Soprano Madeline Apple Healey is known for her “gorgeous singing" (Washington Post) and “fetching combination of vocal radiance and dramatic awareness” (Cleveland Plain Dealer). This season brings debuts with Pegasus Early Music and Portland's Oratorio Chorale, a remounting of Ellen Reid’s Pulitzer Prize-winning p r i s m at the Kennedy Center, as well as appearances with The American Classical Orchestra, L’Académie du Roi Soleil, Academy of Sacred Drama, Amor Artis, Apollo’s Fire, Baldwin Wallace Bach Festival, The Clarion Music Society, Novus NY, and New York Baroque, Inc.
Recent engagements have included appearances at Festival Oude Muziek Utrecht, Aldeburgh Festival/Snape Proms, the Kennedy Center, LA Opera, National Opera House in Wexford, Ireland, premieres at National Sawdust, Lincoln Center’s White Light Festival, Spoleto Festival USA, Ad Astra Festival, and PROTOTYPE Festival, as well as collaborations with Urban Playground Chamber Orchestra, Variant 6, and les soûls d'amour. Specializing primarily in early and contemporary repertoire, Madeline is passionate about polyphony and loves working on music that challenges the construct of beautiful sound.
She is equally at home in standard repertoire, and operatic credits include Olympia (Les Contes d’Hoffmann) a role in which she was praised for her “crystal clear coloratura” (Princeton Town Topics), La Musica/Ninfa (L'Orfeo), Hébé (Les Indes galantes), Papagena (Die Zauberflöte), Despina (Cosi fan tutte), Susanna (Le nozze di Figaro), and Cunegonde (Candide). Madeline is a member of the GRAMMY-nominated Choir of Trinity Wall Street and cofounder of AMPERSAND, a vocal chamber ensemble that prioritizes the work of female artists. She appears internationally as a soloist and ensemble singer. Madeline holds degrees in voice from Westminster Choir College and Baldwin Wallace University. A native of Cleveland, OH, she now resides in Brooklyn, NY where, when she's not making music, she can be found cooking, rock climbing, eating french fries, and spending time with her husband Teddy and their many houseplants.
Boel Gidholm has more than 20 years experience performing throughout Europe and the US as a baroque violinist and violist, working with early music ensembles such as Ensemble Aperto (Germany), Fiori Musicali-Barockorchester Bremen, Pegasus Early Music, NYS Baroque, Publick Musick, Apollo's Fire, ARTEK, Ars Lyrica Houston, La Follia Austin Baroque and Texas Early Music Project. Since 2004 she has performed with the Victoria Bach Festival, TX, on both the modern and baroque versions of her instrument, with repertoire ranging from Biber to Britten and beyond. Chamber music performances have taken her to Italy, France, Latvia, the Canary Islands, Canada, Sweden and Denmark. She studied violin at the University of Gothenburg in her home country of Sweden, and studied baroque violin and performance practice at the Akademie für Alte Musik in Bremen, Germany. She lives in Rochester, NY, with her husband, Christopher Haritatos, with whom she co-directs Publick Musick, performing and presenting period-instrument concerts in the greater Rochester area. Together they also explore and perform lesser-known 17th- and 18th-century duo repertoire for violin and cello.
Mary Riccardi grew up playing violin in Detroit, Michigan, where she earned a bachelor’s degree in violin performance under the guidance of Slovak violinist Peter Michalica. During that time, she was drawn into the excitement of Detroit’s rich and varied musical culture. A taste for improvisation coupled with a love of traditional European violin music found their perfect conjunct in historically informed performance, and she decided to move to Europe to pursue the baroque violin. She studied with Monica Huggett in Germany at the Akademie für Alte Musik and with Enrico Gatti as a Fodella Foundation scholarship recipient in Milan, Italy. She spent 17 years playing and recording with some of Europe’s most outstanding ensembles including Barockorchester Bremen, Il Complesso Barocco, Modo Antiquo and La Capella de’ Turchini. She appears on recordings for Virgin Veritas, SYMPHONIA, Amadeus, Westdeutscher Rundfunk and CPO. Since returning to the US, she has appeared with Apollo’s Fire, Pegasus Early Music, Bourbon Baroque and has been an enthusiastic regular player with Publick Musick. In 2016, she co-founded l’Invenzione Ensemble, alongside her husband, Eloy Cortinez. Mary has been central to a growing interest in early music in her native city and has helped lead several premiere historically informed performances as concertmaster of the Michigan Bach Collective. In 2018, she was honored to be a part of Detroit Chamber Music Society’s 75th Anniversary celebration performing Bach’s Brandenburg Concertos with Four Nations Ensemble.
