What's so great about Mendelssohn's Elijah?

© ANDREW SPINA 2019

© ANDREW SPINA 2019

On November 20 at 7 PM, we will perform Mendelssohn’s Elijah at St. George’s Church in Stuyvesant Square. Ahead of this performance, we checked in with Artistic Director Matthew Lewis to see what he likes best about the piece. Here are his favorite moments:

- The beginning of the piece is unusual. It begins with a recitative, followed by an orchestral overture. The chorus makes a stunning and dramatic entrance, crying "Help, Lord!" It's a powerful start to the piece.

- The Angels octet is stunning, and that happens early in the oratorio. Mendelssohn had written this "motet" previously, and incorporated it into Elijah. It's one of the most beautiful movements.

- I think a memorable highlight of the piece is the standoff between Elijah and the prophets of Ba'al. The Ba'al choruses are so exciting! And, Mendelssohn has a great sense of humor in setting Elijah's mocking response to their "no show" god.

- I have to admit, my favorite parts are the big choruses. "Thanks be to God," at the conclusion of Part 1, and "Be not afraid," at the beginning of Part 2—amazing! And, so fun to sing and to hear.

Come hear these highlights, and decide your favorite parts of this grand work. Tickets are on sale now.

Meet the Soloists for Mendelssohn's Elijah

On November 20, St. George’s Choral Society will perform Mendelssohn’s Elijah in English in its entirety. Tickets are now available.

This choral masterpiece for choir, orchestra, and soloists tells the biblical story of the prophet Elijah in dramatic form. It combines some of Mendelssohn's best choral music and brilliant orchestrations with beautiful and exciting solos.

We have four fantastic soloists joining the choir and orchestra for this performance. Be sure to click the links to visit their websites and listen to their voices:

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Baritone Steven LaBrie, a native of Dallas, Texas, is beginning to attract attention for his beautiful timbre, expressive singing and dramatic presence. Mr. LaBrie was named among the five leading lyric baritones to watch by Opera News.

During the upcoming season, 2019-2020, Mr. LaBrie will make his role debut as Mr. Maguire in Tobias Picker's Emmeline with Tulsa Opera and role/company debuts as Heger/Jäger in Dvořák's Rusalka at the Tiroler Festspiele Earl. Additionally, he will make his debut at the Stern Auditorium/Perelman Stage of Carnegie Hall with The Cecilia Chorus of N.Y. singing the baritone solos in Orff's Carmina Burana and Walton's Belshazzar's Feast. Mr. LaBrie will also return to Jazz at Lincoln Center to sing Escamillo in Bizet's Carmen with MasterVoices.

Engagements for the 2018-2019 season included his return to Opera Omaha in his role debut as Belcore in Donizetti's L'Elisir d'Amore; his company debut with Tulsa Opera in the title role of Rossini's Il barbiere di siviglia; and his company and role debuts with San Diego Opera in Heggie's Three Decembers and Teatro Nuovo as Valdeburgo in Bellini's La Straniera. Additionally, Mr. LaBrie made his debut in concert with the St. Hugh-Steinway Concert Series in Miami, Florida and in Mexico with the Orquesta Filarmónica del Estado de Chihuahua.

Mr. LaBrie has received numerous awards and honors, including a 2016 top prize award and a 2013 encouragement grant from the George London Music Foundation, second place from the Gerda Lissner International Vocal Competition, as well as the Judges Award with the Opera Index Competition.


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Praised by The Washington Post for her “clarion” voice with “a wealth of shades,” French and Canadian soprano Chloé Olivia Moore recently made her role debut as as Liù in Turandot with both Dayton Opera and Cedar Rapids Opera Theatre. Other recent performances include Nedda in I pagliacci with Dayton Opera, Donna Anna in Don Giovanni with Bar Harbor Music Festival, Beethoven’s Symphony No. 9 with both The Orchestra Now and the Rogue Valley Symphony, Dvorak’s Requiem with the St. George’s Choral Society, a concert of Viennese favorites with the Ocean City Pops, a recital with pianist Hector Acosta in the Festival del Pitic in Hermosillo, Mexico, a concert with Annapolis Opera, and her Kennedy Center debut in the "Art Song Discovery Series" with Vocal Arts DC.

