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The GRAMMY® Award-Winning National Children’s Chorus (NCC) Announces the Launch of Its 2022/23 Season Entitled Resounding Voices

Harry Johal

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The GRAMMY® Award-Winning National Children’s Chorus (NCC) Announces the Launch of Its 2022/23 Season Entitled Resounding Voices


This month, the GRAMMY® Award-winning National Children’s Chorus (NCC), under the leadership of Artistic Director Luke McEndarfer and Associate Artistic Director Dr. Pamela Blackstone, commences Season 2022/23 entitled Resounding Voices

Inspired by powerful experiences over the past year, the NCC chose to curate a deeply meaningful season that celebrates the power and potential of the human voice. “In planning Resounding Voices, we looked back with reverence at our Lincoln Center collaboration in May with the Ukrainian Zhayvir Choir. Performing Eric Whitacre’s Sing Gently in a half-live, half-digital immersive rendition of the piece that transported the audience to the streets of Lviv, our students from around the country joined hearts and voices with children from thousands of miles away, unified by our artistry and vision for a peaceful world,” said Artistic Director Luke McEndarfer. “In reflecting on that experience, and watching the world around us, our team agreed that voices truly matter; that speaking up is important; and when enough people join their voices behind something great they believe in, it shapes and changes our world for the better.”

2022/23 Season Overview

Beginning a full year of unique and unprecedented artistic initiatives, the National Children’s Chorus in September released its first major album on the Lexicon Classics label, featuring the poignant opera Brundibár, by Czech composer Hans Krása. Captured on smartphones by students and chamber orchestra across the country during quarantine in 2020, this magical recording can be streamed and enjoyed on Spotify and Apple Music. Written in 1938 and performed by youth in the Theresienstadt concentration camp from 1943-1944, the story of Brundibár celebrates the power of voices joining together in the name of justice and righteousness, ultimately prevailing over tyranny through the lens of a children’s fairytale.

Throughout December, students in all seven of the NCC’s Chapter Cities will celebrate the holidays with winter performances in Los Angeles, New York, Washington, D.C., San Francisco, Austin, Dallas, and Boston. Drawing from more than 1,000 choristers nationwide, each performance will feature a mixture of voices from various cities, as the children share their musical achievements and make new friends along the way. A special appearance at Macy’s Herald Square in Manhattan, in addition to debut concerts in Dallas and Boston, headline the chorus’ list of festivities.

Repertoire for the NCC’s advanced Senior Division includes music that will be recorded in the summer of 2023 as the organization creates its first-ever holiday album, offering heartfelt expressions of the season from more than 15 cultures and traditions around the globe. The world premiere of Himig Pasko, commissioned by the NCC and written by Filipino-American composer George G. Hernandez, continues the chorus’ tradition of expanding the art form and solidifies its commitment to presenting music that reflects the rich diversity of its expansive membership. The Junior Division, comprised of students as young as five, will proudly sing eclectic programs, with each level challenged through exposure to new languages, sophisticated voice leading, and harmonic textures.

In February, the National Children’s Chorus excitedly takes the stage at Walt Disney Concert Hall in a tour de force concert performance, presented by the Los Angeles Philharmonic in collaboration with the American Youth Symphony. Under the baton of Maestro Carlos Izcaray, the NCC will sing Benjamin Britten’s colossal and deeply moving War Requiem. This work, completed in 1962, is considered to be one of the most significant pieces ever written for chorus, soloists and orchestra, as it depicts the haunting atrocities of warfare in the hopes of signifying the importance of global unity. 

In mid-April, the National Children’s Chorus will perform in the National Cherry Blossom Festival Parade in Washington, D.C. The event will be the NCC’s 4th appearance in what has now become an annual tradition, featuring students from around the country who greatly value participating in one of the city’s most vibrant and exciting community celebrations. Televised across the nation, participants will sing rousing selections under the baton of NCC Principal Conductor Dr. Allan Laiño

In May, students will bring this journey to a grand culmination of performances, once again in each chapter city, including the Senior Division’s all-city event at Carnegie Hall’s Stern Auditorium. Annual scholarship galas in Los Angeles, New York and Washington, D.C. will also take place in 2023, infused with the theme of All You Need Is Love. Aligning with the NCC’s planned recording projects at Abbey Road Studios and AIR Studios in London, the chorus sets its sights on raising record funds for scholarship recipients while lending special tribute to The Beatles and praising the innovation they brought to music that continues to inspire.

