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Choral Grand Opening:
War & Requiem

Joseph Haydn - Mass in Time of War (“Paukenmesse”)
Gabriel Fauré - Requiem in D Minor

Thursday, October 29, 2026 @ 7:30PM
Church of the Ascension
36 Fifth Avenue at 10th St.
New York, NY 10011

Soloists to be announced

 

Voices of Ascension opens its 2026–2027 season under the artistic vision and direction of Dennis Keene with a program that matches musical grandeur with profound humanistic depth. Composed amid the threat of Napoleon’s advancing armies, Mass in Time of War (Paukenmesse) by Joseph Haydn pulses with urgency. Its insistent timpani and bold choral writing transform the Mass into both a plea for mercy and a rallying cry for courage. Beneath the music’s tension lies the spirit of a people facing the shadow of invasion, who refuse to yield. As the work unfolds, Haydn carries the listener from anxiety toward resolve, and by the close of the Agnus Dei, the music affirms an unmistakable conviction that goodness will prevail.

Nearly a century later, Gabriel Fauré took a strikingly different path with his Requiem in D Minor. Where earlier Requiems summon fear of judgment, Fauré turns toward reflections on light and tenderness. The music unfolds with warm, muted colors, a result of an orchestral score without violins for much of the work. Its final luminous In Paradisum offers consolation that feels intimate and deeply personal. For Keene, whose long-standing connection to the French choral tradition has shaped Voices’ artistic identity and soundscape, the Requiem remains a touchstone of our repertoire.

Join us for our season-opening concert as we celebrate the extraordinary creativity of these two composers and the magnificent power of the human voice and the community that choral singing conjures.

 

Our 2026-27 Season

CANDLELIGHT CHRISTMAS

Wednesday, December 9, 2026 @ 7:30 pm
Thursday, December 10, 2026 @ 7:30 pm
Monday, December 14, 2026 @ 7:30 pm
Tuesday, December 15, 2026 @ 7:30 pm
For 2026, now offering a fourth Candlelight Concert!

Voices of Ascension Chorus
Dennis Keene, Artistic Director and Conductor
Soloists to be announced

Now in its 37th year, Voices of Ascension’s Candlelight Christmas Concerts are an enduring, cherished New York holiday ritual inside the glowing sanctuary of the Church of the Ascension. Beneath the shimmer of candlelight, this annual celebration gathers audiences in community, for music that reflects winter, wonder, and shared tradition.

Illuminated by scores of candelabras and nearly 600 individual candles, the church’s Neo-Gothic architecture becomes a radiant setting for ancient carols, Christmas choral anthems, seasonal masterworks, and beloved family favorites. This immersive concert offers an unforgettable Christmastime experience for listeners of all ages, with Voices of Ascension, the Manton Memorial Organ, and special guest soloists. 

Masterfully redesigned in 1885 by architect Stanford White, the Church of the Ascension houses a premier collection of American Renaissance art, anchored by John La Farge’s monumental chancel mural and a stunning array of period stained glass. The collection blends exceptional sculpture, painting, and craftsmanship to create one of New York City’s most significant Gilded Age interiors.

These shows will sell out, get your tickets today!

 
 

 

Our 2026-27 Season

 

Sound Out of Silence

James McVinnie, organ
Voices of Ascension Chorus

Thursday, January 7, 2027 at 7:30PM

Church of the Ascension
36 Fifth Avenue at 10th St.
New York, NY 10011

Nico Muhly - Nativity Cycle (World Premiere)
Tristan Perich - Infinity Gradient (2025)
Pérotin - Viderunt Omnes (c.1198)

Join us for a concert that traces a line from the earliest flowering of Western polyphony to the outer edges of contemporary sound, exploring how music emerges from silence and takes shape in space.

One of the most sought-after organists in contemporary music, James McVinnie, joins Voices of Ascension for the world premiere of Nico Muhly’s Nativity Cycle. Conceived as a companion to his Seven O Antiphon Preludes, Muhly’s seven-part cycle — written especially for Voices of Ascension, the Church of Ascension's Manton Memorial Organ, and James McVinnie — unfolds as a meditation on the texts and melodies of the Christmas liturgy, moving from anticipation toward arrival. The program opens with Pérotin’s Viderunt Omnes, one of the defining works of 12th-century organum, a pioneering style of medieval polyphonic music that involves taking Gregorian chant melody and enhancing it by adding harmonizing vocal lines.

The concert culminates with Tristan Perich’s Infinity Gradient, a monumental organ solo featuring 100 loudspeakers installed in the Church of the Ascension, with the audience at the center. A sonically profound, encompassing concert experience, Sound Out of Silence invites us to encounter sound not only as something heard, but as something physical, unfolding within and around the body.

