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Herbert Blomstedt conducts Mozart, Bernstein and Haydn


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Maestro Blomstedt conducts the BSO in a second performance, featuring Haydn's majestic Missa in angustiis (Lord Nelson Mass)-a work Bernstein conducted at Tanglewood in 1977 as part of a years-long survey of the Haydn masses-with soprano Hannah Morrison, mezzo-soprano Elisabeth Kulman, tenor Nicholas Phan, baritone Michael Nagy, and the Tanglewood Festival Chorus. At the heart of the program is Bernstein's own Ḥalil, Nocturne for flute and orchestra, with BSO principal flutist Elizabeth Rowe as soloist. Maestro Blomstedt begins the program by conducting Mozart's Symphony No. 34.

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Herbert Blomstedt, conductor
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Noble, charming, sober, modest. Such qualities may play a major role in human coexistence and are certainly appreciated. However, they are rather untypical for extraordinary personalities such as conductors. Whatever the general public's notion of a conductor may be, Herbert Blomstedt is an exception, precisely because he possesses those very qualities which seemingly have so little to do with a conductor's claim to power. The fact that he disproves the usual clichés in many respects should certainly not lead to the assumption that this artist does not have the power to assert his clearly defined musical goals. Anyone who has once attended Herbert Blomstedt's rehearsals and experienced the concentration on the essence of the music, the precision in the phrasing of musical facts and circumstances as they appear from the score, the tenacity regarding the implementation of an aesthetic view, will probably have been amazed at how few despotic measures were required to this end. Basically, Herbert Blomstedt has always represented that type of artist whose professional competence and natural authority make all external emphasis superfluous. His work as a conductor is inseparably linked to his religious and human ethos, accordingly, his interpretations combine great faithfulness to the score and analytical precision with a soulfulness that awakens the music to pulsating life. In the more than sixty years of his career, he has acquired the unrestricted respect of the musical world.

Over the years, many outstanding ensembles around the globe have been able to secure the services of this highly respected Swedish conductor, born in the USA and educated in Uppsala, New York, Darmstadt and Basel. At the age of ninety, Herbert Blomstedt continues to be at the helm of all leading international orchestras with enormous mental and physical presence, verve and artistic drive.

Herbert Blomstedt, conductor Elizabeth Rowe, flute
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BSO principal flutist Elizabeth Rowe joined the Boston Symphony Orchestra in 2004 and holds the Walter Piston Principal Flute Chair. Prior to joining the BSO, Ms. Rowe held titled positions with the orchestras of Fort Wayne, Baltimore, and Washington, D.C. Regularly featured in front of the orchestra, she has been soloist with the BSO in Elliott Carter's Flute Concerto (including its American premiere performances under James Levine in February 2010, followed by later performances in Boston and San Francisco); the Ligeti Double Concerto for flute and oboe with Christoph von Dohnányi conducting and BSO principal oboe John Ferrillo; Gabriela Lena Frank's Illapa, Tone Poem for Flute and Orchestra, with Miguel Harth-Bedoya conducting; Mozart's G major flute concerto, K.313, with which she made her first BSO appearance as a concerto soloist in August 2008, under André Previn's direction at Tanglewood; Frank Martin's Concerto for Seven Wind Instruments, Timpani, Percussion, and Strings in October 2012; Bach's Brandenburg Concertos Nos. 5 and 2 at Tanglewood in 2012 and 2013, respectively; Mozart's C major concerto for flute and harp in 2016 in Boston and at Tanglewood, with BSO principal harp Jessica Zhou; and, most recently, Leonard Bernstein's Ḥalil in September 2017, in the BSO's season-opening all-Bernstein program with Andris Nelsons conducting. In November 2017, she and Ms. Zhou perform Mozart's Concerto for Flute and Harp with Andris Nelsons and the BSO during the orchestra's tour that month to Japan. Noted for her insightful teaching, Ms. Rowe attracts flute students from around the country to her lessons and master classes. She works regularly with students at the New England Conservatory and the Tanglewood Music Center and is a frequent guest artist at the New World Symphony. She previously taught at the Peabody Conservatory of Music and University of Maryland. A member of the Boston Symphony Chamber Players, she can be heard in a wide variety of chamber works throughout the season at NEC's Jordan Hall and in several recordings. Elizabeth Rowe grew up in Eugene, Oregon. She received her bachelor of music degree from the University of Southern California, where she was a Trustee Scholar and a student of Jim Walker, former principal flute of the Los Angeles Philharmonic. Ms. Rowe's connection to the Boston Symphony Orchestra dates back to the summer of 1996, when she was a Tanglewood Music Center Fellow and performed as principal flute under Seiji Ozawa's direction in the TMC production of Benjamin Britten's Peter Grimes that marked the fiftieth anniversary of the opera's 1946 American premiere at Tanglewood.

