Tapestry Availabiity

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What the critics say:

“This is an outstanding performance, such as I have rarely heard.” 

— Gramophone

“Hypnotically beautiful…inexhaustible cornucopia of sensual pleasures.” 

— San Diego Reader

“The performance was a knockout.” 

— The Boston Globe

“Simply Perfect!” 

— Deutsches Allgemeines Sonntagsblatt

 “An ensemble that plants haunting vibrations, old and new, in our ears.”

 — Cleveland Plain Dealer

“They sing beautifully separately and together with a glistening tone and precise intonation, and they like to shift gears.” 

— LA Times


Winner Echo Klassic 2005

Deborah Rentz, mezzo-soprano

Cristi Catt, soprano | Laurie Monahan, mezzo-soprano 

 Daniela Tošić, mezzo-soprano

Selections from a concert performance

Drawing on their 100th-anniversary Armistice Day concert at the National Gallery in Washington DC, Tapestry shapes a new program inspired by early 20th-century impressionists. After WWI, the influence of the impressionists spread throughout the world. Bartok wrote "Debussy's great service to music was to reawaken among all musicians an awareness of harmony and its possibilities." The early 20th century also saw the rise of American Jazz, and this program features composers such as Duke Ellington who explored impressionism in their music. 

Tapestry's program travels beyond borders and throughout time to explore themes of love, beauty, and peace, weaving together vocal gems of Debussy, Lili Boulanger, and Poulenc; piano works of Bartok and Rachmaninoff; settings of the medieval Latin peace prayer, Dona Nobis Pacem; and ancient Hebrew allegorical love songs. Dona Nobis Pacem returns with Vaughan Williams Reconciliation and Barber's Agnus Dei (vocal Adagio for Strings). Songs of hope for a better world including Billie Holiday's God Bless the Child and Bernstein's Somewhere round out this musical offering that takes inspiration from the idea of "reawakening an awareness of harmony and its possibilities."

Tapestry celebrates the holiday with a festive offering of traditional carols, including sections from Britten’s Ceremony of Carols woven with vespers of Monteverdi, Spanish villancicos, medieval chants and polyphony, and Arcana by Patricia VanNess, described by the Louisville Courier as “immediately beguiling.” Richard Ginell of the LA Times writes of Tapestry’s holiday program: “They sing beautifully separatetly and together with a glistening tone… and they like to switch gears.”

Tapestry celebrates exceptional women including:

Web of Lace resounds with choral, chamber and solo works with echoes of impressionism and a touch of jazz. Tapestry celebrates extraordinary women including:

Modesta Bor, an important Venezuelan composer and conductor whose music elevated the common folk of the countryside and often provided a social commentary of her people.

Lili Boulanger, a rising star in early 20th-century France and the first woman to win the Prix de Rome.

British-American composer Rebecca Clarke, a renowned violist and first woman to play in a professional orchestra.

Florence Price, the first African American woman composer to have her work played by a major symphonic orchestra, the Chicago Symphony Orchestra, in 1933.

Germaine Tailleferre, the only woman composer of the famed group Les Six.

Modern works by Ysaye Barnwel, Emily Lau, Ella Jenkins, Joan Szymko, Sheena Phillips, Nadine Shanti, and Patricia Van Ness round out this program for voices, piano and viola.

Tapestry also performed under the baton of Marin Alsop with the Colorado and Cabrillo Festival Symphonies. The ensemble toured Latvia and performed at the Moscow Conservatory. Recent performances include American Dreams at the Library of Congress and New York City’s Frick Collection and Between Heaven and Hell at the Bucerius Foundation in Hamburg, which was broadcast by the Norddeutsche Radio. 

The ensemble was founded at the Longy School of Music and is in residence at First Church Congregational in Cambridge MA.

Tapestry has made four recordings with Telarc International: Angeli, Music of Angels; Hildegard von Bingen: Celestial Light; Song of Songs—Come into my Garden; and The Fourth River. To date, Tapestry has made two recordings with the German label, Musikproduktion Dabringhaus und Grimm (MDG): Sapphire Night and Faces of a Woman. Sapphire Night won the Echo Prize, Germany’s highest honor for a recording and The Fourth River is a past winner of Chamber Music America Recording of the Year.

Tapestry has performed with orchestras, choruses, and chamber ensembles. The core  ensemble collaborates with extraordinary guest artists, including percussionist Takaaki Masuko, vocalists Clare McNamara and Deborah Rentz-Moore. multi-instrumentalist Shira Kammen, clarinetist James Falzone, and pianist Arsentiy Kharitonov.

