St. Paul’s School
Concord, NH
This powerful, highly-praised production returns to Boston in 2017 as part of a national tour. The themes of justice, and of truth spoken to power, are once again front and center as the Jewish captive Daniel confronts the tyrannical Belshazzar. The magnificent musical play of Daniel, composed eight centuries ago in Beauvais, France was newly transcribed from the original manuscript source and powerfully staged for modern audiences by Anne Azéma, it was premiered in Boston in 2014 to critical and public acclaim.

The fiery prophecies of Daniel, young captive in corrupt Babylon, ring forth again. This stunning, contemporary new production by Anne Azéma of the greatest musical play from the French Middle Ages involves lights, movement, urgent poetry, and a sterling cast including seasoned professionals, children, and Longy School of Music of Bard College students, to make 1310 happen again, in 2025. Our singers and musicians are supported by Peter Torpey’s deeply evocative lighting and special effects.
Program & Notes
Art Gallery of Ontario
Toronto, ON, Canada
Music of personal devotion from the early Renaissance, reflecting the spirituality of homes, family circles, and small chapels in an age of intense religious renewal. Prayers, songs, chants, including music for the Virgin, meditations on the cross, and astonishing reworkings of the day’s popular melodies to sacred texts by Josquin, Agricola, Compère, Senfl, Clemens non Papa, and others. Anne Azéma, Michael Barrett, Daniel Hershey, Joel Frederiksenvoices; Andrew Arceci, Shira Kammen, Carol Lewis, viola da gamba

Music of personal devotion in the early Renaissance reflects the spirituality of homes and small chapels in an age of intense religious renewal. Prayers, songs, and chants accompany music for the Virgin, meditations on the cross, and astonishing reworkings of the day’s popular melodies set to sacred texts.
Anne Azéma, voice, hurdy gurdy
Michael Barrett, voice, lute
Daniel Hershey, voice
Joel Frederiksen, voice, lute
Andrew Arceci, viola da gamba
Shira Kammen, vielle, harp
Carol Lewis, viola da gamba
Genre: Renaissance
Music of personal devotion from the early Renaissance, reflecting the spirituality of homes, family circles, and small chapels in an age of intense religious renewal. Prayers, songs, chants, including music for the Virgin, meditations on the cross, and astonishing reworkings of the day’s popular melodies to sacred texts by Josquin, Agricola, Compère, Senfl, Clemens non Papa, and others. Anne Azéma, Michael Barrett, Daniel Hershey, Joel Frederiksen, voices; Andrew Arceci, Shira Kammen, Carol Lewis, viola da gamba.

Music of personal devotion in the early Renaissance reflects the spirituality of homes and small chapels in an age of intense religious renewal. Prayers, songs, and chants accompany music for the Virgin, meditations on the cross, and astonishing reworkings of the day’s popular melodies set to sacred texts.
Anne Azéma, voice, hurdy gurdy
Michael Barrett, voice, lute
Daniel Hershey, voice
Joel Frederiksen, voice, lute
Andrew Arceci, viola da gamba
Shira Kammen, vielle, harp
Carol Lewis, viola da gamba
Genre: Renaissance

In the European North, the forests are deep; the nights are dark and long. Perhaps this is why, in reaction, the early Christmas music of the German-speaking peoples is so intensely joyful, so profoundly rich. Our program explores the marvelous music of German Christmas festivity through chants and chorales, simple carols, grandiose polyphony, and instrumental fantasias of the 15th to early 17th centuries. This new program will feature the stellar Boston Camerata Wind Ensemble and an expanded consort of voices and early instruments.
Anne Azéma, Daniel Hershey, Camila Parias, Deborah Rentz-Moore, John Taylor Ward, voices; Brian Kay, Steven Lundahl, Liza Malamut, sackbuts; Nathaniel Cox, cornetto, theorbo; Carol Lewis, viola da gamba.

In the European North, the forests are deep; the nights are dark and long. Perhaps this is why, in reaction, the early Christmas music of the German-speaking peoples is so intensely joyful, so profoundly rich. Our program explores the marvelous music of German Christmas festivity through chants and chorales, simple carols, grandiose polyphony, and instrumental fantasias of the 15th to early 17th centuries.
In the European North, the forests are deep; the nights are dark and long. Perhaps this is why, in reaction, the early Christmas music of the German-speaking peoples is so intensely joyful, so profoundly rich. Our program explores the marvelous music of German Christmas festivity through chants and chorales, simple carols, grandiose polyphony, and instrumental fantasias of the 15th to early 17th centuries. This new program will feature the stellar Boston Camerata Wind Ensemble and an expanded consort of voices and early instruments.
Anne Azéma, Daniel Hershey, Camila Parias, Deborah Rentz-Moore, John Taylor Ward, voices; Brian Kay, Steven Lundahl, Liza Malamut, sackbuts; Nathaniel Cox, cornetto, theorbo; Carol Lewis, viola da gamba.

