were forever lost in the ‘Dirty War’ – a tragedy responsible for the abduction of hundreds of children and the death of over 30,000 people between 1976-1983. Shank’s Magnificat profoundly deconstructs the resplen-dent joy of the traditional Magnificat text to meet the needs of this horrific event. Tallis and Sheppard’s poignant statements of remorse and trust in redemption frame this modern cantata with personal pleas of mercy. Mary Koppel’s drishti sets the stage for meditation on the ideals of “truth,” “light” and “immortality” in a world of “ignorance”, “darkness” and “death,” while Karin Höghielm’s setting of the Beatitudes brings us out of this darkness with both clarity and trust, elevating the peacemakers.

Lorelei is grateful to work with all of the composers, performers and sup-porters who have contributed to tonight’s concert. Thank you for your com-mitment to relevant and ground-breaking art, and New Music for Women.

PURCELL THE INDIAN QUEENFRIDAY, JANUARY 25 AT 8PMNEC’S JORDAN HALLSUNDAY, JANUARY 27 AT 3PMSANDERS THEATRE

Harry Christophers, conductor

Jonathan Best, baritoneZachary Wilder, tenor

Period Instrument Orchestra and Chorus

617 266 3605handelandhaydn.org

Purcell: “The scene of the drunken poet” from The Fairy Queen

Daniel Purcell: “The Masque of Hy-men” from The Indian Queen

Purcell: “The Frost Scene” from King Arthur

Purcell: The Indian Queen (Music for Acts I–V)

PH

OTO

: AN

DR

EW

BO

SS

I

Join the Handel and Haydn Society for a program of comedy, romance, intrigue, and beautiful music with this dramatic semi-opera and scenes from other Purcell works.

TICKETS FROM

$20

SEASON 12|13

Bach MagnificatDecember 15, 2012 — 8pmFaneuil Hall, Boston

Mozart RequiemFairouz Anything Can Happen Boston premiere March 17, 2013 — 3pmSanders Theatre, Cambridge

Orff Carmina BuranaMay 11, 2013 — 8pm Sanders Theatre, Cambridge

SCOTT ALLEN JARRETTMUSIC DIRECTOR

BackBayChorale

617.648.3885 | www.bbcboston.org

drishti (2012)

In yoga, a drishti is a focal point on which you settle your gaze to find your balance. Bringing your attention to this single point helps to quiet the mind and focus your intention. I think of a drishti as the eye of the storm, the spot of clarity in the middle of chaos. By directing intention towards this point, the chaos gradually quiets. The structure of this piece uses this concept of a drishti by beginning at its loudest and most disordered, with the different voices and registers of the organ operating more or less independently. Pro-gressively the voices and the organ come together rhythmically and settle onto a single pitch, which has been constant – though hidden – within the chaos.

Mary Montgomery Koppel, January 7, 2013

Magnificat for the Mothers of the Plaza de Mayo

Argentina’s period of state terrorism—the so-called “Dirty War”—lasted ap-proximately from 1976 until 1983, and during this time the military junta “disappeared” thousands of student activists, trade union members, journal-ists, and other citizens who they deemed to be “subversive.” Various orga-nizations have estimated the number of Argentine citizens who were kid-napped, tortured, and killed by their own government to be anywhere from 9,000 to 30,000. A friend of mine who escaped the country as a little girl told me once that her parents speak of an entire generation of their friends who were effectively wiped out. These thousands of missing people are now referred to as Los Desaparecidos (“the disappeared”) and many of their families still fruitlessly search for their remains.

The tide of public opinion which eventually led the military regime to relin-quish its power was turned from fearful inaction to peaceful activism in no small part due to a group of Argentine mothers whose children had been disappeared. They called themselves the Mothers of the Plaza de Mayo; a name they took to refer to the plaza in front of the presidential residence in Buenos Aires where they repeatedly met and marched. The slow transforma-tion of their grief from stunned silence to a powerful national symbol—the white handkerchief they wore on their heads—is the subject of Matilde Mel-

Composers’ Notes

libovsky’s book, Circle of Love Over Death. In it, Mellibovsky (who is a Mother herself) gathers testimonies from various Argentine women who lost their children and eventually fought for justice.

Magnificat for the Mothers of the Plaza de Mayo is an attempt to tell the story of this incredible group of women through the vehicle of music. The structure of the work is based on Bach’s setting of the famous Magnificat canticle and it overlay various texts on top of the musical architecture he creates. In other words, there are the same number of movements in his piece as in mine, and where Bach places a solo or trio or duet, so do I. To do this I pared down each line of the Magnificat into one or two words that I thought were the “es-sence” of what the line was getting at and then found a text that I thought spoke to that concept. Sometimes these were excerpts of prose interviews with one or more of the Mothers, and other times they were poems by vari-ous writers from around the world.

