cappella romana

Got talent: A toast to Jimmie & Storm

ArtsWatch Weekly: Whole lotta talent goin' on; TBA takes the spotlight; license plates & movie picks & choral sounds & more

A 35-YEAR-OLD MAGICIAN NAMED DUSTIN TAVELLA pulled off his greatest trick Wednesday night, making the rest of the contestants disappear and walking off with a million-dollar check as the grand winner of this season’s television spectacle America’s Got Talent.

Jimmie Herrod, singing “What a Wonderful World” in the finals of this season’s “America’s Got Talent.” MSN screen shot

It wasn’t the outcome a lot of Oregonians were hoping for. Portland had two top talents in the fray: the gutsy singer Storm Large, who had a great ride before bowing out in the quarterfinals, and the marvelous vocalist Jimmie Herrod, who made it all the way to last night’s finals. As sporting events go, it was a little like losing game seven of the World Series: OK, the other team won. But if you hadn’t been terrific, you wouldn’t have been there in the first place. Deep congratulations to Herrod and Large, and welcome back home.


Sharing faith in the transcendent power of exquisite choral literature

Catching up with Cantores in Ecclesia and Cappella Romana

August, 2021:


This headline ached to be written. Cantores in Ecclesia, the choral core of the William Byrd Festival, had gone forward with faith that by this August they could sing together again. For the second year in a row, it was not to be.

Blake Applegate, conductor of Cantores in Ecclesia, had his first pandemic concert go/no-go decision to make on the weekend of March 14, 2020. His adult and youth choirs were prepared for a performance of James MacMillan’s “Seven Last Words from the Cross” and anticipating the arrival of British guest conductor David Hill.

Applegate’s wife Anna Song, whose choir In Mulieribus was performing at the Northwestern American Choral Directors Association conference in Spokane, WA, had just let him know the conference was shutting down early. His decision became a fait accompli. The MacMillan performance and the choir’s liturgical offerings at Holy Rosary Catholic Church were cancelled.

Cantores in Ecclesia, like so many other choirs, would not sing together for a long time.

Blake Applegate conducting Cantores in Ecclesia sing Durufle's Requiem at Mt. Angel in 2018. Photo courtesy of CiE.
Blake Applegate conducting Cantores in Ecclesia at Mt. Angel in 2018. Photo by Sarah Wright.

As Applegate was cancelling, Mark Powell, Executive Director of Cappella Romana, was–with a bunch of help from his friends–pulling off a performance switcheroo of prestidigitorial proportions, as chronicled in “Covideo” (OAW, March 15, 2020). Via livestream, sans audience, Cappella Romana went ahead with the Portland performance of Tchaikovsky’s Divine Liturgy, conducted as planned by guest director Benedict Sheehan.

Gutsy move by all involved. The broadcast, still available here, features basso profundo Glenn Miller grounding humanity to the earth while the choir sends prayers of mercy to the heavens. Timely then and now.

Cappella Romana too, would shut down. Right? Well, public concerts and recording sessions, yes; the ever churning infrastructure of Cappella Romana, no. Under the organization’s record label, Cappella Records, post-production was in final stages for the “Hymns of Kassiani” recording. 

That CD was released to high acclaim in April of this year. Alexander Lingas, Founder and Artistic Director and John Michael Boyer, Associate Music Director, continued their scholarly work, researching Eastern and Western Orthodox liturgical music, the heart of Cappella Romana’s programming.

Lingas, Oxford and City, University of London academician, has not been able to travel to Portland since the beginning of the pandemic, but his virtual profile – in interviews, lectures, and as DJ for his series called “Playlist” – has been significant. He and Cappella Romana artists are featured in several online interviews, including an especially fascinating one from September of 2020: an in-depth account of the joint project with Stanford University Center for Computer Research in Music and Acoustics and Cappella Romana in producing the “Lost Voices of Hagia Sophia” CD released in late 2019 to rave reviews.

While Cantores in Ecclesia singers have remained distanced from one another until very recently, Cappella Romana singers were able to sing together this July. They reunited for a recording session, in association with St. John of Damascus Society, singing Heaven and Earth: A Song of Creation. This collaborative choral work by six composers (one of whom is Boyer) will share a CD with Sir John Taverner’s Ikon of Light. That CD will be released later this year.

