Mount Gretna, PA, United States

Mt. Gretna Playhouse

Called “the world’s reigning male chorus” by The New Yorker, San Francisco's Grammy award-winning group is back to Mt. Gretna!

3:00 pm and 7:30 pm performances.  The concerts will be 70 minutes.   There are no tickets left for these two performances.

$35 | Buy Tickets

Named for the “clear-singing” rooster in Geoffrey Chaucer’s Canterbury Tales, Chanticleer continues to maintain ambitious programming in its hometown of San Francisco, including a large education and outreach program. Chanticleer’s repertoire is rooted in the renaissance and has continued to expand to include a wide range of classical, gospel, jazz, popular music, and a deep commitment to the commissioning of new compositions and arrangements.

The GRAMMY® Award-winning vocal ensemble has been hailed as “the world’s reigning male chorus” by The New Yorker, and is known around the world as “an orchestra of voices”. Founded  in 1978, Chanticleer quickly took its place as one of the most prolific recording and touring ensembles in the world, selling over one million recordings and performing thousands of live concerts to audiences around the world.

For more information on the group, visit


Cortez Mitchell, Gerrod Pagenkopf*, Kory Reid,

Alan Reinhardt, Logan Shields, Adam Ward – countertenor

Brian Hinman*, Matthew Mazzola, Andrew Van Allsburg – tenor

Andy Berry*, Zachary Burgess, Matthew Knickman – baritone and bass

 Tim Keeler – Music Director

*Andy Berry occupies The Eric Alatorre Chair given by Peggy Skornia. Brian Hinman occupies the Tenor Chair, given by an Anonymous Donor. Gerrod Pagenkopf occupies The Ning G. Mercer Chair for the Preservation of the Chanticleer Legacy, given by Ning and Stephen Mercer.

Tim Keeler, Music Director

Tim Keeler, Music Director, sang as a countertenor in Chanticleer in the 2017-18 season. In Chanticleer’s history he will be the fourth of its six Music Directors to have been a member of the ensemble. Prior to moving to San Francisco, Tim forged a career as an active conductor, singer, and educator. He performed with New York Polyphony, The Clarion Choir, and the Choir of Trinity Wall Street. He also performed frequently as a soloist, appearing regularly in the Bach Vespers series at Holy Trinity Lutheran Church in New York City, as well as with TENET, New York’s preeminent early music ensemble. An avid proponent of new and challenging repertoire, Tim remains a core member of Ekmeles, a vocal ensemble based in New York City and dedicated to contemporary, avant-garde, and infrequently performed vocal repertoire.

While transitioning to his role as music director of Chanticleer, Tim is in the midst of completing his DMA in Choral Conducting at the University of Maryland where he studies with Dr. Edward Maclary. As an educator, Tim directed the Men’s Chorus at the University of Maryland, served as director of choirs at the Special Music School High School in Manhattan, and worked closely with the Young People’s Chorus of New York City as a vocal coach and satellite school conductor. He was also the choral conductor for Juilliard’s new Summer Performing Arts program – a two-week intensive summer course in Geneva, Switzerland.

Tim holds a BA in Music from Princeton University with certificates in Vocal Performance and Computer Science, an MPhil in Music and Science from Cambridge University, and an MM in Choral Conducting from the University of Michigan. While studying with Dr. Jerry Blackstone at the University of Michigan, Tim served as assistant conductor of the Grammy award-winning UMS Choral Union, preparing the choir for performances with Leonard Slatkin and the Detroit Symphony Orchestra. His dissertation at Cambridge explored statistical methods used in natural language processing and unsupervised machine learning as applied to musical phrase detection and segmentation.

For more information, please visit



close[r], now                                                              Ayanna Woods (b. 1992), Commissioned by Chanticleer in 2021

Lauda Jerusalem,                                                     Claudio Monteverdi (1567-1643)

from Vespro della Beata Vergine

The Rewaking                                                           Augusta Read Thomas (b. 1964)

Regina coeli†                                                             Alexander Agricola (1445-1506)

Elmúlt a tél                                                                Lajos Bárdos (1899-1986)

Dana-dana                                                                 Bárdos

Music, from Triumvirate                                        Ulysses Kay (1917-1995)

On a Clear Day                                                         Burton Lane (1912-1997), arr. Gene Puerling

SUNRISE                                                                   MICHELLE, arr. Tim Keeler, Matthew Mazzola, solo

Laudibus in sanctis                                                   William Byrd (c. 1540-1623)

Le chant des Oiseaux                                                Clément Janequin (c. 1485-1558)

Birds of Paradise                                                       Steven Sametz (b. 1954) Commissioned by Chanticleer in 2020

Journey to Recife†                                                    Richard Evans (1932-2014), arr. Joseph H. Jennings

These pieces have been recorded by Chanticleer

Texts and translations:

close[r], now – Ayanna Woods

the point of ease is a window. dream—fathom—

hone the dexterity of love. the mask/ a [path] through

come back/ come back to life.


