Benefit Dinner
2024-12-07 17:00 - 20:00 (America/New_York)
You are invited to a special pre-concert dinner on Saturday, December 7 in Caramoor’s Formal Dining Room.

Your ticket gets you special access to an unforgettable evening and directly supports Caramoor’s mission to ensure that everyone in our community can lead an art-filled life. Attendees will be treated to outstanding wines, including 2007 Taittinger and NV Krug Champagnes, 1978 Aldo Conterno Barolo, and 1983 Château Lafite Rothschild, and Provencal specialties prepared by Chef Jared Sippal of L’Ostal.

Following dinner, enjoy an intimate performance with Bonny Light Horseman. A rare opportunity to experience three acclaimed musicians —Anaïs Mitchell, Eric D. Johnson, and Josh Kaufman—up close in an exclusive setting in Caramoor’s exquisite Rosen House. Their blend of traditional and contemporary folk music, weaving together elements of Americana, indie rock, and Celtic influences, will transport you to a world where past and present converge.

Tickets

Tickets are $2,500 per person, inclusive of premium seating in the concert. Tickets may be purchased directly on the website or by contacting the Special Events Office at events@caramoor.org or (914) 232-1492. All but $300 is tax-deductible. Seating is limited to 50 guests.

Caramoor Center for Music and the Arts is a 501 (c) (3) non-profit organization. Federal Tax ID: 13-5643627. Ticket purchases do not count toward membership. No refunds. Contributions are tax-deductible as provided by law. Payment for tickets may not be made through a donor-advised fund. Caramoor encourages all prospective donors to seek the assistance of personal, legal, and financial advisors in matters relating to their gifts and the resulting tax and estate planning consequences.

Bonny Light Horseman
2024-12-07 20:00 - 22:00
Folk supergroup Bonny Light Horseman takes the stage at Caramoor for an elevated evening of contemporary folk music. These three acclaimed musicians — Anaïs Mitchell, Eric D. Johnson, and Josh Kaufman — have crafted an exquisite blend of traditional and contemporary folk music, weaving together elements of Americana, indie rock, and Celtic influences, creating a mesmerizing blend of old and new. Their complex harmonies, rich instrumentation, and evocative storytelling will transfix and transport you to a world where past and present converge.

All are invited to post-show reception. Dinner and concert ticket options are available. Contact events@caramoor.org for details.

All but $70 per ticket is tax-deductible, as provided by law. A contribution letter will be mailed. Caramoor Center for Music and the Arts is a 501(c)(3) non-profit organization. Please note that payment for tickets may not be made through a donor-advised fund. Ticket purchases do not count toward Membership. Contributions are tax-deductible, as provided by law.

Please note, as this is a Benefit Event, there are no refunds or ticket exchanges. If you are unable to use your tickets, they will be converted to a contribution in support of Caramoor’s programming.

“Their voices fit together so perfectly it’s possible at last to believe in such a star-crossed fantasy.” — Pitchfork

Learn More About Bonny Light Horseman
Bonny Light Horseman joins the Jagjaguwar family ready to embrace life’s wonderful, abundant chaos. Confident and generous, their lead single “When I Was Younger” kicks off the band’s most vulnerable and bounteous era to date.

Over the years, Bonny Light Horseman has accumulated many miles on the collective odometer of life. The band’s core trio – Anaïs Mitchell, Eric D. Johnson, and Josh Kaufman – has amassed an incomparable collected resume. Mitchell is a celebrated solo artist as well as the playwright and songwriter behind the hit Broadway musical Hadestown, which notched eight Tony Awards and a Grammy for Best Musical Theater Album. Johnson is best known as the mind behind beloved indie mainstays Fruit Bats, as a longtime collaborator with The Shins, and as a film score composer. And Kaufman is a multi-hyphenate extraordinaire: songwriter, producer, and position player, having recorded and performed with artists ranging from Bob Weir to The War on Drugs to Taylor Swift, Hiss Golden Messenger and The Hold Steady. As a group, Bonny Light Horseman’s debut album received a Grammy nomination for Best Folk Album, and the track “Deep in Love” was nominated for Best American Roots Performance.

More important than any of this, though, they’ve also lived a big ol’ messy and tangled up pile of life, and all that living permeates their music with the wisdom, humor, and depth that underlies the accolades. Theirs is the stuff that defines folk music as a genre: love and loss, hope and sorrow, community and family, change and time. The Big Stuff, with the stakes sky high.

At the center of Bonny Light Horseman is, always, the singular combination of three powerful and tender artists, artists who expertly dodge superlatives but are quick to acknowledge that their bond makes each one better, braver and more vulnerable than they’d be on their own. Nowhere is this more apparent than in the force of their voices together, which work with complete trust in one another through the gentlest moments and the most ruthless wails.

“When I Was Younger” is one such wail, revolutionary for its open reckoning with motherhood, maturation, and all of the things polite society doesn’t say out loud. In the song, Mitchell and Johnson’s honeyed voices meet and transform into a two-headed beast formed from pent-up emotion; its roar is necessary, beautiful and scary. Recorded at Levis (pronounced: “leh-viss”) Corner House, a century-old watering hole in Ballydehob, County Cork, “When I Was Younger” also features the sound of the pub’s crowd. Their inclusion – the coughs, the cars, chorus of shouts – articulate all that life being lived inside and outside of art.

As they round the corner toward a new album, Bonny Light Horseman arrive with a distinct sense of grace, and a reminder that life is most lived when things aren’t so perfect.

For more information, please visit their website.

“If you’re a fan of folk or traditional music, or any melodic acoustic music at all, for that matter, this record will capture you in an entirely new way. While it taps into specific time periods, it’s timeless, and it’s a majestic, but never too heavy, journey through musical and historical moments.” — Paste Magazine

Trio Mediæval & Catalina Vicens, organetto
2024-12-08 15:00 - 17:00
With crystalline voices that have captivated audiences worldwide, Grammy-nominated vocal group Trio Mediæval will beguile you with Scandinavian traditional folk songs and hymns, English medieval Carols, and contemporary music written for them, all infused with the group’s signature blend of chant, folksong, and improvisation. The Trio is beautifully accompanied by Catalina Vicens on the hand-blown organetto and percussion. Step into a realm where ancient chants intertwine with celestial harmonies, creating a tapestry of sound that transcends time itself.

Artists

Anna Maria FrimanLinn Andrea FuglsethJorunn Lovise HusanCatalina Vicens, organetto

Program

YULEThe celebration of Yule in Northern Europe harks back to a transition from ancient Pagan Germanic culture to the more formal spirituality of the newer Christian rite. In this program the two traditions sit side by side, creating a matrix where acappella voices meet the medieval organetto in a synthesis of secular and sacred.

About the Music
A Northern Heritage

The celebration of Yule in Northern Europe harks back to a transition from ancient Pagan Germanic culture to the more formal spirituality of the newer Christian rite. Christmas, as we mostly now call it, gave us hymns, processions and chants; Yule meant a vibrant pre-Christian secularity, with feasting and dancing, decorating the house with holly, ivy and mistletoe as a tribute to the gods of earth and air. We now happily enjoy fusing elements of both traditions into the Christmas we know today. Much of the music in this program dates from an earlier time when churches may have been decorated with Christmas greenery, and carols sung round a burning Yule log.

There’s no knowing how the earliest Christmas songs were created, but the first ones must have been passed on orally until someone wrote them down. Writing, then later printing, set the songs free, and some travelled all over Europe, adopted by singers who then made their own versions. New songs were made, but many ancient ones survived the centuries, each new performer passing on their own memories of a song to the next generation. Alongside this oral tradition more formal manuscript collections were created in church and cloister as clerics composed new chants for their own communities. These historical processes are intertwined throughout this program, which is very much a product of the Trio Mediæval aesthetic; there are medieval compositions from England and arrangements of North European music by Tone Krohn and by the Trio themselves.

There is a special focus on the Norwegian folk tradition (Josefines julesalme, Lussinatti lange, Frå Betlehem eit gjetord gjeng) and the less well-known Christmas hymns of the Swedish-speaking communities in Ukraine (En jungfru födde ett barn idag) and Estonia (In dulci jubilo, En stjärna gick på himlen fram, Världens frälsare kom här) which was ruled by Sweden for some 400 years until the early 18th century. There were still Swedish speakers in Estonian coastal communities in the early 20th century, when composer and folksong collector Cyrillus Kreek and his Swedish contemporary Olof Andersson collected many old melodies that might otherwise have been forgotten, such as those from Nuckö and Stora Rågö. Derived both from the Lutheran Hymnal and old secular songs, the hymn tunes were originally sung heterophonically – everyone singing freely together, the more skilful singers varying and ornamenting the melody. Both these and the traditional carols existed simply as tunes and texts, which offer a perfect template for colourful contemporary arrangements, giving a new focus to an oral tradition that stretches way back into the past.

The original inspiration for Trio Mediæval dates from Linn Andrea Fuglseth’s revelatory encounter with English medieval carols while a student in London at the Guildhall School of Music & Drama, and the Trio has had a close connection with English music ever since. There are five 15th century English compositions in this program, including Linn Andrea’s own arrangement of the Coventry Carol. The German-speaking countries, well-springs of many Christmas songs that found their way Northwards, sit alongside these in arrangements by Linn Andrea Fuglseth and Anna Maria Friman. Between the carols, and sometimes weaving improvisations within them, is the organetto of Catalina Vicens. This exquisite instrument, powered by one hand and played by the other, was the instrument of choice for many of those composers who sang the first Christmas carols.

– John Potter

About the Artists

Trio Mediæval
Hailed as a “fascinating journey with music of timeless beauty”, Trio Mediæval’s highly acclaimed first disc “Words of the Angel” (2001) launched the group into the elite circles of early music ensembles and introduced them to a broad international audience.

Formed in 1997, Trio Mediæval consists of founder members Linn Andrea Fuglseth and Anna Maria Friman, and Jorunn Lovise Husan who joined the group in 2018.

A typical Trio Mediæval programme combines their many varied strands of musical exploration: historically informed performance of medieval sacred music, folk music (adapted and arranged by members of the group); contemporary Nordic jazz; specially commissioned works; improvisation with or without instruments. Attracted by the Grammy nominated trio’s unique sound, composers and performers have stood in line to work with the group, resulting in commissions and premieres of works by Helena Tulve, Tõnu Kõrvits, Anders Jormin, Tord Gustavsen, Mats Eilertsen, Trygve Seim, Anna Clyne, Gavin Bryars, Ivan Moody, Sungji Hong and Andrew Smith, among many others. A 2005 collaboration with the Ensemble Musikfabrik in Cologne featured the work Shelter by Julia Wolfe, Michael Gordon and David Lang of the New York-based Bang on a Can composers’ collective. More recently the trio has collaborated with musicians and orchestras such as Arve Henriksen, John Potter, Sinikka Langeland Ensemble, Mats Eilertsen Trio, Bang on a Can All-Stars, the Norwegian Chamber Orchestra, Norwegian Radio Orchestra, Oslo Philharmonic Orchestra and Stavanger Symphony Orchestra.

Trio Mediæval has toured extensively in Europe and USA, and has visited Japan, Hong Kong, Macau, South Korea, and most recently, Australia. The trio has been invited to appear on the most prestigious stages in the world, including Wigmore Hall, the Concertgebouw in Amsterdam, Vienna Konzerthaus, Carnegie Hall and the Kennedy Center. After releasing seven recordings on ECM Records between 2001 and 2017, the trio began a collaboration with Morten Lindberg and the 2L label in Norway, with new releases planned for 2021 and 2022.

Catalina Vicens
Praised by the international press as one of the most interesting musicians in the field of early music, Catalina Vicens’ dynamism and approach to historically informed performance and musicological research has led her to become one of the most versatile and sought-after historical keyboard performers and teachers of her generation.

Having specialized in performing on antique keyboard instruments (ranging from the 15th to the early 19th centuries), she has been invited to play on the oldest playable harpsichord in the world, featured in her recording “Il Cembalo di Partenope” (Diapason d’Or); the 15th-century gothic organ of St. Andreas in Ostönnen (one of the oldest and best-preserved organs in the world), as well as in a large number of prestigious collections in the UK, Europe, Japan and USA. She is also recognized for her work with medieval and renaissance keyboards, working alongside specialized instrument builders in the ‘reconstruction’ of new prototypes based on historical sources, and for her work alongside composers to give a new life to historical instruments.

In 2021, Vicens has been named curator of the Tagliavini Collection in Italy, one of the largest historical keyboard collections in Europe, and artistic director of Museo San Colombano in Bologna, as successor of the late Liuwe Tamminga, one of the leading experts of the Italian organ repertoire together with Maestro Luigi Ferdinando Tagliavini.

Catalina is also harpsichord/research lecturer at the Royal Conservatory of Brussels (Belgium). She has been invited as Visting Professor of Harpsichord at Oberlin Conservatory (USA) and to teach master-classes at the Longy School of Music Cambridge, the Flint Antique Harpsichords Collection (USA), the Horniman Museum (UK), the Universität der Künste Berlin and the Folkwang Universität der Künste Essen (Germany), and teaches regularly at the Early Music Academy in Lunenburg (Canada), Early Music Course at Burg Fürsteneck and the International Portative Organ Festival (Germany), which she curates since 2011. She’s been invited as jury member at the Jurow International Harpsichord Competition, Mechelen Harpsichord Competition , the Dulwich Historical Keyboard Competition and the Wanda Landowska Competition Poznań.

Vicens performs and records regularly as a member of ensembles of medieval, renaissance, baroque and contemporary music in Europe, North America. In 2013 she founded ensemble Servir Antico, with whom she aims to shed light on the less-known repertoire and intellectual heritage of the humanistic period (13th-16th century) while using the concert stage to share with the audience the voices of these visionaries of the past, but also committed to using it for amplifying new voices.

Catalina Vicens, a native of Chile, started her international career at an early age. By age 20 she had already played in the main concert-halls of more than ten countries in North and South America, including the Teatro Colón de Buenos Aires Argentina, the Kimmel Center in Philadelphia and the Teatro Municipal do São Paulo. She studied modern piano at the Instituto de Música de la P. Universidad Católica de Chile, harpsichord at the Curtis Institute of Music in Philadelphia, at the Musikhochschule Freiburg, and at the Schola Cantorum Basiliensis as well as medieval keyboards in the latter, and contemporary music performance at the Musik Akademie Basel. She is Ph.D. candidate at Leiden University / Orpheus Institute Ghent.

Anna Maria Friman
For the last twenty-five years Friman has been working as a freelance singer both in chamber music ensembles and as a soloist with choirs and orchestras (such as the Gavin Bryars Ensemble, Hille Perl & Sirius Viols, Göteborg Baroque, Ensemble Serikon, Latvian Radio Choir, Ricercar Consort and Stuttgart Bach Orchestra). In 2018 she started Friman-Ambrosini-Vicens trio with Marco Ambrosini (nyckelharpa) and Catalina Vicens (organetto) and in 2020 the Swedish group Renaissance AND with Nora Roll (viola da gamba) and Dohyo Sol (lute) was founded. Most of her ensemble engagements over the last fifteen years have included performers from different musical styles, crossing borders between folk, improvisation, contemporary, medieval and renaissance music.

With her regular groups Trio Mediæval and Alternative History Quartet she has performed and given radio broadcasts throughout Europe, USA, Mexico, Canada, Hong Kong, South Korea, Japan and Australia, and since 2001 she has recorded 11 albums for ECM Records. In 2010 Friman completed a Doctor of Philosophy in Music at the University of York, UK where she researched the modern performance of medieval music by women. For five years she taught singing and coached vocal ensembles at the University of York, and further through the years she has very much enjoyed giving vocal masterclasses and ensemble workshops at different academic institutions in Europe and USA, teaching at summer courses as well as coaching individual groups. From 2001 – 2015 she was a jury member at the vocal ensemble competition the Tampere International Choral Festival in Finland. Friman teaches at the Master’s programme in Choral Conducting at the Academy of Music & Drama in Göteborg, Sweden.

Linn Andrea Fuglseth
Linn Andrea Fuglseth was born in Sandefjord, Norway in 1969. She studied at the Guildhall School of Music and Drama in London 1994-1995, receiving a diploma in Advanced Solo Studies in Early Music.

She completed her Masters Degree in vocal performance at the Norwegian Academy of Music in 1997, specializing in baroque interpretation and writing a dissertation on the Restoration Mad Songs. In October 1997 she founded Trio Mediæval.

Fuglseth’s solo engagements include performances with the Norwegian Radio Orchestra, Stavanger Symphony Orchestra, the Norwegian Baroque Orchestra, Norwegian Soloists’ Choir and Rolf Lislevand. She is a member of the folk music ensemble Østfolk, touring with school concerts in Norway. Fuglseth started, and has since 2004 conducted Bolteløkka Jentekor in Oslo, a school choir for girls aged 6-16. For this work she was awarded a culture prize in Bydel St Hanshaugen Oslo in 2011 and the Childrens’ Choir Conductor of the year by Ung i Kor Norway in 2015. In 2007 Fuglseth received a Government Grant for Artists for a period of three years. Fuglseth writes vocal arrangements of folk songs, and is being published by Musikk-Husets Forlag AS, Norway.

Jorunn Lovise Husan
Jorunn Lovise Husan joined the Trio Mediaeval in June 2018 (replacing Berit Opheim). Husan has an extensive experience as an ensemble singer and chamber music performer. She is a member of the Norwegian Soloists’ Choir and was for many years singing with the Oslo Chamber Choir and the renowned Norwegian vocal sextet Pust, that specializes in their own compositions and arrangements inspired by ballads, jazz and folk music. Her interest in folk – and contemporary music resulted in a Masters degree in vocal performance at the Norwegian Academy of Music (2010) where she specialized in the art of interpretation of folk music elements in Norwegian contemporary music.

In addition to her solo appearances touring with contemporary music ensembles such as BIT20 Ensemble and premiering Marcus Paus opera “Heksene”, she regularly performs alto solo parts from the main church music repertoire and has performed with conductors such as Grete Pedersen, Andrew Manze og Sirkka-Liisa Kaakinen-Pilch. Jorunn Lovise Husan is originally from Rennebu, but lives in Stavanger where she teaches singing at Stavanger Katedralskole and conducts the Stavanger Cathedral Girls’ Choir.

Nefesh Mountain: A Hanukkah Celebration
2024-12-12 19:30 - 21:30
Immerse yourself in the soul-stirring melodies and captivating harmonies of Nefesh Mountain. Led by the dynamic husband-and-wife team of Doni Zasloff and Eric Lindberg, their fusion of Jewish music with the rich tapestry of bluegrass and Americana creates an enchanting sound that transcends boundaries and lifts the spirit. Inspired by Jewish heritage and tradition, their lyrics are set against the backdrop of breathtaking musical arrangements. Experience the celebration of culture, faith, and the beauty of nature that defines Nefesh Mountain’s music, a stirring symphony that speaks to the hearts of all who listen.

“A Masterclass in string music, A Powerhouse Unit.” – Rolling Stone

Learn More about Nefesh Mountain
New York based Progressive Americana band Nefesh Mountain has been hailed as one of the formative boundary-pushing ensembles in roots music. The band’s creators and dynamic husband and wife team of Eric Lindberg and Doni Zasloff have created a world and sound all their own; blurring the lines between Americana, Bluegrass, Folk, Jazz and Blues with a masterful hand as songwriters, instrumentalists and composers alike. The band, declared “A Powerhouse Unit” by Rolling Stone and “Introspective lyrics and world class musicianship” by American Songwriter, takes the listener on a deeply personal journey that embodies their own wild nature and unbridled free spirits, bridging compositional prowess and prolific songwriting with deft instrumentals and jams.

