November 16, 2019


St. Marks Episcopal Church



Anna Kiskachi’s extraordinary virtuosity, musical brilliance and riveting stage presence are center-stage in this thrilling program. Celebrated tenor Patrick Kilbride, acclaimed for his ‘sweet-voiced tone’ joins for some gorgeous arias & as program narrator. The program portrays the mythological Roman god Jupiter through harpsichord works which are vital, majestic, mysterious, spell-binding, enchanting and, sometimes, frenetic.

Classical mythology enjoyed a revival during the Baroque & is woven into its literature, art & music. Tonight’s program is structured around Baroque composer Jean-Baptiste Forqueray’s commanding, powerful, & dark transcription of ‘Jupiter’ for harpsichord. Other works on the program portray Jupiter’s mystery, omnipotence, power, & unpredictability.

Jupiter, mythological Roman god of the sky & thunder, was also king of all gods. Jupiter’s destiny was to release his older siblings from captivity by their father, Saturn, & then overthrow Saturn & his Titan forces to assume the position of supreme god. Jupiter prevailed with the help of the Cyclopses & took the lightening bolt, eagle, & oak as his symbols of power. Gods & humans alike were simultaneously terrified & enthralled by Jupiter. A font of authority, wisdom, prudence & bravery, Jupiter was also highly unpredictable & given to uncontrolled bursts of fury & lasciviousness. Humans, at the mercy of his power & capriciousness, tried to allay his furies with blood sacrifices.



~ Celestial Might ~

G. F. Handel (1685 – 1759)
Jupiter’s Aria: “Ah, take heed what you press”

N – P. Royer (1705 – 1755)
Vertigo, g-moll

F. M. Lopez (1742 – 1821)
Fandango d-moll

~ Magnificence ~

J. S. Bach (1685 – 1750)
Prelude from Cello Suite Nr. 2, d-moll               [Transcription for harpsichord by A. Kiskachi]
Chromatic Fantasia and fugue, d-moll

~ Ghastly Fearfulness ~

G. Ligeti (1923 – 2006)
Passacaglia Ungherese

J – B. Forqueray (1672 – 1745)
Jupiter                                                                [Transcription for harpsichord by J-B. Forqueray]


~ Spiritual Enchantment ~

A. Scarlatti (1660 – 1725)
Aria “Agitata da fiera procella” from ‘Griselda’

D. Scarlatti (1685 – 1757)
Sonata A-dur, K.208

F. Couperin (1668 – 1733)
Les Fastes de la grande et ancienne Mxnxstrxndxsx /“The Annals of the Great & Venerable Guild of ‘Minstrelsy” 

First Act: The notables and the Minstrel jury

Second Act: The hurdy-gurdy players and the beggars

Third Act: Jugglers, tumblers, and tight-rope dancers, with bears & monkeys

Fourth Act: Invalids, or those crippled in the service of the Great Minstrelsy

 Fifth Act: Confusion and rout of the whole troupe caused by the drunkards, the monkeys & the bears

~ Transcendence ~

J.S. Bach (1685 – 1750)
Prelude from Lute Suite c-moll

P. Wajsar (1978 -)


Harpsichord-, piano-, hammer-clavier-, historical piano- and continuo-player

Prize-winner at the PRAGUE SPRING Harpsichord Competition (Czech Republic) – a leading music competition of the World Federation Music Competitions

Winner of the BOHUSLAV MARTINŮ FOUNDATION PRIZE for best performance of the ‘Concerto for Harpsichord and Small Orchestra’ composed by B. Martinů

Winner of the WANDA LANDOWSKA Harpsichord Competition (Italy)

SENIOR LECTURER for harpsichord and accompaniment at the University of Music and Performing Arts Graz (Austria) 



Anna’s RECENT CONCERT APPEARANCES have been at venues such as: 

Konzerthaus Vienna

Great Hall of TrivoliVredenburg in Utrecht

Moscow International House of Music

Great Hall of Moscow Conservatory

Concertgebouw Brugge

Great Hall of Moscow Conservatory

Moscow Philarmonie-Hall

Zaryadye – Hall
and many others…

Utrecht Early Music Fabulous Fringe Festval (Holland)  

Musica Antiqua Brugge (Belgium)

Resonanzen – Festival (Austria) 

Styriarte – die steirischen Festpiele (Austria) 

Innsbrucker Festwochen der Alten Musik (Austria)

Clavecin en France (France)

AMIA – amis de la musique sur instruments ancienc (France)

Yamanashi Early Music Festival (Japan) 

New Virtuosi (Great Britain) Bach Festival (Poland) 

