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Blockbuster 2010-2011 Season Announced
The Master Chorale of South Florida has announced an exciting 2010-2011 season that includes Haydn’s Creation, Verdi’s Requiem and Fauré’s Pavane and Requiem.
As a note, high demand for season tickets in Lynn University’s new Wold Performing Arts Center means fewer individual tickets may be available for the Boca performances of Verdi’s Requiem. Individual tickets to the March 26 and 27 performances are being sold on a first-come, first-serve basis through Lynn’s ticket office, 561-237-9000. |
| Haydn’s Creation |
With the Miami Symphony Orchestra.
Joshua Habermann, conducting
Friday, November 19, 8:00 p.m.
Trinity Cathedral, Miami
Click here for ticket information
Saturday, November 20, 8:00 p.m.
Keith C. & Elaine Johnson
Wold
Performing Arts Center
Lynn University, Boca Raton
Click here for ticket information
Sunday, November 21, 4:00 p.m.
First Presbyterian Church of Pompano Beach
Click here for ticket information. |
| Verdi’s Requiem |
With the Lynn Philharmonia.
Albert-George Schramm, conducting
Thursday, March 24, 8:00 p.m.
Trinity Cathedral, Miami
Click here for ticket information
Friday, March 25, 8:00 p.m.
Second Presbyterian Church, "The Sanctuary,"
Fort Lauderdale
Click here for ticket information
Saturday, March 26,
7:30: p.m.
Sunday, March 27,
4:00 p.m.
Keith C. & Elaine Johnson Wold
Performing Arts Center
Lynn University, Boca Raton
For tickets to these performances, please call the Lynn University Box Office at 561-237-9000
Fauré’s Requiem and Pavane
With the Miami Symphony Orchestra. Eduardo Marturet, conducting
Saturday, April 30, 8:00 p.m. Herbert and Nicole Wertheim Performing Arts Center, Miami
Sunday, May 1, 8:00 p.m. Gusman Center for the Performing Arts, Miami
Tickets to these performances may be purchased through the Miami Symphony Orchestra by visiting http://themiso.org/tickets, or calling 305-275-5666. |
Sing with the Master Chorale
If you're interested in singing the world's best music with other professional-caliber musicians, the Master Chorale of South Florida wants you. Singers who read music and have experience as a soloist or member of a choir or vocal ensemble are invited to audition.
Auditions for the 2010 – 2011 season are being held on August 16, 2010.
To schedule an appointment, please contact:
Carole Sandvos,
Chorus Administrator
or call 954.418.6232 |
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Master Chorale performed Mozart’s Requiem and Te Deum to critical acclaim
Read what the Critics Had to Say
The Master Chorale of South Florida, accompanied by the Boca Raton Symphonia and soloists, performed Mozart’s ever popular Requiem Mass in D minor (K. 626) on Friday, April 16, at Trinity Cathedral in Miami, on Saturday, April 17 at Boca Raton Community High School and on Sunday afternoon, April 18 at the Broward Center for the Performing Arts in the Amaturo Theater. The concert series was conducted by the Master Chorale’s artistic director and conductor, Dr. Joshua Habermann, and included Mozart’s Te Deum.
Mozart’s Requiem is one of the most popular pieces of the choral-orchestral repertoire. It was Mozart’s last composition. At the time of his death, one movement had been finished, and the remaining movements were found in various stages of completion. The Master Chorale of South Florida will perform the Requiem as completed by modern day Mozart scholar Robert D. Levin. It contains some differences from the better-known Süssmyer version as well as one new movement. Concertgoers familiar with the Requiem will find all their favorite music intact in this “new” version and every bit as beautiful as it was when composed in 1791.
To quote Levin, "Mozart’s unfinished Requiem presents a breathtaking tableau of Baroque and Classical style. The present completion seeks a stylistically idiomatic restoration that fully respects its 200-year history. All of the changes seek to emphasize the spiritual and dramatic power of Mozart’s fragment by placing it in a more focused light.”
Levin’s goal in his completion of the work was to “allow the music to flow, uninterrupted, as if it were all from Mozart’s own pen with a more transparent instrumentation derived in the first instance from Mozart’s other church music. The choir is placed in the foreground as the expressive focus of the work.”