Elizabeth Rowe, flute
Hannah Morrison, soprano
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Born into an Icelandic-Scottish family, soprano Hannah Morrison is in demand as an interpreter of Bach's works.

Under the baton of Sir John Eliot Gardiner she made her Salzburg Festival debut in 2013 in Alexander's Feast (Handel), she sang in Schumann's Paradise and the Peri and Brahms' A German Requiemwith Leipzig Gewandhaus Orchestra in 2014. She made her BBC Proms debut in Bach's Easter Oratorio; then, in 2016, she made appearances in Mozart's Requiem and Bach's St Matthew Passion.

Hannah Morrison regularly makes guest appearances with Les Arts Florissants conducted by Paul Agnew. In 2017, among other roles, she covered the role of La Musica and Euridice in their production of Monteverdi's Orfeo. The CD "Harmonia Sacra" (with William Christie) was released on Virgin Classics in 2007. 

Very recently she concertized with Masaaki Suzuki and the Bach Collegium Japan, with the Musik Podium Stuttgart (Frieder Bernius), with the Ricercar Ensemble (Philippe Pierlot), with the Beethoven Orchester Bonn (Stefan Blunier), with the Capella Augustina (Andreas Spering), the Bavarian Radio Choir (Olari Elts) and with Collegium Vocale Gent (Philippe Herreweghe).

As a solo Lied performer she has been invited to give recitals with Joseph Middleton at the Beethovenhaus in Bonn (October 2015) and at Cologne Philharmonie (June 2016). She has already given vocal recitals in the UK with pianists Eugene Asti and Graham Johnson at Oxford Festival, as well as in outstanding London venues such as Kings Place and Wigmore Hall. She also gave a guest vocal recital accompanied by lutenist Sören Leupold at Potsdam Music Festival in June 2015, which will be presented again at Schloss Elmau in August 2017. 

Further upcoming projects for season 2017/2018 include concerts with works by Schütz with the early music ensemble Gli Angeli Genève (Stephan Macleod), Monteverdi's Vespers with the RIAS Kammerchor (Justin Doyle), a WDR concert with the Cölner Barockorchester, Monteverdi's Madrigal Books in Canada with Les Arts Florissants (Paul Agnew), works by Buxtehude with Ricercar Consort (Philippe Pierlot), a concert tour featuring works by Bach and Kuhnau with B'Rock (Benjamin Bayl), and a concert tour with Bach Cantatas with the Monteverdi Choir (Sir John Eliot Gardiner). 

Hannah Morrison grew up in Holland and got acquainted with music from an early age. Her instruments were the oboe, the recorder and the piano. Her passion however also went to the world of classical ballet and choir singing. For her Music Studies she chose piano and singing at the Music Academy in Maastricht (Holland). She moved on to the Hochschule für Musik und Tanz in Cologne, where she studied with Prof. Barbara Schlick and obtained her concert diploma. During this period, she also completed a "Masters in Music in Performance" at the London Guildhall School of Music and Drama under professor Rudolf Piernay.

Hannah Morrison now lives with her family in Cologne.

Hannah Morrison, soprano Elisabeth Kulman, mezzo-soprano
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The Austrian mezzo-soprano and contralto, Elisabeth Kulman, first studied linguistics (Russian, Finno-ugristic) and musicology before proceeding to study voice with Helena Lazarska at the University of Performing Arts in Vienna, where she graduated in 2001 with Unanimous Distinction both in Opera and Lied/Oratorio. For her exceptional artistic achievements she was awarded the Prize of Merit by the Austrian Federal Ministry of Culture.

