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Keeping Up with the Venetians — Part One
Keeping Up with the Venetians Program Notes for Venetian Baroque: Galuppi + Vivaldi + Bortniansky The islands in the Venetian lagoon, which by the 8th century had banded together to ally themselves with the Empire of the Romans governed from Constantinople (Byzantium), quickly became one of the inhabited world’s great centers of power and wealth.
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Lost Treasures of Armenia
The Holy Armenian Apostolic Orthodox Church continues to embody a living tradition of primarily monodic vocal music of exceptional richness and beauty. Though its hymnography is traditionally believed to have commenced with the invention of the Armenian alphabet in the fifth century, and the Hymnal as a canonical collection was definitively closed in the fourteenth
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Ukrainian-American Artist Mary Chomenko Hinckley to Display Artworks at Portland Concert
Mary Chomenko Hinckley, a first generation Ukranian-American, works in bronze, resin, glass, paint and photography. Her investigations create a colorful dialogue between nature and civilization and time and place. She is Portland-based. At the Portland concert of Christmas in Ukraine, you’ll have the chance to see three of her works up-close, including life-size urban coyotes
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They Are At Rest – Program Notes
At the eleventh hour of the eleventh day of the eleventh month of 1918, an armistice was signed which brought to a close the greatest human conflict so far known to man. What had begun as a border dispute in the Balkan States of South-Eastern Europe in 1914, expected to last but a few weeks,
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Cappella Romana Welcomes Superstar Basso Profundo Glenn Miller for “The Vigil”
Among singers, they’re known as basso profundos. In Russian Orthodox music, they are referred to as oktavists. Whatever you call them, they are one of the rarest – and lowest – voice parts, often singing a full octave below the normal bass range, adding new dimension and depth to the sound of an ensemble. To
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Ivan Moody Talks Akáthistos Hymn With iClassics
“The harmonies are lush and dark in Russian style, though periodically the shadows disperse as in a cloud-break and the sound brightens. The effect over the whole hymn is of a slow revelation of light and warmth over an ancient musical ground.” (Willamette Week) “Something new, substantial, and profound” (Sunday Oregonian) Standing Room Only — Ivan
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How Timo Nuoranne is coming back to Cappella Romana
Audiences in the Pacific Northwest know Timo Nuoranne from his Cappella Romana debut with Arctic Light in 2014: a concert program that was almost scrapped, as the program’s original director (Fr. Ivan Moody) was forced to cancel his appearance due to a recent injury that prevented him from flying. The project was a brilliant success,
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Behind the Arvo Pärt Festival Logo
The logo for Cappella Romana’s Arvo Pärt Festival, which begins on Sunday, has some hidden meanings we’d like you to notice. First, the P in Pärt and the T in Festival are aligned in order to form a Staurogram, a ligature in ancient Christian manuscripts for the noun “cross” or its verb form “crucify.” The
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The Oregonian Explores Cappella Romana’s History
Brett Campbell explores Cappella Romana’s history in The Oregonian before this weekend’s 25th Anniversary Celebrations: “When Alexander Lingas moved to San Francisco in 1990, the Greek Orthodox cathedral where he’d just been appointed associate cantor lay in ruins, devastated by the 1989 Loma Prieta earthquake. Lingas wanted to help the church rebuild – and the
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Latin Music in Cyprus
Literary witnesses to the cultivation of music by the French kings of Cyprus are found in a variety of sources, but nearly all of the surviving music associated with the Lusignan court is contained in a single manuscript: Torino Biblioteca Nazionale Universitaria J.II.9. This remarkable document was, according to Karl Kügle (2012), evidently copied between
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ClassicalNet: Passion Week is An Ethereal Experience
ClassicalNet‘s Brian Wigman says Maximilian Steinberg: Passion Week is an example of why he’s “been a fan of Cappella Romana for a few years now”: “I’ve been a fan of Cappella Romana for a few years now, and they have thoroughly enriched our understanding of Orthodox choral music from all over the world. Director Alexander
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Orthodox Arts Journal Review for Good Friday
The Orthodox Arts Journal asks “How can music be alive?” in On History and Tradition: A Review of Cappella Romana’s “Good Friday in Jerusalem”. “Good Friday in Jerusalem is no exception to the level of quality that audiences have come to expect from Cappella Romana’s recordings; the singing on the disc is at once rich,
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