Cappella Romana. Photo courtesy of the choir.
Cappella Romana. Photo courtesy of the choir.

Both choral organizations sing “church” music and sing in churches–but, and this might seem to some like splitting numes, they are not church choirs. The true test: check Yelp for “church choirs, Portland, Oregon” – they aren’t there. Their singers and audiences are of all religious faiths, or no religious faiths. They share faith in the transcendent power of exquisite choral literature.

More interesting commonality: both groups are thirty-somethings (Cappella Romana about to celebrate its 30th and Cantores in Ecclesia turning 39). Both conductors have both been with their organizations from the very beginning: Lingas as founder and Artistic Director, Applegate first as singer and then as conductor since 2010. 

Lingas and Applegate began their musical journeys in Portland, crossing paths as performers and students. Lingas, a tenor, sang in Cantores in Ecclesia as a young college student and recalls first getting to know Applegate as a fellow singer; Applegate, also a tenor, sang in Cappella Romana for a number of years. Both attended Portland State University as students of Bruce Browne and sang in the Chamber Choir. And then they zeroed in on their passions.

How cool is that! To pursue that which you loved in your youth, fashion it through study and perseverance into your life’s work, and then share it with others.

Long distance relationships are common to both choirs. Lingas lives in Didcot, Oxfordshire, England; Boyer lives in San Francisco. Byrd Festival Artistic Director Mark Williams, who conducts Cantores in Ecclesia during the Festival, lives in the UK. Several Cappella Romana singers live out of Oregon. Both groups collaborate often with guest conductors and artists from other parts of the US and around the world.

Endearingly, the origins of both choirs trace back to one Portland church musician: Dean Applegate, Blake’s father. The elder Applegate’s dream of Cantores in Ecclesia was brought to life in 1983 when St. Patrick’s Church in Northwest Portland gave them a home, naming them choir in residence. The first 18 years of the choir’s interesting existence would be in that parish. Lingas sang in that choir and says, with affection, that his association with Dean Applegate and Cantores in Ecclesia inspired him to create Cappella Romana.

The elder Applegate, who also deserves credit as co-founder of Portland’s highly respected William Byrd Festival, is pleased that these two guys have retained their passion and purpose. He eloquently characterizes the choirs as sharing the origins and beauty of “two different ecclesiastical aesthetics, one Roman and one Byzantine.”

Blake Applegate conducting Cantores in Ecclesia sing Durufle's Requiem at Mt. Angel in 2018. Photo courtesy of CiE.
Blake Applegate and Cantores in Ecclesia performing Durufle’s Requiem at Mt. Angel in 2018. Photo by Sarah Wright.

Blake Applegate tends this legacy with devotion, steadfastly bringing Roman Catholic music traditions to the Portland choral community. Lingas, whose own dream began by inviting some of his Portland friends to sing, has nurtured Cappella Romana into a choir whose artistry and scholarship in presenting church music of the Byzantine Empire is revered worldwide.

Indeed, Cappella Romana have just returned from an international tour. First they went to Ireland, were joined by singers from Greece and…oh golly, there’s got to be a better way to tell of this epic journey. Let’s presume upon Homer: sing in me, O Muse!

The Cappelliad 

So in Portland for the winged journey did Cappella Romana ready itself, likewise singers from elsewhere in the US, UK and from Greece, all equipped with face shields and pierced with lifesaving serum. Meanwhile Lingas to Ireland departed for joyous reunion with his forces and all travelers descended upon Limerick for a Fest of Early Music and to render their visible forms and voices upon film to be seen at another such later Fest in Romania. They rendered medieval Byzantine Chant from the Monastery at Grottaferrata, efforts buoyed by benevolent wisdom of the National Endowment for the Humanities.

In second great pursuit of heavenly voice they electronically preserved upon disc two works in memorial of souls departed: the Panikhida (Choral Memorial Service) of the late Sir John Taverner and Byzantine funeral chants written in English by their own leader, John Michael Boyer, upon Sir John’s passing. 

Strengthened by these lofty achievements, the artists of Cappella Romana did away to Netherlands and the Utrecht Early Music Festival, grandest assemblage of such in the world. And there, in third such appearance amidst fellow practitioners, this proud representation of Oregon’s Portland, Cappella Romana, brought to live stage the acoustics of Istanbul’s iconic monastery with “Lost Voices of Hagia Sophia” the record of which received much accolade. With this they concluded both Festival and journey and returned to homelands well known and loved.

