For 91 seasons, the Bach Festival Society of Winter Park has been a cornerstone of Central Florida’s cultural identity. The organization is defined by its reverence for the great choral masterworks and its reputation for artistic excellence. But if you ask Artistic Director and Conductor John V. Sinclair what keeps this institution vibrant after nearly a century, he will tell you it is not just tradition that sustains the festival. It is evolution.

In a wide-ranging conversation filled with humor, candor, and deep musical insight, Sinclair opened up about this year’s theme, the intricate balancing act behind his programming, the unexpected challenges of staging Bach’s Passions, and why he believes the true product of his work is not concerts at all but life-changing experiences.

Honoring the Past, Inspiring the Future

This year’s theme of legacy, innovation, and community reflects Sinclair’s ongoing mission to honor the organization’s roots while broadening its reach.

“Every year, I want to be true to who we are,” he explains. “How we got to 91 years is by doing the great masterworks, especially the great choral masterworks. But to remain relevant, I have to think about the next generation.”

That means balancing the familiar with the unexpected. Sinclair typically thinks of programming in three parts.

• A third of the music is instantly recognizable to audiences.
• A third feels familiar but invites discovery.
• A third takes patrons somewhere they did not expect to go.

This season alone spans everything from Bach’s monumental St. John Passion to Duke Ellington’s Sacred Service, from American Moravian music to contemporary film and game scores. Sinclair calls this last category “this generation’s classical music.”

“I look at it simply,” he says. “If I am going to concerts, what do I want to see? And what variety do I want to see?”

The Hidden Complexity Behind the Music

With two hundred choir members, a full orchestra, and an impressive lineup of guest artists, the Bach Festival’s scale is larger than most audiences realize. But the biggest challenge is not the blockbuster pieces or the massive ensembles.

It is Bach.

Specifically, the Passions, which Sinclair calls the most logistically demanding works in the repertoire.

“We are not set up in this generation to do those kinds of works,” he says. “You need six soloists instead of four, including an evangelist. It is almost acrobatic singing. And you need someone to portray Jesus.”

But that is only the beginning.

• A world-class viola da gamba player, which is extremely rare
• A skilled harpsichordist who can improvise
• An organist trained in Baroque performance practice
• Extensive rehearsal and staging coordination

“All these moving parts have to be in the right place at the right time,” Sinclair says. “To do the Passions right, they are our most expensive works.”

From a Small Festival to a Full Cultural Institution

When Sinclair first took the podium 36 seasons ago, the Bach Festival was significantly smaller. The organization held only a handful of annual performances, plus Christmas selections and a spring program.

Today, it is a full 12-month cultural force.

“It is like we built a nice little ranch house,” he says with a laugh. “Then we added a sunroom. Then a second floor. Now it is a big building with a lot of rooms, and that feels right for who we have become.”

In addition to its public concerts, the Bach Festival operates a robust educational outreach effort, including:

• Fresh Starts programs in schools
• Workshops for high school choirs
• Special events such as The Lowdown, an initiative to encourage young men to sing
• A professional vocal ensemble that appears several times each year

This work, Sinclair says, is essential to shaping the future of classical music in Central Florida.

Christmas for the Heart, Not the Intellect

One of the season’s most beloved traditions, A Classic Christmas, reflects Sinclair’s philosophy about the role of music in the holidays.

“Christmas music is not designed for the intellect,” he says. “It is designed for the heart. It reminds us how to feel, not how to think.”

Every arrangement in the Christmas program is uniquely commissioned for the Bach Festival Society, which makes familiar songs such as Silent Night, Away in a Manger, and Angels We Have Heard on High feel new while still retaining their emotional warmth.

The concerts have also drawn national attention. In partnership with WUCF, the Christmas program is now broadcast across the country on public television, reaching viewers from Chicago to Honolulu.

“We do not do anything different except put flowers out front,” Sinclair says. “But suddenly we are in 41 states and 261 markets. Friends call me and say, ‘I turned on the TV and there you were.’”

Selling Experiences, Not Concerts

One of the most striking moments in our conversation came when Sinclair recalled advice from his late friend Terry Teachout, the acclaimed Wall Street Journal cultural critic.

“He told me I was selling the wrong thing. I was not selling concerts. I was selling life-changing experiences.”

That insight has shaped Sinclair’s programming for two decades.

“When you program a concert, program it so people walk away with something they will remember or something they will cherish,” he says. “If we do our job right, we are making people better. We are giving them experiences that travel.”

For the First-Time Attendee

Sinclair hopes newcomers walk away with one simple feeling.

Awe.

“Think about it,” he says. “You are hearing a great piece of music in a magnificent space, with an army of voices, world-class soloists, and a fabulous orchestra. The human voice is the most powerful instrument we have. When it surrounds you, it changes you.”

A Season Built for Everyone

From masterworks to modern-day film scores, from jazz-infused sacred music to a cappella innovators, and from centuries-old instruments to newly commissioned arrangements, the 91st Season reflects Sinclair’s belief that classical music must honor its roots while boldly expanding its reach.

“The future of classical music belongs to the brave,” he says. “It does not belong to those who only want to do the same pieces over and over.”

In his hands, the Bach Festival Society is not merely preserving tradition.

It is shaping the future, one experience at a time.

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Bach’s Community Impact

Community & Education: Reaching Beyond the Concert Hall

The Bach Festival Society’s mission to inspire through music extends far beyond its signature performances. Through the “Bach to the Future” initiative, the organization is investing deeply in programs that bring music into the lives of learners of all ages, fostering confidence, creativity, and connection across Central Florida.

Key Programs in Focus

• Youth & Children’s Choirs: The BFS Youth Choir and the Children’s Choir employ music to build teamwork and self-expression. Young singers not only perform locally but are offered opportunities on professional stages.

• Choir of Distinction: This year-long mentorship program pairs exceptional high school choirs with BFS faculty and ensemble members. Workshops, rehearsal insights and culminating performances offer students multi-dimensional choral experience.

• Young at Heart Chorale: Designed for older adults, this program merges musical engagement with social connection and wellness. Through weekly rehearsals and public performances the chorale brings timeless music to community spaces.

• In-school outreach & Fresh StARTs: BFS places professional musicians in schools and community venues, ensuring that access to the arts isn’t confined to dedicated concerts. These visits spark early interest in music and complement arts education in Central Florida.

Why It Matters

Under the Bach to the Future campaign BFS emphasizes that “our educational and community programs don’t just teach music — they transform lives.” The funds raised support musical materials, rehearsal costs, scholarships and performance opportunities designed to remove financial barriers and open the door for all to participate. In short, BFS is cultivating not just singers but confident contributors to the cultural fabric of Central Florida.

Local Impact Highlights

• A high school student reflected on the Choral Honors Festival: “I felt as though I left there with more ‘tools in my belt’. … I got home and told EVERYONE about how awesome it was.”

• As part of its commitment to inclusive practice, BFS states that “all people deserve equal access and opportunities to participate in a vibrant, creative life” and embeds those values into programming and outreach.