Other recent performances include her company and role debut with Dayton Opera as Leïla in Les pêcheurs de perles, and Donna Anna in Don Giovanni with the Castleton Festival. As a resident artist at the prestigious Academy of Vocal Arts in Philadelphia, Chloé performed numerous roles, including Violetta in La Traviata, Manon Massenet’s Manon, Tatyana in Eugene Onegin, Adina in L'elisir d’amore, Mélisande in Pelléas et Mélisande, Antonia in Les contes d’Hoffman, Garcias in Don Quichotte, Zdenka in Arabella, Sorella Infermiera in Suor Angelica, Donna Elvira in Don Giovanni and Ms. Brown in the world premiere of The Scarlet Letter.

Chloé has won top prizes with the George London Foundation (George London Award), Gerda Lissner Foundation (1st Prize), Giulio Gari Foundation (2nd Prize), Czech & Slovak International Voice Competition (2nd Prize), Liederkranz Foundation (3rd Prize, Opera Division), Loren Zachary Vocal Competition (3rd Prize), was recognized by the Crested Butte Music Festival with the Rosalind Jackson Memorial Award and in her native Canada with the Prix Jeune Espoir Lyrique Canadien with Les Jeunes Ambassadeurs Lyriques.


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Hailed by The New York Times as a "striking mezzo soprano" and by The San Francisco Chronicle for her "electrifying sense of fearlessness," in the 2019-2020 season Raehann Bryce-Davis returns to Opera Vlaanderen for her role debut as Eboli in Don Carlos. She also makes her LA Opera debut in the world premiere of Aucoin and Ruhl’s Eurydice, a co-production with The Metropolitan Opera, and continues in further performances of Unknown, I Live With You with the Kurt Weill Festival Dessau. Ms. Bryce-Davis also joins conductor Kent Nagano and the Montreal Symphony for Verdi’s Requiem, and sings Nathaniel Dett’s The Ordering of Moses for the centennial of the Harlem Renaissance at Carnegie Hall, Mendelssohn's Elijah with St. George’s Choral Society, and a recital series for the Art Song Preservation Society in New York with pianist Mark Markham. Last season she made her role debut as Leonor in La Favorite at the Teatro Massimo di Palermo, Marguerite in La Damnation de Faust with Maestro John Nelson and the Orquesta Sinfónica Nacional de Costa Rica, Ms. Alexander in Satyagraha at Opera Vlaanderen, the World Premiere and tour of Unknown, I Live With You with The Airport Society, Kristina in The Makropulos Affair at the Janáček Brno Festival, Verdi's Requiem with the Oratorio Society of New York at Carnegie Hall, Martinů’s Julietta with the American Symphony Orchestra at Carnegie Hall, and Mahler’s Symphony No. 8 with the South Dakota Symphony Orchestra.

On the concert stage, Ms. Bryce-Davis recently sang Elgar’s Sea Pictures at the Musikverein in Vienna, the world premiere of Paul Moravec’s Sanctuary Road in her Carnegie Hall debut with Oratorio Society of New York, and Verdi’s Requiem with both the Orquesta Sinfónica Nacional de Costa Rica and the Greenwich Village Orchestra. She also joined the Aspen Music Festival for John Corigliano’s Of Rage and Remembrance, Mahler’s Symphony No. 2 with Maestro Kent Tritle in a world premiere organ transcription at the Cathedral Church of Saint John the Divine, Verdi’s Requiem with Marywood University, Prokofiev’s Alexander Nevsky with Maestro Philippe Entremont and the Manhattan School of Music Symphony, Durufle’s Requiem with Maestro David Thye, and Handel’s Messiah with Maestro Phillip Nuzzo and the Metro Chamber Orchestra. Also an ardent proponent of contemporary music, she premiered composer Kyle Werner's Psalm 42, and sang the world premiere of Four Songs for Mezzo Soprano and Orchestra by Jacob A. Greenberg.

Ms. Bryce-Davis is a 2018 recipient of the prestigious George London Award, the 2017 first place and audience prize-winner of the Concorso Lirico Internazionale di Portofino competition, a prize winner of the 2016 International Hans Gabor Belvedere Singing Competition, and winner of the 2016 Richard F. Gold Career Grant, the 2015 9th International Hilde Zadek Competition at the Musikverein in Vienna, the 2015 Metropolitan Opera National Council Pittsburgh District, and the 2015 Sedat Gürel - Güzin Gürel International Voice Competition in Istanbul. In addition to winning the Zadek competition in Vienna, she also walked away with the supporters and sponsors prize, the media jury prize, a masterclass with Christa Ludwig, and a gala concert at Badisches Staatstheater Karlsruhe in Germany. She holds a Master of Music and Professional Studies certificate from the Manhattan School of Music and a Bachelor of Music from the University of Texas at Arlington.