Since their formation nearly a decade ago, Nefesh Mountain has been proudly open and vocal about their background and heritage as Jewish Americans, and are among the first preeminent Americana / Bluegrass bands to infuse Jewish tradition and soul into the beautifully diverse tapestry of American roots music. For them the music is wholly American, freely expressing their own identities while at the same time addressing the hate, discrimination, anti-semitism and racism that still remains at large in America and the World today.The band has recorded and shared the stage with Sam Bush, Jerry Douglas, Bryan Sutton, John Doyle, Noam Pikelny (Punch Brothers), Mark Schatz (Bèla Fleck, Nickel Creek), Mike Gordon (Phish) and Tony Trischka among others. The Troubadours along with their band continue to forge new paths in unknown territory, armed with Zasloff and Lindberg’s strong, smokey, and folksy vocals and Lindberg’s soulful and masterful skills on guitars and banjo alike.

Doni and Eric are on road year-round with their baby Willow and the Nefesh Mountain band; a collective of Bassists, drummers, and multi-instrumentalists including Thomas Cassell, Maddie Witler, Korey Brodsky, Dylan McCarthy, Ben Plotnick, Avery Merritt, Julian Pinelli, Dan Klingsberg, Noah Fishman, Erik Alvar among others

In 2021 they made their debut at The Grand Ole Opry in Nashville, TN and in recent years have performed various Festivals, PACs, and countless venues including Mountain Stage, Merlefest, Wintergrass, Ossipee Valley, Kaw River Roots, Thomas Point Bluegrass, Multiple City Wineries, and many more. Through the years Nefesh Mountain has officially showcased and been a proud member of AmericanaFest, Folk Alliance, and the IBMA. Eric Lindberg is proudly sponsored by Deering Banjos, Bourgeois Guitars, and Thompson Guitars.

For more information, please visit their website.

Holiday Rosen House Tours
2024-12-13 12:30 - 2024-12-22 13:30
You are invited to step into a holiday wonderland! Join us for a special tour of the art-filled Rosen House, decked out with enchanting decorations inspired by the cherished Rosen family archive. This limited-time holiday tour offers a glimpse of the family life that inspired celebrations in this historic house..

Our knowledgeable guides will take you on a captivating journey that’s perfect for friends and families alike. Create lasting holiday memories and immerse yourself in the rich history of the Rosen House with an unforgettable holiday tour!

Duration: Approximately 45 minutes of festive delight.

Advanced Registration Required.Members and Children 18 and Under: Admission is free!

Time Slots:December 13–22 (no tours on the 16th): 12:30pm or 1:00pm

Holiday Tea Musicale
2024-12-14 14:00 - 16:00
Get in the holiday spirit at Caramoor’s historic Rosen House! Enjoy charismatic musicians, festive decorations, and tea service in the majestic Music Room. Following the spirited performance, the tea service includes an assortment of finger sandwiches, scrumptious holiday treats, and a variety of teas (or hot chocolate with marshmallows for children!). This program is popular and dates quickly fill up. Please scroll down to see the menus we offer!

Artists

Saniyyah Bamberg, sopranoWilliam Schwartzman, piano

Schedule

12:00pm / Caramoor Holiday Gift Shop opens in Summer Dining Room1:30pm / Music Room opens for seating2:00pm / Holiday concert with Saniyyah Bamberg & William Schwartzman3:00pm / Tea service begins5:00pm / Caramoor Holiday Gift Shop closes

Self-Guided Rosen House Tours (included with ticket) / Following the tea, you will also have a chance to visit select rooms of the Rosen House starting at 4:00pm, until 5:00pm. The rooms showcase fine examples of decorative arts from Europe and China including jade, porcelain, and textiles that the Rosens admired and collected, and will also be decked out for the holidays with enchanting decorations inspired by the Rosen family archive.

Docent-Guided Holiday Rosen House Tours (additional fees may apply) / Preceding the tea, you are invited to step into a holiday wonderland! Join us for a special tour of the art-filled Rosen House, decked out with enchanting decorations inspired by the cherished Rosen family archive. Create lasting holiday memories and immerse yourself in the rich history of the Rosen House with an unforgettable Holiday Tour! Docent-led Holiday Tours are available by appointment only; they tend to fill up quickly, so be sure to book in advance by clicking here or calling the Box Office at 914.232.1252. Advanced Registration Required. Docent-led Holiday Tours are free for Members and Children 18 and Under.

Menu

Adult Menu

Upon Arrival

Cranberry-Orange Scone with Crème Fraiche and Raspberry Jam

Tea Sandwiches

Roasted Tomato, Ricotta, and Avocado on Crostini Toast

Smoked Salmon, Chive Cream Cheese, and Capers on Rye Bread

Cucumber and Mint Cream Cheese on Black Bread

Curried Chicken Salad on Brioche Bun

Turkey Apple Cranberry Salad in a Phyllo Cup

Teas

Ceylon Waltz Black Tea

Earl Grey Moonlight Sonata Black Tea

Peppermint Herbal Tea

Desserts

An Assortment of Seasonal Desserts

Children’s Menu (suitable for ages 4–12)

Upon Arrival

Cranberry-Orange Scone with Crème Fraiche and Raspberry Jam

Tea Sandwiches

Roast Beef and Cheddar on Wheat

Ham and Swiss on Rye

Turkey and American Cheese on Rye

Mozzarella and Tomato on Mini Brioche Buns

Peanut Butter and Jelly on White Bread

Teas

Hot Chocolate with Marshmallows

Desserts

An Assortment of Seasonal Desserts

Dietary Restrictions: With advance notice at the time of booking, we are able to accommodate the following dietary restrictions: vegetarian, vegan, dairy-free, and gluten-free. Please let us know if you have any severe allergies and we will do our best to accommodate. Please note, all foods are prepared off-site therefore we cannot provide day-of requests.

Vegetarian Menu

Upon Arrival

Cranberry-Orange Scone with Crème Fraiche and Raspberry Jam

Tea Sandwiches

Roasted Tomato, Avocado, and Ricotta on Crostini Toast

Cucumber and Mint Cream Cheese on Black Bread

Fresh Mozzarella, Pesto, and Arugula on Whole Grain Bread

Hummus and Roasted Veggies on Rye Bread

Curried Vegetarian “Chicken” Salad and Arugula on Mini Brioche Bun

Teas

Ceylon Waltz Black Tea

Earl Grey Moonlight Sonata Black Tea

Peppermint Herbal Tea

Desserts

An Assortment of Seasonal Desserts

Vegan Menu

Upon Arrival

Vegan Scone with Raspberry Jam

Tea Sandwiches

Curried Vegetarian “Chicken” Salad and Arugula on Vegan Bread

Hummus and Roasted Veggies on Rye Bread

Avocado, Roasted Tomato, and “Ricotta” on Crostini Toast

Vegan Mozzarella, Tomato, and Arugula with Balsamic Vinaigrette on Crostini Toast

Cucumber and Mint Vegan Cream Cheese on Black Bread

*uses nut-based cheese substitutes

Teas

Ceylon Waltz Black Tea

Earl Grey Moonlight Sonata Black Tea

Peppermint Herbal Tea

Desserts

An Assortment of Seasonal Vegan Desserts

Gluten-Free Menu

Upon Arrival

Gluten Free Scone with Crème Fraiche and Raspberry Jam

Tea Sandwiches

Roasted Tomato, Ricotta, and Avocado on Gluten Free Bread

Smoked Salmon, Chive Cream Cheese, and Capers on Gluten Free Bread

Cucumber and Mint Cream Cheese on Gluten Free Bread

Curried Chicken Salad on Gluten Free Bread

Turkey Apple Cranberry Salad on Gluten Free Bread

Teas

Ceylon Waltz Black Tea

Earl Grey Moonlight Sonata Black Tea

Peppermint Herbal Tea

Desserts

An Assortment of Seasonal Gluten Free Desserts

Dairy-Free Menu

Upon Arrival

Dairy Free Scone with Raspberry Jam

Tea Sandwiches

Curried Chicken Salad and Arugula on Dairy Free Bread

Avocado, Roasted Tomato, and “Ricotta” on Crostini Toast

Smoked Salmon, Vegan Cream Cheese, Capers, Rye Bread

Cucumber and Mint Vegan Cream Cheese on Black Bread

Turkey Apple Cranberry Salad on Dairy Free Bread

*Uses Nut-Based Cheeses

Teas

Ceylon Waltz Black Tea

Earl Grey Moonlight Sonata Black Tea

Peppermint Herbal Tea

Desserts

An Assortment of Seasonal Dairy Free Desserts

Give the Gift of Music this Season!Need a unique gift idea for the music lover in your life? Purchase a Caramoor Gift Certificate for any value by emailing us at boxoffice@caramoor.org or call 914.232.1252. Or Give the Gift of Membership! Membership is a delightful present for any occasion that can be enjoyed year-round, including: Advanced ticket sales, to get the best seats first; Free tours of the historic Rosen House; and, Exclusive invitations to Members-only events. Contact membership@caramoor.org for more information.

Don’t Forget to Stop by the Gift Shop!Get into the festive spirit at Caramoor by visiting our gift shop, where you can discover the perfect holiday presents for your loved ones. From Caramoor merchandise to musical treasures, make a stop at Caramoor’s gift shop as part of your holiday shopping tradition.

Holiday Tea Musicale
2024-12-15 14:00 - 16:00
Get in the holiday spirit at Caramoor’s historic Rosen House! Enjoy charismatic musicians, festive decorations, and tea service in the majestic Music Room. Following the spirited performance, the tea service includes an assortment of finger sandwiches, scrumptious holiday treats, and a variety of teas (or hot chocolate with marshmallows for children!). This program is popular and dates quickly fill up. Please scroll down to see the menus we offer!

Artists

Saniyyah Bamberg, sopranoEsteban Castro, piano

Schedule

12:00pm / Caramoor Holiday Gift Shop opens in Summer Dining Room1:30pm / Music Room opens for seating2:00pm / Holiday concert with Saniyyah Bamberg & Esteban Castro3:00pm / Tea service begins5:00pm / Caramoor Holiday Gift Shop closes

Self-Guided Rosen House Tours (included with ticket) / Following the tea, you will also have a chance to visit select rooms of the Rosen House starting at 4:00pm, until 5:00pm. The rooms showcase fine examples of decorative arts from Europe and China including jade, porcelain, and textiles that the Rosens admired and collected, and will also be decked out for the holidays with enchanting decorations inspired by the Rosen family archive.

Docent-Guided Holiday Rosen House Tours (additional fees may apply) / Preceding the tea, you are invited to step into a holiday wonderland! Join us for a special tour of the art-filled Rosen House, decked out with enchanting decorations inspired by the cherished Rosen family archive. Create lasting holiday memories and immerse yourself in the rich history of the Rosen House with an unforgettable Holiday Tour! Docent-led Holiday Tours are available by appointment only; they tend to fill up quickly, so be sure to book in advance by clicking here or calling the Box Office at 914.232.1252. Advanced Registration Required. Docent-led Holiday Tours are free for Members and Children 18 and Under.

Menu

Adult Menu

Upon Arrival

Cranberry-Orange Scone with Crème Fraiche and Raspberry Jam

Tea Sandwiches

Roasted Tomato, Ricotta, and Avocado on Crostini Toast

Smoked Salmon, Chive Cream Cheese, and Capers on Rye Bread

Cucumber and Mint Cream Cheese on Black Bread

Curried Chicken Salad on Brioche Bun

Turkey Apple Cranberry Salad in a Phyllo Cup

Teas

Ceylon Waltz Black Tea

Earl Grey Moonlight Sonata Black Tea

Peppermint Herbal Tea

Desserts

An Assortment of Seasonal Desserts

Children’s Menu (suitable for ages 4–12)

Upon Arrival

Cranberry-Orange Scone with Crème Fraiche and Raspberry Jam

Tea Sandwiches

Roast Beef and Cheddar on Wheat

Ham and Swiss on Rye

Turkey and American Cheese on Rye

Mozzarella and Tomato on Mini Brioche Buns

Peanut Butter and Jelly on White Bread

Teas

Hot Chocolate with Marshmallows

Desserts

An Assortment of Seasonal Desserts

Dietary Restrictions: With advance notice at the time of booking, we are able to accommodate the following dietary restrictions: vegetarian, vegan, dairy-free, and gluten-free. Please let us know if you have any severe allergies and we will do our best to accommodate. Please note, all foods are prepared off-site therefore we cannot provide day-of requests.

Vegetarian Menu

Upon Arrival

Cranberry-Orange Scone with Crème Fraiche and Raspberry Jam

Tea Sandwiches

Roasted Tomato, Avocado, and Ricotta on Crostini Toast

Cucumber and Mint Cream Cheese on Black Bread

Fresh Mozzarella, Pesto, and Arugula on Whole Grain Bread

Hummus and Roasted Veggies on Rye Bread

Curried Vegetarian “Chicken” Salad and Arugula on Mini Brioche Bun

Teas

Ceylon Waltz Black Tea

Earl Grey Moonlight Sonata Black Tea

Peppermint Herbal Tea

Desserts

An Assortment of Seasonal Desserts

Vegan Menu

Upon Arrival

Vegan Scone with Raspberry Jam

Tea Sandwiches

Curried Vegetarian “Chicken” Salad and Arugula on Vegan Bread

Hummus and Roasted Veggies on Rye Bread

Avocado, Roasted Tomato, and “Ricotta” on Crostini Toast

Vegan Mozzarella, Tomato, and Arugula with Balsamic Vinaigrette on Crostini Toast

Cucumber and Mint Vegan Cream Cheese on Black Bread

*uses nut-based cheese substitutes

Teas

Ceylon Waltz Black Tea

Earl Grey Moonlight Sonata Black Tea

Peppermint Herbal Tea

Desserts

An Assortment of Seasonal Vegan Desserts

Gluten-Free Menu

Upon Arrival

Gluten Free Scone with Crème Fraiche and Raspberry Jam

Tea Sandwiches

Roasted Tomato, Ricotta, and Avocado on Gluten Free Bread

Smoked Salmon, Chive Cream Cheese, and Capers on Gluten Free Bread

Cucumber and Mint Cream Cheese on Gluten Free Bread

Curried Chicken Salad on Gluten Free Bread

Turkey Apple Cranberry Salad on Gluten Free Bread

Teas

Ceylon Waltz Black Tea

Earl Grey Moonlight Sonata Black Tea

Peppermint Herbal Tea

Desserts

An Assortment of Seasonal Gluten Free Desserts

Dairy-Free Menu

Upon Arrival

Dairy Free Scone with Raspberry Jam

Tea Sandwiches

Curried Chicken Salad and Arugula on Dairy Free Bread

Avocado, Roasted Tomato, and “Ricotta” on Crostini Toast

Smoked Salmon, Vegan Cream Cheese, Capers, Rye Bread

Cucumber and Mint Vegan Cream Cheese on Black Bread

Turkey Apple Cranberry Salad on Dairy Free Bread

*Uses Nut-Based Cheeses

Teas

Ceylon Waltz Black Tea

Earl Grey Moonlight Sonata Black Tea

Peppermint Herbal Tea

Desserts

An Assortment of Seasonal Dairy Free Desserts

Give the Gift of Music this Season!Need a unique gift idea for the music lover in your life? Purchase a Caramoor Gift Certificate for any value by emailing us at boxoffice@caramoor.org or call 914.232.1252. Or Give the Gift of Membership! Membership is a delightful present for any occasion that can be enjoyed year-round, including: Advanced ticket sales, to get the best seats first; Free tours of the historic Rosen House; and, Exclusive invitations to Members-only events. Contact membership@caramoor.org for more information.

Don’t Forget to Stop by the Gift Shop!Get into the festive spirit at Caramoor by visiting our gift shop, where you can discover the perfect holiday presents for your loved ones. From Caramoor merchandise to musical treasures, make a stop at Caramoor’s gift shop as part of your holiday shopping tradition.

Holiday Tea Musicale
2024-12-17 14:00 - 16:00, 2024-12-18 14:00 - 16:00
Get in the holiday spirit at Caramoor’s historic Rosen House! Enjoy charismatic musicians, festive decorations, and tea service in the majestic Music Room. Following the spirited performance, the tea service includes an assortment of finger sandwiches, scrumptious holiday treats, and a variety of teas (or hot chocolate with marshmallows for children!). This program is popular and dates quickly fill up. Please scroll down to see the menus we offer!

Schedule

12:00pm / Caramoor Holiday Gift Shop opens in Summer Dining Room1:30pm / Music Room opens for seating2:00pm / Holiday concert with Joseph Parrish & Amir Farid3:00pm / Tea service begins5:00pm / Caramoor Holiday Gift Shop closes

Artists

Joseph Parrish, bass-baritoneAmir Farid, piano

Self-Guided Rosen House Tours (included with ticket) / Following the tea, you will also have a chance to visit select rooms of the Rosen House starting at 4:00pm, until 5:00pm. The rooms showcase fine examples of decorative arts from Europe and China including jade, porcelain, and textiles that the Rosens admired and collected, and will also be decked out for the holidays with enchanting decorations inspired by the Rosen family archive.

Docent-Guided Holiday Rosen House Tours (additional fees may apply) / Preceding the tea, you are invited to step into a holiday wonderland! Join us for a special tour of the art-filled Rosen House, decked out with enchanting decorations inspired by the cherished Rosen family archive. Create lasting holiday memories and immerse yourself in the rich history of the Rosen House with an unforgettable Holiday Tour! Docent-led Holiday Tours are available by appointment only; they tend to fill up quickly, so be sure to book in advance by clicking here or calling the Box Office at 914.232.1252. Advanced Registration Required. Docent-led Holiday Tours are free for Members and Children 18 and Under.

Menu

Adult Menu

Upon Arrival

Cranberry-Orange Scone with Crème Fraiche and Raspberry Jam

Tea Sandwiches

Roasted Tomato, Ricotta, and Avocado on Crostini Toast

Smoked Salmon, Chive Cream Cheese, and Capers on Rye Bread

Cucumber and Mint Cream Cheese on Black Bread

Curried Chicken Salad on Brioche Bun

Turkey Apple Cranberry Salad in a Phyllo Cup

Teas

Ceylon Waltz Black Tea

Earl Grey Moonlight Sonata Black Tea

Peppermint Herbal Tea

Desserts

An Assortment of Seasonal Desserts

Children’s Menu (suitable for ages 4–12)

Upon Arrival

Cranberry-Orange Scone with Crème Fraiche and Raspberry Jam

Tea Sandwiches

Roast Beef and Cheddar on Wheat

Ham and Swiss on Rye

Turkey and American Cheese on Rye

Mozzarella and Tomato on Mini Brioche Buns

Peanut Butter and Jelly on White Bread

Teas

Hot Chocolate with Marshmallows

Desserts

An Assortment of Seasonal Desserts

Dietary Restrictions: With advance notice at the time of booking, we are able to accommodate the following dietary restrictions: vegetarian, vegan, dairy-free, and gluten-free. Please let us know if you have any severe allergies and we will do our best to accommodate. Please note, all foods are prepared off-site therefore we cannot provide day-of requests.

