2025-2026 CONCERTS

Canterbury Choral Society’s mission since its founding in 1952 has been to perform the finest music, with appropriate orchestral accompaniment, in a sacred space. That space, our home since our founding, has been Church of the Heavenly Rest. In addition to the chorus, which numbers between 75 and 100 singers, every performance includes an orchestra and soloists. You can view our concert history here.

We are happy to offer 3 options for ticket purchasing: by credit card through EventBrite; no-fee bank transfer through Zelle; and cash at the door.

via Zelle

If you use Zelle, just scan the QR code here from your banking app to pay online with no service charge. All tickets are $30; children under 10 are admitted free.

Please use the “note” section on the app to indicate how many tickets you would like.

Antonio Vivaldi and His Gloria

Antonio Vivaldi (1678–1741) was one of the most influential composers of the Baroque era. Born in Venice, he became known not only as a violin virtuoso but also as a prolific composer of concertos, operas, and sacred music. Ordained as a priest in 1703, Vivaldi was nicknamed “Il Prete Rosso” (the Red Priest) due to his striking red hair. While his career often centered around instrumental works—most famously The Four Seasons—his sacred choral compositions remain some of his most enduring achievements. Among these, the Gloria in D major, RV 589, stands out as one of his most celebrated works, performed widely in both religious and concert settings today.

Vivaldi spent much of his career associated with the Ospedale della Pietà, an orphanage and convent for girls in Venice. There, he served as a violin teacher, composer, and music director, creating works for the talented ensembles of female musicians trained at the institution. His sacred music, including settings of the Mass, psalms, and hymns, was written for liturgical use but often displayed the same dramatic flair and rhythmic vitality as his instrumental works. The Gloria, composed around 1715, was very likely written for performance at the Pietà.

The text begins with the words “Gloria in excelsis Deo” (“Glory to God in the highest”) and continues with a series of acclamations and prayers. Vivaldi divides the text into twelve distinct movements, each highlighting a different mood or theological theme. His treatment of the text demonstrates his ability to balance reverence with theatricality, creating a sacred work that is at once devotional and musically captivating.

The opening movement, “Gloria in excelsis Deo”, bursts forth with jubilant energy, employing trumpets, oboes, strings, and choir in a festive D major setting. The following movements alternate between exuberant choruses and more intimate solos or duets, giving the work variety and expressive depth. One of the hallmarks of the Gloria is its blend of operatic style with sacred text. Vivaldi brings the same rhythmic drive, melodic invention, and contrasts of texture found in his operas and concertos into the church setting.

Although the Gloria was not published during Vivaldi’s lifetime and fell into obscurity after his death, it was rediscovered in the 20th century and quickly became a staple of choral repertoire. Its accessibility, vibrant orchestration, and expressive range make it a favorite for both professional ensembles and amateur choirs. Today, it is frequently performed during Christmas and Easter celebrations, as well as in concert halls worldwide.

Giacomo Puccini and His Messa di Gloria

Giacomo Puccini (1858–1924) is best known as one of the greatest opera composers of the late Romantic period, celebrated for masterpieces such as La Bohème, Tosca, and Madama Butterfly. However, before he turned fully to opera, Puccini composed an impressive sacred work: the Messa di Gloria. Written in 1880 as his graduation piece from the Istituto Musicale Pacini in Lucca, the Mass demonstrates his early mastery of choral and orchestral writing. Although it was overshadowed by his later operas, the Mass remains an important milestone in Puccini’s development, foreshadowing the passion and theatricality that would define his career.

The Messa di Gloria combines traditional liturgical solemnity with Puccini’s emerging operatic style. Lyrical melodies, dramatic contrasts, and expressive solo passages reveal the young composer’s gift for emotional intensity.

Kim André Arnesen and His Magnificat

Kim André Arnesen (b. 1980) is a Norwegian composer recognized internationally for his luminous, lyrical choral music. Among his notable works is the Magnificat, composed in 2010 for Nidaros Cathedral Girls’ Choir and premiered in Trondheim, Norway. The piece sets the traditional Latin text of Mary’s song of praise, blending ancient spirituality with a modern, accessible musical voice.

Arnesen’s Magnificat is marked by soaring melodies, shimmering harmonies, and a strong sense of rhythmic vitality. He employs both choir and orchestra to create radiant soundscapes, alternating between intimate, prayerful moments and powerful, exultant climaxes. The music reflects his hallmark style: tonal yet fresh, emotionally direct, and deeply rooted in the sacred tradition.

Since its premiere, the Magnificat has been performed widely, admired for its ability to move audiences with warmth and beauty. It highlights Arnesen’s talent for writing music that feels both contemporary and timeless, celebrating joy, faith, and hope.