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Praised by Opera Today for his “sizable lyric instrument” and “honeyed tone on all registers,” Arnold Livingston Geis is a recent graduate of Washington National Opera’s prestigious Domingo-Cafritz Young Artist Program. In the 2019-2020 season he makes his Lincoln Center debut creating the role of Mr. Marks in Ricky Ian Gordon’s Intimate Apparel. He also sings Nemorino in L’elisir d’amore with Illinois Symphony, and Agamemnon in a workshop of Wayne Shorter & Esperanza Spalding’s Iphigenia at the Kennedy Center in Washington, D. C. Last season, Mr. Geis joined Washington National Opera for Jonathan Dale in Silent Night, Gastone in La Traviata, and Busdriver/New Preacher in Kamala Sankaram and Jerry Dy’s world premiere of Taking Up Serpents. He also sang Nikolaus Sprink in Silent Night with Glimmerglass Opera, Arnold Murray in The Life and Death(s) of Alan Turing with Chicago Opera Theater, and Tamino in The Magic Flute with Pacific Opera Project.

On the concert stage, Mr. Geis has performed Gitzy Razaz in the world premiere of Flight of Faith with the Chautauqua Symphony Orchestra, Beethoven’s Symphony No. 9 with Pasadena Symphony, Handel’s Messiah with Salastina Music Society, and Britten’s Canticle III with Pacific Palisades Chamber Ensemble. He has also sung Handel’s Alexander’s Feast, Messiah, and Beethoven’s Missa solemnis with the L.A. Master Chorale. In addition to his work in the classical sphere, Mr. Geis is a member of both SAG-AFTRA and Actors' Equity unions, and has recorded solo vocals for many television projects, including popular shows like Tom and Jerry and Family Guy, and has also sung for such blockbuster film soundtracks as The Jungle Book, Sing, Star Wars: The Last Jedi, Star Wars: Rogue, Fifty Shades of Grey, Minions, Dawn of the Planet of the Apes, and Disney’s new live-action film of The Lion King.

Mr. Geis is a graduate of the Domingo-Cafritz Young Artist Program, has been an Apprentice Artist with Chautauqua Opera, a Young Artists with Opera on the Avalon, and an Apprentice Artist with Bel Canto at Caramoor. He received his Master of Music from the Thornton School of Music at the University of Southern California and his Bachelor of Music from Biola University.

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Announcing our 2019–2020 Season

Fall Concert with Orchestra
Mendelssohn: Elijah, Op. 70

Wednesday, November 20 at 7:00 PM
St. George’s Church, 7 Rutherford Place

Mendelssohn's choral masterpiece for choir, orchestra, and soloists tells the biblical story of the prophet Elijah in dramatic form. A favorite for choristers, it contains some of Mendelssohn's best choral music. This is the sort of piece that is ideal for St. George's Choral Society, particularly since a large chorus is needed to match Mendelssohn's brilliant orchestrations. Combined with beautiful, exciting, and dramatic solos and solo ensemble movements, this will be of great interest to a vast audience.

Spring Concert with Piano
Schumann: Der Rose Pilgerfahrt (The Pilgrimage of the Rose)

Saturday, May 2 at 7:00 PM
St. George’s Church, 7 Rutherford Place

Schumann wrote this piece for piano, soloists, and mixed chorus, using a text by Moritz Horn (based on a story by Hans Christian Andersen). Schumann wrote relatively few choral works, and this one is preformed rarely. Often compared to his more popular "Das Paradies und die Peri," "Der Rose" is essentially a Liederabend (evening of song). Sung in German, the language will place demands on the chorus to articulate and communicate the poems successfully, with graceful, musical ensemble singing. It is a unique opportunity for NYC choral singers to sing an unusual masterpiece.

Summer Choral Festival
Debussy: Salut printemps; Invocation
Dvořák: Songs of Nature
Chavez: El sol

Saturday, June 13 at 7:00 PM
St. George’s Church, 7 Rutherford Place

This varied and colorful program will be of interest to audience and singers alike. The two Debussy songs were written early in his career. Both sung in French, "Salut printemps" is for women's voices and "Invocation" is for men's voices. They are both accompanied by piano. The Dvořák "Songs of Nature" are for unaccompanied choir. Sung in English, these are delightful works, contrasting in mood. The Chavez "El Sol" is a dramatic, fiery work, sung in Spanish. It is full of energy, an exciting piece to sing and hear.

