Washington Bach Consort: Te Deum! Sacred Grand Motets of Lully & Charpentier
$25-$79 ($10 student/ages 18 & under; "pay-your-age" option available for ages 18-24)
- Margaret Carpenter Haigh, soprano
- Margot Rood, soprano
- James Reese, haute-contre
- Gregório Taniguchi, tenor
- Ian Pomerantz, bass-baritone
- Paul Max Tipton, bass
- Ross Tamaccio, bass
Jean Baptiste Lully — Notus in Judaea, LWV 77, No. 17
Jean Baptiste Lully — O lachrymae, LWV 26
Jean Baptiste Lully — O dulcissime Domine, LWV 77, No. 9
Jean Baptiste Lully — Thesée, LWV 51 ("Entrance of Warriors," Act 1, Scene 10)
Jean Baptiste Lully — Exaudiat te, Dominus, LWV 77, No. 15
Marc-Antoine Charpentier — Marche de Triomphe et Air, H. 547 ("March de Triomphe")
Marc-Antoine Charpentier — Litanies de la Vierge, H. 83
Marc-Antoine Charpentier — Motet pour les Trespasses, H. 311 ("Miseremini mei")
Marc-Antoine Charpentier — Marche de Triomphe et Air, H. 547 ("Deuxieme Aire de Triomphe pour Trompettes")
Marc-Antoine Charpentier — Te Deum in D major, H. 146
J.S. Bach drew from the best of a variety of established European musical styles and combined them in his own unique voice. This concert will highlight influential composers of the French Baroque, featuring sacred grand motets of Jean-Baptiste Lully (1632–1687) and Marc-Antoine Charpentier (1643–1704). Charpentier's magnificent Te Deum will head a list of exquisite works that reflect the magnificence of French courtly and ecclesiastical grandeur.
About Washington Bach Consort
Founded in 1977 by the late Dr. J. Reilly Lewis, the Washington Bach Consort is a professional choral and orchestral ensemble based in Washington, DC, now led by Artistic Director, Dr. Dana Marsh. The Consort is committed to ensuring that current and future audiences experience the music of Johann Sebastian Bach and his contemporaries by:
1) performing the music of Bach and his contemporaries to the highest artistic standards,
2) sharing the joy of Bach's music by broadening audiences in the nation's capital,
3) nurturing the appreciation of Bach’s music through education and community outreach activities, and
4) interpreting the music of Bach for audiences of today, thereby ensuring his legacy.
The Bach Consort is noted for its historically informed performances of 18th-century music on period instruments. As one of the DC area’s most critically acclaimed and nationally recognized performing arts organizations, the Consort has made regular appearances with the National Symphony Orchestra, Washington Performing Arts, and the Cathedral Choral Society. In addition, the Consort has appeared at numerous festivals and presented three European tours. Recordings include Bach’s complete motets, both J.S. and C.P.E. Bach's Magnificats, the first American recording of the F major and G minor masses, and three solo soprano cantatas with opera luminary Elizabeth Futral. Furthermore, the Consort completed Bach's entire 215-cantata cycle. In association with this monumental achievement, the Library of Congress welcomed the Washington Bach Consort performance recording and concert program archives into its permanent collection.
http://www.bachconsort.orgAbout Margaret Carpenter Haigh, soprano
Praised as "fiery, wild, and dangerous" (Classical Voice North Carolina) with "a talent for character portrayal" (Chicago Classical Review), soprano Margaret Carpenter Haigh captivates audiences with her "flawless intonation" and "perfect vocalism" (Classical Voice North Carolina). She is in demand as a specialist interpreter of early music throughout North America and has been featured with ensembles including the Memphis, Winston-Salem, and Portland Symphonies; Messiah Festival of the Arts; Bach Akademie Charlotte; Arizona MusicFest; Apollo's Fire; Evansville Philharmonic; and her own ensemble L'Académie du Roi Soleil. Margaret resides in New York City where she is a member of the Choir of Trinity Wall Street.
http://www.margaretcarpenterhaigh.com/About Margot Rood, soprano
About James Reese, haute-contre
About Gregório Taniguchi, tenor
Gregório Taniguchi crafts compelling and unstuffy performances that move audiences. His dedication to rhetoric in music draws listeners to hear historical works as a dynamic and living part of our musical culture, illuminating classics for a modern audience. Contemporary vocal music and new works by emerging composers likewise come alive through his communicative artistry.
Gregório has empowered narratives with an intuitive sense for storytelling as the Evangelist in Bach’s St. John Passion and Christmas Oratorio, Æneas in Cavalli’s La Didone, Miles Zegner in Missy Mazzoli's Proving Up, and Septimius in Handel's Theodora. He has toured Ecuador with the emerging ensemble Las Aves and presented historically-informed 17th-century Italian and Spanish sacred repertoire in the cathedrals of Quito during Holy Week. He advocates for the intimate connections created by chamber music and regularly presents recitals of classic and contemporary art song. He has worked closely with pioneers of the early music movement as well as the next generation of scholar-interpreters. Gregório enjoys the alchemy of collaborative ensemble singing, especially with Santa Fe Desert Chorale, Clarion Vocal Ensemble, Seraphic Fire, Cantus, Washington Bach Consort, Oregon Bach Festival, and Staunton Music Festival.
Gregório is passionate about being an active part of the community of artists, supporting composers in recording new works as a studio singer and faith communities as a choral scholar. He also serves as a language coach, especially in his native Portuguese.
https://www.gregoriotaniguchi.comAbout Ian Pomerantz, bass-baritone
About Paul Max Tipton, bass
About Ross Tamaccio, bass
National Presbyterian Church
4101 Nebraska Ave NWWashington, District of Columbia 20016
United States