Mary Shelly’s groundbreaking novel Frankenstein was published 200 years ago. But far from the grunting Hollywood brutishness of Boris Karloff, the original told the heartbreaking story of a living, feeling creature, brought into the world only to be forsaken by his creator and left to fend for himself in a hostile world. Drawing the parallels to modern society, pianist/composer Gregg Kallor will offer the World Premiere of a new suite of operatic sketches based on the monster’s harrowing tale, in a partnership with On Site Opera. The program will also feature his other acclaimed vocal works, and the premiere of a solo piano piece in tribute to Leonard Bernstein.

Mary Shelly’s groundbreaking novel Frankenstein was published 200 years ago. But far from the grunting Hollywood brutishness of Boris Karloff, the original told the heartbreaking story of a living, feeling creature, brought into the world only to be forsaken by his creator and left to fend for himself in a hostile world. Drawing the parallels to modern society, pianist/composer Gregg Kallor will offer the World Premiere of a new suite of operatic sketches based on the monster’s harrowing tale, in a partnership with On Site Opera. The program will also feature his other acclaimed vocal works, and the premiere of a solo piano piece in tribute to Leonard Bernstein.

Mary Shelly’s groundbreaking novel Frankenstein was published 200 years ago. But far from the grunting Hollywood brutishness of Boris Karloff, the original told the heartbreaking story of a living, feeling creature, brought into the world only to be forsaken by his creator and left to fend for himself in a hostile world. Drawing the parallels to modern society, pianist/composer Gregg Kallor will offer the World Premiere of a new suite of operatic sketches based on the monster’s harrowing tale, in a partnership with On Site Opera. The program will also feature his other acclaimed vocal works, and the premiere of a solo piano piece in tribute to Leonard Bernstein.

Henry Purcell wrote Dido & Aeneas in 1680, but this tragic meditation on destiny, love, and death resonates just as powerfully today. Director Alek Shrader interweaves excerpts from Christopher Marlowe’s play based on the same story, infusing a sense of agency and dignity back to the character of the wounded queen, and the terrible decision she faces when abandoned by the love of her life. With superstar Daniela Mack as Dido, you won't want to miss her sing the heartrending final aria “When I Am Laid in Earth” (while...in...a...Catacomb!)

Henry Purcell wrote Dido & Aeneas in 1680, but this tragic meditation on destiny, love, and death resonates just as powerfully today. Director Alek Shrader interweaves excerpts from Christopher Marlowe’s play based on the same story, infusing a sense of agency and dignity back to the character of the wounded queen, and the terrible decision she faces when abandoned by the love of her life. With superstar Daniela Mack as Dido, you won't want to miss her sing the heartrending final aria “When I Am Laid in Earth” (while...in...a...Catacomb!)

Henry Purcell wrote Dido & Aeneas in 1680, but this tragic meditation on destiny, love, and death resonates just as powerfully today. Director Alek Shrader interweaves excerpts from Christopher Marlowe’s play based on the same story, infusing a sense of agency and dignity back to the character of the wounded queen, and the terrible decision she faces when abandoned by the love of her life. With superstar Daniela Mack as Dido, you won't want to miss her sing the heartrending final aria “When I Am Laid in Earth” (while...in...a...Catacomb!)

Henry Purcell wrote Dido & Aeneas in 1680, but this tragic meditation on destiny, love, and death resonates just as powerfully today. Director Alek Shrader interweaves excerpts from Christopher Marlowe’s play based on the same story, infusing a sense of agency and dignity back to the character of the wounded queen, and the terrible decision she faces when abandoned by the love of her life. With superstar Daniela Mack as Dido, you won't want to miss her sing the heartrending final aria “When I Am Laid in Earth” (while...in...a...Catacomb!)

Most people wouldn’t equate “historically-informed Baroque chamber music” with “soul-blasting, face-melting hot sauce fire”... at least not until they hear Augusta McKay Lodge. She and her band Voyage Sonique bring a gas torch to the works of a bygone era, burning a path through a series of musical monuments to grief and remembrance.

Most people wouldn’t equate “historically-informed Baroque chamber music” with “soul-blasting, face-melting hot sauce fire”... at least not until they hear Augusta McKay Lodge. She and her band Voyage Sonique bring a gas torch to the works of a bygone era, burning a path through a series of musical monuments to grief and remembrance.

Most people wouldn’t equate “historically-informed Baroque chamber music” with “soul-blasting, face-melting hot sauce fire”... at least not until they hear Augusta McKay Lodge. She and her band Voyage Sonique bring a gas torch to the works of a bygone era, burning a path through a series of musical monuments to grief and remembrance.

