What You'll Get
- $19 for one adult general-admission ticket (up to $27 value)
- $14 for one student/senior general-admission ticket (up to $23 value)
From Machaut’s Mass to Van Ness’s Psalms
- Guillaume de Machaut—Messe de Nostre Dame: The French composer’s piece changed the landscape of choral music, unifying the disparate elements of the mass into a cohesive form. The work went on to serve as a musical template used by the likes of Bach, Mozart, and Britten.
- Patricia Van Ness—Birds of the Psalms: Old-world church music inspired Van Ness to create a series of psalm settings with sparse lyrical content and vocals that traverse multiple notes over a single syllable.
- After the Show: Celebrate the release of the recording of Birds of the Psalms and purchase a signed copy from composer Patricia Van Ness.
The Fine Print
Promotional value expires Nov 18, 2017. Limit 20/person. Valid only for option purchased. Redeem on day of show for a ticket at the venue box office. Refundable only on day of purchase. Must purchase together to sit together. Merchant is issuer of tickets - discount reflects current ticket prices, which may change. ADA seating cannot be guaranteed; contact box office prior to purchase for availability. Ticket value includes all fees. Valid for ages 8 and up. Merchant is solely responsible to purchasers for the care and quality of the advertised goods and services.
About Cappella Clausura
Their "heavenly voices...exhibit impeccable unison tuning, liquid dexterity, and an ensemble tone color which, forgive the cliché, is pure gold," according to the Classical Voice New England. And to hear them, Boston Globe says, is to "eavesdrop on paradise." But the vocal ensemble of Cappella Clausura is more than a choral group. Its members are musicologists, introducing modern audiences to the often unheralded works of women composers from the last twelve centuries. Even their name pays tribute to this mission—"Cappella Clausura" is a reference to the cloistered nuns of 17th century Italy who formed the first community of recognized female composers, and the phrase serves as a metaphor for the cultural obstacles creative women have faced throughout history.
Led by master choral conductor Amelia LeClair, the core of eight to twelve male and female singers serenade audiences with masterworks of the middle ages that many listeners will likely hear for the first time. Past programs have illuminated the music of medieval times, the Italian Baroque, and the Renaissance, and have included the works of Hildegard von Bingen, perhaps the first woman to compose an opera, and Mariana von Martines, dubbed "the female Mozart" for her impeccable taste in buckled shoes.