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For immediate release: March 11, 2025 Contact Olivia Porada, Administrative Manager for Choral Music, [email protected]  HARVARD-RADCLIFFE CHORUS PREMIERES MAJOR WORK BY BOSTON AREA COMPOSERSpring Concert Features Oratorio by Linda J. Chase, Berklee College of Music and New England Conservatory Faculty March 11, 2025 (CAMBRIDGE, MA): The Harvard-Radcliffe Chorus (HRC), one of Harvard’s Holden Choruses, performs For Our Common Home: Resounding Ecojustice on Saturday, May 10 at Sanders Theatre on the University campus. The 8:00pm program will be conducted by HRC’s music director, Edward Elwyn Jones, Gund University Organist and Choirmaster at The Memorial Church, Harvard University. Although earlier versions of the work have been presented and recorded, HRC’s performance marks the premiere of the full score as revised by the composer in 2025. In addition to the 120-voice mixed choir, For Our Common Home features solo vocalists and instrumentalists Farayi Makek, J’adon Brooks, Heiraza, and Abigale Reisman with jazz artists Stan Strickland, John McGee, Dave Clark and George Lernis. Composer/flutist Linda J. Chase teaches Ecomusicology and Music, Spirit & Transformation at Berklee College of Music, and Interdisciplinary Improvisation at New England Conservatory. Her oratorio was inspired by Pope Francis’ 2015 encyclical, Laudato Si’, a call to caring for the earth and an echo of the teachings of St. Francis of Assisi. The libretto was curated and edited by the distinguished Harvard Divinity School theologian Dr. Harvey Cox, who commissioned the composition in 2020. Dr. Cox’s insights on the shaking of the spirit inspired her first oratorio, The City is Burning. Chase is the recipient of multiple awards for her work including a Japan Foundation Fellowship (2011) which coincided with the earthquake/tsunami/nuclear disaster. In response, she composed music based on poetry by Izumi Shikibu and Ono no Komachi leading to a collaboration with poet/translator Jane Hirshfield. Chase has held artist residencies at the Old Cambridge Baptist Church (2017-18) Grand Canyon National Park (2012) and the Morris Graves Foundation (2002). Her chapter A Contemplative Pedagogy of Listening published in the Routledge Handbook of Grassroots Climate Activism (2024) addresses climate justice issues in ways that are relevant and applicable to musical artists. Running approximately 100 minutes, the scope and scale of For Our Common Home would alone make its performance a noteworthy event for HRC. “It is a rare opportunity,” said Jones, “to present a work that is so timely, critical, and creative in its messaging. It is an honor to perform this piece and an imperative for our audiences to hear it.” The music itself blends classical, jazz, gospel, and klezmer idioms, with vocal styles ranging from whispered text to full-throated anthems. A preview of the work took place at NEC in 2021, followed by a recording and performance in 2022, and subsequent revisions to the entire score. Chase is now “especially thrilled to have HRC bring For Our Common Home to the general public through a complete performance at Sanders.” Concert tickets are available at the Harvard Box Office: $25 general admission, $15 senior citizens, $5 EBT cardholders, students free. Free parking for concert goers will be available at the Oxford Street Garage. Directions to parking and Sanders Theatre can be found online. -- Founded in 1979, the Harvard-Radcliffe Chorus is made up of 120 undergraduates, graduate students, faculty, staff, and community members. The ensemble presents two major choral-orchestral performances per year exploring a wide range of repertoire spanning the baroque, classical, romantic, 20th century, and present-day music. Members represent a variety of musical backgrounds and experience levels.  Q&A With Dr. Hana CaiGet to know Dr. Hana Cai, the Associate Director of Choral Activities at Harvard. She conducts the Radcliffe Choral Society and Harvard-Radcliffe Collegium Musicum. When and how did you decide you wanted to pursue conducting? I knew I wanted to pursue conducting when I was a junior in college. I had suffered some pretty significant hand injuries in high school and knew that a career in piano performance was not going to work out, but I wasn't ready to give up music. Luckily, I was getting really into musical theater conducting and took my first conducting class and loved it! The rest is history. Could you share some of the most notable experiences you've had as a musician? This could be travel, interesting acquaintances, awkward interactions, any particularly striking moments coming out of your music career. When I was still in school, I was doing a conducting workshop in Berlin and I got to see the Berlin Phil perform Stravinsky's Oedipus Rex conducted by John Eliot Gardiner, one of my favorite conductors. After the concert, a very kind security guard at the stage door helped me sneak backstage after I told him I wanted to be a conductor. When I went through the door, there was John Eliot Gardiner, just holding a post-concert beer. I got to talk to him briefly. I'm glad that he was very gracious and didn't throw me out. Imagine my jealousy when Andy told me that the Harvard Choirs got to work with him in 2015! There are not a lot of well-known women conductors out there. As a woman, have you had any difficulty asserting yourself professionally? If you can answer, what strategies worked well for you when faced with discrimination, and what do you wish you had done differently? I wouldn't say I have