Lauda Jerusalem, from Vespro della Beata Vergine – Claudio Monteverdi

Praise the Lord, O Jerusalem:

praise thy God, O Zion.

For he hath made fast the bars of thy gates: and hath blessed thy children within thee. He maketh peace in thy borders:

and filleth thee with the flour of wheat.

He sendeth forth his commandment upon earth: and his word runneth very swiftly.

He giveth snow like wool:

and scattereth the hoar-frost like ashes. He casteth forth his ice like morsels:

who is able to abide his frost?

He sendeth out his word, and melteth them:

he bloweth with his wind, and the waters flow. He sheweth his word unto Jacob:

his statutes and ordinances unto Israel. He hath not dealt so with any nation:

neither have the heathen knowledge of his laws.

Glory be to the Father, to the Son, and to the Holy Spirit. As it was in the beginning is now and forever,

world without end, Amen.

The Rewaking – Augusta Read Thomas

Sooner or later we must come to the end of striving

to re-establish the image the image of the rose

but not yet you say extending the time indefinitely

by your love until a whole spring

rekindle the violet to the very lady’s-slipper

and so by your love the very sun itself is revived

Text by William Carlos Williams


Regina coeli – Alexander Agricola

Regina coeli laetare, alleluia!        Queen of heaven, rejoice, alleluia!

Quia quem meruisti portare, alleluia!        The Son you merited to bear, alleluia!

Resurrexit sicut dixit, alleluia!        Has risen as he said, alleluia! Ora pro nobis Deum, alleluia!                       Pray to God for us, alleluia!


Elmúlt a tél – Lajos Bárdos

Elmúlt már a vad tél,        The wild winter is over, hahó, tilalaj,                              hey, from frozen earth kivirul a táj,                              the landscape is blossoming

párát hajtó szellő,        the wind drives away the mist, könnyen szállj!                come away!

Szívós gally a zöldjét        A tough twig already teregeti már,                      spreads its green,

Nyíló bimbó kelyhét        already opens its feszegeti már,                         flowering bud,

felhőn pergő napfény, szállj!        sunlight swirls in a cloud, come away!

Harmat rengő gyöngye,        The dew quivers like a pearl, a fű idevár;                   the grass waits,

bomló tánc a szívben,        a dance loosens in the heart, dalol a madár,                  the bird sings,

felhőn pergő napfény,        the sun shines through the clouds, gyere már              come, return, o blessed sunlight,

áldott napfényünk, szállj!        Come away! Text by Weöres Sándor


Dana-dana – Bárdos

Hej, igazítsad jól alábod,        Hey, pay attention to your feet,

Tiz farsangja, hogy már járod,        You’ve been dancing at the carnival since ten, Haj dana-dana-dana, dana-dana danajdom!                         Hey, sing-song, let’s dance!

Hej, ez a kislány atyám fíjja,        Hey, this young girl is my wife, Szeretijaz apám fíjja,                                     She loves my father’s son – that’s me!

Haj dana-dana-dana, dana-dana danajdom!        Hey, sing-song, let’s dance!

Hej, a szivemnek nagy a búja,        Hey, my heart is very sad,

Telegy rózsám orvoslója,        Come, sweetheart, nurse it back to health, Haj dana-dana-dana, dana-dana danajdom!                         Hey, sing-song, let’s dance!

Hej, nem aludtam czak egy szikrát,        Hey, I didn’t sleep even a little bit,

Eltáncoltam az éjszakát,                               I’ve been dancing all night,

Ha j dana-dana-dana, dana-dana danajdom!        Hey, sing-song, let’s dance!

Hej, ne tekintsd, hogy rongyos vagyok,        Hey, don’t think I’m worn out, Kilenc gyermek apja vagyok,   I’m the father of nine children!

Hej dana-dana-dana, dana-dana danajdom!        Hey, sing-song, let’s dance!

Hej, ne okoskodj, ne halogass,        Hey, don’t be a smart-aleck, don’t procrastinate, Házasodjál, ne válogass,                              Just get married, don’t be picky!