Vegetarian Menu

Upon Arrival

Cranberry-Orange Scone with Crème Fraiche and Raspberry Jam

Tea Sandwiches

Roasted Tomato, Avocado, and Ricotta on Crostini Toast

Cucumber and Mint Cream Cheese on Black Bread

Fresh Mozzarella, Pesto, and Arugula on Whole Grain Bread

Hummus and Roasted Veggies on Rye Bread

Curried Vegetarian “Chicken” Salad and Arugula on Mini Brioche Bun

Teas

Ceylon Waltz Black Tea

Earl Grey Moonlight Sonata Black Tea

Peppermint Herbal Tea

Desserts

An Assortment of Seasonal Desserts

Vegan Menu

Upon Arrival

Vegan Scone with Raspberry Jam

Tea Sandwiches

Curried Vegetarian “Chicken” Salad and Arugula on Vegan Bread

Hummus and Roasted Veggies on Rye Bread

Avocado, Roasted Tomato, and “Ricotta” on Crostini Toast

Vegan Mozzarella, Tomato, and Arugula with Balsamic Vinaigrette on Crostini Toast

Cucumber and Mint Vegan Cream Cheese on Black Bread

*uses nut-based cheese substitutes

Teas

Ceylon Waltz Black Tea

Earl Grey Moonlight Sonata Black Tea

Peppermint Herbal Tea

Desserts

An Assortment of Seasonal Vegan Desserts

Gluten-Free Menu

Upon Arrival

Gluten Free Scone with Crème Fraiche and Raspberry Jam

Tea Sandwiches

Roasted Tomato, Ricotta, and Avocado on Gluten Free Bread

Smoked Salmon, Chive Cream Cheese, and Capers on Gluten Free Bread

Cucumber and Mint Cream Cheese on Gluten Free Bread

Curried Chicken Salad on Gluten Free Bread

Turkey Apple Cranberry Salad on Gluten Free Bread

Teas

Ceylon Waltz Black Tea

Earl Grey Moonlight Sonata Black Tea

Peppermint Herbal Tea

Desserts

An Assortment of Seasonal Gluten Free Desserts

Dairy-Free Menu

Upon Arrival

Dairy Free Scone with Raspberry Jam

Tea Sandwiches

Curried Chicken Salad and Arugula on Dairy Free Bread

Avocado, Roasted Tomato, and “Ricotta” on Crostini Toast

Smoked Salmon, Vegan Cream Cheese, Capers, Rye Bread

Cucumber and Mint Vegan Cream Cheese on Black Bread

Turkey Apple Cranberry Salad on Dairy Free Bread

*Uses Nut-Based Cheeses

Teas

Ceylon Waltz Black Tea

Earl Grey Moonlight Sonata Black Tea

Peppermint Herbal Tea

Desserts

An Assortment of Seasonal Dairy Free Desserts

Give the Gift of Music this Season!Need a unique gift idea for the music lover in your life? Purchase a Caramoor Gift Certificate for any value by emailing us at boxoffice@caramoor.org or call 914.232.1252. Or Give the Gift of Membership! Membership is a delightful present for any occasion that can be enjoyed year-round, including: Advanced ticket sales, to get the best seats first; Free tours of the historic Rosen House; and, Exclusive invitations to Members-only events. Contact membership@caramoor.org for more information.

Don’t Forget to Stop by the Gift Shop!Get into the festive spirit at Caramoor by visiting our gift shop, where you can discover the perfect holiday presents for your loved ones. From Caramoor merchandise to musical treasures, make a stop at Caramoor’s gift shop as part of your holiday shopping tradition.

Holiday Tea Musicale
2024-12-19 14:00 - 16:00, 2024-12-22 14:00 - 16:00
Get in the holiday spirit at Caramoor’s historic Rosen House! Enjoy charismatic musicians, festive decorations, and tea service in the majestic Music Room. Following the spirited performance, the tea service includes an assortment of finger sandwiches, scrumptious holiday treats, and a variety of teas (or hot chocolate with marshmallows for children!). This program is popular and dates quickly fill up. Please scroll down to see the menus we offer!

Schedule

12:00pm / Caramoor Holiday Gift Shop opens in Summer Dining Room1:30pm / Music Room opens for seating2:00pm / Holiday concert with Scott Rubén La Marca & Amber Scherer3:00pm / Tea service begins5:00pm / Caramoor Holiday Gift Shop closes

Artists

Scott Rubén La Marca, tenorAmber Scherer, piano

Self-Guided Rosen House Tours (included with ticket) / Following the tea, you will also have a chance to visit select rooms of the Rosen House starting at 4:00pm, until 5:00pm. The rooms showcase fine examples of decorative arts from Europe and China including jade, porcelain, and textiles that the Rosens admired and collected, and will also be decked out for the holidays with enchanting decorations inspired by the Rosen family archive.

Docent-Guided Holiday Rosen House Tours (additional fees may apply) / Preceding the tea, you are invited to step into a holiday wonderland! Join us for a special tour of the art-filled Rosen House, decked out with enchanting decorations inspired by the cherished Rosen family archive. Create lasting holiday memories and immerse yourself in the rich history of the Rosen House with an unforgettable Holiday Tour! Docent-led Holiday Tours are available by appointment only; they tend to fill up quickly, so be sure to book in advance by clicking here or calling the Box Office at 914.232.1252. Advanced Registration Required. Docent-led Holiday Tours are free for Members and Children 18 and Under.

Menu

Adult Menu

Upon Arrival

Cranberry-Orange Scone with Crème Fraiche and Raspberry Jam

Tea Sandwiches

Roasted Tomato, Ricotta, and Avocado on Crostini Toast

Smoked Salmon, Chive Cream Cheese, and Capers on Rye Bread

Cucumber and Mint Cream Cheese on Black Bread

Curried Chicken Salad on Brioche Bun

Turkey Apple Cranberry Salad in a Phyllo Cup

Teas

Ceylon Waltz Black Tea

Earl Grey Moonlight Sonata Black Tea

Peppermint Herbal Tea

Desserts

An Assortment of Seasonal Desserts

Children’s Menu (suitable for ages 4–12)

Upon Arrival

Cranberry-Orange Scone with Crème Fraiche and Raspberry Jam

Tea Sandwiches

Roast Beef and Cheddar on Wheat

Ham and Swiss on Rye

Turkey and American Cheese on Rye

Mozzarella and Tomato on Mini Brioche Buns

Peanut Butter and Jelly on White Bread

Teas

Hot Chocolate with Marshmallows

Desserts

An Assortment of Seasonal Desserts

Dietary Restrictions: With advance notice at the time of booking, we are able to accommodate the following dietary restrictions: vegetarian, vegan, dairy-free, and gluten-free. Please let us know if you have any severe allergies and we will do our best to accommodate. Please note, all foods are prepared off-site therefore we cannot provide day-of requests.

Vegetarian Menu

Upon Arrival

Cranberry-Orange Scone with Crème Fraiche and Raspberry Jam

Tea Sandwiches

Roasted Tomato, Avocado, and Ricotta on Crostini Toast

Cucumber and Mint Cream Cheese on Black Bread

Fresh Mozzarella, Pesto, and Arugula on Whole Grain Bread

Hummus and Roasted Veggies on Rye Bread

Curried Vegetarian “Chicken” Salad and Arugula on Mini Brioche Bun

Teas

Ceylon Waltz Black Tea

Earl Grey Moonlight Sonata Black Tea

Peppermint Herbal Tea

Desserts

An Assortment of Seasonal Desserts

Vegan Menu

Upon Arrival

Vegan Scone with Raspberry Jam

Tea Sandwiches

Curried Vegetarian “Chicken” Salad and Arugula on Vegan Bread

Hummus and Roasted Veggies on Rye Bread

Avocado, Roasted Tomato, and “Ricotta” on Crostini Toast

Vegan Mozzarella, Tomato, and Arugula with Balsamic Vinaigrette on Crostini Toast

Cucumber and Mint Vegan Cream Cheese on Black Bread

*uses nut-based cheese substitutes

Teas

Ceylon Waltz Black Tea

Earl Grey Moonlight Sonata Black Tea

Peppermint Herbal Tea

Desserts

An Assortment of Seasonal Vegan Desserts

Gluten-Free Menu

Upon Arrival

Gluten Free Scone with Crème Fraiche and Raspberry Jam

Tea Sandwiches

Roasted Tomato, Ricotta, and Avocado on Gluten Free Bread

Smoked Salmon, Chive Cream Cheese, and Capers on Gluten Free Bread

Cucumber and Mint Cream Cheese on Gluten Free Bread

Curried Chicken Salad on Gluten Free Bread

Turkey Apple Cranberry Salad on Gluten Free Bread

Teas

Ceylon Waltz Black Tea

Earl Grey Moonlight Sonata Black Tea

Peppermint Herbal Tea

Desserts

An Assortment of Seasonal Gluten Free Desserts

Dairy-Free Menu

Upon Arrival

Dairy Free Scone with Raspberry Jam

Tea Sandwiches

Curried Chicken Salad and Arugula on Dairy Free Bread

Avocado, Roasted Tomato, and “Ricotta” on Crostini Toast

Smoked Salmon, Vegan Cream Cheese, Capers, Rye Bread

Cucumber and Mint Vegan Cream Cheese on Black Bread

Turkey Apple Cranberry Salad on Dairy Free Bread

*Uses Nut-Based Cheeses

Teas

Ceylon Waltz Black Tea

Earl Grey Moonlight Sonata Black Tea

Peppermint Herbal Tea

Desserts

An Assortment of Seasonal Dairy Free Desserts

Give the Gift of Music this Season!Need a unique gift idea for the music lover in your life? Purchase a Caramoor Gift Certificate for any value by emailing us at boxoffice@caramoor.org or call 914.232.1252. Or Give the Gift of Membership! Membership is a delightful present for any occasion that can be enjoyed year-round, including: Advanced ticket sales, to get the best seats first; Free tours of the historic Rosen House; and, Exclusive invitations to Members-only events. Contact membership@caramoor.org for more information.

Don’t Forget to Stop by the Gift Shop!Get into the festive spirit at Caramoor by visiting our gift shop, where you can discover the perfect holiday presents for your loved ones. From Caramoor merchandise to musical treasures, make a stop at Caramoor’s gift shop as part of your holiday shopping tradition.

Holiday Tea Musicale
2024-12-20 14:00 - 16:00, 2024-12-21 14:00 - 16:00
Get in the holiday spirit at Caramoor’s historic Rosen House! Enjoy charismatic musicians, festive decorations, and tea service in the majestic Music Room. Following the spirited performance, the tea service includes an assortment of finger sandwiches, scrumptious holiday treats, and a variety of teas (or hot chocolate with marshmallows for children!). This program is popular and dates quickly fill up. Please scroll down to see the menus we offer!

Schedule

12:00pm / Caramoor Holiday Gift Shop opens in Summer Dining Room1:30pm / Music Room opens for seating2:00pm / Holiday concert with Sophia Baete & Francesco Barfoed3:00pm / Tea service begins5:00pm / Caramoor Holiday Gift Shop closes

Artists

Scott Rubén La Marca, tenorAmber Scherer, piano

Self-Guided Rosen House Tours (included with ticket) / Following the tea, you will also have a chance to visit select rooms of the Rosen House starting at 4:00pm, until 5:00pm. The rooms showcase fine examples of decorative arts from Europe and China including jade, porcelain, and textiles that the Rosens admired and collected, and will also be decked out for the holidays with enchanting decorations inspired by the Rosen family archive.

Docent-Guided Holiday Rosen House Tours (additional fees may apply) / Preceding the tea, you are invited to step into a holiday wonderland! Join us for a special tour of the art-filled Rosen House, decked out with enchanting decorations inspired by the cherished Rosen family archive. Create lasting holiday memories and immerse yourself in the rich history of the Rosen House with an unforgettable Holiday Tour! Docent-led Holiday Tours are available by appointment only; they tend to fill up quickly, so be sure to book in advance by clicking here or calling the Box Office at 914.232.1252. Advanced Registration Required. Docent-led Holiday Tours are free for Members and Children 18 and Under.

Menu

Adult Menu

Upon Arrival

Cranberry-Orange Scone with Crème Fraiche and Raspberry Jam

Tea Sandwiches

Roasted Tomato, Ricotta, and Avocado on Crostini Toast

Smoked Salmon, Chive Cream Cheese, and Capers on Rye Bread

Cucumber and Mint Cream Cheese on Black Bread

Curried Chicken Salad on Brioche Bun

Turkey Apple Cranberry Salad in a Phyllo Cup

Teas

Ceylon Waltz Black Tea

Earl Grey Moonlight Sonata Black Tea

Peppermint Herbal Tea

Desserts

An Assortment of Seasonal Desserts

Children’s Menu (suitable for ages 4–12)

Upon Arrival

Cranberry-Orange Scone with Crème Fraiche and Raspberry Jam

Tea Sandwiches

Roast Beef and Cheddar on Wheat

Ham and Swiss on Rye

Turkey and American Cheese on Rye

Mozzarella and Tomato on Mini Brioche Buns

Peanut Butter and Jelly on White Bread

Teas

Hot Chocolate with Marshmallows

Desserts

An Assortment of Seasonal Desserts

Dietary Restrictions: With advance notice at the time of booking, we are able to accommodate the following dietary restrictions: vegetarian, vegan, dairy-free, and gluten-free. Please let us know if you have any severe allergies and we will do our best to accommodate. Please note, all foods are prepared off-site therefore we cannot provide day-of requests.

Vegetarian Menu

Upon Arrival

Cranberry-Orange Scone with Crème Fraiche and Raspberry Jam

Tea Sandwiches

Roasted Tomato, Avocado, and Ricotta on Crostini Toast

Cucumber and Mint Cream Cheese on Black Bread

Fresh Mozzarella, Pesto, and Arugula on Whole Grain Bread

Hummus and Roasted Veggies on Rye Bread

Curried Vegetarian “Chicken” Salad and Arugula on Mini Brioche Bun

Teas

Ceylon Waltz Black Tea

Earl Grey Moonlight Sonata Black Tea

Peppermint Herbal Tea

Desserts

An Assortment of Seasonal Desserts

Vegan Menu

Upon Arrival

Vegan Scone with Raspberry Jam

Tea Sandwiches

Curried Vegetarian “Chicken” Salad and Arugula on Vegan Bread

Hummus and Roasted Veggies on Rye Bread

Avocado, Roasted Tomato, and “Ricotta” on Crostini Toast

Vegan Mozzarella, Tomato, and Arugula with Balsamic Vinaigrette on Crostini Toast

Cucumber and Mint Vegan Cream Cheese on Black Bread

*uses nut-based cheese substitutes

Teas

Ceylon Waltz Black Tea

Earl Grey Moonlight Sonata Black Tea

Peppermint Herbal Tea

Desserts

An Assortment of Seasonal Vegan Desserts

Gluten-Free Menu

Upon Arrival

Gluten Free Scone with Crème Fraiche and Raspberry Jam

Tea Sandwiches

Roasted Tomato, Ricotta, and Avocado on Gluten Free Bread

Smoked Salmon, Chive Cream Cheese, and Capers on Gluten Free Bread

Cucumber and Mint Cream Cheese on Gluten Free Bread

Curried Chicken Salad on Gluten Free Bread

Turkey Apple Cranberry Salad on Gluten Free Bread

Teas

Ceylon Waltz Black Tea

Earl Grey Moonlight Sonata Black Tea

Peppermint Herbal Tea

Desserts

An Assortment of Seasonal Gluten Free Desserts

Dairy-Free Menu

Upon Arrival

Dairy Free Scone with Raspberry Jam

Tea Sandwiches

Curried Chicken Salad and Arugula on Dairy Free Bread

Avocado, Roasted Tomato, and “Ricotta” on Crostini Toast

Smoked Salmon, Vegan Cream Cheese, Capers, Rye Bread

Cucumber and Mint Vegan Cream Cheese on Black Bread

Turkey Apple Cranberry Salad on Dairy Free Bread

*Uses Nut-Based Cheeses

Teas

Ceylon Waltz Black Tea

Earl Grey Moonlight Sonata Black Tea

Peppermint Herbal Tea

Desserts

An Assortment of Seasonal Dairy Free Desserts

Give the Gift of Music this Season!Need a unique gift idea for the music lover in your life? Purchase a Caramoor Gift Certificate for any value by emailing us at boxoffice@caramoor.org or call 914.232.1252. Or Give the Gift of Membership! Membership is a delightful present for any occasion that can be enjoyed year-round, including: Advanced ticket sales, to get the best seats first; Free tours of the historic Rosen House; and, Exclusive invitations to Members-only events. Contact membership@caramoor.org for more information.

Don’t Forget to Stop by the Gift Shop!Get into the festive spirit at Caramoor by visiting our gift shop, where you can discover the perfect holiday presents for your loved ones. From Caramoor merchandise to musical treasures, make a stop at Caramoor’s gift shop as part of your holiday shopping tradition.

Afternoon Tea
2025-01-24 13:00 - 17:00, 2025-01-31 13:00 - 17:00
Afternoon Tea was one of the English traditions Lucie Rosen, founder of Caramoor, enjoyed during her time living in England in the early 1910s. She kept up the practice of inviting friends and guests to tea for many years, using the time for conversation and for planning concerts and other social events.

Tea is served in the Music Room, a unique opportunity for you to relax with friends and family in a breathtaking historic setting, featuring a large portrait of Lucie herself. The service includes a variety of tea sandwiches, scones with créme fraiche and preserves, delicious desserts, and a selection of fragrant teas. Please scroll down to see the menus we offer!

Self-Guided Rosen House Tours (included with ticket) / Following the tea, you will also have a chance to visit select rooms of the Rosen House starting at 2:00pm, until 3:30pm. The rooms showcase fine examples of decorative arts from Europe and China including jade, porcelain, and textiles that the Rosens admired and collected.

Special Viewing Opportunity

In celebration of the Lunar New Year, you are invited to view a stunning collection of Chinese art, including the magnificent jade screen. The screen, intricately carved, depicts the Hills of Immortality and tells the tale of the Eight Immortals, figures from Chinese mythology who represent prosperity, longevity, and good health. Discover more about this highlight of the Rosen House collection and its connection to ancient traditions and the blessings of the New Year.

Docent-Guided Rosen House Tours (additional fees may apply) / Preceding the tea, docent-led tours are available by appointment only; they tend to fill up quickly, so be sure to book in advance by calling the Box Office at 914.232.1252. Advance Registration Required. Docent-led tours are free for Members and Children 18 & Under. Special Opportunity: Don’t forget to exit through the Rosen House following the tea to enjoy the special viewing opportunity celebrating the Lunar New Year!

Menu

Adult Menu

Upon Arrival

Cranberry-Orange Scone with Crème Fraiche and Jam

Tea Sandwiches

Curried Chicken Salad and Arugula on a Mini Brioche Bun

Roasted Tomato, Ricotta, and Avocado on Crostini Toast

Smoked Salmon, Chive Cream Cheese, and Capers on Rye Bread

Cucumber and Mint Cream Cheese on Black Bread

Roast Beef, Onion Jam, and Cheddar Cheese on White Bread

Teas

Ceylon Waltz Black Tea

Earl Grey Moonlight Sonata Black Tea

Raspberry-Pomegranate Iced Tea

Desserts

An Assortment of Seasonal Desserts

Children’s Menu (suitable for ages 4–12)

Upon Arrival

Cranberry-Orange Scone with Crème Fraiche and Jam

Tea Sandwiches

Roast Beef and Cheddar on Wheat

Ham and Swiss on Rye

Turkey and American Cheese on Rye

Mozzarella and Tomato on Mini Brioche Buns

Peanut Butter and Jelly on White Bread

Teas

Ceylon Waltz Black Tea

Earl Grey Moonlight Sonata Black Tea

Raspberry-Pomegranate Iced Tea

Desserts

An Assortment of Seasonal Desserts

Dietary Restrictions: With advance notice at the time of booking, we are able to accommodate the following dietary restrictions: vegetarian, vegan, dairy-free, and gluten-free. Please let us know if you have any severe allergies and we will do our best to accommodate. Please note, all foods are prepared off-site therefore we cannot provide day-of requests.

