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This year, it has meant bringing the Monteverdi Choir to the Kollegienkirche for the brief but exquisite Carissimi oratorio “Jephte”; a pickup ensemble including Kopatchinskaja for Giya Kancheli’s “Exil,” from the 1990s and now unimaginable in a space without that church’s acoustics; and, on that same program, the Tallis Scholars making a cameo appearance in 16th-century music by Orlande de Lassus.

Christine de Lassus, 58, a fashion stylist, noted in an email that she “adopted a long time ago the sportswear/streetwear/oversize/minimalist/comfortable and practical fashion that seems to be the new norm.”

Ms. de Lassus suggested that relaxed fashion finds its roots in prepandemic times, as a response to “the excesses of many high-end designers” and recalled seeing the earliest glimmers of it back in 2008, when Phoebe Philo arrived at Céline “with her minimalist, oversize designs and her glorification of sneakers.”

The Onion River Chorus will perform German Christmas music from the 16th, 17th and 20th centuries, including works by Lassus, Praetorius, Schütz, Schein, Scheidt, J.S.

The poem has a robust musical history — settings include 16th-century liturgical a cappella ones by Palestrina and Lassus, and large-scale Romantic concert works by Dvorak, Liszt and Verdi — but it was relatively overlooked by composers in the 20th century.