Artistic Director Matthew Lewis Discusses the Summer Choral Festival on VAN

Our Summer Choral Festival is almost here! Beginning Tuesday, June 4, St. George's Choral Society will host a two-week choral intensive, with two rehearsals a week, culminating in a performance of Durante's Magnificat and Handel's Laudate pueri, HWV 237 on Saturday, June 15 at 7:00 pm.

Apply now to sing with us this summer.

Want to learn more? Enjoy an interview between St. George’s Choral Society Artistic Director Matthew Lewis and President Rachel Ruoff on The Vocal Area Network. Here’s an excerpt:

Rachel Ruoff: What influenced your decision to perform Handel's Laudate pueri and Durante's Magnificat for the Summer Choral Festival?

Matthew Lewis: I try to find pieces that are fun to sing, challenging and yet manageable for the rehearsal parameters we have. Some of the big choral pieces would be fun, but we would have trouble learning them in four rehearsals. Having said that, we've definitely done some difficult works in past festivals! Like the year we did the Poulenc Gloria along with the Bernstein Chichester Psalms. These pieces are, to some degree, standard choral repertoire, but it was tough getting them learned and finessed in four rehearsals. The Durante and Handel we are doing this year are delightful and fun pieces, both in a similar style. The orchestration is strings only for the Durante, and strings plus oboes for the Handel.

Read More>>

Featured Performers for Milhaud's Sacred Service

On May 5, St. George’s Choral Society will perform Milhaud’s “Sacred Service,” a rarely presented setting of the Jewish liturgy for Saturday morning. This colorful, varied, and poignant work is a masterpiece of the 20th-century sacred repertoire.

The performance will feature:

Elijah Blaisdell

Elijah Blaisdell

Baritone Elijah Blaisdell performs with ensembles across the country as both a soloist and chorister. An early and new music specialist, his most recent credits include the Adams Fellowship with The Carmel Bach Festival, featured soloist with The Crossing on their Grammy Award-Winning album “Zealot Canticles,” St. Matthew Passion with Bach Society of St. Louis, and Coffee Cantata and Dido and Aeneas with Madison Bach Musicians. Elijah also performs as a chorister and soloist with The Santa Fe Desert Chorale, Grammy-nominated Ensemble True Concord, and the Grammy Award-winning Seraphic Fire. Elijah holds a Master of Music in Vocal Performance from New England Conservatory and after years of training and performing on the East Coast, is now based in Seattle.

Naomi Lewin

Naomi Lewin

Naomi Lewin is the former host of weekday afternoon music on WQXR, and of the podcast Conducting Business. Before that, she was midday host at WGUC in Cincinnati, where she created the award-winning weekly program Classics for Kids, which airs on radio stations across the country. She has produced music programs and arts reports for NPR; intermission features for Metropolitan Opera broadcasts; and podcasts on subjects ranging from the Tippet Rise Art Center, to Martin Luther in Saxony, to the bicentennial of St. George's Choral Society. Naomi is also a speaker, emcee, and media coach, and the radio voice of Arizona Opera.

Given her previous lifetime as a singer and actress, Naomi has continued to appear onstage, narrating Peter and the Wolf, Carnival of the Animals, King David, Façade, A Visit from the White Rabbit, and Four Seasons of Italian Futurist Cuisine by Aaron Jay Kernis. She can be seen as J.S. Bach in the Sunday Baroque 30th Anniversary video, and as a spitball-shooting professor in La Folía, from Filmelodic. Naomi created and hosts a new Classics for Kids Live onstage show. She has given talks on operas from Aida to Zauberflöte.

Naomi was born in Princeton, New Jersey, but received both undergraduate and graduate degrees from Yale.

Paolo Bordignon

Paolo Bordignon

Paolo Bordignon is harpsichordist of the New York Philharmonic and performs in 2018-19 with Camerata Pacifica, Orpheus Chamber Orchestra, the Chamber Music Society of Lincoln Center, Santa Fe Chamber Music Festival, St. Paul Chamber Orchestra, New Jersey Symphony Orchestra, ECCO - East Coast Chamber Orchestra, the Florida Orchestra and a Trans-Siberian Arts Festival tour with the Sejong Soloists. He has appeared with the English Chamber Orchestra, American Symphony Orchestra, Lincoln Center's Mostly Mozart Festival Orchestra, and the Knights.

