Concerts
October 12 & 13, 2024
This year’s season opener circled back to the operatic seedlings of Musical Masterworks, featuring beloved arias and two of the greatest young vocalists of today: soprano Marquita Richardson and mezzo soprano Sarah Saturnino. After his rousing MMModern performance in March 2024, bassist/vocalist/everythingist Nathan Farrington made his mainstage debut alongside Marquita, Sarah, along with Artistic Director Tessa Lark and pianist-composer phenom Roman Rabinovich, to present older masterworks and newer favorites that Nathan has arranged specially for our series.
December 7 & 8, 2024
In December, Artistic Director Tessa Lark joined a trio of longtime Masterworks favorites for a program of classical works featuriing pianist Gilles Vonsattel and violinist/violist Arnaud Sussman along with Edward Arron, cellist and previous Artistic Director of Musical Masterworks.
February 15 & 16, 2025
In February, Musical Masterworks will turn to early music inspirations with the celebrated early music ensemble, Ruckus. The entire program is based on works by J.S. Bach, realized and reimagined by flutist Emi Ferguson and Ruckus. Ferguson first captivated our audiences during her Musical Masterworks debut last season alongside Caleb Hudson.
Click for Tickets and Program InformationMarch 22 & 23, 2025
The piano was an ideal instrument for Wadsworth’s role because it could easily embrace any number or variety of the magnificent instrumental friends he’d invite to the First Congregational Church of Old Lyme. But in March, we will bask in the glory of the piano as a solo instrument, with works by Schubert and Bach as golden-circle-spun by pianist Inon Barnatan who stunned and delighted in Season 32.
Click for Tickets and Program InformationApril 26 & 27, 2025
Caleb will astound us once again in the season finale with his new ensemble, Triple Cortado, playing arrangements of standard repertoire in a miraculous trio of trumpet, trombone and piano. It might sound edgy to arrange Mendelssohn’s perfect Piano Trio in D minor, for example, for such an unlikely ensemble; again, we’re just turning the dial back to an old, common practice of arranging great music for whatever ensemble is at hand.
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