Focused on the performance of new and early music for women’s voices, Lorelei Ensemble is quickly becoming recognized as "a source of some of the most innovative and inventive programming" in the Boston Area. Premiering more than thirty new works since its founding in 2007 by Artistic Director Beth Willer, Lorelei collaborates with established and emerging composers from the United States and abroad while continuing to highlight standard and lesser-known works of the Medieval, Renaissance and early Baroque periods. An active member of the Boston music scene, Lorelei hosts both private and public performances, collaborating with ensembles such as the Boston Modern Orchestra Project and Juventas New Music Ensemble to deliver innovative programming to a broad audience. In addition to its annual concert season, Lorelei seeks outside performance opportunities throughout New England and the United States. Appearances include a performance at the Monadnock Music Festival in August 2012, and a residency at Macalester College in St. Paul, Minnesota in February 2014.

Consisting of nine professional musicians whose expertise ranges from early to contemporary repertoire, Lorelei's members perform with Boston’s greatest ensembles, gracing many of the city’s stages as well as national and international venues. Lorelei performs both as a full ensemble of eight independent voices, and as a combination of smaller chamber ensembles (solo, duet, trio, quartet). Repertoire performed includes works for a cappella, accompanied, and amplified voices. Lorelei is currently in residence at Boston University's Marsh Chapel and with the Harvard Holden Choruses.


Jordan Hall at New England Conservatory | January 24, 2015

News and Press

[Concert Review] Rock-solid But Not Maniacal

Though the Boston Modern Orchestra Project’s “Magyar Madness” certainly delivered on the first word by presenting four works of Hungarian or Hungarian-descended composers including two premieres at Jordan Hall on Friday, we’ll give BMOP a pass on “Madness,” as the alliterative sobriquet was oxymoronic considering the event’s rock-solidity.

The Boston Musical Intelligencer Full review