J.S. Bach's ST. Matthew Passion

7:30 p.m. Saturday, Oct. 28, 2023, Corbett Auditorium

CCM Chamber Choir, CCM Chorale, CYC Bel Canto and CCM Philharmonia

Joe Miller, conductor 
James Alexander, stage director 
Stirling Shelton, technical direction advisor 
Lukas Hummeldorf, scenic designer and technical director 
Evan Reinhart, assistant technical director 
Claire Michels, lighting designer 
Anika Shirvaikar, stage manager 
Maggie Harris, assistant stage manager 
John-Austin King, titles

Featuring faculty artists Daniel Weeks, Evangelist; Kenneth Shaw, Jesus; and Michael Unger, principal harpsichord

Featuring guest artist Ezra Seltzer, cello

Featuring student artists Maren Hrivnak, soprano; Jaeyoon Choi, mezzo-soprano; Alex Gushrowski, tenor; Emilio Vasquez, bass; Landon Scriber, Pilate; Søren Pedersen, Peter; Ethan Neal, Judas; Andrew Hallam, Pontifex; William Tanski, Pontifex 1; Cole Stephenson, Pontifex 2; Natalie Romanick, Ancilla 1; Morgan Small, Ancilla 2; Christin Sears, Uxor Pilati; Liyao Yu, Testis 1; and Reed Gnepper, Testis 2

Watch Concert Excerpts On Demand

St. Matthew Passion, BWV 224

Johann Sebastian Bach (1685-1750)



  • 1. Kommt, ihr Töchter, helft mir klagen | CHORUS and CHORALE
  • 2. Da Jesus diese Rede vollendet hatte | EVANGELIST and JESUS
  • 3. Herzliebster Jesu, was hast du verbrochen | CHORALE
  • 4. Da versammelten sich die Hohenpriester | EVANGELIST, CHORUS and JESUS
  • 5. Du lieber Heiland du | RECITATIVE (alto)
  • 6. Buß und Reu | ARIA (alto)
  • 7. Da ging hin der Zwölfen einer | EVANGELIST and JUDAS
  • 8. Blute nur, du liebes Herz | ARIA (soprano)
  • 9. Aber am ersten Tage der süßen Brot | EVANGELIST, JESUS and CHORUS
  • 10. Ich bins, ich sollte büßen | CHORALE
  • 11. Er antwortete und sprach | EVANGELIST, JESUS and JUDAS
  • 12. Wiewohl mein Herz in Tränen schwimmt | RECITATIVE (soprano)
  • 13. Ich will dir mein Herze schenken | ARIA (soprano)
  • 14. Und da sie den Lobgesang gesprochen hatten | EVANGELIST and JESUS
  • 15. Erkenne mich, mein Hüter | CHORALE
  • 16. Petrus aber antwortete und sprach zu ihm | EVANGELIST, PETER and JESUS
  • 17. Ich will hier bei dir stehen | CHORALE
  • 18. Da kam Jesus mit ihnen zu einem Hofe | EVANGELIST and JESUS
  • 19. O Schmerz! Hier zittert das gequälte Herz | RECITATIVE (tenor) and CHORALE
  • 20. Ich will bei meinem Jesu wachen | ARIA (tenor) and CHORUS
  • 21. Und ging hin ein wenig | EVANGELIST and JESUS
  • 22. Der Heiland fällt vor seinem Vater nieder | RECITATIVE (bass)
  • 23. Gerne will ich mich bequemen | ARIA (bass)
  • 24. Und er kam zu seinen Jüngern | EVANGELIST and JESUS
  • 25. Was mein Gott will, das g’scheh allzeit | CHORALE
  • 26. Und er kam und fand sie aber schlafend | EVANGELIST, JESUS and JUDAS
  • 27. So ist mein Jesus nun gefangen | ARIA (soprano and alto) and CHORUS
  • 28. Und siehe, einer aus denen | EVANGELIST and JESUS
  • 29. O Mensch, bewein dein Sünde groß | CHORALE 



  • 30. Ach, nun ist mein Jesus hin | ARIA (alto) and CHORUS
  • 31. Die aber Jesum gegriffen hatten | EVANGELIST
  • 32. Mir hat die Welt trüglich gericht’ | CHORALE
  • 33. Und wiewohl viel falsche Zeugen herzutraten | EVANGELIST, TESTIFIERS and HIGH PRIEST
  • 34. Mein Jesus schweigt | RECITATIVE (tenor)
  • 35. Geduld! Wenn mich falsche Zungen stechen | ARIA (tenor)
  • 36. Und der Hohepriester antwortete | EVANGELIST, HIGH PRIEST, JESUS and CHORUS
  • 37. Wer hat dich so geschlagen | CHORALE
  • 38. Petrus aber saß draußen im Palast | EVANGELIST, MAIDS, PETER and CHORUS
  • 39. Erbarme dich, mein Gott | ARIA (alto)
  • 40. Bin ich gleich von dir gewichen | CHORALE
  • 41. Des Morgens aber hielten alle Hohepriester | EVANGELIST, JUDAS, CHIEF PRIESTS and CHORUS
  • 42. Gebt mir meinen Jesum wieder | ARIA (bass)
  • 43. Sie hielten aber einen Rat | EVANGELIST, PILATE and JESUS
  • 44. Befiehl du deine Wege | CHORALE
  • 45. Auf das Fest aber hatte der Landpfleger Gewohnheit | EVANGELIST, PILATE, PILATE'S WIFE and CHORUS
  • 46. Wie wunderbarlich ist doch diese Strafe | CHORALE
  • 47. Der Landpfleger sagte | EVANGELIST and PILATE
  • 48. Er hat uns allen wohlgetan | RECITATIVE (soprano)
  • 49. Aus Liebe will mein Heiland sterben | ARIA (soprano)
  • 50. Sie schrieen aber noch mehr | EVANGELIST, PILATE and CHORUS
  • 51. Erbarm es Gott | RECITATIVE (alto)
  • 52. Können Tränen meiner Wangen | ARIA (alto)
  • 53. Da nahmen die Kriegsknechte des Landpflegers | EVANGELIST and CHORUS
  • 54. O Haupt voll Blut und Wunden | CHORALE
  • 55. Und da sie ihn verspottet hatten | EVANGELIST
  • 56. Ja freilich will in uns das Fleisch und Blut | RECITATIVE (bass)
  • 57. Komm, süßes Kreuz, so will ich sagen | ARIA (bass)
  • 58. Und da sie an die Stätte kamen | EVANGELIST and CHORUS
  • 59. Ach Golgatha, unselges Golgatha | RECITATIVE (alto)
  • 60. Sehet, Jesus hat die Hand | ARIA (alto) and CHORUS
  • 61. Und von der sechsten Stunde an | EVANGELIST, JESUS and CHORUS
  • 62. Wenn ich einmal soll scheiden | CHORALE
  • 63. Und siehe da, der Vorhang im Tempel zerriß | EVANGELIST and CHORUS
  • 64. Am Abend, da es kühle war | RECITATIVE (bass)
  • 65. Mache dich, mein Herze, rein | ARIA (bass)
  • 66. Und Joseph nahm den Leib | EVANGELIST, PILATE and CHORUS
  • 67. Nun ist der Herr zur Ruh gebracht | RECITATIVE and CHORUS
  • 68. Wir setzen uns mit Tränen nieder | CHORUS

1. Chorus I & II and Chorale
(Daughters of Zion and Faithful Souls) 
Come, daughters, help me lament, 
behold! - Whom? - the Bridegroom!
Behold him! - how? - As a Lamb. 
Behold! - what? - behold the patience, 
look! - where? - at our guilt. 
See him, out of love and graciousness 
bear the wood for the Cross Himself.