Almost no one plays the complete Poetic and Religious Harmonies by Franz Liszt. Between the sheer finger-bending virtuosity, emotionally-draining intensity, and epic length, each of the ten movements stands as its very own musical monolith. But when experienced all together, the cycle gains an almost mystical transcendence, a spiritual journey from the opening “Invocation,” the meditative glow of “The Blessing of God in Solitude,” the anguish of “Funeral,” and the quiet rapture of “Hymn of Love.” It’s a lot for one pianist to take on, and that’s why we’ve got two of ‘em: keyboard stars Adam Tendler and Jenny Lin, both bringing their unique talents and vision to their respective half of the piece.

Almost no one plays the complete Poetic and Religious Harmonies by Franz Liszt. Between the sheer finger-bending virtuosity, emotionally-draining intensity, and epic length, each of the ten movements stands as its very own musical monolith. But when experienced all together, the cycle gains an almost mystical transcendence, a spiritual journey from the opening “Invocation,” the meditative glow of “The Blessing of God in Solitude,” the anguish of “Funeral,” and the quiet rapture of “Hymn of Love.” It’s a lot for one pianist to take on, and that’s why we’ve got two of ‘em: keyboard stars Adam Tendler and Jenny Lin, both bringing their unique talents and vision to their respective half of the piece.

Almost no one plays the complete Poetic and Religious Harmonies by Franz Liszt. Between the sheer finger-bending virtuosity, emotionally-draining intensity, and epic length, each of the ten movements stands as its very own musical monolith. But when experienced all together, the cycle gains an almost mystical transcendence, a spiritual journey from the opening “Invocation,” the meditative glow of “The Blessing of God in Solitude,” the anguish of “Funeral,” and the quiet rapture of “Hymn of Love.” It’s a lot for one pianist to take on, and that’s why we’ve got two of ‘em: keyboard stars Adam Tendler and Jenny Lin, both bringing their unique talents and vision to their respective half of the piece.

Almost no one plays the complete Poetic and Religious Harmonies by Franz Liszt. Between the sheer finger-bending virtuosity, emotionally-draining intensity, and epic length, each of the ten movements stands as its very own musical monolith. But when experienced all together, the cycle gains an almost mystical transcendence, a spiritual journey from the opening “Invocation,” the meditative glow of “The Blessing of God in Solitude,” the anguish of “Funeral,” and the quiet rapture of “Hymn of Love.” It’s a lot for one pianist to take on, and that’s why we’ve got two of ‘em: keyboard stars Adam Tendler and Jenny Lin, both bringing their unique talents and vision to their respective half of the piece.

The Stabat Mater is a medieval poem that describes the suffering of Jesus’s mother Mary as she stands at the foot of the cross. Pergolesi’s setting of the text is among the most haunting and gut wrenching compositions ever put to paper. At one point, the piece asks us if it’s possible to watch someone else suffer so deeply, and not somehow share in their sorrow. It stands as one of the purest musical depictions of empathy, and a powerful reminder that - no matter what pain we may feel in the moment - we’re never truly alone in our sadness. Performed by the String Orchestra of Brooklyn, the program will also feature Barber’s wrenching Adagio for Strings, and Arvo Pärt’s slow-burning Fratres, and if that all wasn’t enough - the entire performance will feature wall-to-ceiling film projections up and down the catacombs, from the masters Ricardo Romaneiro and Mau.

The Stabat Mater is a medieval poem that describes the suffering of Jesus’s mother Mary as she stands at the foot of the cross. Pergolesi’s setting of the text is among the most haunting and gut wrenching compositions ever put to paper. At one point, the piece asks us if it’s possible to watch someone else suffer so deeply, and not somehow share in their sorrow. It stands as one of the purest musical depictions of empathy, and a powerful reminder that - no matter what pain we may feel in the moment - we’re never truly alone in our sadness. Performed by the String Orchestra of Brooklyn, the program will also feature Barber’s wrenching Adagio for Strings, and Arvo Pärt’s slow-burning Fratres, and if that all wasn’t enough - the entire performance will feature wall-to-ceiling film projections up and down the catacombs, from the masters Ricardo Romaneiro and Mau.

The Stabat Mater is a medieval poem that describes the suffering of Jesus’s mother Mary as she stands at the foot of the cross. Pergolesi’s setting of the text is among the most haunting and gut wrenching compositions ever put to paper. At one point, the piece asks us if it’s possible to watch someone else suffer so deeply, and not somehow share in their sorrow. It stands as one of the purest musical depictions of empathy, and a powerful reminder that - no matter what pain we may feel in the moment - we’re never truly alone in our sadness. Performed by the String Orchestra of Brooklyn, the program will also feature Barber’s wrenching Adagio for Strings, and Arvo Pärt’s slow-burning Fratres, and if that all wasn’t enough - the entire performance will feature wall-to-ceiling film projections up and down the catacombs, from the masters Ricardo Romaneiro and Mau.