Cellist Christopher Haritatos has gained a reputation as a passionate and intelligent performer on both the baroque and modern forms of his instrument. He has collaborated in chamber music with artists such as Marc Destrubé, Kristian Bezuidenhout, Elizabeth Wallfisch, and Sergiu Luca, and has played in ensembles such as Apollo's Fire (Cleveland), the Handel and Haydn Society (Boston), Ars Lyrica (Houston), and Tafelmusik (Toronto). While living in Europe, he was the continuo cellist of Fiori Musicali-Barockorchester Bremen, with whom he took part in several recordings and tours, and worked with Andrew Lawrence-King’s ensemble “The Harp Consort.” Chris is now based in Rochester, NY, where he is a member of the Rochester Philharmonic Orchestra, co-directs The Publick Musick, plays with Pegasus Early Music, and is the cellist of the baroque chamber ensemble Fioritura. Also sought after as a teacher, he has been on the faculty of Texas State University-San Marcos and has given workshops and master classes at several other colleges and universities. He studied at the University of Chicago, the Cleveland Institute of Music, the Eastman School of Music, and as a Fulbright Scholar at the Akademie für Alte Musik Bremen.
Naomi Gregory holds degrees in music (B.A. Hons, first class) and musicology (M. Phil.) from the University of Cambridge, UK, where she was Organ Scholar at Sidney Sussex College. In May 2014, Naomi was awarded the Doctor of Musical Arts degree in organ performance and literature from the Eastman School of Music, in the studio of David Higgs. Her lecture recital (advised by Edoardo Bellotti and Roger Freitas) presented a reconstruction of Vespers from mid-seventeenth century Rome, featuring the Italian Baroque Organ at the Memorial Art Gallery. Her studies at Eastman also included organ improvisation, harpsichord, and theatre organ with William Porter, and organ repertoire and continuo realization with Edoardo Bellotti. Naomi is currently completing a PhD in musicology at Eastman School of Music. Her dissertation (advised by Patrick Macey) explores the five and six-voice motet at the royal French court in the early sixteenth century and its role in the performance and practices of royal piety. She has presented her research at the annual meetings of the American Musicological Society, the Renaissance Society of America, and the Medieval and Renaissance Music Conference. Naomi is currently a graduate instructor of Early Music at Eastman School of Music and project coordinator for ‘Performing History: The Italian Baroque Organ and its Cultural Intersections,’ a Humanities Project of the University of Rochester. She serves as Music Director and Organist of the Episcopal Church of St. Luke and St. Simon Cyrene in Rochester, NY, and sings in the Christ Church Schola Cantorum.
Deborah Fox is the Artistic Director and founder, in 2005, of Pegasus Early Music, an early music concert series in Rochester, NY. She is a lutenist with a span of repertoire ranging from medieval to baroque music, as a soloist, chamber music player, and baroque opera continuo specialist. She has performed with the major early music ensembles and festivals in North America, including the Carmel Bach Festival, Glimmerglass Opera, Les Violons du Roy (Montreal), Spoleto Festival, Opera Atelier (Toronto), Aradia (Toronto), Tafelmusik, Concert Royal, Brandywine Baroque, Music of the Baroque and Callipygian Players (Chicago), NYS Baroque (Ithaca), and others. She has made frequent trips to Australia to work with Pinchgut Opera in Sydney. She received the Certificate of Advanced Studies in Early Music at London's Guildhall School of Music, specializing in the improvised accompaniment practices of the seventeenth century. Her teachers have included Paul O'Dette and Nigel North. She performs as a regular member of the baroque chamber music ensemble Fioritura. She has made recordings for Naxos, Sonabilis, the Australian Broadcasting Corporation (ABC), and Centaur. She has been a Teaching Artist for the Aesthetic Education Institute.
