Orchestra of St. Luke’s (OSL) performs and produces in a variety of formats throughout New York City, including orchestra and chamber music series on each of Carnegie Hall’s iconic stages, programs focused on contemporary composers presented throughout the five boroughs, collaborations with Paul Taylor Dance Company at Lincoln Center, a composition institute, education and community engagement programs, and much more. Founded in 1974 when a group of virtuoso chamber musicians began performing together in Greenwich Village at The Church of St. Luke in the Fields, the ensemble expanded into an orchestra in 1979 and is today “a mainstay of New York’s classical scene” (The New Yorker) under the baton of Principal Conductor Bernard Labadie, a celebrated specialist in 18th-century music, and special guests. OSL has participated in 120 recordings, four of which have won Grammy Awards; has commissioned more than 70 new works; and has given more than 200 world, US, and New York City premieres. OSL champions the work of historically underrepresented composers, who in recent seasons have included Florence Price, Julius Eastman, Joseph Bologne, and others along with living composers who have recently included Valerie Coleman, Eleanor Alberga, Anna Clyne, and Joan Tower, among others. OSL’s Education and Community Engagement programs include accessible, interactive concerts for New York City public school students in addition to the 100-member Youth Orchestra of St. Luke’s (YOSL), now in its 10th season and the only youth orchestra under the umbrella of a professional group in the city; concert tours that introduce classical music to new audiences; a mentorship program for pre-professional musicians; and the DeGaetano Composition Institute, which mentors developing composers and commissions new work each season. OSL built and operates The DiMenna Center for Classical Music in Midtown Manhattan, the city’s only rehearsal, recording, and performance space built specially for classical music. Thousands of local and international musicians create work at The DiMenna Center, where they not only stage performances, but also rehearse, record, and broadcast music heard throughout the city and around the world. To learn more, visit OSLmusic.org or follow @OSLmusic on YouTube, Spotify, Instagram, or Facebook.

Bernard Labadie has established himself worldwide as one of the preeminent conductors of Baroque and Classical repertoire, a reputation closely tied to his work with Les Violons du Roy (for which he served as music director from its inception until 2014) and La Chapelle de Québec. With these two ensembles, he has regularly toured Canada, the US, and Europe, in major venues and festivals such as Carnegie Hall, Avery Fisher Hall, Walt Disney Concert Hall, the Kennedy Center, the Barbican, the Concertgebouw, and the Salzburg Festival, among others. He is principal conductor of the Orchestra of St. Luke’s in New York.

Recent guest conducting highlights include performances with the Chicago Symphony Orchestra, The Cleveland Orchestra, Handel and Haydn Society, National Arts Centre Orchestra, Orchestre symphonique de Montréal, Orchestre Philharmonique de Monte-Carlo, Orchestre National de Lyon, Mozarteum Orchestra Salzburg, and NDR Radiophilharmonie. Mr. Labadie has become a regular presence on the podiums of major North American orchestras that include the Chicago, St. Louis, and Pittsburgh symphony orchestras; New World, Kansas City, and San Francisco symphonies; Cleveland and Philadelphia orchestras; Los Angeles and New York philharmonics; Handel and Haydn Society; and Orchestre symphonique de Montréal. Mr. Labadie’s international engagements in recent seasons have included performances with the Bavarian Radio Symphony Orchestra, Academy of Ancient Music, The English Concert and Choir, Orchestra of the Age of Enlightenment, BBC Scottish National Orchestra, Kammerakademie Potsdam, Melbourne Symphony Orchestra, Collegium Vocale Gent, Royal Concertgebouw Orchestra, Royal Northern Sinfonia, Swedish Chamber Orchestra, WDR Symphony Orchestra Cologne, and Zurich Chamber Orchestra.

Mr. Labadie’s extensive discography includes many critically acclaimed recordings on the Dorian, ATMA, and Virgin Classics labels, including Handel’s Apollo e Dafne and a collaborative recording of Mozart’s Requiem with Les Violons du Roy and La Chapelle de Québec, both of which received Canada’s Juno Award. Other recordings include C. P. E. Bach’s complete cello concertos with Truls Mørk and Les Violons du Roy; J. S. Bach’s complete piano concertos with Alexandre Tharaud, both on Virgin Classics; and Haydn’s piano concertos with Marc-André Hamelin as soloist, released by Hyperion. Mr. Labadie has received Paris’s Samuel de Champlain award and the Canadian government’s Officer of the Order of Canada; in addition, his home province has named him Chevalier de l’Ordre National du Québec.