O innocent Lamb of God,
slaughtered on the trunk of the Cross,
patient at all times,
however you were scorned.
you have borne all sins,
otherwise we would have to despair.
Have mercy on us, o Jesus.

2a. Evangelist 
When Jesus had finished this speech, he said to His disciples:

You know that in two days it will be Passover, and the Son of Man will be handed over to be crucified.

3. Chorale
Heart's beloved Jesus, how have you transgressed,
that such a harsh sentence has been pronounced?
What is the crime, of what kind of misdeed
are you accused?

4a. Evangelist 
Then the high priests and the scribes and the elders of the people gathered in the palace of the high priest, who was named Caiaphas, and took council how with deception they could seize Jesus and kill him. They said, however:

4b. Chorus I & II 
Not, indeed, during the festival, so that there will not be an uproar among the people.

4c. Evangelist 
Now when Jesus was in Bethany, in the house of Simon the leper, a woman came to him with a cup filled with valuable water; and she poured it upon his head as he sat at the table. When his disciples saw this, they were against it and said:

4d. Chorus I 
What purpose does this foolishness serve? This water could have been sold for a high price and given to the poor.

4e. Evangelist 
When Jesus heard this, he said to them:

Why do you trouble this woman? She has done a good deed for me. You will have the poor with you always, but you will not always have me. She has poured this water on my body because I will be buried. Truly I say to you: wherever this Gospel will be preached in the whole world they will tell, in her memory, what she has done.

5. Recitative A (Chorus I) 
O you dear Savior, 
when your disciples foolishly protest 
that this virtuous woman 
prepares your body 
with ointment for the grave, 
in the meantime let me, 
with the flowing tears from my eyes, 
pour a water upon your head!

6. Aria A (Chorus I) 
Repentance and regret, repentance and regret 
rips the sinful heart in two. 
Thus the drops of my tears, 
desirable spices, 
are brought to you, loving Jesus

7. Evangelist 
Then one of the twelve, named Judas Iscariot, went to the high priests and said:

What will you give me? I will betray him to you.

And they offered him thirty silver pieces. And from then on he sought opportunity to betray him.

8. Aria S (Chorus II) 
Bleed out, you loving heart! 
Alas! A child that you raised, 
that nursed at your breast, 
threatens to murder its caretaker, 
since it has become a serpent.

9a. Evangelist 
But on the first day of unleavened bread the disciples came to Jesus and said to him:

9b. Chorus I 
Where do you want us to prepare to eat the Passover lamb?

9c. Evangelist 
He said:

Go into the city to a certain person and say to him: the Master says to you: my time is here, I will hold Passover in your house with my disciples.

And the disciples did as Jesus had commanded them, and prepared the Passover lamb. And in the evening he sat at dinner with the twelve. And as they ate, He said:

Truly I say to you: one among you will betray me.

9d. Evangelist 
And they were very troubled and began, each one among them, to say to him:

9e. Chorus I 
Lord, is it I?

10. Chorale
It is I, I should atone,
bound hand and foot
in hell.
The scourges and the bonds
and what you endured,
my soul has earned.

11. Evangelist
He answered and said:

He who has dipped his hand in the bowl with me will betray me. The Son of Man will indeed pass away as it stands written of him; yet woe to the man through whom the Son of Man is betrayed! It would be better for him if this man had never been born.

Then Judas, who betrayed him, answered and said:

Is it I, Rabbi?

He said to him:

You say it.

While they ate, however, Jesus took the bread, blessed and broke it and gave it to the disciples and said:

Take, eat, this is my body.

And he took the cup and blessed it, gave it to them and said:

Drink from this, all of you; this is my blood of the new covenant, which is poured out for many for the forgiveness of sins. I say to you: from now on I will not drink again from this fruit of the vine until the day when I drink again with you in my Father's kingdom.


12. Recitative S (Chorus I) 
Although my heart is swimming in tears, 
since Jesus takes leave of me, 
yet his Testament brings my joy: 
his flesh and blood, o preciousness, 
he bequeaths to my hands. 
Just as in the world, among his own, 
he could not wish them harm, 
just so he loves them to the end.

13. Aria S (Chorus I) 
I will give you my heart; 
sink within, my Savior! 
I will sink into you;
although the world is too small for you,
ah, you alone shall be for me
more than heaven and earth.

14. Evangelist 
And when they had spoken the benediction, they went out to the Mount of Olives. Then Jesus said to them:

Tonight you will all be angry at me. For it is written: "I will strike the shepherd, and the sheep of the flock will be scattered." When, however, I rise again, I shall go before you into Galilee.

15. Chorale
Acknowledge me, my Guardian,
my Shepherd, take me in!
From you, source of all goodness,
has much good come to me.
Your mouth has nourished me
with milk and sweet sustenance;
your spirit has lavished upon me
much heavenly joy.

16. Evangelist 
Peter answered, however, and said to him:

Even though everyone will be angry at you, yet I will never be angry.

Jesus said to him:

Truly, I say to you: tonight, before the cock crows, you will deny me three times.

Peter said to him:

Even if I must die with you, I will not deny you.

All the other disciples also said the same.

17. Chorale
I will stay here with you,
do not scorn me!
I will not leave you,
even as your heart breaks.
When your heart grows pale
at the last stroke of death,
Then I will hold you fast
In my arm and bosom.

18. Evangelist 
Then Jesus came with them to a garden, which was called Gethsemane, and spoke to his disciples:

Sit here while I go over there and pray.

And he took Peter and the two sons of Zebedee with him, and began to mourn and despair. Then Jesus said to them:

My soul is troubled even to death; stay here and watch with me!

19. Recitative T (Chorus I) and Chorus II 
O pain! 
Here the tormented heart trembles; 
how it sinks down, how mis face pales! 
What is the cause of all this trouble? 
The Judge leads mim before judgment. 
No comfort, no helper is there.
Alas! My sins have struck you down; 
He suffers all the torments of Hell, 
he must pay for the crimes of others.
I, alas, Lord Jesus, have earned this, 
  that you endure.
Ah! Could my love for you,
my Savior, diminish or bring aid
to your trembling and your despair,
how gladly would I stay here!

20. Aria T (Chorus I) and Chorus II 
I will watch with my Jesus,
- So our sins fall asleep. -  
My death  
is atoned for by his soul's anguish;   
his sorrow makes me full of joy. 
- Therefore his deserved suffering must be truly bitter and yet sweet to us. -

21. Evangelist 
And went away a bit, fell down on his face and prayed and said:

My Father, if it is possible, let this Cup pass from me; yet not as I will it, rather as you wish.

22. Recitative B (Chorus II) 
The Savior falls down before his Father; 
through this he lifts up himself and everyone 
from our fall 
to God's grace again. 
He is ready 
to drink the Cup of 
death's bitterness, 
in which the sins of this world 
are poured and which stink horribly, 
since it is pleasing to our loving God.

23. Aria B (Chorus II) 
Gladly will I force myself 
to take on the Cross and the Chalice, 
yet I drink after the Savior. 
For his mouth,
which flows with milk and honey, 
has sweetened the grounds 
and the bitter taste of sorrow, 
through his first sip.

24. Evangelist 
And he came back to his disciples and found them sleeping, and said to them:

Couldn't you then remain awake with me one hour? Stay awake, and pray, so that you do not fall into temptation! The spirit is willing, but the flesh is weak.

For a second time he went away, prayed and said:

My Father, if it is not possible that this Cup pass away from me, then I will drink it; thus may your will be done.

25. Chorale
What my God wills always occurs,
His will is the best;
he is ready to help those
who believe firmly in him.
He gives aid in need, this righteous God,
and punishes with measure.
Who trusts in God, rely upon him firmly,
God will never abandon.

