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Join us on February 11 at 7pm (ET), in person or online!

C3: Countertenors, a Consort, and Continuo

C3 collage1Gotham Early Music Scene continues the inaugural season of its Open Gates Project with an evening featuring a roster of phenomenal countertenors of color alongside a consort of viols. Join us as we explore the works of Byrd, Handel, Monteverdi, Purcell, and critically acclaimed composer Trevor Weston’s O Maria.

The Open Gates Project is a concert series dedicated to creating greater access to stages for musicians of color in Early Music, while also seeking to create greater access to Early Music for underserved communities. We want to see increased diversity on the stage AND in the audience.

Friday, February 11 at 7 pm
Holy Trinity Lutheran Church, W 65th St and Central Park West, Manhattan (map)
       Transit: #1 subway to 66th Street/Lincoln Center; M10, M20, M66, M72 buses

In-Person and Live Streamed

Tickets:
$30 ~ General Admission
$15 ~ Under 30/Fixed-Income General Admission
$5 ~ Students (ID required)

Purchase In-Person Tickets

Purchase Live Stream Tickets

Please note: Proof of vaccinations and masks are required to attend in-person. Read our full Covid Protocols here

As you probably know, ticket prices do not cover the full cost of these concerts. If you are able, you can donate in addition to your ticket price here.
 
We also don’t want to turn anyone away for lack of funds. If you’d like to attend or view the concert and can’t afford the listed prices, please email orders@gemsny.org and let us know what you can afford.
 

Countertenors: 
Biraj Barkakaty  
Wei En Chan  
Patrick Dailey
Iván Maria Feliciano (special guest young artist)
Jonathan May

Viols: 
Motomi Igarashi  
Larry Lipnik 
Rosamund Morley  
Pat Neely

Harpsichord: 
Dongsok Shin

View the embedded image gallery online at:
https://www.gemsny.org/opengatesseason#sigProId4ddeeaf755


THE PROGRAM

William Byrd (c. 1540–1623)
Ambitious Love
Ye Sacred Muses
Who Made Thee, Hob

Viol Consort Selections

Henry Purcell (1659–1695)
Sound the Trumpet
Sing, Sing, Ye Druids

Viol Consort Selections

Andrea Gabrielli (1532/33–1585)
Vieni, Vieni, Himeneo

Trevor Weston (b. 1967)
O Maria

George Frideric Handel (1685–1759)
Ombra Mai Fu

Claudio Monteverdi (1567–1643)
Pur Ti Miro

Francesco Cavalli (1602–1676)
Pur Ti Stringo


A native of London, Biraj Barkakaty has held positions with some of the world’s leading choral ensembles including St. George’s Chapel, Windsor Castle, and the Washington National Cathedral Choir. Whilst specializing in the music of Baroque and Renaissance composers, he has also sung roles in many new and contemporary operas, most recently the role of Fidele in Diary of a Madman with Seattle’s LowBrow Opera Collective last November, and the role of Merlin in the staged world premiere of The Loathly Lady at the Vienna Summer Music Festival in Florida last June. In October 2021, Biraj performed with the London-based Siglo de Oro Ensemble at the Tage Alter Musik Festival in Regensburg. He is also a member of the newly formed professional ensemble The Union in Cincinnati. Future engagements include Bach Cantata 12 with the Heifetz Institute in March, and the role of the Shepherd in Blow’s Venus and Adonis with Fireside Theatre in Cambridge, England.
www.birajbarkakaty.com

Wei En Chan is a Singaporean countertenor whose singing is lauded for its “time-stopping” beauty and technical finesse. He leads an active career in Asia and North America performing the major works of Bach and Handel and has appeared in leading roles with numerous organizations including the Singapore International Festival of Art (SIFA), The Opera People (TOP, Singapore), Bachfest Malaysia, Red Dot Baroque (RDB), First Lutheran Church of Boston, Boston Opera Collaborative, the American Bach Soloists, and others. Highlights include the title role in Handel’s Oreste with SIFA, conducted by Tian Hui Ng, Bach’s St. Matthew Passion with Bachfest Malaysia, conducted by Dr. David Chin, and Ruggiero in Handel’s Alcina with TOP & RDB. Wei En earned his Masters in Music in Voice Performance from New England Conservatory, studying with Dr. Ian Howell, and his Bachelors in Music from Ithaca College, studying with Prof. Carol McAmis.
www.weienchancountertenor.com Facebook: @ChanWeiEnCountertenor, Instagram: @weiencountertenor

Patrick Dailey has been described as possessing “a powerful and elegant countertenor voice” (Los Angeles Daily News) and as a “vocal standout” (Boston Classical Review). He has appeared with the Grand Rapids Symphony, Opera Memphis, Pacific Opera Project, Tête à Tête New Opera Festival (UK), Austin Baroque Orchestra, Shreveport Opera, Chicago Philharmonic, Opera Louisiane, Woodhouse Opera Festival (UK), Il Festival de Ópera Barroca de Belo Horizonte (Brazil), among others. A versatile artist, Dailey has performed with the likes of Jason Robert Brown and Aretha Franklin and featured in Ben Gregor’s film, Fatherhood (FUSE TV) as well as recording projects from Louis York (American Griots), Adrian Dunn (Redemption Live in Chicago), to The Aeolians of Oakwood University. Patrick is on the voice faculty and director of the Big Blue Opera Initiatives at Tennessee State University, founding director of the W. Crimm Singers (aka Wakanda Chorale), and co-founder of Early Music City. www.patrickdaileyct.com.

