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Led by Founder and Artistic Director Patrick Dupré Quigley, Seraphic Fire brings top ensemble singers and instrumentalists from around the country to perform repertoire ranging from Gregorian chant and Baroque masterpieces, to Mahler and newly com-missioned works by this country’s leading composers. Two of the ensemble’s recordings, Brahms: Ein Deutsches Requiem and A Seraphic Fire Christmas, were nominated for 2012 GRAMMY® Awards, making Seraphic Fire the only choral ensemble in North or South America to be nominated that year and the only classical ensemble in the world to be nominated for two separate projects.
Seraphic Fire continues to put South Florida at the center of artistic innovation during its 2017 - 2018 Season through mas-terworks of cultural significance like Brahms’ timeless Liebeslieder Waltzes, as well as through high-quality under-performed music like David Lang’s The Little Match Girl Passion. Guest appearances include collaborations with Lorelei Ensemble Artistic Director Beth Willer and Boston’s Back Bay Chorale Music Director Scott Allen Jarrett.
Recognized for of its “spellbinding, hypnotic” sound (South Florida Classical Review), Seraphic Fire’s artistic accomplish-ments have also translated to acclaimed orchestral collaborations with The Cleveland Orchestra and New World Symphony, and chart-topping album sales. The ensemble’s September 2014 release, Reincarnations: A Century of American Choral Music, soared to No.6 on the Billboard Traditional Classical Chart and the ensemble’s GRAMMY® nominated recording of Brahms: Ein Deutsches Requiem debuted at No.7 on the Billboard Traditional Classical Chart.
Seraphic Fire
Season 16 Artists
Amanda Crider Doug DodsonDiana Grabowski Helen Karloski Emily MarvoshClara OsowskiAngela SmuckerElisa Sutherland Virginia Warnken
James Bass John BuffettSteven EddyCharles Evans Kyle Ferrill Thomas McCargarEnrico Lagasca
Sarah Brailey Jolle Greenleaf Sara Guttenberg Sarah Moyer Molly Quinn Nola Richardson Margot RoodMeredith RuduskiBrenna Wells
Steven Bradshaw Brad Diamond Brian GieblerKenneth Kellogg Patrick MuehleiseSteve Soph
Soprano Alto Tenor Bass
Proclaimed “extraordinary” (Gramophone), “authoritative” (Philadelphia Inquirer), “inspirational” (Chicago Sun-Times), and displaying “transformative brilliance” (New York Lucid Culture), Patrick Dupré Quigley has established himself as an exemplary conductor, creative programmer, and lauded arts entrepreneur whose skills as a musician transcend traditional genre boundaries.
Founder and Artistic Director of Seraphic Fire, Quigley receives rave reviews for his work with the music of contemporary American composers; is celebrated for his exacting, historicallyinformed interpretations of Classical and Baroque repertoire; and was honored with a GRAMMY® Award nomination for his recording of Brahms’ Romantic masterpiece Ein Deutsches Requiem. In 2016-2017, Quigley appeared with San Francisco Symphony, The Cleveland Orchestra, and Grand Rapids Symphony. Previous guest conducting engagements include appearances with New World Symphony, Mobile Symphony, Naples Philharmonic, Indianapolis Symphony Orchestra, Louisiana Philharmonic Orchestra, and San Antonio Symphony.
Quigley received his Master of Music in conducting from the Yale School of Music and his undergraduate degree in musicology from the University of Notre Dame.
