Brahms Requiem


Sunday, November 1, 2020
3:00 p.m.
Civic Center Music Hall


We begin our season with Johannes Brahms’ choral masterpiece, Ein deutsches Requiem​, written after the deaths of his mother and composer Robert Schumann. It became the central work of Brahms’ career, one that established him as a composer of major stature, and linked two of the most important spheres of his lifelong musical endeavor – the vocal and the symphonic. Canterbury chooses Brahms’ own piano transcriptions as the accompaniment: two pianos, four hands. Limited, socially-distanced tickets available.


American soprano Sarah Coburn is captivating international audiences with her “precision placement, mercury speed, and a gorgeous liquid gold tone, gilded by a thrilling top and bottom register” (The Globe and Mail). Following her performances as Lucie de Lammermoor at Glimmerglass Opera, the New York Observer noted “she turns out to have qualities that have made legends out of so many of her predecessors, from Adelina Patti to Maria Callas: stage charisma, a thrilling upper register and, crucially, a fearlessness about abandoning herself to opera’s most abandoned heroine … this is a palpably exciting voice … Ms. Coburn is a budding prima donna of exceptional promise.”

Ms. Coburn’s 2019-2020 season sees her returning to Tulsa to sing Strauss’s Four Last Songs with the Tulsa Symphony, and reprisals of the role of Lucia in Lucia di Lammermoor with the Tivoli Festival and with Lyric Opera Kansas City. She also returns to Opera Santa Barbara to perform Juliette in their production of Roméo et Juliette.

In the 2018-2019 season, Ms. Coburn returned to the role of Rosina in Il barbiere di Siviglia with Tulsa Opera and Marie in La fille du regiment with Opera Carolina. The previous season saw her company and role debut as the title role in Manon with Opera Santa Barbara, concerts with tenor Lawrence Brownlee at both the Tivoli Festival with the Copenhagen Philharmonic and in Jurmala, Latvia, Mahler’s Symphony No. 4 with the Tulsa Symphony Orchestra, and Rossini’s Stabat Mater with the Choral Arts Society of Washington at the Kennedy Center.

Ms. Coburn has appeared in concert with Cincinnati Chamber Orchestra, the Moscow Philharmonic, Oklahoma City Philharmonic, Russian National Orchestra, Copenhagen Philharmonic at the Tivoli Festival, and the Tulsa Symphony Orchestra; and Handel & Haydn Society as soloist for Elijah and Messiah. She has also sung Messiah with the Seattle Symphony Orchestra, Philadelphia Orchestra; Carmina Burana with the New Jersey Symphony Orchestra, National Chorale at Avery Fisher Hall, the National Symphony Orchestra and the Dallas Wind Symphony; and has joined the Seattle Symphony for Mozart’s Mass in C Minor and Bach’s Mass in B Minor.

Grammy award winning baritone Gabriel Preisser has been praised by Opera News for his “handsome voice, charismatic energy, and timbral allure,” and The New York Times called his performance as Lt. Gordon “wonderful.” He created the role of Lt. Gordon in Kevin Puts’s Pulitzer Prize-winning Silent Night at Minnesota Opera, with subsequent performances at Opera Philadelphia, Cincinnati Opera, and Michigan Opera Theatre. His performance as Lt. Gordon with Minnesota Opera was broadcast nationally on PBS in 2013 and 2014. Mr. Preisser then took on the role of Farmer Bean in Tobias Picker’s Fantastic Mr. Fox with both Opera San Antonio and Odyssey Opera of Boston.  He can be heard on the first official audio recording of Fantastic Mr. Fox which he won the Grammy Award for Best Opera Recording for 2019.  

Mr. Preisser’s resumé includes over 40 operatic and musical theater roles, including Danilo in The Merry Widow with Utah Festival Opera, Billy Bigelow in Carousel with Minnesota Orchestra, Figaro in Il barbiere di Siviglia and in Le nozze di Figaro with various companies, Dandini in Cenerentola with Opera Tampa, Le Mari in Les Mamelles de Tirésias with Opera Parallèle, Albert in Werther with Minnesota Opera, Mercutio in Romeo et Juliette with St. Petersburg Opera and Opera Tampa, Tommy in Brigadoon with Gulfshore Opera, Silvio in Pagliacci with Opera Naples, Harold Hill in The Music Man with Colorado Symphony, and Bob Baker in Wonderful Town with Skylark Opera.  He has been praised for having “a beautiful, luscious baritone” and “a compelling, commanding stage presence.” Upcoming he can be heard as Eisenstein in Die Fledermaus for Opera Orlando and Gulf Shore Opera, the title role in Sweeney Todd with Helena Symphony and as soloist in the Brahms Requiem with Canterbury Voices.

Mr. Preisser is also a 2016 League of American Orchestras Emerging Artist and is known for his dynamic interpretation of Orff’s Carmina Burana, performed with the Winter Park Bach Festival, Atlanta Ballet, and Gulf Coast Symphony. He has been heard as a bass soloist in Bach’s St. Matthew Passion with the Colorado Symphony under the baton of Cristian Macelaru, soloist in William Walton’s Belshazzar’s Feast with Jacksonville Symphony and Canterbury Voices, Schlendrian in Bach’s Coffee Cantata with Orlando Philharmonic, bass soloist in Bach’s St. John’s Passion with the Houston Bach Society, soloist in Britten’s War Requiem with Canterbury Voices, and bass soloist in Handel’s Messiah with Ars Lyrica and The Messiah Choral Society. In addition to his performance career, Mr. Preisser also serves as the executive director for Opera Orlando.

Sergio Monteiro has appeared with all the most important Brazilian and South American orchestras, and with some of the most prestigious orchestras in Europe and North America.

He has performed under the direction of Charles Dutoit, Rafael Fruhbeck de Burgos, Pedro Ignacio Calderon, Isaac Karabitchevsky, Richard Rosenberg, Joel Levine, Mendi Rodan, Neil Varon, Tsung Yeh, Eduard Schmieder, Misha Raschlevsky, Ira Levin, Anton Nanut, Grahan Jackson, Gabor Hollerung, and others. Among Brazilian conductors, he played under the direction of Ligia Amadio, Roberto Tibiriçá, Carlos Moreno, Roberto Duarte, Flávio Florence, Diogo Pacheco, Northon Morozowicks, among many others.

Among his artistic engagements, Sergio has played with the Dresdner Phillarmonic in its brazilian tour, the Oklahoma City Phillarmonic at the Music Civic Center, OK; and the Symphony Toronto at the Toronto Center for the Arts, Canada. He also gave the Brazilian premiere of John Corigliano’s Piano Concerto with the Brazilian Symphony Orchestra in Brasilia and Rio de Janeiro, Brazil; gave the premiere of Almeida Prado’s Gravuras Sonoras a D. Joao VI – for piano and orchestra; performed at the Kremlin in Moscow with the Kremlin Chamber Orchestra; and gave recitals at the Palestrina Hall in Rome, at the Konzerthaus and the Philharmonie in Berlin, at the Mozarteum Argentino, in Buenos Ayres, at the Sibelius Academy, in Helsinki, at the Millennium Stage, Kennedy Center, Washington, at the Reial Cercle Artistic, Barcelona, at the Steinway Halls in New York and Dallas, and at the Martha Argerich’s Festival, in Beppu, Japan.


*All productions this season are programmed to avoid intermissions and the potential spread of COVID-19. More information on Canterbury’s plan to welcome you back safely is coming soon.