Now, all that might seem like an intellectual gimmick but, for me, it provided a powerful metaphor. The Magnificat is essentially about social justice (“He has brought down the mighty from their thrones and exalted the humble”) and it is spoken by the newly-pregnant Mary to her cousin, Elizabeth. So not only is it recited by a mother, but the Mother with regards to one of the world’s major religions (Argentina itself is over seventy percent Roman Catholic), and although I don’t consider myself a particularly religious per-son, that connection to the material I was researching was incredibly moving.

The Lorelei audience will hear the work in two iterations over the next few seasons. The one included here is the shorter, “cantata-length,” version which presents four of the planned twelve movements. The first, My Soul, uses a text by the Vietnamese Buddhist monk, Thich Nhat Hanh (whom Martin Luther King himself nominated for the Nobel Peace Prize in 1967). Here the poem is translated into Spanish by the Austin, Texas-based poet, Robert Ressler. Suscepit (received) is sung by a trio on the words of the Argentine-Chilean novelist, Ariel Dorfman (now a professor at Duke University). The final two movements of tonight’s piece, His name, and The proud, use excerpts from the Mellibovsky book to relay the heartbreaking experiences of some of the Mothers.

Researching and writing this piece turned out to be somewhat of a lonely process. The material is incredibly sad and, from the perspective of a pas-sionate observer, there’s nothing really to be done about it all other than attempt to honor the memory of the Desaparecidos and the stories of the Mothers. This iteration of the Magnificat for the Mothers of the Plaza de Mayo concludes on a defeated note. However, the full version will end quite dif-

ferently because what has struck me over and over again during this musical journey is that this period of Argentine history may have gone on longer if not for the fact that the government didn’t account for the relationship be-tween a mother and her child. This simple, beautiful aspect of every-day life changed something seemingly much, much larger than itself and I can’t think of much else that would be better to sing about.

Joshua Shank, January 7, 2013

Motet, composed for Lorelei Ensemble, is written with the language of me-dieval and Nordic folk music, but also with influences from multicultural traditions. The music pendulates to and from naked stillness to euphoric re-joicing in an attempt to mirror the importance and joy of this universal text.

Karin Höghielm, January 6, 2013

ORCHESTRAL SERIES

THE MIDSUMMER MARRIAGE 11.10.12concert performance — 7:30

VOILÀ! VIOLA! 2.15.13Crockett | Ung | Perle | Yi

OLLY, ALL YE, IN COME FREE 4.14.13Knussen | Gandolfi | NEC Contest Winners

GEN ORXSTRATED 5.17.13Norman | Bates | Ruo

CLUB CONCERTS

1.29.13 | 3.12.13 | 4.30.13club cafe, boston 7:00

jordan hall at new england conservatory 8:00 pre-concert talk 7:00 subscriptions available

ARTISTIC DIRECTOR:GIL ROSE

www.bmop.org BOSTON MODERN ORCHESTRA PROJECT 781.324.0396

20122013

Texts and Translations

MagnificatMagnificat anima mea Dominum.Et exsultavit spiritus meus in Deo

salutari meo.Quia respexit humilitatem ancillae

suae:ecce enim ex hoc beatam me dicent

omnes generationes.(Ave Maria)Quia fecit mihi magna, qui potens est:

et sanctum nomen eius,(Gratia Plena)et misericordia eius a progenie in

progenies: timentibus eum.Fecit potentiam in brachio suo:dispersit superbos mente cordis sui. deposuit potentes de sede:

et exaltavit humiles.Esurientes implevit bonis: et divites dimisit inanes.Suscepit Israel puerum suum:recordatus misericordiae suae.(Israel)Sicut locutus est ad patres nostros:Abraham et semini ejus in saecula.

My soul doth magnify the Lord.And my spirit hath rejoiced in God my

Saviour.Because he hath regarded the humility of his

handmaid;for behold from henceforth all generations

shall call me blessed.(Hail Mary)Because he that is mighty, hath done great

things to me;and holy is his name.(full of grace)And his mercy is from generation unto

generations,to them that fear him.He hath shewed might in his arm:he hath scattered the proud in the conceit of

their heart.He hath put down the mighty from their

seat,and hath exalted the humble.He hath filled the hungry with good things;and the rich he hath sent empty away.He hath received Israel his servant,being mindful of his mercy:(Israel)As he spoke to our fathers,to Abraham and to his seed for ever.

Audivi vocem de celo venientemAudivi vocem de caelo venientem:Venite omnes virgines sapientissimaeOleum recondite in vasis vestris,Dum sponsus advenerit.

Media nocte clamor factus est:Ecce sponsus venit.Oleum recondite in vasis vestris,Dum sponsus advenerit.

Eighth Respond for the Office of Matins on All Saints Day

I heard a voice come from heaven: Come all ye most-wise virginsStore up oil in your vesselsuntil the Bridegroom comes.

