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Celebrate the season
with Conductor Patrick Dupré Quigley

 

 

GRAMMY®-nominated ensemble Seraphic Fire’s Patrick Dupré Quigley ignites a fresh flame with Philharmonia. Two Bach cantatas present two sides of the multifaceted master: the florid, Italianate Vivaldi enthusiast, and the stern, stately Lutheran of Saxony. Sandwiched with choral delights by Monteverdi, Vivaldi, and Purcell, this sparkling holiday program will warm you to the core.

MONTEVERDI “Confitebor tibi Domine,” No. 2, from Selva Morale e Spirituale
BACH Cantata No. 61 Nun Komm, der Heiden Heiland
VIVALDI Nisi Dominus
PURCELL The Frost Scene (Act III, Scene II), from King Arthur
BACH Cantata No. 140 Wachet auf, ruft uns die Stimme

Patrick Dupré Quigley, conductor
Margot Rood, soprano
Reginald Mobley, countertenor
Steven Soph, tenor
Steven Eddy, baritone

PERFORMANCE SCHEDULE

Wednesday December 5 @ 7:30 pm | Bing Concert Hall, Stanford
Friday December 7 @ 8 pm | Herbst Theatre, San Francisco
Saturday December 8 @ 8 pm | First Congregational Church, Berkeley
Sunday December 9 @ 4 pm | First Congregational Church, Berkeley

PATRICK DUPRÉ QUIGLEY – conductor

Conductor Patrick Dupré Quigley is the founder and artistic director of the internationally-acclaimed ensemble, Seraphic Fire. He frequently collaborates with the Cleveland Orchestra, the San Francisco Symphony, and the New World Symphony. He was nominated for a GRAMMY® Award for his recording of Brahms’s Ein Deutsches Requiem.

This season, Quigley takes the podium at The Cleveland Orchestra in Mozart, the Utah Symphony in Haydn, and Seraphic Fire in masterworks of Bach, Monteverdi, Pärt, and the Pulitzer-prize-winning David Lang. Mr. Quigley is a Music Director finalist for the Spartanburg Philharmonic, leading that ensemble in Sibelius’s Symphony No. 2, along with music of Gliere and Mozart.

In addition to his busy guest conducting schedule, Quigley regularly leads Seraphic Fire on critically-acclaimed tours.  His performances have been described by the press as “extraordinary” (Gramophone), “authoritative” (The Philadelphia Enquirer), “inspirational” (The Chicago Sun-Times), “vivid, sensitive” (The Washington Post), and displaying “transformative brilliance” (New York Lucid Culture). He is the recipient of the Robert Shaw Conducting Fellowship, the ASCAP Adventurous Programming Award, and the Louis Botto Award for his entrepreneurial leadership of Seraphic Fire.

Over his fifteen seasons at the helm of Seraphic Fire, one of the country’s premiere professional choral-orchestral ensembles, Quigley grew the organization’s budget to $1.6 million, started the Seraphic Fire Youth Initiative, launched the Seraphic Fire Media label (with two GRAMMY® Nominations), established Seraphic Fire’s endowment, inaugurated a unique young artist professional training program with the Herb Alpert School of Music at UCLA, and released fourteen recordings on the SFM label.

Quigley holds degrees from the Yale University School of Music and the University of Notre Dame. He lives with his husband in Washington, D.C. where they are restoring a turn-of-the century row home.

MARGOT ROOD – soprano

Hailed for her “colorful and vital” singing by The Washington Post, performs a wide range of repertoire across North American stages.

Margot was fortunate to make her solo debut at Boston’s Symphony Hall in 2011, and since then has been a frequent soloist with Handel and Haydn Society. The 2018/2019 season marks her debuts with Philharmonia Baroque Orchestra & Chorale, New Jersey Symphony and Charlotte Symphony. Recent and upcoming solo appearances include those with Cleveland Orchestra, Boston Symphony, Rhode Island Philharmonic, New World Symphony, Seraphic Fire, Bach Collegium San Diego, A Far Cry, and numerous concerts with acclaimed ensemble Blue Heron. Margot was formerly a Lorraine Hunt Lieberson Fellow at Emmanuel Music, where she is often featured on Emmanuel’s nationally-known Bach cantata series.

Margot’s recent and upcoming stage appearances include La Renommée in Lalande’s Les Fontaines de Verasilles and Francesca Caccini’s Alcina with Boston Early Music Festival, Galatea in Acis & Galatea and First Witch in Dido & Aeneas with Handel and Haydn Society, Hyacinthus in Mozart’s Apollo et Hyacinthus with Emmanuel Music, Amor in Gluck’s Orfeo ed Euridice with Grand Harmonie, and Johanna in Sweeney Todd with St. Petersburg Opera. Margot recorded the role of Emily Webb in Rorem’s Our Town with Monadnock Music which was widely released by New World Records in 2017.

In addition to opera and oratorio, Margot has performed as soloist with some of the United States’ premiere new music ensembles, and is a past recipient of the St. Botolph Club Foundation’s Emerging Artist Award for her work in new music. Notable new music engagements include her Carnegie Hall debut in the world premiere of Shawn Jaeger’s Letters Made with Gold, and Kati Agocs’ Vessel and Arvo Pärt’s Passio with the Boston Modern Orchestra Project. Margot has been invited by composers at Columbia University, University of Pennsylvania, McGill University, and Keene State College for performances and masterclasses. She has recorded numerous world premieres and 21st-century works with Albany Records, New World Records, BMOP Sound, and Sono Luminus. Her solo recording with composer Heather Gilligan, Living in Light, is now available from Albany Records.  Margot holds degrees from the University of Michigan and McGill University.

REGINALD MOBLEY – countertenor

Particularly noted for his “crystalline diction and pure, evenly produced tone” (Miami Herald), as well as an “elaborate and inventive ornamentation” (South Florida Classical Review), countertenor Reginald Mobley is highly sought after for baroque, classical and modern repertoire. Past performances of note include premiering a reconstruction of Bach’s Markus-Passion at the Oregon Bach Festival, constructed and led by Matthew Halls, as well as an extensive tour of sixteen concerts around Europe singing Bach’s Matthäus-Passion with the Monteverdi Choir & English Baroque Soloists led by Sir John Eliot Gardiner. He returns to work with the ensemble this season, for a further European tour, concerts of Handel’s Messiah with the Royal Scottish National Orchestra and Purcell’s King Arthur with the Academy of Ancient Music in London. Upcoming engagements includes concerts with Philharmonia Baroque Orchestra and New Jersey Symphony. Mobley will also be performing in Mozart Requiem in Poland in 2019 as well as other European dates.

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LISTEN TO PREVIEW

“The performance [Quigley] led was … joyful with thumping timpani and gleaming trumpets, radiant in the choir’s singing of Bach’s otherworldly harmonies and majestic in passages of choral grandeur…”

–Miami Herald

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