Neuburger Barockkonzerte (Germany) 
and many others…

Anna has RECEIVED GREAT ACCLAIM FOR HER CONCERTS as a soloist, with the A&A cembalo duo, and as a continuo-player in countries as diverse as:
Russia, Germany, Austria, France, Italy, Czech Republic, Poland, Slovenia, Finland, Great Britain, Sweden, Switzerland, Spain, and Japan

Orchestra of Salzburg Philharmonie
Orchestra, “Les Orpheistes” (Vienna)
Haydn Orchestra (Bolzano)
Collegium 1704 

Julia Lezhneva, Michi Gaigg, soloists of the Moscow baroque ensemble Pratum Integrum, Ensemble NEObarock (winner of the prestigious music award ECHO) and has participated in programs with Moscow and Salzburg Philarmonie and Haydn Fondazione (Bolzano, Italy).

With harpsichordist Anastasia Antonova, Anna  FOUNDED THE ACCLAIMED A&A CEMBALO DUO in 2011, the only Russian harpsichord Duo.  The Duo’s unique and extravagant performances have been enthusiastically endorsed by audiences across Europe, Russia and Japan. The A&A cembalo duo made their U.S. debut in 2019 at Capriccio Baroque.

Since 2012 Anna has been an INVITED ARTIST AT ACCADEMIA VILLA BOSSI (Italy).

In 2019 Anna became a SENIOR LECTURER for harpsichord and accompaniment at the University of Music and Performing Arts Graz (Austria).

Anna Kiskachi’s PERFORMANCES HAVE BEEN BROADCAST by Russian Culture TV and European raio stations such as Radio Österreich 1, Orpheus, Radio Russia, Russian World foundation (Russia), Deutschlandfunk, WDR 3, Bayrischer Rundfunk (Germany), Český rozhlas (Czech Republic). These have met with critical acclaim by reviewers in Germany, Austria, Italy, Russia.  


Anna has been a laureate and prize winner at numerous prestigious international competitions, including

  • WANDA LANDOWSKA International Competition in Italy (First Prize)
  • PRAGUE SPRING International Competition, where she also was awarded the special prize for “best performance of ‘Concerto for Harpsichord with Orchestra’ composed by B. Martinů
  • SVIREL International Harpsichord Competition in Slovenia – award given to A&A cembalo duo
  • OSAKA International Competition in piano nomination in Japan
  • SAN BARTOLOMEO International Competition in Italy
  • MUSICA CLASSICA International Competition in chamber-music in Russia
  • International IBLA Grand Prize Competition in Italy where she also received the “Special Prize for Talent” 


Born in Moscow (Russia), Anna Kiskachi began to play the piano at just three years of age. She was already garnering prizes at children’s and youth competitions and festivals during her school years.  She also received scholarships from the New Names and Vladimir Spivakov International Charity Foundation. Anna’s Russian and European-based education are reflected in her playing and performance art. 

Anna graduated from the leading universities of Russia and Europe with the highest honors

  • Moscow State Conservatoire studying with Prof. Olga Filippova (harpsichord), Prof. Alexei Lubimov (hammer-clavier and historical piano), Prof. Michael Dubov (piano); 
  • Mozarteum University in Salzburg studying with Prof. Florian Birsak (harpsichord);
  • University for Music and Performing Arts Vienna studying with Prof. Wolfgang Glüxam;
  • High School of Music and Theatre München (Germany) studying with Prof. Christine Schornsheim (harpsichord and historically informed performance).
  • High School of Music and Dance Cologne (Germany) studying with Prof. Michael Borstede (harpsichord)

Anna has also participated in master-classes with renowned musicians, including K. Haugsand, S. Sempe,  P. Hantai,
Chr. Rousset, B. Rannou, S. Henstra, B. Rannou, P. Ayrton, and M. Mencoboni.


Beside her performing activities, Anna Kiskachi has devised and directed the theatre-music project The Muse and the FashionМуза и мода») – a cycle of thematic music-theatre programs with involvement of musicians and actors from Russia, Austria, Germany, Italy and China. This highly successful project was featured at the Concert-Theatre hall in Yausa Castle, at the State Historical Museum on Red Square and at the Theatre-Concert hall of Kolomenskoe-estate (Moscow, Russia) over the course of several years.


Praised for his “beautiful” and “sweet-voiced” tone, and “superbly acted” portrayals, American tenor, Patrick Kilbride, is enjoying a flourishing career, and is particularly sought-after as an interpreter of Monteverdi, Cavalli, Bach, Vivaldi, Handel, Mozart and Britten.