Baritone Mischa Bouvier has been praised for his “extraordinary and varied background” and “rare vocal and interpretive gifts” (San Francisco Classical Voice), "beautiful tone" ([Q]onStage], and “rich timbre” and “fine sense of line” (New York Times). He continues to impact audiences with his keen musicality and remarkable communicative ability.
Mischa’s recent performances have included the New York premiere of Jocelyn Hagen’s amass with Musica Sacra at Lincoln Center; Arvo Pärt’s Passio (Evangelisti) for the “collected stories” series at Zankel Hall, curated by David Lang and conducted by Julian Wachner; Apollo in Handel’s Apollo e Dafne and Polyphemus in Handel’s Acis and Galatea with the American Bach Soloists; the role of Dr. P in Michael Lyman’s opera The Man Who Mistook his Wife for a Hat with the Orchestra of St. Luke’s and New York Live Arts; Fauré’s Requiem and Vaughan Williams’s Five Mystical Songs with the Princeton Glee Club; Bach’s St. Matthew Passion with Iván Fischer and the Orchestra of St. Luke’s at Stern Auditorium, and with Helmuth Rilling and the Orquesta Sinfónica de Puerto Rico at the Festival Casals; and recitals throughout the United States, and in Europe and Asia.
Other highlights include Handel’s Messiah with the American Bach Soloists at Grace Cathedral and the Mondavi Center; the premiere of Bryan Page's song cycle The Edith Poems at Strathmore; Bach’s St. John Passion (Pilate and arias) with the Saint Thomas Choir of Men and Boys under the direction of the late John Scott; the role of Lucifer in Handel’s La Resurrezione with the Helicon Ensemble at the Morgan Library and Yale University; the role of Malatesta in Don Pasquale with Opera in the Heights and Bronx Opera; the premiere of songs by several living Swedish composers with the Mirror Visions Ensemble in Paris; the role of Alwan in Mohammed Fairouz’s opera Sumeida’s Song at Zankel Hall; performances with the Alabama Symphony (Messiah), the Columbus Symphony Orchestra (Brahms’s Requiem), the Colorado Symphony (Messiah) and the Stamford Symphony (Mozart’s Requiem); and a Boston Symphony Hall debut singing the role of Jigger Craigin in a semi-staged performance of Rodgers & Hammerstein's Carousel with Keith Lockhart and the Boston Pops.
Yetzabel Arias Fernández was born in Havana, Cuba, where she started her musical studies in cello and piano. She graduated in choral conducting at the Amadeo Roldán Conservatory and in singing at the Instituto Superior de Arte in Havana. She continued her postgraduate studies in Italy, under the direction of Vincenzo Manno in Milan. She has also taken courses in 17th-century Italian music interpretation with Roberto Gini at the Accademia Internazionale della Musica di Milano. Currently she is a student at the Manny Perez Vocal Studio in Miami, Florida.
Ms. Arias won First Prize in the International Competition of Baroque Singing in Chimay, Belgium, as well as First Prize and Audience Prize at the Printemps des Arts de Nantes Festival. She has also won prizes in the Concorso Internazionale di Canto Barocco F. Provenzale in Naples, as well as in the Concorso Internazionale di Musica Sacra in Rome.
During her years in Europe she worked with the most distinguished Italian ensembles and orchestras performing in important venues and halls such as the Santa Cecilia concerts season in Rome, Orchestra of the Teatro dell'Opera di Roma, Ochestra RAI di Turin, Théâtre Graslin de Nantes, Societa del Quartetto in Milan, Auditorium G. Verdi in Milan, Konzerthaus in Berlin, Concertgebouw of Amsterdam, Auditorio Nacional of Madrid, as well as at Festivals in Bruges, Cologne, Stuttgart, Melk, Dortmund, Graz, Vienna, Ambronay, Santiago de Compostela, Barcelona, Utrecht, Florence, etc.
In 2013 she began an important collaboration with Maestro Ton Koopman, who has conducted her in Mozart Requiem and Exultate Jubilate with The Hague’s Philharmonic Orchestra, Bach B Minor Mass at Leipzig BachFest and Zürich Tonhalle, Beethoven’s 9th Symphony with Arena di Verona Orchestra, Bach’s Christmas Oratorio in a European tour with Amsterdam Baroque Orchestra and Choir, Mozart’s C Minor Mass with Lyon National Orchestra, Bach's St. Matthew Passion with Symphony Orchestra of La Coruña, Spain, and Bach Cantatas with Filarmonica Arturo Toscanini of Parma, Italy.
