Sacramento
CHORAL SOCIETY
from California USA
California-Canada
Entre Amis Goodwill Tour 2026
Among Friends
Mozart's Requiem in D Minor
CONCERT PROGRAM
Wolfgang Amadeus Mozart (1756–1791)
Requiem Mass in D Minor, K. 626
I. Introitus
• Requiem aeternam (Soprano Solo and Chorus)
II. Kyrie
• Kyrie eleison (Chorus)
III. Sequentia (Sequence)
• Dies irae (Chorus)
• Tuba mirum (Soprano, Alto, Tenor, and Bass Soli)
• Rex tremendae (Chorus)
• Recordare (Soprano, Alto, Tenor, and Bass Soli)
• Confutatis (Chorus)
• Lacrymosa (Chorus)
IV. Offertorium
• Domine Jesu Christe (Chorus and Soli)
• Hostias (Chorus)
V. Sanctus
• Sanctus (Chorus)
VI. Benedictus
• Benedictus (Soprano, Alto, Tenor, and Bass Soli and Chorus)
VII. Agnus Dei
• Agnus Dei (Chorus)
VIII. Communio
• Lux aeterna (Soprano Solo and Chorus)
— NOTES —
Mozart composed part of the Requiem in Vienna in late 1791, but it was unfinished at his death on 5 December the same year. A completed version was delivered to Count Franz von Walsegg, who had commissioned the piece for a requiem service on 14 February 1792 to commemorate the first anniversary of the death of his wife Anna, who had died at the age of 20 on 14 February 1791.
The autograph manuscript shows the finished and orchestrated movement of the Introit in Mozart’s hand, and detailed drafts of the Kyrie, the Sequence (the latter including the first eight bars of the Lacrimosa), and the Offertorium. First Joseph Eybler and then Franz Xaver Süssmayr filled in the rest, composed additional movements, and made a clean copy of the completed parts of the score for delivery to Walsegg, imitating Mozart’s musical handwriting but clumsily dating it “1792.”[1] It cannot be shown to what extent Süssmayr may have depended on now lost “scraps of paper” for the remainder; he later claimed the Sanctus and Benedictus and the Agnus Dei as his own.
Walsegg probably intended to pass the Requiem off as his own composition, as he is known to have done with other works. This plan was frustrated by a public benefit performance for Mozart’s widow Constanze. She was responsible for a number of stories surrounding the composition of the work, including the claims that Mozart received the commission from a mysterious messenger who did not reveal the commissioner’s identity, and that Mozart came to believe that he was writing the Requiem for his own funeral.
In addition to the Süssmayr version, a number of alternative completions have been developed by composers and musicologists in the 20th and 21st centuries. At least 19 conjectural completions have been made, eleven of which date from after 2005.
CANADA TOUR
Concert dates
OTTAWA
Thursday, June 18 at 7pm
Dominion Chalmers Centre
Carleton University
290 Lisgar St
Ottawa, ON K2P 0E2
General Admission: $15
MONTREAL
Sunday, June 21 at 7pm
Church of St. Andrew & St. Paul
3415 Redpath St
Montreal, QC H3G 2G2
Enter at Sherbrooke Street doors
General Admission: $15
QUEBEC CITY
Monday, June 22 at 7pm
Palais Montcalm
995 Rue D'Youville
Québec, QC G1R 3P1
General Admission: $15
THE DIRECTOR
Donald Kendrick
Artistic Director
Donald Kendrick has served as the Artistic Director and Conductor of the Sacramento Choral Society & Orchestra (SCSO) for several decades. Under his leadership, the SCSO has grown into one of the premier choral organizations in the Sacramento region and beyond.
Kendrick’s passion for music and choral conducting started early in his life. He pursued his musical studies at prestigious institutions such as New England Conservatory and the Eastman School of Music, acquiring a strong foundation in choral conducting, vocal performance, and music education. His dedication and talent as a conductor led him to conduct various choral ensembles throughout his career.
In 1996, Donald Kendrick became the Artistic Director of the Sacramento Choral Society, which later expanded to include an orchestra, becoming the Sacramento Choral Society & Orchestra (SCSO). He has been instrumental in shaping the SCSO’s artistic vision and programming, leading the ensemble to deliver captivating performances that feature a diverse repertoire, ranging from classical masterpieces to contemporary and innovative works.
Kendrick has led the SCSO on several international tours to Europe, China and Canada. Under his direction, the group has also performed twice in Carnegie Hall and in LA’s prestigious Disney Hall. The SCSO has 10 professionally mastered compact discs to their credit, thanks to Kendrick’s efforts.
Under Kendrick’s direction, the SCSO has collaborated with renowned soloists, instrumentalists, and composers, enriching the musical experience for both performers and audiences. His dedication to excellence and his ability to inspire singers and musicians have garnered praise from critics and audiences alike.
Beyond his work with the SCSO, Donald Kendrick has been involved in various musical endeavors, including guest conducting engagements and music education initiatives. His contributions to the choral community have earned him a reputation as one of the most influential figures in choral music in the Sacramento area.