Patrick Dupré Quigley FOUNDER & ARTISTIC DIRECTOR
James K. Bass is Director of Choral Studies at the Herb Alpert School of Music at UCLA and Associate Conductor & Director of Education of Seraphic Fire. He was previously on faculty at Western Michigan University and the University of South Florida in Tampa, where he served as Artistic Director of Master Chorale of Tampa Bay, the official chorus of the Florida Orchestra. Bass received his Doctor of Musical Arts from the University of Miami-Florida, where he was a doctoral fellow, and received his Master of Music and Bachelor of Science from the University of South Florida. He is a graduate of Interlochen Arts Academy. Bass was selected by the master conductor of Amsterdam Baroque Soloists, Ton Koopman, to be one of only 20 singers for a presentation of Cantatas by J. S. Bach in Carnegie Hall, and was an auditioned member of Robert Shaw’s workshop choir at Carnegie. He has appeared with numerous professional vocal ensembles including Conspirare, Santa Fe Desert Chorale, Apollo Master Chorale, Vox Humanae, and Spire. He is one of 13 singers on the GRAMMY® nominated disc A Seraphic Fire Christmas. He is an active bass soloist and has performed at Winchester Cathedral in London, has sung 15 world premieres and appears on CD recordings on the Harmonia Mundi, Naxos, Albany, and Seraphic Fire Media labels. He made his Cleveland Orchestra debut as bass soloist in 2016 and has appeared with the New World Symphony under Michael Tilson Thomas, The Florida Orchestra, Grand Rapids Symphony, Back Bay Chorale and Orchestra, Firebird Chamber Orchestra, and the Sebastians as bass soloist. Bass was appointed choirmaster for the Classical Music Festival in Eisenstadt, Austria. During the summer of 2011, he co-founded the Professional Choral Institute at the University of South Florida. In its inaugural year of recording, Seraphic Fire and PCI received the GRAMMY® nomination for Best Choral Performance for their recording of Johannes Brahms’ Ein Deutsches Requiem. He has prepared choirs for Sir Colin Davis, Sir David Willcocks, Jahja Ling, Michael Tilson Thomas, Gerard Schwarz, Giancarlo Guerrero, Michael Francis, Marcelo Lehninger, Stefan Sanderling, Evan Rogister, Danail Rachlev, Joshua Weilerstein, Markus Huber, Michael Francis, and Robert Shaw, among others. He has served on the Executive Board of the American Choral Directors Association’s Central Division as College Repertoire and Standards Chairperson. Bass’ professional affiliations include American Choral Directors Association, Music Educators National Conference, League of American Orchestras, Pi Kappa Lambda national music honor society, and Phi Mu Alpha Sinfonia music fraternity.
James K. Bass ASSOCIATE CONDUCTOR & DIRECTOR OF EDUCATION
Rhett M. Del Campo EXECUTIVE DIRECTOR
With an extensive background in piano and percussion performance and experience in all facets of the arts industry, Rhett M. Del Campo began his tenure as Seraphic Fire’s Executive Director in August 2014. Since then his work has focused on solidifying the organization’s infrastructure, from board development and staff restructuring to community involvement – as well as a complete re-envisioning of Seraphic Fire’s education program, the Seraphic Fire Youth Initiative. Del Campo’s work has been supported by valuable insights and knowledge gained through participation in DeVos Institute of Arts Management’s capacity building program and studies at Indiana University’s Fund Raising School. In his first two seasons, he has seen Seraphic Fire’s private giving increase by more than 60 percent, and started a strategic reserve and endowment fund.
Del Campo began his career in arts administration as assistant to the executive director and board liaison with Kansas City Symphony. Before that he served as a business developer and client relationship manager for SocialRaise, a Chicago-based web technology company focused on digital strategies for nonprofits.
A lifelong musician, Del Campo spent nearly 30 years performing as a pianist and percussionist. He debuted as a piano soloist with the Chicago Symphony in
1991 and toured Italy as a soloist with the Chicago Youth Symphony in 1994. He studied percussion at New England Conservatory of Music in Boston and DePaul University in Chicago. He then earned a New World Symphony fellowship where he worked with Michael Tilson Thomas and some of the country’s top orchestral talents over the course of four seasons.
Between 2006 and 2010, Del Campo resided in Stockholm, Sweden, and served as Royal Swedish Opera and Ballet’s principal percussionist. Other international experiences include performing, recording, and touring with both Philharmonia Orchestra in London under Esa-Pekka Salonen, and the Palau de les Arts Opera in Valencia under both Zubin Mehta and the late Lorin Maazel. Stateside, Del Campo has been a substitute player with Chicago, Detroit, and Kansas City symphonies, and Grant Park Orchestra. In Miami he serves as taskforce leader for Emerging Arts Leaders of Miami and is a member of United Way’s Young Leaders, where he volunteers his time as a member of the health council reviewing grants and conducting site visits. He also serves as an Arts & Culture grant panelist for the Florida Department of State and for Miami-Dade County’s Department of Cultural Affairs. In an effort to give back to New World Symphony, Del Campo frequently gives presentations to current fellows as part of their Sounding Boards series and Entrepreneurship Program.