In the European North, the forests are deep; the nights are dark and long. Perhaps this is why, in reaction, the early Christmas music of the German-speaking peoples is so intensely joyful, so profoundly rich. Our program explores the marvelous music of German Christmas festivity through chants and chorales, simple carols, grandiose polyphony, and instrumental fantasias of the 15th to early 17th centuries.
A glimpse of Christmas spirituality from Medieval France, Italy, England, and Provence, including music of the church and songs of private devotion around the joyous theme of the Nativity. Included are songs to the Virgin Mary, processionals from Saint Martial of Limoges, hymns, lyrics, and miracle ballads sung in Latin, Old French, Old Provençal, and Saxon, interlaced with Medieval English texts of the Nativity. Our cast features an extraordinary trio of women’s voices with harp and vielle.
Presented by the Da Camera Society.

A glimpse of Christmas spirituality from Medieval France, Italy, England, and Provence, including music of the church and songs of private devotion around the joyous theme of the Nativity. Included are songs to the Virgin Mary, processionals from Saint Martial of Limoges, hymns, lyrics, and miracle ballads sung in Latin, Old French, Old Provençal, and Saxon, interlaced with Medieval English texts of the Nativity. Our cast features an extraordinary trio of women’s voices with harp and vielle. Anne Azéma, Camila Parias, Deborah Rentz-Moore, voices; Christa Patton, winds, harp; Allison Monroe, vielle
A glimpse of Christmas spirituality from Medieval France, Italy, England, and Provence, including music of the church and songs of private devotion around the joyous theme of the Nativity. Included are songs to the Virgin Mary, processionals from Saint Martial of Limoges, hymns, lyrics, and miracle ballads sung in Latin, Old French, Old Provençal, and Saxon, interlaced with Medieval English texts of the Nativity. Our cast features an extraordinary trio of women’s voices with harp and vielle.
Presented by the Da Camera Society.

A glimpse of Christmas spirituality from Medieval France, Italy, England, and Provence, including music of the church and songs of private devotion around the joyous theme of the Nativity. Included are songs to the Virgin Mary, processionals from Saint Martial of Limoges, hymns, lyrics, and miracle ballads sung in Latin, Old French, Old Provençal, and Saxon, interlaced with Medieval English texts of the Nativity. Our cast features an extraordinary trio of women’s voices with harp and vielle. Anne Azéma, Camila Parias, Deborah Rentz-Moore, voices; Christa Patton, winds, harp; Allison Monroe, vielle
A glimpse of Christmas spirituality from Medieval France, Italy, England, and Provence, including music of the church and songs of private devotion around the joyous theme of the Nativity. Included are songs to the Virgin Mary, processionals from Saint Martial of Limoges, hymns, lyrics, and miracle ballads sung in Latin, Old French, Old Provençal, and Saxon, interlaced with Medieval English texts of the Nativity. Our cast features an extraordinary trio of women’s voices with harp and vielle.
Presented by San Diego Early Music Society.

A glimpse of Christmas spirituality from Medieval France, Italy, England, and Provence, including music of the church and songs of private devotion around the joyous theme of the Nativity. Included are songs to the Virgin Mary, processionals from Saint Martial of Limoges, hymns, lyrics, and miracle ballads sung in Latin, Old French, Old Provençal, and Saxon, interlaced with Medieval English texts of the Nativity. Our cast features an extraordinary trio of women’s voices with harp and vielle. Anne Azéma, Camila Parias, Deborah Rentz-Moore, voices; Christa Patton, winds, harp; Allison Monroe, vielle
Anne Azéma, Artistic Director, will surprise visitors to the Isabella Stewart Gardner Museum with impromptu renditions of vocal music from Dante’s time, including songs the great poet himself might have heard in the palaces of fourteenth-century Florence.