As a conductor and musician, Donald Kendrick’s commitment to artistic expression, musicality, and community engagement has left a lasting impact on the choral landscape of Sacramento and has contributed to the enrichment of the cultural life of the region.
about the choir
The Sacramento Choral Society & Orchestra (SCSO) is a vibrant and esteemed musical organization that has been enriching the cultural landscape of Sacramento, California, for several decades. Founded in 1996, the SCSO has evolved into one of the premier choral ensembles in the region.
Led by Artistic Director and Conductor, Dr. Donald Kendrick, the Sacramento Choral Society & Orchestra boasts a diverse and dedicated group of talented singers and instrumentalists who come together to create captivating and unforgettable musical experiences.
The SCSO has toured internationally to Europe, China and Canada and they have 11 compact discs to their credit.
The SCSO’s repertoire encompasses a wide range of musical genres, from classical masterpieces to contemporary works, including collaborations with renowned composers and soloists. Each performance showcases the ensemble’s commitment to artistic excellence, innovation, and musical expression.
Throughout its history, the Sacramento Choral Society & Orchestra has garnered critical acclaim and praise for its powerful performances and distinctive artistic vision. The ensemble’s passion for music and dedication to the choral arts have resonated with audiences, making each concert a truly memorable experience.
Beyond their regular concert series, the SCSO actively engages with the community through various educational programs and outreach initiatives. The organization is committed to nurturing the next generation of musicians and music lovers, promoting music education and appreciation in schools and the wider community.
The Sacramento Choral Society & Orchestra has a strong tradition of collaboration and partnership with other arts organizations, fostering a vibrant and interconnected cultural scene in Sacramento.
As a pillar of the local music community, the Sacramento Choral Society & Orchestra continues to inspire, uplift, and entertain audiences with its exceptional performances and dedication to the choral and orchestral arts.
THE ORGANIST
Ryan Enright
Organist
Ryan Enright, a native of Montréal, Canada, received his Bachelor’s, Master’s degree and Artist Diploma in organ Performance Solo from McGill university where his principal teachers were John Grew and William Porter.
Ryan later received the Doctor of Musical Arts in organ performance from the Eastman School of Music. For 14 years from 2011-2025 Ryan served as organist at St. John’s Lutheran in Sacramento. He also served as the accompanist for the Sacramento Choral Society & orchestra and played keyboard in the SCSo’s professional orchestra. Ryan also served on the Staff of the School of Music at Sacramento State University where he accompanied the University Singers, the University Chorale, the Choral union and the Opera Theater Workshop.
Ryan has played organ recitals in Canada and the united States and participated in master classes and academies in Europe. In California, he has performed at St. Mary’s Cathedral, Grace Cathedral in San Francisco, at St Mark’s Episcopal Church in Berkeley, in the Stanford University Memorial Chapel and at the Cathedral of Christ the Light, Oakland.
In the summers of 2013 and 2015 Enright accompanied the Sacramento Choral Society & orchestra on its tours of Italy, France and England, playing various organs from St. Martin’s Cathedral, Lucca and St. Peter’s, Rome to the choir organ of Notre Dame and the grand organ of the Abbaye Saint-Martin de Monday, Normandy.
Ryan took first prizes at the Canadian Music Competition (1997), the Quebec organ Competition (2004), the National organ Playing Competition of the Royal Canadian College of organists Competition, the Kotka Competition (Finland), the Dublin International organ Competition, and the 2011 Canadian International organ Competition in Montreal, where he was one of 16 international finalists and the only Canuck!
In Montreal, Ryan was organist at Wesley United Church, Assistant organist at Christ Church Cathedral and organist and Choirmaster at St. Philip’s Church. He also served as organist of Gates Presbyterian Church in Rochester, New York. He served as the Sub-Dean of the American Guild of organists, Sacramento Chapter until 2015.
We are delighted that Canada shared Ryan Enright with us in California for 14 years before returning to beautiful Montreal in November 2025!
THE SOLOISTS
Jessica Latouche
Soprano
With a full and agile voice, soprano Jessica Latouche regularly performs as a guest soloist throughout the province of Quebec.
In opera, she has been appreciated in the roles of Rosalinde (Die Fledermaus, J. Strauss) and Anna (Nabucco, Verdi) – Opéra de Québec; Louise (Messe solennelle pour une pleine lune d’été, C.Thomas/M.Tremblay – world premiere) and the Lilac Fairy (Peau d’âne, JF Mailloux – premiere) – Festival d’opéra de Québec; Blanche de la Force (Dialogues des Carmélites, Poulenc) and Echo (Echo et Narcisse, Gluck) – Atelier d’opéra UL; Baronne de Gondremarck (La vie parisienne, J. Offenbach) – Opéra bouffe du Québec; Clotilde (Norma, Bellini) – Opéra de Rimouski; Donna Anna (Don Giovanni, Mozart) – Accademia Europea dell’Opera di Lucca (Italy). She also served as understudy for the roles of Donna Anna and Donna Elvira (Don Giovanni, Mozart) at the Opéra de Québec, and for Marguerite (Faust, Gounod) at the Festival d’opéra de Québec.
