NEW TERRITORY: With the welcome of the arts worn thin at the Nation’s Premiere Arts Venue, quality performances continue in neighboring churches, concert halls and other alternative spaces.
by Patrick D. McCoy
(LEAD PHOTO: The Choir of Westminster Abbey at St. John’s Episcopal Church, Lafayette Square)
The strain of arts relationships between performing organizations and presenters is one that is undeniably felt as they navigate a new home beyond The Kennedy Center. Yet, high-quality performances continue in spite of this tension. Across the Arts with Patrick D. McCoy took in several performances throughout the city and surrounding areas during the 2026 concert season that transcended this unfortunate debacle. They are noted here in no particular order and all stood tall in their presentations of musical excellence.
(The Heritage Signature Chorale- PHOTO: Helen McConnell)
THE HERITAGE SIGNATURE CHORALE continues to astound its audiences with its exceptional take of the music of Black composers. Particularly in two concerts under the direction of Stanley J. Thurston, the chorale filled the sanctuary of First Congregational United Church of Christ in Washington DC in programs that featured the music of the late Richard Smallwood, Damien Geter and Adolphus Hailstork, as well as its 26th Annual Concert that amplified the music of the late Margaret Bonds, echoing the themes of faith, heritage and song. From the solo voice to the swell of the full chorus, the chorale lifted the music of the Black Diaspora to new heights.
(COURTESY PHOTO: The Thirteen under the direction of Matthew Robertson)
THE THIRTEEN Under the direction of Matthew Robertson, the professional vocal ensemble presented three performances of Rachmaninoff Vespers. The performance that we took in was held at Westmoreland United Church of Christ in Bethesda. The sacred work was sung with pitch-point precision, with a vocal depth that not only permeated the space but cloaked the room in a lush, blended sound. Of special note, bass Eric Alatorre sang with a rich tone that provided a contour upon which the ensemble found its vocal arc.
(The Concordia Choir at National Presbyterian Church)
THE CONCORDIA CHOIR a favorite touring college choir among DC audiences made a welcomed stop at National Presbyterian Church. The sublime acoustics were the perfect vehicle for the mostly a cappella program conducted by Dr. Michael Culloton. As an alumnus of Concordia and protégé of revered conductor Dr. René Clausen, Culloton has firmly continued the rich choral legacy set by his mentor, marked by repertoire that spanned from the motet of Bach to sacred anthems and spirituals.
(At a moment’s notice, Edmund Milly passed the test with flying colors, stepping in brilliantly at the last minute for a colleague as soloist.)
THE CATHEDRAL CHORAL SOCIETY welcomed the highly regarded Dr. Edward Maclary as guest conductor for a grand performance of Carl Orff’s Carmina Burana. Preceding the Orff was music that lent itself to seamless unaccompanied singing: Musica Dei Donum optimi of di Lasso and the Three Latin Motets of Charles Villiers Stanford. For the performance of the Carmina, the talented vocal soloists included soprano Colleen Daly, tenor Brian Giebler and Edmund Milly baritone. Combined with the virtuosic playing of duo pianists Amanda Sabelhaus and Joy Schreirer to the choristers of Washington National Cathedral, the performance was both exciting and bold in delivery.
THE WASHINGTON BACH CONSORT presented world-renowned organist James O’ Donnell in their Celebrity Organ Recital at St George’s Episcopal Church in Arlington, VA. Ardent lovers of the pipe organ and
the music of Bach packed the church to hear the acclaimed artist. Dr. O’Donnell who is on the music faculty of Yale University performed the entire Bach’s Clavier-Übung III, which was extraordinary to hear the entire of organ pieces bookended by the famous “Prelude and Fugue in E Flat Major (St. Anne). With a variety of registrations and contrasting tempi, Dr. O’Donnell moved the series of pieces along with both excitement and vigor. It was wonderful to attend a concert in which the organ was truly the star of the show. The power and majesty of the organ was truly felt throughout with this magnificent performer.
