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Concord Women’s Chorus is directed by Jane Ring Frank, now in her 29th year. We perform a wide range of classical and contemporary music, with emphasis on works written for women’s voices.

Our Story

For Concord Women’s Chorus, music is alchemy. Our commitment to the mastery and performance of a dynamic repertoire for women transforms the act of choral singing into an instrument for collaboration, education, and connection. We are confident singers who care deeply about creating, through women’s voices, a source of strength and inspiration for ourselves, our audience, and the world around us.

The chorus began in 1960 as the Concord Madrigals, a small group of women who expressed, through song, the strength of female community. Over the years the group has increased in size and capacity and greatly expanded its repertoire. In 2005, the Concord Madrigals became Concord Women’s Chorus, a name that reflects not only the evolution of the chorus but the abiding power of women’s voices.

In addition to our regular concerts, we often engage in other significant performances and projects. These have included benefit concerts for Wayside Hospice and the Bethke Cancer Center and collaborations with the Concord-Carlisle High School Girls Chorus, the Concord Orchestra and the Concord Festival of Authors. We have taken several concert tours in the U.S., Canada and Great Britain. In our ongoing desire to bring attention and excitement to music written for women, we have commissioned two new works: Concord Fragments, by Libby Larsen (2010) and The Tree House, by Beth Denisch (2017).

Read about our commissions.

Listen to excerpts from past concerts here.

Our Mission

To perform music for women’s voices with artistry, strength, and joy and to advance the choral repertoire for women.

Jane Ring Frank

Jane Ring Frank is pleased to be in her 29th year as Artistic Director of the Concord Women’s Chorus, a 45-voice ensemble based in Concord, Massachusetts. Concord Women’s Chorus prides itself on rehearsing and performing challenging, new music written especially for women.

For twelve years, Frank was also the Artistic Director and Founder of Boston Secession—one of Boston’s premiere professional choral ensembles. She began her conducting career on meeting her conducting mentor, Frank Pooler (then Director of Choral Activities) at California State University, Long Beach (CSULB). His specialty was avant-garde music and unique programming.

She then went on to graduate with degrees in accompanying and conducting. At CSULB, she became associate conductor of the 70-voice University Choir, staff pianist, lecturer, and musical director/conductor for the Department of Theatre Arts. She also worked as a repetiteur with professional opera companies in Los Angeles, including the Los Angeles Music Center Opera and the Long Beach Opera Company. Other artistic mentors include Randall Behr (former conductor and music director of the Department of Vocal Arts, Juilliard Opera Center and former resident conductor, Los Angeles Music Center Opera), the late Michael Carson (conductor, Lake George Opera), and Menahem Pressler (Beaux Arts Trio).

Frank moved to Boston in 1991 to conduct at Harvard University and five years later founded Boston Secession. In addition to her aggressive conducting responsibilities, Frank is a Resident Scholar at the Women’s Studies Research Center at Brandeis University, Minister of Music and Worship Arts at the First Congregational Church in Winchester, and Artistic Director of Cantemus (a 40-voice chamber chorus located on Boston’s North Shore). For a number of years, she also served as Conductor for E. C. Schirmer Publishing Company’s professional recording choral ensemble, Philovox, and for 10 years, served on Emerson College’s faculty.

Frank has conducted and produced two CDs with Boston Secession. Afterlife: German Choral Meditations on Mortality features the works of Distler, Brahms, Bach, and Ruth Lomon. This debut disc received critical acclaim for its outstanding performance quality. Frank and Boston Secession’s second CD, Surprised by Beauty: Minimalism in Choral Music, which features works by Lomon, Arvo Pärt, Gavin Bryars, and William Duckworth, was outstandingly reviewed in the New York Times, Gramophone, and American Record Guide, along with many other journals, magazines and blogs.

Scott Nicholas

Based in Boston, Scott Nicholas is an accomplished pianist known as much for exceptional sensitivity to the performers he accompanies as for his technique. With a repertoire spanning classical and musical theater, Nicholas has appeared throughout the U.S. and internationally in solo and chamber performances.

In addition, he has served as the rehearsal and performance pianist for Tanglewood Festival Chorus, the Borromeo String Quartet, the US Airforce Clarinet Ensemble, Longwood Opera, the Minnesota Opera, Boston Secession, the Concord Women’s Chorus, the Cambridge Community Chorus, Boston Lyric Opera’s outreach programs, and the Leontyne Price Vocal Arts Competition.

Nicholas has recorded several works by Graham Gordon Ramsay, most recently Six Piano Preludes, part of a collection of solo instrumental works from Albany Records. He has also recorded frequently with E.C. Schirmer’s Philovox Ensemble and performed on WGBH-FM and WBUR-FM in Boston.
Nicholas has served as music director for the New England Conservatory Opera Workshop, Central Square Theater, Franklin Performing Arts Company, Suffolk University, and Emerson College. He is also on the faculty at Emerson; teaches piano and coaches opera and music theater at Suffolk; and offers instruction in piano, theory, and vocal coaching at Encore Music Academy. Nicholas holds a B.A. in music education from The College of New Jersey and an M.M. in accompanying/coaching from the New England Conservatory.

Concord Women’s Chorus is a member of the Greater Boston Choral Consortium and Chorus America.

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