Administration
Rhett M. Del Campo [email protected] | 305.692.0266
Executive Director
Ross Chuchla [email protected] | 305.692.0268
Director of Finance
Lisa Husseini [email protected] | 305.792.8921
General Manager
Carlos Howard [email protected] | 305.692.0201
Marketing & Public Relations Manager
Jude Fox [email protected] | 305.692.0201
Patron Services Manager
Candace Fitzpatrick [email protected]
Grants Manager
James K. Bass [email protected]
Associate Conductor & Director of Education
Suzanne Floyd [email protected]
Education Administrator
Joey Quigley [email protected]
Artistic Consultant
Gene SobczakStrategic Consultant
Ross Chuchla
Jude Fox
Suzanne Floyd
Seraphic Fire’s Youth Initiative, in partnership with Miami-Dade County Public Schools and University of Miami, is a free music education program serving elementary and middle school students in Miami-Dade County most challenged communities. The program offers a unique, hands-on approach to music education and choral performance to Miami-Dade County youth.
In 2015, the program evolved to connect with more than 10 times the number of students than in previous seasons by performing free education concerts to nearly 2,000 students and giving presentations to more than 300 students at four different schools three times throughout the year.
Seraphic Fire artists visit schools for dynamic presentations including: • Music theory fundamentals • Vocal pedagogy • Interactive exercises with the artists
Students are also invited to specially curated Seraphic Fire performances that serve as “guided tours” of the music performed by the professional ensemble. The program serves as a resource connecting interested students to choral education opportunities and scholarships in the South Florida community, where Seraphic Fire began and continues to be centered.
Seraphic Fire’s Youth Initiative is endowed in perpetuity by The Clinton Family Fund.
October 2017 | Monteverdi: Selva Morale et Spirituale Patrick Dupré Quigley, conductor The Guardian refers to Selva Morale et Spirituale as Monteverdi’s “most significant anthology of liturgical works.” Hear Seraphic Fire in its element in this exhibition of the Italian Baroque style. Condensed: Hear Seraphic Fire in its element in this exhibition of Monteverdi’s “most significant anthology of liturgical works” (The Guardian). November 2017 | American Hymns Rediscovered Beth Willer, conductor Rich tradition and fearless innovation define American music. In this program, Seraphic Fire delivers American hymnody alongside contemporary works of musical poetry that call for wisdom, peace, and action. Condensed: Seraphic Fire delivers American hymnody’s rich tradition alongside innovative works that call for wisdom and action. December 2017 | Seraphic Fire Christmas James K. Bass, conductor Immerse yourself in angelic voices singing timeless English carols and transcendent Gregorian chant. Florida’s own GRAMMY® nominated candlelit holiday experience is called “gorgeous and evocative” by the Miami Herald. Condensed: Angelic voices sing timeless English carols and transcendent Gregorian chant in Florida’s own GRAMMY® nominated candlelit holiday experience. January 2018 | David Lang: The Little Match Girl PAssion Patrick Dupré Quigley, conductor David Lang’s Pulitzer Prize-winning masterpiece opens Seraphic Fire’s three-part Parables of Passion series. “Poignant” and “consoling” (The New York Times), this haunting setting of the Hans Christian Andersen tale is similar to a classic Bach passion. Condensed: “Poignant” and “consoling” (The New York Times), this Pulitzer Prize-winning passion tells the haunting Hans Christian Andersen tale with the virtuosity of a Bach masterwork.