Odyssey homer-ward

Cappella Romana is about to offer Portland audiences a far better Homer – home concert that is. Their 30th Season Resurrection kicks off later this month with the program “A Covid Requiem: Music for Remembrance” dedicated to the many lives lost to Covid-19. On the program are the requiem works by Taverner and Boyer, recorded in Limerick. 

These concerts are at St. Mary’s Cathedral on September 25, 8:00 pm and The Madeleine Parish, September 26, 3:00 pm. Live-streaming plans are being finalized and will be posted on their website. Proof of Covid-10 vaccinations are required. Masks will be required.

Cantores in Ecclesia, masked and vaccinated, began singing the liturgy together again several weeks ago. They are choir in residence at Holy Rosary but also sing services at St. Agatha’s Church and other parishes. Liturgical participations, to which all are welcome, can be tracked on their website; larger events are on the PDX choral calendar

Applegate spoke about the contrast between Cantores in Ecclesia’s major choral events and the “comfort and constancy of providing music for the liturgy.” Cantores makes beautiful music either way. Their intent is to reschedule the James MacMillan “Seven Last Words from the Cross” for this season. 

And Applegate hopes to schedule works of composer Thomas Tallis in acknowledgment of Cantores and Cappella scholar-singer Kerry McCarthy’s recent Oxford University Press publication Tallis

Cantores in Ecclesia’s “season” doesn’t roll out with a flourish but they just might be Emily Dickinson’s model for “Hope” in which the music “never stops – at all.” And with undiminished faith they have recently posted the August 2022 William Byrd Festival dates.

There’s just a whole lot of faith in the choral community right now. Faith that we can sing together without fear. Faith that audiences will find their way back to the joy of live singing. It’s what we have for today. Hold on to it.

September, 2021:


It is so good to be able to write those words.

Cappella Romana. Photo courtesy of the choir.
Cappella Romana. Photo courtesy of the choir.

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The soul of humanity and the fate of the planet are intertwined

Raising environmental awareness through music with Anima Mundi

Scene from 'A Time For Life.' Photo by Robert Kyr.
Scene from ‘A Time For Life.’ Photo by Robert Kyr.

An exciting array of artists is featured in the Ashland-based Anima Mundi Productions Heart of Humanity concert series this spring, including the choral ensemble Cappella Romana, Third Angle New Music, soprano Estelí Gomez, guitarist Colin Davin, and the HEX Vocal Ensemble. The series, now in its second season, began on April 18 with the world premiere of Robert Kyr’s new film, A Time For Life, an environmental oratorio performed by Cappella Romana and Third Angle New Music. The webcast of this beautiful choral work highlights Anima Mundi’s stated mission to bring audiences “… the power of the arts to stir the soul, foster community, and address urgent social and environmental problems.”


Music 2020: Streaming through the shutdown

Watching music at the end of the longest year

When the pandemic struck last spring, leaving shuttered venues and canceled tours and performances in its wake, it seemed unlikely that there’d be much news to report about music. Nevertheless, musicians persisted, using their creativity to find though new ways to connect to listeners. As you’ve read in our unabated music coverage, many Oregon musicians and institutions regained their balance after the staggering blows of winter and spring, turning to online presentations–including several embedded in this year-end news wrap–to keep the music flowing. Thanks internet! Remember, we paid for it.


For me, regular video offerings by 45th Parallel, the Oregon Symphony, Portland Baroque Orchestra (and its Great Arts. Period program that gives other music presenters access to its advanced streaming tech) and more initially kept me feeling connected to our homegrown music scene, albeit at a distance. They were soon joined by Third Angle New Music (whose John Luther Adams show last month might have been my favorite music streaming event of the year), Chamber Music Northwest, and others as the year unfolded. Here, you can watch this year’s version of PBO’s annual Messiah, albeit reduced (to singers, string quartet and organ) and distanced like so much else this year.


Portland, protests, the theater of life

ArtsWatch Weekly: The theater of politics comes to town, and the city's center stage. Plus: polka-dot square, Black & classical, a big gift.