difficulty asserting myself professionally as much as I think there are people who have trouble accepting that I am a professional. Unfortunately, this is not a unique experience for any feminine-presenting conductor or even any feminine-presenting professional in any field. Some strategies that have worked well are setting very clear boundaries such as using my title in certain situations and not being afraid to say no to menial tasks that women get disproportionately asked to do. I also like to use humor to call attention to those kinds of situations, like "Really? You want to ask the only woman in the room to take notes/pick up coffee/etc.?" or "I'm sorry, but you're going to have to pay me extra to [use the silliest name possible for a task] for you." The humor only works with certain people, but it can be effective. A career in music can be greatly fulfilling for a variety of reasons. However, it can also be emotionally taxing, and secure employment can be difficult to find. With these concerns in mind, what advice do you have for students considering music careers? It takes a certain kind of person to be a musician. There's a lot of talk about hustle culture and how it negatively impacts us and certainly musicians are prone to being taken advantage of in a lot of situations. However, there are also way too many musicians for too few jobs and the musicians who eat, sleep, and breathe music tend to get the work. This field is also really small, so it's important to be kind and professional to everyone we meet because we can't really afford to burn bridges. I've seen some talented musicians unintentionally snuff out their careers way too early because they felt they were too good for a job, or because they were unprofessional, or they demanded pay far above what is comparable to other musicians in a similar position. We have to be really discerning about determining if certain jobs are "beneath us" or if someone is actually taking advantage of us vs. they just have a small budget because of their organization. Sometimes we have to take smaller jobs in order to get the bigger jobs. My first conducting work was music directing for community and high school theater. Once I gained those experiences, I started getting steady work and eventually I could be more discerning about the jobs I took. If I had decided that that work was beneath me when I was just starting out, I never would have gained the experience I needed to work in professional theater or to go to graduate school for conducting. Many students, in the Harvard Choruses and otherwise, are very talented and passionate musicians. How can these students continue to keep music as a significant component of their lifestyle (i.e. more than "just a hobby") if they don't plan on pursuing a musical career? Join a community choir/orchestra/theater. Learn about arts administration. Join the board of a choir or an orchestra. Sing with your religious organization (cantor, choir, etc.). Volunteer to teach lessons to young students who couldn't afford it otherwise. Get involved with school theater productions. Attend every concert you can. Continue to take music lessons. There are so many ways to stay involved in music that are not as high stress as pursuing music as a career! Interview conducted by Anika Christensen '26 1/30/2025 HARVARD CHORUSES PREMIERES GROUNDBREAKING OPERA ABOUT POWER, POLITICS AND RELIGION IN EARLY AMERICARead Now For immediate release: January 30, 2025 Contact Olivia Porada, Administrative Manager for Choral Music, [email protected] Posters/Social Graphics HARVARD CHORUSES PREMIERES GROUNDBREAKING OPERA ABOUT POWER, POLITICS AND RELIGION IN EARLY AMERICAA new opera by James Kallembach about Puritan spiritual leader Anne Hutchinson features Harvard-Radcliffe Collegium Musicum, Radcliffe Choral Society, and Harvard Glee Club in historic Sanders Theatre. CAMBRIDGE (January 30, 2025) – American Jezebel: The Trial of Anne Hutchinson, a powerful new opera by composer James Kallembach, will make its world premiere in a semi-staged concert performance at 8:00 pm, March 1, 2025, in Sanders Theatre at Harvard University. Presented by the Harvard Choruses with the Office for the Arts, the concert will feature Harvard-Radcliffe Collegium Musicum, Radcliffe Choral Society, and Harvard Glee Club. The opera delves into one of the most tumultuous and consequential moments in early American history—the 1637 trial of Puritan spiritual leader Anne Hutchinson—and examines the deepening tensions between personal freedom and communal order, gender and power, and religious orthodoxy and individual conscience. In this gripping operatic retelling, Anne Hutchinson (sung by soprano Sarah Joyce Cooper) stands at the center of a dramatic battle against Governor John Winthrop (baritone Sumner Thompson). Hutchinson’s unyielding theological beliefs and her defiance of the Puritan clergy lead to a high-stakes confrontation, where private convictions clash with the rigid laws of a theocratic society. The late Harvard preacher and theologian Peter Gomes described Hutchinson as “the midwife of what would become Harvard College:” the schism Hutchinson provoked compelled the Puritan leaders to provide a theological education for future ministers against the threats Hutchinson posed to the dominant Puritan orthodoxy. The opera features a vivid cast of characters, including Winthrop’s wife Margaret, Hutchinson’s young protégé Mary, and her lover Tom, all of whom hope to escape to the promise of a life outside of Boston's political and religious strife. Kallembach’s score weaves together