Boston Baroque Celebrates the Holidays with Annual Messiah and New Year’s Concerts


Boston Baroque’s 50th season continues with a return to two programs that have become beloved holiday traditions for many: Handel’s Messiah and a New Year’s celebration. This year, audiences near and far will have the opportunity to join Boston Baroque for the holidays, as we welcome both in-person audiences and virtual audiences from around the world via a live stream on IDAGIO.

Performances of this year’s Messiah will take place on Saturday, December 3 at 7:30 p.m. at GBH’s Calderwood Studio and Sunday, December 4 at 3 p.m. at NEC’s Jordan Hall. The Saturday 7:30 p.m. performance will be streamed live on IDAGIO and available for rental on demand for 30 days after the broadcast.

Musical director Martin Pearlman’s GRAMMY-nominated rendition of Handel’s Messiah will be performed in its entirety with all three parts with an intermission. This year’s performances will feature a premier cast of soloists, including the return of soprano Heidi Stober, mezzo-soprano Ann McMahon Quintero and tenor Thomas Cooley to the Boston Baroque scene, as well as early Baroque from Boston by baritone Sidney Outlaw.

New Year’s Eve celebration performances will take place Saturday, December 31 at 8 p.m. at GBH’s Calderwood Studio and Sunday, January 1 at 3 p.m. at Harvard University’s Sanders Theatre. The 8 p.m. performance on December 31 will be broadcast live on IDAGIO.

Music Director Martin Pearlman will conduct the famous Boston Baroque Orchestra in a one-hour program without intermission. The program includes Bach’s Orchestral Suite No. 2 and his Brandenburg Concerto No. 6, Telemann’s Concerto in E minor for recorder and flute with soloists Aldo Abreu, recorder, and Joseph Monticello, flute, and the Vivaldi’s motet “O qui coeli” with soprano Amanda Forsythe.

Livestream Director Matthew Principe will helm both programs, partnering with GBH’s production group, delivering a sumptuous online concert experience with carefully crafted camera angles and dynamic lighting. Through our streaming partnership with IDAGIO, performances of Boston Baroque have been streamed on 5 continents across 17 countries over the past year.

Safety will remain a top priority for musicians and spectators. All customers are required to self-certify that they are fully vaccinated and boosted with a COVID-19 vaccine. A CDC-approved mask must be worn at all times in all indoor areas, and Boston Baroque strongly recommends using an N95, KN95, or double mask with a disposable surgical mask.

In-person and live tickets are available for purchase online at baroque.boston or by calling the box office at (617) 987-8600. Live tickets start at $9 and in-person tickets range from $25 to $125. The virtual performance will become available to stream on-demand 30 days after the live broadcast date, with on-demand rentals starting at $9.

The six-time GRAMMY-nominated Boston Baroque is the first permanent Baroque orchestra established in North America and, according to Fanfare Magazine, is widely considered “one of the finest period bands in the world.” The ensemble produces lively, emotionally charged and groundbreaking interpretations of baroque and classical works for today’s audiences, performed on instruments and using performance techniques that reflect the eras in which the music was composed.

Boston Baroque has extended its reach globally through its partnership with IDAGIO, the world’s leading classical music streaming service. Its 2021-2022 season was the first full season of a baroque orchestra to be broadcast on the platform and brought together virtual audiences from five continents (North America, South America, Asia, Europe and Australia) and more than 17 country.

Founded in 1973 as the “Banchetto Musicale” by musical director Martin Pearlman, the Boston Baroque Orchestra is made up of some of the finest period instrumentalists in the United States, and is frequently joined by the professional choir of the together and by world-class instrumental and vocal soloists. of the whole world. The ensemble has performed in major musical centers across the United States and recently performed in Poland for the 2015 Beethoven Festival, with sold-out performances of Monteverdi’s Vespers from 1610 in Warsaw and Messiah from Handel in Katowice.

Boston Baroque reaches international audiences with its twenty-six acclaimed recordings. In 2012, the ensemble became the first American orchestra to record with the highly regarded UK audiophile label Linn Records, and their release from The Creation was met with critical acclaim. In April 2014, the orchestra recorded Monteverdi’s rarely performed opera Il Ritorno d’Ulisse in patria, which was released on Linn Records and received two nominations for the 2016 GRAMMY Awards.

Boston Baroque recordings have received six GRAMMY nominations: its 1992 release of Handel’s Messiah, the 1998 release of Monteverdi’s Vespers of 1610, the 2000 release of Bach’s Mass in B Minor, the 2015 release of Il Ritorno d’Ulisse in patria by Monteverdi and the release in 2018 of The Mysterious Sonatas of Biber.

Boston Baroque founder, musical director and bandleader Martin Pearlman is one of this country’s foremost performers of baroque and classical music on period and modern instruments. In addition to Boston Baroque’s annual concert season, Mr. Pearlman tours the United States and Europe and has produced twenty-six major recordings for Telarc and Linn Records. Mr. Pearlman’s completion and orchestration of the music of Mozart’s Lo Sposo Deluso, his performed version of Purcell’s The Comic Story of Don Quixote and his new orchestration of Cimarosa’s Il Maestro di Cappella were all created by Boston Baroque.

Highlights of his work include Monteverdi’s complete cycle of operas, with his own successful new editions of L’incoronazione di Poppea and Il ritorno d’Ulisse; the American premiere of Zoroaster by Rameau; the Boston premiere of Rameau’s Pigmalion; the New England premieres of Iphigénie en Tauride and Gluck’s Alceste; and Beethoven’s symphonies on period instruments. Mr. Pearlman is also known for his series of internationally acclaimed Handel operas, including Agrippina, Alcina, Giulio Cesare and Semele. He made his Kennedy Center debut with the Washington National Opera in Handel’s Semele and has conducted the National Arts Center Orchestra in Ottawa, Utah Opera, Opera Columbus, Boston Lyric Opera, Minnesota Orchestra , the San Antonio Symphony and the New World Symphony. Mr. Pearlman is the only early music conductor to perform live on the international televised GRAMMY Awards.

Mr. Pearlman grew up in Oak Park, Illinois, where he received training in composition, violin, piano and theory. He earned his Bachelor of Arts at Cornell University, where he studied composition with Karel Husa and Robert Palmer. In 1967-1968 he studied harpsichord in Amsterdam with Gustav Leonhardt on a Fulbright scholarship, and in 1971 he obtained his Master of Music in composition at Yale University, studying composition with Yehudi Wyner and harpsichord with Ralph Kirkpatrick. After moving to Boston, he performed widely as a solo harpsichordist in the United States and Europe, and in 1973 he founded America’s first period instrument orchestra, Banchetto Musicale, now called Boston Baroque. He was also a professor of music in the Department of Historical Performance at Boston University School of Music.

Martin Pearlman’s recent compositions include a string quartet, works for piano, a comic chamber opera The Life and Opinions of Tristram Shandy, a three-act work on Finnegans Wake, as well as The Creation According to Orpheus, for solo piano, harp, percussion and string orchestra. He also composed the music for three pieces by Samuel Beckett, commissioned and premiered at New York’s 92nd Street Y and performed at Harvard University.

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