The same year saw her making her extremely successful stage debut as Pamina in W.A. Mozart's Die Zauberflöte at Volksoper Vienna. She quickly established herself especially as a W.A. Mozart singer (Countess Almaviva, Donna Elvira).

Since 2004, when she changed to the mezzo and alto Fach, Elisabeth Kulman has shortly rebuilt an extensive repertoire: Carmen (Georges Bizet), Prince Orlofsky (The Bat/J. Strauss), Hansel (Engelbert Humperdinck), Boccaccio (Suppé), Suzuki (Madama Butterfly/Puccini), Magdalena (Evangelimann/Kienzl), Third Lady Die Zauberflöte /W.A. Mozart), Fenena (Nabucco/Verdi), Hippolyta (A Midsummer Night's Dream/Benjamin Britten), Nancy (Martha/Flotow) etc. In 2005, she took over the role of Gluck's Orfeo at the Paris National Opera on short notice, which brought her a lot of attention and another invitation for the same part for 2008.

At the Vienna State Opera, whose member she has been since September 2007, Elisabeth Kulman has excelled in roles as diverse as Marina (Boris Godunov/Mussorgsky), Suzuki and Prince Orlofsky to glowing reviews. For her brilliant interpretation of the latter role she became the recipient of the Eberhard Waechter Medal in 2007. Another highlight in her ongoing career was her highly-acclaimed Carmen at the Berlin State Opera "Unter den Linden" in October/November 2007. Her interpretion of the name part in Il Giustino by Baroque composer Giovanni Legrenzi, conducted by Thomas Hengelbrock at the Schwetzingen Festival, contributed to the award of this opera as the "Re-discovery of the year 2007".

Besides opera parts, Elisabeth Kulman's musical activities also cover concerts. With great stylistic accuracy and vocal flexibility she realizes a wide musical spectrum, ranging from Baroque, classical, romantic to contemporary music. As an internationally sought-after soloist she has already worked, among others, with conductors like Franz Welser-Möst, Thomas Hengelbrock and Nikolaus Harnoncourt. A performance of J.S. Bach's Christmas Oratorio (BWV 248), conducted by Peter Schreier was released on DVD as well as a live performance CD-recording of Gustav Mahler's 2nd Symphony with the New Japan Philharmonic Orchestra conducted by Christian Arming.

Elisabeth Kulman is also an exceptionally devoted Lieder recitalist. In November 2007, she made her highly appreciated debut at Vienna Musikverein, together with accompanist Walter Moore. Besides duo recitals, she also performs songs in arrangements for unconventional line-ups: she presented a Moussorgky program with the jazz quartet Pago Libre, and arrangements of G. Mahler songs with the Ensemble Amarcord Wien.

Elisabeth Kulman, mezzo-soprano
Nicholas Phan, tenor
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Described by the Boston Globe as “one of the world’s most remarkable singers,” American tenor Nicholas Phan is increasingly recognized as an artist of distinction. Praised for his keen intelligence, captivating stage presence and natural musicianship, he performs regularly with the world’s leading orchestras and opera companies. Also an avid recitalist, in 2010 he co-founded the Collaborative Arts Institute of Chicago (CAIC) to promote art song and vocal chamber music, where he serves as Artistic Director.