Shortly before an important American election, this new program of songs and poems from the Middle Ages evokes the age-old themes of justice and corruption in the public sphere. Minstrel songs from medieval France, Provençe, and Germany, amazingly contemporary in their language, provide an amusing and sharply-etched perspective on our current travails. Includes pungent selections from the Play of Daniel, Carmina Burana, and Roman de Fauvel; works by gifted musican-poets Philippe le Chancelier, Bertran de Born, and Thibault de Champagne; and a very American ending.
Anne Azéma, director, voice, hurdy-gurdy; Jordan Weatherston Pitts voice; Christa Patton, winds, harp; Shira Kammen, vielle, harp; Joel Cohen, narrator, lauta; with young professionals from the Longy School of Music of Bard College.
City of Fools explores age-old themes of justice and corruption as told through ancient minstrel songs. Satirical works from medieval France, Provence, and Germany provide a sharply-etched and astonishingly contemporary perspective on our own nation’s current travails.
Be prepared for a surprise or two along the way!
shares Camerata Artistic Director Anne Azéma. The concert will include songs of the great Provençal troubadour and satirist Peire Cardenal, as well as pungent excerpts from
Carmina Burana and the
Roman de Fauvel.
Want to get a sense for the music? Listen to “Rex beatus” on
Spotify.
Program & Notes
Igreja da Sé
São Luis, Brazil
The Camerata presents our beloved interfaith program “The Sacred Bridge” at the Festival de Música Barroca de Alcântara. Experience the connections of Jewish, Muslim, and Christian music and spirituality of medieval Europe.
Anne Azéma, voice, director; Joel Cohen, lauta, voice; Boujemaa Razgui, ney, oud, voice.

Back by popular demand! An interfaith celebration unlike any other. Discover with us the common musical roots of Judaism, Islam, and Christianity, and the astonishing and beautiful interactions among these traditions. Our program includes elements of Jewish liturgy, Gregorian and Koranic chant, songs and texts of Jewish minstrels, Sephardic folksong, medieval Spanish Cantigas, and Judaeo-Islamic music from the ancient Andalusian tradition.
Igreja do Carmo
Alcântara, Brazil
The Camerata presents our beloved interfaith program “The Sacred Bridge” at the Festival de Música Barroca de Alcântara. Experience the connections of Jewish, Muslim, and Christian music and spirituality of medieval Europe.
Anne Azéma, voice, director; Joel Cohen, lauta, voice; Boujemaa Razgui, ney, oud, voice.

Back by popular demand! An interfaith celebration unlike any other. Discover with us the common musical roots of Judaism, Islam, and Christianity, and the astonishing and beautiful interactions among these traditions. Our program includes elements of Jewish liturgy, Gregorian and Koranic chant, songs and texts of Jewish minstrels, Sephardic folksong, medieval Spanish Cantigas, and Judaeo-Islamic music from the ancient Andalusian tradition.
Alcantara Historical Museum
Alcântara, Brazil
The Camerata presents our beloved interfaith program “The Sacred Bridge” at the Festival de Música Barroca de Alcântara. Experience the connections of Jewish, Muslim, and Christian music and spirituality of medieval Europe.
Anne Azéma, voice, director; Joel Cohen, lauta, voice; Boujemaa Razgui, ney, oud, voice.

Back by popular demand! An interfaith celebration unlike any other. Discover with us the common musical roots of Judaism, Islam, and Christianity, and the astonishing and beautiful interactions among these traditions. Our program includes elements of Jewish liturgy, Gregorian and Koranic chant, songs and texts of Jewish minstrels, Sephardic folksong, medieval Spanish Cantigas, and Judaeo-Islamic music from the ancient Andalusian tradition.
Camerata’s pioneering exploration of folk hymnody in the young Republic includes spiritual songs, hymns, and anthems in a vigorous and authentic homegrown manner. This style, recalling many elements of European early music, grew up in the singing schools of colonial New England, travelled South and West in the 19th century, and continues to live on thanks to a new generation of motivated singers in all parts of the country. This collaboration with the newly-renovated Cathedral Church of St. Paul includes singers from local parish choirs.