Iván Maria Feliciano, Jr. is an operatic countertenor of Afro-Puerto Rican descent, and is regarded as a rising star in both Baroque Opera and Oratorio. Audiences recently heard Iván as the Sorceress in Henry Purcell’s Dido and Aeneas at the Aaron Copland School of Music. Iván Maria has been described as having a voice that is dramatic in size, that is full, and rich with an extraordinary range. He has made appearances with the SouthWest Symphony Orchestra of Naples, Florida and was a primary soloist within the chamber choir of Ave Maria University. He has also performed scenes from Mozart's La Clemenza di Tito, and made his debut as the first countertenor soloist to perform Mozart’s Requiem in D minor in Southwest Florida. Iván Maria has a profound adoration for Early Music and its abundant musical repertoire. Outside of performing, he also has an avocation for transcribing obscure baroque repertoire and aspires to be an archivist and Baroque specialist. He is currently completing his degree in vocal performance with the Aaron Copland School of Music.

Jonathan May, countertenor, performs regularly with ensembles such as Early Music New York, Mark Morris Dance Group, Ensemble VIII, and The Saint Thomas Choir of Men and Boys. He was most recently featured as a soloist in Cantatas BWV 70, 147 and Bach’s Magnificat with Bach Vespers at Holy Trinity. He appeared with New York City’s TENET Vocal Artists in unconducted performances of Bach’s St. Matthew Passion, featuring only twelve singers and the instrumental ensemble The Sebastians. He also appeared as Testo in Academy of Sacred Drama’s modern premiere of Vincenzo de Grandis’ Il Nascimento di Mose. Other highlights include appearances as alto soloist in C.P.E. Bach's Magnificat with American Classical Orchestra and in Handel’s Dixit Dominus with Canticum Scholare; singing the role of Spirit in Purcell’s Dido and Aeneas with Mark Morris Dance Group; singing Philip Glass' Madrigal Opera at National Sawdust; and performing Tallis' Spem in alium with The Tallis Scholars. He holds a degree in music from Dartmouth College.

 



The Inaugural Concert

Thank you to everyone who came and supported our inaugural concert! It was a fabulous success!

WATCH THE CONCERT HERE

More details

November 12-14, 2021

The Divine Feminine: Centering Women of Color in Early Music

Featuring an all-women-of-color roster of artists

There is nothing like the power of strong female representation on the stage.

Named for the almighty creative force that brings all things into being, The Divine Feminine program is a triumphant celebration of womanly influence in the world.  This inaugural program presents a range of visionary female voices from the early repertoire with that most vaunted of female figures, Mary herself, as its bookends. 

From the jubilant medieval setting Hail Mary, Full of Grace to Pergolesi’s grand masterpiece, the Stabat Mater, Mary is brought to life in her many nuances: in deepest love and profound grief; in anguish; in hopefulness, in sensuality, and in the foundational joy of creation. Among the featured composers are Chiara Margarita Cozzolani, Barbara Strozzi, Francesca Caccini, and Sor Juana Inés de la Cruz. From sacred to secular and back again, this program honors the strength and grace of these masterful historic composers as presented by living masters of their craft: brilliant women of color, every one.

The Open Gates Project is a concert series dedicated to creating greater access to stages for musicians of color in Early Music, whiule also seeking to create greater access to Early Music for underserved communities. We want to see increased diversity on the stage AND in the audience.

WATCH THE CONCERT HERE


Roster of artists:

Nicole Besa ~ soprano
Aine Hakamatsuka ~ soprano
Heather Hill ~ soprano
Amaranta Viera ~ soprano
Tanisha Anderson ~ mezzo-soprano
Guadalupe Peraza ~ mezzo-soprano
AnnMarie Sandy ~ mezzo-soprano
Hai-Ting Chinn ~ alto

Jessica Park ~ violin
Maria Romero Ramos ~ violin
Amelia Sie ~ violin
Patricia Ann Neely ~ viola da gamba
Duangkamon "Wan" Wattanasak ~ harpsichord

Program:

Sor Juana Inés de la Cruz, “Madre de los Primores”
Chiara Margarita Cozzolani, “O Dulcis Jesu”
Barbara Strozzi, “I Baci”
Francesca Caccini, “O Vive Rose”
Alessandro Stradella, Sinfonia #22 in D minor
Giovanni Battista Pergolesi, “Stabat Mater”


Open Gates Project is a project of Gotham Early Music Scene, and works towards engaging more artists of color on stages and growing the diversity of our audiences.