Hej dana-dana-dana, dana-dana danajdom!        Hey, sing-song, let’s dance!


Music, from Triumvirate – Ulysses Kay

Let me go where’er I will, I hear a sky-born music still: It sounds from all things old,

It sounds from all things young; From all that’s fair, from all that’s foul,

Peals out a cheerful song.

It is not only in the rose, It is not only in the bird,

Not only where the rainbow glows, Nor in the song of woman heard, But in the darkest, meanest things There alway, alway something sings.

‘Tis not in the high stars alone, Nor in the cup of budding flowers, Nor in the redbreast’s mellow tone,

Nor in the bow that smiles in showers, But in the mud and scum of things There alway, alway something sings!

Text by Ralph Waldo Emerson


On a Clear Day – Burton Lane, arr. Gene Puerling

On a clear day,

Rise and look around you, and you’ll see who you are – On a clear day,

how it will astound you,

that the glow of your being outshines every star –

You feel part of ev’ry mountain, sea and shore, You can hear from far and near,

a world you’ve never heard before, And on a clear day,

On that clear day,

You can see forever and ever more.

Text by Alan Jay Lerner


SUNRISE – MICHELLE, arr. Tim Keeler

Couldn’t ever be my sunrise, sunrise,

You’re just a setting sun, I’d pray and you would pass me by, You’re only looking for a good time, a body you could kiss on, Turn to you and you’ve moved on.

Well there’s something about the way you passed me by I couldn’t keep up and now I’m stuck.

And I never forget how carefully you counted it: Seven twenty-five licks to the center of a tootsie pop, All the times you laughed it made my heart stop

Get the key, unlocked, no pace, no clock, Who’s there? Knock, knock.

The earth still turns and I believe one day I’ll fall into your gravity.

I just took too long to see beyond this predetermined read.

Empty hallways, calendars months behind, Beds too warm to leave

But I know like the sun I’ve gotta rise eventually.

Couldn’t ever be my sunrise…

It’s sour this time

Many times I rode, many times I’d spin and went so far for you, It’s familiar and mild,

You stretch me out, I still can’t reach Don’t wanna need your company.

Don’t you know that the earth still turns and I believe one day I’ll fall into your gravity.

I just took too long to see beyond this predetermined read.

Empty hallways, calendars months behind, Beds too warm to leave

But I know like the sun I’ve gotta rise eventually.

Couldn’t ever be my sunrise…


Laudibus in sanctis – William Byrd

Laudibus in sanctis Dominum celebrate supremum:        Praise the Lord most high with holy praise: firmamenta sonent inclita facta Dei.                              let the firmament echo God’s glorious deeds.

Inclita facta Dei cantate, sacraque potentis        Sing his glorious deeds, and with loud voice voce potestatem sæpe sonate manus.                  proclaim the power of his mighty hand.

Magnificum Domini cantet tuba martia nomen:        Let the martial trumpet sound the Lord’s great name: pieria Domino concelebrate lira,                   celebrate the Lord with the Pierian lyre.

Laude Dei resonent resonantia tympana summi:        Let timbrels resound to the praise of the highest God, alta sacri resonent organa laude Dei.                         let lofty organs sound the praise of the holy God.

Hunc arguta canant tenui psalteria corda,        Let clear harps sing of him with subtle strings, hunc agili laudet læta chorea pede.                           let agile feet praise him in joyful dance.

Concava divinas effundant cymbala laudes,        Let hollow cymbals pour forth divine praises, cimbala dulcisona laude repleta Dei.                       sweet-sounding cymbals full of the praise of God.

Omne quod æthereis in mundo vescitur auris        Let everything on earth fed by the air of heaven Halleluya canat tempus in omne Deo.                           sing Alleluia to God, now and forever more.

Based on Psalm 150


Le chant des Oiseaux – Clément Janequin

Réveillez vous, coeurs endormis,        Awake, sleepy hearts

Le dieu d’amour vous sonne.        the God of Love calls you.

A ce premier jour de mai        On this first day of May, Oiseaux feront merveilles                                   the birds will make you marvel,

Pour vous mettre hors d’esmay.        To lift yourself from dismay Détoupez vos oreilles.                          Unclog your ears,

Et farirariron frereli joli.        And farirariron ferely prettily. Vous serez tous en joie mis                            You will be moved to joy

Car la saison est bonne.        For the season is fair.

