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Boston Baroque opens the season with a trio of Mozart’s most iconic orchestral and vocal masterpieces:

October 11, 2017

Press Contact: Stephanie Janes, (617) 419-0445,

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Boston Baroque, the first permanent Baroque orchestra ever established in North America, opens their 2017-2018 season with Mozart’s Requiem in NEC’s Jordan Hall on October 20 & 22 in a program with two of Mozart’s other vibrant concert works: the concert aria Exsultate, Jubilate and Symphony No. 40 in G minor. The orchestra will be conducted by Martin Pearlman and joined by frequent Boston Baroque soloists soprano Amanda Forsythe, mezzo-soprano Ann McMahon Quintero, bass-baritone Kevin Deas, and tenor Thomas Cooley. The Grammy nominated Boston Baroque Chorus joins for the performance of the Requiem.

Tickets are $25-$90 and may be purchased at or by phone at 617-987-8600.

Widely regarded as “one of the world’s premier period-instrument bands” (Fanfare), Boston Baroque will perform Robert Levin’s completion of the Requiem, first performed by the ensemble in 1994 and released as an acclaimed recording by Telarc in 1995. The New York Times praised the ensemble for their performance, saying it was “incisive, nuanced and lithe, the choral singing resonant, accurate and textually clear.” The ensemble last performed the Requiem in 2001; the October performances will only be the third time in Boston Baroque’s history to perform it.

Levin’s innovative completion of the Requiem primarily addresses the issues of instrumentation, grammar, and structure of Süssmayr’s version, while keeping the 200-year-old history of the masterpiece intact. The most substantial alterations include the transparent instrumentation inspired by Mozart’s other church music; the Lacrimosa that leads into a non-modulation Amen fugue; and the revised Hosanna fugue modeled after Mozart’s C-minor Mass (K.427/417a), which displays the proportions of a Mozartean church fugue.

The first half of the concert opens with Mozart’s joyful concert aria Exsultate, Jubilate, written when Mozart was just sixteen years old, sung by Boston favorite soprano Amanda Forsythe; and the “great” Symphony No. 40 in G minor.

Martin Pearlman, conductor and Music Director

Martin Pearlman is the founder, music director, and conductor of the orchestra and chorus of the three-time Grammy-nominated Boston Baroque, now widely regarded as being “Some of the finest American interpreters of music of this era,” according to Fanfare Magazine. Pearlman leads Boston Baroque in an annual subscription concert series in Greater Boston, tours in the United States and Europe, and has produced twenty-two major recordings. Hailed for his “fresh, buoyant interpretations” and his “vivid realizations teeming with life,” Pearlman has been acclaimed for over forty years in the orchestral, choral and operatic repertoire from Monteverdi to Beethoven.

Amanda Forsythe, soprano

A frequent guest artist with Boston Baroque, Ms. Forsythe has been praised by Opera News for her “light and luster”, “wonderful agility and silvery top notes”. She has been a winner of George London Foundation Awards and has also received prizes from the Liederkranz Foundation and the Walter W. Naumburg Foundation.

Amanda Forsythe recently made her début at Seattle Opera as Iris in Semele which resulted in an immediate invitation to return to sing Pamina in Die Zauberflöte in 2017.  In the following season, she returned to the Royal Opera House, Covent Garden, as Amour in Gluck’s Orfeo under Sir John Eliot Gardiner. 

Working regularly in the US and Europe, Ms. Forsythe has sung with Rossini Opera and the Grand Théâtre de Genève and the Accademia Nazionale di Santa Cecilia. In addition to Boston Baroque, she has appeared with other highly acclaimed baroque ensembles such as Philharmonia Baroque, Apollo’s Fire, and Pacific Musicworks.

In addition to Haydn’s Creation with Boston Baroque, Ms. Forsythe’s many recordings include the 2015 Grammy-winning CD of Charpentier’s La déscente d’Orphée aux enfers, as well as Venus and Adonis; Lully’s Psyché, and Thésée  both with Boston Early Music Festival.

Ann McMahon Quintero, mezzo-soprano

Ms. Quintero returns to Boston Baroque after her commanding portrayal of Cornelia is last season’s triumphant Guilio Cesare.  Hailed by the Baltimore Sun as “fully nuanced…warm honeyed tones and soaring regally”, Ann McMahon Quintero brings to the operatic and concert stage outstanding know-how and confidence. In the 2017-2018 season, she will join the National Symphony Orchestra at the Kennedy Center in their presentation of Messiah.

Developing a robust career singing with the Washington National Opera, Santa Fe Opera the
Spoleto Fesitval and here in Boston with the BLO, Ann has recently made her Asia debut with engagements with Musica Viva Hong Kong as Azucena (Il trovatore).  She added to her international appearances with New Israeli Opera in Gluck’s Armide and joined Teatro alla Scala for its production of Lorin Maazel’s 1984.

