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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
tapestry
https://www.youtube.com/watch?v=Xo4kYC2kNJ4&t=1s
https://www.youtube.com/watch?v=Xo4kYC2kNJ4&t=1s
https://www.youtube.com/watch?v=Xo4kYC2kNJ4&t=1s
Selections from a concert performance
Cristi Catt, soprano; Daniela Tosic, mezzo-soprano; Deborah Rentz-Moore, mezzo-soprano and Laura Jeppesen, vielle and rebec
This spirited program crisscrosses borders and centuries to tell tales of remarkable women. Tapestry weaves a mix of tales, music, and poetry to reveal the many faces of a woman, including:
• 12th-century trobairitz Comtessa de Dia
• 16th-century writer, composer and poet Sor Juana Inés de la Cruz
• 16th-century Queen Anne Boleyn
• 20th-century Russian poet Anna Akhmatova
• Medieval polyphony
• Traditional songs
• New works by Emily Lau and Patricia Van Ness
“They sing with clear, straight tone and flawless intonation, and their voices are colorfully varied. The programming of complementary repertoire is inspired.. This lovely collection should be of interest to fans of early music, world folk music, and the sound of the blend of women's voices."
— All Music Guide
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.
Performers: Cristi Catt & Daniela Tosic, voices, James Falzone, clarinet, Jeremiah McLane, accordion, Owen Marshall, guitar and mandolin
Crisscrossing France from Auvergne to Provence, Brittany to Paris and beyond, Tapestry and friends bring together a rich blend of Impressionism, folk roots, and a touch of jazz. Along the way, they share Occitan folk songs that inspired Joseph Canteloube’s Chants D’Auvergne, paired with works of Gabriel Faure, Caesar Frank, Cecile Chaminade, French folk songs, dance tunes, Django Reinhardt, Edith Piaf and more!
Performed by Cristi Catt, soprano, Daniela Tosic,mezzo-soprano, Clare McNamara, mezzo-soprano, Deborah Rentz-Moore, mezzo-soprano, and James Falzone, clarinet.
Tapestry takes their audience beyond the stars in one of their most popular programs, originally designed for The Mount Wilson Observatory in Los Angeles.
For this exploration of the Night Sky, Tapestry brings together gorgeous music and imagery for a one-of-a-kind experience. The program opens with a solar eclipse as the world teeters on the edge of a black hole in medieval France, and then takes flight weaving together 16th-century Spanish Villancicos with works of Alan Hovhaness, Claude Debussy, David Lang, and Patricia Van Ness. Hovhaness' beautiful melody, In Early Dawn song (should be In Early Dawn Time), serves as a common thread through the concert as Tapestry explores the cycles of the moon and stars, as well as human life from childhood to young love, and finally to the wisdom of age. Tapestry breathes life into the beautiful lyrics of this program in which "hearts rejoice," "souls tremble'' and "a thousand stars fall and rise in concert."
“Tapestry was nothing short of BRILLIANT. Their programming and performance was incredible. It's in my Top 10.”
– Chamber Music in Historic Sites concert experiences pairing ‘site and sound.'"
Kelly Garrison, General Director, The Da Camera Society, Los Angeles.
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.
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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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