Vegetarian Menu

Upon Arrival

Cranberry-Orange Scone with Crème Fraiche and Jam

Tea Sandwiches

Roasted Tomato, Avocado, and Ricotta on Crostini Toasts

Cucumber and Mint Cream Cheese on Black Bread

Fresh Mozzarella, Pesto, and Arugula on Whole Grain Bread

Hummus and Roasted Veggies on Rye Bread

Curried Vegetarian “Chicken” Salad and Arugula on Mini Brioche Bun

Teas

Ceylon Waltz Black Tea

Earl Grey Moonlight Sonata Black Tea

Raspberry-Pomegranate Iced Tea

Desserts

An Assortment of Seasonal Desserts

Vegan Menu

Upon Arrival

Vegan Scone with Jam

Tea Sandwiches

Cucumber and Mint Vegan Cream Cheese on Black Bread

Hummus and Roasted Veggies on Rye Bread

Avocado, Roasted Tomato, and “Ricotta” on Crostini Toast

Vegan “Chicken Salad” and Arugula on Whole Wheat Bread

Vegan Mozzarella, Tomato, and Arugula with Balsamic Vinaigrette on Crostini Toast

*uses nut-based cheese substitutes

Teas

Ceylon Waltz Black Tea

Earl Grey Moonlight Sonata Black Tea

Raspberry-Pomegranate Iced Tea

Desserts

Dark Chocolate Dipped Strawberry

An Assortment of Vegan Dessert Bites

Gluten-Free Menu

Upon Arrival

Gluten Free Scone with Crème Fraiche and Jam

Tea Sandwiches

Roasted Tomato, Avocado, and Ricotta on Gluten Free Bread

Cucumber and Mint Cream Cheese on Gluten Free Bread

Curried Chicken Salad and Arugula on Gluten Free Bread

Smoked Salmon, Chive Cream Cheese, and Capers on Gluten Free Bread

Roast Beef, Onion Jam, and Cheddar Cheese, on Gluten Free Bread

Teas

Ceylon Waltz Black Tea

Earl Grey Moonlight Sonata Black Tea

Raspberry-Pomegranate Iced Tea

Desserts

An Assortment of Gluten Free Desserts

Dairy-Free Menu

Upon Arrival

Dairy-Free Scone with Jam

Tea Sandwiches

Curried Chicken Salad and Arugula on Dairy Free Bread

Avocado, Roasted Tomato, and “Ricotta” on Crostini Toast

Smoked Salmon, Vegan Cream Cheese, Capers, Rye Bread

Cucumber and Mint Vegan Cream Cheese on Black Bread

Roast Beef, Onion Jam, Dairy Free Cheddar Cheese, Dairy Free White Bread

*Uses Nut-Based Cheeses

Teas

Ceylon Waltz Black Tea

Earl Grey Moonlight Sonata Black Tea

Raspberry-Pomegranate Iced Tea

Desserts

An Assortment of Dairy Free Dessert Bites

Valentine’s Day Afternoon Tea
2025-02-13 13:00 - 17:00, 2025-02-14 13:00 - 17:00
Afternoon Tea was one of the English traditions Lucie Rosen, founder of Caramoor, enjoyed during her time living in England in the early 1910s. She kept up the practice of inviting friends and guests to tea for many years, using the time for conversation and for planning concerts and other social events.

Tea is served in the Music Room, a unique opportunity for you to relax with friends and family in a breathtaking historic setting, featuring a large portrait of Lucie herself. The service includes a variety of tea sandwiches, scones with créme fraiche and preserves, delicious desserts, and a selection of fragrant teas. Please scroll down to see the menus we offer!

Self-Guided Rosen House Tours (included with ticket) / Following the tea, you will also have a chance to visit select rooms of the Rosen House starting at 2:00pm, until 3:30pm. The rooms showcase fine examples of decorative arts from Europe and China including jade, porcelain, and textiles that the Rosens admired and collected.

Special Viewing Opportunity

This Valentine’s Day, visitors are invited to explore the romantic history of Lucie and Walter Rosen through their love letters, written between 1914 and 1950. Lucie and Walter married after a whirlwind courtship in the summer of 1914, as the First World War loomed. Discover this romantic story and learn how Walter’s deep admiration for his wife continued throughout their marriage, leading to the many portraits of her he commissioned and displayed in their two homes. Celebrate the lasting power of art and love with this special opportunity!

Docent-Guided Rosen House Tours (additional fees may apply) / Preceding the tea, docent-led tours are available by appointment only; they tend to fill up quickly, so be sure to book in advance by calling the Box Office at 914.232.1252. Advance Registration Required. Docent-led tours are free for Members and Children 18 & Under. Special Opportunity: Don’t forget to exit through the Rosen House following the tea to see Lucie and Walter’s love letters on display for Valentine’s Day!

Menu

Adult Menu

Upon Arrival

Cranberry-Orange Scone with Crème Fraiche and Jam

Tea Sandwiches

Curried Chicken Salad and Arugula on a Mini Brioche Bun

Roasted Tomato, Ricotta, and Avocado on Crostini Toast

Smoked Salmon, Chive Cream Cheese, and Capers on Rye Bread

Cucumber and Mint Cream Cheese on Black Bread

Roast Beef, Onion Jam, and Cheddar Cheese on White Bread

Teas

Ceylon Waltz Black Tea

Earl Grey Moonlight Sonata Black Tea

Raspberry-Pomegranate Iced Tea

Desserts

An Assortment of Seasonal Desserts

Children’s Menu (suitable for ages 4–12)

Upon Arrival

Cranberry-Orange Scone with Crème Fraiche and Jam

Tea Sandwiches

Roast Beef and Cheddar on Wheat

Ham and Swiss on Rye

Turkey and American Cheese on Rye

Mozzarella and Tomato on Mini Brioche Buns

Peanut Butter and Jelly on White Bread

Teas

Ceylon Waltz Black Tea

Earl Grey Moonlight Sonata Black Tea

Raspberry-Pomegranate Iced Tea

Desserts

An Assortment of Seasonal Desserts

Dietary Restrictions: With advance notice at the time of booking, we are able to accommodate the following dietary restrictions: vegetarian, vegan, dairy-free, and gluten-free. Please let us know if you have any severe allergies and we will do our best to accommodate. Please note, all foods are prepared off-site therefore we cannot provide day-of requests.

Vegetarian Menu

Upon Arrival

Cranberry-Orange Scone with Crème Fraiche and Jam

Tea Sandwiches

Roasted Tomato, Avocado, and Ricotta on Crostini Toasts

Cucumber and Mint Cream Cheese on Black Bread

Fresh Mozzarella, Pesto, and Arugula on Whole Grain Bread

Hummus and Roasted Veggies on Rye Bread

Curried Vegetarian “Chicken” Salad and Arugula on Mini Brioche Bun

Teas

Ceylon Waltz Black Tea

Earl Grey Moonlight Sonata Black Tea

Raspberry-Pomegranate Iced Tea

Desserts

An Assortment of Seasonal Desserts

Vegan Menu

Upon Arrival

Vegan Scone with Jam

Tea Sandwiches

Cucumber and Mint Vegan Cream Cheese on Black Bread

Hummus and Roasted Veggies on Rye Bread

Avocado, Roasted Tomato, and “Ricotta” on Crostini Toast

Vegan “Chicken Salad” and Arugula on Whole Wheat Bread

Vegan Mozzarella, Tomato, and Arugula with Balsamic Vinaigrette on Crostini Toast

*uses nut-based cheese substitutes

Teas

Ceylon Waltz Black Tea

Earl Grey Moonlight Sonata Black Tea

Raspberry-Pomegranate Iced Tea

Desserts

Dark Chocolate Dipped Strawberry

An Assortment of Vegan Dessert Bites

Gluten-Free Menu

Upon Arrival

Gluten Free Scone with Crème Fraiche and Jam

Tea Sandwiches

Roasted Tomato, Avocado, and Ricotta on Gluten Free Bread

Cucumber and Mint Cream Cheese on Gluten Free Bread

Curried Chicken Salad and Arugula on Gluten Free Bread

Smoked Salmon, Chive Cream Cheese, and Capers on Gluten Free Bread

Roast Beef, Onion Jam, and Cheddar Cheese, on Gluten Free Bread

Teas

Ceylon Waltz Black Tea

Earl Grey Moonlight Sonata Black Tea

Raspberry-Pomegranate Iced Tea

Desserts

An Assortment of Gluten Free Desserts

Dairy-Free Menu

Upon Arrival

Dairy-Free Scone with Jam

Tea Sandwiches

Curried Chicken Salad and Arugula on Dairy Free Bread

Avocado, Roasted Tomato, and “Ricotta” on Crostini Toast

Smoked Salmon, Vegan Cream Cheese, Capers, Rye Bread

Cucumber and Mint Vegan Cream Cheese on Black Bread

Roast Beef, Onion Jam, Dairy Free Cheddar Cheese, Dairy Free White Bread

*Uses Nut-Based Cheeses

Teas

Ceylon Waltz Black Tea

Earl Grey Moonlight Sonata Black Tea

Raspberry-Pomegranate Iced Tea

Desserts

An Assortment of Dairy Free Dessert Bites

Schwab Vocal Rising Stars
2025-03-16 15:00 - 17:00
Highlighting the talents of Caramoor’s 2025 Schwab Vocal Rising Stars program, Beginner’s Luck features a wide-ranging playlist from German Lieder to Bob Dylan, exploring the chaotic decade between adolescence and adulthood, filled with seemingly endless possibility and endless peril. A cast of five brilliant young artists, all in their 20s, will join co-directors Bénédicte Jourdois and Steven Blier in this intriguing musical journey.

Steven Blier, Artistic Director & pianoBénédicte Jourdois, Associate Director & piano

Program

Beginner’s Luck: The Artist’s Journey

PROLOGUENED ROREM: A Journey

FIRST SONGSGABRIEL FAURÉ: Mai FERRUCCIO BUSONI: Wer hat das erste Lied erdacht? FRANZ SCHUBERT: Geheimnis

FIRST LOVEROBERT SCHUMANN: Der NussbaumHUGO WOLF: BegegnungEDVARD GRIEG: Die verschwiegene NachtigallALBAN BERG: Die Nachtigall

BOYZ 2 MENJEFFREY STOCK: We Two BoysMARC BLITZSTEIN: “In the Clear” from No for an AnswerWILLIAM BOLCOM: “I Knew a Woman” from Open HouseROBERT BEASER: I’m so much more me

GOING TO THE BIG CITYCHRISTOPHER BERG: I’m Going to New YorkSTEPHEN SONDHEIM: “Take Me to the World,” from Evening Primrose DOM JIM KIM: Gagopa (“Longing to Go”)MIKHAIL GLINKA: Poputnaya pesnya (“The Traveler’s Song”)

BEGINNER’S LUCKJASON ROBERT BROWN: Audition sequence: “When I Come Home to You,” from The Last Five Years RICHARD RODGERS: “When the Children are Asleep” from CarouselGEORGE GERSHWIN: “(I’ve Got) Beginner’s Luck,” from Shall We Dance THAD JONES: A Child is Born BOB DYLAN: Forever Young

Artists

Chea Kang, sopranoKate Morton, mezzo-sopranoReed Gnepper, tenorJamal Al Titi, baritoneZoey Zhou, piano

Read the full alumni list here.

A Note from Steven Blier
Beginner’s Luck is a musical snapshot of a precarious moment of arrival: those early years of adulthood with all of their new responsibilities, which might include the beginning of a career or the start of a new family. It is precisely the stage of life where our cast now finds itself. Since a large part of my work is dedicated to helping “emerging artists” actually emerge, I am in daily contact with their sense of discovery, their fears, their enthusiasms and their disappointments. Today’s playlist is somewhat autobiographical too; co-director Bénédicte Jourdois and I both remember grappling with the same questions as my students and younger colleagues. The true theme of the evening is growing up, and I am happy—and somewhat chastened—to report that that process never seems to end.

The program begins with “A Journey,” an evocation of childhood by Andrew Glaze set to music by Ned Rorem. Ned once told me, when discussing the music of Virgil Thomson, “The one thing you cannot fake is naïveté.” Anyone who has read Ned’s self-revealing memoirs knows that he is far from naïve. Yet his simple, lilting vocal line and Crayola-colored piano writing evoke childhood in a remarkably believable way. Ned must have liked this piece, since he later revisited it in order to make an orchestral version.

To evoke the springtime of life, we chose three songs written by composers in the earliest days of their careers. Gabriel Fauré’s “Mai” comes from his Opus 1; he wrote it when he was a lad of 17, which is how old I was when I first encountered this lovely song. Fauré went on to write music of greater emotional weight and harmonic density, but his early romances have a special glow, a purity of spirit that has never ceased to touch me. “Wer hat das erste Lied erdacht?” is the handiwork of the 13-year-old Ferruccio Busoni. At that age, his teen-age hormonal sap was probably starting to rise, and he was already able to express that new ardor with the musical sophistication of an adult. After all, Busoni had been a child prodigy who made his debut as a pianist and composer in Vienna six years earlier, at age seven. Busoni’s father was Italian; his mother was born in Italy but had German roots. Both of his parents seem to inhabit this song, which blends the open-heartedness of Italian bel canto with the complexity and detail of a German mini-tone poem.

Franz Schubert is the old man of this group — he was all of 19 when he wrote “Geheimnis,” set to a poem by his roommate and intimate friend, Johann Mayrhofer. The latter dedicated this poem to Schubert, a love-ode to the composer whose preternatural gift for melody seemed God-given and unfathomable. Schubert packs a surprising number of musical ideas into just three pages, as if showering his lover with artistic invention. At the end he sneaks the song from the key of G to end it in the key of D — after embedding subtle quotes from Haydn’s Creation and Mozart’s final piano concerto.

I got the idea of creating an ad hoc song cycle for the women about first love, an experience that seems to generate the same turmoil in everyone across the gender spectrum. While there were plenty of 19th century art songs that told tales of the “ruined maiden,” this was a drama that seemed somewhat antiquated for the current era. Luckily, German Lieder also produced a treasure trove of love songs with a more modern narrative: a young woman who begins with traditional fantasies about meeting Mr. Right and having a traditional wedding (in Schumann’s beguiling “Der Nussbaum”), but who soon discovers that life can unexpectedly offer more tempting relationships with far more complex outcomes (in songs by Grieg, Wolf, and Berg). It’s not an accident that these four songs are being sung in chronological order; they tell not only of one woman’s journey, but the historical journey of women from the passiveness of Schumann’s day (1840) to the more sexually liberated atmosphere of Berg’s (1908), progressing from sweet romantic fantasy to sensual abandon. Each song also represents a critical moment in the composers’ lives: Grieg wrote “Die verschwiegene Nachtigall” just as he was emerging from an estrangement from his wife, caused (according to some) by the soprano for whom he wrote this song; Wolf ‘s “Begegnung” comes from his Möricke Lieder, the work that launched his career; and Berg’s “Die Nachtigall“ was one of only seven of his many early Romantic songs that he allowed to be published, before his studies with Arnold Schoenberg set him on the path of atonality.

In an age where we are witnessing a shocking spike in toxic masculinity, we wanted to make a pitch for a healthy approach to manhood. Gaining experience and confidence in the face of self-doubt and the increasing demands of the world is a rite of passage whose confusions I remember well, and there are some beautiful songs on the subject. For an earthy, athletic approach to male bonding, we turn to Jeffrey Stock’s Bernstein-esque setting of Walt Whitman’s “We Two Boys.” Stock composed it in 1996 for a NYFOS program in which we asked ten composers to write an ensemble piece, and then paired the new songs with Brahms’s Liebeslieder-Waltzer. I am proud to say that NYFOS helped to launch Jeff’s career: in 1993 he presented us with a short song cycle for four voices called The Voice of Temperance, which caught the fancy first of John Guare and then George Wolfe (then the director of the Public Theater). One thing led to another, and in 1997 Jeff made his Broadway debut with Triumph of Love, a musical that has now received over 100 productions worldwide.

If “We Two Boys” captures the confident joy of a young man in the prime of life, “In the Clear” revisits him a few years later as he comes face to face with his vulnerability. The song comes from Marc Blitzstein’s 1941 musical No For an Answer. Like many of Blitzstein’s projects, this musical suffered from bad timing caused by a slew of delays caused by the composer’s own intransigence, as well as his obsessive need to rewrite and edit. By the time the show opened, four years after Blitzstein began it, it enjoyed a two-performance run — a pair of Sundays in 1941. While Blitzstein was finally happy with his new musical, its subject matter — the fate of non-unionized workers in the off-season — was no longer a hot-button issue as World War II raged. Still, some of the songs catch Blitzstein at the top of his game, as we discovered when NYFOS did a concert reading of No For an Answer in 2019. Among the gems is “In the Clear,” in which Blitzstein describes a dilemma about which few have written: the fate of creative people whose promising early work brought them to the public eye, but who lose their way and are unable to progress when they are no longer so dewy-eyed. This piece describes Blitzstein’s own impasse perfectly—an impasse that many other artists face during their careers.

Equally rare are honest songs about a young man’s sexual awakening. “I Knew a Woman,” by William Bolcom and Theodore Roethke, describes a summer love affair between an inexperienced guy in his early 20s and a woman who initiates him into the ways of love — a version of “How to Handle a Woman” with the heat turned up to broil. Roethke had been Bolcom’s professor at the University of Washington during the 1950s, and the composer maintained a deep connection to his mentor. “I Knew a Woman” exhibits the poet’s magisterial command of formal verse. The poem, composed of seven-line stanzas, is both erotically frank and dazzlingly witty, with a devilish double-entendre in practically every line. Bolcom sets Roethke’s “blue” text, appropriately enough, as a blues, matching the poet’s technical mastery with sweet, swinging rhythms leading to a wild climax , followed by the loveliest of afterglows.

No matter what today’s politicians tell you, life is not a zero-sum game. Frank O’Hara’s poem, “I’m so much more me,” puts forth the idea that encouraging another person to fulfill himself is a path to one’s own fulfillment. O’Hara dedicated his poem to Edwin Denby, a renowned American dance critic who also dabbled in poetry. Denby had become close to all four of the New York Poets (including John Ashbery, Kenneth Koch, and James Schuyler), but he had an especially strong bond with O’Hara which combined elements of father, brother, and teacher. O’Hara’s poem pays tribute to his mentor, whose friendship helped him realize himself as an artist and as a person. Robert Beaser’s setting, a 2003 NYFOS commission, is unusually transparent for a composer given to dense, almost orchestral textures and full-throttle singing. In an uncharacteristic act of boldness, I asked him to write something more delicate, less notey, to conclude his three-song cycle Followers. He obliged with this lovely intertwining duet. Beaser describes himself as a “non-tonal modalist,” and I was initially struck by the folky Irishness of his music. But doesn’t it also have a tinge of middle-period Sondheim? The rhythm of the first line is the same as “Not a Day Goes By,” and the sentiment of “I’m so much more me” would have elegantly coalesced all the themes in Sondheim’s Passion.