February 2018 | J. S. Bach: St. MAtthew Passion Patrick Dupré Quigley, conductor Hailed by the Miami Herald for Bach interpretations filled with “warm humanity,” Artistic Director Patrick Dupré Quigley leads Seraphic Fire in J. S. Bach’s monumental retelling of the crucifixion scored for double chorus and double orchestra. Condensed: Bach’s powerful retelling of the crucifixion scored for double chorus and orchestra showcases Seraphic Fire with virtuosic arias and solemn chorales. March 2018 | Brahms: Liebeslieder Waltzes Scott Allen Jarrett, conductor Scott Allen Jarrett, featured in Seraphic Fire’s GRAMMY® nominated Ein Deutsches Requiem disc, leads Seraphic Fire from the keyboard in the most joyous and tender of Brahms’ choral works, the eternal Liebeslieder Waltzes. Condensed: Featured in Seraphic Fire’s GRAMMY® nominated Ein Deutsches Requiem, Scott Allen Jarrett leads Brahms’ eternal Liebeslieder Waltzes from the piano. April 2018 | Arvo Pärt: Passio Patrick Dupré Quigley, conductor The Telegraph calls Pärt’s minimalist masterwork one of the 10 best classical music pieces for Easter. Filtering Medieval sounds through an Eastern Orthodox aesthetic, this powerful setting concludes Seraphic Fire’s innovative Parables of Passion series Condensed: Pärt’s masterwork filters Medieval sounds through an Eastern Orthodox aesthetic, and is hailed by The New York Times for its “acute sensitivity.” May 2018 | Shakespeare: Music and the BArd James K. Bass, conductor From Purcell to Vaughan Williams, countless composers throughout the centuries have found inspiration in William Shakespeare. Seraphic Fire explores this magnificent canon of settings based on the great Elizabethan bard’s timeless words. Condensed: Seraphic Fire explores the magnificent choral settings of Shakespeare’s timeless works through repertoire ranging from Purcell to Vaughan Williams.
Cleveland Orchestra and Seraphic Fire join forces in Miami on ravishing Bach and Bruckner (review) | cleveland.com
http://www.cleveland.com/musicdance/index.ssf/2017/01/cleveland_orchestra_and_seraph.html[5/31/2017 11:49:56 AM]
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The Cleveland Orchestra and music director Franz Welser-Most joined forces with Miami-basedSeraphic Fire in performances of Bach Friday and Saturday nights at the Arsht Center. Seated ismezzo-soprano Jennifer Johnson Cano. (Justin Holden/The Cleveland Orchestra)
By Zachary Lewis, The Plain Dealer
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on January 29, 2017 at 11:09 AM, updated February 02, 2017 at 11:33 AM
CLEVELAND ORCHESTRA MIAMI 2017
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Cleveland Orchestra and Seraphic Fire join forces in Miami on ravishing Bach and Bruckner (review) | cleveland.com
http://www.cleveland.com/musicdance/index.ssf/2017/01/cleveland_orchestra_and_seraph.html[5/31/2017 11:49:56 AM]
Cleveland Orchestra spends day nurturing future listenersand musicians in South Florida
Cleveland Orchestra treats large Miami crowd to high-spiritedcommunity concert (review)
Cleveland Orchestra and Seraphic Fire join forces in Miamion ravishing Bach and Bruckner (review)
MIAMI, Fla. - Call it even. This week in South Florida, theCleveland Orchestra received as much from Miami as itgave.
And yet the real beneficiary was the audience. Friday andSaturday nights at the Arsht Center here, listenersexperienced what might be viewed as the best of bothmusical communities.
From Miami came Seraphic Fire, a local but globallyrenowned vocal ensemble, collaborating with the orchestraon works by Bach. From the shores of Lake Erie, meanwhile,came Bruckner's Symphony No. 7, a score the orchestra anddirector Franz Welser-Most have fashioned into a sort ofcalling card.
If ever the orchestra tread lightly here, catering to theclassical novice, that time appears to have ended. Now itseems the orchestra takes Miami as seriously as it does itshome base.
What a profoundly cohesive program. Even as they standunited by their deep religious faiths, Bach and Bruckner alsostand miles apart stylistically. One was a Baroque master ofmusical economy and intricacy while the other came to definelate Romanticism and epitomize the long-form symphony.
Bach, fittingly, came first. Scaled down to period-ensemblescale, the orchestra undertook with Seraphic Fire thecomposer's Cantata No. 34 ("O Eternal Fire, O Source ofLove") as well as choral excerpts from Cantatas Nos. 191and 29.