In concert, she was most recently invited to sing La Dame de Monte-Carlo (Poulenc) and Sheherazade (Ravel) – Saguenay-Lac-St-Jean Symphony Orchestra; at the ” Chocolats Symphoniques ” concert – Quebec Symphony Orchestra; in the Magnificat (Rutter) – Ensemble Polyphonia de Québec; in the Mass in D (Dvořák) – Les Rhapsodes Choir; in the Mass in C (Beethoven) – Choir and Symphony Orchestra of Laval University; She could also be heard at the virtual gala ” Love at Opera or the words|aches of love ” (Opéra de Québec), during a tour in China, organized by the Jeunes Ambassadeurs Lyriques (JAL) and in Belgium with the Brussels International Singers as well as the I Musici Brucellensis orchestra and as a guest soloist during multiple concerts with the main orchestras, ensembles and choirs of the greater Quebec region.
Jessica holds a doctorate in music from Université Laval (2022), where she studied under renowned organist Richard Paré and co-supervised by international baritone Jean-François Lapointe. She is the recipient of the 2021 Poulenc Grand Prize, awarded by the Jeunes Ambassadeurs Lyriques du Canada and the Association des amis de Francis Poulenc (Paris), and also received the Sandra and Alain Bouchard Scholarship for her outstanding achievements during her doctoral studies (2022). She has taught in the Musical Theatre program at Cégep de Sainte-Foy since 2021, at the Faculty of Music of Université Laval since 2023, and at the Conservatoire de musique de Québec since 2024.
Marie-Andrée Mathieu
Mezzo Soprano
Quebec mezzo-soprano Marie-Andrée Mathieu delights audiences with her agile voice and great musical expressiveness.
Named “Jeune espoir lyrique québécois” by the Jeunes Ambassadeurs Lyriques, she has been invited to sing in Germany, China, Slovakia and Italia. She also won the first prize at the Concours d’art lyrique de la Relève musicale de Québec.
On the opera stage, she sang Stéphano (Roméo et Juliette) and Orlofsky (La chauve-souris) with Opéra de Québec and Cherubino (Le nozze di Figaro) with Les jeunesses musicales du Canada. She was also Sesto in La clemenza di Tito, Isolier dans Le Comte Ory, Nicklausse in Les contes d’Hoffmann, Orpheus in Gluck’s Orpheus and Eurydice and Zerlina in Don Giovanni.
Her engagements as guest soloist include Handel’s Messiah with Symphony Nova Scotia and the Orchestre classique de Montréal, Beethoven’s C major Mass with the Slovak State Philharmonic Orchestra, and several Bach cantatas with Arion Orchestre Baroque, the Studio de musique ancienne de Montréal and the Orchestre métropolitain. She also performed at the 40th Festival de Lanaudière, for Musique de chambre Sainte-Pétronille and for the Société d’art vocal de Montréal.
A native of Quebec City, Marie-Andrée Mathieu holds a master’s degree in classical singing performance from Université Laval, which she obtained with honours. Also trained in piano and guitar, the young woman is a versatile musician. Since her debut on stage, she has performed a wide variety of musical styles, including Brazilian music and French songs.
In the coming months, she will be Soeur Mathilde in Poulenc’s Dialogues des Carmélites with Opéra de Québec and will sing Bach’s Magnificat at the opening concert of the 20th edition of Festival International Bach Montréal.
Žiga Čopi
Tenor
Robert Huard
Baritone
With a career spanning over 40 years, bass-baritone Robert Huard is a highly versatile artist whose repertoire extends from the medieval period to contemporary works. A two-time grant recipient from the Ministry of Culture of Québec, he has appeared as a soloist with leading Canadian ensembles, including Les Violons du Roy, the Orchestre symphonique de Québec, and the Opéra de Québec. He was also a long-time member of Ensemble Anonymus, touring extensively across Canada and the United States. His guest appearances include performances with the Chœur polyphonique de Montréal, Ottawa’s Musica Divina, and the Grand River Chorus of Brandford in Ontario.
Huard is particularly celebrated at the Opéra de Québec, where critics consistently praise his remarkable diction and exceptional acting skills. In 2013, his contributions to the art form were officially recognized when he received the Opéra de Québec Foundation distinction at the Awards of Excellence in Arts and Culture Gala.
Huard’s current season highlights his diverse talents: he recently performed as the soloist in Brahms’ Ein deutsches Requiem with Ensemble Polyphonia and took on the comedic double roles of Benoît and Alcindoro in Puccini’s La bohème with the Opéra de Québec. Looking ahead, he will rejoin Ensemble Polyphonia this November for Bach’s Magnificat and return to the Opéra de Québec stage in May 2027 as the Sacristan in Puccini’s Tosca.
Beside the Brahms Requiem and the Bach’s Magnificat cited above, Robert Huard had been soloist in many sacred works like André Campra’s Messe des morts, St John Passion, St Matthew Passion and B Minor Mass from J.-S. Bach, Handel’s Messiah, the Messe de minuit pour Noël by Marc-Antoine Charpentier and the Mozart’s Requiem. With this latter work he will be, for the first time, guest soloist with the Sacramento Choral Society.