If you want to be an opera singer, chances are you’ll find yourself taking up residence in New York City at some point in your early 20s. To transport our cast to the Big Apple, we chose a song by Christopher Berg, “I’m Going to New York,” set to a poem by that quintessential transplanted New Yorker, Frank O’Hara. Berg’s music captures O’Hara’s jaunty humor with an expert sense of timing and musical spacing. Who else would have set the word “eschatology” — the theological study of the end of the world—with such perfect vaudevillian panache and irony?

“Take Me to the World” is a song from a 1966 TV musical that starred Tony Perkins, with songs by the young (33-year-old) Stephen Sondheim. While the show itself has been relegated to the category of Sondheim marginalia, a few of the songs have joined the American Songbook. Anyone who says that Sondheim “can’t write a melody” has never heard the ecstatic “Take Me to the World,” the plea of a young woman who longs to escape her strange, imprisoned life. It finally entered the canon of American standards during the Covid era, when its message of liberation struck a chord with many singers who also longed to be outside in the company of their loved ones again.

Chea Kang left Korea for the States as a teenager, and she has remained here since her high school days at Interlochen Arts Academy in Michigan. Her next stop was Juilliard, and then San Francisco Conservatory. For this section of the program, I asked her for a Korean song — something about homeland and travel. She offered “Gagopa,” or “Longing to Leave,” written by Kim Dong-Jin in 1933 to a poem by the poet and historian Lee Eun-sang. The composer was still in college when he wrote the song, and its enormous success launched his career. Within a short time, it became Korea’s national song; later, in the 1960s, it was the theme song for a movie with the same title; in the 1970s Dong-Jin returned to the original poem and set more of its verses to fashion a song cycle; and in the 1980s it was voted Korea’s most beloved song.

I made a similar request to Jamal Al-Titi, who comes to us from Montreal via his native Belarus. Something about homeland and travel? What else but Glinka’s “Traveler’s Song,” an 1840 classic which is at once a romantic ballad, a hymn to the glorious new train system in Russia, and a tribute to Italian opera buffa (one of Glinka’s great inspirations). If this is not the very first song about train travel, it is probably the first art song on the subject and certainly the first one in Russian. It comes from a cycle called A Farewell to St. Petersburg, a city Glinka was himself eager to leave — his marriage was on the rocks. The locomotive of the “Traveler’s Song” hurtles the now-joyous, now-fearful narrator towards a new love affair, full of both promise and pain.

The songs in the final group come from the realm of popular music, jazz, and Broadway musicals, but in spite of that — or more likely, precisely because of that — I feel that they delve the most deeply into the spiritual and psychological issues of young people.

Singers have to spend a lot of their creative energy trying to get work by singing one audition after another. This process involves choosing a snazzy yet practical list of arias and songs, strategizing which piece to start with, and absorbing a lot of rejection and conflicting feedback. To capture that unavoidable rite of passage, we chose a scene from Jason Robert Brown’s 2001 musical The Last Five Years. This autobiographical work tells the story of a young writer, Jamie, who has become an overnight success, and his actress-wife, Cathy, who is still struggling to get her career off the ground. Brown thought up a brilliant conceit to dramatize their courtship, marriage, and eventual divorce: Jamie’s story line moves forward in normal chronological order, while Cathy’s moves in reverse. Her first song is a lament for Jamie, who has just left her; at the end of the evening, we see her anticipating their first date. The only moment where they are in sync comes at the midpoint of the play when they get married. In what is known as “The Audition Sequence,” we become privy to Cathy’s inner thoughts as she sings a faux-Jerome Kern tune for a series of bored audition panels; we also get to hear her vent her frustration to her father over lunch.

Couples usually deliberate over the optimum moment to start a family — unless the decision is taken out of their hands. For classical singers it is even more complex, since their work might involve a great deal of travel. A pregnancy can change the color and range of a voice, too — even male singers have reported a darkening in their middle register after they attain fatherhood (although they usually confess that this is because they are absolutely exhausted). Such concerns do not trouble Enoch Snow in Carousel, who seems to relish the pleasures of a large family just as much as the act of making babies. His extended duet with Carrie, his bride-to-be, “When the Children Are Asleep,” parallels the famous Bench Scene earlier in the musical, which climaxed with “If I Loved You.” For Carousel, Rodgers and Hammerstein brought some of the elements of European operetta into the heartland both to extol traditional rural values, and to grapple with the problems of traditional gender roles. Charming as this scene is, one can already see how Carrie’s marriage to Mr. Snow will ultimately sour: like a good duet partner, she repeats Mr. Snow’s verse, but quietly omits the part where he gloats over his ambitions. She won’t be able to overlook them so easily in Act II.

The concert ends with a pair of benedictions, “A Child is Born” and “Forever Young.” The first of these is a collaboration between two American legends: jazz trumpeter Thad Jones and composer/lyricist Alec Wilder. Jones was known for his beautifully crunchy band arrangements, which blended the mellow sounds of the 1940s with the acerbic dissonance that became popular in the 1960s. Wilder is probably best known for his landmark book, American Popular Song, The Great Innovators 1900-1950. This work was one of the first serious examinations of our nation’s popular music. Wilder dissected the compositional styles of Gershwin, Porter, Kern, and their colleagues, and he came to some controversial conclusions. But everyone who loved Broadway musicals and jazz — including me — pored over Wilder’s book obsessively in the 1970s, and we were both enriched and (pleasantly) infuriated by his insights. His ear for detail and his bold writing style opened my eyes to the craft of songwriting

“A Child is Born” is a prayer for the next generation. “Forever Young” was also intended as a parent’s blessing to a child. Bob Dylan wrote the song after he became a father, and its piercingly sweet music and lyrics made it an instant classic. Johnny Cash, Jerry Garcia, Harry Belafonte, and (most touchingly) Joan Baez adopted it quickly into their repertoire. My vantage point on “Forever Young” is a bit different, because I experience it as a child’s prayer for his parents, teachers, and mentors. Bob Dylan offers wise counsel to us all: live generously and purely, and maintain the clarity of your youth, your beginner’s luck. It is a lesson that I absorb over and over again from all the young people who fill my days, and it has made my life inestimably richer.

About the Rising Stars

Chea Kang, soprano
Chea Kang is a Korean soprano known for her distinctive voice and innovative approach to performance, always seeking creativity and originality in her art. Her recent engagements include covering the role of Papagena in The Magic Flute at the San Francisco Opera in 2024. This follows her stage debut as Sister Catherine in Dialogues of the Carmelites in 2022. Kang’s talent has been recognized with notable awards, including second prize in the 2024 Handel Aria Competition and a semifinalist position in the 2024 Concert Artists Guild competition. In 2023, she was a young artist at the Georg Solti Accademia. Additionally, Kang has performed worldwide as a soloist in Lee Mingwei’s Sonic Blossom exhibition, showcasing her ability to engage deeply with audiences in unique venues such as museums. She holds a Bachelor’s degree from The Juilliard School and a Master’s degree from the San Francisco Conservatory of Music, where she is currently pursuing an Artist Diploma under César Ulloa. Looking ahead, Kang will take on the role of Henrietta Wong in Harvey Milk Reimagined with Opera Parallèle in 2025, further expanding her repertoire and artistic presence.

Kate Morton, mezzo-soprano
Kate Morton, mezzo-soprano, is a Cherokee Nation citizen from Tahlequah, Oklahoma and a Master of Music in Vocal Arts student at The Juilliard School. In Juilliard’s 2024-25 season she performed as a soloist with New York Festival of Song, L’enfant et les Sortilèges (La Chatte/L’Ecureuil), and Dialogues des Carmelites (Sœur Mathilde). Morton has performed with Opera Saratoga, Opera Montana, National Sawdust, the Oklahoma City Philharmonic, and Canterbury Voices. She will be a 2025 Festival Artist with Opera Saratoga in their productions of She Loves Me (Ilona Ritter) and La Vie Parisienne (Madame de Folle-Verdure). She recently premiered the role of Loksi’ in Jerod Tate’s Loksi’ Shaali’ with the OKC Philharmonic. Morton has been a guest artist with the Seagle Festival, Alexandria Summer Nights, and the Castleton Festival. Morton’s other credits include Clerio in Erismena, Stéphano in Roméo et Juliette, Cherubino in Le nozze di Figaro, and Sor Andrea in With Blood With Ink. The recipient of the 2021 Timothy Long Award and the Cherokee Nation Trail of Tears Award for Excellence, Morton holds a Bachelor of Music degree from Oklahoma City University in both Music Theatre and Vocal Performance.

Reed Gnepper, tenor
Tenor Reed Gnepper is a second-year Master of Music candidate at The University of Cincinnati College Conservatory of Music (CCM), where he has performed the roles of Komar (Mosquito) and Pásek (the Innkeeper) in The Cunning Little Vixen and Count Belfiore in La finta giardiniera. During the summer of 2024, he participated in Wolf Trap Opera covering the roles of Ferrando in Così fan tutte and Johnathan Dale in Silent Night. Last Spring, he sang the stratospheric tenor solo in Carmina Burana with the CCM Concert Orchestra. Gnepper also performed the role of Archibald Craven in The Secret Garden with The Chautauqua Institute in 2022, and he sang with the chorus of Cincinnati Opera in 2023. A native of Toledo, Ohio, he moved to Cincinnati to attend the School for Creative and Performing Arts, acquiring valuable performing experience and earning recognition in many competitions, including those of the Matinee Musicale and Overture Awards. Gnepper is a graduate of The Juilliard School, where his many performances included Puck in A Midsummer Night’s Dream and L’amante in Menotti’s Amelia al Ballo.

Jamal Al Titi, baritone
Jamal Al Titi is a Belorussian-Canadian whose passion for music spans early works to opera. In 2023, he made a notable impression by becoming the District Winner for Western Canada at the Metropolitan Opera Laffont Competition. He was also honored to be among the winners of the Rumbold Vocal Prize and Toronto Mozart Vocal Competition. His talent was further recognized with the Stingray All-Star Award at the Opera de Montréal Gala Talent.  Al Titi’s career continues to ascend as he joins the Opéra de Montréal’s Atelier lyrique program for the 2024–2025 season. During the 2023–2024 season, he was a Rebanks Fellow in the prestigious Rebanks Family Fellowship Program. His enthusiasm for opera has led him to perform a variety of roles, including the title role in Don Giovanni and Tom in Adoration at the Banff Centre’s 2023 Opera in the 21st Century, as well as Belcore in L’elisir d’amore at the Highlands Opera. In addition, Al Titi was invited to appear in a variety of roles at the Brott Opera Festival; he has sung Masetto in Don Giovanni, Schaunard in La Bohème, and Cascada in The Merry Widow.  Al Titi holds a Bachelor’s degree in music from the University of Toronto, where he was awarded the Jim and Charlotte Norcop Prize in Song and received the faculty’s top honor award in 2023. He continues his musical journey with a steadfast dedication to his craft.

Zoey Xinyue Zhou, piano
Zoey Xinyue Zhou is known for her versatile repertoire spanning vocal, instrumental, and orchestral music. Her performances grace prestigious venues across North America, Europe, and Asia, including stages as Carnegie Hall, Zankel Hall, Alice Tully Hall, Michael Klein Music Tent, Ingram Hall, and Duke’s Hall. Currently, she works as a staff pianist at The Juilliard School’s extension, pre-college, and college divisions and serves for distinguished pedagogues, including Timothy Cobb, Harold Robinson, Robert Langevin, and Cynthia Hoffmann. In the 2024 season, she worked as a rehearsal pianist for Long Island Concert Orchestra featuring conductor Enrico Fagone, violinist Frank Huang and bassist Timothy Cobb. She frequently performs in recitals with members of the San Francisco Symphony, Metropolitan Opera Orchestra, New Jersey Symphony, and Bamberger Symphoniker. She has worked in masterclasses with renowned artists such as Renée Fleming, Lawrence Brownlee, Sébastian Jacot and Dominik Wagner. A graduate of The Juilliard School, she studied with Lydia Brown, Jonathan Feldman, and Diane Richardson. She also holds a Bachelor’s degree from the Royal Academy of Music in London. In the past, she participated in prestigious programs such as the Schubert Institut, SongFest, and the Aspen Music Festival and School.

About the Directors

Steven Blier, Artistic Director & Piano
Steven Blier is the Artistic Director of the New York Festival of Song (NYFOS), which he co-founded in 1988 with Michael Barrett. Since the Festival’s inception, he has produced more than 150 vocal recitals with repertoire spanning five centuries of art song and popular song, including commissioned works by Ned Rorem, William Bolcom, and many others. New York Magazine gave NYFOS its award for Best Classical Programming, while Opera News proclaimed Blier “the coolest dude in town.”

Blier’s recital partners have included Renée Fleming, Cecilia Bartoli, Samuel Ramey, Susan Graham, Jessye Norman, Julia Bullock, and Paul Appleby, in venues ranging from Carnegie Hall to La Scala. He is currently on the faculty of The Juilliard School, and has been a guest teacher at the Wolf Trap Opera Company, Santa Fe Opera, Ravinia’s Steans Music Institute, and the San Francisco Opera Center.

Among Blier’s wide-ranging recordings are the premiere of Leonard Bernstein’s Arias and Barcarolles (Koch International), which won a Grammy Award; and Spanish Love Songs (Bridge Records) with Lorraine Hunt Lieberson, Joseph Kaiser, and Michael Barrett. His latest releases are on NYFOS Records, which released its first album (From Rags to Riches, with Stephanie Blythe and William Burden) in January of 2022.A native New Yorker, Blier received a Bachelor’s Degree with Honors in English Literature at Yale University, where he studied piano with Alexander Farkas.

Bénédicte Jourdois, Associate Director & Piano
A graduate of the Lindemann Young Artist Development Program at The Metropolitan Opera, Bénédicte Jourdois is currently on music staff at the Metropolitan Opera and on faculty at The Juilliard School.

Jourdois has performed in numerous venues in Europe and in the United States, including Alice Tully Hall and Carnegie Hall in New York and the Kennedy Center in Washington, D.C.As a coach and pianist, she has worked with the Los Angeles Philharmonic, Los Angeles Opera, Chicago Lyric Ryan Opera Center, Pittsburgh Opera, Washington National Opera, Houston Grand Opera, Opera Philadelphia, Opera Saratoga, Rice University, the Chautauqua Institution voice program, the Castleton Festival, Spoleto Festival USA, and Carnegie Hall’s SongStudio. She was a faculty member at the Curtis Institute in Philadelphia from 2013 to 2016 and at the Manhattan School of Music from 2011 to 2018.

Born in Paris, Jourdois holds degrees from the Conservatoire National de Region de Saint-Maur, the Conservatoire National Superieur de Musique de Lyon, Mannes College, and The Juilliard School.

About the Terrance V. Schwab Vocal Rising Stars Program
Inaugurated in the spring of 2009, Vocal Rising Stars is Caramoor’s mentoring program focusing on vocal chamber music and the art of song in recital. Singers at the advanced student and beginning professional level are invited to Caramoor to participate in an intensive week-long residency for daily coaching, rehearsals, and workshops with mentor Steven Blier and guest teaching artists.

At Caramoor, we believe that the work leading up to a performance is of equal if not of greater importance than the concert itself and will have a lasting impact on the growth and development of young artists. Vocal Rising Stars provides singers with an opportunity to form collaborative partnerships with one another, the Caramoor staff, and the coaches who also participate in the residency.

The program also includes a young pianist, who also gains experience and training in the art of vocal accompaniment, while expanding their knowledge of the repertoire. Since its inception, the program has received funding from the Terrance W. Schwab Endowment Fund for Young Vocal Artists. Created in memory of long-standing Caramoor trustee Terrance W. Schwab by his family, this endowment fund is designed to nurture and support the artistic development and careers of young vocalists outside of the operatic repertoire. In 2012, the program was renamed the Terrance W. Schwab Vocal Rising Stars, to honor his memory and the Schwab family’s ongoing commitment to this important program. To make a contribution to the Schwab Vocal Rising Stars mentoring program or to the Terrance W. Schwab Endowment Fund for Young Vocal Artists, please call 914.232.3681 or donate online at caramoor.org/support.

As part of our mission, we are delighted to offer free tickets for ages 18 & under for Schwab Vocal Rising Stars. Please use discretion when bringing children to Caramoor events. Adults must accompany children at all times.

Presented in collaboration with New York Festival of Song / Steven Blier, Artistic DirectorCaramoor’s Terrance W. Schwab Vocal Rising Stars program is made possible by generous support from the Terrance W. Schwab Endowment Fund for Young Vocal Artists.

Twelfth Night
2025-04-06 15:00 - 17:00
Indulge in the timeless beauty of music at Caramoor with Twelfth Night, a period instrument ensemble led by led by David Belkovski and Rachell Ellen Wong. Immerse yourself in the vibrant and expressive tapestry of baroque melodies of Vivaldi’s Il Giustino, characterized by its lively rhythms, ornate harmonies, and dramatic contrasts. Then, experience the exquisite sounds of Aminta e Fillide, George Frideric Handel’s pastoral cantata from 1708, evoking a world of unrequited love and longing. Renowned for its lush melodies and emotive storytelling, this cherished Baroque masterpiece offers a captivating journey through the depths of human emotion.

Artists

Rachell Ellen Wong, violin & directionDavid Belkovski, harpsichord & directionCarmen Lavada Johnson-Pájaro, violinAndrew Gonzalez, violaColeman Itzkoff, celloJoshua Stauffer, theorbo & guitarNola Richardson, sopranoXenia Puskarz Thomas, mezzo-soprano

Program

TROUBLE IN PARADISEVivaldi: Sinfonia from Il Giustino, RV 717Handel: Aminta e Fillide, HWV 83

Learn More About the Artists

Twelfth Night
Described as “an absolute gift to see live” (The Nevada Sagebrush), Twelfth Night is a refreshingly new ensemble of historical performance specialists led by keyboardist David Belkovski and violinist Rachell Ellen Wong, formed with the firm belief that art is best explored as a meeting place of the past, present, and future.

Inspired by Shakespeare’s play of the same name, the ensemble strives to invoke aspirit of boundless revelry, celebration, and community in their programming. Basedin New York City and founded in 2021, the two directors are regarded as key youngrepresentatives of early music: Rachell is the only baroque artist to receive an AveryFisher Career Grant and David is the first recipient in the field of early music toreceive the Levinson Arts Achievement Award. In the 2022-23 season, Twelfth Nightwas hosted in concert series across the country, including Arizona Early Music(Tucson), Chatham Baroque (Pittsburgh), Chamberfest Brown County (Nashville, IN),Music Before 1800 (NYC), and Apex Concert Series (Reno). This year, they were theonly historical performance ensemble to be featured at Chamber Music America’snational conference showcase. In addition, David and Rachell make their debutco-directing New World Symphony in Miami. Further 2023-24 concerts include worksof chamber music with fortepiano in Washington state, recitals for Early MusicSeattle and the Heifetz International Music Institute, and an appearance on theChamber Music Society of Logan (Utah) series.

Twelfth Night debuts at Carnegie Hall in May 2024 with their most ambitious projectyet, a night of orchestral and operatic masterworks throughout the Baroque.David and Rachell met during their time as students in the Historical Performancedivision of The Juilliard School. Endless hours rehearsing and performing togetherconfirmed a special chemistry and shared vision, inspiring them to dream up anensemble for the 21st century. Through Twelfth Night, they are eager to positionhistorical performance as an integral part of all performance.

For more information, please visit their website.