26. Evangelist 
And he came back and found them sleeping, nevertheless, and their eyes were full of sleep. And he left them and went away another time and prayed for the third time, and spoke the same words. Then he came back to his disciples and said to them:

Alas! Do you wish to sleep and rest now? Behold, the hour has come, when the Son of Man is to be handed over into the hands of sinners. Get up, let us go; see, he who betrays me is here.

And as he was speaking, behold, there came Judas, one of the twelve, and with him a large troop from the high priest and the elders of the people with swords and spears. And the betrayer had given them a sign and said: "The one that I will kiss is him; seize him!" And just then he stepped forward to Jesus and said:

Greetings to you, Rabbi!

And kissed him. However Jesus said to him:

My friend, why did you come?

Then they stepped forward and laid hands on Jesus and seized him.

27a. Aria SA (Chorus I) and Chorus II 
Thus my Jesus is now captured. 
- Leave him, stop, don't bind him! - 
Moon and light 
for sorrow have set, 
since my Jesus is captured. 
They take him away, he is bound.

27b. Chorus I & II 
Are lightning and thunder 
extinguished in the clouds? 
Open the fiery abyss, O Hell, 
crush, destroy, devour, smash 
with sudden rage 
the false betrayer, the murderous blood!

28. Evangelist 
And behold, one of those who were with Jesus stretched out his hand and struck a servant of the high priest, and cut off his ear. Then Jesus said to him:

Put your sword back in its place; for whoever takes the sword will perish through the sword. Or do you think that I could not ask my Father to send me more than twelve legions of angels? How would the scripture be fulfilled then? It must happen thus.

At the time Jesus said to the crowd:

You have come out as if to a murderer, with swords and spears to take me; yet I have daily sat among you and have taught in the Temple, and you did not arrest me. However all of this has happened in order to fulfill the writings of the prophets.

Then all the disciples deserted him and fled.

29. Chorale
O mankind, mourn your great sins,
for which Christ left his Father's bosom
and came to earth;
from a virgin pure and tender
he was born here for us,
he wished to become our Intercessor,
he gave life to the dead
and laid aside all sickness
until the time approached
that he would be offered for us,
bearing the heavy burden of our sins
indeed for a long time on the Cross.

30. Aria A (Chorus I) and Chorus II 
Alas, now my Jesus is gone! 
 - Where, then, has your beloved gone, 
  O most beautiful among women? - 
Is it possible, can I behold it?
 - Which way has your beloved turned? -
Alas! my lamb in the claws of a tiger;
Alas! Where has my Jesus gone?
 - We will seek him with you. -
Alas! What shall I say to the soul,
when she asks me anxiously:
Alas! Where has my Jesus gone?

31. Evangelist 
But after they had arrested Jesus, they brought him to the High Priest Caiaphas, where the scribes and the elders had gathered. Peter, however, followed him from afar to the palace of the high priest, and went inside and sat with the servants, so he could see how it came out. The high priests, however, and the elders, and the entire council sought false witness against Jesus, so that they could put him to death, and found none.

32. Chorale 
The world has judged me deceitfully, 
with lies and false statements, 
many traps and secret snares. 
Lord, perceive me truthfully 
in this danger; 
protect me from malicious falsehoods!

33. Evangelist 
And although many false witnesses came forward, they found none. Finally two false witnesses came forward and said:

He has said: I can destroy the temple of God and in three days build it up again.

And the high priest stood up and said to him:

High Priest 
Do you answer nothing to this, that they say against you?

But Jesus was silent.

34. Recitative T (Chorus II) 
My Jesus is silent 
at false lies, 
in order to show us 
that his merciful will 
is bent on suffering for us, 
and that we, in the same trouble, 
should be like him 
and keep silent under persecution.

35. Aria T (Chorus II) 
Patience, patience! 
When false tongues pierce. 
Although I suffer, contrary to my due, 
shame and scorn, 
indeed, dear God shall 
revenge the innocence of my heart.

36a. Evangelist 
And the high priest answered and said to him:

High Priest 
I abjure you by the living God to tell us whether you are the Christ, the Son of God!

Jesus said to him:

You say it. Yet I say to you: from now on it will come to pass that you will see the Son of Man sitting at the right hand of Power, and approaching in the clouds of heaven.

Then the high priest tore his garments and said:

High Priest 
He has blasphemed God; what further witness do we need? Behold, now you have heard his blasphemy. What do you think?

They answered and said:

36b. Chorus I & II 
He is worthy of death!

36c. Evangelist 
Then they spit in his face and struck him with fists. Some of them, however, struck him in the face and said:

36d. Chorus I & II 
Prophesy to us, Christ, who is it who strikes you?

37. Chorale
Who has struck you thus,
my Savior, and with torments
so evilly used you?
You are not at all a sinner
like us and our children;
you know nothing of transgressions.

38a. Evangelist
Peter, however, sat outside of the palace; and a maid came up to him and said:

Maid I
And you were also with that Jesus of Galilee

He denied it however before them all and said:

I don't know what you are saying.

As he was going out of the door, however, another one saw him and said to those who were near:

Maid II
This one was also with that Jesus from Nazareth.

And he denied again, and swore to it:

I do not know the man.

And after a little while people standing around came up and said to Peter:

38b. Chorus II
Truly you are also one of them; your speech gives you away.

38c. Evangelist
Then he began to curse and swear:

I do not know the man.

And just then the cock crew. Then Peter remembered the words of Jesus, when he said to him: "before the cock crows, you will deny me three times." And he went out and wept bitterly.

39. Aria A (Chorus I) 
Have mercy, my God, 
for the sake of my tears! 
Look here, heart and eyes 
weep bitterly before you. 
Have mercy, have mercy!

40. Chorale
Although I have been separated from you,
yet I return again;
even so your Son set the example for us
through his anguish and mortal pain.
I do not deny my guilt,
but your grace and mercy
is much greater than the sin
that I constantly discover in me.

41a. Evangelist 
The next day, however, all the high priests and the elders of the people held a council about Jesus so that they could put him to death. And they bound him, led him out and turned him over to the Governor, Pontius Pilate. When Judas, who betrayed him, saw that he was condemned to death, he felt remorse and brought back the thirty silver pieces to the high priests and the elders and said:

I have done evil by betraying innocent blood.

They said:

41b. Chorus I & II 
How does that concern us? See to it yourself!

41c. Evangelist 
And he threw the silver pieces into the temple and left, and went away and hanged himself. However the high priests took the silver pieces and said:

High Priests 
It will not do to put them into the coffers of God, since it is blood money.

42. Aria B (Chorus II) 
Give me my Jesus back! 
See the money, the murderer's fee, 
tossed at your feet by the 
lost son!

43. Evangelist 
They held a council, however, and bought a potter's field with them for the burial of pilgrims. Therefore this same field is called the Field of Blood to this very day. Thus was fulfilled what was spoken through the Prophet Jeremiah, who said: "They have taken thirty silver pieces, the price of him who was bought from the children of Israel, and have given them for a potter's field, as the Lord has commanded me." Jesus, however, stood before the Governor; and the Governor questioned him and said:

Are you the King of the Jews?

Jesus, however, said to him:

You say it.

And to the accusations from the high priests and the elders he answered nothing. Then Pilate said to him:

Do you not hear how harshly they accuse you?

And he answered him not even one word thus, to which even the Governor was greatly amazed.

44. Chorale
Commit your path,
and whatever troubles your heart,
to the most faithful caretaker,
who directs the heavens,
who to the clouds, air, and winds
gives path, course, and passage;
he will find ways
for your feet to follow as well.

45a. Evangelist 
At the festival, however, the Governor had a custom of releasing a prisoner to the people, whichever they wanted. He had, however, at the time a most unusual prisoner named Barabbas. And as they were gathered together, Pilate said to them:

Which one do you want me to release to you? Barabbas or Jesus, of whom it is said, he is the Christ?

