Tickets now available!



Online talks featuring in-depth explorations of topics in early music.


A 14th-Century Salmagundi

Now available on physical CD.



“. . .these neglected chansons take on a hitherto unsuspected radiance that touches heart and mind alike.” Bestenliste, Preis der deutschen Schallplattenkritik (January 2020)


Cipriano de Rore, Madrigals for five voices (1542): WORLD PREMIERE RECORDING

“. . .masterfully, sensitively done, and most highly recommended.” – Early Music America (June 2020)


Season 24 Announced!

Subscription packages available beginning July 1.
Single tickets available beginning August 1.

More Info

Ockeghem@600 Concert 12: Requiem
Saturday, October 15, 3:00 pm

Christmas in Renaissance Spain
Friday, December 16, 8:00 pm
Saturday, December 17, 3:00 pm & 8:00 pm

Fortuna & Fama: Josquin’s Missa Fortuna desperata & Dido’s lament
Saturday, February 11, 3:00 pm

Ockeghem@600 Concert 13: Missa Mi mi
Saturday, March 25, 3:00 pm

Songs & Dances for Isabella: Courtly music from Mantua & Ferrara, c. 1500
Saturday, April 29, 3:00 pm

In-depth explorations of topics in early music, one hour presentation followed by Q&A.
Wednesdays 7-8:30 pm.

Thomas Forrest Kelly: The Early History of the Christmas Carol, c. 1200-1500
November 16, 2022

Reginald Mobley & Martin Near: What IS a countertenor anyway?
January 18, 2023

Debra Nagy: The 15th-Century Instrumentarium
April 12, 2023

More Info

Questions? Please call 617-960-7956 or email

Je n’ay dueil que je ne suis morte
Johannes Ockeghem (c. 1420-1497)

Margot Rood, soprano
Kim Leeds, mezzo-soprano
Sumner Thompson, tenor
Paul Guttry, bass

Video by Kathy Wittman, Ball Square Films
Audio by Philip H. Davis, Cape Ann Recordings

Thank you for your generosity!

Thank you to all who so generously contributed to our 2022 Spring Appeal.
With sincere thanks to our generous Challenge Grant donor and your participation,
we have made our $30,000 goal.
We look forward to seeing you next season!

» More recordings

This highly important [Peterhouse recording] project, one of the most important early choral projects of our time, has unearthed a series of masterly composers hitherto virtually unknown...Such is the authority of Scott Metcalfe and his singers with this repertoire that they negotiate even the most daringly challenging and unexpected passages with utter confidence, and, as previously, with a delicious blend of expressiveness and seemingly inexorable forward momentum.

D. James Ross, Early Music Review (UK)

a revelation - fresh, dynamic and vibrant...urgent and wondrous music-making of the highest order

Damian Fowler, Gramophone (UK)

fine gradations of dynamics; pungent diction; telling contrasts of ethereal and earthly timbres; tempos that are more lusty than languid; a way of propelling a phrase toward a goal. ... The singing is both precise and fluid, immaculate and alive...

Alex Ross, The New Yorker

A listener then would have been lucky to hear these works brought off with such panache. The program is by turns pensive and lively, and the scholarship required to evoke stylistic accuracy is put totally at the service of performance.

David Allen, The New York Times

I feel privileged to be able to revel in such a subtle shaped set of performances... This is the kind of recording that makes you sit up and pay attention.. There is plenty that is memorable here, and always the anticipation of something juicy to relish just around the corner. You can't ask much more than that from a CD.

Dominy Clements, MusicWeb International

The earthy sensuousness of Blue Heron's singing coupled with the curatorial care behind its programming have clearly earned the trust of audiences

Jeremy Eichler, The Boston Globe

But Blue Heron’s devotion to this repertory — the ensemble has recorded five albums of music from the Peterhouse Partbooks — is not justified only by its rarity. This is vivid and radiant music. ...
... With two or three singers to a part and women stepping into the shoes of boy choristers, Blue Heron brings a zesty and sensual sound to these works of devotional music.

Corinna da Fonseca-Wollheim, The New York Times