Nola Richardson, soprano
Making her mark as an “especially impressive” soprano (The New York Times) , Australian-American Nola Richardson’s repertoire ranges from medieval to contemporary works, including several world premieres. She has been particularly noted for her performances of Bach, Handel and Mozart and has won First Prize in all three major American competitions focused on the music of J.S. Bach (Bethlehem Bach, 2016; Audrey Rooney Bach, 2018; and Grand Rapids Symphony Linn Maxwell Keller Award, 2019).

In concert, recent seasons have featured her debuts with the Pittsburgh, Seattle, Kansas City, Helena, and Colorado Symphonies in performances of Handel’s Messiah in which she was described as “agile and crystalline-voiced…a stand-out” (Seattle Times). Messiah was also the vehicle for her acclaimed Carnegie Hall debut with Musica Sacra under conductor Kent Tritle. She has performed Mozart’s Exultate Jubilate with Grand Rapids Symphony, a Sondheim review with the Boston Pops, Haydn’s Creation with the Akron Symphony, Bach’s St. Matthew Passion with Portland Symphony and Musica Angelica and numerous works of Bach with the Baltimore Symphony, Cincinnati Symphony, and the American Classical Orchestra among others. Her debut in Bach’s Coffee Cantata with Philharmonia Baroque was noted for her “graceful ebullience” (San Francisco Chronicle) and performances in Handel’s La Resurrezione and a program of French Baroque music with the American Bach Soloists drew praise for her “lusciously polished…exemplary impassioned singing” (San Francisco Classical Voice).

Past operatic highlights include Nola’s debut at the Kennedy Center with Opera Lafayette (Fraarte in Handel Radamisto) which drew praise for her “particularly appealing freshness and directness” (Washington Post), and a “standout” performance (Opera News) as the First Lady in Die Zauberflöte with the Clarion Music Society. Most recently she has interpreted the role of Apolo in a rare performance of the Baroque Zarzuela Apolo e Dafne by Sebastián Durón. She made her debut with the Boston Early Music Festival in the summer of 2023 performing in Desmarest’s Circé and as Oreste Nunzia in Francesca Caccini’s Alcina.

During the Covid-19 pandemic, Richardson took part in a wide variety of virtual projects including appearances with the Atlanta Symphony in a documentary, “In the Key of Bach” led by Robert Spano, solo concerts with Musica Angelica and the Colorado Bach Ensemble, and programs with the National Cathedral, the Bach Choir of Bethlehem, Seraphic Fire, and Voices of Ascension. In addition to these video productions, her discography includes recent recordings with the Cantata Collective (Bach St. John Passion), the Baltimore Choral Arts (Mozart Requiem), the Boston Early Music Festival (Desmarest Circé), and the Clarion Choir (Rachamaninoff Liturgy of St. John Chrysostom).

In addition to her work in the concert, opera, and early music realms, Nola is also a devoted chamber musician and has performed, toured, and recorded with Grammy nominated ensembles Seraphic Fire, Clarion, Musica Sacra, and Trinity Wall Street. Recently, she has appeared as the soprano soloist for world premieres of choral works by Garth Neustadter, Frank La Rocca, and Wayne Oquin and taken part in additional premieres by David Lang, Hannah Lash, and David Briggs. She was a soloist in the debut performance of Michael Gandolfi’s Carroll in Numberland alongside soprano Dawn Upshaw at Tanglewood, and the dedicatee of Katherine Balch’s these intervals matter.

Nola is the first and only soprano to receive the prestigious DMA degree in Early Music Voice from Yale. Her upcoming season will include performances of Messiah at St. Thomas Church in NYC and with the St. Paul Chamber Orchestra; Bach B Minor Mass at Alice Tully Hall with the American Classical Orchestra; a return to Carnegie Hall with Musica Sacra in Handel Solomon; and return appearances with Bach in Bethlehem; the Aspect Chamber Series; Seraphic Fire; Ars Lyrica Houston; and the Cantata Collective.

Xenia Puskarz Thomas, mezzo-soprano
Australian Xenia Puskarz Thomas made her debut as vocal soloist aged 16 on a national tour with Queensland Youth Orchestras going on to further her studies at Queensland Conservatorium Griffith University (QGCU), graduating with first-class honors and the University Medal for Academic Achievement. Subsequently graduating from New York’s elite Juilliard School of Music in 2022, this talented young mezzo-soprano is currently a member of the Opernstudio of the Bayerische Staatsoper.

On the Munich stage, her roles to have included: Kitchenboy in Rusalka, Sandmännchen in Hansel and Gretel, and Dachshund/Woodpecker in The Cunning Little Vixen, Die Vertraute in Elektra, as well as dual roles of Melanto and Minerva (Il Ritorno / The year of magical thinking) at the Cuvilliés Theatre. Xenia Puskarz Thomas has collaborated with conductors including Mirga Gražinytė-Tyla, Henrik Nánási, Titus Engel and Chris Moulds. In addition to her operatic roles, Xenia has enjoyed several concert performances around Germany and Italy with the Operastudio, including soloist in Elias (Mendelssohn) with Bavarian Radio Symphony Orchestra under the baton of Duncan Ward, as well as soloist in Requiem (Mozart) and Missa Solemnis (Mozart) together with players of Bavarian State Orchestra.

This season she performs the roles; Mercédès in Carmen conducted by Daniele Rustioni, Zweite Dame in August Everding’s historic production of The Magic Flute, Blumenmädchen in Pierre Audi’s production of Parsifal, conducted by Constantin Trinks, Flora in La Traviata conducted by Francesco Lanzillotte, Hansel in Hansel and Gretel with ATTACCA orchestra at the Prinzregententheater, and Servia in Respighi’s Lucrezia at the Cuvilliés-Theater under Ustina Dubitsky. Xenia Puskarz Thomas will make her debut at Salzburger Festspiele in 2024 as Aglaja in Krzyzstof Warlikowski’s new production of Mieczysław Weinberg’s The Idiot, conducted by Mirga Gražinytė-Tyla at Salzburg’s Felsenreitschule.

National competition success in the final year of her studies included the generous Opera Foundation for Young Australians Lady Fairfax New York Scholarship and the Tinkler Encouragement Award at the IFAC Handa Australian Singing Competition. During her time in Australia, Xenia was a 2019 Melba Opera Trust Scholar supported by the Amelia Joscelyne Scholarship, as well as a 2021 young artist at Opera Queensland. She has performed Cherubino (Le Nozze di Figaro) with Opera Queensland and Dorabella (Così fan tutte) with Brisbane City Opera.

Xenia received her Master’s Degree from the Juilliard School of Music in 2022, under the guidance of professor Edith Wiens, while the recipient of the prestigious full-scholarship Kovner Fellowship. During her time at Juilliard, she performed in the 2022 Alice Tully Hall Vocal Arts Honors Recital with Gracie Francis; Ravel’s Shéhérazade in Pierre Vallet’s Liederabend; Bach’s B Minor Mass conducted by Richard Egarr with Philharmonia Baroque Orchestra; and the role of Aristeo in Luigi Rossi’s Orfeo directed by Mary Birnbaum and conducted by Avi Stein. Puskarz Thomas’ keen interest in early music involves frequent collaborations with New York-based, early music ensemble Twelfth Night, most recently performing Fillide in their performance of Handel’s Cantata Aminta e Fillide, as part of the Music Before 1800 concert series in New York. She will join the ensemble again in May for their Carnegie Hall debut.

Rosen House Tour
2025-04-26 11:00 - 15:00
Listed on the National Register of Historic Places, the Rosen House is a work of living history. Discover the home that Caramoor founders Lucie and Walter Rosen built as an ephemeral escape for their family, friends, and colleagues.

Our knowledgeable guides will take you on a captivating journey of the home’s evolution, design, and many rare artworks and artifacts. Tours are approximately 45 minutes.

April 26: 11:00 am, 12:00 pm, 1:00 pm, 2:00 pm

CaramoorRosen House at CaramoorRosen House at CaramoorRosen House at CaramoorThe Music Room of the Rosen House at Caramoor

Upcoming Focus Tour

May 23–August 8, 2025

Caramoor & World War II

In honor of Caramoor’s 80th anniversary season—and the 80th anniversary of the Allied victory—this year’s Rosen House Focus Tour is Caramoor & World War II. The joys and tragedies of the war years deeply impacted both the Rosen family and the Caramoor community. Without the events of 1941–1945, however, Caramoor would not be the special place it is today. We invite you to discover the personal experiences of the Rosen family and their friends, see artworks not usually on view, and hear about the wartime benefit dance under the stars, among many other stories.

Experience the self-guided Focus Tour during Open House hours on select dates or get the full story with a docent-led tour.

“People need music now more than ever. It is inspiration as well as comfort.”—Minerva Dodge to her sister-in-law Lucie Rosen, August 21, 1942

Brentano String Quartet
2025-04-27 15:00 - 17:00
Acclaimed for “wonderful, selfless music-making” (The Times, London), the virtuosic Brentano Quartet graces the stage at Caramoor once again. Revel in the timeless elegance of Haydn and Brahms alongside the debut of a masterpiece by the esteemed Chinese American composer, Lei Liang, in honor of his teacher Chou Wen-chung. Since its inception in 1992, the Brentano String Quartet has performed worldwide and achieved critical acclaim for its passionate, uninhibited interpretations and luxuriously warm sound that promise an afternoon of musical enchantment.

Program

Joseph Haydn: String Quartet in D Major, H. III:42Lei Liang: Madrigal Mongolia, for string quartet (2024) — New York premiere, Co-commissioned by CaramoorJohannes Brahms: String Quartet No. 3 in B-flat Major, Op. 67

About the Music
JOSEPH HAYDNString Quartet in D Major, Op. 33, No. 6

In 1781, Haydn published his opus 33 string quartets, which he advertised as “written in a new and special style.” There has been plenty of debate about what he meant by this: do these quartets really present a departure from his earlier work, and how? Or was it just a sales pitch for this new work, coming after his quite successful and widely circulated opus 20 quartets? Certainly one can perceive new trends in the opus 33: a lightening of tone, an abandoning of the learned fugues that ended several of the opus 20, a replacing of minuet movements with fleeter, cleverer “scherzos.” Witty and innovative as he always was, in the opus 33 he sharpened his attention in this department, finding new comedic timings, sudden stops, reversals of the expected order of events, funny ways of chopping up and jumbling his melodies.

The final quartet in the opus, number six, announces its “chopped-up” nature right from the opening: its main idea consists of a series of little gestures, courtly bows where nobody can decide who will walk into the room first. The first minute or so of the movement has a surprising number of “ending” moments: apparent attempts to come to a conclusion, when the music has only just begun. This is a favorite trick of the composer, imposing roadblocks and spinning his musical carriage down the road in spite of them. Often the snippet of music that attempts to conclude will become the germ of the new idea, to its own surprise. In the second, developmental section of the movement, Haydn does just that, launching the section with a reversal of the gestures from the beginning, so that the final gesture is now answered by the opening one — a reimagining of that conversation. A few bars later, the entire playbook of sonata form is thrown out of the window, as the moment of return happens in the wrong key, with an appearance of enormous confidence. Hurriedly, the correct key turns up in the second phrase and dismisses the impostor, trying to assure all onlookers that things are under control. But clearly the disturbance has created waves, as the music enters into an extended doubtful passages, modulating and exploring various other keys, working out its issues till it finally re-emerges in the home key — almost stumbling across it! — able to confirm matters with authentic conviction this time.

The slow movement follows, a dark and sorrowful aria in D minor redolent perhaps of Gluck, and strikingly like the slow movement of Mozart’s Oboe Quartet, composed in the same year. The movement showcases Haydn’s love of melodic ambiguity: at the opening, and several more times, the first violin holds a long sustained note while the other voices play figures that might be murmuring accompanimental patterns or might be melody. Always this relationship is on a knife-edge — does the first-violin note evolve into the “true” melody of the passage, does it continue to stand by, does it get subsumed into the accompanimental rhythms? All of these things happen at one point or another, the melodic role sliding between voices as the music works its way through a richly chromatic landscape. This protean sliding-around — the refusal to assign fixed roles, melodic or accompanimental, to the four parts — is central to the movement’s beauty, a shared grieving whose source of eloquence remains shifting, unclear.

The third movement, the Scherzo for this quartet, begins elegantly enough, with an idea that leans gracefully on downbeats, and is imitated by all the voices as they enter. However, almost right away everybody gets a case of the hiccups, and the wrong notes start poking out. (Or is Haydn laughing at all of us string players who struggle to control our bowstrokes?) By contrast, the middle Trio section, introduced by the cello, doesn’t wait to become wrongfooted: right from the start the melody places its highest, most dissonant note on the upbeat, which makes it hang in a pleasingly awkward, unbalanced way. Once more, lemmings as ever, the other voices jump in and hop around in this unbalanced dance.

In some ways, the Finale is a departure for Haydn. Normally the master of the fake-out — irregular phrase lengths, sudden pauses, elisions, and order-reversals — here he serves up a movement that is utterly regular, almost to the very end. It is a kind of round dance in a comfortable, even jolly Allegretto tempo, alternating major-key and minor-key sections. In the opening section, the melody features a bouncing downward leap, a kid jumping off a slightly too high ledge for fun. The spiky good cheer of the major sections alternate with a smooth, mournful cast in the minor ones. As the movement progresses, the composer weaves embellishments into each section as it returns, triplets and hocket-like offbeats. We are disarmed by the simplicity of this succession, unceasing until three bars before the end, when — Haydn being Haydn — he drops in just one unexpected silence when the players seem to forget their lines; and then he finishes off the piece in one glad swoop.

– Misha Amory

LEI LIANGMadrigal Mongolia (for string quartet, 2024)

Madrigal Mongolia sprang from a musical and spiritual heritage that has a special place in my heart – the music of Inner Mongolia.

I have loved this music since my childhood. One of my family’s closest friends, the renowned Mongolian scholar Wulalji visited our home in Beijing frequently. With a sip of alcohol, he would start singing, sometimes continuing late into the night. These personal memories date to the years after the Cultural Revolution, when obnoxiously cheerful propaganda music flooded the airwaves. Yet it was these lonely long songs that evoked in me a deep sense of longing and awakening.

The Mongols were the world’s most feared conquerors, yet the music they sing today is not martial in character. Quite the contrary, they sing of a mother’s devotion, friendship, loss of loved ones, and homeland. Their melancholy sentiments are understandable, for the warriors were always far from home. These songs remind us of what it means to be away.

Aren’t we all living far away from “home” today?

Madrigal Mongolia was commissioned by the Brentano Quartet, who worked closely with Professor Chou Wen-chung,who once told me these inspiring words about the cultural heritage of our home: “In calligraphy, every stroke has emotion. Here, lines become waves, and becomes textures.” Madrigal Mongolia was written in memory of him.

Madrigal Mongolia was commissioned by the Spiralis Music Trust in honor of Chou

Wen-chung, ProtoStar Group, Salt Bay Chamberfest with Richard Replin, and Caramoor Center for Music and the Arts.

– Lei Liang

JOHANNES BRAMS: String Quartet in B-flat Major, Op. 67

In the summer of 1875, the 42-year-old Brahms was summering in the beautiful German town of Ziegelhausen, and trying to avoid working on his special bugbear, the First Symphony. Instead he wrote quite a lot of other beautiful music, including his Third String Quartet, all of which he dismissed in a letter to a friend as “trifles,” a way to put off the serious work that lay ahead. In the event, he didn’t procrastinate for long, as the symphony was published and premiered the following year; and the Third Quartet, according to Joseph Joachim, was later to become his favorite of the three quartets.

While this quartet may have been a “trifle” to its composer, there is nothing trivial about it – or its predecessors – for string quartets who undertake to play it. It is common knowledge to performers of Brahms’ chamber music that the sextets, and many quintets, that he wrote are kinder to their performers than the string quartets. The sound palette of Brahms’ musical imagination was of a peculiar richness and depth, to the point that five or six performers provided the right natural sonority, but four would find themselves just that much more taxed, their resources that much more stretched. This difference works its way into the skin of the quartets, making them more interestingly effortful and craggy, subtly altering their essence. As one listens to this music, one senses a tension between the large sound-concept and the slightly smaller box that it has been fit into, which places its own stamp on the piece, independent of the musical content itself.

Brahms’ Third Quartet truly sounds like the work of a man on his summer holiday. Especially in its outer movements there is a feeling of the countryside, of sunshine. The first movement has strong ties to the same movement of Mozart’s “Hunt” Quartet. Aside from sharing its key and its meter – fairly superficial traits – the Brahms evokes the atmosphere of the hunt from the very opening, imitating hunting horns perhaps even more faithfully than Mozart’s music. In many of its most important melodies and motifs it specifically recalls similar material from the earlier piece. And, perhaps most importantly, there seems a conscious effort at simplicity of harmony and texture in many sections, from a composer who, like Mozart, was known for music that was often sophisticated, intricate and dark. In the main melody at the opening, Brahms uses the simplest call-and-response, a quiet playful idea that is trumpeted back immediately in forte; this exchange continues, evoking a child’s game of monkey see, monkey do, rare and disarming in its artlessness. Much later we hear the other main idea of the movement, a basic skipping up and down a few steps of a major scale, again an evocation of child’s play, written intentionally to be rhythmically and harmonically as simple as possible. This is not to say that the movement is devoid of darker or more complicated music – there is quite a lot of shadow, as well as plenty of involved counterpoint – but at the movement’s close we are left with a recollection of sunny, carefree laughter, a conscious setting-aside of worry and convolution.

The second movement is one of the most beautiful and extraordinary slow movements Brahms ever wrote, despite a crowded field of contenders. A hushed unison opening branches out into harmony, introducing a tender and reaching aria for the first violin. Again we are struck by the simplicity of the rhythm in this melody (although the harmonic underpinnings are now richer and more chromatic, more typically Brahms); perhaps the singer is young, sweetly naïve, discovering first love. The contrasting middle section presents a fiercer, prouder idea in dotted rhythms, which alternates with a smoother, more mysterious choral response; this world is plural, the many voices in concert rather than the single, private one. From here the first violin embarks on a wandering fantasy of 16ths, meeting a partner (the second violin) with whom he conducts a difficult, searching conversation. Ultimately the music reaches an anguished climax, after which we are eased into a return of the opening song – this time shared between the cello and first violin, an easier, more graceful exchange than the earlier one. An expressive coda returns to the arching gesture which opened the movement, exploring it more fervently, and reaches another passionate climax before closing at last with a prayerful cadence.

The third movement is a different story: troubled, elusive and restless, yet graceful too, evoking an unnameable dance. Now the viola is the hero, singing out boldly while the other instruments, muted, band together in shadowy support. The “Agitato” in the movement’s title is felt rhythmically – in the persistent, obsessive rhythms of the opening idea, in the tendency towards hemiola (grouping beats in two’s against the movement’s triple meter), and in moments that halt and jar ill-fittingly. But there is also a latent agitato feel in the harmony of the music, which wanders, changes key constantly, and shades towards minor even in major-key passages. The first violin often steps forward, a counterpart to the viola, sometimes agreeing with him, sometimes interrogating and confronting him, providing a kind of balance without which the music might tilt dangerously out of control. A shorter middle “Trio” section provides a lighter, more tightly structured contrast: at first the three muted instruments play a fragmented, graceful tune, then the viola enters and sings a mournful melody against its repetition. After the return of the main section, and the climax which it attains a second time, a strangely calm coda follows, bringing a disconsolate almost-peace, an uneasy conclusion to the movement.