Phan once again launches his new season in Chicago, curating CAIC’s seventh annual Collaborative Arts Festival. This year’s three-day festival (Sep 5 - 8), “The Song as Drama,” will examine the narrative power of the song cycle and the ability of song to tell epic stories with minimal forces. Other highlights of his 2018-19 season are two role debuts: Eumolpus in Stravinsky’s Perséphone, with Michael Tilson Thomas and the San Francisco Symphony; and the title role in Handel’s Jephtha, with Boston Baroque and Martin Pearlman. The title role in Bernstein’s Candide, with Marin Alsop and the Israel Philharmonic, will mark his debut in Israel. In addition to three programs with the San Francisco Symphony, he will return to major orchestras across the country including the Chicago Symphony Orchestra, Dallas Symphony Orchestra, Cincinnati Symphony Orchestra, St. Louis Symphony Orchestra, and Colorado Symphony. In November he will sing the first of many outings of Schubert’s Die schöne Müllerin this season, as he gives the world premiere of Antoine Plante’s arrangement of the cycle for full orchestra, with Mercury, the Houston-based orchestra of which Plante is the founder. A celebrated recording artist, Phan will be heard on two forthcoming recordings: Berlioz’s Roméo et Juliette with Tilson Thomas and the San Francisco Symphony, (recorded in June 2017); and Handel’s Joseph and His Brethren (recorded in December 2017) with Philharmonia Baroque and Nicholas McGegan, singing the roles of Simeon and Judah.

Phan's most recent solo album, Illuminations, was released on Avie Records in April 2018. His previous solo album, Gods and Monsters, was nominated for the 2017 Grammy Award for Best Classical Vocal Solo Album. His other previous solo albums, A Painted Tale, Still Fall the Rain and Winter Words, made many "best of" lists, including those of the New York Times, New Yorker, Chicago Tribune and Boston Globe. Phan's growing discography also includes a Grammy-nominated recording of Stravinsky's Pulcinella with Pierre Boulez and the Chicago Symphony, the opera L'Olimpiade with the Venice Baroque Orchestra, Scarlatti's La gloria di primavera with Philharmonia Baroque, an album of Bach’s secular cantatas with Masaaki Suzuki and Bach Collegium Japan, Bach's St. John Passion (in which he sings both the Evangelist and the tenor arias) with Apollo's Fire, and the world premiere recordings of two orchestral song cycles: The Old Burying Ground by Evan Chambers and Elliott Carter's A Sunbeam's Architecture.

Phan has appeared with many of the leading orchestras in the North America and Europe, including the Cleveland Orchestra, New York Philharmonic, Boston Symphony, Chicago Symphony, San Francisco Symphony, Los Angeles Philharmonic, Philadelphia Orchestra, National Symphony, Atlanta Symphony, St. Paul Chamber Orchestra, Orchestra of St. Luke's, Philharmonia Baroque, Boston Baroque, Les Violons du Roy, BBC Symphony, English Chamber Orchestra, Strasbourg Philharmonic, Royal Philharmonic, Philharmonia Orchestra of London, and the Lucerne Symphony. He has toured extensively throughout the major concert halls of Europe with Il Complesso Barocco, and has appeared with the Oregon Bach, Ravinia, Marlboro, Edinburgh, Rheingau, Saint-Denis, and Tanglewood festivals, as well as the BBC Proms. Among the conductors he has worked with are Marin Alsop, Harry Bicket, Pierre Boulez, James Conlon, Alan Curtis, Rafael Frühbeck de Burgos, Charles Dutoit, James Gaffigan, Jane Glover, Manfred Honeck, Bernard Labadie, Louis Langrée, Nicholas McGegan, Zubin Mehta, Riccardo Muti, John Nelson, Yannick Nézet-Séguin, Helmuth Rilling, David Robertson, Esa-Pekka Salonen, Masaaki Suzuki, Michael Tilson Thomas, Bramwell Tovey and Franz Welser-Möst.

An avid proponent of vocal chamber music, he has collaborated with many chamber musicians, including pianists Mitsuko Uchida, Richard Goode, Jeremy Denk, Graham Johnson, Roger Vignoles, Inon Barnatan, Myra Huang and Alessio Bax; violinist James Ehnes; guitarist Eliot Fisk; harpist Sivan Magen; and horn players Jennifer Montone, Radovan Vlatkovic and Gail Williams. In both recital and chamber concerts, he has been presented by Carnegie Hall, London's Wigmore Hall, the Metropolitan Museum of Art, the Chamber Music Society of Lincoln Center, the Philadelphia Chamber Music Society, Atlanta's Spivey Hall, Boston's Celebrity Series, and the Library of Congress in Washington, DC.