In July, the National Children’s Chorus embarks on its 7th international tour to the United Kingdom with stops in Edinburgh, Wales and London. In addition to enjoying the cultural wonders of the itinerary, students of the Senior Division will sing in concerts along the way, collaborating with local choirs in dramatic concert settings. In London, the NCC will sing its premier performance of the tour where students will share the stage live with the world-renowned VOCES8. At the conclusion of the tour, the NCC will spend three full days at Abbey Road Studios and AIR Studios recording music for the organization’s planned holiday album that will be released on Spotify and Apple Music toward the end of 2023. 

In August, the National Children’s Chorus will host its 3rd Vail Opera Camp, led by NCC Alumnus and GRAMMY® Nominee Johnathan McCullough, who serves as the organization’s Vail Opera and Operatic Studies Director. Students of the Senior Division will perform the comedic opera The Tinker of Tivoli at one of the most beautiful outdoor amphitheaters nestled at the base of the Rocky Mountains. Young opera campers will study acting, stagecraft, prop making, vocal pedagogy, opera history and the music of Rossini in what promises to be an exhilarating experience, combining top-level performance instruction with fun and thrilling activities in the beautiful outdoors of Vail.

“Looking ahead, Season 2022/23 significantly advances the mission of the National Children’s Chorus,” said Associate Artistic Director Dr. Pamela Blackstone. “Now more than ever, our vision is to bring children together with the singular goal of music as the ultimate medium for personal growth and self-realization. We know how important our work is within the lives of the NCC’s young artists, and strive to make our programs as accessible as possible as we continue building our educational programs.”

For more information on the National Children’s Chorus, visit https://nationalchildrenschorus.com

About the National Children’s Chorus

The GRAMMY® Award-winning National Children’s Chorus, under the leadership of Artistic Director Luke McEndarfer and Associate Artistic Director Dr. Pamela Blackstone, has quickly become one of the world’s leading children’s choirs. Among the most exciting and fastest-growing music institutions for youth in the nation, the chorus provides its unparalleled training to talented singers locally and abroad, with more than 35 choirs and 1,000 students based in the chapter cities of Los Angeles, New York City, Washington, D.C., San Francisco, Austin, Dallas and Boston. Now in its second decade, the NCC’s groundbreaking Season 2022/23, entitled Resounding Voices, expands on the chorus’ recent success, featuring an array of special projects, demonstrating the organization’s firm commitment to eclectic programming, new music, world culture and extraordinary collaborations.

Source: National Children’s Chorus



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Editor's Choice

Bajpayee Transforms Into Gandhi in Sudhir Mishra’s Next

H Johal

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Bajpayee Transforms Into Gandhi in Sudhir Mishra’s Next

Bajpayee Transforms Into Gandhi in Sudhir Mishra’s Next

Studio CarryOnHarry Entertainment Desk | 6 September 2026

A Historic Casting Decision for Bollywood

One of Hindi cinema’s most decorated actors, Manoj Bajpayee, is preparing to step into the shoes of the Father of the Nation. The acclaimed performer will portray Mahatma Gandhi on screen for the very first time in an upcoming directorial by veteran filmmaker Sudhir Mishra.

Lead instead with a specific observation about what the image shows — gesture, costume, expression — rather than restating that an image exists and people reacted. Ground it in a detail, not a summary.

The Story Behind the Film

What makes this project particularly compelling is its unique historical lens. Reframe around a question or tension rather than restating the fact: e.g., ‘Which 21 days? The production hasn’t said — and that silence is itself part of the intrigue around this project.’

