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Views from the Choir Loft

Biography • Dr. Alfred Calabrese

Dr. Alfred Calabrese · January 15, 2013

ALLED “one of the finest conductors of his generation” by maestro Robert Shaw, Alfred Calabrese enjoys a diverse career as conductor, educator, composer, scholar, and church musician. He has been director of choral activities at Southern Methodist University, Emory University, and Brevard College, Visiting Professor at Indiana University, and guest lecturer at the University of Notre Dame, the University of South Carolina, and the Conservatoire de Versailles. Since 2007 he has been Director of Music at Saint Rita Catholic Church in Dallas, TX, where he oversees a music program with six choirs including the newly established St. Rita Choral Academy, professional singers and organists, and six full and part-time staff members. Calabrese holds the Master of Music and Doctor of Music degrees in Conducting from the prestigious Jacobs School of Music at Indiana University. He has prepared choirs for several prominent conductors including John Nelson and Sir David Willcocks, and in the early 1990’s was an assistant conductor to Robert Shaw and the Grammy © Award winning Atlanta Symphony Chorus.  He worked in close collaboration with Maestro Shaw for three years, rehearsing the ASOC in works as diverse as Mahler Symphony #2, #3, and #8; Berlioz Romeo et Juliette; Janáček Glagolitic Mass, Verdi Quattro Pezzi Sacri, and the annual Christmas with Robert Shaw concerts.

*  DR. ALFRED CALABRESE • Publicity Photo (A)

*  DR. ALFRED CALABRESE • Publicity Photo (B)

Possessing an affinity for compositions for orchestra and choir, his repertoire includes, among others, major works of Bach, Brahms, Britten, Mendelssohn, Mozart, Schubert, Handel, Haydn, Stravinsky, Fauré, Duruflé, Poulenc, and Pärt, and well over 500 smaller pieces for choir alone. In 2005 he led performances of I Pagliacci and Cavalleria Rusticanafor the Atlantic Coast Opera Company. His orchestral repertoire includes symphonies and concerti of Beethoven, Mozart, Poulenc, Handel, Weber, Dvorak among others. Calabrese has been a guest conductor and clinician in America and abroad. As a clinician, he has conducted All-State and honor choirs and has participated in numerous festivals and clinics throughout the United States.  He was a guest conductor at the Conservatoire de Versailles in both 2013 and 2019 and in concerts with l’Ensemble Polyphonique de Versailles. He is presently a guest conductor with the festivals of the American Federation Pueri Cantores.

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Dr. Calabrese has been composing and arranging intermittently since 1990 and self publishes. His compositions since 2007 are primarily for the liturgy, including a nearly completed three-year cycle of Responsorial Psalms for the church year. These have been performed across the country in recent years. Presently, he is at work setting the ad libitum Communion propers as Latin motets for SAB Choir. Dr. Calabrese was born and raised in upstate New York, in the small town of Waterford. A cradle Catholic, his youth was colored and influenced by his strong Italian-American heritage, the Catholic culture of his family and the upstate area, and the beauty of his boyhood parish, St. Mary of the Assumption, Waterford, known affectionately as “the little Cathedral on the hill,” where he sang in the choir beginning at age 15. He is married to Cynthia Calabrese, a musician and development executive. They have two grown children who both work for Catholic-based organizations.

Opinions by blog authors do not necessarily represent the views of Corpus Christi Watershed.

Filed Under: Articles, Biographies Last Updated: August 27, 2020

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About Dr. Alfred Calabrese

Dr. Alfred Calabrese is Director of Music and Liturgy at St. Rita Catholic Church in Dallas, TX. He and his wife have two children.—(Read full biography).

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Corpus Christi Watershed

President’s Corner

    Urgent! • We Desperately Need Funds!
    A few days ago, the president of Corpus Christi Watershed posted this urgent appeal for funds. Please help us make sure we’re never forced to place our content behind a paywall. We feel it’s crucial that 100% of our content remains free to everyone. We’re a tiny 501(c)3 public charity, entirely dependent upon the generosity of small donors. We have no endowment and no major donors. We run no advertisements and have no savings. We beg you to consider donating $4.00 per month. Thank you!
    —Jeff Ostrowski
    “Booklet of Eucharistic Hymns” (16 pages)
    I was asked to create a booklet for my parish to use during our CORPUS CHRISTI PROCESSION on 22 June 2025. Would you be willing to look over the DRAFT BOOKLET (16 pages) I came up with? I tried to include a variety of hymns: some have a refrain; some are in major, others in minor; some are metered, others are plainsong; some are in Spanish, some are in Latin, but most are in English. Normally, we’d use the Brébeuf Hymnal—but we can’t risk having our congregation carry those heavy books all over the city to various churches.
    —Jeff Ostrowski
    “Yahweh” in church songs?
    My pastor asked me to write a weekly column for our parish bulletin. The one scheduled to run on 22 June 2025 is called “Three Words in a Psalm” and speaks of translating the TETRAGRAMMATON. You can read the article at this column repository. All of them are quite brief because I was asked to keep within a certain word limit.
    —Jeff Ostrowski

Quick Thoughts

    “Hybrid” Chant Notation?
    Over the years, many have tried to ‘simplify’ plainsong notation. The O’Fallon Propers attempted to simplify the notation—but ended up making matters worse. Dr. Karl Weinmann tried to do the same in the time of Pope Saint Pius X by replacing each porrectus. You can examine a specimen from his edition and see whether you agree he complicated matters. In particular, look at what he did with éxsules fílii Hévae.
    —Corpus Christi Watershed
    Antiphons Don’t Match?
    A reader wants to know why the Entrance and Communion antiphons in certain publications deviate from what’s prescribed by the GRADUALE ROMANUM published after Vatican II. Click here to read our answer. The short answer is: the Adalbert Propers were never intended to be sung. They were intended for private Masses only (or Masses without music). The “Graduale Parvum,” published by the John Henry Newman Institute of Liturgical Music in 2023, mostly uses the Adalbert Propers—but sometimes uses the GRADUALE text: e.g. Solemnity of Saints Peter and Paul (29 June).
    —Corpus Christi Watershed
    When to Sit, Stand and Kneel like it’s 1962
    There are lots of different guides to postures for Mass, but I couldn’t find one which matched our local Latin Mass, so I made this one: sit-stand-kneel-crop
    —Veronica Brandt

Random Quote

The “jolly good guy” kind of pastor can be an irritant. […] Ministers of the Gospel are not used car salesmen whose heartiness is a mile wide and an inch deep. A bemused layman told me that a bishop joked with him, but turned away like a startled deer when asked an important question…

— Fr. George Rutler (7 August 2017)

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