For he knew well that they had handed him over out of envy. And while he sat upon the judgment seat, his wife sent to him and her message said:

Pilate's Wife
Have nothing to do with this righteous man; I have suffered much in a dream today on his account!

But the high priests and the elders convinced the people that they should ask for Barabbas and convict Jesus. So when the Governor answered and said to them:

Which one between the two do you want me to release to you?

They said:

Chorus I & II

Pilate said to them:

What shall I do then with Jesus, of whom it is said, he is the Christ?

They all said:

45b. Chorus I & II
Let him be crucified!

46. Chorale
How strange is this punishment!
The Good Shepherd suffers for the sheep.
The Lord, the Righteous One, atones for the crime
on his servant's behalf.

47. Evangelist 
The Governor said:

What evil has he done then?

48. Recitative S (Chorus I) 
He has done good things for all of us; 
he gave sight to the blind, 
he made the lame to walk, 
he told us his Father's word, 
he drove out the devil, 
he has strengthened the troubled. 
He took sinners in and embraced them, 
other than that, my Jesus has done nothing!

49. Aria S (Chorus I) 
Out of love my Savior wants to die. 
He knows nothing of a single sin; 
so that the eternal destruction 
and the punishment of judgment 
would not remain upon my soul.

50a. Evangelist 
They screamed even more and said:

50b. Chorus I & II 
Let him be crucified!

50c. Evangelist 
When Pilate saw, however, that he achieved nothing, rather that a much greater riot occurred, he took water and washed his hands before the people and said:

I am innocent of the blood of this righteous man, see to it yourselves!

Then all the people answered and said:

50d. Chorus I & II 
Let his blood be on us and on our children.

50e. Evangelist 
Then he released Barabbas to them; but he had Jesus scourged and handed him over to be crucified.

51. Recitative A (Chorus II) 
Forgive this, God! 
Here stands the Savior bound. 
O scourging, o blows, o wounds! 
You hangmen, stop! 
Doesn't the soul's anguish, 
the sight of such horror soften you? 
Alas indeed! You have such hearts 
that are like the whipping posts themselves 
and even much harder. 
Have mercy, stop!

52. Aria A (Chorus II) 
If the tears on my cheeks 
can do nothing, 
o then take my heart as well! 
  Yet let it be, in the flow,
   as the wounds gently bleed, 
   the offering-bowl as well.

53a. Evangelist 
Then the soldiers of the Governor took Jesus with them into the courthouse and gathered around him the entire troop; and undressed him and put a purple mantle on him; and they wove a crown of thorns and set it upon his head, and a reed in his right hand, and they bowed before him and mocked him, saying:

53b. Chorus I & II 
Hail to you, King of the Jews!

53c. Evangelist 
And they spit on him and took the reed and struck his head with it.

54. Chorale
O Head, full of blood and wounds,
full of suffering and shame!
O Head, bound in mockery
with a crown of thorns!
O Head, once beautifully adorned
with the highest honor and beauty,
yet now supremely defiled:
be greeted by me!
You noble countenance,
before which rather should tremble and cower
the great powers of the world,
how spat upon are you,
How ashen you have become!
Who has treated the light of your eyes,
which is like no other light,
so shamefully?

55. Evangelist 
And when they had mocked him, they took off the mantle and put his clothes back on; and led him out to be crucified. And as they were going out, they found a man from Cyrene named Simon; they compelled him to carry his cross for him.

56. Recitative B (Chorus I) 
Yes, willingly are flesh and blood 
compelled to the Cross; 
The better it is for our souls, 
the bitterer it feels.

57. Aria B (Chorus I) 
Come, sweet Cross, this I want to say: 
My Jesus, give it always to me! 
If my suffering becomes too heavy one day, 
you yourself will help me bear it.

58a. Evangelist 
And when they had come to the place named Golgatha, which is translated the place of the Skull, they gave him vinegar to drink mixed with gall; and when he tasted it, he would not drink it. When they had crucified him, however, they divided up his clothing and tossed lots over them, so that what was spoken through the Prophets was fulfilled: "They have divided my clothing among them, and over my robe they have cast lots." And they sat around and kept watch. And over his head they lifted up a written sentence of death, namely: "This is Jesus, the King of the Jews." And there were two murderers crucified with him, one to his left and one to his right. But those who passed by cursed at him and shook their heads, saying:

58b. Chorus I & II 
You who destroy the temple of God and build it up again in three days, help yourself! If you are the Son of God, climb down from the Cross!

58c. Evangelist 
In the same way the high priests also mocked him, together with the scribes and the elders, saying:

58d. Chorus I & II 
He has helped others and he cannot help Himself. If he is the King of Israel, let him climb down now from the Cross, and we will believe in him. He has trusted in God to rescue him now; he lied, because he said: "I am the Son of God."

58e. Evangelist 
In the same way he was reviled by the murderers who were crucified with Him.

59. Recitative A (Chorus I) 
Alas, Golgatha, unhappy Golgatha! 
The Lord of glory 
must shamefully perish here, 
the blessing and salvation of the world 
is placed on the Cross as a curse. 
From the Creator of heaven and earth 
earth and air shall be withdrawn. 
The innocent must die here guilty; 
this touches my soul deeply; 
Alas, Golgatha, unhappy Golgatha!

60. Aria A (Chorus I) and Chorus II 
Look, Jesus has stretched out his hands 
to embrace us, 
come! - where? - in Jesus' arms 
seek redemption, receive mercy, 
seek it! - where? - in Jesus' arms. 
Live, die, rest here, 
you forsaken chicks, 
stay! - where? - in Jesus' arms.

61a. Evangelist 
And from the sixth hour there was a darkness over the entire land until the ninth hour. And at the ninth hour Jesus cried out loudly and said:

Eli, Eli, lama sabachtani?

That is: "My God, my God, why have you forsaken me?" Some of those, however, who were standing by, when they heard this, said:

61b. Chorus I 
He is calling Elijah!

61c. Evangelist 
And some of them quickly ran, took a sponge and filled it with vinegar, and put it on a reed for him to drink. But the others said:

61d. Chorus II 
Stop! Let's see whether Elijah comes and helps him.

61e. Evangelist 
But Jesus cried out loudly once again and died.

62. Chorale
When I must depart one day,
do not part from me then,
when I must suffer death,
come to me then!
When the greatest anxiety
will constrict my heart,
then wrest me out of the horror
by the power of your anguish and pain.

63a. Evangelist 
And behold, the veil of the temple was torn in two pieces from top to bottom. And the earth shook, and the cliffs were rent, and the graves opened up, and many bodies of saints arose, who were sleeping, and came out of their graves after his resurrection and came into the Holy City and appeared to many people. The Captain, however, and those with him who were guarding Jesus, when they saw the earthquake and what happened then, they were terrified and said:

63b. Chorus I & II 
Truly, this was the Son of God.

63c. Evangelist 
And there were many women there, watching from a distance, who had followed him from Galilee and had served him, among whom were Mary Magdalene, and Mary the mother of James and Joseph, and the mother of the sons of Zebedee. In the evening however, came a rich man from Arimathea, named Joseph, who was also a disciple of Jesus; he went to Pilate and asked him for Jesus' body. Then Pilate ordered that it be given to him.

64. Recitative B (Chorus I) 
In the evening, when it was cool, 
Adam's fall was made apparent; 
in the evening the Savior bowed himself down. 
In the evening the dove came back, 
bearing an olive leaf in its mouth. 
O lovely time! O evening hour! 
The pact of peace with God has now been made, 
since Jesus has completed His Cross. 
His body comes to rest, 
Ah! dear soul, ask, 
go, have them give you the dead Jesus, 
O salutary, o precious remembrance!