communal singing from the Bay Psalm Book with excerpts from Hutchinson’s meticulously documented trial and an array of primary texts—from bawdy rhymes to iconic works of embroidery – creating a rich, layered narrative. The music provides a sonic landscape that amplifies the emotional turmoil of the characters while reflecting the period’s religious fervor and societal constraints. Conducted by Dr. Hana Cai, Associate Director for Choral Activities at Harvard, the world premiere performance features a talented ensemble of performers, including both professional singers and Harvard students, that will bring the story to life, with a musical and vocal experience designed to captivate and provoke. “When I began this opera over a decade ago, I would never have imagined it would be as timely as it is now.,” says Kallembach, whom the Harvard Choruses commissioned to write American Jezebel. “This story speaks to our present as never before in my lifetime.” Tickets for the world premiere of American Jezebel: The Trial of Anne Hutchinson are available now at Harvard Box Office. For more information about the concert or the Harvard Choruses, please visit www.singatharvard.com. # # # MEDIA CONTACT: Olivia Porada, [email protected] About Harvard-Radcliffe Collegium Musicum The Harvard-Radcliffe Collegium Musicum, Harvard’s nationally acclaimed mixed-voice choir, performs dynamic and innovative repertoire ranging from classical masterpieces to new compositions by renowned, emerging, and student composers. Collegium has served as a joyful and vibrant community on Harvard’s campus since 1971, uniting students of all backgrounds and academic interests through their shared love of exceptional and meaningful choral singing. Uniquely situated as an accredited course at Harvard College and a student-run 501(c)(3) non-profit organization, Collegium fosters a passionate community of student musicians through collaborative projects, tours, and community engagement. https://hrcm.org/ About Radcliffe Choral Society The Radcliffe Choral Society, founded in 1899, is a treble choral ensemble at Harvard University, currently under the direction of Dr. Hana Cai. The ensemble performs a distinctive repertoire spanning nine centuries of choral literature: sacred and secular, a cappella and accompanied, collaborative and choral-orchestral. The Radcliffe Choral Society aims to foster the appreciation and enjoyment of women's and treble choral music through the commission of new works for soprano-alto voices, high-caliber performances, and domestic and international travel, striving to honor its history and further its legacy. As a student run and managed 501(c)(3) non-profit, singers are given a unique opportunity to join the Executive Committee, learning about and developing their skills in arts management. Featuring a student-led a cappella group, 'Cliffe Notes, the Radcliffe Choral Society promotes excellence in women's choral music and celebrates the extraordinary community formed through its music-making. http://www.radcliffechoralsociety.com/ About Harvard Glee Club An ensemble of tenor and bass voices, the Harvard Glee Club is the oldest collegiate choir in the United States. Since its founding in 1858, it has cultivated and sustained the art of tenor-bass—traditionally men’s—choral music through regular concerts at Harvard’s Sanders Theatre, as well as in performances around the world, including at Carnegie Hall, the Kennedy Center in Washington, D.C., the Disney Concert Hall in LA, the Musikverein in Vienna, Austria, the Duomo di Firenze in Italy, and the American Cathedral in Paris, France. www.harvardgleeclub.org About the Office for the Arts at Harvard The Office for the Arts at Harvard supports student engagement in the arts and integrates the arts into university life. Through its programs and services, the OFA teaches and mentors, fosters student art making, connects students to accomplished artists, commissions new work, and partners with local, national, and international constituencies. By supporting the development of students as artists and cultural stewards, the OFA works to enrich society and shape communities in which the arts are a vital part of life. The OFA programming team hosts visits with world-class professional artists who interact with students through a range of educational forums, many open to the public. 617-495-8676, [email protected], ofa.fas.harvard.edu The Harvard Choruses and Office for the Arts at Harvard are thrilled to announce the appointment of Dr. Hana Cai as the Associate Director of Choral Activities at Harvard. Dr. Cai assumes this role on July 1, 2024.
"I was immediately impressed with Hana’s credentials, specifically her expertise with treble voices and choirs as well as her experiences and efforts in the DEIB space. Upon meeting Hana, I was drawn in by her ability to make immediate connections, quiet confidence, refined talent, and relationship with the music. The search committee is confident that Hana will be an excellent partner to current leadership and help to propel and enhance an already exceptional program. On behalf of the alums of the Harvard choruses, I enthusiastically welcome Hana and am excited for the future of the Harvard Choral program and my younger brothers and sisters in song as Hana assumes her new role." Plena - Diana Sáez Ithaca College Treble Chorale Dr. Hana Cai, conductor Sona Minasian, piano Ellie Shanton, güiro Brayden Reed, congas In this newly created position, Dr. Cai will collaborate with Andrew Clark, the Director of Choral Activities, and Olivia Porada, the