Camerata’s pioneering exploration of folk hymnody in the young Republic includes spiritual songs, hymns, and anthems in a vigorous and authentic homegrown manner. This style, recalling many elements of European early music, grew up in the singing schools of colonial New England, travelled South and West in the 19th century, and continues to live on thanks to a new generation of motivated singers in all parts of the country.
Genre: American
Another astonishing music-theater production by Artistic Director Anne Azéma. Based on an authentic, colorful narrative of festivity, tournaments, and love games in a medieval French castle, our performance captures the day’s celebrations through song and gesture. Daylight is the domain of men, who joust and fight in ritual encounters, as the women shout encouragement; when night falls, the women converse in music and dance, far from the masculine violence of the daytime. Mutual longing aroused during the day culminates in the evening’s rites, as the sexes come together in courtship, both playful and passionate. Camerata’s musicians are joined by graduate students from the Longy School of Music of Bard College in this beautiful and intense evocation of medieval desire.
Produced in partnership with Longy School of Music of Bard College.
Le Tournoi de Chauvency, written circa 1285 by the French poet Jacques Bretel, is a narration of a courtly celebration in the Lorraine region of France, and the inspiration for
“The Night’s Tale”. Our performance evokes a day’s festivities at the chateau of Chauvency. Daylight is the domain of men, who joust and fight in ritual encounters; when night falls, women converse in music and dance, far from the masculine violence of the daytime. Mutual desire aroused during the day culminates in the evening’s rites — aggressive and courtly, passionate and playful.
Another astonishing music-theater production by Artistic Director Anne Azéma. Based on an authentic, colorful narrative of festivity, tournaments, and love games in a medieval French castle, our performance captures the day’s celebrations through song and gesture. Daylight is the domain of men, who joust and fight in ritual encounters, as the women shout encouragement; when night falls, the women converse in music and dance, far from the masculine violence of the daytime. Mutual longing aroused during the day culminates in the evening’s rites, as the sexes come together in courtship, both playful and passionate. Camerata’s musicians are joined by graduate students from the Longy School of Music of Bard College in this beautiful and intense evocation of medieval desire.
Produced in partnership with Longy School of Music of Bard College.
Pre-concert lecture April 16 at 7pm – Nancy Regalado (NYU). Wolfinsohn Room.
Le Tournoi de Chauvency, written circa 1285 by the French poet Jacques Bretel, is a narration of a courtly celebration in the Lorraine region of France, and the inspiration for
“The Night’s Tale”. Our performance evokes a day’s festivities at the chateau of Chauvency. Daylight is the domain of men, who joust and fight in ritual encounters; when night falls, women converse in music and dance, far from the masculine violence of the daytime. Mutual desire aroused during the day culminates in the evening’s rites — aggressive and courtly, passionate and playful.
The Christmas narrative retold using songs, chants, and instrumental pieces from the countries of the Mediterranean basin: Spain, Italy, and southern France, as well as north Africa and the Holy Land. Works are drawn from medieval manuscripts and more recent, though still archaic, folklore and oral traditions. With voices, early instruments of Europe and the Middle East, and readings of the Christmas story. Camerata is joined by SHARQ Arabic Ensemble.
Anne Azéma – voice, hurdy-gurdy & director
Camila Parias – voice
Deborah Rentz-Moore – voice
Steven Lundahl – brass, recorder
Karim Nagi – percussion, voice
Boujemaa Ragui – oud, ney, voice, percussion
Mehmet Sanlikol – voice, oud
Beth Bahia Cohen – vielle

The Christmas narrative retold using songs, chants, and instrumental pieces from the countries of the Mediterranean basin: Spain, Italy, and southern France, as well as north Africa and the Holy Land. Works are drawn from medieval manuscripts and more recent, though still archaic, folklore and oral traditions. With voices, early instruments of Europe and the Middle East, and readings of the Christmas story. We are joined by SHARQ Arabic Ensemble.
The Christmas narrative retold using songs, chants, and instrumental pieces from the countries of the Mediterranean basin: Spain, Italy, and southern France, as well as north Africa and the Holy Land. Works are drawn from medieval manuscripts and more recent, though still archaic, folklore and oral traditions. With voices, early instruments of Europe and the Middle East, and readings of the Christmas story. Camerata is joined by SHARQ Arabic Ensemble.
Anne Azéma – voice, hurdy-gurdy & director
Camila Parias – voice
Deborah Rentz-Moore – voice
Steven Lundahl – brass, recorder
Karim Nagi – percussion, voice
Boujemaa Ragui – oud, ney, voice, percussion
Mehmet Sanlikol – voice, oud
Beth Bahia Cohen – vielle

The Christmas narrative retold using songs, chants, and instrumental pieces from the countries of the Mediterranean basin: Spain, Italy, and southern France, as well as north Africa and the Holy Land. Works are drawn from medieval manuscripts and more recent, though still archaic, folklore and oral traditions. With voices, early instruments of Europe and the Middle East, and readings of the Christmas story. We are joined by SHARQ Arabic Ensemble.
The Christmas narrative retold using songs, chants, and instrumental pieces from the countries of the Mediterranean basin: Spain, Italy, and southern France, as well as north Africa and the Holy Land. Works are drawn from medieval manuscripts and more recent, though still archaic, folklore and oral traditions. With voices, early instruments of Europe and the Middle East, and readings of the Christmas story. Camerata is joined by SHARQ Arabic Ensemble.
Anne Azéma – voice, hurdy-gurdy & director
Camila Parias – voice
Deborah Rentz-Moore – voice
Steven Lundahl – brass, recorder
Karim Nagi – percussion, voice
Boujemaa Ragui – oud, ney, voice, percussion
Mehmet Sanlikol – voice, oud
Beth Bahia Cohen – vielle