Our 2026-27 Season

Requiem Aeternam: Kathy Romey

Howells, Distler, Brahms and Nystedt

Thursday, February 18, 2027 at 7:30 PM
Church of the Ascension
36 Fifth Avenue at 10th St.
New York, NY 10011

Kathy Saltzman Romey, Guest Conductor
Rebecca Miller Kratzer, Theatrical Director

As part of Voices of Ascension’s Choral Visionaries series, we welcome guest conductor Kathy Saltzman Romey, Artistic Director of the Minnesota Chorale and long-time Director of Choral Activities at the University of Minnesota. A frequent collaborator with the Minnesota Orchestra, the Oregon Bach Festival, and the Internationale Bachakademie Stuttgart, and a long-time artistic partner of Helmuth Rilling, Romey brings international depth and authority to this searching meditation on mortality.

At the heart of this program stands Hugo Distler’s rarely-heard Dance of Death (Totentanz), presented in a semi-theatrical staging with NAME as narrator. In this stark and expressionistic work, Death summons figures from every walk of life to account for themselves, confronting each with the limits of power, status, and certainty. Composed in 1934 and later censored under the Nazi regime, Dance of Death is seldom performed today, yet it remains a deeply respected work of singular dramatic force, a searing and uncompromising interrogation of what makes a life worth living.

Herbert Howells’s Requiem brings the evening to a radiant conclusion. Its long, arching lines and glowing harmonies create a world of inward movement and restrained intensity. Rather than dramatic lament, Howells offers music of profound consolation, serene yet deeply felt, carrying the listener toward quiet transcendence.

Johannes Brahms’ Warum? (“Why?”) frames the evening’s searching spirit, while Knut Nystedt’s luminous Immortal Bach offers a moment of suspended reflection, completing a journey from questioning to reckoning to repose.


Kathy Saltzman Romey is artistic director of the 200-voice Minnesota Chorale, which serves as the Minnesota Orchestra’s principal choir. Romey is also Professor Emerita of Music and former Director of Choral Activities at the University of Minnesota, where she oversaw the graduate program in choral conducting and conducted choirs for thirty years.

Known for her meticulous training of choirs, Romey has conducted the Chorale in local, national and international forums. She has prepared the Chorale for performances with the Minnesota Orchestra under the baton of Music Directors Osmo Vänskä, Eiji Oue and Edo de Waart, Sommerfest Artistic Directors Andrew Litton, Leonard Slatkin and David Zinman, and acclaimed guest conductors as Roberto Abbado, James Conlon, Nicholas Kraemer, Roger Norrington, Helmuth Rilling, Robert Shaw, Juraj Valčuha and Thomas Wilkins. Romey has conducted the Chorale in national and international forums and in performances with the Minnesota Orchestra, the Saint Paul Chamber Orchestra and The Metropolitan Symphony.

Outside of the Minnesota Chorale, Romey has been on the staff of the Oregon Bach Festival since 1984 and is principal chorus master of the festival’s 54-voice professional choir, which she prepares for annual concerts, commissions and recording projects. Festival programs have included American and world premiere performances of major works by Tan Dun, Arvo Pärt, Krzysztof Penderecki and Sven-David Sandström, and Wolfgang Amadeus Mozart reconstructions by Robert Levin. She has assisted with twelve recordings, including the Oregon Bach Festival’s 2001 Grammy Award-winning CD of Krzysztof Penderecki’s Credo under Helmuth Rilling, Minnesota Orchestra’s Grammy-nominated disc of Beethoven’s Ninth Symphony, and the recent recordings of Mahler Symphonies Nos. 2, 3, and 8 with Osmo Vänskä leading the Minnesota Orchestra and Minnesota Chorale.   

Active as a guest conductor, chorus master and clinician throughout the United States and Europe, Romey has regularly prepared ensembles with the Internationale Bachakademie Stuttgart for special programs and tours in Austria, Chile, France, Germany, Poland, Switzerland, and the United States. Currently, she oversees the chorus of the Junges Stuttgarter Bach Ensemble (Young Stuttgart Bach Ensemble) in collaboration with artistic director Hans-Christoph Rademann. From 2013 to 2018, she also served on the faculty of the Weimar Bach Cantata Academy, focusing on the study and presentation of cantatas by Johann Sebastian Bach under the direction of Bach scholar and conductor Helmuth Rilling. In addition to her work with Bach Academies, Romey has prepared programs with the Berkshire Choral International, Carnegie Hall Festival Chorus, Grant Park Music Festival, Netherlands Radio Choir, Teatro del Lago Festival, and Westminster Symphonic Choir. ​ 