This season, soprano Liv Redpath makes debuts at the Royal Opera House, Covent Garden, in the title role of Lucia di Lammermoor; Berliner Philharmoniker in Schoenberg’s Die Jakobsleiter under the baton of Kirill Petrenko; Metropolitan Opera singing Oscar in Un ballo in maschera led by Carlo Rizzi and Pamina in Julie Taymor’s production of The Magic Flute; Madrid’s Auditorio Nacional de Música and Barcelona’s Palau de la Música in Monteverdi’s L’incoronazione di Poppea with The English Concert led by Harry Bicket; Orchestre Philharmonique de Radio France to sing Barber’s Knoxville: Summer of 1915 conducted by Barbara Hannigan; Wigmore Hall for a recital with pianist Harry Rylance; and Atlanta Opera to revive her portrayal of Tytania in Britten’s A Midsummer Night’s Dream. She returns to Santa Fe Opera to sing Zerlina in Don Giovanni directed by Stephen Barlow and Sophie in Der Rosenkavalier under the baton of Karina Canellakis, as well as The Cleveland Orchestra to sing G. Mahler’s Symphony No. 4 and a world premiere by Betsy Jolas. Recent engagements have included projects with the Bavarian State Opera, Los Angeles Philharmonic, Glyndebourne Festival, Komische Oper Berlin, Orchestra of St. Luke’s, Deutsche Oper Berlin, Bregenzer Festspiele, Seattle Symphony, Festival d’Aix-en-Provence, and La Monnaie / De Munt. Ms. Redpath is a graduate of Harvard University and The Juilliard School.

Since making her professional debut at the Metropolitan Opera in 2016 as the Madrigal Singer in Puccini’s Manon Lescaut, Avery Amereau has sung at numerous internationally acclaimed opera houses, including her house and role debut as Dorabella in Così fan tutte at the Bavarian State Opera conducted by Vladimir Jurowski, Olga in Eugene Onegin for Santa Fe Opera, Bradamante in Alcina for State Opera of Hannover, Eduige in Rodelinda at Opéra de Lille and Opéra National de Lyon, Serena Joy in The Handmaid’s Tale for English National Opera, Dryad in Ariadne auf Naxos at the Glyndebourne Festival, Cherubino in Le nozze di Figaro for Grand Théâtre de Genève, Ursula in Berlioz’s Béatrice et Bénédict at Seattle Opera, and the Page in Salome at the Salzburg Festival.

This season, Ms. Amereau joins the guest ensemble of the Bavarian State Opera, where her roles include Cherubino in Le nozze di Figaro, Dorabella in Così fan tutte, the Third Lady in The Magic Flute, and her role debut as Amanda in Ligeti’s Le grand macabre conducted by Kent Nagano. Elsewhere, she makes her debut as the title role in Carmen with the Jacksonville Symphony and returns to the English National Opera for Serena Joy in The Handmaid’s Tale. In addition, she makes house debuts at the Royal Opera House, Covent Garden, and the Royal Danish Opera. On the concert platform, she joins Collegium 1704 for a European tour of Handel’s Messiah conducted by Václav Luks, and makes her debut with Orchestra dell’Accademia Nazionale di Santa Cecilia and Daniel Harding.

As a recording artist, Ms. Amereau appears as the Sorceress in Dido and Aeneas with La Nuova Musica for the Pentatone label, and in Caroline Shaw’s The Listeners with the Philharmonia Baroque Orchestra on its own label. Her solo album of Handel arias with Nicholas McGegan and the Philharmonia Baroque Orchestra, selected as a Gramophone Editor’s Choice, was released in 2020. Ms. Amereau studied at Mannes College of Music and The Juilliard School, where she was the recipient of a Kovner Fellowship and the Shoshana Foundation 2017 Richard F. Gold Career Grant.

Canadian tenor Andrew Haji is in demand on operatic and concert stages across North America and Europe. Engagements this season include performances with the Seattle Symphony (the Evangelist in J. S. Bach’s St. John Passion), Kansas City Symphony (Haydn’s Mass in the Time of War), Calgary Philharmonic Orchestra (Bruckner’s Te Deum), and Toronto Mendelssohn Choir (Verdi’s Requiem).

Recent highlights include appearances with the Orchestre symphonique de Montréal (Haydn’s Creation), Kitchener-Waterloo Symphony (Alfredo in La traviata), Les Violons du Roy (J. S. Bach cantatas), Chorus Niagara (Beethoven’s Missa solemnis), Orchestre Philharmonique et Cœur des Mélomanes (Rodolfo in La bohème), Victoria Symphony (Mozart’s Requiem), Calgary Opera (MacDuff in Macbeth), National Arts Centre (Don Ottavio in Don Giovanni), and Orchestra of St. Luke’s (J. S. Bach’s Christmas Oratorio). Other recent engagements include his debut at the Edinburgh International Festival as Jonathan in Handel’s Saul, Beethoven’s Symphony No. 9 with the Milwaukee Symphony Orchestra, and a program of J. S. Bach cantatas with Orchestre symphonique de Montréal and Boston’s Handel and Haydn Society.