Read what the Critics Had to Say
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| 2009-2010 Season Was Filled with Stellar Collaborations |
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Master Chorale performed with celebrated Italian tenor Andrea Bocelli in November concert
The Master Chorale was thrilled to have been chosen to perform as the back-up chorus for world-renowned opera singer Andrea Bocelli in his holiday concert at the Bank Atlantic Center in Sunrise on November 28th. The packed house lauded the performance with rave reviews. |
Master Chorale renewed a South Florida holiday tradition: Handel’s Messiah with James Judd conducting
 When James Judd stepped on the podium to conduct the Master Chorale of South Florida, Boca
Raton Symphonia and soloists in Handel’s Messiah,
it was his first
concert in South Florida since 2000. In his former position as music director and conductor of the Florida Philharmonic Orchestra (FPO)
and Chorus, the Maestro’s yearly presentation of Handel’s uncut score with Baroque orchestration was a holiday tradition, selling out as
many as five performances per season. Judd
conducted his last Messiah series with the FPO in December 2000.
The December performances were a trip down memory lane not only for many concertgoers, but also for chorus and
orchestra members. Master
Chorale members who sang in the Florida Philharmonic Chorus used their scores with Judd’s markings. The orchestra scores were loaned to the Master Chorale of South Florida by the Miami-Dade Community Foundation, which purchased the FPO’s music library.
Among the most popular
works in Western choral literature, Messiah is best known for its “Hallelujah!” chorus.
Along with soloists Sarah Shafer, soprano, J’nai Bridges, mezzo-soprano, Joshua Stewart, tenor, and Thomas Shivone, bass-baritone; the Master Chorale and Boca Raton Symphonia played to appreciative audiences and critical acclaim under the baton of Maestro Judd in this particularly expressive interpretation of this choral/orchestra classic.
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| About Haydn's Creation |
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Haydn’s Creation, performed by the Master Chorale joined by the Miami Symphony Orchestra and soloists, was written between 1796 and 1798 and is considered by many to be his masterpiece. The oratorio depicts and celebrates the creation of the world as described in the biblical Book of Genesis and in Paradise Lost. The Creation is set for three vocal soloists (soprano, tenor, and bass, with an incidental solo for alto in the finale), four-part chorus (soprano, alto, tenor, bass), and a large Classical orchestra.
The three soloists represent angels who narrate and comment on the successive six days of creation: Gabriel (soprano), Uriel (tenor), and Raphael (bass). The choral singers are employed in a series of monumental choruses, several of them celebrating the end of one particular day of creation.
The orchestra often plays alone, notably in the episodes of "tone-painting": the appearance of the sun, the creation of various beasts, and above all in the overture, the famous depiction of the Chaos before the creation.
About Verdi’s Requiem
The Messa da Requiem by Giuseppe Verdi, performed by the Master Chorale with the Lynn University Philharmonia in their first collaboration, is a musical setting of the Roman Catholic funeral Mass. It was initially performed on 22 May 1874 to mark the first anniversary of the death of Alessandro Manzoni, an Italian poet and novelist much admired by Verdi. Throughout the work, Verdi uses vigorous rhythms, sublime melodies, and dramatic contrasts—much as he did in his operas—to express the powerful emotions engendered by the text. Trumpets produce an inescapable call to Judgement in the "Tuba mirum" (the resulting combination of brass and choral quadruple-fortissimo markings resulting in some of the loudest unamplified music ever written), and the almost oppressive atmosphere of the "Rex tremendae" creates a sense of unworthiness before the King of Tremendous Majesty. Yet the well-known tenor solo "Ingemisco" radiates hope for the sinner who asks for the Lord's mercy. Verdi also recycles and reworks the duet "Qui me rendra ce mort? Ô funèbres abîmes!", from Act IV of Don Carlos, in the beautiful "Lacrimosa" which ends this sequence.
The joyful "Sanctus" (a complicated eight-part fugue scored for double chorus) begins with a brassy fanfare to announce him "who comes in the name of the Lord" and leads into an angelic "Agnus Dei" sung by the female soloists with the chorus. Finally the "Libera me," the oldest music by Verdi in the Requiem, interrupts. Here the soprano cries out, begging, "Deliver me, Lord, from eternal death ... when you will come to judge the world by fire."
The Requiem won immediate contemporary success, and today is considered a staple of classical choral works.
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