He has collaborated with Sir James Galway, Itzhak Perlman, Reinhard Goebel, Paul Hillier, Bobby McFerrin, Midori, Renée Fleming, and Wynton Marsalis. For the opening of Carnegie Hall’s Zankel Hall, he gave the east coast première of Philip Glass’s Concerto for Harpsichord and Orchestra. Festival appearances include Aspen, Bard, Bay Chamber, Bridgehampton, Jackson Hole, Palm Beach, and Vail. He has appeared on NBC, CBS, PBS, CNN, NPR, the CBC, and on Korean and Japanese national television.

Paolo has worked with composers such as Elliott Carter (performing Double Concerto for Harpsichord and Piano for his 90th birthday celebration), David Conte, Jean Guillou, Stephen Hartke, Christopher Theophanides, and Melinda Wagner. With the Clarion Music Society, he gave the world première of several newly rediscovered chamber works of Felix Mendelssohn.

Paolo has performed organ recitals at venues such as St. Thomas Church Fifth Avenue in New York and St. Eustache in Paris, and he has been a regular organ recitalist at the Metropolitan Museum of Art, including a 10-recital residency in 2010-11. As interim Organist and Choirmaster at St. Bartholomew’s Church in New York, he helps oversee one of the nation’s pre-eminent church music programs.

Born in Toronto of Italian heritage, Paolo attended St. Michael’s Cathedral Choir School before attending the Curtis Institute of Music in Philadelphia. He earned masters and doctoral degrees from the Juilliard School.

Meet our Fall 2018 Soloists

On November 18, we will present our Fall Concert with Orchestra, featuring Bach’s Der Geist hilft unser Schwachheit auf, BWV 226 and Haydn’s Missa Cellensis, "Cecilia Mass," Hob XXII:5. These complex and beautiful pieces will feature four top-tier soloists. Tickets are now on sale.

Rebecca Farley

Rebecca Farley

Rebecca Farley, soprano, has been praised for her poise (Opera News), her "fine, flexible soprano" (Parterre Box), and her "filigree phrasing" (Scoop NZ). She received her master's degree from The Juilliard School in New York City where she was a Kovner Fellow and now as an alumna is a proud recipient of the Novick Career Advancement Grant. At Juilliard she appeared as Bubikopf in Ullman's Der Kaiser von Atlantis and as the stratospheric Controller in Jonathan Dove's Flight. She was also featured in a showcase as the title character of Manon in Massenet's sensuous St. Sulpice scene and appeared at Songfest with Brian Zeger in a recital of obscure Liszt lieder. Ms. Farley premiered Sherry Wood's Mara: A Chamber Opera at The Rubin Museum. January brought her Buffalo Philharmonic Orchestra debut in a staged concert of Mozart favorites. Ms. Farley took on Fiordiligi, Countess, and Donna Anna all in one night in scenes from Così fan tutte, Le nozze di Figaro, and Don Giovanni. Just last month she made her David Geffen Hall debut with The National Chorale in Angela Rice's oratorio Thy Will Be Done. This performance included an aria written specifically for Ms. Farley and was the New York premiere of the work. Ms. Farley made her Carnegie Hall debut December 2016 singing the soprano solo in Bach's Magnificat with The Cecilia Chorus of New York. She returned with the same ensemble as the soprano soloist in Bach's Christmas Oratorio. Another Carnegie highlight from last season was Monteverdi's Il combattimento di Tancredi e Clorinda in which she sang the role of Clorinda.