Additional appearances include Mozart’s Requiem with Orchestra St. Luke’s, Les Violons du Roy, and National Arts Centre; Handel’s Messiah with the Houston Symphony and National Arts Centre; La bohème with Edmonton Opera; La traviata with Calgary Opera; Beethoven’s Symphony No. 9 with the Victoria Symphony; and J. S. Bach’s Mass in B Minor with the Elora Festival.

During the 2020–2021 season, due to the COVID-19 pandemic Mr. Haji appeared in digital and streaming productions in roles that included Satyavan in Against the Grain Theatre’s acclaimed production of Holst’s Sāvitri; the tenor soloist in Mozart’s Requiem for the Canadian Opera Company, and Rinuccio in the company’s streamed production of Puccini’s Gianni Schicchi; and Count Almaviva in Opéra de Québec’s digital Il barbiere di Siviglia. Highlights of Mr. Haji’s 2019–2020 season included Alfredo in La traviata at Vancouver Opera, Messiah with the Edmonton Symphony Orchestra, Pollione in Norma at Calgary Opera, Rossini’s Stabat Mater with the Kitchener-Waterloo Symphony, and Beethoven’s Symphony No. 9 with the Victoria Symphony.

Acclaimed as among the finest singer-actors of his generation, Juno Award–winning and Grammy-nominated Canadian baritone Joshua Hopkins has been hailed by Opera Today as having “a glistening, malleable baritone of exceptional beauty, and the technique to exploit its full range of expressive possibilities from comic bluster to melting beauty.”

In the 2023–2024 season, Mr. Hopkins returns to LA Opera to sing the role of Figaro in Il barbiere di Siviglia, and makes his company debut at Brussels’s La Monnaie creating the roles of Apollo / Angry Audience Member in the world premiere production of Bernard Foccroulle and Matthew Jocelyn’s Cassandra. He also returns to Lyric Opera of Chicago for his role debut as Dandini in La Cenerentola and to the Canadian Opera Company for Malatesta in Don Pasquale. Concert engagements include J. S. Bach’s Christmas Oratorio conducted by Bernard Labadie with Orchestra of St. Luke’s at Carnegie Hall and Handel’s Messiah with the Toronto Symphony Orchestra under the baton of Jane Glover.

Mr. Hopkins’s most personal work, Songs for Murdered Sisters, is a song cycle by Jake Heggie and Margaret Atwood conceived by Mr. Hopkins in remembrance of his sister, Nathalie Warmerdam. Following critically acclaimed film and Juno-nominated album releases, in March 2022, in partnership with Houston Grand Opera, the chamber version of Songs for Murdered Sisters received its live world premiere at Houston’s Rothko Chapel with the composer at the piano. In 2023, Mr. Hopkins gave the live world premiere of the work’s orchestral version with Canada’s National Arts Centre Orchestra under the baton of Alexander Shelley.

Mr. Hopkins has won numerous awards and distinctions. Most recently, he won a Juno Award for his portrayal of Athanaël in Chandos Records’s recording of Massenet’s Thaïs in concert with the Toronto Symphony Orchestra conducted by Sir Andrew Davis. Mr. Hopkins was the winner of both the Verbier Festival Academy’s 2008 Prix d’Honneur and the Borletti-Buitoni Trust Award in 2006. He has also received prizes from the George London Foundation and the Jacqueline Desmarais Foundation, and he received the Sylva Gelber Foundation Award from the Canada Council for the Arts.

Created in 1985 by Founding Conductor and Music Director Bernard Labadie, La Chapelle de Québec is one of North America’s premier voice ensembles. The group is made up exclusively of professional singers who are handpicked from all over Canada. This unique chamber choir specializes in the choral-orchestral repertoire of the 17th and 18th centuries. The choir performs regularly with its other half, the chamber orchestra Les Violons du Roy, and as a guest choir with some of the finest orchestras in North America. Its interpretations of the oratorios, requiems, masses, and cantatas of J. S. Bach, Handel, Mozart, and Haydn, as well as Fauré and Duruflé, are frequently hailed in the Canadian and international press.

La Chapelle de Québec is heard regularly at Palais Montcalm in Québec City and Maison symphonique in Montreal, as well as at Walt Disney Concert Hall with the Los Angeles Philharmonic, at Carnegie Hall with Les Violons du Roy and Orchestra of St. Luke’s, and in Ottawa with the National Arts Centre Orchestra. The choir’s concerts are often broadcast by the CBC and Radio-Canada in Canada and by National Public Radio in the United States. La Chapelle de Québec is also known for its role in Chemin de Noël, an annual event that brings together music lovers from throughout the Québec City region every December.