With the finale, the mood of the piece returns to the geniality of the opening movement, though not at first matching its energy. Here we have a set of variations, which recalls the finale of Beethoven’s “Harp” Quartet so strongly that it seems like an homage of sorts. As with the Beethoven, the movement is a lighter companion to three more intense preceding movements. Both the Beethoven and the Brahms feature a quite short, slightly irregular theme in two repeated sections, charmingly laconic, playing it close to the vest. The two movements also share many details: a variation where the cello plays repeated triplet notes under legato duple rhythms in the other instruments, an early variation featuring the viola, and a fantasy-like coda. However, the Brahms movement deviates from the script when, after several variations have gone by, the music from the first movement stages a kind of invasion, crashing in and assuming command of the proceedings for awhile. But the variation structure persists, despite the intrusion, and ultimately we perceive that the invading forces are subsumed in the landscape of the music, though they never disappear entirely. Late in the coda, the storyline flags, gently losing momentum and finally coming to a near-halt, before the movement is swept to a close in one joyous flourish.

– Misha Amory

About the Brentano String Quartet
Since its inception in 1992, the Brentano String Quartet has appeared throughout the world to popular and critical acclaim. “Passionate, uninhibited and spellbinding,” raves The London Independent; The New York Times extols its “luxuriously warm sound [and] yearning lyricism”; the Philadelphia Inquirer praises its “seemingly infallible instincts for finding the center of gravity in every phrase and musical gesture”; and The Times (London) opines, “the Brentanos are a magnificent string quartet…This was wonderful, selfless music-making.” The Quartet has performed across five continents in the world’s most prestigious venues, including Carnegie Hall in New York; the Library of Congress in Washington; the Concertgebouw in Amsterdam; the Konzerthaus in Vienna; Tokyo’s Suntory hall; and the Sydney Opera House. Festival appearances include Aspen, the Ojai Music Festival, the Edinburgh Festival, the Kuhmo Festival in Finland, and the Seoul Spring Festival of Chamber Music.

The Quartet has launched numerous projects that reimagine the standard concert program. In 2002, they celebrated their 10th anniversary by commissioning 10 composers to write companion pieces for selections from Bach’s Art of Fugue, the result of which was an electrifying and wide-ranging single concert program. Fourteen years later, they revisited Bach’s masterpiece, performing the entire work in an ambitious multimedia project at the 92nd Street Y in New York with dancers, narrated excerpts, and an installation by artist Gabriel Calatrava. Recently, the Quartet presented a second multimedia project at the Y, which juxtaposed the poetry of Wallace Stevens with late Beethoven and music by composer Martin Bresnick. Other projects have included a three-program examination of Late Style, presented at Carnegie Hall; a program surveying the music of lamentation over the last 300 years crowned by Bartók’s Second Quartet; and numerous adaptations of music from Renaissance and early Baroque, including works by Josquin, Gesualdo, Purcell and Monteverdi.

The Quartet has been privileged to collaborate with such artists as soprano Jessye Norman, mezzo-soprano Joyce DiDonato, as well as pianists Jonathan Biss, Richard Goode and Mitsuko Uchida. The Quartet also maintains a strong commitment to new music, and has expanded the quartet canon by commissioning works from some of the most important composers of our time, among them Bruce Adolphe, Matthew Aucoin, Gabriela Frank, Stephen Hartke, Vijay Iyer, Steven Mackey, and Charles Wuorinen. Upcoming commissions and collaborations include a new quartet from Chinese composer Lei Liang; a viola quintet from James MacMillan; and a large-scale dramatic work, “Dido Reimagined,” based on the story of Dido and Aeneas, from composer Melinda Wagner and librettist Stephanie Fleischmann, to be performed with soprano Dawn Upshaw.

Dedicated and highly sought after as educators, the Quartet are currently Artists-in-Residence at the Yale School of Music, where they perform in concert each semester, work closely with students in chamber music contexts, and spearhead the instruction at the Norfolk Chamber Music Festival in the summers. The Quartet has given numerous master classes and workshops across the country, and returns annually to the Taos School of Music as visiting faculty. In 2013 and 2017, the Quartet assisted at the Cliburn International Piano Competition, performing quintets with competitors in the final rounds. Before coming to Yale, the Quartet served for fifteen years as Ensemble-in-Residence at Princeton University.

The Quartet has recorded extensively, releasing discs of quartets by Haydn, Mozart and Beethoven, as well as a recording of the Schubert Cello Quintet with Michael Kannen. The Quartet has also recorded music by several contemporary composers, among them Bruce Adolphe, Chou Wen-chung, Steven Mackey and Charles Wuorinen. The Quartet’s recording of Beethoven’s Quartet, Op. 131 was featured in the film “A Late Quartet,” starring Philip Seymour Hoffman and Christopher Walken, released in 2012. In 2017, they recorded a live album with Joyce DiDonato, “Into the Fire—Live from Wigmore Hall,” which included works by Strauss, Debussy, Guillaume Lekeu and Jake Heggie for Warner Classics. Their most recent release features the K. 428 and K. 465 (“Dissonance”) Quartets of Mozart for the Azica label.

Awards and honors include the first Cleveland Quartet Award (1995); the Naumburg Chamber Music Award (1995); inaugural members of Chamber Music Society Two at the CMS of Lincoln Center (1996); and the Royal Philharmonic Award for Most Outstanding Debut (at Wigmore Hall in 1997.)

The Quartet is named for Antonie Brentano, whom many scholars consider to be Beethoven’s “Immortal Beloved”, the intended recipient of his famous love confession.

For more information, please visit their website.

Who are the Brentano String Quartet members?
Mark Steinberg is an active chamber musician and recitalist. He has been heard in chamber music festivals in Holland, Germany, Austria, and France and participated for four summers in the Marlboro Music Festival, with which he has toured extensively. He has also appeared in the El Paso Festival, on the Bargemusic series in New York, at Chamber Music Northwest, with the Chamber Music Society of Lincoln Center, and in trio and duo concerts with pianist Mitsuko Uchida, with whom he presented the complete Mozart sonata cycle in London’s Wigmore Hall in 2001, with additional recitals in other cities, a project that continues for the next few years. Mr. Steinberg has been soloist with the London Philharmonia, the Los Angeles Philharmonic, the Kansas City Camerata, the Auckland Philharmonia, and the Philadelphia Concerto Soloists, with conductors such as Kurt Sanderling, Esa-Pekka Salonen and Miguel Harth-Bedoya. Mark Steinberg holds degrees from Indiana University and The Juilliard School and has studied with Louise Behrend, Josef Gingold, and Robert Mann. An advocate of contemporary music, Mr. Steinberg has worked closely with many composers and has performed with 20th century music ensembles including the Guild of Composers, the Da Capo Chamber Players, Speculum Musicae, and Continuum, with which he has recorded and toured extensively in the U.S. and Europe. He has also performed and recorded chamber music on period instruments with the Helicon Ensemble, the Four Nations Ensemble, and the Smithsonian Institute. He has taught at Juilliard’s Pre-College division, at Princeton University, and New York University, and is currently on the violin faculty of the Mannes College of Music.

A native of New York City, violinist Serena Canin is an active chamber musician, teacher and presenter. As a founding member of the Brentano Quartet, she has performed to critical acclaim around the world; she has also been heard at the Marlboro Festival, Chamber Music Quad Cities, Salt Bay Chamberfest, the Festival Internacional de Cartagena, the Continuum Series at Alice Tully Hall, and on tour with Music from Marlboro and the Brandenburg Ensemble.She has worked with young musicians at the Chamber Music Society of Lincoln Center, the Mannes Beethoven Institute, and the Chamber Music Center of New York. Serena is the director of Music Middays, a noontime series promoting young musicians in New York, where she lives with her husband, pianist Thomas Sauer, and their two sons. She holds degrees from Swarthmore College and The Juilliard School, where she studied with Robert Mann.

Since winning the 1991 Naumburg Viola Award, Misha Amory has been active as a soloist and chamber musician. He has performed with orchestras in the United States and Europe, and has been presented in recital at New York’s Tully Hall, Los Angeles’ Ambassador series, Philadelphia’s Mozart on the Square festival, Boston’s Gardner Museum, Houston’s Da Camera series and Washington’s Phillips Collection. He has been invited to perform at the Marlboro Festival, the Seattle Chamber Music Festival, the Vancouver Festival, the Chamber Music Society at Lincoln Center and the Boston Chamber Music Society, and he has released a recording of Hindemith sonatas on the Musical Heritage Society label. Mr. Amory holds degrees from Yale University and the Juilliard School; his principal teachers were Heidi Castleman, Caroline Levine and Samuel Rhodes. Himself a dedicated teacher, Mr. Amory serves on the faculties of the Juilliard School in New York City and the Curtis Institute in Philadelphia.

Nina Lee began learning cello in Chesterfield, MO at the age of ten. Six years later, she left home to study with David Soyer at the Curtis Institute of Music in Philadelphia, PA. She went on to complete her Bachelors and Masters of Music at The Juilliard School in New York City with Joel Krosnick, attended the Tanglewood Music Festival, and toured with the Marlboro Music Festival where she collaborated with Mitsuko Uchida, Andras Schiff, Felix Galimir and Samuel Rhodes.

In 1999, Lee joined the Brentano Quartet with whom she has been privileged to perform throughout North America, Australia, New Zealand, England, France, Germany, Spain, Japan, the Netherlands, Belgium and Italy. In addition, she has not only recorded the music of Haydn, Mozart, and Beethoven but has also championed new music represented in her quartet’s commissioned works of Stephen Hartke, Steve Mackey, Vijay Iyer, James MacMillan, Bruce Adolphe, Sofia Gubaidulina, and Shulamit Ran (to name a few).

Among the various projects the Brentano Quartet has undertaken, it was asked to record the soundtrack to the 2012 film, “A Late Quartet” which centered around Beethoven’s Op. 131.The film, starring Philip Seymour Hoffman, Christopher Walken and Catherine Keener also featured Lee playing herself in a cameo.

As important to her life as a musician, Lee has made a commitment to teaching chamber music. She has been on the faculty at Princeton and Columbia Universities and is currently coaching chamber music at the Yale School of Music where the Brentano Quartet is in residence. She has also participated as a guest faculty member at the St. Lawrence String Quartet Chamber Music Seminar and the Apple Hill Center for Chamber Music. She also has made appearances at the Spoleto Festival USA and La Jolla SummerFest.

Lee makes her home in Brooklyn, New York where she lives with her husband and 2 children. When she isn’t playing the cello or teaching, she loves spending time with her family, cooking, entertaining, organizing chamber music salons, and finding new ways to be creative!

Twisted Pine
2025-05-02 19:30 - 21:30
Boston-based Twisted Pine takes traditional American music in exhilarating directions. Praised by NPR for its “upbeat, poppy vibe; energetic, driving rhythms; virtuosic solos; and tight harmonies,” the group released its sophomore album Right Now in 2020, injecting its signature bluegrass sound with jazz, folk, funk, and more. “They were once bluegrass,” wrote The Boston Globe, “but … this Boston band has become something else, a wider version of string band, boundary jumpers akin to outfits like Punch Brothers, Nickel Creek, and Crooked Still.” Don’t miss Twisted Pine’s feel-good grooves, fearless improvisation, and precise arrangements at Caramoor.

“Each member of this band is a runaway freight train of talent on their own, but together the jubilance of sound they unleash on a crowd is something to be marveled.”— Red Line Roots

Learn More About Twisted Pine
On October 18th, Twisted Pine releases its joyous third LP, Love Your Mind, on Signature Sounds Recordings. The title represents the quartet landing on a more expansive sound than ever, after years of touring, serious introspection, bouts of self-doubt, glorious bursts of creativity, and many after-hour festival jam sessions and pickin’ till dawn.Co-produced by the band and longtime collaborator Dan Cardinal at his studio Dimension Sound in Boston, the record is loaded with experimental production, fearless songwriting featuring input from each member, finely crafted collaborative arrangements, playing that’s virtuosic and visceral. It’s a reflection of what the band listens to. It’s buoyant pop and delicate folk, raging old-time energy, and old-school R&B grooves.On vinyl and on stage, the sound of Twisted Pine is unmistakable, exuberant, daring.What started as a (semi-)traditional bluegrass band in the trenches of the storied folk, bluegrass, and Americana scene in Boston a decade ago has bloomed into an ensemble of players who shapeshift across genres. Even the expansive “progressive bluegrass” label doesn’t come close to capturing their musical scope.Chris Sartori’s upright bass anchors everything with an undeniable, articulate groove. Dan Bui’s mandolin is thick, crisp, and propulsive. Kathleen Parks’ fiddle and Anh Phung’s flute are in constant play, often augmented with effects pedals for layered musical textures, psychedelic sounds, and wild solo trading, somewhere in the territory between bluegrass and jazz. Out in front of the ensemble, Parks’ lead vocals are an instrument unto herself: equal parts mystery, power, haunt, and a search for the edges. And she’s surrounded by the voices of her bandmates, who bring on whatever harmonies, unities, whistles, and howls the night requires.In a world that needs TLC more than ever, Twisted Pine offers a night of exultant travels across genres, across time, to mountains, cities, roadhouses, and back porches where songs bring tenderness, love, and relief. This album and this tour bring the sound of a band that invites you to Love Your Mind.

Terra String Quartet
2025-05-04 15:00 - 17:00
The Terra String Quartet continues its residency with an exquisite program including madrigals by the late Renaissance Italian composer Maddalena Casulana, the first female composer to have her music published. Terra also pairs two monumental string quartets that draw from Renaissance influences and are characterized by their innovative structures, emotional depth, and the exploration of new musical ideas within the traditional quartet form.Free Tickets for Ages 18 and Under.

Artists

Terra String QuartetHarriet Langley, violinAmelia Dietrich, violinChih-Ta Chen, violaAudrey Chen, cello

Program

Maddalena Casulana: MadrigalsBenjamin Britten: String Quartet No. 3, Op. 94Ludwig van Beethoven: String Quartet No. 15 in A Minor, Op. 132

About the Music
MADDALENA CASULANA Madrigals

The term “madrigal” in 16th century Italy loosely referred to musical settings of various types of poetic texts. The fact that this genre was rising in popularity while music publishing was exploding as an industry in the Republic of Venice created a perfect storm that shaped musical taste well beyond the Veneto region. Philippe Verdelot and Jacques Arcadelt were two composers who relocated from France to work in the Florentine courts. Their works piqued the interest of Venetian music publishers and it is through wide dissemination of their works that they influenced composers in regions far beyond where they were based. Commercial demand for madrigal collections grew strong starting in the 1540s, and rival publishers Antonio Gardano and Girolamo Scotto curated collections drawing on a wide swath of composers from Venice and beyond to catalyze consumer interest.

Maddalena Casulana (c.1544-c.1590) was widely respected as a composer, singer, lutenist, and teacher in Vincenza (which during her lifetime was part of the Republic of Venice). The constant search for new material by publishers led to the inclusion of Casulana’s work in a collection of madrigals edited by Giuglio Bonagiunta and published by Scotto in 1566, achieving the historical milestone of being the first woman to publish her own works. Her music became so popular that she published an entire volume of her works two years later. The collection was dedicated to Isabella de’ Medici of Florence, an independent spirit who was herself an accomplished musician as well as an important patron of the arts. Here we find an important example of a call for equity that is not brought to our attention in many traditional examinations of music history:

I know truly most excellent Lady, that these first fruits of mine, flawed as they are, cannot produce the effect that I desire, which would be in addition to providing some evidence of my devotion to Your Excellency, also to show the world the futile error of men who believe themselves patrons of the high gifts of intellect, which according to them cannot also be held in the same way by women. Because of all this, I did not wish to fail to publish them, hoping that in Your Excellency’s bright name they would achieve such light as might kindle some other, higher talent to succeed more clearly in that which except for the spirit, I have not been able to show. Venice, April 10, 1568. from Your Excellency’s most humble servant, Maddalena Casulana

BENJAMIN BRITTEN String Quartet No. 3, Op. 94

In 1975 the health of Benjamin Britten (1913-1976) took a turn for the worse and he had a sense that he was nearing the end. He contracted infective carditis in February 1968 after a trip to Venice, which eventually led to heart valve replacement surgery in 1973. Although the surgery was initially successful Britten suffered a slight stroke which affected his right hand and left him feeling weak and unable to compose. Exploring revisions of his works helped bring creative inspiration in his prolonged recovery period. The cellist Mstislav Rostropovich came to visit Britten in January 1974 to workshop the Cello Suite No. 3, Op. 87. The work had been completed in 1971 but Rostropovich had become persona non grata in the Soviet Union when he housed the dissident writer Alexander Solzhenitsyn from 1970-1974 and could not travel during this period. Britten made revisions to the work and the premiere was given later that year. Britten was also convinced to revisit and revise for publication his String Quartet in D major that he wrote in 1931 (not to be confused with his Op. 25 work in the same key). Many works written in his youth for string quartet remained unpublished at the time.

It had been 30 years since Britten wrote his String Quartet No. 2 in C major, Op. 36 in 1945. During that time many speculated when he would return to a genre that he held close to his heart but his prolific output, much of it written with his partner Peter Pears as well as other individual muses like Rostropovich in mind, delayed him from composing a successor to the Op. 36 work. It is possible that knowledge that his declining health left him with limited time and the catalyst of revising his 1931 quartet finally led him to compose the String Quartet No. 3.

Britten’s operas serve as pillars of his compositional output and provide valuable reference points to works that are found in their orbit from a chronological standpoint. Just as the composition of Peter Grimes directly preceded (and influenced) his String Quartet No. 2, his opera Death in Venice, composed in 1971-1973 before his surgery, has a direct relationship with the String Quartet No. 3. Death in Veniceis based on the novella by Thomas Mann depicting the internal struggles of Gustav von Aschenbach, an aging artist living in Munich who is suffering from a creative block and has a vision that traveling to Venice may provide him much-needed inspiration. There he encounters Tadzio who he believes can serve as his muse, but his inability to directly interact with Tadzio provides a dramatic tension that provides an apt representation of the beautiful being both very close yet painfully out of reach. Aschenbach succumbs to the cholera outbreak sweeping the island and the opera ends with him watching Tadzio slip away distantly into the water as he takes his last breaths.

The String Quartet No. 3 was written in October-November 1975. The last movement was sketched out while Britten was in Venice, making explicit reference to Death in Venice via its title La Serenissima (a commonly used nickname for the city) as well as through musical quotes from the opera, further strengthening the parallels between Britten and Aschenbach. According to composer Colin Matthews, who worked with Britten on the scores of Death in Venice and the String Quartet No. 3, the passacaglia theme in this movement is based on bells Britten heard from his balcony on that visit.

The quartet was dedicated to the music critic Hans Keller, a close friend of Britten’s and to whom he had promised that he would write another string quartet. In his writings on string quartets, Keller often critiqued the use of textures in string quartets that used three voices or less. Britten biographer Michael Oliver notes that the choice to construct the first movement of the third quartet around all possible duo combinations in the ensemble and then center the central third movement based on a soaring solo in the first violin shows that Britten was playfully provoking Keller’s sensibilities in this work. There are five movements in total, comprising an arch form very similar to the Beethoven Op. 132 string quartet also on this program. Britten worked with the Amadeus Quartet in November of 1976 to prepare the premiere of the work. Unfortunately, Britten died on December 4, 1976, two weeks before the premiere.

