Our Next Performance
The Heart of the Singer | Saturday-Sunday, May 18-19, 2019
The Wound in the Water is a 2016 composition for chorus, piano, and string orchestra by the Norwegian composer Kim André Arnesen, setting verse by the Welsh poet Euan Tait. The work explores powerful elements that vex human life early in the 21st century, fostering division, creating conflict, and blunting the capacity for love. (It also offers hope that humanity may find its way back to a shared song.) Also on the program: Inter Natos Mulierum, a bright, intriguing offertory for the Feast Day of John the Baptist (June 24), written by W.A. Mozart in his teens or early 20s.
Program details || For Saturday: Tickets and Venue | For Sunday: Tickets and Venue
Concert tickets are also available online at the Singers’ Square store
Still to Come
- Community Sing | 7 p.m. Tuesday, May 28, 2019, at the Carter Center
It’s your turn to join the chorus. Artistic Director Christine Noel will lead Providence Singers and guests in a reading of Franz Josef Haydn’s Creation. It’s a great chance to learn more about the work and to sing one of the most famous C-major chords in Western music. All voice parts are welcome. We’ll have soloists for the performance, and pianist John Black will be the orchestra of one. Bring a score if you have one (we’ll have some to lend). Your $10 donation includes a post-performance reception.
Singing in summer
The 2019 JPS moves to the campus of Barrington High School
The JPS — Junior Providence Singers — is a summertime deep-dive choral enrichment program for singers of high school age. Beyond vocal training, musicianship, and choral skills, JPS offers master classes, techniques for movement and stage presence, and much more — all aimed at a final-session, not-to-be-missed concert August 15. This year, JPS will convene at Barrington High School on Tuesdays and Thursdays, July 16 through August 15, from 6:15 to 9 p.m.
More about JPS || Download forms: Application | Financial aid | Teacher’s recommendation
Recordings of the Providence Singers
Dan Forrest: Requiem for the Living
Dan Forrest’s Requiem for the Living proved to be a powerful work in performance for both singers and listeners. He wrote it in 2013. The Providence Singers performed it in November 2014, together with three Bach motets. Little more than two years after the concert, the Singers had finished its initial Kickstarter campaign, raised additional funds, and booked a recording session at Mechanics Hall in Worcester. The CD was released December 5, 2017.
Notes and text | Download at iTunes | Amazon | Google Play
Lou Harrison: La Koro Sutro
La Koro Sutro, sung entirely in Esperanto and accompanied by an American gamelan — built for performances in Boston and Providence by our friends at the Boston Modern Orchestra Project — was exotic, immediately engaging, and unlike anything the Singers had encountered before or performed since. BMOP paired the Singers’ recording of La Koro Sutro with Harrison’s Suite for Violin and American Gamelan to make an extraordinary CD, released in July 2014. Program Notes | Read the Globe’s review
Dominick Argento: Jonah and the Whale
Jonah was a difficult prophet. He tried to wriggle out of divine assignments and whined loudly enough to annoy even God. Dominick Argento used medieval poetry, the Book of Jonah and other sources to prepare the libretto for this composition, preserving ancient alliterations and a great deal of wit and charm: “Even the casual listener will notice that the whale (the trombone solo in the Intermezzo section) gets the best tune in the work. And this is as it should be since I consider the whale, not Jonah, to be the hero of the piece.” Notes on the work ...
Lukas Foss: The Prairie
Lukas Foss fled Nazi Germany with his family – first to Paris in 1933 and then to the United States in 1937. He was 15 when he arrived in Philadelphia to begin his studies at the Curtis Institute. Foss embraced his new homeland – “... as a boy of 15, I fell in love with America,” he said – becoming a U.S. citizen in 1942. He found Carl Sandburg’s poem when he was 19 and began almost immediately to set it to music, adapting it himself without a librettist. The Singers loved it as well. Notes and composer’s commentary ...