The Christmas narrative retold using songs, chants, and instrumental pieces from the countries of the Mediterranean basin: Spain, Italy, and southern France, as well as north Africa and the Holy Land. Works are drawn from medieval manuscripts and more recent, though still archaic, folklore and oral traditions. With voices, early instruments of Europe and the Middle East, and readings of the Christmas story. We are joined by SHARQ Arabic Ensemble.
The Christmas narrative retold using songs, chants, and instrumental pieces from the countries of the Mediterranean basin: Spain, Italy, and southern France, as well as north Africa and the Holy Land. Works are drawn from medieval manuscripts and more recent, though still archaic, folklore and oral traditions. With voices, early instruments of Europe and the Middle East, and readings of the Christmas story. Camerata is joined by SHARQ Arabic Ensemble.
Anne Azéma – voice, hurdy-gurdy & director
Camila Parias – voice
Deborah Rentz-Moore – voice
Steven Lundahl – brass, recorder
Karim Nagi – percussion, voice
Boujemaa Ragui – oud, ney, voice, percussion
Mehmet Sanlikol – voice, oud
Beth Bahia Cohen – vielle

The Christmas narrative retold using songs, chants, and instrumental pieces from the countries of the Mediterranean basin: Spain, Italy, and southern France, as well as north Africa and the Holy Land. Works are drawn from medieval manuscripts and more recent, though still archaic, folklore and oral traditions. With voices, early instruments of Europe and the Middle East, and readings of the Christmas story. We are joined by SHARQ Arabic Ensemble.
Latin American Baroque music at its best! This program calls attention to “the meeting places of light and beauty that did indeed exist in those terrible, hard centuries”–the Age of Exploration in the New World. Here we show the fruitful intercultural exchanges that transpired between indigenous American cultures, the Spanish, and the Africans, and indeed, this is beautiful music. Lively and driven at times by the sunny strumming of the baroque guitar and the maracas, tambourine, and claves, at other times stately with the grandeur of voices with organ. The Camerata is joined by the Trinity Choristers, Boston City Singers, and the Haitian women’s choir Les Fleurs des Caraïbes.
Latin American Baroque music at its best! This program calls attention to “the meeting places of light and beauty that did indeed exist in those terrible, hard centuries”–the Age of Exploration in the New World. Here we show the fruitful intercultural exchanges that transpired between indigenous American cultures, the Spanish, and the Africans, and indeed, this is beautiful music. Lively and driven at times by the sunny strumming of the baroque guitar and the maracas, tambourine, and claves, at other times stately with the grandeur of voices with organ.
Latin American Baroque music at its best! This program calls attention to “the meeting places of light and beauty that did indeed exist in those terrible, hard centuries”–the Age of Exploration in the New World. Here we show the fruitful intercultural exchanges that transpired between indigenous American cultures, the Spanish, and the Africans, and indeed, this is beautiful music. Lively and driven at times by the sunny strumming of the baroque guitar and the maracas, tambourine, and claves, at other times stately with the grandeur of voices with organ. The Camerata is joined by the Trinity Choristers, Boston City Singers, and the Haitian women’s choir Les Fleurs des Caraïbes.
Latin American Baroque music at its best! This program calls attention to “the meeting places of light and beauty that did indeed exist in those terrible, hard centuries”–the Age of Exploration in the New World. Here we show the fruitful intercultural exchanges that transpired between indigenous American cultures, the Spanish, and the Africans, and indeed, this is beautiful music. Lively and driven at times by the sunny strumming of the baroque guitar and the maracas, tambourine, and claves, at other times stately with the grandeur of voices with organ.
Boston Athenaeum
Boston
Who are our heroes? How did they go to battle and with what songs? Whose side were they on?
A medley of early American music featuring a portrait gallery of eminent Americans, but also high spirited celebrations, of the new nation, and around the quintessential American themes of freedom and independence. This program constitutes a chapter in the Boston 2015 celebrations of the Marquis de Lafayette and the historic return of his rebuilt 18th century “freedom frigate”, the Hermione.
Drawing on original print and manuscript sources, we will include songs in celebration of Lafayette’s friends and associates, Washington and Jefferson, as well as both American and French compositions reflecting the social and political climate of the turbulent years 1775-1830. Liberty, martial glory, loyalty, and a healthy dose of satire and irreverence are all present in the lively ballads and broadsides of that crucial time.
Anne Azéma (director), Camila Parias, Deborah Rentz-Moore, Daniel Hershey, and John Taylor Ward, voices, are joined by Sarah Darling, violin and
Libor Dudas, fortepiano.
Who are our heroes? How did they go to battle and with what songs? Whose side were they on?
A medley of early American music featuring a portrait gallery of eminent Americans, but also high spirited celebrations, of the new nation, and around the quintessential American themes of freedom and independence. This program constitutes a chapter in the Boston 2015 celebrations of the Marquis de Lafayette and the historic return of his rebuilt 18th century “freedom frigate”, the Hermione.
Drawing on original print and manuscript sources, we will include songs in celebration of Lafayette’s friends and associates, Washington and Jefferson, as well as both American and French compositions reflecting the social and political climate of the turbulent years 1775-1830. Liberty, martial glory, loyalty, and a healthy dose of satire and irreverence are all present in the lively ballads and broadsides of that crucial time.
Drawing on the original 13th-century manuscript, The Boston Camerata’s Carmina Burana presents a panoramic portrait of student and clerical life in medieval Europe: paeans to the Goddess Fortune, funny and ferocious critiques of Church and State, earnest meditations on truth and righteousness, and a generous serving of songs about drinking, gambling and amorous adventure. With its usual verve and vivacity, the Camerata gives a deepened, in turn exuberant and contemplative reading of this manuscript, under the direction of vocalist Anne Azéma. Our stellar cast (Anne Azéma, Daniel Hershey, Don Wilkinson, voice; Shira Kammen, strings) is joined by students from the Festival’s apprentice program.