Romey earned an Artistic Degree in Choral Conducting under Helmuth Rilling from the Frankfurt Musikhochschule in 1984. From 1985-1992, she served as Director of Choral Activities at Macalester College in St. Paul, Minnesota and in 1992, joined the faculty at the University of Minnesota. She was honored by the Minnesota Chapter of the American Choral Directors Association with the 2002 Conductor of the Year award and in 2006, the University recognized her work with the Arthur Motley award for exemplary teaching. Romey co-authored a book chapter in 2012 with university colleague Matthew Mehaffey on choral music in the United States for the Cambridge Companion to Choral Music. She also collaborated with Helmuth Rilling in 2014 on his book MESSIAH: Understanding and Performing Handel’s Masterpiece. Romey was the recipient of Chorus America’s 2021 Distinguished Service award and recognized as one of four Minnesota choral luminaries at the 2021 Minnesota State Conference of the American Choral Directors Association. She retired from her position at the University of Minnesota in spring 2023. ​


Rebecca Miller Kratzer is a New York-based theatre and opera director known for her innovative and visually striking work at the intersection of opera, music, dance, and theatre. Her artistic practice embodies collaboration, joy, and ritual, resulting in deeply personal productions that challenge traditional and formal boundaries. She currently serves as Assistant Director at Little Shop of Horrors off-Broadway at the Westside Theatre, and is the Stage Director in Residence with The Opera Next Door in Brooklyn. 

Select opera work includes: The Great Dictionary of the Yiddish Language, YIVO/American Opera Projects; Dido’s Ghost, Emmanuel Music/MIT; La Carmencita, Lincoln Center/The Opera Next Door; Don G., The Opera Next Door; In Real Life, Mostly Modern Festival; La traviata, City Lyric Opera; Enemies: A Love Story, Rider University; Antigone, Longy School of Music; Don Quichotte Camacho's Wedding, Opera Saratoga; The Trojan Women, Columbia University; Cendrillon, Alcina, Opera del West; Don Giovanni, Fidelio, La Cenerentola, NEMPAC Opera. Assistant director for Grounded, WNO at the Kennedy Center (dir. Michael Mayer); Man of La Mancha, Opera Saratoga (dir.Lawrence Edelson); New Dark Age, Royal Opera House (dir. Katie Mitchell). 

She holds a BA in Theater Arts from Brandeis University and an MFA in Directing from Columbia University. Rebecca is a proud AGMA Member and SDC Associate Member. www.rebeccamillerkratzer.com


Our 2026-27 Season

Sing Joyfully: Tallis & Byrd

Thursday, March 11, 2027 at 7:30PM
Church of the Ascension
36 Fifth Avenue at 10th St.
New York, NY 10011

This program, a cornerstone of the Voices of Ascension repertoire, explores the luminous artistry of the English Renaissance, featuring masterworks by Thomas Tallis and William Byrd: two composers whose music influenced the sound of sacred choral tradition for generations.

This music especially features the solo vocal and choral traditions, embracing the beauty, simplicity, wonder and crystalline qualities of these composers as brought to life by the power of unadorned, human voices in concert with each other.

Few composers have shaped the sound of English choral music more profoundly than Thomas Tallis, whose works remained central to the repertory long after the religious and political upheavals of his own age had passed. Across four Tudor reigns, Tallis navigated dramatic shifts in faith, language, and musical style, leaving behind a body of work that continues to define the artistic heights of the English Renaissance.

Widely regarded as the greatest of his generation, William Byrd created music of such depth and craftsmanship that it remains a cornerstone of the choral repertory more than four hundred years later.

Explore our Renaissance YouTube Playlist

Our 2026-27 Season

BACH: Mass in B Minor

Thursday, April 15, 2027 @ 7:30PM
Church of the Ascension
36 Fifth Avenue at Tenth St
New York, NY 10011

Johann Sebastian Bach - Mass in B Minor, BWV 232

Voices of Ascension Chorus and Orchestra
Dennis Keene, Artistic Director and Conductor
Soloists to be announced

This pillar of choral literature is one of the greatest works ever written by one of Western music’s preeminent composers. Johann Sebastian Bach’s monumental Mass in B Minor stands as the culmination of a lifetime devoted to sacred music, an extraordinary synthesis of devotion and compositional mastery.  What truly elevates this masterpiece — and underscores the sheer extent of Bach’s holistic musical genius — is how flawlessly his brilliance translates across every layer of the music. Bach seamlessly shifts from intimate, deeply expressive showcase of the solo voice to the thunderous, intricate architecture of a full choir, all while treating the orchestral ensemble not merely as accompaniment, but as an equal partner. The Mass in B Minor is a work of unparalleled scope, where every vocal line and instrumental voice unites to form the ultimate testament to a lifetime spent refining his musical craft. 

Join the full Voices of Ascension Chorus and Orchestra on Thursday, April 15, 2027, as chorus, orchestra, and soloists bring this cosmic and deeply spiritual masterpiece to life. From the grandeur of the “Gloria” to the radiant majesty of the final “Dona Nobis Pacem,” Bach’s final major artistic offering promises an unforgettable evening that will bring audiences together to experience this music’s profound anguish, ecstatic elation, and spirit of joyful transcendence. 

 

Other Concerts in our 2026-27 Season

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