PRESS QUOTES “Sung gorgeously ... like jeweled light flooding the space” Los Angeles Times “Among those offering the most unique repertory [in Early Music] is CappellaRomana.” Seattle Post-Intelligencer “They were downright seductive” Seattle Gay News “an immensely satisfying performance.” The Oregonian “evocative chants of the ancient Mediterranean” The University of Washington Daily “CappellaRomana sang it all with somber elegance, Lingas gracefully tracing the musical progress, conducting while singing.... This is a compelling ensemble of musical scholars which we hope returns soon.” The Orange County Register “Byzantium lives on ... thanks to CappellaRomana” The Wall Street Journal “sung with such strength and commitment” Los Angeles Times “a delightful afternoon journey to a different time and place.” Review Vancouver “Music of purity and radiance” Gramophone “Gorgeous, and stirring” Willamette Week “robust and intriguing music” The Washington Post “pure, sumptuous pleasure” The Oregonian “Glory of ancient chants comes alive with CappellaRomana” Seattle Post Intelligencer “The heavens truly ring with angelic voices” Early Music Review “CappellaRomana is, as always, vocally superb. The deep richness of their voices and the control and clarity of their singing have never sounded better.” Early Music America Magazine “A beauty-rich program... Most exhilarating and remarkable was the performance of Guillaume Dufay’s Ecclesiae militantis” Bloomington Herald Times “rapturous lyricism with a whiff of Byzantine incense” The Oregonian
CAPPELLA ROMANA VOICES OF BYZANTIUM TOURING PROGRAMS Fee ranges: USD $7,500 - $12,000 (EUR €4,800 - €7,700) plus travel, negotiable THE FALL OF CONSTANTINOPLE (A.D. 1453) The Fall of Constantinople, CappellaRomana’s most in-demand program, is a historically rich and emotionally affecting program of a cappella vocal music documenting the fate of Orthodox Hellenism during the twilight years of the Eastern Roman (Byzantine) Empire. The program includes majestic chants from the Divine Liturgy of St. John Chrysostom, the earliest surviving Byzantine part-music (polyphony), and Latin ceremonial motets marking the West’s complicated relations with Greek East. It concludes with two haunting laments commemorating the fall of Constantinople to the Ottoman Turks in 1453: one by Guillaume DuFay (c.1399–1474) and the other Manuel Chrysaphes the Lampadarios, court musician to the last Byzantine Emperor Constantine XI. Select performances: Metropolitan Museum of Art, New York; the J. Paul Getty Museum, Los Angeles; Yale University and Princeton University; Bloomington Early Music Festival, Early Music Society of the Islands (Victoria, BC, Canada); University of Oregon. CD available. MT. SINAI, FRONTIER OF BYZANTIUM: CHANT FROM ST. CATHERINE’S MONASTERY, SINAI, EGYPT (14th - 15th c.) CappellaRomana appears in this program as an all-male a cappella ensemble directed by Dr. Alexander Lingas. CappellaRomana presents virtuoso medieval Byzantine chants from St. Catherine’s Monastery, Sinai, Egypt—music few have heard in over five hundred years—including psalms, hymns, and mystical chants from the Play of the Three Children in the Fiery Furnace, Byzantium’s only liturgical drama. This program was described as “robust and intriguing music” by The Washington Post. Recent performances: J. Paul Getty Museum; the Smithsonian Institution; St. Mary’s Cathedral Portland; Town Hall Seattle. BYZANTIUM IN ROME: BYZANTINE CHANT FROM GROTTAFERRATA (13th - 14th c.) A breathtaking program by an all-male ensemble of Medieval Byzantine Chant sung from manuscripts made at the Abbey of Grottaferrata in the suburban hills of Rome, which has operated continuously in the Byzantine rite since its founding, before the Great Schism, in 1004. During the Middle Ages, Grottaferrata was the site of an important scriptorium, the surviving manuscripts of which bear precious witness to musical repertories sung in Constantinople before the Crusader sack of 1204. The first part is devoted to the life and work of the monastery’s founders St. Neilos and St. Bartholomew followed by the second part for Pentecost, whose central work is the Teleutaion (Final Antiphon) of the kneeling vespers in the medieval cathedral rite, featuring extended psalmody and ecstatic settings of the angelic refrain “Alleluia,” foreshadowing the beautified (“kalophonic”) chant of St. John Koukouzeles. Recent performances: Pontificio Istituto Orientale, Rome; Paradhòsis: Byzantine Music Festival, Palermo, Sicily, Italy; Queen’s University, Belfast, Northern Ireland; University of Limerick, Ireland; St. Mary’s Cathedral Portland; Town Hall Seattle. Double CD available. CYPRUS: BETWEEN GREEK EAST AND LATIN WEST (15th - 16th c.) The program “Cyprus” presents Latin chant and polyphony from Cyprus MS Torino J.II.9 and Byzantine chant by Cypriots Andreas Stellon, Nicholas Asan, and Ieronymous Tragodistes. To this day, the island of Cyprus stands at a crossroads between East and West. Alexander Lingas leads CappellaRomana in an intrepid exploration of 15th- and 16th-century Cypriot music in both Byzantine and Western styles, including virtuosic ars subtilior music composed for the Royal Court of Cyprus (c. 1308-1432) from the manuscript J.II.9 housed at the University of Turin. Recent performances: St. Mary’s Cathedral Portland; Town Hall Seattle. CD forthcoming. HELLENES AND THE RENAISSANCE (15th - 16th c.) A program of works in Greek, Latin, and French born from meetings between East and West during the 15th and 16th centuries. The Byzantine musical tradition around the time of the fall of Constantinople to the Ottomans in 1453, in Greek lands under Italian rule or influence, including music by Manuel Gazes (early 15th c.) and John Plousiadenos (fl. mid 15th c.). The second half of the program first considers Western musical responses to the Ottoman conquest, passing from the initial shock in Guillaume Dufay’s profound Lamentio to secular and sacred uses of L’homme armé (“The Armed Man”), a song associated with the Burgundian court and its efforts to mount a rescue crusade in the East against the Turks. Some musicians went to the West for more opportunities, including Franghiskos Leontaritis (1518?-1572?), the son of a Greek mother and Italian father who eventually sang in Venice under Willaert in San Marco and in Munich under Lassus. Leontaritis composed a significant body of works, from which CappellaRomana sings five Latin motets. Recent performances: Princeton University, Yale University. THE BYZANTINE INHERITANCE From Constantinople to California: the medieval origins of Byzantine chant to contemporary choral works inspired by the tradition. Mixed chorus of 8-20. Fees negotiable.