(Eugene Rogers leading The Washington Chorus in “Faith, Hope and Light” at DC’s National Presbyterian Church)
THE WASHINGTON CHORUS returned to National Presbyterian Church for the wonderfully themed concert “Faith, Hope and Light.” Artistic Director Eugene Rogers pulled together an inviting program that spoke to the times. Beginning the program was the evocative “Everything is Made of Light” by Timothy Takach. The text by William Reichard read as follows “The moon translates a rhythm of this night that knows no breath. Everything is made of light. The whole world is glowing.” What a wonderful sentiment this was to start a concert, in spite of the challenging times. The program continued with the reverent “Nunc Dimittis” by Gustav Holst. An unfamiliar, yet powerful gem on the program was “Plain-Chant for America” by William Grant Still. Movingly beautiful, the piece featured a fervent narration by Joanne Kelly. To hear the unifying text read with such conviction by Ms. Kelly in many ways brought a feeling of unity among the diverse concert audience in attendance. “Ella’s Song” by Bernice Johnson Reagon rang forth with tenants of unity in the vocal soloists with Nancy Dougherty, Taylor Russell, Patricia Liu and Andrew Smith. Standing in the aisles of the cavernous church, the ensemble singers for a moment became one with the audience. After being treated to these individual pieces, which were mostly new to many, Maestro Rogers led the chorus in the major work appointed for the evening, “Mass in D Major” by Antonin Dvořák, which was performed with an exciting wind accompaniment. Melding together a program of both old and new, The Washington Chorus presented a program that indeed was a light in a very dark world.
THE WASHINGTON OPERA made a bold decision to leave its home of many years at The Kennedy Center. Its loyal followers found themselves right along with them at George Washington University’s Lisner
(Mezzo-soprano J’Nai Bridges starred as Elizabeth Proctor in “The Crucible” with Washington National Opera. PHOTO: Freddie Collier”)
Auditorium. For its second presentation in the venue, the company mounted several fully staged performances of “The Crucible” by Robert Ward. The classic story of witchcraft and suspense was brought to life by star soloists J’Nai Bridges as Elizabeth Proctor, Ryan McKinny as John Proctor, Lauren Carroll as Abigail Williams, Ronnita Miller as Tituba, Chancey Packer as Judge Danforth and a host many other talented soloists. The selection of this work was very timely in its plot of darkness, uncertainty and divisiveness. The staging was simple yet striking and the orchestra led by Robert Spano played wonderfully with the singers, often adding a hint of suspense to the vocal lines. Even though the venue is much smaller, the excitement and support of the audience was well worth the move, and we look forward to more performances by the company throughout the city.
THE CHOIR OF WESTMINSTER ABBEY brought its elegant English choral tradition across the pond to St. John’s Lafayette Square. Led by Andrew Nethsingha and accompanied by organist Matthew Jorysz, the
(The Choir of Westminster Abbey conducted by Andrew Nethsingha sang a full concert at St. John’s Lafayette Square, sponsored by The White House Historical Association
choir of men and boys offered a full program of sacred works before the capacity audience. The concert was in partnership with The White House Historical Association on the occasion of America’s 250th. Music for the evening included gems such as “If Ye Love Me” by Tallis, “O Clap Your Hands” by Orlando Gibbons and Handel’s Coronation Anthem “Let Thy Hand Be Strengthened.” The world premiere of “That Great Architect” by American composer Nico Muhly was also featured. Closing the program was the rousing Antiphon: “Let All the World in Every Corner Sing” by Ralph Vaughan Williams from The Five Mystical Songs. The choir offered the “Sicut Cervus” of Palestrina as an encore. The evening was truly a remarkable occasion to hear one of the world’s greatest cathedral choirs.
CHORALIS marked the 26-year tenure of founder and artistic director Gretchen Kuhrmann with a final celebratory concert at National Presbyterian Church. The packed church of loyal followers and supporters came to witness this milestone of Maestra Kurhmann as she returned to a work that has been pivotal to her career, William Walton’s mammoth “Belshazzar Feast” and the beloved choral finale to Beethoven’s Ninth Symphony. For the Beethoven, the chorus and orchestra were joined by vocal soloists soprano Danielle Talamantes, mezzo-soprano Caroline Nielson, tenor Douglas Culclasure and bass Kerry Wilkerson. From the majestic lines of the chorus to the soaring passages of the soloists, the spirit of brotherhood and unity rang though out the sanctuary. Walton’s Belshazzar Feast was a wall of sound. The full complement of instruments, the noble strength of bass Kerry Wilkerson and the full chorus couldn’t have made for a more appropriate send-off.