He pursued his undergraduate studies in voice at Northwestern University, and his graduate studies in opera at the University of Maryland Opera Studio.  Additionally, he was a fellow for three summers at the Aspen Music Festival and School as a member of the Aspen Opera Theater Center singing roles under the batons of many musical luminaries including Jane Glover, Tomàš Netopil, and Robert Spano.  He has been a Young Artist with the Boston Early Music Festival and Victoria Bach Festival.

Mr. Kilbride made his professional operatic debut in the United States singing the role of Iro in a new production of Monteverdi’s Il Ritorno d’Ulisse in Patria with the Boston Early Music Festival, directed by Gilbert Blin and conducted by Paul O’Dette and Stephen Stubbs.  Following his debut in Boston, he studies and performed for two months at the prestigious Tanglewood Music Center as a Vocal Fellow where he collaborated with many celebrated artist-mentors including Mark Morris, Sanford Sylvan and Dawn Upshaw.  While there he made his recital debut in Seiji Ozawa Hall and performed in world premieres, including music of Pulitzer Prize winning composer, David Lang.

Currently residing in Washington D.C., he is in demand as a concert and operatic artist, having performed frequently as a soloist with many organizations including the Washington Bach Consort, Cathedral Choral Society, Choralis, Cathedra, The Folger Consort, The New Orchestra of Washington and others.  He has been a Young Artist in past seasons with Opera Lafayette, leading to his solo debut at the John F. Kennedy Center for the Performing Arts in Monteverdi’s Il Combattimento di Tancredi e Clorinda and selected Madrigali. 

As a winner of the 24th International Concours de Chant Centre-Lyrique d’Auvergne in Clermont-Ferrand, France, Mr. Kilbride made his professional operatic debut in Europe singing the role of Damon in a new production of Handel’s Acis and Galatea, directed by Anne-Laure Liégeois and conducted by Damien Guillon with Le Banquet Céleste, in France throughout 2015 and 2016 with Théâtre Municipal Montluçon, Opéra de Rennes and Festival de la Chaise-Dieu.

Patrick returned to France in Sumer 2017 to make his debut with the renowned Festival d’Aix-en-Provence in Aix-en-Provence, France, where he was a resident artist of the Académie du Festival d’Aix-en-Provence involved in a new production of Francesco Cavalli’s Erismena directed by Jean Bellorini, and conducted by Leonardo  García Alarcón with Cappella Mediterranea.  The production embarked on a European tour in 2017, where he made his debut at the Opéra Royal de Versailles.  The production continues performances throughout 2018, 2019 and 2020, making his debut in the opera houses of Paris, Luxembourg and Lisbon.  Spring 2018 saw his professional debut in the United Kingdom, where he sang the role of Septimius in Handel’s Theodora with the Aldeburgh Festival, conducted by Christian Curnyn, and in collaboration with Sarah Connolly and the Britten-Pears Baroque Orchestra in the historic Snape Maltings Concert Hall.

Upcoming engagements this season include his debut in San Francisco singing Jupiter in Handel’s Semele with the American Bach Soloists, his return to the Kennedy Center and Brooklyn Academy of Music with Opera Lafayette in two productions, concerts with the Washington Bach Consort and his debut at the Grand Théâtre de Luxembourg, among others.  Future seasons will see his debut at the Teatro Nacional de São Carlos in Lisbon, Portugal.

He was the 2015 recipient of the Marillyn Zacharis Fellowship from the Tanglewood Music Center, the 2014 recipient of the Pomeroy Prize from the University of Maryland for his work in 17th and 18th century repertoire, a three-time recipient of the Newman Family Foundation Fellowship from the Aspen Music Festival, a Victor Rice Opera Assistantship recipient from the University of Maryland, a Helen Heim Nichols Endowed Fellowship recipient from Northwestern University, and a 2007 National Foundation for the Advancement of the Arts YoungARTS finalist and winner in classical voice.


“We didn’t expect that the harpsichord could render such emotive and hot-blooded music” 

“Her distinctive and recognizable style, torrid emotionality, profound sound,and  intriguing and unexpected musical conceptions are what makes her harpsichord speak and her concerts a fascinating tour de force.”

“…la charismatique claveciniste…“        Ouest France,  French Newspaper

“… Anna Kiskachi completely steals the show with her virtuosic performance … moving from the  small Italian to a larger two-manual French  harpsichord for the occasion. This really was a show-stopping performance, full of dramatic and well-timed pauses.”     Andrew Benson-Wilson,  Early Music Reviews

“Just grandiose…”         Augsburger allgemeine,  German newspaper

“I have not experienced such a fascinating concert for a long time“    Westphalian News,  German Newspaper

“A. Kiskachi managed (in Royers “Vertigo“) to get furious and rich sounds out of her instrument … before returning seconds later to finer sounds”     Augsburger Allgemeine,  German newspaper