65. Aria B (Chorus I) 
Make yourself pure, my heart, 
I want to bury Jesus myself. 
For from now on he shall have in me, 
forever and ever, 
his sweet rest. 
World, get out, let Jesus in!

66a. Evangelist 
And Joseph took the body, and wrapped it in a pure shroud, and laid it in his own new tomb, which he had carved out of a single rock, and rolled a large stone before the opening of the tomb and went away. But Mary Magdalene and the other Marys were there, and they sat opposite the tomb. On the next day, that followed after the Sabbath day, the high priests and Pharisees came all together to Pilate and said:

66b. Chorus I & II 
Lord, we have remembered that this deceiver said, when he was still alive: "I will rise again after three days." Therefore order that the tomb be guarded until the third day, so that his disciples do not come and steal him, and say to the people, "he has arisen from the dead," and the newest fraud would be worse than the first one!

66c. Evangelist 
Pilate said to them:

You have guards there; go and guard it as you see fit!

They went forth and protected the tomb with guards and put a seal on the stone.

67. Recitative BTAS (Chorus I) and Chorus II 
Now the Lord is brought to rest. 
  - My Jesus, good night! - 
The weariness is over, that our sins have given him. 
  - My Jesus, good night! - 
O blessed bones, 
see, how I weep over you with repentance and regret, 
since my fall has brought such anguish upon You! 
  - My Jesus, good night! - 
Lifelong, thousand thanks to you for your suffering, 
since you held my soul's salvation so dear. 
  - My Jesus, good night! -

68. Chorus I & II 
We sit down with tears 
and call to you in the grave: 
rest gently, gently rest! 
  Rest, you exhausted limbs! 
    - Rest gently, rest well. - 
  Your grave and headstone 
  shall, for the anxious conscience, 
  be a comfortable pillow 
  and the resting place for the soul. 
    - rest gently, gently rest! - 
  Highly contented, 
  there the eyes fall asleep.

Guest Artists

James Alexander.

James Alexander.

Stage Director James Alexander is the founding artistic director of Symphony V.0, the production company that partnered with The Philadelphia Orchestra for last year’s Stokowski Celebration at the Academy of Music. Using pioneering special effects, lighting, and sound technology, he works with symphony orchestras and opera companies to create revolutionary theatrical presentations. A longtime collaborator with Seiji Ozawa and the Boston Symphony, Mr. Alexander helped stage Strauss’s Elektra and Salome, Tchaikovsky’s The Queen of Spades, Mozart’s Idomeneo, and the 50th anniversary production of Britten’s Peter Grimes at Tanglewood. More recently he collaborated with Roger Norrington on Mozart’s The Marriage of Figaro for Cincinnati Opera and created a new production, including new English dialogue, of Mozart’s The Magic Flute at the Aspen Music Festival. Mr. Alexander’s career also includes founding a music theater company in his native Scotland, managing the Boston Pops on international tours, serving on the artists and repertoire team at Decca, directing plays and musicals in London’s West End, and producing television and staged operas on three continents.

Ezra Seltzer.

Ezra Seltzer.

Hailed for his “scampering virtuosity” (American Record Guide) and “superb” playing (The New York Times), cellist Ezra Seltzer is the principal cellist of the Trinity Baroque Orchestra, New York Baroque Incorporated, and Early Music New York and a founding member of the Sebastians. He has frequently appeared as guest principal cellist of Musica Angelica and the St. Paul Chamber Orchestra, where he earned praise for his “delicate elegance and rambunctious spirit” (Twin Cities Pioneer Press) in performances of all six Brandenburg Concertos. Other performances with the SPCO include Handel’s Messiah with Jonathan Cohen and J.S. Bach’s St. Matthew Passion with Paul McCreesh. With Musica Angelica, he appeared in performances of J.S. Bach’s St. John Passion in Walt Disney Concert Hall with the Los Angeles Master Chorale, and also performed in an international tour with soprano Emma Kirkby and countertenor Daniel Taylor. He attended Yale University, where he received his Bachelor of Arts in history and Master of Music in cello, and graduated from the inaugural class of Juilliard’s historical performance program.

Faculty Artists

Headshot of Joe Miller

Joe Miller

Director and Professor of Choral Studies, CCM Choral Studies

Dieterle Vocal Arts Cntr


Recognized as a visionary conductor and creative artist, Joe Miller maintains an active performance schedule. Miller currently serves as Professor of Conducting and Director of Choral Studies at CCM. In addition to his work at CCM, Miller is artistic director of choral activities for the renowned Spoleto Festival USA in Charleston, South Carolina, and since 2016 he has served as conductor of the Philadelphia Orchestra Symphonic Choir.

Miller made his conducting debut with the Philadelphia Orchestra in 2021, conducting Handel’s Messiah. Recent collaborations with Yannick Nézet-Séguin and the Philadelphia Orchestra have included premier performances of Kevin Puts’ The Hours with Renée Flemming, Kelli O’Hara and Jennifer Johnson Cano, along with premier performances in Carnegie Hall of Gabriela Franks’ Pachamama Meets and Ode. Past seasons' engagements have also included Beethoven’s Ninth Symphony with the Spoleto Festival USA Orchestra and Chorus and Poulenc’s Stabat Mater with the CCM Choirs and Philharmonia.

Featured works of the 2022-23 CCM season include performances for the ACDA National Conference, Joby Talbot’s Path of Miracles, and a collaboration with the Cincinnati Ballet featuring the CCM Chamber Choir and choreographer Taylor Carrasco. The Philadelphia Orchestra season includes Rachmaninov Kolokolo/The Bells being recorded for Deutsche Gramophone, Handel’s Messiah and the Bruckner Te Deum.

After viewing a staged performance of Joby Talbot’s demanding Path of Miracles at the 2019 Spoleto Festival USA, D.C. Theatre Scene wrote, “Joe Miller is a fearless artist. His bold leadership and trust in these young singers enabled his choristers to forego the ‘stand and deliver,’ score-bound habits of their genre and ‘walk with him’ on this special journey. Not only did the singers need to memorize their parts, no mean feat, but follow his baton’s bid from any part of the auditorium and sing in any body position. Miller constantly challenged them in the process and inspired them to work confidently, well outside their comfort zone.”

Miller’s ensembles have performed throughout the world, giving concert tours in Italy, Germany, Austria, France, England, China and Spain, as well as participating in the World Symposium on Choral Music in Barcelona. His choirs have toured extensively throughout the US performing for the American Choral Director’s Association National and Regional Conferences, and including groundbreaking performances of Julia Wolfe’s Pulitzer Prize-winning Anthracite Fields at the historic Roebling WireWorks as part of Westminster’s Transforming Space project.

Miller has been praised for his recordings. American Record Guide's review of Frank Martin: Mass for Double Choir stated:  “This is gorgeous singing … with perfect blend, intonation, diction, ensemble and musicality.” The Heart’s Reflection: Music of Daniel Elder was hailed by Minnesota Public Radio’s Classical Notes as “simply astounding.”  Miller’s debut recording with the Westminster Choir, Flower of Beauty, received four stars from Choir & Organ magazine and earned critical praise from American Record Guide, which described the Westminster Choir as “the gold standard for academic choirs in America.”

Miller has collaborated with some of the world’s leading orchestras and conductors, earning him critical praise.
Headshot of Kenneth B. Shaw

Kenneth B. Shaw

Professor of Voice, CCM Voice

213 Dieterle Vocal Arts Cntr


Bass-baritone Kenneth Shaw, who has been hailed for his "strong, impassioned and lyrical" voice (Opera News), long ago established himself as one of America's most talented and versatile artists. He has performed with opera companies throughout North America to critical acclaim. He has sung over 70 leading roles in over 60 operas, as well as concerts and recitals across America, Southeast Asia, Brazil, Canada and the United Kingdom.