(Gretchen Kuhrmann took her final bow as music director of Choralis in William Walton’s Belshazzar’s Feast at National Presbyterian Church.)
KANYSHA brought her dynamic show “Thunderbird: Live from the Vault” to the stage at The Mansion at Strathmore. The evening was inspired by her grandfather’s vintage car, his impact on her life and rising career.
(As a Strathmore Artists in Residence, Kanysha was presented in her own show at The Mansion at Strathmore.)
Joined by a roster of superlative instrumentalists, the evening of upbeat, sparkling music was a picture-perfect reflection of her personality. One of the most engaging moments was the Strathmore commissioned piece “Audience Tonight.” An evening that ranged from boldly rhythmic to brash and bold, Kanysha created an experience that reflected the full breadth of her musical gifts. From the church to the concert hall, Kanysha brings true pride to her musical experiences. This artist truly has more in store!
(David C. Griffiths and his 12-year-old daughter Maia share a tender duet)
MY STORY OF HOPE was truly an evening of music, faith and transformation. More than a concert, celebrated DC-area musician assembled a meaningful cadre of guest vocal soloists, instrumentalists, choristers and speakers to mark this 60-year journey in a monumental way. Ardent supporters filled the beautiful Southern Asian Seventh Day Adventist Church in Silver Spring, MD for the extraordinary evening of story-telling and music making. David not only used his mellifluous baritone voice to narrate his life journey, but he graciously shared his platform with an array of artists to give voice to his work. The evening’s host Danny Williams moved the evening along seamlessly as the music naturally found its home among the narrations. Featured soloists included Monique Steele Griffiths, Duawne Starling, Ellen Quay, Phillip Carter, Brandon Camphor, Chris Willis, Carter Anderson, Ofie Ofuatey-Kodjoe and cellist Emily Yang-Cheung. There were many stunning moments of the journey, but the most heartwarming was the beautiful duet between David and his daughter Maia entitled “Marry Me.” Moving narrations threaded the evening wonderfully together and were offered by Kristin Joy Ekkens, Jeff Vargas, Pastor Terry Nichols, Ron Mills and culminated with the artists himself. With the combined voices of The Praise and Worship Experience, The Voices of Hope Community Choir and Reflexions, the power and impact of David Griffiths testimony resonated throughout the evening. The inimitable Edmond Charles served as the evening’s music director and created a wonderful balance among all the musical forces throughout. Be sure to catch “My Story of Hope” in a city near you.
In spite of the turmoil a The Kennedy Center, great music and artistry continues in our Nation’s Capital. Until there is a resolve to this untenable situation at a place that was once vigorous bastion of artistic expression, performances by world class artists spill over into venues right in our own communities.
A native of Petersburg, VA, Patrick holds a BM in Vocal Performance from Virginia State University and a MM in Church Music from Shenandoah Conservatory. Formerly the Performing Arts Columnist for Washington Life Magazine, he currently is a freelance writer, publishing articles for several noted publications and organizations, including The Washington Post, Early Music America, Classical Music Voice North America, The Afro-American Newspaper, Prince George’s Suite Magazine, CBS Washington, Examiner.com and Washington Classical Review. He holds membership in the Music Critics Association of North America, National Association of Negro Musicians, Inc., American Choral Directors’ Association, Association of Anglican Musicians, a former member of the Shenandoah University Alumni Board of Directors, a member of the Shenandoah University Black Alumni Network, a Life Member of Alpha Phi Alpha Fraternity, Inc. and a member of the Sigma Zeta Chapter of Phi Mu Alpha Sinfonia Fraternity of America. As an alumnus of Shenandoah, he was named to the Dean’s Circle of the Shenandoah Conservatory Advisory Board. He enters his 9th year as Organist/Choirmaster at Saint John’s Episcopal Church, Zion Parish in Beltsville, MD. Patrick is the host of “Across the Arts” both a live and virtual media platform covering the performing arts. Visit http://patrickdmccoy.com and follow him on Facebook and Twitter @PatrickDMcCoy, IG: PDM06. and subscribe to “Across the Arts” on YouTube.