Why are masterpieces such as Franz Liszt's magnificent oratorio, Christus, rarely performed? There are two basic reasons: unknown and lengthy works which are expensive to produce are considered to be "box-office poison"; and, if the music is still available, publishers will charge outrageous prices for the vocal scores and the rental of the orchestral score and parts. Thus the repertoire of sacred oratorios tends to be confined to about a dozen works.

When I was in Zurich, Switzerland, two years ago, I happened on an (almost) complete performance of Christus in the beautiful Tonhalle. The performance lasted over three hours with a brief intermission. I came away convinced that this was one piece that New Dominion Chorale would never be able to perform. But the more I thought about it -- there was music of great beauty here -- the more I realized that this was the "Sleeping Beauty" of sacred oratorio, waiting to be revived and presented to American audiences. I found an ancient vocal score free of copyright restrictions and set about cutting and editing it to half the original length.

Liszt began to plan Christus in 1853, but the composing did not begin until 1862, and was finished in 1866 -- shortly after he took minor priestly orders and became Abbé Liszt. The first performance did not take place until 1873, in Weimar. It was billed as "complete," but four of the numbers had to be omitted due to the chaos of the rehearsal. The first complete performance did not occur until 1893 -- the performance lasting five hours! The first part of the twentieth century saw many uncut performances of Christus in Europe, and it was acclaimed by many critics, including Arnold Schoenberg, who declare in 1911 that Liszt's oratorio had yet to achieve its full impact. Since World War I there have been few performances, however, and only two recordings.

Christus is not a retelling of Jesus' life or passion, but rather a mosaic of scenes and texts associated with Christ. Central to the work is the huge "Stabat Mater Dolorosa," which is worthy to stand in the company of Verdi's Requiem or Berlioz's Te Deum. Liszt made ample use of Gregorian chant to bind the piece together (there are eight chants he employs) and there is even a quote from Palestrina's Stabat Mater.

We begin today's concert with Ralph Vaughan Williams's lovely Mystical Songs, with texts by George Herbert, written in 1906.

-- Thomas Beveridge

Soprano Jennifer Jellings, a native of Eastern Iowa, is a frequent soloist in opera, recital and oratorio in the DC Metropolitan area.

Ms. Jellings performed as soloist in Mozart's Grand Mass in C minor and Solemn Vespers with Choralis, Mendelssohn's Elijah with the New Dominion Chorale and Mozart's Solemn Vespers with the Friday Morning Music Club. She has been a frequent soloist with Washington Summer Sings singing Verdi's Requiem, Haydn's Creation, Mozart's Requiem and Brahms' Requiem. Other highlights include performances of the Haydn Lord Nelson Mass, Honneger King David, Haydn Missa Brevis, and Fauré Requiem.

Opera performances include Noémie from Massenet's Cendrillon and Agnus Day in a newly scripted version of Mozart's Impressario with The Summer Opera Theatre Company. With the In-Series, she performed the roles of Constanza, Abduction from the Seraglio and a Leading Lady in a new production, Mozart's Leading Ladies. The Washington Post wrote of her performance in Abduction: "Jellings has a brilliant upper register and a coloratura that makes 'Martern aller Arten' the show's musical climax." Other roles include Violetta, La Traviata and 1st Lady, Die Zauberflöte. Most recently, Ms. Jellings performed a concert version of La Bohème singing the role of Musetta.

Ms. Jellings performed Beethoven's 9th Symphony with the Pennsylvania Symphonia Orchestra and has been a featured soloist with the Alexandria Symphony, the Vocal Arts Society Music Outreach Program and in concert at the White House.

Ms. Jellings has been a 1st Place winner in the Mid-Atlantic NATS Divisional Competition, a semi-finalist in the Marie Crump Vocal Competition and was most recently selected as a Semi-Finalist in the 2009 Irma M. Cooper Opera Columbus International Vocal Competition.

Laura Zuiderveen, mezzo-soprano, makes her second appearance with New Dominion Chorale, having debuted with the company as the alto soloist in Rossini's Petite Messe Solennelle.

Recent engagements include Prokofiev's The Field of the Dead from "Alexander Nevsky" with the Choral Arts Society of Washington.

Ms. Zuiderveen performed the critically acclaimed roles of Aunt Cecilia March in Adamo's Little Women, Madame de la Haltière in Massene's Cendrillon, and La Zia Principessa in Puccini's Suor Angelica with Summer Opera Theatre; and the role of Katisha in Mikado with the Washington Savoyards.

