Mozart Requiem
Saturday, April 24, 2027, 3:00 pm
Farmington High School Auditorium
10 Monteith Dr, Farmington, CT 06032
TicketsMOZART: Don Giovanni Overture, K. 527
MOZART: Requiem Mass in D minor, K. 626
Introitus: Requiem aeternam
Kyrie
Sequentia
Dies irae
Tuba mirum
Rex tremendae
Recordare
Confutatis
Lacrimosa
Offertorium
Domine Jesu
Hostias
Sanctus
Benedictus
Agnus Dei
Communio: Lux aeterna
The Farmington Valley Chorale
Christopher Hartel, Interim Artistic Director
Sarah Callinan, soprano
Stephanie Scarrella, mezzo-soprano
Michael Macavaney, tenor
Jermaine Woodard, bass
Soprano Sarah Callinan has performed a wide range of operatic roles across the United States. Favorite roles include Despina in Così fan tutte (Opera Carolina), Blondchen in Die Entführung aus dem Serail (Arizona Opera), Frasquita in Carmen (Michigan Opera Theatre, Opera New Jersey), Rosina in Il barbiere di Siviglia (Opera Theater of Connecticut), the title role in La fille du Régiment (Connecticut Concert Opera), Susanna in Le Nozze di Figaro (Mississippi Opera), Gilda in Rigoletto and Amina in La Sonnambula (Salt Marsh Opera), and the Queen of the Night in The Magic Flute (Boston Lyric Opera Tour).
Recent engagements include Rosalinda in Die Fledermaus and Violetta in La Traviata with Opera Theater of Connecticut, as well as Doria in the world premiere of Giacomo’s Muse with Barn Opera. On the concert stage, she has appeared as the soprano soloist in Carmina Burana with the UConn Symphony Orchestra, the Vivaldi Gloria with the Massachusetts Festival Chorus, the Brahms Requiem with the Farmington Valley Symphony Orchestra, as well as the Fauré Requiem and the Mozart Requiem with the Keene Chorale. This season Ms. Callinan sang the title role in Abigail Adams with Connecticut Lyric Opera; she joined the Eastern Connecticut Symphony Orchestra for Barber’s Knoxville: Summer 1915, and she sang with Seaglass Theater for their Born & Bred concert featuring composers from Massachusetts, in addition to several performances with Opera Untapped in their popular Drunk Opera History series.
When she isn’t performing, Ms. Callinan is a highly sought-after voice teacher, maintaining studios at Mount Holyoke College, Worcester State University, Fitchburg State University, The Hanover Conservatory, The Joy of Music Program, and her private studio in Worcester, MA.
Stephanie Scarcella
Her operatic roles include Anita (West Side Story), Angelina (La Cenerentola), Sister Helen Prejean in the New England premiere of Jake Heggie’s Dead Man Walking, Hansel (Hansel and Gretel), Arsamene (Serse), Dorothée (Cendrillon), and Zita (Gianni Schicchi), among others. Her concert repertoire spans Bernstein’s Chichester Psalms, Handel’s Messiah, and requiems by Duruflé and Mozart, and her recitals have featured Schumann’s Frauenliebe und Leben and Vaughan Williams’ Songs of Travel.
Ms. Scarcella holds a BM in Vocal Performance and an MM in Opera from The Boston Conservatory. She was a New Orleans District Winner in the Metropolitan Opera National Council Auditions and a Semi-Finalist in the Classical Singer Magazine Competition.
Outside the concert hall, she works in operations in biotechnology and runs a photography business capturing portraits and milestones throughout New England. You can find more information on her websites.