Tapestry made its debut in Jordan Hall with a performance of Steve Reich’s Tehillim, deemed “a knockout” by The Boston Globe. The trademark of the Boston-based vocal ensemble is combining medieval repertory and contemporary compositions in bold, conceptual programming. Critics hail their rich distinctive voices, their “technically spot-on singing” and their emotionally charged performances. The LA Times writes “They sing beautifully separately and together with a glistening tone and precise intonation” and The Cleveland Plain Dealer describes Tapestry as “an ensemble that plants haunting vibrations, old and new, in our ears.” 

In 2018, Tapestry has expanded their repertoire to include works of impressionists including Debussy, Lili Boulanger and Vaughan Williams for a US tour in celebration of the 100-year anniversary of World War One Armistice, culminating with a performance at the National Gallery in Washington DC. Their following program, Beyond Borders, builds on their impressionistic discoveries and expands to works of Duke Ellington, Samuel Barber, and Leonard Bernstein programmed with early music and folk songs. 

The latest programs are Web of Lace, featuring women composers of the Impressionist period to the present; Postcard from France; and a new Holiday program. 

Concert appearances include the Utrecht Early Music and the Maastricht Musica Sacra Festivals, Regensburg’s Tage Alter Musik, the Flanders Festivals of Gent and Brussels, a Banco Republico tour of Colombia, Le Donne in Musica, Rome; Jordan Hall, Boston; Hildegard von Bingen Symposium at the University of Oregon, Eugene; Kalamazoo Medieval Conference, MI; Frick Collection and Rockefeller University, NY; Harvard University, Da Camera of Houston; Early Music Concert Series, Boulder; Denver’s Newman Performing Arts Center; Da Camera Society LA; Stanford University, Museum Concert, Cleveland, festivals in Ottawa and Montreal, and many others. 

More what the critics say:

“Tapestry brought to life their ancient and exotic repertoire in this superbly executed and entertaining concert.” 

— Mlive.com

“...a formidable performing force...” 

— cleveland.com

...these particular voices, brightly colored, well-focused and agile, caressed the vowel sounds and shaped gorgeous textures.... (they) forged a splendid sense of ensemble.”

— The Washington Post 

...a quartet of stunning women vocalists...” 

— The Times Union (Albany, NY)

“Tapestry is fast carving a formidable reputation as one of North America’s most polished ensembles.” 

— Classic CD

“Hypnotically beautiful…inexhaustible cornucopia of sensual pleasures.” 

— San Diego Reader

“This is an outstanding performance, such as I have rarely heard.” 

— Gramophone

“Simply Perfect!” 

— Deutsches Allgemeines Sonntagsblatt

“The singing wants nothing in purity or fervor.” 

— San Francisco Examiner

“Singing in lovely, impeccably delivered harmony or in effortless, mind-boggling, complex counterpoint, the women of Tapestry delivered the Hebrew psalm texts in stirring fashion. (Marin) Alsop and (the Colorado Symphony) offered an ideal accompaniment.” 

— Rocky Mountain News

“Tapestry wants to engage listeners, ratherthan merely soothe them.” 

— The Arizona Daily Star

“The group is remarkable for beauty of sound, exact tuning and precision…an extraordinary blend, but the sound never dissolves into anonymity.” 

— The Boston Globe

“Tapestry’s CDs have been characterized by a particularly stimulating approach to programming.” 

— Classic CD

“The ensemble’s measured, precise tones weave gorgeous patterns…the ensemble’s sound is strong and certain, even fierce in its conviction.” 

— Cedar Rapids Gazette

“These well-matched but subtly non-identical voices were like something gemlike seen in a clear but shifting light.” 

— The Boston Globe

“...these particular voices, brightly colored, well-focused and agile, caressed the vowel sounds and shaped gorgeous textures...(they) forged a splendid sense of ensemble.”

— The Washington Post

“Like Handel three centuries later, Du Fay understood how to write brilliant, compelling works for voices, and the members of Tapestry displayed the requisite vocal chops to make this music compelling and even exciting.... They produced a vocal opulence that brought to mind florid duets in Bach cantatas... Yet, in a contrasting bawdy, secular context.... the quartet shamelessly invoked the ribald sonic edge of alehouse merry-making... Such a happy combination is unlikely to befall San Diego for another decade.” 

— San Diego Arts 

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