Since winning New York City Opera's Richard F. Gold award as Debut Artist of the Year in 1987, Shaw sang many roles with the company, including Escamillo in Carmen, the title role in Don Giovanni, Sharpless in Madama Butterfly, Enrico in Lucia di Lammermoor, Count Almaviva in Le nozze di Figaro, Marcello in La bohème, Silvio in I Pagliacci, and Germont in La traviata with the company on tour in Taiwan. Subsequently, he was one of 16 young American singers selected by Opera News to "Keep Your Eye On."

Shaw’s roles are diverse, having sung Wolfram in Tannhäuser, Escamillo in Carmen, Sharpless in Madama Butterfly, both Figaro and Count Almaviva in Le nozze di Figaro, both Philippo and Rodrigo in Don Carlo, both Mephistopheles and Valentin in Faust, and the title role in The Mikado. Additional roles include Jochanaan in Salome, Sarastro in Die Zauberflöte, and the title role in the world premiere of The Stone Man, Scarpia in Tosca, a role he has also performed on tour with New York City Opera National Company. He has appeared both as Zurga and as Nourabad in Les Pêcheurs de perles, Don Pizarro and Rocco in Fidelio, John Proctor in The Crucible, and Blitch in Susannah in performances telecast on PBS.

He continues to perform, adding new roles to his repertoire, including Old Doctor in Vanessa (Toledo, 2017), soloist for the Shostokovich bass cantata The Execution of Stepan Razin (Tulsa, Signature Symphony, 2017) , Wotan in Das Rheingold (Pittsburgh, 2018), Timur in Turandot (Kentucky Symphony, 2019), Friar Lawrence in Romeo et Juliette (Cincinnati, 2019)and returning to Germont in La Traviata after a 34 year hiatus from the role (Dayton, 2021).  Most recently, Shaw sang Reverend Milton Wright in the world premiere of Laura Kaminsky's Finding Wright (Dayton, 2022), and his first Rocco in Fidelio (Queen City Opera, Cincinnati, 2022).

Shaw's many orchestral engagements have included performances with the Louisville Orchestra, the Cincinnati Symphony Orchestra, Dayton Philharmonic, Baton Rouge Symphony, Syracuse Symphony, the Cincinnati Chamber Orchestra, the Colonial Symphony, the Columbus Symphony under conductor Christian Badea and the Memphis Symphony Orchestra, among others.

In 1999, Shaw joined the faculty of CCM where he serves as Professor of Voice and co-producer of nationally awarded Opera d’arte, the CCM Undergraduate Opera. His students have gone on to major young artist programs and leading roles in opera houses including the Metropolitan Opera, Deutche Oper Berlin, Lyric Opera of Chicago, Seattle Opera, among many others, and in leading roles on Broadway. His students have also found success in university voice and choral positions nationwide.

An accomplished stage director, designer and producer, Shaw has directed over 20 productions for regional opera companies, colleges and universities.
Headshot of Michael Unger

Michael Unger

Associate Professor of Keyboard (Organ and Harpsichord), CCM Organ and Harpsichord

5229 Emery Hall


Originally from Toronto, Canada, Michael Unger is a multiple award-winning performer who appears as a soloist and chamber musician in North America, Europe, Japan, and South Korea. Since 2013, he is Associate Professor of Organ and Harpsichord at the University of Cincinnati College-Conservatory of Music. He is a First Prize and Audience Prize winner of the National Young Artists’ Competition of the American Guild of Organists (NYACOP), a First Prize winner of the International Organ Competition Musashino-Tokyo, and a Second Prize and Audience Award winner of the International Schnitger Organ Competition on the historic organs of Alkmaar, the Netherlands. Recent solo recitals include performances for national conventions of the American Guild of Organists, Organ Historical Society, and Historical Keyboard Society of North America; ‘Five Continents – Five Organists’ Festival at Seoul’s Sejong Center; International Festival of Organ, Choral and Chamber Music Gdańsk; Internationale Orgelwoche Nürnberg – Musica Sacra; and numerous international and regional recital series. In 2018, he premiered two Preludes and Fugues by American composer Henry Martin for the national convention of the American Guild of Organists in Kansas City, Missouri. Recent orchestral appearances include Camille Saint-Saëns’ Symphony No. 3 (“Organ”) and Gustav Mahler’s Symphony No. 8 (“Symphony of a Thousand”) with the Cincinnati Symphony Orchestra. Other organ and harpsichord collaborations include Cincinnati May Festival, Cincinnati Opera, Cincinnati Chamber Orchestra, Collegium Cincinnati, Catacoustic Consort, and Publick Musick, with repertoire that includes Johann Sebastian Bach’s complete Brandenburg Concertos and Sonatas for Viola da Gamba and Harpsichord. He received favorable international reviews for his debut solo recordings under the Naxos and Pro Organo labels, and his performances have been broadcast on North American and European radio, including syndicated programs Pipedreams and With Heart and Voice. He was a guest faculty at the 2015 and 2016 Smarano International Academies in Trentino, Italy, the 2019 Colorado State University Organ Week, and has given masterclasses at several North American universities and conservatories, including residencies with cellist Adriana Contino.
Michael Unger holds a Doctorate of Musical Arts with Performers’ Certificate from the Eastman School of Music, where he was a student and teaching assistant of David Higgs and William Porter, and recipient of the school’s Jerald C. Graue Musicology Fellowship. He is also a Gold Medal graduate of the University of Western Ontario, where he studied with Larry Cortner and Sandra Mangsen, and his post-graduate teachers include Roberta Gary in Cincinnati and Jean-Baptiste Robin in Versailles, France. Formerly the Director of Music at the Lutheran Church of the Incarnate Word in Rochester, New York, he currently serves as organist of Cincinnati’s historic Isaac M. Wise – Plum Street Temple, and is a volunteer chorister in the choir of Cincinnati's Christ Church Cathedral (Episcopal).
Headshot of Daniel Weeks

Daniel Weeks

Interim Division Head of Performance Studies; Associate Professor of Voice, CCM Voice

215 Dieterle Vocal Arts Cntr


Praised for his Italianate timbre and sensitive musicianship, Daniel Weeks maintains an active performing schedule including opera, oratorio and recitals. As a concert artist, Weeks has sung with the Houston Symphony, the Dallas Symphony, the Cincinnati Symphony Orchestra, the Indianapolis Symphony, the Columbus Symphony, the Memphis Symphony, the Louisville Orchestra, the Huntsville Symphony, the Oratorio Society of New York, the Winter Park Bach Festival, the Bozeman Symphony, the Orchestra of St. Luke’s, the National Symphony of Mexico, the National Symphony of Costa Rica, the Xalapa Symphony (Mexico) and the National Youth Orchestra of Caracas (Venezuela). On the operatic stage, he has performed with the Florentine Opera, Kentucky Opera, Mercury Opera, Nevada Opera and in 2001 toured the US in Mozart’s Così fan tutte with San Francisco Opera’s Western Opera Theater.

Conductors with whom he has performed include Steuart Bedford, Christoph Campestrini, Hal France, Stefan Lano, Jane Glover, Christopher Larken, Hans Graf, Gustav Meier, Junkchi Hirokami, Vladimir Spivakov, Alessandro Siciliani, John Keenan, John Rutter, Jorge Mester, Carlos Miguel Prieto, Eduardo Müller, Gregory Vajda, Stefan Sanderling, Ari Pelto, Lyndon Woodside, Uriel Segal, Robin Stamper, Mark Gibson and Joe Mechavich. Stage directors with whom he has worked include Linda Brovsky, Michael Cavanaugh, Leonard Foglia, David Gately, Casey Stangl, Nicholas Muni, Donald Westwood and John Davies. In 2009, Weeks was honored by his alma mater, Belmont University in Nashville, TN, with their Second Annual “Encore Alumni Award” for excellence in the field of classical music.

