- $9 for one general-admission ticket (up to $21.69 value)
- Choose from six showtimes upon checkout
- The shows on January 16, March 12, and May 7 take place at Lindsey Chapel at Emmanuel Church
- The shows on January 17, March 13, and May 8 take place at Eliot Church of Newton
- ReSoundings (Saturday, January 16, at 8 p.m. or Sunday, January 17, at 4 p.m.)—Music by Hildegard von Bingen, Erna Woll, Sulpitia Cesis, and many more take listeners from the 9th to the 20th century.
- Madrigalia (Saturday, March 12, at 8 p.m. or Sunday, March 13, at 4 p.m.)—Madrigals by Barbara Strozzi and Carlo Gesualdo pair with more madrigals by the likes of Madalena Casulana and Orlando di Lasso.
- Without End (Saturday, May 7, at 8 p.m. or Sunday, May 8, at 4 p.m.)—Patricia Van Ness composed a cycle of nine psalms specifically for Cappella Clausura, which will make their world premiere at this concert.
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.