Administrative Manager for Choral Music, in artistic, pedagogical, and administrative leadership of the Harvard Choral Program. Dr. Cai will serve as the principal conductor of the Radcliffe Choral Society (RCS), lead performance projects of the combined Harvard Choruses and serve as the Director of the Holden Voice Program. She will also share conducting leadership of Collegium and the Harvard Glee Club with Andrew Clark. "I am thrilled to be joining the Harvard Choruses next year as the Associate Director of Choral Activities alongside my wonderful colleague, Andrew Clark. The Harvard Choruses hold an incredible history in the world of collegiate choral music and I look forward to working with Andrew to honor that history while also envisioning the future with the ensembles" "As we began this search process, many trusted colleagues and mentors around the country enthusiastically recommended Hana Cai. Having witnessed her superb musicianship, skillful conducting, and first-rate teaching, I could not be more excited to partner with her in leading the Harvard Choral Program. Her integrity, passion, intellect, and varied interests made an immediate impact on our students; Hana will no doubt contribute a great deal to the exciting future trajectory of choral music at Harvard." Dr. Cai holds a BM in piano performance and a BA in Chinese from the University of Maryland, College Park, an MM in conducting from the Eastman School of Music, and a doctorate in choral conducting from the Jacobs School of Music at Indiana University. She currently serves as the Associate Director of Choral Activities at Lehigh University and has previously been a faculty member at Ithaca College. "The Harvard Choruses are extremely excited to welcome Hana Cai as the Associate Director of Choral Activities. We are excited for the many talents, knowledge, and enthusiasm Hana will bring to this position and the Harvard Choruses. During our discussions with Hana, the student search committee was impressed with her poise and passion for vocal pedagogy, making music accessible to all experience levels, and her commitment to diversity, equity, and inclusion. We believe she will be a wonderful leader for the Harvard Choral community and empower students as singers and leaders in student management. On behalf of the students of the Harvard choruses, we welcome Hana with open arms to the Harvard Chorus community!" The Harvard Choruses and Office for the Arts at Harvard are thrilled to announce the appointment of Olivia Porada as the Administrative Manager for Choral Music at Harvard. Porada assumes this newly-created, full-time role on October 16, 2023.  Olivia Porada Olivia Porada is an experienced and talented arts administrator, a classical singer and, in her free time, a cardio kickboxing instructor. How do these things impact her work? In her words, "they create discipline and focus, allow for creativity, showcase strength and stamina, and foster empathy and passion." She plans to bring all of this and more to her work as the Administrative Manager for Choral Music at Harvard. Porada will partner with Andrew Clark, Harvard's Director of Choral Activities, in leading the Harvard Choral Program and work closely with the choral staff, student leaders, and other colleagues at the Office for the Arts and the Department of Music. She will officially join the Harvard choral community on October 16, 2023. "I am thrilled to welcome Olivia to our team and look forward to working together on the next chapter of choral music at Harvard," said Clark. "Olivia's impressive experience as a strategic arts leader, academic administrator, and performing artist will be great assets for our choral program. We are so fortunate to gain from her perspectives and expertise as well as her deep passion for her work. Through our search process, we sought to find the ideal partner to develop more efficient structures of support as well as someone to serve as a primary mentor to the student leaders of our 501(c)(3) non-profit choral ensembles. We found this dynamic partner in Olivia and I could not be more excited about our future work together." "The student managers are thrilled to welcome Olivia Porada as our administrative leader," said search committee member and Radcliffe Choral Society manager, Hannah Boen '25. "Over the years, the role of Choral Administrator has grown alongside the Harvard Choruses, and having a dedicated full-time staff member will significantly enhance the experience for student leaders and singers alike. During our discussions with Olivia, we were impressed by her focus and commitment to arts administration. We believe she is the right person to empower student leaders, safeguard our priorities, and provide unwavering support when needed. On behalf of the students, we warmly welcome Olivia to the Harvard Choruses!" a welcome message from olivia poradaPreviously, Olivia worked at New England Conservatory as the Production and Administrative Director for Jazz and Contemporary Musical Arts and at Boston University Tanglewood Institute as the Director of Recruitment and Program Operations. In both organizations, she excelled in working with artists of all ages, at all levels, and from around the world.
Porada is a proud alumna of Boston University and The College of New Jersey where she earned a Master of Science in Arts Administration and Bachelor of Arts in Vocal Performance, respectively. In her free time, when she’s not teaching a cardio kickboxing class, she enjoys traveling with her husband, cooking delicious meals, and spending time with her family. |