Cleveland Orchestra and Seraphic Fire join forces in Miami on ravishing Bach and Bruckner (review) | cleveland.com
http://www.cleveland.com/musicdance/index.ssf/2017/01/cleveland_orchestra_and_seraph.html[5/31/2017 11:49:56 AM]
Just as Bach's music is eternal, so could one have listenedfor ages. The two ensembles hung together seamlessly,producing Bach of the most shapely and effervescent variety.Welser-Most kept the orchestra, including three brillianttrumpets, in perfect balance with the singers, and SeraphicFire lived up its reputation as a taut, mellifluous force.
Mezzo-soprano Jennifer Johnson Cano was an equallywelcome presence. A few brief seconds out of step with theorchestra Saturday notwithstanding, her lone aria in CantataNo. 34 was a beguiling time-out, a soothing respite sung withhoneyed lyricism.
The impact from Bruckner's Symphony No. 7 was evendeeper, even as it was vastly longer in coming. Nothing thesedays in Welser-Most's Bruckner is forced, rushed, orunearned. The joy of his performances, as in all goodBruckner, is in savoring the place and purpose of everypassage and riding a gradual upwelling to a glistening peak.
Such was the case in the opening Allegro Friday andSaturday. As if to showcase the orchestra's magnificentsoftness, Welser-Most held his strings in dynamic check,releasing their full energy with the brass only at end.Structure, too, was a priority. No one who heard thisBruckner could question its logic or organic design.
Then the group went and outdid itself in the Adagio. To thisexpansive, achingly beautiful music, the strings applied theirrichest and most lustrous sheen, matching the low brass stepfor step in giving their earnest, heartfelt best.
A hard-hitting Scherzo came next. Here, Welser-Most calleddown the twin forces of heaven, juxtaposing fire andbrimstone with angelic sweetness.
Whatever resistance remained in listeners, Welser-Most andthe orchestra knocked down with the Finale. While obeyingBruckner's request for "moving, but not fast" and mindingevery detail, the group also brought tremendous brutestrength and urgency to bear on the music, en route to aswift, decisive conclusion.
South Florida Classical Review » » Quigley, Seraphic Fire at their finest in Bach’s motets
http://southfloridaclassicalreview.com/2017/02/quigley-seraphic-fire-at-their-finest-in-bachs-motets/[5/31/2017 11:52:18 AM]
Seraphic Fire performed Bach’s complete motets Friday night at First United Church ofCoral Gables.
The six motets of Johann Sebastian Bach represent the Baroque master at his most experimental andinspired. Taking a form pioneered by Monteverdi and Palestrina, Bach pushed the boundaries of formand harmonic structure in these scores, which are far from mere choral vignettes.
Continuing their Bach immersion which began with music from Bach cantatas in collaboration with theCleveland Orchestra and will culminate in performances of the Easter Oratorio in April, Seraphic Firepresented the motets Friday night in First United Methodist Church in Coral Gables.
These six works were commissions that Bach created for special days or occasions, such as holidaysor wedding festivities. Seraphic Fire artistic director Patrick Quigley first programmed these scores in2006. Fine as those initial performances were, Friday’s presentation was better. Quigley’s current choiris superior, both in terms of individual voices, the singers’ experience and corporate precision..Todayhe is a much more experienced conductor as well and Bach’s music often brings out the best inQuigley. These performances have the extra stamp of authority and passion that occurs whenconductor and repertoire are perfectly matched. Even Quigley’s physical gestures seemed more
Sat Feb 18,2017at 12:42 pmNo Comments
Quigley, Seraphic Fire at their finest in Bach’s motets
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South Florida Classical Review » » Quigley, Seraphic Fire at their finest in Bach’s motets
http://southfloridaclassicalreview.com/2017/02/quigley-seraphic-fire-at-their-finest-in-bachs-motets/[5/31/2017 11:52:18 AM]
animated and enlivening.