Jermaine Otis Woodard Jr
Jermaine Otis Woodard Jr — Baritone, Virginia-native, International Soloist, Multi-Genre Professional Singer, Performing & Recording Artist — continues to elevate his profile. His versatile roster portfolio features Voices of Concinnity (Navona Records), CONCORA, Cathedral of Saint Joseph’s Schola Cantorum/Cathedral Quartet, Berkshire Opera Festival, Canticum Novum, Voce Inc. (Signum Records), and Composer’s Choir. Jermaine is fervently
devoted to freelance solo artistry, ensemble partnership, and loves being a recurring background singer in Javier Colon’s live band—Internationally-famed Singer & Guitarist and inaugural winner of NBC’s ‘The Voice’. Woodard has been recently featured as a soloist with CONCORA (regional/world premieres), Farmington Valley Chorale, Music Worcester @ Mechanics Hall, The Hartford Chorale, The Red Door Series (Saint John’s Episcopal Church West Hartford),
Mystic River Chorale, Voices of Concinnity, Canticum Novum, Crescendo (world premieres), and other local churches. Woodard was recently appointed Berkshire Opera Festival’s inaugural Bass Section Leader. In December 2025, Jermaine made his stage debut as Singer/Actor with Playhouse on Park West Hartford in the award-winning “OUTSTANDING PRODUCTION – Play” (Connecticut Critics Circle) ‘All is Calm: The Christmas Truce of 1914’ by Peter Rothstein. In June 2026, Woodard made his NYC soloist debut in Central Park over WQXR-FM Radio with BAROKLYN & CONCORA, collaborating with the renowned Simone Andrea Dinnerstein on Bach recitativo. Jermaine actively serves as Baritone/Bass Section Leader & Soloist at Asylum Hill Congregational Church, Bass Clef Choir of Saint Patrick-Saint Anthony Church, Crescendo Inc, and The Hartford Chorale; offering scholarship serving on the board of governors for Consonare and formerly The Hartford Chorale. Woodard remains committed to freelance ministry and cantorial leadership at Sacred Heart Parish of Bloomfield.
Farmington Valley Chorale
Enriching the cultural life of the Farmington Valley communities, the Farmington Valley Chorale is a non-auditioned, community-based chorus of about one hundred singers from all walks of life who come together to accomplish the extraordinary through the beauty and power of choral music. In addition to seasonal performances, they also seek to encourage the cultural development of choral arts in their communities, and to provide amateur singers an opportunity to develop their talents under an accomplished director. In the over 50 years since the Chorale’s formation to celebrate the Town of Simbury’s Tercentennial, they have produced two major choral concerts each year, most often with professional musicians and soloists. Recent performances include Brahms’ German Requiem and Mendelssohn’s Elijah and Handel’s oratorio.
Chris has been a vibrant force in the Connecticut music scene for over 30 years, excelling as a performer, educator, and conductor. A proud graduate of the University of Connecticut, he earned his Master of Music in conducting under the mentorship of esteemed professors Dr. Peter Bagley and Dr. Constance DeFotis. This solid foundation in music education has equipped Chris with the skills to inspire countless students and musicians throughout his career.
As a founding member of the Voices of Concinnity, Northeast Connecticut’s premier professional vocal ensemble, Chris has played a pivotal role in elevating the region’s musical landscape. His dedication to choral music is evident in his previous leadership positions, where he directed respected groups such as the Newington Choral Club, The Wallingford Chorus, the Southington Chorale, and, as our own Assistant Director of the Farmington Valley Chorale. Chris brings a wealth of experience and a passion for fostering artistic excellence, ensuring that our beloved ensemble continues to thrive and inspire.
Wolfgang Amadeus Mozart (1756–1791) German
Don Giovanni, K. 587 (1787)
Requiem Mass in D minor, K. 626 (1793)
First Complete Performance: January 2, 1793, the Jahn Hall in Vienna, Austria. Benefit performance for Mozart’s family, conducted by Antonio Salieri.
FVSO Premiere
The Requiem was a private commission by Count Franz von Walsegg who had hoped to pass the work off as his own, denying Mozart of the recognition. In perhaps a twist of sad irony, Mozart’s death ensured that this never came to fruition and the composer eventually received the recognition he deserved. This was mainly due to the delicate mis-information campaign executed by his wife, Constanze. Left almost destitute, she needed the final commission payment from the Count. In order to this she eventually engaged Franz Xaver Süssmayr, a student of Mozart, who finished the Requiem based on sketches and fragments, and his own compositions. Constanze had Sussmayr forge Mozart’s signature for the copy presented to the Count in order to receive full payment, while at the same time secretly laying the groundwork for work to be recognised as solely Mozart’s and not the Counts. This act of subversion was to ensure that Constanze would receive any further royalties from its publication as an authentic Mozart work.