FRUSTRATED BECAUSE THERE’S NO THEATER TO SEE FOR THE CORONADURATION? Look around. The show’s running 24/7, and we’re in the middle of it – unlikely stars of the Show of the Moment, praised and panned for our performances, from the pages of The New York Times to the breathless patter of cable-television talking heads to the bombastic Twitter feeds of 1600 Pennsylvania Avenue. Boffo! A bomb! Lurid, violent spectacle! A bracing warning for us all! Shocking demolition of the fourth wall! Strains credibility! Nonstop action! Predictable performances in a shoddy script! Oughtta be in jail!

Everybody’s a critic in the Theater of Real Life. In the past week Portland’s been getting more national and international attention than it’s had since the heyday of Portlandia jokes (no, you put a bird on it!), and it’s hard to tell whether this new show – let’s call it “The Siege of Portland!” – is tragedy, documentary, or farce. However it all plays out, we’re like a city full of Beckett characters, caught in a world far bigger than we can comprehend, stumbling through the confusion toward a conclusion that we can’t predict.

You know the basic plot. It begins, after a preamble that traces a complex but necessary 400-year backstory, with the deaths at police hands of a seemingly endless string of Black Americans: George Floyd, Breonna Taylor, Trayvon Martin, Tamir Rice, Philando Castile, Eric Garner, Michael Brown – the list goes on and on. This is the moral heart of the story, the unshakable truth that cannot be denied. Add a pandemic, an economic calamity, a historic shift of wealth from bottom to top, two months of nightly protests, a profusion of graffiti and torn-down fences (“Shocking!” “Criminal!” “Not to be believed!”), a trip-wired political standoff, a president with diving poll numbers in an election year, a steady supply of tear gas, “non-lethal” bullets, smashed heads, and broken bones – who’s writing this script? The guy who wrote the Book of Job? Then add an invading force of militarized mystery federal police, upping the ante on everything, bullying into a story where they weren’t invited and are not wanted. Tighten the tension with a Wall of Moms, some Leaf Blower Dads, and an explosion of new and angry protesters filling the stage like essential extras in a spectacle about the French Revolution.

Besides presenting a united front and sometimes being tear-gassed, flash-banged, roughed up, and arrested, the “Wall of Moms” at the re-energized protests in downtown Portland have shown a flair for the moment, making theatrical counter-statements of their own. Photo: Deborah Dombrowski


Safe Distance Sounds 3: Oregon voices

Recent recordings by Cappella Romana, the Broken Consort, Portland State University Chamber Choir and The Industry showcase Oregon choral and vocal music

Of all the music we’re missing in these days of suspended live performances, perhaps the most missed — and most lethal — is choral music. One of the first major outbreaks of Covid 19, after all, derived from a Northwest choir rehearsal, and every choral performance involves slinging a lot of breath and its hangers-on droplets around a stage.

And yet, choral music is to many of us the most life-giving music. Not just because it directly involves the breath — the same breath the virus threatens — but also because it combines musical and verbal communication. Even when we don’t even understand the language being sung, many of us crave the sound of the live human voice, especially when many of us are denied it during the lockdown when, sadly, we’re denied it. And it may be some time before we can hear it again live. Although, lots of folks are trying new things.

So, to continue our series of reviews of recent recordings of Oregon music (earlier installments covered jazz/improvised and chamber music), here are some choral, vocal and opera recordings that might help assuage the loss of live performances. For more Oregon voices on record, check ArtsWatch’s recent archives for Bruce Browne’s ArtsWatch reviews of recent albums by Oregon Repertory Singers and In Mulieribus.


I feared this installment of our occasional news roundups should really be called Music Rests instead of the usual Music Notes. Like others recently, it’s peppered with postponements and cancellations — but scroll down a bit and you’ll also find some happier tidings, as musicians and music organizations creatively adapt to this year’s somber new reality.

Portland’s Old Church Concert Hall. Photo: Jennie Baker

As you peruse the gloomy news below to the sound of sad trombones, you might wonder: what can I do to help Oregon music survive this crisis? Well, you might tell your lawmakers to support allocation of Coronavirus Relief Funds to help venues survive this extended closure. Portland’s invaluable Old Church Concert Hall, whose existence is threatened along with many others, has a template letter to your State Representatives, who are considering voting on such measures very soon, that explains the importance of independent music venues to the state’s economy. You can find your own rep here. Reps from the Old Church testified before a legislative work group this month, but lawmakers need to hear from all Oregonians who cherish arts in smaller independent venues.