Lobet den Herrn, alle Heiden (Praise the Lord, all the heathens) is a joyous, celebratory work. Thechoir’s articulation was immaculate and the female and male voices were agile and well matched inBach’s ornamental pages. In the slower central section, the continuo of organ, therobo and cello addedweight to the reverent liturgical aura. Throughout the concert, the outstanding musicianship of organistJustin Blackwell, cellist Guy Fishman and John Lenti on therobo was strongly evident. The playersbrought out the minute nuances of Bach’s instrumental writing while blending seamlessly with thevoices.
The solemn and grave Komm Jesu, komm (Come Jesus, come) displayed Quigley’s unique ability tomake each of the 18 voices clearly audible while achieving a mellow, blended sonority. Fishman’s darkcello tone ably seconded the motet’s austere prayer for an end to life by an ailing and ebbing soul. Thechoir sounded, by turns, ethereal, buoyant and full voiced in this eloquent score.
In contrast Singet dem Herrn ein neues Lied (Sing to the Lord a new song) is festive. Quigley broughtlightness and clipped twists of phrasing to the pulsating rhythms of the opening section. Theinstrumental contingent was beautifully integrated into the vocal fabric. In the second part, scored forfour soloists and choir, the vocal quartet was first-rate. Margot Rood’s high, pure soprano, MargaretLias’ authoritative mezzo and the firmly placed low notes of John Buffett’s bass all excelled in difficultsolos. Brian Giebler’s attractive light tenor provided strength and skilled ensemble voicing. In theintricate final Hallelujah fugue, Quigley’s impetus and the layered, transparent textures of the highwomen’s voices coalesced in a model of first rate Bach performance.
Opening the program’s second half, Der Geist hilft unsrer Schwachheit auf (The Spirit helps ourweakness) proved invigorating. The double choir writing was immeasurably aided by the sanctuary’sacoustic. In the high ceilinged venue, there is space for the sound to flow and make an impact which iswell-nigh ideal for Bach’s choral works. The quintessential Seraphic ensemble sound and disciplinewere at their zenith in the final chorale for a performance in the most uplifting modern Baroque manner.
Fürchte dich nicht, ich bin hei dir (Do not fear, I am with you) is the least performed of the motets andthe most strikingly original. Quigley called this chromatic fantasy “the hardest thing I have ever done.”Starting in A Major, the score traverses every key with a display of chromatic writing that would not beheard again until the nineteenth century. This is harmonically adventurous and disturbing music, andthe choir’s precise intonation and acute response were all the more impressive for the music’scomplexity.
Jesu, meine Freude (Jesus, my joy) is the most extended of these scores. A chorale of unusually longmelodic span is followed by a set of variations. Varying in meter and mood from lively to serious andcontemplative, this large scale work was led with intense feeling by Quigley. Here variations ofdynamics were most clearly focused. In one section, the female voices sing an entirely different choraleas the top layer to the male’s voices variant on the main melody. The effect was aurally stunning.
Seraphic Fire’s reading of the motets was another of the group’s top offerings and the coming EasterOratorio can only be looked forward to with the greatest anticipation.
Seraphic Fire repeats the Bach motets 7:30 p.m. Saturday at All Saints Episcopal Church in Ft.Lauderdale and 4 p.m. Sunday at Vanderbilt Presbyterian Church in Naples.
Seraphic Fire presents Bach’s Easter Oratorio 7:30 p.m. April 13 at First United MethodistChurch in Coral Gables and 7;30 p.m. April 14 at All Saints Episcopal Church in Ft. Lauderdale.seraphicfire.org
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La Seraphic Fire cierra su temporada con un concierto extraordinario | El Nuevo Herald
http://www.elnuevoherald.com/entretenimiento/musica/article151059012.html[5/31/2017 12:14:05 PM]
NOTICIAS DEPORTES ENTRETENIMIENTO
PROPIEDADES A LA VENTA
88° Ingresar | Suscríbase
MAY 17, 2017 2:38 PMMÚSICA
La Seraphic Fire cierra su
temporada con un concierto
extraordinario
DANIEL FERNÁNDEZEspecial/el Nuevo Herald
El Miserere, de Allegri es posiblemente una delas obras corales más gustadas y conocidas.Excelente elección de la Seraphic Fire comoatractivo principal del concierto final de sudecimoquinta temporada.