Phan's many opera credits include appearances with the Los Angeles Opera, Houston Grand Opera, Glimmerglass Festival, Chicago Opera Theater, Seattle Opera, Portland Opera, Glyndebourne Opera, Maggio Musicale in Florence, Deutsche Oper am Rhein, and Frankfurt Opera. His growing repertoire includes the title roles in Bernstein's Candide, Stravinsky's Oedipus Rex and Handel's Acis and Galatea, Almaviva in Il barbiere di Siviglia, Nemorino in L'elisir d'amore, Fenton in Falstaff, Tamino in Die Zauberflöte, Don Ottavio in Don Giovanni, and Lurcanio in Ariodante.

A graduate of the University of Michigan, Phan is the 2012 recipient of the Paul C Boylan Distinguished Alumni Award. He also studied at the Manhattan School of Music and the Aspen Music Festival and School, and is an alumnus of the Houston Grand Opera Studio. He was the recipient of a 2006 Sullivan Foundation Award and 2004 Richard F. Gold Career Grant from the Shoshana Foundation. In 2018, Phan was appointed to the faculty of DePaul University, where he serves as an adjunct member of the voice faculty.

Nicholas Phan, tenor Michael Nagy, baritone
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The young baritone of Hungarian descent was at first a member of the ensemble of the Komische Oper Berlin; he then went to the Frankfurt Opera where he managed to add the important parts of Papageno (Magic Flute), Guglielmo (Così fan tutte), Count Almaviva (The Marriage of Figaro), Hans Scholl (Die weiße Rose), Wolfram (Tannhäuser), Valentin (Faust), Jeletzki (Pique Dame), Marcello (La Bohème), Albert (Werther), Frank/Fritz (Die tote Stadt), Owen Wingrave (title roll), Jason (Medea) and Dr. Falke (Die Fledermaus) to his repertoire. 

Guest engagements have taken him to, among other places, the Oslo opera house, as Wolfram/Tannhäuser, the Deutsche Oper in Berlin and the Bavarian State Opera in Munich (Graf Luna/Palestrina). He has also appeared at the Theater an der Wien as Nardo (La finta giardiniera) with the Freiburg Baroque Orchestra under René Jacobs.

Michael Nagy is now sought after worldwide for concert and oratorio performances. With Philippe Herreweghe he has developed a steady musical relationship, including works such as Bach's St Matthew Passion at the Lincoln Center in New York, Mendelssohn's Elijah in Amsterdam and tours with Mahler's Rückertlieder andWunderhornlieder. Further engagements have taken him to the Konzert--hausorchester in Berlin, the Museumsorchester in Frankfurt, the Gewandhausorchester in Leipzig and to the Schleswig-Holstein Musik Festival. Adam Fischer and the Chamber Orchestra of Europe, Paavo Järvi and the hr Sinfonieorchester, Christoph Eschenbach and the NDR Sinfonieorchester, and Riccardo Chailly are among the prominent musical partners for his broadly based concert repertoire. He works closely together with Helmuth Rilling, who has followed and supported his development from the outset.

Following a successful 2012/2013 season, including roles such as Papageno with the Berlin Philharmonic under Sir Simon Rattle at the Baden-Baden Easter Festival, he started the current season at the Lucerne Festival with Gunther, within the Ring Cycle, with the Bamberg Symphony Orchestra under Jonathan Nott. He is also making his debut in three roles: as Ford (Falstaff) at the Deutsche Oper Berlin, asDon Giovanni (title role) at the Norske Opera Oslo and finally as Stolzius (Die Soldaten) at the Bavarian State Opera Munich. Concert projects of this season include Shostakovich's 14th. Symphony with Marek Janowski and the Berlin Radio Symphony Orchestra, Mendelssohn's Walpurgisnacht with the Munich Philharmonic under Pablo Heras-Casado, as well as a concert of Carl Phillip Emmanuel Bach's Die Auferstehung und Himmelfahrt Jesu with the Freiburg Barockorchester under René Jacobs at the Mozarteum Salzburg. In addition, a Lieder evening is planned at the Paris Opéra Bastille with Gerold Huber.