In the middle of the night the cry was made:Behold the Bridegroom comes.Store up oil in your vesselsuntil the Bridegroom comes.

DedhamRejoice, ye shining Worlds on high,Behold, the King of Glory nigh!Who can this King of Glory be? The mighty Lord, and Saviour’s he.

Ye heavenly Gates, your Leaves display To make the Lord the Saviour way: Laden with Spoils of Earth and HellThe Conqu’ror comes with God to dwell

Rais’d from the Dead he goes before; He opens Heav’n’s eternal Door,To give his Saints a blest Abode,Near their Redeemer and their God.

Gloria in excelsis DeoGloria in excelsis Deoet in terra pax hominibus bonae voluntatis.

Christmas Day, First Respond at Matins

Glory to God in the highestand on earth peace,good will towards men.

Great-PlainYe slumb’ring Saints, a heav’nly HostStands waiting at your gaping Tombs; Let every sacred sleeping Dust Leap into Life, for Jesus comes;

Refrain:Let ev’ry sacred sleeping DustLeap into Life, for Jesus comes.

Jesus, the God of Might and Love,New moulds our Limbs of cumbrous Clay;Quick as Seraphic-Flames we move,Active and young, and Fair as they.

Refrain

Our airy Feet with unknown Flight, Swift as the Motions of Desire,Runs up the Hills, of heavenly Light,And leave the weltering World in Fire.

Refrain

O Gloriosa DominaO gloriosa Domina excelsa super sidera, qui te creavit provide, lactasti sacro ubere. Quod Eva tristis abstulit, tu reddis almo germine; intrent ut astra flebiles, Caeli fenestra facta es. Tu regis alti janua et porta lucis fulgida; vitam datam per Virginem, gentes redemptae, plaudite. Gloria tibi, Domine, qui natus es de Virgine, cum Patre et Sancto Spiritu in sempiterna secula. Amen.

Lauds hymn, Office of the B.V.M.

O Heaven’s glorious mistress,elevated above the stars,thou feedest with thy sacred breasthim who created thee.What miserable Eve lostthy dear offspring to man restores,the way to glory is open to the wretchedfor thou has become the Gate of Heaven.Thou art the door of the High King,the gate of shining light.Life is given through a Virgin:Rejoice, ye redeemed nations.Glory be to Thee, O Lord,Born of a Virgin,with the Father and the Holy Spirit,world without end. Amen.

Wake ev’ry Breath, and ev’ry String,To bless the great Redeemer King,His Name thro’ ev’ry Clime ador’d.Let Joy and Gratitude, and Love,Thro’ all the Notes of Music rove;And JESUS sound on ev’ry Chord.

asato mā sad gamayatamaso mā jyotir gamayamṛtyor mā amṛtaṁ gamayaoṁ śānti śānti śāntiḥ

Bṛhadāraṇyaka Upaniṣad 1.3.28

Wake Ev’ry Breath

drishtiFrom ignorance, lead me to truth;From darkness, lead me to light;From death, lead me to immortalityOm peace, peace, peace

In manus tuasIn manus tuas, Domine, commendo

spiritum meum.Redemisti me Domine, Deus veritatis

Respond at Compline from Passion Sunday to Wednesday in Holy Week, Old Sarum use

Into thy hands, O Lord, I commend my spirit.

For thou hast redeemed me, O Lord, thou God of truth. (Psalm 31:6)

Magnificat for the Mothers of Plaza de MayoMy Soul

Llevo mi rostro en las dose manos mias.

No, no lloro. Llevo mi rostro en las dos manos

miaspara guaracer la soledad cálida—dos manos protegen,dos manos alimentan,dos manos previenena mi alma de que no me vuelecon ira.

Text by Thich Nhat Hanh (b. 1926)Spanish translation by Robert Ressler

I hold my face in my two hands.

No, I am not crying.I hold my face in my two hands

to keep the loneliness warm—two hands protecting,two hands nourishing,two hands preventingmy soul from leaving mein anger.

The Proud

Then I remembered when they came into the house they screamed: “If we don’t find her here, you won’t find her either, or if you do you’ll find her in the morgue.”After all this searching, I didn’t find her in the morgue either.After fifteen days she reappeared (buscar),

His Name

Many months went by until I was able to talk about my son. I couldn’t speak his name.

Text from Circle of Love Over Death: Testimonies of the Mothers of the Plaza de Mayo by Matilde Mellibovsky. Excerpts are from interview with Alicia Rivarola de Cárdenas, mother of Alvaro Cárdenas (abducted at 23 years of age, November 9, 1976).

Suscepit

Todos sabemos cuántos pasos hay,compañero, de la celdahasta la sala aquella.

Si son veinte,ya no te llevan al baño.Si son cuarenta y cinco,ya no pueden llevartea ejercicios.

