Upcoming concerts


Arias for Soprano

"Linz" Symphony No. 36 in D


Symphony No. 102 in B flat

Jordan Hall at New England Conservatory

+Friday, Oct 25
8:00 pm

+Sunday, Oct 27
3:00 pm

Opera meets symphony in our season opener, featuring Boston’s beloved soprano Amanda Forsythe. Hear two stellar Classical symphonies–Mozart’s “Linz” Symphony No. 36 in C and Haydn’s Symphony No. 102 in B flat– paired with a set of virtuosic arias sure to dazzle–“Barbaro, o Dio, mi vedi” from Il re pastore, “Ruhe sanft, mein holdes Leben” from Zaide, “Bella mia fiamma, addio,” and “Anna, m’ascolta” from Haydn’s seldom-performed oratorio Il ritorno di Tobia.

As Susan Miron writes for the Boston Musical Intelligencer “Amanda Forsythe’s impressive coloratura, breathtaking melismas, charming stage manner and apparent ease of execution reminded me of the young Kathleen Battle.”



Jordan Hall at New England Conservatory

+Friday, Dec 6
7:30 pm

+Saturday, Dec 7
7:30 pm

Ring in the holiday’s with Boston Baroque’s celebrated annual holiday tradition, Handel’s Messiah!

Martin Pearlman‘s Grammy-nominated interpretation will feature four of Boston Baroque’s most beloved soloists: Amanda Forsythe, soprano; Ann McMahon Quintero, mezzo-soprano; Thomas Cooley, tenor; and Andrew Garland, baritone.

“Ann McMahon Quintero, whose clear, straight tone and beautiful diction enhanced the expressiveness of the arias.” The Boston Musical Intelligencer





Concerto in D for Three Violins

Orchestral Suite in D


Concerto Grosso in F, No. 6

Sanders Theatre, Harvard University

+Tuesday, Dec 31
8:00 pm

+Wednesday, Jan 1
3:00 pm

This program of Baroque sparklers is the perfect way to celebrate the end of one year, and to ring in the next. And what Baroque feast would be complete without a complimentary champagne toast and chocolates?

In addition to two Bach masterpieces–the Concerto in D for Three Violins and the Orchestral Suite in D–hear soprano Maggie Finnegan in the glittering Vivaldi motet, “Nulla in mundo pax sincera,” Corelli’s Concerto Grosso in F, No. 6., and a stunning French Baroque orchestral suite by Rameau.

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