by Kevin McLaughlin

With gentle guidance and help from the chorus, Gregory Ristow got them singing the anonymous L’homme armé melody, antique French pronunciation and all. The tune, now internalized, became a recognizable thread connecting two centuries of Renaissance music.
Under Ristow’s direction, “La fleur de la Renaissance” moved through Mass movements, laments, psalms, battle pieces, and spring chansons, using the L’homme armé melody as both connective thread and point of departure. The evening spanned nearly 200 years, but never felt like a history lesson. Ristow organized the concert as a sequence of changing scenes, moods, and colors, each piece leading naturally into the next.




In an open letter to Cleveland Chamber Choir patrons, artistic director Gregory Ristow wrote:
Handel’s Messiah will come to life at Playhouse Square on March 20-21 in a co-production by Cleveland Ballet, BlueWater Chamber Orchestra, and Cleveland Chamber Choir. Gregory Ristow will conduct the live musical forces as the dancers perform the iconic two-hour oratorio, choreographed by Robert Weiss.
Renaissance polyphony can bloom in resonant spaces, but the Donna and James Reid Gallery at the Cleveland Museum of Art presents particular challenges: hard surfaces and a long reverb tend to blur consonants into watercolor. The Cleveland Chamber Choir’s four-voice ensemble met those conditions head-on during its “In Four Voices” program on December 3. What emerged was an evening of consistently beautiful vocal timbre shaped by a group navigating the sonic characteristics of the room.


On Saturday, May 17 at 7:30 pm in Trinity Cathedral, BlueWater Chamber Orchestra and Cleveland Chamber Choir present “I Believe! Knitted Voices of Justice and Faith,” with conductor Daniel Meyer and soprano Katherine Jolly. The program includes Margaret Bonds’ Credo and Mozart’s “Great” Mass in c. Pay-what-you-wish tickets are available at the door and