Si pasaste los ochenta,y empiezas a subira tropezones y ciegouna escaleraay si pasaste los ochentano hay otro lugardonde te puedan llevar,no hay otro lugar,no hay otro lugar,ya no hay otro lugar.

Text by Ariel Dorfman (b. 1942)

Received

We all know the number of steps,compañero, from the cellto that room.

If it’s twentythey’re not taking you to the bathroom.If it’s forty-fivethey can’t be taking you outfor exercise.

If you get pasty eightyand beginto stumble blindlyup a staircaseoh if you get past eightythere’s only one placethey can take you,there’s only one placethere’s only one placenow there’s only one place leftthey can take you.

Those who saw her told me (suspirar),she returned in a bag (saber)cut up with a saw (soñar)her eyes jabbed out (niños)

buscar to searchsuspirar to whispersaber to knowsoñar to dreamniños children

So we returned to your last dwelling place.Six trembling hands to carry that coffin.without complaints, without tears.

Text from Circle of Love Over Death: Testimonies of the Mothers of the Plaza de Mayo. Excerpts from interviews with:

Matilde Saidler de Mellibovsky, mother of Graciela Mellibovsky (abducted when 29 years old, September 25, 1976).

Carmen Robles de Zurita, mother of Nestor Juan Agustín Zurita (abducted at the age of 25, August 1, 1975) and of María Rosa Zurita (abducted at the age of 21, November 1, 1975).

Josefina Gandolfi de Salgado, mother of José María Salgado (abducted at the age of 22 years old, March 12, 1977 and murdered on June 2, 1977).

Sancte DeusSancte Deus, Sancte Fortis, Sancte et

Immortalis, miserere nobis.Nunc, Christe, te petimus, miserere,

quaesumus.Qui venisti redimere perditos, noli

damnare redemptos:Quia per crucem tuam redemisti

mundum. Amen.

Reproaches for Good Friday

Holy God, Holy Mighty One, Holy and Immortal One, have mercy upon us.

Now, O Christ, we ask thee, we beseech thee, have mercy.

Thou who came to redeem the lost, do not condemn the redeemed:

For by thy cross thou hast redeemed the world. Amen.

MotetBlessed are the poor in spirit: for theirs is the kingdom of heaven.Blessed are they that mourn: for they shall be comforted.Blessed are they which do hunger and thirst after righteousness: for they

shall be filled.Blessed are the merciful, for they shall obtain mercy.Blessed are the pure in heart: for they shall see God.Blessed are the peacemakers: for they shall be called the children of God.Blessed are they which are persecuted: for righteousness’ sake: for theirs is

the kingdom of heavenGlory be to the Father, and to the Son, and to the Holy Ghost.As it was in the beginning, is now and ever shall be: world without end. Amen.

Matthew 5:3-4, 6-10, 12a

Join the Boston Choral Ensemble for its

2012-2013 Season! CHANSONS PROFANES

November 9 & 11, 2012 A CHORAL HOLIDAY

December 15, 2012 DÉPLORATIONS

March 8 & 10, 2013 ROSE SONGS

May 17 & 18, 2013 Tickets and info at www.BostonChoral.org.

[[Classical Music on Classical Instruments]]

www.grandharmonie.com

Mozart Sinfonia Concertate& Schubert Unfinished Symphony

March 9 in New York CityMarch 10 in Boston

Directed by Andrew Altenbach

Andrea LeBlanc, Kristin Olson,Elizabeth Hardy & Yoni Kahn, soloists

May 25 in Boston

Mendelssohn Symphony #3

May 24 in New York City& Weber Clarinet Concerto #1

Thomas Carroll, soloistDirected by Adam Boyles

-Boston Musical Intelligencer“It is astonishing that...groups devoting themselves to [this repertoire] are not more common.”

Spring 2013

Performer and Composer Profiles

Noted for her “directorial command, technical expertise,” Founder and Artistic Director Beth Willer has led Lorelei En-semble since its founding in 2007 to become recognized one of Boston’s up-and-coming vocal ensembles. Committed to the ex-pansion of repertoire for the advanced women’s vocal ensemble, Ms. Willer has collaborated with composers from the U.S. and abroad, delivering numerous World, U.S. and regional premières,

while working to expose lesser-known works of the Renaissance and Baroque peri-ods for women’s voices. Ms. Willer currently holds positions as Assistant Conductor of the Radcliffe Choral Society at Harvard University and conductor of the Boston Conservatory Women’s Chorus. Additionally, she serves as the Repertoire and Stan-dards Chair for Women’s Choruses for the Massachussetts American Choral Direc-tors Association..