Joining Bajpayee on screen is the celebrated Saurabh Shukla, who takes on a key role in the narrative. The pairing of two powerhouse performers promises an intense and layered cinematic experience.

Creative Team and Production Details

  • Director: Sudhir Mishra — known for acclaimed works including Dharavi (1992), Hazaaron Khwaishein Aisi (2003), Chameli (2004), and Serious Men (2020)
  • Producer: Anubhav Sinha and Narendra Hirawat
  • Production Banner: Benaras Mediaworks
  • Presented By: NH Studioz

The reunion of Mishra and Sinha — two stalwarts who have individually shaped the landscape of meaningful Indian cinema — adds significant creative weight to the venture. For the latest on Bollywood’s top stories, stay tuned to our dedicated coverage hub.

Bajpayee’s Most Daring Role Yet?

Manoj Bajpayee has consistently pushed boundaries throughout his career, from Satya to The Family Man. Yet portraying Mahatma Gandhi — arguably one of the most recognised and revered figures in world history — represents an entirely new frontier for the National Award-winning actor.

The responsibility of embodying Gandhi’s physicality, philosophy, and presence on screen is immense. Early reactions to the first-look image suggest Bajpayee has already made a powerful impression, even before a single frame of footage has been officially released.

Gandhi on Screen: A Rich Legacy

The role of Mahatma Gandhi has previously been portrayed by Ben Kingsley in Richard Attenborough’s landmark 1982 film Gandhi, and by Naseeruddin Shah in Kamal Haasan’s Hey Ram. Bajpayee’s interpretation promises to bring a fresh and distinctly Indian perspective to one of history’s most complex and beloved figures.

As entertainment industry coverage continues to track this project, anticipation is building rapidly across the film fraternity and among audiences nationwide.

What to Expect Next

An official title, release timeline, and further production details are yet to be announced. Given the calibre of talent involved both in front of and behind the camera, this film is shaping up to be one of the most significant Bollywood releases in recent memory.

– Entertainment Desk, Studio Carry On Harry

Background & Timeline

Manoj Bajpayee has been a cornerstone of Indian parallel cinema since his breakthrough in Satya (1998). Director Sudhir Mishra, meanwhile, has built a distinguished career spanning over three decades with films like Dharavi (1992), Hazaaron Khwaishein Aisi (2003), and Serious Men (2020). Producer Anubhav Sinha’s Benaras Mediaworks has backed several socially conscious films in recent years. This project marks the first time Bajpayee will portray Mahatma Gandhi, joining a select group of actors including Ben Kingsley and Naseeruddin Shah who have taken on the historic role.

Studio CarryOnHarry Perspective

At Studio Carry On Harry, we believe this casting is a watershed moment for Indian historical cinema. Manoj Bajpayee brings an unparalleled raw intensity to every role, and his portrayal of Mahatma Gandhi could redefine how Bollywood approaches biographical storytelling. Paired with Sudhir Mishra’s unflinching directorial vision and Anubhav Sinha’s commitment to meaningful narratives, this film has the potential to transcend entertainment and become genuine cultural documentation. We’ll be watching every development closely.

What’s Next?

Watch for the official title announcement and theatrical release date from the Benaras Mediaworks team. A full trailer reveal and further cast announcements are expected in the coming months. Given the historical subject matter and the creative powerhouse behind the camera, this film is likely to generate significant awards season conversation well ahead of its release.

Harry Johal’s Take — Studio CarryOnHarry

The 21-day framing is the most interesting editorial pressure point here, and the draft lets it slide past as atmosphere. Sudhir Mishra has spent thirty years making films about the India that official history edits out — so the real question isn’t whether this period is ‘untold,’ but why Mishra chose this particular window, and what that choice reveals about what he thinks the Gandhi mythology is still hiding. Until we know which 21 days, calling this a watershed moment is premature; the casting is bold, but the story is still a closed door.

