<![CDATA[Choral Arts Philadelphia - CAP in the News]]>Wed, 06 May 2026 13:45:30 -0400Weebly<![CDATA[Monteverdi's Modernity]]>Wed, 03 Jan 2018 17:02:25 GMThttps://www.choralartsphila.org/in_the_news/monteverdis-modernity
JANUARY 2, 2018
by Margaret Darby, for BroadStreetReview.com

From its opening responsorium (beautifully projected from the back of St. Clement’s Church by bass Jean Bernard Cerin) to the final "Magnificat," Choral Arts Philadelphia’s performance of Claudio Monteverdi’s Vespro Della Beata Vergin, 1610 (Vespers of 1610), started lively and remained exciting. Under the direction of Matthew Glandorf, its wild dissonances and rhythms highlighted those trademarks of Monteverdi’s music.

The Bach Collegium (regular players for Choral Arts Philadelphia's Bach @7 programs, minus their woodwinds), were joined by members of the Dark Horse Consort, who played instruments common to Monteverdi’s time: sackbut, cornetto, and recorders. The cornetti are surprisingly gentle, having thicker walls, finger holes, and a narrower bell than their modern descendant, the trumpet.

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]]><![CDATA[Bach Knew These works could stand the test of time]]>Tue, 21 Mar 2017 04:00:00 GMThttps://www.choralartsphila.org/in_the_news/bach-knew-these-works-could-stand-the-test-of-timePictureMatt Glandorf and Susan Lewis during the interview at the WRTI FM studio. (Photo by Inna Heasley)
MARCH 21, 2017 
by Susan Lewis, for WRTI FM

The arts journalist Susan Lewis sat down with our artistic director Matthew Glandorf to talk about "1734-1735: A Season in the Life of J.S. Bach" series, a unique project presenting a complete cycle of 18 surviving cantatas from Bach's most creative year. 

Hear full interview: "J.S. Bach Knew These Works Could Stand the Test of Time".
]]><![CDATA[Deciphering Bach]]>Tue, 14 Feb 2017 05:00:00 GMThttps://www.choralartsphila.org/in_the_news/deciphering-bachPictureSteven Zohn on flauto traverso, with members of the Choral Arts choir and the Philadelphia Bach Collegium. (Photo by Sharon Torello)
FEBRUARY 17, 2017
by Tom Purdom, for BroadStreetReview.com

Was Bach a deeply devout Christian or a professional musician who wrote a lot of religious pieces because the churches were one of the major commissioning institutions? It’s a question that’s intrigued me since I first started thinking about the relationships between artists and the societies that support them. The lectures delivered at the latest Bach@7 concerts suggested we should check the box marked “both.”

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]]><![CDATA[Anonymous Donor Sets Stage for Rarely Heard Christmas Oratorio]]>Fri, 30 Dec 2016 05:00:00 GMThttps://www.choralartsphila.org/in_the_news/anonymous-donor-sets-stage-for-rarely-heard-christmas-oratorioPicture"Christmas Oratorio" dress rehearsal moment. (Photo courtesy of NewsWorks crew)
DECEMBER 30, 2016
by Peter Crimmins for WHYY/NewsWorks

If you thought Christmas music was over for 2016, put your Santa hat back on: Choral Arts Philadelphia has one more concert up its sleeve.

The classical choir will perform Bach's entire "Christmas Oratorio" with orchestral accompaniment on New Year's Eve at the Episcopal Cathedral in University City.

The Christmas Oratorio is not heard very often because it's tough to pull off. It was written in 1734 as six, stand-alone cantatas, meant to be performed during different religious services over the course of the 12 days of Christmas...

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