Mar 24

American Classical Orchestra Presents Brahms, Ries, Schubert, featuring Avery Amereau, contralto

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7:30PM Concert Preview | 8PM Concert


(The Concert Preview starts promptly at 7:30pm. No late seating will be permitted. At 7:50pm, audience members wishing to attend only the concert may be seated for the traditional 8:00pm start time.)


Brahms Alto Rhapsody, Avery Amereau, contralto, and ACO Men’s Chorus

Schubert Symphony No. 8 (‘Unfinished’)

Schubert Gessange der Geister

Ries Symphony No. 1


Mezzo-soprano Avery Amereau has garnered much attention for the unique quality of her voice and sensitivity to interpretation.  She has been praised by The New York Times as “sensual and achingly perfect" and "particularly excellent,” and by Opera Today as possessing “an effortlessly rich mezzo-soprano voice worthy of any professional stage in the industry, with charisma to match.” Highlights of the 2016-17 season include her Metropolitan Opera debut as the madrigal singer in Manon Lescaut, the title role of Carmen with Opera Columbus, and a return to Glyndebourne Festival Opera for her debut with the Festival in Ariadne auf Naxos. 


On the concert stage, she will sing Handel’s Messiah for her debut with the St. Paul Chamber Orchestra conducted by Paul McCreesh and for her debut with Music at St. Thomas Church in New York. She will join the Rhode Island Philharmonic for Mozart’s Requiem under the baton of Bramwel Tovey, perform Berlioz’s Les Nuits d’eté with the American Classical Orchestra, return to Voices of Ascension for Bach’s St. John Passion, and appear with Santa Fe Pro Musica in a program of early music arias.


Future engagements include her house and role debut as Cherubino in Le Nozze di Figarowith Grand Théâtre de Genèveand the role of Ursule in Béatrice et Bénédict with Seattle Opera. Recent highlights include Olga in Eugene Onegin, Mme. de la Haltière in Cendrillon, and the Third Lady in Die Zauberflöteat The Juilliard School, where she was also seen as the title in The Rape of Lucretia, a role that she covered at the Glyndebourne Festival Opera in Fiona Shaw’s acclaimed production.  She also enjoyed a successful role debut as Carmen with the New York Opera Exchange. Recent concert engagements include the Beethoven’s Choral Fantasie with the Spoleto Festival, Beethoven’s Ninth Symphony with the Santa Cruz Symphony, the Duruflé Requiem with Voices of Ascension, an evening of Bach Cantatas with the Toledo Symphony, and Martin’s Golgotha with the New Amsterdam Singers.


Ms. Amereau fosters a love for historical performance, having performed under the batons of renowned early music conductors Helmut Rilling, William Christie, and Maasaki Suzuki.  She debuted at the Bachfest Leipzig and the Boston Early Music Festival in an all-Bach tour with Juilliard and the Royal Academy of Music under Maestro Suzuki, of which The Boston Musical Intelligencer wrote, “mezzo-soprano Avery Amereau drew the drama from someplace deep within herself, the lowest notes rich, enveloping curtain of clarity and undulating vibrato. Her sotto voceda capo was a moment of easy musical magic.”


An avid recitalist, Ms. Amereau has performed recitals in New York, Florida, and Germany, which were broadcast on Bavarian Radio. A native of Jupiter, Florida, Ms. Amereau received her Bachelor of Music degree at Mannes College, and her Master of Music degree at The Juilliard School studying under Edith Wiens.  During the summers of 2011-2014, she studied at the Internationale Meistersinger Akademie, under the tutelage of Malcolm Martineau, Ann Murray, and John Fisher, among others.  She is currently pursuing an Artist Diploma in Opera Studies at Juilliard, where she is a proud recipient of a Kovner Fellowship.


Described as “simply splendid” by The New York Times, the American Classical Orchestra​ (ACO) is a leader in the field of historically accurate performance. A period instrument ensemble devoted to preserving and performing the repertoire of 17th, 18th, and 19th century composers, ACO recreates the sound world of the masters using priceless historic instruments, as well as era-specific performance techniques. Comprised of the world’s top period instrumentalists, the ACO provides audiences with the opportunity to experience classical music in the specific way it was intended to be heard.


Founded by Artistic Director Thomas Crawford in 1984 as The Orchestra of the Old Fairfield Academy in Fairfield, Connecticut, the American Classical Orchestra moved to New York City in 2005, emerging as the City’s premier period instrument ensemble.


The ACO is dedicated to the appreciation and understanding of classical music through educational programs, and spreading historically-informed performance practices to new generations. In order to provide audiences with first-hand insight into the music, Music Director Thomas Crawford gives informative concert previews with live musical examples from the orchestra prior to each concert. Through its immersive in-school program, Classical Music for Kids, the orchestra has inspired hundreds of thousands of young students and musicians. For this work, the ACO was awarded a National Endowment for the Arts grant and Early Music America prize. For more information, visit

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From $35


Contralto Avery Amereau takes center stage with ACO Men’s Chorus in a performance of Brahms’ masterpiece Alto Rhapsody.  The stirring Schubert ‘Unfinished’ Symphony No. 8 balances the program alongside his ravishing Gesange der Geister for male chorus and low strings. For contrast, we add a more ephemeral symphony by little-known composer Ferdinand Ries, a student of Beethoven in Bonn. The common thread that unites these works is the exploration of darkness and light through poetry, the varied textures of the human voice, and the sublime blend of the period instrument orchestra.

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