A candidate for the D.M.A. in conducting at Boston University, Ms. Willer holds degrees from Boston University and Luther College, studying with Ann Howard Jones, David Hoose, Bruce Hangen and Weston Noble. During the summer of 2007 she studied conducting with Mark Shapiro of Mannes and counterpoint with Phillip Lasser of Juilliard at the European American Music Alliance in Paris, France. As a member of the Boston music scene, Ms. Willer has served as conductor of the New England Conservatory Youth Chorale and Youth Camerata, the Walnut Hill School Chorus, and as conductor and vocal music staff at the Boston Arts Academy. Additionally, Ms. Willer has conducted the Boston University Concert Choir and Women’s Chorale, and has served as a teaching fellow with the Boston Children’s Chorus. An active church musician, Ms. Willer directed choirs at First Church in Wenham, Massachusetts from 2006-2008 and has sung frequently with Boston Uni-versity’s Marsh Chapel Choir. Prior to her career in Boston, Ms. Willer served as a conductor of the Memorial High School Choirs and the Chippewa Valley Youth Choirs in Eau Claire, Wisconsin.

Soprano Sonja DuToit Tengblad is a versatile performer, with credits spanning the Renaissance era through the latest music of the 21st century. Recent highlights include Mozart’s Le Nozze di Figaro as Susanna, Haydn’s Die Shöpfung as Eva, and appearances as the soprano soloist for Brahm’s Ein Deutsches Requiem with the National Lutheran Choir, Bach’s B Minor Mass with Boston’s Back Bay Chorale, and John Rutter’s Requiem at Carnegie Hall.

An advocate of new music, Ms. Tengblad recently performed in the Boston premiere of Kati Agocs’ Vessel for three solo voices and chamber ensemble with the Boston

Modern Orchestra Project. She also premiered the role of Maria in Diego Luzuria-ga’s El Niño de los Andes with VocalEssence of Minnesota, and was the soprano solo-ist for the American premiere of Siegfried Matthus’ Te Deum, as well as for the world premiere of Carol Barnett’s The World Beloved, A Bluegrass Mass (available through Clarion recordings). This summer, she premiered This House of Peace by Ralph M. Johnson at the Oregon Bach Festival. A highlight for Ms. Tengblad was appearing in a concert celebrating the eightieth birthday of composer Dominic Argento where the Minnesota Star Tribune reported her to have given “the most affective perfor-mance of the evening”.

An active ensemble singer, Ms. Tengblad performs with the 5-time Grammy-nom-inated ensemble Conspirare out of Austin, Texas; Blue Heron; the Oregon Bach Festival Chorus; Vox Humana out of Nashville, Tennessee; the Lorelei Ensemble, the Handel and Haydn Society Chorus, and holds the soprano position in the Handel and Haydn Society’s Vocal Outreach Quartet.

Emily Curtin Culler, soprano, earned her Master of Music, from Boston University in 2006, and her Bachelor of Music from Samford University in 2002. She also gained the Graduate Performance Studies Certificate from the Guildhall School of Music and Drama, London, in 2002. She is a candidate this year for the Master of Science degree, Arts Administration, with a certificate in Fund-Raising Management, from Boston Universi-

ty. Emily is an active soloist and chorister in the Boston area specializing in Medieval, Baroque, and New music, appearing most recently with the Lorelei, Juventas!, Marsh Chapel Choir and Collegium ensembles, and the Connecticut Early Music Festival. Also a non-profit management and development professional, Emily has worked at Alabama Operaworks, the Metropolitan Arts Council of Birmingham, Alabama, the Danielsen Institute (Boston University), the Boston University Tanglewood Institute, and WGBH (November 2012 - present).

Praised for her sincere musicianship and heartfelt performances, soprano Kimberly Soby brings an exquisite balance of beauty and intelligence to her vast repertoire. During the 2011-2012 sea-son, Ms. Soby created the role of Flavia Taste in Boston-based Guerilla Opera’s World Premiere production of Bovinus Rex by Rudolf Rojahn. With Opera del West, she sang the roles of Amy in Mark Adamo’s Little Women and Sylvia in Haydn’s rarely-

performed L’isola Dishabitata, and also bowed as Bastienna in Bastien and Bastienna in Opera Boston’s farewell performance commissioned by Boston’s municipal New Year’s celebration, First Night. She has premiered and performed works with the Boston New Music Initiative, Boston University Percussion Ensemble, Prism Proj-ect Boston, New England Conservatory Percussion Ensemble, the New England Conservatory Contemporary Ensembles, New Music Brandeis and the University of New Hampshire. Ms. Soby holds dual Masters degrees in Vocal Performance and

Opera Studies from New England Conservatory and a B.M. from the University of Connecticut. www.kimberlysoby.net

American soprano Jessica Petrus is a 2012 graduate of the Yale Institute of Sacred Music’s Oratorio, Art Song, and Chamber Ensemble program, where she studied with James Taylor. The New York Times recently praised Jessica for her “impressive clar-ity and color” in her role as Gabriel in Haydn’s Creation con-ducted by Masaaki Suzuki with the Yale Schola Cantorum and Julliard 415. A chamber musician at heart, she is a core mem-

ber of Etherea, and will make appearances with Skylark Ensemble and The Broken Consort later this season. This coming spring, she will join the Bach Collegium San Diego (mo. Ruben Valenzuela) as soprano soloist in Handel’s Messiah as well as per-form as soprano soloist in Aaron Jay Kernis’ L’Arte Della Danssar as part of the New Music New Haven Concert Series. She now lives in Cambridge, MA, where she sings regularly at Church of the Advent, directed by Mark Dwyer. For more information, please visit www.jessicapetrus.com.