Michael Nagy had his first musical training in a boys' choir, the Stuttgart Hymnus-Chorknaben. He studied singing in Stuttgart, Mannheim and Saarbrücken under Rudolf Piernay, song interpretation under Irwin Gage, and conducting. He rounded off his training in master classes with Charles Spencer, Rudolf Piernay and Cornelius Reid. In 2004, together with the pianist Juliane Ruf, he won the Internationaler Wettbewerb für Liedkunst [International Lieder Competition] staged by the Hugo-Wolf-Akademie in Stuttgart.

Michael Nagy, baritone
Tanglewood Festival Chorus
Tanglewood Festival Chorus
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Tanglewood Festival Chorus
James Burton, BSO Choral Director and Conductor of the Tanglewood Festival Chorus
John Oliver (1939-2018), Founder

Originally formed under the joint sponsorship of Boston University and the Boston Symphony Orchestra, the all-volunteer Tanglewood Festival Chorus was established in 1970 by its founding conductor, the late John Oliver, who stepped down from his leadership position with the TFC at the end of the 2015 Tanglewood season. In February 2017, following appearances as guest chorus conductor at Symphony Hall and Tanglewood, and having prepared the chorus for that month’s BSO performances of Bach’s B minor Mass led by Andris Nelsons, the British-born James Burton was named the new Conductor of the Tanglewood Festival Chorus, also being appointed to the newly created position of BSO Ch

The Tanglewood Festival Chorus joins the BSO this season for performances of Mahler’s Symphony No. 2 (October 25-30), Bach’s Christmas Oratorio (November 29-December 1), Puccini’s Suor Angelica (February 21 and 22), and Dvořák’s Stabat Mater (February 28-March 2) all under Andris Nelsons, and Estévez’s Cantata Criolla (April 11-13) with guest conductor Gustavo Dudamel. Also in October, the TFC performed Maija Einfelde’s Lux aeterna with James Burton, BSO Choral Director and Conductor of the Tanglewood Festival Chorus, making his subscription-series conducting debut. Originally formed under the joint sponsorship of Boston University and the Boston Symphony Orchestra, the all-volunteer Tanglewood Festival Chorus was established in 1970 by its founding conductor, the late John Oliver, who stepped down from his leadership position with the TFC at the end of the 2015 Tanglewood season. In February 2017, following appearances as guest chorus conductor at Symphony Hall and Tanglewood, and having prepared the chorus for that month’s BSO performances of Bach’s B minor Massled by Andris Nelsons, James Burton was named the new Conductor of the Tanglewood Festival Chorus, also being appointed to the newly created position of BSO Choral Director. Mr. Burton occupies the Alan J. and Suzanne W. Dworsky Chair on the Boston Symphony Orchestra roster.

Though first established for performances at the BSO’s summer home, the Tanglewood Festival Chorus was soon playing a major role in the BSO’s subscription season as well as BSO concerts at Carnegie Hall; the ensemble now performs year-round with the Boston Symphony and Boston Pops. It has performed with the BSO on tour in Hong Kong and Japan, and on two European tours, also giving a cappella concerts of its own on those two occasions. The TFC made its debut in April 1970 at Symphony Hall, in a BSO performance of Beethoven’s Ninth Symphony with Leonard Bernstein conducting. Its first recording with the orchestra, Berlioz’s La Damnation de Faust with Seiji Ozawa, received a Grammy nomination for Best Choral Performance of 1975. The TFC has since made dozens of recordings with the BSO and Boston Pops, with Seiji Ozawa, Bernard Haitink, James Levine, Leonard Bernstein, Sir Colin Davis, Keith Lockhart, and John Williams. In August 2011, with John Oliver conducting and soloist Stephanie Blythe, the TFC gave the world premiere of Alan Smith’s An Unknown Sphere for mezzo-soprano and chorus, commissioned by the BSO for the ensemble’s 40th anniversary. Its most recent recordings on BSO Classics, all drawn from live performances, include a disc of a cappella music marking the TFC’s 40th anniversary; Ravel’s complete Daphnis et Chloé (a 2009 Grammy-winner for Best Orchestral Performance), Brahms’s German Requiem, and William Bolcom’s Eighth Symphony for chorus and orchestra (a BSO 125th Anniversary Commission). On July 4, 2018, the Tanglewood Festival Chorus joined Keith Lockhart for the “Boston Pops Fireworks Spectacular” on the Charles River Esplanade.