Este grupo, radicado en Miami, cuenta convoces extraordinarias que viajan desde ciudadesa horas de vuelo para ofrecer estos conciertosque convierten esta ciudad en un baluarte deese tipo de música. Los premios obtenidos poreste grupo y por sus discos reconocen unacalidad que no deja de asombrar. Concierto trasconcierto las interpretaciones alcanzan nivelesinsospechados de belleza, sentimiento, y a misoídos: perfección.
El director James K. Bass y la coral Seraphic Fire.Cortesía - Daniel Fernández
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La Seraphic Fire cierra su temporada con un concierto extraordinario | El Nuevo Herald
http://www.elnuevoherald.com/entretenimiento/musica/article151059012.html[5/31/2017 12:14:05 PM]
La noche del 10 de mayo, en el ámbitomaravilloso de la iglesia Santa Sophia deMiami, no fue una excepción en esta tradiciónde excelencia, bajo la dirección de James K.Bass, director asociado y bajo principal, elgrupo ofreció una noche inolvidable,espectacular cierre de una serie colmada deéxitos.
Abrió la noche el mencionado Miserere. Aquí selució la soprano Cait Frizzell, a cargo delfamoso ritornelo que le da a la obra un airecelestial; aunque todas las voces parecíancelestiales. Muy acertada la idea de separar ungrupo de voces y colocarlo en un lateral paraaumentar el dramatismo con un efecto deantífona. Solo por escuchar esta obra ya valía lapena haber asistido; pero había más, muchomás. Siguieron dos madrigales del tenebrosoGesualdo, y luego obras más luminosas deBennet y Weelkess, para regresar al mundoreligioso con una espléndida entrega del SalveRegina, de Victoria, donde actuó como solistael tenor Stephen Soph.
Las pausas entre piezas o grupos de piezas eranpunteadas por los sabios y amenos comentariosde Bass. Todo el programa, que iba del sigloXVI a la actualidad, resultó de un gustoexquisito, con obras muy especiales como OSacrum Convivium, de Messiaen.
Kyle Nielsen, que celebraba la recienteadquisición de su doctorado musical y sunombramiento en una universidad de Virginia,dirigió dos bellos spirituals, que aportaron untoque más movido y alegre a la noche.
El cierre fue una sorpresa muy bien recibida, laChichester Mass, de Albright, obra de 1974, queparticipa tanto de la más antigua tradición
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La Seraphic Fire cierra su temporada con un concierto extraordinario | El Nuevo Herald
http://www.elnuevoherald.com/entretenimiento/musica/article151059012.html[5/31/2017 12:14:05 PM]
polifónica como de los más atrevidoscromatismos modernos. Sobrenatural el efectoen el Sanctus, en el que prácticamente cada unade las voces va en un tono distinto. En todas lasobras de esa noche, llenas de belleza ydificultad, el grupo se lució en conjunto y deuno en uno, pues casi todos tuvieron sumomento estelar. Esta es una verdaderaconstelación de estrellas donde cada voz esdepositaria y ejemplo del fuego seráfico que lesda nombre. Inolvidable fin de temporada.
Seraphic Fire comenzará su nueva temporadael 18 de octubre con ‘Selva Morale etSpirituale’, de Monteverdi. Información yentradas: 305-285-9060 y SeraphicFire.org.
El director James K. Bass explica la pieza a interpretar. Ala izquierda, el tenor Patrick Muehleise, a la derecha, lasoprano Cait Frizzell. Cortesía - Daniel Fernández
Despite Losing Grant, Choral Group Still Teaching Miami Students To Sing | WLRN
http://wlrn.org/post/despite-losing-grant-choral-group-still-teaching-miami-students-sing[6/7/2017 1:02:14 PM]
Despite Losing Grant, Choral Group StillTeaching Miami Students To SingBy JOHN O'CONNOR • NOV 22, 2015
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As soon as the fourth and ffth graders at Natural Bridge Elementary were handed the
Natural Bridge Elementary School students sing "Amazing Grace."JOHN O'CONNOR / STATEIMPACT FLORIDA
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Despite Losing Grant, Choral Group Still Teaching Miami Students To Sing | WLRN
http://wlrn.org/post/despite-losing-grant-choral-group-still-teaching-miami-students-sing[6/7/2017 1:02:14 PM]
lyrics to "Amazing Grace," they were ready to sing out.