As a featured artist, Ann McMahon Quintero appears frequently with Boston Baroque. She also has sung numerous performances with the Defiant Requiem Foundation conducted by Murry Sidlin in New York’s David Geffen Hall and Boston Symphony Hall; performed with Charlotte and Alabama symphonies, National Philharmonic; Opera Orchestra of New York and was soloist with the National Endowment for the Arts Opera Honors Inaugural Awards Concert.

Ms. Quintero is a winner of the Sara Tucker Study Grant from the Richard Tucker Music Foundation, the Licia Albanese-Puccini Foundation International Vocal Competition, the George London Foundation and was a semi-finalist in Plácido Domingo’s Operalia. She is also a Grand National Finalist in the Metropolitan Opera National Council Auditions.

Thomas Cooley, tenor

Thomas Cooley is a singer of great versatility, expressiveness, and virtuosity, in demand internationally for a wide range of repertoire in concert, opera, and chamber music. He returns to Boston Baroque after his performances in Monteverdi’s Vespers and as an artist on our festival tour in Poland.

Thomas Cooley’s repertoire on the symphonic stage includes works such as Beethoven’s Missa Solemnis and Ninth Symphony, Berlioz’ Requiem, Nuits d’été, and L’enfance du Christ; Haydn’s Seasons; Britten’s War Requiem and Serenade; Stravinsky’s Les Noces; Mendelssohn’s Lobgesang and Elijah; Mozart’s Requiem; Elgar’s Dream of Gerontius; Rihm’s Deus Passus; Mahler’s Lied von der Erde; and Penderecki’s Credo. Recent concert highlights include the world premiere and recording of Christopher Theofanidis’ Creation/Creator with Atlanta Symphony, Kodály’s Psalmus Hungaricus, Wagner’s Parsifal and Bruckner’s Te Deum.

Particularly renowned for his agility and skill in Baroque music, Mr. Cooley is in demand as an interpreter of the works of Bach and Handel, most especially in the role of the Evangelist in Bach’s Passions and in the great oratorios of Handel. He appears regularly with such historically informed groups as Philharmonia Baroque Orchestra, Handel and Haydn Society, Music of the Baroque, Bethlehem Bach Choir, Akadamie für Alte Musik, and Boston Baroque.

Mr. Cooley’s activity on the operatic stage has largely centered on the roles of Mozart, Handel, and Britten. Other roles he has performed include Count Almaviva in Rossini’s Barbiere di Siviglia, the title role in Bernstein’s Candide, and Tristan in Frank Martin’s Le vin herbè.

Kevin Deas, bass-baritone

Kevin Deas has gained international renown as one of America’s leading bass-baritones. He performs with the New York Philharmonic, Philadelphia Orchestra, National Symphony, St. Paul Chamber Orchestra, Pacific Symphony, and the symphonies of Atlanta, Baltimore, Calgary, Columbus, Detroit, Florida, Hartford, Houston, Milwaukee, Minnesota, Montreal, San Diego, San Francisco, Seattle, Utah, and Vancouver, and at the Ravinia, Vail, and Saratoga festivals.

Engagements during the 2016-17 season included Handel’s Messiah with the Houston Symphony, Rochester Philharmonic and National Cathedral; Vaughn Williams’ Dona Nobis Pacem with the Richmond Symphony, Verdi’s Requiem with the Virginia Symphony, Puccini’s ‘Messa di Gloria’ with the Bach Festival Society of Winter Park, Walton’s Belshazzar’s Feast with the Buffalo Philharmonic, and Haydn’s Lord Nelson Mass with Baltimore Choral Arts.

Kevin Deas has recorded Wagner’s Die Meistersinger for Decca/London with the Chicago Symphony with Sir Georg Solti and Varèse’s Ecuatorial with the ASKO Ensemble under the baton of Riccardo Chailly. Other releases include Bach’s Mass in B-minor and Handel’s Acis and Galatea on Vox Classics; and Haydn’s Die Schöpfung with the Virginia Symphony and Hayden’s Lord Nelson Mass and The Creation with Boston Baroque for Linn Records.

Information for Calendar Listings:

Boston Baroque: Mozart Requiem
Friday, Oct. 20, 8pm and Sunday, Oct. 22, 3pm
NEC’s Jordan Hall
Tickets: $25-$90 |
617.987.8600 |

The drama and mystery of Mozart’s Requiem, one of his best known and most beloved works, opens Boston Baroque’s season with a cast of our audience’s favorite soloists including Boston favorite soprano Amanda Forsythe. Joining on the all-Mozart program are his joyful concert aria Exsultate, Jubilate and sweeping Symphony No. 40.



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