Rehearsing in Konstanz!

Cappella Romana in Konstanz

Rehearsing our Fall of Constantinople program in a room built in the same year (1453) as the actual event:

Cappella Romana in Germany

Konstanz Konzilstadt

Friday, Sept 30, 8pm
Münster Konstanz
Konstanz, DE

Otterberg Abbey

Sunday, Oct 2, 8pm
Otterberg Abbey
Otterberg, DE

25th Anniversary Season Opens This Weekend!

Cappella Romana 25th Anniversary Season

Cappella Romana 25th Anniversary Season

This Weekend: Opening Concerts of Cappella Romana’s 25th Anniversary Season!

Orthodox Music: Ancient & Modern

A reprise of Cappella Roman’s debut performance, which was given in 1991! The program includes selections from Rachmaninoff’s All-Night Vigil, rarely heard Byzantine chants from Constantinople, and Greek American choral works.

25th Anniversary Features in the News!

Pre-Concert Talk

Alexander Lingas
Orthodox Music & the Concert Hall: Some Reflections on the Last 25 Years
Dr. Alexander Lingas, Cappella Romana Founder and Artistic Director

Free 30-minute talks given one hour prior to each performance

Friday 23 September, 7:30pm
St. James Cathedral

Saturday 24 September, 4:00pm
Trinity Episcopal Cathedral


A Night on the Aegean: 25th Anniversary Gala

Following Orthodox Music: Ancient & Modern the opening performance of Cappella Romana’s 2016-17 Season

Friday, September 23, 2016
St. James Cathedral
804 Ninth Avenue
Seattle, WA 98104

Saturday, September 24, 2016
Trinity Episcopal Cathedral
147 NW 19th Avenue
Portland, OR 97209

Unable to be there in person?

Make a gift today in honor of our 25th Anniversary:

And follow along throughout the weekend with the #CR25 hashtag on Facebook, Instagram, and Twitter!

Kyrie for Saint Hilarion in London

Video from Cappella Romana’s performance of the Kyrie for Saint Hilarion at St. Giles-Cripplegate in London on 1 July, 2016 in a concert sponsored by City University (London):

Cappella Romana on BBC Radio 3’s In Tune

cappella romana on bbc radio 3

Cappella Romana started the 2016 European Tour in London, but before the St. Giles Cripplegate performance, they stopped by BBC Radio 3 for an appearance on the “In Tune” program!

Listen to the full broadcast

Watch a clip from the studio performance:

Boston & Chicago Tour — November 14-16

Boston Byzantine Music Festival

Cappella Romana travels to Boston TODAY (through the Arctic Blast!) and makes its Chicago debut on Sunday

Keep up with the tour on Facebook & Twitter

Boston Byzantine Music Festival


On Nov. 14, The Mary Jaharis Center for Byzantine Art & Culture presents Cappella Romana in concert, as part of the Second Boston Byzantine Music Festival. Events also include presentations by Dr. Alexander Lingas and John Michael Boyer.

Art Institute of Chicago


Chicago Debut!

On Nov. 16, The Art Institute of Chicago presents Cappella Romana in concert to accompany the touring exhibition “Heaven and Earth: Byzantine Art from Greek Collections.” Information and tickets.

The Fall of Constantinople

Acoustics of Hagia Sophia at the Ritz Carlton San Francisco

Hagia Sophia Cappella Romana & CCRMA

Hagia Sophia: Cappella Romana & CCRMA

Cappella Romana is one of the featured artists to perform at the Ritz-Carlton Hotel in San Francisco, in a gala on September 27 to raise funds for the Patriarch Athenagoras Orthodox Institute at Berkeley.

The team from Stanford’s Center for Computer Research in Music and Acoustics (CCRMA) will be providing virtual acoustics for the event, transforming a hotel ballroom into the acoustical environment of Hagia Sophia in Constantinople/Istanbul. Cappella Romana will perform Byzantine chants that were sung in Hagia Sophia just prior to the Fall of Constantinople.

CCRMA will also synthesize the acoustics of Holy Cross Orthodox Church in Belmont, California for a presentation of Greek-American choral music by Tikey Zes, one of the honorees at the event.

CCRMA, Stanford’s Department of Art & Art History, and Cappella Romana, led by Drs. Jonathan Abel, Bissera Pentcheva, and Alexander Lingas, are each partners in a collaborative project called “Icons of Sound,” which recently featured a performance of medieval chant from Hagia Sophia presented in Stanford’s Bing Hall.

On Tour: National Gallery of Art and Richmond, Virginia

The Byzantine Inheritance

Saturday 26 October 2013, 7:00 pm — Richmond, VA

SS. Constantine & Helen Greek Orthodox Cathedral

Sunday 27 October 2013, 6:30 pm — Washington, DC

National Gallery of Art for the exhibition Heaven and Earth: Art of Byzantium from Greek Collections

Cappella Romana, the world’s leading vocal ensemble for the broad exploration of music of the Eastern Orthodox traditions, returns to the East Coast for two engagements culminating in a public concert for the National Gallery of Art’s exhibition “Heaven and Earth: Art of Byzantium from Greek Collections.”

The tour was at risk of not taking place due to the government shutdown, which has now ended. The National Gallery of Art is open and its public programs, including the concert by Cappella Romana on 27 October, will take place as originally scheduled.

The program: The Byzantine Inheritance

Cappella Romana’s founder and artistic director Dr. Alexander Lingas (City University London) will lead a mixed ensemble in a 1000-year journey beginning with ancient Byzantine chant and musical encounters with Crusaders and Venetians, including Greek and Latin polyphony from the island of Crete. East meets West again at St. Sophia Greek Orthodox Cathedral in Los Angeles, where Frank Desby founded a tradition of Greek American choral music, which was continued by other Greek composers such as Tikey Zes, Peter Michaelides, Theodore Bogdanos, and Steven Cardiasmenos. The tour comes full circle with the mystical ecstasy of music by Athenian composer Michael Adamis (1929-2013).