Praised for her “lushly evocative mezzo” (Boston Musical Intelli-gencer) Clare McNamara is an active Boston-area soloist and chamber musician with a deep passion for early and new mu-sic. Now in her second season as a core member of Lorelei Ensemble, Clare also sings with the early music ensemble The Broken Consort, of which she is Assistant Director and a found-ing member. Clare will join The Broken Consort on its national

tour starting in January 2013, with stops in Phoenix, Tucson, Cleveland, New York, and Atlanta. Other engagements this season include appearing with the Connecti-cut-based Ensemble Origo singing Renaissance polyphony at Columbia University (New York) and Trinity College (Connecticut), and performing as the alto soloist this Christmas with the Boston Cecilia.

Recent engagements have included studying and performing medieval repertoire with Benjamin Bagby and members of Sequentia at the Vancouver Early Music Fes-tival; her portrayal of Antippo in Telemann’s Der Geduldige Socrates with Amherst Early Music; and recording as a featured soloist with the Copley Singers on their new Christmas album, which will be released internationally on the Gothic Records label. Clare is also a chorister and frequent soloist at the Church of the Advent in Beacon Hill, where her solo credits range from chant to Telemann to 20th-century composer Kenneth Leighton.

Clare graduated magna cum laude from Princeton University and will receive her Mas-ter’s degree this fall in Early Music from the Longy School of Music of Bard College, where she studies with Laurie Monahan.

Mezzo-soprano Christina English made her Carnegie Hall debut in Weill Recital Hall performing Malcolm Peyton’s Songs from Walt Whitman. Recent roles include

Public Opinion (Orpheus in the Underworld) Ruggiero (Alcina), Meg (Little Women), Dorabella (Cosi fan tutte), and Marcellina (Le nozze di Figaro), as well a a debut with The Lyric Stage Company of Boston in Gilbert and Sullivan’s The Mikado. She is heard each Sunday morning on WERS 88.9 FM with the professional choir at First Church Boston, and will perform in their first full con-cert in January 2013.

Ms English was awarded Second Prize in Voice in the 2009 Grieg Festival Young Artists Competition in Florida, performing selections from Grieg’s Haugtussa. She is a sought-after interpreter of contemporary works, and was invited by composer John Heiss to perform his Songs from James Joyce in New England Conservatory’s Jor-dan Hall, as well as by Mohammed Fairouz to sing his Three Shakespeare Songs at the Kaufmann Center. Recital repertoire includes song cycles by Xavier Montsalvatge, Robert Schumann, Igor Stravinsky, and Erik Satie. She has been a Young Artist with the Janiec Opera Company at Brevard Music Center and the Seagle Music Colony. Additional training and performance includes OperaWorks, Operafestival di Roma, MetroWest Opera, Riverside Theatreworks, and Crittenden Opera Studio.

Christina earned her Master of Music from the New England Conservatory, where she studied with Carole Haber. A native of San Jose, CA, she earned her B.A. in Music and a minor in Dance from Loyola Marymount University in Los Angeles.

Praised for her “vocal agility” and “spiritually rich” performanc-es, contralto Stephanie Kacoyanis is an accomplished perform-er of opera, oratorio, and musical theater. Recent roles include Aunt March in Little Women (Opera del West), Lucy Steele in the world premiere of Sense and Sensibility: The Musical (Welles-ley Summer Theatre), Third Lady in The Magic Flute (MetroWest Opera), Dritte Zofe in Der Zwerg (OperaHub), and Juno in Semele

(Harvard Early Music Society). She has appeared as alto soloist with the Jameson Singers, ALEA III, the Harvard-Radcliffe Collegium Musicum, Newton Choral So-ciety, Canto Armonico (under Simon Carrington), Cambridge Concentus (under Joshua Rifkin), Metropolitan Chorale of Brookline, and the Accademia d’Amore for Baroque Opera in Seattle. She has also performed with the College Light Opera Company and at the North Shore Music Theatre. Upcoming engagements include performances with Boston Lyric Opera and the Rachmaninoff Singers. Ms. Kacoya-nis was a semi-finalist at the 2010 Rochester Oratorio Society Classical Idol Competi-tion and the winner of the Kanellos Award at the 2009 Greek Women’s University Club Music Competition. She holds degrees from Wellesley College (English) and Boston University (M.M., voice). www.stephaniekacoyanis.com