Besides their work with the BSO, TFC members have also performed with Zubin Mehta and the Israel Philharmonic and in a Saito Kinen Festival production of Britten’s Peter Grimes under Seiji Ozawa in Japan. The ensemble had the honor of singing at Sen. Edward Kennedy’s funeral; has performed with the Boston Pops for the Boston Red Sox and Boston Celtics; and can be heard on the soundtracks of Clint Eastwood’s Mystic River, John Sayles’s Silver City, and Steven Spielberg’s Saving Private Ryan. TFC members regularly commute from the greater Boston area and beyond to sing with the chorus in Boston and at Tanglewood. For more information about the Tanglewood Festival Chorus and upcoming auditions, please visit



James Burton
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James Burton was appointed Conductor of the Tanglewood Festival Chorus, and to the newly created position of BSO Choral Director, in February 2017. He made his BSO subscription-series conducting debut in October 2018, leading the Tanglewood Festival Chorus in Maija Einfelde’s Lux aeterna. Born in London, Mr. Burton holds a master’s degree in orchestral conducting from the Peabody Conservatory, where he studied with Frederik Prausnitz and Gustav Meier. He began his training at the Choir of Westminster Abbey, where he became head chorister, and was a choral scholar at St. John’s College, Cambridge. He has conducted concerts with the Royal Liverpool Philharmonic, the Orchestra of the Age of Enlightenment, the Hallé, the Orchestra of Scottish Opera, Royal Northern Sinfonia, BBC Concert Orchestra, and Manchester Camerata. He made his debut with the Boston Pops in December 2017 and returns to the Pops podium this coming December. He is a regular guest of the Orquestra Sinfónica Nacional of Mexico and returns this season to lead performances of Beethoven’s Symphony No. 9 in the Palacio de Bellas Artes in Mexico City. Opera credits include performances at English National Opera, English Touring Opera, Garsington Opera, and the Prague Summer Nights Festival, and he has served on the music staff of the Metropolitan Opera and Opéra de Paris. Mr. Burton’s extensive choral conducting has included guest invitations with professional choirs including the Gabrieli Consort, the Choir of the Enlightenment, Wrocław Philharmonic, and the BBC Singers, with whom he performed in the inaugural season of Dubai’s Opera House in 2017. From 2002 to 2009 he served as choral director at the Hallé Orchestra, where he was music director of the Hallé Choir and founding conductor of the Hallé Youth Choir, winning the Gramophone Choral Award in 2009. He was music director of Schola Cantorum of Oxford from 2002 to 2017. Mr. Burton is well known for his inspirational work with young musicians. In 2017 he was director of the National Youth Choir of Japan; he has recently conducted the Princeton University Glee Club, Yale Schola Cantorum, and University of Kentucky Symphony. In 2018 he founded the Boston Symphony Children’s Choir. Mr. Burton has given conducting master classes at the Royal Academy of Music in London and at the Tanglewood Music Center, and founded a scholarship for young conductors at Oxford. His growing composition portfolio contains works for commissioners including the National Portrait Gallery in London, the 2010 World Equestrian Games, the Choir of St. John’s College, Cambridge, and the Exon Festival, where he was composer-in-residence in 2015. In July 2019, Mr. Burton will conduct the Boston Symphony Children’s Choir and Boston Symphony Orchestra in the world premiere of his The Lost Words, as part of next summer’s gala Tanglewood on Parade concert. His works are published by Edition Peters. As BSO Choral Director and Conductor of the Tanglewood Festival Chorus, James Burton occupies the Alan J. and Suzanne W. Dworsky chair, endowed in perpetuity.


Program Notes Audio
MOZART - Symphony No. 34 (22 min)
BERNSTEIN - Ḥalil, for flute and orchestra (16 min)
HAYDN - Missa in angustiis (Lord Nelson Mass) (38 min)
Full Program Notes - -
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