Drawing on the original 13th-century manuscript, The Boston Camerata’s Carmina Burana presents a panoramic portrait of student and clerical life in medieval Europe: paeans to the Goddess Fortune, funny and ferocious critiques of Church and State, earnest meditations on truth and righteousness, and a generous serving of songs about drinking, gambling and amorous adventure. With its usual verve and vivacity, the Camerata gives a deepened, in turn exuberant and contemplative reading of this manuscript, under the direction of vocalist Anne Azéma.
As a prelude to Carl Orff’s extravagant Carmina Burana, Boston Camerata presents a vivacious portrait of student and clerical life in medieval Europe.
As a prelude to Carl Orff’s extravagant Carmina Burana, Boston Camerata presents a vivacious portrait of student and clerical life in medieval Europe. This joint concert with the Cape Symphony features Anne Azéma, Joel Cohen, Dan Hershey and Taylor Ward.
As a prelude to Carl Orff’s extravagant Carmina Burana, Boston Camerata presents a vivacious portrait of student and clerical life in medieval Europe.

Drawing on the original 13th-century manuscript, The Boston Camerata’s Carmina Burana presents a panoramic portrait of student and clerical life in medieval Europe: paeans to the Goddess Fortune, funny and ferocious critiques of Church and State, earnest meditations on truth and righteousness, and a generous serving of songs about drinking, gambling and amorous adventure. With its usual verve and vivacity, the Camerata gives a deepened, in turn exuberant and contemplative reading of this manuscript, under the direction of vocalist Anne Azéma.
Drawing on the original 13th-century manuscript, The Boston Camerata’s Carmina Burana presents a panoramic portrait of student and clerical life in medieval Europe: paeans to the Goddess Fortune, funny and ferocious critiques of Church and State, earnest meditations on truth and righteousness, and a generous serving of songs about drinking, gambling and amorous adventure. With its usual verve and vivacity, the Camerata gives a deepened, in turn exuberant and contemplative reading of this manuscript, under the direction of vocalist Anne Azéma. Our stellar cast (Anne Azéma, Joel Frederiksen, Tim Evans, voice; Shira Kammen and Susanne Ansorg, strings) will be assisted by a conservatory student choir from Paris.

Drawing on the original 13th-century manuscript, The Boston Camerata’s Carmina Burana presents a panoramic portrait of student and clerical life in medieval Europe: paeans to the Goddess Fortune, funny and ferocious critiques of Church and State, earnest meditations on truth and righteousness, and a generous serving of songs about drinking, gambling and amorous adventure. With its usual verve and vivacity, the Camerata gives a deepened, in turn exuberant and contemplative reading of this manuscript, under the direction of vocalist Anne Azéma.
Concert runtime: 1 hour 45 min