Vous orrez à mon avis        You will hear, at my behest, Une douce musique,                            A sweet music,

Que fera le roy mauvis        That the royal thrush

Le merle aussi        And also the blackbird will sing L’estournel sera parmi,                             Together with the starling

D’une voix authentique:        In a genuine voice:

Ti ti pyti pyti        Ti ti pyti pyti Chou Chou Chouti                              Chou chou chouti

Que dis-tu?        What are you saying?

Le petit sansonnet de Paris,        The little starling of Paris,

Le petit mignon, Sainte tête Dieu!        The little darling, holy head of God!

Guillemette, Colinette,        Guillemette and Colinette, il est temps d’aller boire!                              it’s time to go drinking!

Qu’est là-bas, passe villain        Who is there, knave?

Sage, courtois, et bien appris.        Wise, courteous, and well-formed.

Au sermon, ma maîtress,        To the sermon, my lady, Sus, madame,                 Get up, madam,

à la messe Sainte Coquette qui caquette.        To the Mass for St. Clucky, who gossips. à Saint Trotin voir Saint Robin,                     To St. Trotin to see St. Robin

montrer le tétin, le doux musequin!        Show off your chest, sweet musician!

Rire et gaudir c’est mon devis,        To laugh and rejoice is my device, Chacun s’y abandonne.                             Let everyone give themselves up to them.

Rossignol du bois joli,        Nightingale of the pretty woods, A qui la voix résonne,                        Whose voice resounds,

Pour vous mettre hors d’ennui        To free yourself from boredom Votre gorge jargonne.                              Your throat jabbers away.

Frian frian tr tar tar tu        Frian frian tr tar tar tu Velecy ticun tu tu                               Velecy ticun tu tu

Qui lara ferely fy fy        Qui lara ferely fy fy Coqui teo siti oyty tr                                 Coqui teo siti oyty tr Turri huit huit teo tar                                   Turri huit huit teo tar Quio quio fouquet                           Quio quio fouquet

Quibi quibi fi frr        Quibi quibi fi frr

Fuyez regrets, pleurs et souci,        Flee, regrets, tears and worries, Car la saison l’ordonne,                    For the season commands it.

Arrière maître cocu,        Turn around, master cuckoo, Sortez de nos chapitre,                          Get out of our company,

Chacun vous est mal tenu        Each of us gives you to the owl,

Car vous n’êtes qu’un traître        For you are nothing but a traitor.

Coucou coucou        Cuckoo, cuckoo

Par trahison en chacun nid        Treacherously in others’ nests, Pondez sans qu’on vous sonne.                               You lay without being called. Réveillez vous coeurs endormis,                                    Awake, sleepy hearts,

Le dieu d’amour vous sonne.        The god of love is calling you.


Birds of Paradise – Steven Sametz

Golden-winged, silver-winged, Winged with flashing flame, Such a flight of birds I saw, Birds without a name:

Singing songs in their own tongue (Song of songs) they came.

One to another calling, Each answering each, One to another calling In their proper speech:

High above my head they wheeled, Far out of reach.

On wings of flame they went and came With a cadenced clang,

Their silver wings tinkled, Their golden wings rang,

The wind it whistled through their wings Where in Heaven they sang.

Réveillez vous coeurs endormis, [Awake, sleepy hearts,] Le dieu d’amour vous sonne. [The god of love calls you.]

They flashed and they darted Awhile before mine eyes, Mounting, mounting, mounting still In haste to scale the skies –

Birds without a nest on earth, Birds of Paradise.

Where the moon riseth not, Nor sun seeks the west, There to sing their glory Which they sing at rest, There to sing their love-song When they sing their best:

Not in any garden That mortal foot hath trod, Not in any flow’ring tree

That springs from earthly sod, But in the garden where they dwell,

The Paradise of God.

Text by Christina Georgina Rossetti (1830–1894), “Paradise: In a Symbol”


Journey to Recife – Richard Evans, arr. Joseph H. Jennings

Take a train, take a plane And journey to a place

Where you can find joy and release.

Take a holiday, come and stay, You could be here today,

And I know you would never want to go back to where you came from.

On the day you arrive You’ll feel the magic fill your soul

And you’ll have no regrets. You will have all you need,

It will be something wonderful,

You better wake up and start that journey to me.