Emily Marvosh, alto, is active in opera and oratorio in the Boston area. As a solo-ist, she has performed with the Handel and Haydn Society, the Back Bay Chorale, the White Mountain Bach Festival, Opera Boston, Boston Lyric Opera, Longwood Opera, and Intermezzo Chamber Opera; she is also a frequent soloist with the Marsh

Chapel Choir Bach Cantata Series. Ensemble appearances in the past and upcoming seasons include the Oregon Bach Festival under the direction of Helmut Rilling, the Bachakademie Stutt-gart, Portland Baroque Orchestra, Tucson Chamber Artists, Boston Camerata, and Cambridge Concentus. A regular member of Miami-based Seraphic Fire, Miss Marvosh can be heard on their recent GRAMMY-nominated recording of Brahms’s Ein

Deutsches Requiem.

In the 2012-2013 season, Miss Marvosh appears with L’academie (La Femme Fatale), the Charlotte Symphony (Messiah), Handel and Haydn Society (Magnificat), the Brook-line Symphony (Sea Pictures), and the Back Bay Chorale (Magnificat). She holds degrees from Central Michigan University and Boston University. www.emilymarvosh.com

Carson Cooman is an American organist and composer. He holds degrees in music from Harvard University and Carnegie Mellon University and since 2006 has held the position of Com-poser in Residence at The Memorial Church, Harvard University. As an organ recitalist, Cooman specializes in the performance of contemporary music. Over 130 new compositions by over 100 composers have been written for him by composers from

around the world. He has given premiere performances of works by many of the present era’s most distinguished living composers including Peter Maxwell Davies, Emma Lou Diemer, Michael Finnissy, Jennifer Higdon, Jo Kondo, Robert Moran, Colin Mawby, and Daniel Pinkham. Cooman has recorded organ music for Albany Records, ASV/Blackbox, JADE Records, Soundspells Productions, and Zimbel Re-cords. In Spring 2012, A Marvelous Love: New Music for Organ (Albany Records) was released, and contains works by Patricia Van Ness, Jim Dalton, Tim Rozema, Al Benner, Thomas Åberg, Harold Stover, Peter Machadjïk. Cooman’s most recent CD release Legends in the Garden (Soundspells) is devoted organ music by Swedish com-poser Thomas Åberg.

Joseph Turbessi is active in the greater Boston area as a solo and collaborative pianist, organist, and chamber musician. He has performed with Boston area ensembles such as Boston New Music Initiative, Juventas!, and Lorelei Ensemble; and has per-formed solo recitals on the Jamaica Plain and Equilibrium con-cert series. He is a strong advocate for new music, has premiered a number of works by young composers and has performed in

new music festivals in Oregon and Italy. Turbessi also accompanies choirs at MIT and the Boston Conservatory, and serves as music director at Belmont United Meth-odist Church.

Paul Seiko Chihara was born in Seattle, Washington in 1938. He received his doctorate degree (D.M.A.) from Cornell University in 1965 as a student of Robert

Palmer. Mr. Chihara also studied with the renowned pedagogue Nadia Boulanger in Paris, Ernst Pepping in Berlin, and with Gunther Schuller at Tanglewood. With Toru Takemitsu, Chihara was composer-in-residence at the Marlboro Music Festival in 1971, and also the first composer-in-residence of the Los Angeles Chamber Or-chestra, Neville Marriner, Conductor. More recently, he has served as the composer-in-residence with the Mancini Institute in Los Angeles. Mr. Chihara is a Professor of Music at UCLA.

Karin Höghielm (b. 1962), Swedish composer and singer, has written music for choir, organ and chamber-settings. As a singer she is strongly influenced by folk mu-sic and has recorded several CDs in a less-classical environment. She has also writ-ten scenic music for theatre, short film and dance. The Motet composed for Lorelei Ensemble is a mix of medieval influences and folkmusic with lyrics from the Gospel of St. Matthew.

Mary Montgomery Koppel is a composer, teacher, music director, and soprano. She has earned her D.M.A. from the Boston University School of Music, her B.A. from Middlebury College, and a Diplôme in Composition from l’Ecole Normale de Musique de Paris. Before coming to Boston, she taught at Bennington College, where she also founded and conducted the Bennington College Chamber Singers. Her music direction includes work at MASSMoCA and HERE in New York. Recent commissions include her Stabat Mater Speciosa, written for the Harvard University Choir, and Horizons for Su Lian Tan, flute, and John McDonald, piano, soon to be released on Arsis Audio. She currently teaches music theory and composition at the Walnut Hill School for the Arts and at Boston University.