Kara Dugan

Kara Dugan

Mezzo-Soprano Kara Dugan has been praised by the New York Times for her “vocal warmth and rich character.” In the 2019/19 season, Ms. Dugan looks forward to performing Michael Tilson Thomas’ Four Preludes on Playthings of the Wind with the Los Angeles Philharmonic, and again at Carnegie Hall with the New World Symphony. She has performed with major orchestras like the San Francisco Symphony, the Philadelphia Orchestra, and the Buffalo Philharmonic. Ms. Dugan has spent summers with the Marlboro Music Festival, Ravinia Steans Institute, Boston Early Music Festival, Wolf Trap Opera, Aspen Music Festival and School, and Mainly Mozart Music Festival. KaraDugan.com

James Reese

James Reese

James Reese is an avid ensemble, chamber, and solo musician whose singing has been praised for its “intensity and sensitivity...spirituality and eloquence.” Highlights of James' 2018–19 season include his Canadian and Austrian debuts with the Calgary Philharmonic Orchestra and Gallicantus, and his solo debuts with TENET Vocal Artists, Bourbon Baroque Orchestra, Delaware Choral Society, St. George’s Choral Society, and the Duke Chapel Evensong Singers.  In addition this year, James will appear with The Crossing, Santa Fe Desert Chorale, True Concord, and Variant 6. Earlier this season, James sang an all-Mozart program with Philharmonia Baroque Orchestra, about which Michael Anthonio of Parterre wrote, “the biggest discovery of the night for me was tenor James Reese. His clear voice was so effortless.” Previously, James has appeared in concerts with Philharmonia Baroque Orchestra, Bach Collegium Japan, the American Classical Orchestra, and at the Ad Astra Music Festival. He recently made his Carnegie Hall solo debut in Bach's B Minor Mass with the New York Choral Society, about which the New York Classical Review wrote, "the high, easy tenor of James Reese...floated beautifully on its own over the long, gentle lines of the Benedictus." An advocate for new music, James is a founding member of Philadelphia vocal sextet Variant 6. He appears on The Crossing's release of Gavin Bryars' The Fifth Century, which won a Grammy for Best Choral Performance in 2018. He is also a soloist on 2016 Grammy-Nominated Bonhoeffer, released by the Crossing. He holds degrees from Northwestern University’s Bienen School of Music and the Yale School of Music.

William Guanbo Su

William Guanbo Su

New York City-based opera singer William Guanbo Su, bass, is currently pursuing his Master’s degree at The Juilliard School under the guidance of Cynthia Hoffmann. In 2018, he was a member of GYA young artists at Opera Theatre of Saint Louis and a voice fellow at The Aspen Music Festival and School, where he played as the principle role of Don Basilio in Il barbiere di siviglia. Other roles that he has performed include Pluton in Hippolyte et Aricie; Herr Reich in Die lustigen Weiber von Windsor; and Seneca in L'incoronazione di Poppea. He has also concentrated on German Lieder at the Franz Schubert Institute in Vienna, where he was coached by Emmy Ameling, Helmut Deutsch, Robert Holl and others. In December, 2017, Mr. Su has made his Carnegie Hall Solo debut with The Cecilia Chorus of New York, and also the 1st prize winner for the Gerda Lissner Lieder competition the same year.

2019 Cultural Development Fund Award

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We are thrilled to announce that we have received a Cultural Development Fund grant from the New York City Department of Cultural Affairs (DCA) for fiscal year 2019.

This year, the DCA awarded us $6,900 for the provision of cultural services in New York City in support of our 2018–2019 season. This includes funds from the New York City Department of Cultural Affairs in partnership with the City Council and from the Office of Mayor Bill de Blasio.

We are grateful for the DCA's continued support.

Sing with Us!

Rehearsals for our Fall 2018 concert begin on September 5. We have an exciting season planned, and we want you to sing with us! 

Want to join for the first time? We will hold auditions for all voice parts on September 5 and 12, from 6:00-7:00. Contact us to schedule an audition. 

We rehearse from 7:00–9:30 PM on Wednesday evenings at St. George's Chapel, 5 Rutherford Place, one block east of Third Avenue between 16th and 17th Streets. Find out more about membership in the Members section of our website.

Click the appropriate image below to contact us:

Member Dues To Increase for the 2018–2019 Season

This summer, the St. George's Choral Society Board met and had a very productive meeting, covering everything from member engagement to fundraising to operations. St. George's Choral Society has made every effort to keep member costs low. In surveying other choirs throughout the greater New York Metropolitan area, it became evident that we were below market with membership dues and ticket prices—two key components in meeting our annual budget. 

The board decided to raise member dues to market value. Beginning this season, dues will be $225 per year plus the cost of mandatory score purchase, $70 for this season. The board decided not to raise the member ticket costs; they will remain at $25 each, with the requirement of four tickets per concert. This will enable the choir to better meet its goals for this and upcoming years. As always, members are not turned away during times of financial hardship. Please speak to Matthew Lewis directly about this.