A passionate advocate for Art Song recitals, Weeks taught the Vocal Literature seminars at the University of Louisville after joining the voice faculty in 1998. In 1999, he was a National Finalist in the Metropolitan Opera’s National Council Auditions and was also named Young Artist by the National Federation of Music Clubs. In October 1999, he made his New York recital debut with CCM Accompanist-in-Residence Donna Loewy on the Judith Raskin Memorial Concert Series. In February 2000, Weeks was the “On Wings of Song” recitalist with Loewy under the auspices of the Marilyn Horne Foundation. For the next three years, he and Loewy presented recitals and school presentations for the Horne Foundation across the country.

Additionally, Weeks has collaborated with such notable pianists as Timothy Cheek, Valerie Trujillo and Douglas Fisher. Additionally, he and pianist, Naomi Oliphant have given over 150 performances throughout the US, Canada and Europe since 2002. These performances include recitals in Katowice, Poland, Brno, CZ and an appearance in Toronto, Canada, at the 2007 Collaborative Conference hosted jointly by the Canadian Federation of Music Teachers’ Association, the Music Teachers National Association and the Royal Conservatory of Music.

In 2009, Weeks and Naomi Oliphant released their album Women of Firsts: A Recording of Art Songs by Lili Boulanger, Amy Beach, Grażyna Bacewicz, and Vítězslava Kaprálová on the Centaur Records label. Critically acclaimed in the US and Europe, this recording showcases art songs by women who were the first in their respective countries to achieve national and international recognition for composition. He and Dr. Oliphant recorded their second album entitled The Lieder of Franz Liszt, which is scheduled for release with Centaur Records in 2015.

About CCM Philharmonia

The CCM Philharmonia, under the direction of Professor and CCM Director of Orchestral Studies Mark Gibson, is recognized as one of the world’s elite conservatory orchestras. The breadth of each season’s concert series rivals many of the world’s great performing organizations, and the Philharmonia presents a body of repertoire that encompasses more than what most conservatories venture to program. The close bond between the Cincinnati Symphony Orchestra and CCM’s orchestral program invigorates student conductors and instrumentalists alike, and CCM’s commitment to high standards enriches the cultural life of Greater Cincinnati. 

About CCM Choral

CCM's Choral Studies Program is internationally recognized for more than 50 years of excellence in training conductors for successful, lifelong careers in the choral arts. Our choral ensembles are proud to offer transformative musical experiences for singers and audiences. CCM has delighted multiple generations of music lovers with the concerts presented by its five choral ensembles: the 32-voice Chamber Choir, 45-voice Chorale, Chamber Singers, Vox Antiqua — a select vocal/instrumental ensemble dedicated to Medieval, Renaissance and early Baroque music — and UC Choruses consisting of Alta Petit, Juncta Juvant, and Cabaret Singers. Performances range from acclaimed staged productions presented in collaboration with CCM’s Opera Department to presentations of contemporary works like David Lang’s Little Match Girl Passion and Tan Dun’s Water Passion after St. Matthew.

the flair and technique of a professional ensemble

Rafael's Music Notes


CCM Chamber and Chorale

Joe Miller, conductor 
Rachel Feldman, Landon Scriber, Christin Sears, Sergey Tkachenko, graduate assistant conductors


  • Lauren Albano
  • Ally Andrade
  • Madi Bosch
  • Elise Byard
  • Mira Desai
  • Margarita Elias
  • Eleanor Elmore
  • Alexzandra Foitzik
  • Kaylan Hernandez
  • Sydney Horan
  • Fiona Hughes
  • Audrey Lanier
  • Olivia Macina
  • Angela Mueller
  • Ellie Naehring
  • Mary Okotie
  • Natalie Romanick
  • Christin Sears
  • Morgan Small
  • Audrey Weber
  • Kit Whelchel
  • Leah Yackanech
  • Emerald Yuan


  • Melina Bartzis
  • Shiyang Chen
  • Cade Chisham
  • Eleanor Eyre
  • Rachel Feldman
  • Gretha Fergus
  • Mads Finke
  • Millicent Houston
  • Kate Liang
  • Yu Liyao
  • Natalie Mastali
  • Katie Menster
  • Samantha Pape
  • Clara Reeves
  • Lily Scalisi
  • Diamond Sparks
  • Daisy Su
  • Rie Yamaguchi
  • Dongqin Yu


  • Mark Behrendt
  • Ryan Block
  • Timothy Carnahan
  • Matthew Dawson
  • Alberto de la Paz
  • Anthony Dillion
  • Valerie Dreith
  • Reed Gnepper
  • Nathan Knarr
  • AJ Matson
  • Matthew Swope
  • William Tanski
  • Clark Xiong
  • Jiayin Wang


  • John Depinet
  • Andrew Hallam
  • Alex Herron
  • Trevor Kroeger
  • Lucas Maceroni
  • Maksym Mahlay
  • Andrew Nash
  • Ethan Neal
  • Søren Pedersen
  • Landon Scriber
  • Nathan Smith
  • Cole Stephenson
  • Sergey Tkachenko
  • Leviticus Valko
  • Caleb Ward
  • Cory Wilcher

Cincinnati Youth Choir Bel Canto

Robyn Lana, director
Rachel Feldman, Richard Wesp Assistant Director

  • Seth Allred
  • Zayne Armstrong
  • Caraline Barnett
  • Anna Burger
  • Madelyn Cahill
  • Kenna Cornish Scott
  • Sophie Corwin
  • Thanh-Tam "Tammy" Dao
  • Khushi Dayal
  • Kanika Dhakshinamoorthy
  • Grainne Duffy
  • Madelyn Farno
  • Ashlyn Frampton
  • Ella Giesler
  • Kennedi Grayer
  • Molly Harris
  • Caitlin Hartley
  • Lillian Heidt
  • Ruth Ann Hornsby
  • Georgia Horton
  • Amrutha Juluri
  • Maya Little
  • Victoria Louis
  • Taylor Maceyras
  • Mina Mader
  • Christopher Martin
  • Kara McLaughlin
  • Reilly Murphy
  • Diane Najoli
  • Lizzie Olguin-Hargett
  • Gwen Ramage
  • Margaret Rankin
  • Carolyn Sagel
  • Noelle Sanderson
  • Shaili Shah
  • Sana Shyam
  • Mabel Smith
  • Anne Steinmetz
  • Genevieve Stevenson
  • Lily Stewart
  • Garrett Thornton
  • Kieran Thornton
  • Lucy Toomey
  • Sarah Wahlquist
  • Natalie Ward
  • Raven Whitlow
  • Edie Wolfer
  • Priyanka Yenugu

CCM Philharmonia

Mark Gibson, conductor


Orchestra 1

Violin 1

  • Kalli Sobania, CM
  • Riki Nagai, ass’t
  • Zhe Xiao
  • Tao Xue

Violin 2

  • Linke Zhou, principal
  • Ruey-Yun Chao, ass’t
  • Natalie Orth


  • Lila Reeser, principal
  • Ryan De La Ree, ass’t
  • Murphy Combs


  • Amani Abou Assi Zouehid, principal
  • Anna Mackintosh, ass’t
  • Myles Yeazell


  • Lorenzo Nigrelli
  • Peter Kim


  • Dayna Hagstedt
  • Lindsey Wong


  • Adeline Carter
  • Julia Bobell


  • Joseph Brantley


Orchestra 2

Violin 1

  • Emma Joyce, CM
  • Andrew Smeader, ass’t
  • Lucas Braga
  • Jason Colon

Violin 2

  • Nayoung Yang, principal
  • Madeline Marshall, ass’t
  • Lily Kostraba


  • Caleb Robinson, principal
  • Kate Mazon, ass’t
  • Aadhi Ramkumar


  • Hye-Jeong Oh, principal
  • Luke Orth, ass’t


  • Corey Watzek
  • Jack Kotchka-Smith


  • Ay Kawasaki
  • Valentina Arango Sanchez


  • Ben Goodly
  • Leo De La Cruz


  • Michael Delfin


  • Liam Gibb
  • Citlalmina Hernandez Toro

Graduate Assistants

  • Carlos Avendaño-Garcia
  • Sandra Cepero Alvarez
  • Stephan Fillare
  • Xiao Geng
  • Stephen Hardie
  • Michael Patterson
  • Moyue Zhou

On stage

Upcoming must-see events + top news from UC's College-Conservatory of Music

Stay up to date on CCM news and events by subscribing to our Next OnStage email newsletter, which is published every other Wednesday. Visit to sign up for email updates.