Joshua Shank’s music has been called “jubilant…ethereal” (Santa Barbara News-Press) and “evocative and atmospheric…distilling a sustained mood most impres-sively” (Gramophone). He has been commissioned by organizations such as the Young New Yorkers’ Chorus, the Cincinnati Conservatory of Music, the American Choral Directors Association, The Esoterics (Seattle), the Minnesota All-State Choir and the Lorelei Ensemble (Boston). Since 2004, he has served as Composer-In-Residence for the Minneapolis-based professional choir The Singers: Minnesota Choral Artists. During that time, he has collaborated annually to expand and invigorate the reper-toire for professional-caliber ensembles through innovative programming as well as new works written specifically for the ensemble.

In 2002, he became the youngest recipient ever of the Raymond W. Brock Com-position Award by the American Choral Directors Association. The winning piece, “Musica animam tangens,” was premiered in Avery Fisher Hall at the Lincoln Center and has since been performed and recorded from Los Angeles to South Africa. His music was recently featured in the PBS documentary, Never Stop Singing, about the extensive choral tradition in the upper Midwest and his published works have sold over 90,000 copies around the world.

Contributors

Contributions as of January 2013$500 or moreAnonymousAaron Copland FoundationThe Boston FoundationJohn CareyCarson CoomanBarbara DeWallLinda HeffnerPauline Ho BynumGeorge & Stacey KacoyanisBill & Elaine McAteeBeth WillerBruce & Phyllis WillerGraham Wright

$250 - $499Janice BlackeneyCandace BrooksAndrew & Amy ClarkEmily IssacsonDaniel & Mary KoppelWalt MeibaumAndrew SpinneySusan Werbe & John Bates

$150 - $249Emily & Michael CullerTimothy & Jane GilletteJay KappraffNancy KochGeraldine MatthewsJohn Sparks

$100 - $149Robert BollesMichael EnglishMarcia HeggenNancy Eldredge HessElizabeth HolubArlene KappraffJonah KappraffAnita KuprissRugh LomonSuzanne MarvoshPaul & Joan McCabeEd & Diana McClureBruce & Nancy

MontgomeryRobert & Kathy RoodVanessa RoodBlaine SaitoAndrew SpinneySonja Tengblad

$50 - $99Sara BielanskiRobert CalisePaul CienniwaRich EinigLynn Gregory & Raymond Basanta IIICarrie LamontGeorge McCormickNaoko Raque

Elena RuehrJoe Turbessi

$49 and underJenifer AkersJeff BarnettAdam BoylesChris BrittEmily BurrMiles CanadayOliver CaplanJamie CohenJohn-Robert CurtinChristina EnglishBen FoxAbby FrostDeborah HooverScott Allan JarrettAnn Howard JonesLeah KoschBrooke LarimerCraig LeonHonor McClellanJeremy ReppyCecelia RobinsonLauren RollerAmanda SteinhoffElise Taillon-MartelGuy TelemaqueJoe TubessiMichelle VachonEmily Yoder

Special Thanks to

Carson Cooman and Memorial Church at Harvard University

Andrew Clark and The Harvard University Holden Choruses

Scott Allen Jarrett, Justin Blackwell, Ray Bouchard andMarsh Chapel at Boston University

Board of Directors and Advisory Board

Board of direCtorS

Beth Willer, Founder & Artistic DirectorCandace Brooks, Executive DirectorCarson Cooman, Treasurer, Financial Manager, AdvisorEmily Culler, Events & MarketingJonah Kappraff, Publicity, EventsMary Montgomery Koppel, Composer-in-ResidenceSonja Tengblad, Stewardship, Educational Outreach Chair, Assistant Treasurer

adviSory Board

Andy Clark, Artistic AdvisorDirector of Choral Activities at Harvard University

Scott Allen Jarrett, Artistic AdvisorDirector of Music at Boston University’s Marsh Chapel

Gil Rose, Artistic AdvisorBoston Modern Orchestra Project Artistic Director

John Sparks, Administrative AdvisorSusan Werbe, Administrative Advisor

Support Lorelei Ensemble

Lorelei Ensemble cannot do this without you!Any gift is a gift of magnitude.

To learn more about Lorelei Ensemble, please visit:

www.LoreleiEnsemble.com

To make a tax-deductible donation online, visit:

www.fracturedatlas.org/site/contribute/donate/2873.

Lorelei Ensemble is a sponsored project of Fractured Atlas, a non-profit arts service organization. Contribu-tions in behalf of Lorelei Ensemble may be made payable to Fractured Atlas and are fully tax-deductible to the extent permitted by law.

To donate by mail, please make your check payable to “Fractured Atlas” and mail to:

Lorelei Ensemble, c/o Beth Willer216 Brookline St.

Cambridge, MA 02139

A special thanks to Trader Joe’s (and their awesome sta!) for helping to make our 2012 Fundraiser such a success!