Saturday 26 October 2013, 7:00 pm
Saints Constantine & Helen Greek Orthodox Cathedral
30 Malvern Avenue, Richmond, VA 23221
Sponsored by the Cathedral Organizations
Free admission

Sunday 27 October 2013, 6:30 pm
The National Gallery of Art
Sixth Street and Constitution Ave NW, Washington, DC

Concerts at the National Gallery are open to the public, free of charge. Admittance is on a first-come, first-seated basis, beginning 30 minutes before each concert. The entrance at 6th Street and Constitution Avenue NW remains open on Sunday until 6:30 p.m. Families with small children may be asked to sit in designated areas. Please note that late entry or reentry of the West Building after 6:30 p.m. is not permitted. For further information, call (202) 842-6941.

Cappella Romana European Tour Goes To Greece

After stops in England and Germany, the Cappella Romana European Tour heads to Greece!


May 19
Holy Metropolitan Church of the Annunciation
Ιερός Μητροπολιτικός Ναός Ευαγγελιστρίας

May 20

Master class at The American College of Greece
Monday, 20 May

“Cotsen Hall” – The American School of Classical Studies
“Cotsen Hall” – Αμερικανική Σχολή Κλασσικών Σπουδών

Purchase Cappella Romana LIVE IN GREECE: From Constantinople to California:

Tomas Luis de Victoria – Renaissance Easter in Spain and Portugal

Cappella Romana performs the polyphonic motets of Tomás Luis de Victoria in the April concert series Renaissance Easter in Spain and Portugal. Read a little background on this influential Spanish Renaissance composer:

Owen Rees – guest conductor & author

“Victoria was the greatest Spanish composer of the Renaissance, and also one of the finest European composers of the time; his total output is, however, much smaller than those of, for example, Palestrina and Lassus. Victoria’s modern reputation long rested mainly on a handful of motets (such as O magnum mysterium, O quam gloriosum, O vos omnes, and Vere languores), on the Tenebrae responsories, and on the Officium defunctorum. Much less attention was paid, for example, to his polychoral works (including masses, psalms, antiphons, and sequences), some of which stand apart from the better-known pieces through such aspects as their greater rhythmic animation. Of Victoria’s 20 masses, 15 are parody works, most of them based on his own pieces, while the others draw on works by Morales, Guerrero, Palestrina, and Janequin. A notable characteristic of the masses published from 1592 onwards is their brevity (on which Victoria himself remarked regarding the 1592 collection). Likewise frequently concise, and with a highly concentrated expressivity of text-setting, are such works as the Lamentations and responsories for Holy Week. Victoria’s powers of text-expression when writing in a simple style are well demonstrated also by the Matins responsory Taedet animam meam from the Officium defunctorum, and the motet Versa est in luctum from the same publication shows an extraordinarily powerful use of chromatic and harmonic colouring. Harmonic sequence is sometimes prominent in Victoria’s writing, as in the eight-voice Salve regina. There are also abundant examples of word-painting in his motets, such as Cum beatus Ignatius, with its vivid imagery depicting the wild beasts tearing the martyr to pieces.”

Text taken from an article by guest-conductor Owen Rees in The Oxford Companion to Music! Read the full article at

Get your tickets today!

8pm, Friday, April 12, St. Mary’s Cathedral

8pm, Saturday, April 13, Holy Rosary Church – West Seattle

Free pre-performance talks one hour prior to each performance

Francisco Guerrero – Rennaisance Easter in Spain & Portugal

Cappella Romana performs the polyphonic motets of Francisco Guerrero in the April concert series Renaissance Easter in Spain and Portugal. Read a little background on this influential Spanish Renaissance composer:

Considered second only to Tomás Luis de Victoria as a Spanish composer of Renaissance church music, Francisco Guerrero published over 150 liturgical pieces and motets and 18 masses, and was the only composer to publish widely abroad while making a career in Spain. His music was widely performed abroad for centuries after his death, including the New World in Latin America.

Guerrero was also a prolific composer of secular songs. He drew from the many mid-16th century Andalusian poets such as Gutierre de Cetina and Baltasar del Alcázar, as well as the greatest Spanish dramatist, Lope de Vega. Guerrero also fit secular songs to sacred text which expanded his repertoire so much so that he is reported to have written no less than a page of music for every day that he lived. Both in his own era and for more than two centuries after his death he remained a favorite composer in Spanish and Spanish-American cathedrals because he wrote eminently singable, diatonic lines and wove his melodic strands through a functional harmonic fabric that often anticipates 18th-century harmonic usage.

From Grove Music Online:

To prove how proleptic was his harmonic sense, his Magnificat secundi toni when published in 1974 from an anonymous 18th-century copy in Lima Cathedral was mistakenly taken to be an 18th-century work. His Ave virgo sanctissima, a five-voice motet first published in 1566, became so popular that he was regarded as the quintessential composer of the perfect Marian motet. It was all the more remarkable in that its intense emotion was generated within the confines of a canonic structure. As in all Guerrero’s many canonic feats, the voices move so smoothly and effortlessly, and the harmonic impulse remains so clear throughout, that its technical complexities may pass the listener by.

Get your tickets today!

8pm, Friday, April 12, St. Mary’s Cathedral

8pm, Saturday, April 13, Holy Rosary Church – West Seattle

Free pre-performance talks one hour prior to each performance