Chanticleer History

Over the years, Chanticleer founder Louis Botto was often asked if, at that first convening of singers around a dining room table in San Francisco he had any idea it would become what it is today. He would usually answer, “yes,” with a broad smile and a twinkle in his eye. As a graduate student in musicology, Louis found it odd that much of the repertoire he was studying–vocal music of the medieval and Renaissance periods–was not being performed. He decided to form a group to sing this neglected repertoire, using only male voices, as was the tradition in most churches during the Renaissance. Louis turned to members of choirs in which he sang, the San Francisco Symphony Chorus and the Grace Cathedral Choir of Men and Boys, asking if they might be interested in this endeavor. Nine members were selected, including Louis (who sang tenor), and rehearsals began for their debut performance.

Chanticleer’s first tours covered every state in the union. International recognition came in 1984 when the ensemble performed a Mass at the International Josquin Symposium held in Belgium. Chanticleer was invited to replace a last-minute cancellation by another group, which required the Mass to be rehearsed on the plane! Today, Chanticleer tours biannually to Europe’s most prestigious concert halls, including the Musikverein in Vienna, Amsterdam’s Concertgebouw, Prague’s Rudolfinum, Budapest’s Bela Bartok Hall, among others. Japan, Hong Kong, and Taiwan have offered concerts regularly, and in 2009 Chanticleer made its debut in the People’s Republic of China.

In those early years, Chanticleer was the beneficiary of good luck and good friends. It could not have succeeded in those early years through hard work alone. In 1980, the group participated in the Festival of Masses, a large choral festival held in San Francisco with the legendary Robert Shaw serving as Festival Conductor. Chanticleer performed a solo concert of 3 complete masses: one in plainchant and polyphonic settings by Dufay and Byrd. Mr. Shaw attended the performance and told the group “it was one of the most beautiful experiences of my life.” Louis, ever the entrepreneur, wrote down the Maestro’s statement and asked him to sign it the next day. He did so, with one addition: stating that it was one of the most beautiful musical experiences of his life.

More than one hundred men have sung in the ensemble each leaving an individual legacy. In what was to be a defining moment in 1983, Joseph Jennings joined the group as a countertenor. His talents quickly led him to be named Music Director, a post he held until 2008. His legacy is far-reaching, and includes a wealth of gospel and jazz arrangements, as well as a long list of works commissioned by Chanticleer under his direction.

It was obvious that recording would increase the ensemble’s exposure, but difficult to find a label willing to venture into the varied repertoire that the group performed. In 1987, with its tenth anniversary approaching, Chanticleer decided to create an independent label to release its first CD, and Chanticleer Records was born. The risk paid off: the ensemble released a total of ten discs over a period of only six years. These recordings were successful enough that in 1994, Teldec signed Chanticleer to an exclusive recording contract, which lasted until 2008. Teldec recognized the appeal of Chanticleer’s diverse repertoire, making the CD’s available in more than 60 countries, and vastly increasing Chanticleer’s name recognition internationally. Colors of Love, Chanticleer’s 1999 release devoted to contemporary choral works, won the GRAMMY® Award for Best Small Ensemble Performance (With or Without a Conductor.) Lamentations and Praises won two GRAMMY® awards in 2001.

From time-to-time Chanticleer collaborates with other artists. In close collaboration with musicologist Craig Russell, Chanticleer has performed and recorded three programs of unknown works by 18th-century Mexican composers Manuel de Zumaya and Ignacio de Jerusalem with a period-instrument orchestra (Mexican Baroque, Matins fo

Road). Chanticleer presented a fully staged opera by Benjamin Britten, Curlew River, to critical acclaim, a musical play about Hildegard Von Bingen, and dramatic work by Sir John Tavener entitled Lamentations and Praises. Chanticleer has performed with Frederica Von Stade, Al Jarreau, Garrison Keillor, the Shanghai Quartet, as well as the New York, San Francisco, and St. Paul orchestras.

Chanticleer has commissioned over seventy composers who have written over ninety pieces premiered by the group.

Its education program was recognized in 2010 with the Chorus America Education and Outreach Award and serves over five thousand students every year in a sequence of programs supervised by a full-time Education Director.

Chanticleer has had the opportunity to sing in some of the most beautiful concert halls and churches in the world. But the group has also sung in a barn in Canada, a roofless church in the former East Germany, a gymnasium in Sweden, and in Central Park with the New York Philharmonic. No matter where the group travels, Chanticleer has become a “polished performing machine that … could fairly be called Botto’s miracle” (The Wall Street Journal). Louis should be proud.


Venue Details

200 Pennsylvania Avenue
Mount Gretna, PA 17064
United States
(717) 361-1508