Back by popular demand! An interfaith celebration unlike any other. Discover with us the common musical roots of Judaism, Islam, and Christianity, and the astonishing and beautiful interactions among these traditions. Our program includes elements of Jewish liturgy, Gregorian and Koranic chant, songs and texts of Jewish minstrels, Sephardic folksong, medieval Spanish Cantigas, and Judaeo-Islamic music from the ancient Andalusian tradition.
Back by popular demand! An interfaith celebration unlike any other. Discover with us the common musical roots of Judaism, Islam, and Christianity, and the astonishing and beautiful interactions among these traditions. Our program includes elements of Jewish liturgy, Gregorian and Koranic chant, songs and texts of Jewish minstrels, Sephardic folksong, medieval Spanish Cantigas, and Judaeo-Islamic music from the ancient Andalusian tradition. The Boston Camerata is joined by Sharq Arabic Music Ensemble.
Concert runtime 1 hour 45 min

Back by popular demand! An interfaith celebration unlike any other. Discover with us the common musical roots of Judaism, Islam, and Christianity, and the astonishing and beautiful interactions among these traditions. Our program includes elements of Jewish liturgy, Gregorian and Koranic chant, songs and texts of Jewish minstrels, Sephardic folksong, medieval Spanish Cantigas, and Judaeo-Islamic music from the ancient Andalusian tradition.
MIT Walker Memorial Hall
Cambridge, MA
The constantly evolving and inventive musical minds of Italian and French masters during the fourteenth century has left us with repertoires, both sacred and secular, that successfully unite the search for new and different creative paths with astonishing lyricism and sensual beauty. In this specially commissioned program for the Massachusetts Institute of Technology, you will hear music spanning the worlds of God and Man, by the greatest composers of their day: Machaut, Landini, da Bologna, and others, performed by Camerata’s virtuoso soloists and instrumentalists.
The constantly evolving and inventive musical minds of Italian and French masters during the fourteenth century has left us with repertoires, both sacred and secular, that successfully unite the search for new and different creative paths with astonishing lyricism and sensual beauty. In this specially commissioned program for the Massachusetts Institute of Technology, you will hear music spanning the worlds of God and Man, by the greatest composers of their day: Machaut, Landini, da Bologna, and others, performed by Camerata’s virtuoso soloists and instrumentalists.
Sold Out!
Close to Reims, the regions of Champagne, Picardy, and Lorraine brought forth an abundant harvest of song in French, both secular and sacred. The subject of “Heaven’s Gate” is the magnificent repertoire, composed in both the courtly and popularizing manners, in praise of the Virgin Mary. Noble songs in the refined trouvère style, narrations in word and song, and dance music with sacred texts, are all included in this production. The prior of Vic-sur-Aisne, Gauthier de Coincy (1177/8-1236), a passionate and prolix musician-poet, recounts the miracles of the Virgin that took place in his parish; Thibault de Champagne (1201-1253), count of Champagne and king of Navarra, praises the Queen of Heaven in the most elegant and subtle style; while anonymous minstrels transform the worldly songs of the day into vigorous, toe-tapping spirituals.
Sold Out!
Close to Reims, the regions of Champagne, Picardy, and Lorraine brought forth an abundant harvest of song in French, both secular and sacred. The subject of “Heaven’s Gate” is the magnificent repertoire, composed in both the courtly and popularizing manners, in praise of the Virgin Mary. Noble songs in the refined trouvère style, narrations in word and song, and dance music with sacred texts, are all included in this production. The prior of Vic-sur-Aisne, Gauthier de Coincy (1177/8-1236), a passionate and prolix musician-poet, recounts the miracles of the Virgin that took place in his parish; Thibault de Champagne (1201-1253), count of Champagne and king of Navarra, praises the Queen of Heaven in the most elegant and subtle style; while anonymous minstrels transform the worldly songs of the day into vigorous, toe-tapping spirituals.
Close to Reims, the regions of Champagne, Picardy, and Lorraine brought forth an abundant harvest of song in French, both secular and sacred. The subject of “Heaven’s Gate” is the magnificent repertoire, composed in both the courtly and popularizing manners, in praise of the Virgin Mary. Noble songs in the refined trouvère style, narrations in word and song, and dance music with sacred texts, are all included in this production. The prior of Vic-sur-Aisne, Gauthier de Coincy (1177/8-1236), a passionate and prolix musician-poet, recounts the miracles of the Virgin that took place in his parish; Thibault de Champagne (1201-1253), count of Champagne and king of Navarra, praises the Queen of Heaven in the most elegant and subtle style; while anonymous minstrels transform the worldly songs of the day into vigorous, toe-tapping spirituals.