Ms. Zuiderveen sang with Washington Concert Opera as Frugola and Mamma Lucia in Il Tabarro and Cavalleria Rusticana.

In July of 2002, Ms. Zuiderveen covered the roles of Emilia in Otello with Placido Domingo and The Hostess in Sly during the well acclaimed Washington Opera Japan Tour. She made her company debut with the Washington Opera as Berta in their 2000/2001 production of The Barber of Seville.

Ms. Zuiderveen received first prize in the Wagner division of the Liederkranz Foundation annual vocal competition in 2000. She is a graduate of The Ohio State University.

Richard Novak, tenor, s quickly establishing a national reputation. In the summer of 2007, Mr. Novak was an Apprentice Artist with the Chautauqua Opera. At Chautauqua, he performed the role of El Remendado in Bizet's Carmen. He also performed two concerts with the Chautauqua Symphony and covered the roles of Don José and Werther. At the conclusion of th program, Mr. Novak was the recipient of one of the top Apprentice Artist Awards. Other training programs include the Des Moines Metro Opera Apprentice Program, the Wichita Grand Opera Resident Artist Program, and the Wesley Balk Singing/Acting Institute. In 2005 and 2006, Mr. Novak won the Metropolitan Opera National Council Auditions (Tulsa District). He is a former winner of the University of North Texas Concerto Competition and a first place winner of the Texoma Region (NATS) Singer of the Year Competition. Mr. Novak has performed with Opera Carolina, Chautauqua Opera, Des Moines Metro Opera, Wichita Grand Opera, The Living Opera, San Antonio Symphony, and the Monroe Symphony. Mr. Novak's operatic credits include Rodolfo, Alfredo, Don José, Nemorino, Eisenstein, Giles Corey, Lippo, and Roméo. Mr. Novak was the tenor soloist in Rossini's Petite Messe Solennelle at the prestigious Gilmore International Keyboard Festival under the baton of Joe Miller.

Mr. Novak is a member of the vocal trio, "We Three Kings", which frequently performs throughout Northeast Louisiana. Prior to joining the George Mason University music faculty as an Assistant Professor, Mr. Novak held teaching positions at Oklahoma State University, the University of Louisiana at Monroe, and Angelina College. Mr. Novak holds B.M. and M.M. degrees in vocal performance from Stephen F. Austin State University, and is nearing the completion of the Doctor of Musical Arts program in vocal performance at the University of North Texas. Upcoming performances include Tamino (The Magic Flute) with the Prince William Symphony, Hoffmann (Les Contes D'Hoffmann) with the International Opera Alliance, an Evening of Opera with the Amadeus Concert Series, a GMU faculty recital, and a DMA lecture-recital at the University of North Texas. Mr. Novak resides with his family in Manassas, Virginia.

Timothy LeFebvre, baritone, is making his second appearance with New Dominion Chorale, having performed the Brahms Requiem with the chorale in October 2005. Mr. LeFebvre recently made his debut with Opera Delaware, singing Sharpless in Madama Butterfly. Other recent performances include Vaughan-Williams's Sea Symphony with Berkshire Choral Festival, Beethoven's Ninth Symphony and Dvorak's Te Deum with Jacksonville Symphony, the Brahms Requiem with Chattanooga Symphony and Opera and Cornell University, and The Ballad of Baby Doe and The Coronation. Mr. LeFebvre has appeared in concert with the Jacksonville Symphony, Pensacola Symphony, West Virginia Symphony Orchestra, Vermont Symphony, Minnesota Symphony, Syracuse Symphony, American Symphony Orchestra, Pittsburgh Symphony, Spokane Symphony, Binghamton Philharmonic, Rochester Bach Festival, Berkshire Choral Festival, Williamsport Symphony, Syracuse Chamber Music Society, the Skaneateles Festival and the Marlboro Music Festival. He has also appeared in concert at New York's Carnegie Hall and Alice Tully Hall. His operatic experience includes leading roles with Tri-Cities Opera, Sarasota Opera, Chattanooga Symphony and Opera, Syracuse Opera, Indianapolis Opera, Opera Delaware, and Opera Theater of Pittsburgh.

Mr. LeFebvre is a winner of the New York Liederkranz Vocal Competition, and other awards include the Richard F. Gold Career Grant, an Opera Fellowship at Binghamton University and Regional Finalist in several Metropolitan Opera Competitions. Mr. LeFebvre is a graduate of Carnegie Mellon University and Binghamton University and is currently Assistant Professor of Voice at Binghamton University.