Editor’s Verdict

Portraying Gandhi is not acting — it is accountability. Every gesture, every syllable, every frame will be measured against one of the most documented lives in human history, and audiences will not be forgiving of shortcuts. What makes this casting genuinely interesting is that Bajpayee brings no mythology to protect. Unlike stars who guard their image carefully, he has built a career on disappearing completely into characters — and that particular discipline may be exactly what this role demands. Sudhir Mishra’s decision to focus on an unexplored 21-day window is also shrewd; it sidesteps the shadow of Attenborough’s 1982 landmark rather than competing with it. The first-look reaction tells you something important: when a single image stops a scroll, the film has already done something right. Beyond the headlines, the real test will not be whether Bajpayee resembles Gandhi, but whether he makes audiences forget they are watching an actor at all.

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Editor's Choice

The Mismatch Problem: How Toxic Tried to Serve Too Many Masters at Once

H Johal

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The Mismatch Problem: How Toxic Tried to Serve Too Many Masters at Once

Balle Balle Radio™ Entertainment Desk

The most telling detail in this discussion isn’t a plot complaint. It’s a process confession. The director, Geetu Mohandas, is quoted describing her own working method: her process fragments across three stages—writing, shooting, editing—each producing a different version of the film. For a boutique indie production, that kind of chaos-as-method can be a virtue. For a pan-India tentpole built around a superstar and a three-hour-plus runtime, it becomes the whole review.

What caught our attention is not that Toxic aimed high. Ambition is not the problem the discussion identifies, and it says so directly: the problem isn’t excess ambition itself, but multiple competing visions crowded into a single film without resolution. A large-scale gangster spectacle in the Prashanth Neel mould. A brooding father-son psychological drama. A love story leaning on the female gaze. A period-adjacent pan-India event film. Each of those is a legitimate film. Stacked on top of each other without a clear spine, according to the conversation, they blend into an incoherent mixture—what the speaker describes as khichdi—that satisfies no single audience.

The more interesting tension here is between marketing promise and narrative delivery. Audiences reportedly went in expecting another towering Yash star vehicle, the kind built on scale and swagger. What they got, per this account, was a film quietly trying to be a darker psychological fairy tale wearing a gangster-movie costume. Neither audience — the one sold on spectacle, nor the one open to something stranger — walks out fully satisfied. That mismatch between what marketing promises and what the film actually is deserves more scrutiny than box-office numbers alone can offer, because it points to a structural decision made long before release, not just a reception problem after it.

The dialogue criticism is worth sitting with too, even allowing for how much is a matter of taste. The examples cited — lines straining for profundity about footsteps that can’t be erased, or a monologue insisting real betrayal is more honest than fake loyalty — are framed as performing depth rather than earning it. **Audiences are quick to detect whether dialogue leans toward genuine lyricism or hollow self-importance.** Whether that’s a fair reading of the actual script or a reaction to a handful of quotable lines taken out of a much longer film is harder to settle from a discussion alone.

Where this analysis is on firmer ground is process. If a director has openly said her writing, shooting and editing stages don’t reconcile with each other, that is a useful piece of context for anyone trying to understand why a film might feel structurally uneven — characters introduced, killed, and discarded without weight, scenes that seem to exist without clearly serving the whole. That is a specific, sourced claim about method, not just a viewer’s impression of confusion.

But here is the necessary caution: one filmmaker’s stated process, however candid, doesn’t automatically explain every editing or pacing complaint in a finished film. Big-budget productions involve producers, studios, and multiple creative hands; attributing every rough edge to a single director’s admitted process is a tempting shorthand, not a proven cause. Nor does citing Alpha’s similarly mixed reception nearby actually establish a pattern about pan-India cinema generally — two films is an observation, not a trend.

The genuinely useful question this raises for the industry sits somewhere else: how much creative unpredictability can a film absorb once it is carrying the commercial weight of a major star and a nationwide release? Indie cinema can survive a director discovering the story in the edit. **A film built on audience anticipation this large may not have that luxury.** That, more than any single scene or dialogue, seems to be the real subject underneath this conversation.

— Studio CarryOnHarry Editorial Desk

Read more People’s Choice stories on Studio CarryOnHarry. Reporting via Live News Vault.

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