From the early years of the American republic, and from a wide range of early tune books and manuscripts, a generous selection of carols, New England anthems, Southern folk hymns and religious ballads for the season.
Genres: American, Christmas

From the early years of the American republic, and from a wide range of early tune books and manuscripts, a generous selection of carols, New England anthems, Southern folk hymns and religious ballads for the season.
Genres: American, Christmas

From the early years of the American republic, and from a wide range of early tune books and manuscripts, a generous selection of carols, New England anthems, Southern folk hymns and religious ballads for the season.
Genres: American, Christmas

From the early years of the American republic, and from a wide range of early tune books and manuscripts, a generous selection of carols, New England anthems, Southern folk hymns and religious ballads for the season.
Genres: American, Christmas
First Presbyterian Church
Asheville, NC
To celebrate our 60th Anniversary, our Christmas program features music from our very own tradition. From the early years of the American republic, and from a wide range of early tune books and manuscripts, a generous selection of carols, New England anthems, Southern folk hymns and religious ballads for the season.

From the early years of the American republic, and from a wide range of early tune books and manuscripts, a generous selection of carols, New England anthems, Southern folk hymns and religious ballads for the season.
Genres: American, Christmas
Eglise Saint Pierre Le Jeune Protestant
Strasbourg, France

A glimpse of Christmas spirituality from Medieval France, Italy, England, and Provence, including music of the church and songs of private devotion around the joyous theme of the Nativity. Included are songs to the Virgin Mary, processionals from Saint Martial of Limoges, hymns, lyrics, and miracle ballads sung in Latin, Old French, Old Provençal, and Saxon, interlaced with Medieval English texts of the Nativity. Our cast features an extraordinary trio of women’s voices with harp and vielle. Anne Azéma, Camila Parias, Deborah Rentz-Moore, voices; Christa Patton, winds, harp; Allison Monroe, vielle
Église Sainte Croix
Grussenheim, France

A glimpse of Christmas spirituality from Medieval France, Italy, England, and Provence, including music of the church and songs of private devotion around the joyous theme of the Nativity. Included are songs to the Virgin Mary, processionals from Saint Martial of Limoges, hymns, lyrics, and miracle ballads sung in Latin, Old French, Old Provençal, and Saxon, interlaced with Medieval English texts of the Nativity. Our cast features an extraordinary trio of women’s voices with harp and vielle. Anne Azéma, Camila Parias, Deborah Rentz-Moore, voices; Christa Patton, winds, harp; Allison Monroe, vielle
Eglise Protestante
Haguenau, France
Camerata’s chamber music version of this, our best-known holiday program, features three angelic women’s voices and instrumentalists. Our performance presents magnificent medieval song and poetry from the mid-winter celebration of Christ’s nativity, with a look as well at the pagan celebrations of winter solstice. Countries represented include France, England, Italy, Provence, and Germany. This production will include also a distaff choir from Mission Voix Alsace.

A glimpse of Christmas spirituality from Medieval France, Italy, England, and Provence, including music of the church and songs of private devotion around the joyous theme of the Nativity. Included are songs to the Virgin Mary, processionals from Saint Martial of Limoges, hymns, lyrics, and miracle ballads sung in Latin, Old French, Old Provençal, and Saxon, interlaced with Medieval English texts of the Nativity. Our cast features an extraordinary trio of women’s voices with harp and vielle. Anne Azéma, Camila Parias, Deborah Rentz-Moore, voices; Christa Patton, winds, harp; Allison Monroe, vielle
The prophecies, tribulations, and triumph of the young Biblical hero Daniel, as retold in music from medieval Beauvais. Probably the most powerful and musically evocative of all the medieval mystery plays, in a splendid new production conceived by Anne Azéma. A translation of the play can be
viewed here and
downloaded here.

The fiery prophecies of Daniel, young captive in corrupt Babylon, ring forth again. This stunning, contemporary new production by Anne Azéma of the greatest musical play from the French Middle Ages involves lights, movement, urgent poetry, and a sterling cast including seasoned professionals, children, and Longy School of Music of Bard College students, to make 1310 happen again, in 2025. Our singers and musicians are supported by Peter Torpey’s deeply evocative lighting and special effects.
Program & Notes
The prophecies, tribulations, and triumph of the young Biblical hero Daniel, as retold in music from medieval Beauvais. Probably the most powerful and musically evocative of all the medieval mystery plays, in a splendid new production conceived by Anne Azéma. A translation of the play can be
viewed here and
downloaded here.

The fiery prophecies of Daniel, young captive in corrupt Babylon, ring forth again. This stunning, contemporary new production by Anne Azéma of the greatest musical play from the French Middle Ages involves lights, movement, urgent poetry, and a sterling cast including seasoned professionals, children, and Longy School of Music of Bard College students, to make 1310 happen again, in 2025. Our singers and musicians are supported by Peter Torpey’s deeply evocative lighting and special effects.
Program & Notes