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CCM News


US Coast Guard Band's 'Heartland Harmonies' tour presents...

May 20, 2024

The United States Coast Guard Band brings its "Heartland Harmonies" concert tour to UC's College-Conservatory of Music on Tuesday, June 25, 2024. The free concert is presented in Corbett Auditorium as part of the band's tour through the American South and Midwest regions for public performances and educational outreach.


Explore CCM Prep's dance, music and theatre arts programs for...

May 20, 2024

Students of all ages and abilities with an interest in the performing arts can explore their creativity in Prep programs at UC's College-Conservatory of Music. CCM Prep offers a wide variety of classes in dance, music and theatre arts — including classes for adults, young children teens and pre-professional students preparing for a future in the performing arts.


Pianist, educator and scholar Lynn Worcester Jones joins CCM’s...

May 16, 2024

UC College-Conservatory of Music Interim Dean Jonathan Kregor has announced the addition of Lynn Worcester Jones, DMA, to the college’s roster of distinguished performing and media arts faculty members. Jones is an innovative pianist, educator, writer, speaker, mentor and leader who encourages career preparation and excellence in students. She begins her new role as Associate Professor of Piano Pedagogy and Coordinator of Group Piano at CCM on Aug. 15, 2024.

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The competitive scholarships CCMpower provides help attract and retain the best and brightest students, nurture professional development opportunities and – in turn – continue CCM’s tradition of excellence for the next generation of student-artists. Join or renew your CCMpower membership today to help provide critical scholarship funds.

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The Andrew W. Mellon Foundation
CSO/CCM Diversity Fellowship Sponsor
The Corbett Endowment at CCM
Dance Department Sponsor
All-Steinway School Sponsor
Louise H. & David S. Ingalls Foundation, Inc.
Community Partners
The Joseph and Frances Jones Poetker Fund of the Cambridge Charitable Foundation, Ritter & Randolph, LLC, Corporate Counsel
Visiting Artists & Thinking About Music Sponsor
Dr. & Mrs. Carl G. Fischer 
Greg Mathein 
Gary & Barb Cummins 
Jim & Linda Miller 
George & Carroll Roden
Musical Theatre Department Sponsors
Genevieve Smith
Opera Production Sponsor
Rafael and Kimberly de Acha
Opera D’Arte Sponsor
An Anonymous Donor
Estate of Mr. William A. Friedlander
Mrs. William A. Friedlander
Dr. Randolph L. Wadsworth
Judith Schonbach Landgren and Peter Landgren
Mr. & Mrs. Harry H. Santen
Elizabeth C.B. Sittenfeld
Mr. & Mrs. Thomas E. Stegman
Mrs. Theodore W. Striker
Mrs. Harry M. Hoffheimer
Ariel Quartet Sponsors
Jan Rogers
Willard and Jean Mulford Charitable Fund of the Cambridge Charitable Foundation
Choral Studies Sponsors
  Classical Guitar Sponsor

Mr. & Mrs. Joseph W. Hirschhorn
Orchestral Sponsor
Dorothy Richard Starling Foundation
Starling Pre-Collegiate Sponsor
Starling Strings Sponsor
Dr. Timothy E. and Janet L. Johnson
Thom Miles and Roberta Gary
Organ Department Sponsors
Keyboard Club of Cincinnati
Louis and Susan Meisel
Piano Department Sponsors
Kevin and Nancy Rhein
   Wind Studies Sponsor
Buddy Rogers Music
LINKS Sponsor
Sponsors listed as of Sept. 7, 2023

General Information

Land Acknowledgment

The Cincinnati area and the land that the University of Cincinnati has been built on is the native homeland of the Indigenous Algonquian speaking tribes, including the Delaware, Miami, and Shawnee tribes.

Box Office

Located in the CCM Atrium, the Box Office is open Tuesday through Friday, 1-5 p.m.; and one hour prior to curtain for all ticketed performances. MasterCard, Visa and Discover cards are accepted.

  • Location: CCM Atrium Lobby next to Corbett Auditorium
  • Telephone: 513-556-4183
  • Email:
  • Mail: CCM Box Office, P.O. Box 210003, Cincinnati, OH 45221-0003


Convenient parking is available in the CCM Garage at the base of Corry Boulevard off of Jefferson Avenue. Additional parking is available in garages throughout the UC campus. Any questions concerning on-campus parking should be directed to UC Parking Services at 513-556-2283.

Tax Credit

If you find that you cannot attend your performance, your tickets may be donated for tax credit as a charitable contribution. Simply notify the Box Office prior to the performance to release your seats, and give your name and address. A tax donation receipt will be mailed to you.

Lost and Found

If you have lost an item, contact lost and found at 513-556-9413.

House Policies

The House Manager has been instructed to minimize the disturbance to patrons already seated when accommodating latecomers. The director and producer of each production select times that are least likely to interrupt the performance, and latecomers will be seated only during these times. Latecomers who miss these opportunities will not be admitted until intermission. Children under the age of 6 will not be admitted.

Cameras, Phones and Recording Devices

The video or audio recording of performances is prohibited.

The use of cameras, with or without flashes, recording devices, cellular phones and other electronic devices inside the theater is prohibited. Please leave them with the House Manager.

Smoking and Refreshments

Smoking and refreshments are not permitted in the theater. Effective May 1, 2017, smoking and tobacco use (including chewing tobacco and electronic cigarettes) shall be prohibited by students, staff, faculty, visitors, vendors and contractors at all times in or on University of Cincinnati properties, including events on university property during non-school hours. This includes all shelters, indoor and outdoor theaters and athletic facilities, bridges, walkways, sidewalks, residence halls, parking lots, and street parking and garages owned by the university.

Hearing Enhancement

Telex listening devices are available for checkout during performances in both Patricia Corbett Theater and Corbett Auditorium. Please inquire at the Box Office.

Wheelchair Seating

Wheelchair seating is available in both Corbett Auditorium and Patricia Corbett Theater. Seating is limited, so reservations should be made with the Box Office when ordering tickets. These seats are subject to availability.

Group Sales

The Box Office can accommodate groups for major productions and concerts. Preview and benefit performances are also available for some productions. For more information, call the CCM Box Office at 513-556-4183.

CCM Faculty and Staff

CCM's faculty and staff and its state-of-the-art facilities make possible the professional training and exceptional education on which CCM believes the future of the arts relies. The school's roster of eminent faculty regularly receives distinguished honors for creative and scholarly work, and its alumni have achieved notable success in the performing and media arts. More than 150 internationally recognized faculty members work with students from around the world, specializing in eight areas of study.

Know Your Exit

Corbett Auditorium emergency exits are located at the back left and right of the balcony level, the back left and right of the main floor level, and at the left and right at the front of the stage.

Performance dates and repertoire are subject to change. View CCM's current calendar of events.

The purpose of these performances is educational, and they are part of a University of Cincinnati academic program.