Peter Evans, in a review of the piece, noted the relationship between the quartet and Death in Venice, writing: “whether we hear this music as new light on Aschenbach’s [the main character of Death in Venice] fate or, still more poignantly, as comment on the composer’s own, we shall find a rare aptness in the powerful upsurge of the creative imagination which shaped the quartet’s closing passionate sigh.” When listening to the String Quartet No. 3 after the opera one does get a sense that Britten presented the conflict between the rational Apollonian and earthy Dionysian qualities quite differently in the two pieces. In the opera the tug between the two was relentless and ended in tragedy, whereas in the arch form of the quartet both sides are able to express themselves and a more peaceful balance is found at the end of the work.

LUDWIG VAN BEETHOVEN String Quartet No. 15 in A Minor, Op. 132

Prince Nikolai Galitzin was one of a network of patrons that generously supported Ludwig van Beethoven (1770-1827). In 1822 Galitzin commissioned Beethoven to write three string quartets, hoping to end a 12-year drought in his quartet output. As the composer was busy completing the Missa Solemnis and Symphony No. 9 he was unable to fulfill the commission until 1824-5; the String Quartet in A minor, Op. 132 is the second of the set of three quartets (the others being Op. 127 and Op. 130). Beethoven dealt with his own anxieties as a young composer studying with Franz Joseph Haydn, considered by many to be the composer that established the string quartet as a genre. With the publication of his Op. 18 string quartets in 1801 Beethoven definitively set out to take the genre in new directions. The experiments he undertakes in these late-period Galitzin quartets take the genre to a new dimension entirely, pushing well past the boundaries of sonata form and other parameters that had up until this time defined what listeners expected upon hearing a string quartet.

One of the distinctive features of Op. 132 is the fact that Beethoven decided to add an additional movement to the four that had become standard practice. In some ways this is a return to the movement scheme Haydn used in his early quartets – a first movement in sonata allegro form, a dance/scherzo movement, a central slow movement, another dance/scherzo movement, and another fast movement to take us to the other end of the arch form. After the wildly experimental first movement Beethoven chooses to make the second movement more in the style of a minuet, swinging the pendulum in the direction of tradition.

The focus of this string quartet is in the middle slow movement, creating an arch form centered around the Heiliger Dankgesang eines Genesenen an die Gottheit, in der lydischen Tonart (“Hymn of Thanksgiving of a convalescent to the Deity, in the Lydian mode”). The composer had fallen seriously ill in 1824, and was told by a physician that in order to recover he was to have “No wine, no coffee, no spices of any kind…” In the movement the listener definitely hears both spiritual and earthly music when Beethoven shifts between modal and tonal sound worlds, thanking God both for his return to health which in turn allows him to enjoy wine and spicy food! The Heiliger Dankgesang is one example of Beethoven’s ability to look backwards and forwards, drawing inspiration from the past to create music that pushes the boundaries of what is possible in a tonal system.

The fourth movement starts with a march, which would fit in the category of “dance movement”. Instead of a trio, however, Beethoven decides to throw in a recitative, a decision which calls to mind the famous recitative that opens the last movement of his Symphony No. 9, composed shortly before this quartet. This leads us to a finale that heavily features the cello, Prince Galitzin’s instrument of choice.

— Daniel Doña

Daniel Doña is a violist on the faculty at the Boston University College of Fine Arts School of Music. He is a member of the Arneis String Quartet.

About The Artists

Terra String Quartet

Prizewinners at the 2023 Melbourne International Chamber Music Competition and 2023 Osaka International Chamber Music Competition, the Terra String Quartet is a vibrant young international ensemble based in New York City. They are composed of graduates of The Juilliard School, The New England Conservatory, Harvard University, and the Curtis Institute of Music. Praised for their “remarkable maturity and musicality” and “superb ensemble playing” (Hyde Park Herald, Chicago), these four musicians hail from across the globe and, through their unique individuality as artists, are committed to infusing the string quartet with equal parts passion, spontaneity, and humor.

TSQ has performed at numerous festivals and venues across the world, with recent concerts at Guarneri Hall, Chamber Music Raleigh, Randolph College, Music for a Great Space, and the Emilia-Romagna Festival in Italy. They have appeared in concert with the Cremona Quartet and have collaborated with pianist Diane Walsh at the Chesapeake Chamber Music Festival and violinist Ray Chen at Rockport Chamber Festival. As the ‘23-24 Project Music Heals Us Arts Leadership Ensemble, TSQ is deeply invested in education and community work, and they were also chosen as the inaugural Four Seasons Chamber Music Festival’s Professional Fellowship Quartet at East Carolina University. Their mentors and coaches include Ara Gregorian, Mark Steinberg, Marcy Rosen, Nina Lee, Hye-Jin Kim, Daniel Avshalomov, Natasha Brofsky, Catherine Cho, and Calvin Wiersma.

TSQ is the recipient of the Silver medal at the 2023 Melbourne International Chamber Music Competition, Bronze medal at the 2023 Osaka International Chamber Music Competition, and the Grand Prize and Gold Medal at the 2022 Fischoff National Chamber Music Competition. They were also awarded the Christine and David Anderson Career Development Prize at the 2022 Banff International String Quartet Competition. In their spare time, they enjoy playing Mahjong together.

Harriet Langley, violin

Korean-Australian violinist Harriet Langley received her education from New England Conservatory, Chapelle Musicale Reine Elisabeth, and The Juilliard School. An accomplished soloist, she has performed with ensembles including the London Chamber Orchestra, the Verbier Festival Orchestra, the Vienna Chamber Orchestra, Sinfonia Varsovia, the Reno Philharmonic, the Gyeonggi Philharmonic of Korea, and the Orchestre National de Belgique. Harriet has also performed at the Seiji Ozawa Academy, Ravinia’s Steans Music Institute, YellowBarn, and the International Musicians Seminar at Prussia Cove. Other than music, Harriet enjoys reading, going to museums, and she has a passion for perfumes and teas.

Amelia Dietrich, violin
Violinist Amelia Dietrich earned her Bachelor of Music from The Colburn Conservatory in Los Angeles under the teaching of Robert Lipsett, and her Master’s degree from The Juilliard School studying with Ida Kavafian. She grew up studying in North Carolina with her long-time mentor, Ara Gregorian. Amelia has concertized in chamber series across the US, Europe, and Australia, including Alice Tully Hall’s Wednesdays at One, National Sawdust, The Guggenheim, the Four Seasons Chamber Music Festival, the ClasClas Chamber Festival in Spain, and the Moritzburg Festival in Germany. Beyond her performance career, Amelia has a passion for pedagogy and mentoring young musicians. She is a mentor and chamber music coach with the New York Youth Symphony, maintains a private teaching studio in New York City, and teaches at Suzuki on the Island- a school in Manhasset, NY. She enjoys running, is an avid cook, and has a passion for fashion and interior design.

Chih-Ta Chen, viola
Violist Chih-Ta Chen, from Kaohsiung, Taiwan, is the winner of the 2022 Chimei Arts Award and the 2018 Borromeo String Quartet Guest Artist Award. His passion lies in chamber music, and he has been featured at Music@Menlo, Kneisel Hall Chamber Music Festival, Taos School of Music, Amelia Island Chamber Music Festival, and the Four Seasons Chamber Music Festival. Currently, Chen holds the Jean J. Sterne and Edwin B. Garrigues Fellowship as a student at the Curtis Institute of Music, studying under Roberto Diaz, Hsin-Yun Huang, Ed Gazouleas and Misha Amory. Previously, he attended the New England Conservatory and Tainan National University of the Arts and studied with Mai Motobuchi, Yong-Zhan Chen, and I-Chen Wang. In his free time, he loves playing badminton and spending time with his two-year-old gray cat, Cheetah.

Audrey Chen, cello
Washington state native and cellist Audrey Chen has concertized with the Seattle Symphony and the Harvard-Radcliffe Orchestra and has been featured as a guest with the Jupiter Chamber Players, Parker Quartet, Argus Quartet, and Borromeo Quartet. An avid chamber musician, she has performed at festivals across the country, including Yellowbarn, Olympic Music Festival, Music@Menlo, Ravinia Steans Music Institute, Four Seasons Chamber Music, Perlman Music Program, and Tanglewood Music Center. A graduate of the Harvard/NEC dual degree program, Audrey received her B.A. from Harvard University and an M.M. from the New England Conservatory, where her teachers included Laurence Lesser and Lluis Claret. Currently, she is a doctoral candidate at the CUNY Graduate Center under Marcy Rosen, and she also teaches chamber music at CUNY Hunter College. Audrey was named a 2022 recipient of the prestigious Paul and Daisy Soros Fellowship for New Americans. Outside of music, she enjoys watching films, cooking/baking, and making greeting cards.

Nicole Zuraitis
2025-05-09 19:30 - 21:30
Get ready to groove and swing with the sensational Nicole Zuraitis! This jazz singer-songwriter, vocalist, and pianist is guaranteed to dazzle audiences with her incredible talent and infectious energy. As the Gold medalist of the 2021 American Traditions Vocal Competition, Zuraitis is a vocal chameleon who effortlessly captivates with her dynamic performances. Her latest album, How Love Begins, won the 2024 Grammy for Best Jazz Vocal Album. Don’t miss your chance to experience the magic of Nicole Zuraitis live, where every note is infused with passion, soul, and pure joy!

Learn More About Nicole Zuraitis
Nicole Zuraitis is a GRAMMY winning and 2X GRAMMY-nominated jazz singer-songwriter, pianist and arranger, New York-based bandleader and winner of the prestigious 2021 American Traditions Vocal Competition Gold Medal. With a “heart as big as her remarkable voice,” (Jazz Police), Nicole has positioned herself as one of the top artists and “prolific songwriters” (Broadway World) to watch in jazz and beyond.

As a recording artist, Nicole has released five albums as leader, and her sixth album, How Love Begins, co-produced with eight-time GRAMMY-winner Christian McBride, won BEST JAZZ VOCAL ALBUM at the 2024 GRAMMY® awards and features all original music.

Besides leading her quartet, Nicole is the premier vocalist for the Birdland Big Band and frequently headlines iconic NYC jazz clubs like Dizzy’s Club at Lincoln Center, Birdland, the Blue Note, the Carlyle, 54 Below and the late, great 55 Bar. She has appeared as a featured soloist with the Savannah Philharmonic, Asheville Symphony and Macon Pops and has supported iconic singers like Melanie, Morgan James, Darren Criss and Livingston Taylor on piano and vocals.

Nicole’s arrangement of Dolly Parton’s Jolene, co-written with renowned drummer and bandleader Dan Pugach, was nominated for a 2019 GRAMMY®, spring boarding her career and making her a household name in the modern-day jazz landscape. In 2020, she was named in the top 40 under 40 for 2020 in Connecticut Magazine, and her weekly live stream during the Covid-19 crisis, “Virtual Piano Lounge,” was featured in Forbes Magazine.

Nicole has collaborated with an extensive list of luminaries, including Christian McBride, David Cook, Gilad Hekselman, Veronica Swift, Benny Benack, Stephen Feifke, Cyrille Aimee, Antonio Sanchez, Dave Stryker, Omar Hakim, Rachel Z, Helen Sung, and Bernard Purdie. She is a proud educator and a current vocal faculty member at NYU, SUNY Purchase and the Litchfield Jazz Camp. In 2024, Post University awarded Nicole an Honorary Doctorate in Humane Letters.

An ardent activist with a decade-long track record of giving back, her album release coincided with a self-produced music festival and day of activism for Save the Sound.

This concert was made possible, in part, thanks to the generous support of The Peckham Family Foundation.

Rosen House Tour
2025-05-10 14:00
Listed on the National Register of Historic Places, the Rosen House is a work of living history. Discover the home that Caramoor founders Lucie and Walter Rosen built as an ephemeral escape for their family, friends, and colleagues.

Our knowledgeable guides will take you on a captivating journey of the home’s evolution, design, and many rare artworks and artifacts. Tours are approximately 45 minutes.

May 10: 2:00 pm

CaramoorRosen House at CaramoorRosen House at CaramoorRosen House at CaramoorThe Music Room of the Rosen House at Caramoor

Upcoming Focus Tour

May 23–August 8, 2025

Caramoor & World War II

In honor of Caramoor’s 80th anniversary season—and the 80th anniversary of the Allied victory—this year’s Rosen House Focus Tour is Caramoor & World War II. The joys and tragedies of the war years deeply impacted both the Rosen family and the Caramoor community. Without the events of 1941–1945, however, Caramoor would not be the special place it is today. We invite you to discover the personal experiences of the Rosen family and their friends, see artworks not usually on view, and hear about the wartime benefit dance under the stars, among many other stories.

Experience the self-guided Focus Tour during Open House hours on select dates or get the full story with a docent-led tour.

“People need music now more than ever. It is inspiration as well as comfort.”—Minerva Dodge to her sister-in-law Lucie Rosen, August 21, 1942

Afternoon Tea
2025-05-23 13:00 - 17:00, 2025-05-30 13:00 - 17:00, 2025-06-06 13:00 - 17:00, 2025-06-13 13:00 - 17:00
Afternoon Tea was one of the English traditions Lucie Rosen, founder of Caramoor, enjoyed during her time living in England in the early 1910s. She kept up the practice of inviting friends and guests to tea for many years, using the time for conversation and for planning concerts and other social events.

Tea is served in the Music Room, a unique opportunity for you to relax with friends and family in a breathtaking historic setting, featuring a large portrait of Lucie herself. The service includes a variety of tea sandwiches, scones with créme fraiche and preserves, delicious desserts, and a selection of fragrant teas. Please scroll down to see the menus we offer!

Self-Guided Rosen House Tours (included with ticket) / Following the tea, you will also have a chance to visit select rooms of the Rosen House starting at 2:00pm, until 3:30pm. The rooms showcase fine examples of decorative arts from Europe and China including jade, porcelain, and textiles that the Rosens admired and collected.

Docent-Guided Rosen House Tours (additional fees may apply) / Preceding the tea, docent-led tours are available by appointment only; they tend to fill up quickly, so be sure to book in advance by calling the Box Office at 914.232.1252. Advance Registration Required. Docent-led tours are free for Members and Children 18 & Under.

Menu

Adult Menu

Upon Arrival

Cranberry-Orange Scone with Crème Fraiche and Jam

Tea Sandwiches

Curried Chicken Salad and Arugula on a Mini Brioche Bun

Roasted Tomato, Ricotta, and Avocado on Crostini Toast

Smoked Salmon, Chive Cream Cheese, and Capers on Rye Bread

Cucumber and Mint Cream Cheese on Black Bread

Turkey Salad with Apples and Cranberries in a Phyllo Cup

Teas

Ceylon Waltz Black Tea

Earl Grey Moonlight Sonata Black Tea

Raspberry-Pomegranate Iced Tea

Desserts

An Assortment of Seasonal Desserts

Children’s Menu (suitable for ages 4–12)

Upon Arrival

Cranberry-Orange Scone with Crème Fraiche and Jam

Tea Sandwiches

Roast Beef and Cheddar on Wheat

Ham and Swiss on Rye

Turkey and American Cheese on Rye

Mozzarella and Tomato on Mini Brioche Buns

Peanut Butter and Jelly on White Bread

Teas

Ceylon Waltz Black Tea

Earl Grey Moonlight Sonata Black Tea

Raspberry-Pomegranate Iced Tea

Desserts

An Assortment of Seasonal Desserts

Dietary Restrictions: With advance notice at the time of booking, we are able to accommodate the following dietary restrictions: vegetarian, vegan, dairy-free, and gluten-free. Please let us know if you have any severe allergies and we will do our best to accommodate. Please note, all foods are prepared off-site therefore we cannot provide day-of requests.

Vegetarian Menu

Upon Arrival

Cranberry-Orange Scone with Crème Fraiche and Jam

Tea Sandwiches

Roasted Tomato, Avocado, and Ricotta on Crostini Toasts

Cucumber and Mint Cream Cheese on Black Bread

Fresh Mozzarella, Pesto, and Arugula on Whole Grain Bread

Hummus and Roasted Veggies on Rye Bread

Curried Vegetarian “Chicken” Salad and Arugula on Mini Brioche Bun

Teas

Ceylon Waltz Black Tea

Earl Grey Moonlight Sonata Black Tea

Raspberry-Pomegranate Iced Tea

Desserts

An Assortment of Seasonal Desserts

Vegan Menu

Upon Arrival

Vegan Scone with Jam

Tea Sandwiches

Cucumber and Mint Vegan Cream Cheese on Black Bread

Hummus and Roasted Veggies on Rye Bread

Avocado, Roasted Tomato, and “Ricotta” on Crostini Toast

Vegan “Chicken Salad” and Arugula on Whole Wheat Bread

Vegan Mozzarella, Tomato, and Arugula with Balsamic Vinaigrette on Crostini Toast

*uses nut-based cheese substitutes

Teas

Ceylon Waltz Black Tea

Earl Grey Moonlight Sonata Black Tea

Raspberry-Pomegranate Iced Tea

Desserts

Dark Chocolate Dipped Strawberry

An Assortment of Vegan Dessert Bites

Gluten-Free Menu

Upon Arrival

Gluten Free Scone with Crème Fraiche and Jam

Tea Sandwiches

Roasted Tomato, Avocado, and Ricotta on Gluten Free Bread

Cucumber and Mint Cream Cheese on Gluten Free Bread

Curried Chicken Salad and Arugula on Gluten Free Bread

Smoked Salmon, Chive Cream Cheese, and Capers on Gluten Free Bread

Turkey Salad with Apples and Cranberries on Gluten Free Bread

Teas

Ceylon Waltz Black Tea

Earl Grey Moonlight Sonata Black Tea

Raspberry-Pomegranate Iced Tea

Desserts

An Assortment of Gluten Free Desserts

Dairy-Free Menu

Upon Arrival

Dairy-Free Scone with Jam

Tea Sandwiches

Curried Chicken Salad and Arugula on Dairy Free Bread

Avocado, Roasted Tomato, and “Ricotta” on Dairy Free Bread

Smoked Salmon, Vegan Cream Cheese, Capers, Dairy Free Bread

Cucumber and Mint Vegan Cream Cheese on Dairy Free Bread

Turkey Salad with Apples and Cranberries on Dairy Free Bread

*Uses Nut-Based Cheeses

Teas

Ceylon Waltz Black Tea

Earl Grey Moonlight Sonata Black Tea

Raspberry-Pomegranate Iced Tea

Desserts

An Assortment of Dairy Free Desserts

Health & SafetyWe’re committed to maintaining the health and safety of our audience, artists, and staff, while ensuring that every visit to Caramoor is comfortable and enjoyable. Click below for up-to-date health and safety policies as well as information on how we’re playing our part.

Learn more

Welcome Summer! Open House & Grounds
2025-06-01 12:00 - 16:00
Kick off Caramoor’s 80th Summer Season with us! Share a birthday toast in honor of Caramoor’s founders, the Rosen Family, and 80 years of artists, patrons, visitors, staff, and volunteers. Come enjoy our open grounds and discover our new Sonic Innovations piece, Five Essays on Caramoor, a captivating sound walk by Lisa Coons (please bring your own headphones to access the sound walk!), stop by the Herb Society’s annual plant sale, and step inside the Rosen House to sample this year’s Focus Tour. Members of the Westchester Division of NYC Urban Sketchers will be on site to capture the beauty of Caramoor and will have supplies on hand for anyone who wishes to create their own drawings!

12:00pm – House and Grounds open for exploring12:00pm – Herb Society Plant Sale begins2:00pm – Anniversary toast on Friends Field / Lisa Coons introduces Five Essays on Caramoor4:00pm – Caramoor closes for the dayConcessions and restrooms open and available throughout the afternoon

QUESTIONS? VISIT THE CARAMOOR FAQ PAGE