But frs, they needed a lesson in the four voice types of a choir – bass, tenor, alto and
soprano.
One by one members of the group added their part while the sudents waited to sing the
melody. Finally, it was time to add soprano Sara Guttenberg.
“I really hope she sings the melody,” tenor Patrick Muehleise told the kids.
The sudents are ready. They join in before the conductor gives them their cue.
Natural Bridge Elementary has maintained its music classes even as schools across the
country have eliminated them.
In Miami-Dade those decisions are made by each school.
For this school in North Miami, music is important. Many of the sudents are Haitian or
Caribbean immigrants and sill adjusing to school in the U.S.
And principal Frank MacBride says he can connect with almos every sudent through
song.
“The kid may not be sraight A's,” he says. “The kid may not speak English, but he may
know 'Amazing Grace' from sitting in church. And he can sing. And he may want to try to
sing.”
In pas years, MacBride encouraged
dozens of Natural Bridge Elementary
sudents to join the Miami Choral
Academy. Seraphic Fire taught choral
music and theory to Miami sudents
through the program.
Students rehearsed after school and put
on a performance at the end of the
Despite Losing Grant, Choral Group Still Teaching Miami Students To Sing | WLRN
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program.
MacBride says all diferent kinds Natural
Bridge Elementary sudents joined the
Miami Choral Academy.
“Every kid that was in MCA that took these sandardized tess showed growth,” he says.
“So it’s a fact that children that are musical, that read music… do better on sandardized
tess.”
And he says they became better sudents in general.
But this year the Miami Choral Academy los their grant -- and the full-time saf that
helped sudents rehearse and put on a concert.
So the two-time Grammy-nominated group fgured out a way to keep working with
sudents.
They plan on giving lessons to about 1,000 Miami-Dade sudents -- which is actually a
lot more than could join the Miami Choral Academy.
It’s not their frs time in front of a classroom. All four Seraphic Fire members visiting
Natural Bridge Elementary have been teachers – from elementary through college.
Bass singer James Bass taught a year in elementary school.
“The one thing you learn right away when you teach that age,” he says, “is you can’t
have dead air. You mus keep the activities going.”
The four Seraphic Fire members run through songs with the sudents for more than
hour.
They sart with some call and response
sounds to warm-up the vocal cords.
Tenor Patrick Muehleise, soprano SaraGuttenberg, alto Luthien Brackett and bass JamesBass of Serpahic Fire. All have worked asteachers.
CREDIT JOHN O'CONNOR / STATEIMPACT FLORIDA
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“KUH! KUH!” Bass sarts.
“KUH! KUH!” the sudents respond.
“TSH! TSH!” Bass leads.
“TSH! TSH!” the sudents call back.
They lead the sudents through more call
and response to a summer camp tune before moving to the harmony lesson of “Amazing
Grace.”
Finally, they let the sudents cut loose on “Zum Gali Gali,” an Israeli folk song.
Before ending the lesson, Bass asked sudents what they like about singing the songs.
A sudent raises his hand.
Natural Bridge Elementary students snap alongwith members of Seraphic Fire.
CREDIT JOHN O'CONNOR / STATEIMPACT FLORIDA
Despite Losing Grant, Choral Group Still Teaching Miami Students To Sing | WLRN
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TAGS: ARTS ELEMENTARY EDUCATION EDUCATION NEWS
“It made me feel confdent,” he says, adding it’s fun to sing loud.
Seraphic Fire alto Luthien Brackett says singing in a group does make you feel more
confdent.
“Because you’re not put on the spot,” she says. “You don’t have to be the one
everyone’s lisening to. You can jus be part of a group and so you can be a little bit safe,
but you’re immediately engaged.”
When Seraphic Fire performs a concert in December, these sudents will be in the
audience.
And in January, Seraphic Fire members will be back at Natural Bridge Elementary to talk
to sudents about what they heard.
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