Some of her past opera and oratorio engagements include Mozart's Don Giovanni at the Miami Summer Festival; Handel’s Alessandro in Karlsruhe, Germany; Pergolesi’s Olimpiade at the Opera Rara Festival in Krakow (Polish premiere) and in Jesi, Italy; and Handel's Il Trionfo del Tempo e del Disinganno with La Risonanza. She has performed Bach's St. Matthew Passion with Diego Fasolis in Lugano, and the B Minor Mass with Jordi Savall at the Fontfroide and Graz Festivals (recorded on DVD). In 2012, Ms. Arias Fernández made her American debut at the Library of Congress in Washington DC with the Italian ensemble La Risonanza, receiving excellent reviews from the press and audience.
Ms. Arias has recorded several CDs and DVDs, among them Handel’s cantata “Tirsi, Clori e Fileno” which won the important Stanley Prize 2010 in London as the Best Handel recording of the year. In 2013 she took part as soloist in Cecilia Bartoli's new CD “Stabat Mater” on EMI.
In 2014, two solo CDs featuring Yetzabel Arias Fernandez were released: songs from the Guerra Manuscript (17th-century Spain) with the ensemble Ars Atlántica on the Naxos label, and soprano cantatas by Neapolitan composer Niccolò Jommelli with the ensemble Stile Galante on the Glossa label.
For more information, reviews, and media samples, please visit YetzabelArias.com
Eloy Cortinez came to the recorder at an early age and began his studies at the Castella Conservatory in San Jose, Costa Rica. He holds a degree “suma cum laude” in recorder performance from the Catholic University of his native Chile. Following graduation, he was awarded a scholarship to perfect his skills at the Civica Scuola di Musica in Milan, Italy, where he studied recorder with Pedro Memelsdorff. Eloy lived in Italy for over a decade, absorbing the history and culture there and collaborating with leading Italian and European musicians, before moving to the U.S. He has performed extensively in Europe and North, Central and South America and was honored by an invitation to perform for the 100th anniversary of the National Theater of Costa Rica. He is a founding member of l’Invenzione Baroque Ensemble, introducing audiences to the wonders of Neapolitan baroque instrumental music. He has appeared with the Michigan Opera Theater and on such concert series as the Academy of Early Music in Ann Arbor, MI, as well as the Detroit Institute of Arts. Eloy is fond of reaching new audiences and has thrilled listeners with his playing in a variety of venues that have included medieval castles, a huge courtyard covered with renowned industrial murals and even a yurt! One of his latest solo projects was a series of lectures and performances of the 12 Telemann fantasies for recorder. Eloy transmits his enthusiasm for his beloved instrument through teaching and has given numerous recorder workshops and lectures at the University of Costa Rica and masterclasses for the recorder class of the Catholic University of Chile.
Originally from Toronto, Michael Unger is a multiple award-winning organist and harpsichordist who appears as a soloist and chamber musician in North America, Europe, Japan, and South Korea. Since 2013, he is the Assistant Professor of Organ and Harpsichord at the University of Cincinnati College-Conservatory of Music. He is a First Prize and Audience Prize winner of the National Young Artists’ Competition of the American Guild of Organists (NYACOP), First Prize winner of the International Organ Competition Musashino-Tokyo, and a Second Prize and Audience Award winner of the International Schnitger Organ Competition on the historic organs in Alkmaar, the Netherlands. Recent solo recitals include Internationale Orgelwoche Nürnberg, ‘Five Continents – Five Organists’ at Seoul’s Sejong Center, and numerous international and regional recital series. Recent harpsichord collaborations include Publick Musick, Catacoustic Consort, Cincinnati Opera and Cincinnati Symphony Orchestra, with repertoire including Bach’s complete Brandenburg Concertos and sonatas for viola da gamba and harpsichord. He received favorable international reviews for his debut solo recordings under the Naxos and Pro Organo labels, and his performances have been broadcast on North American and European radio, including syndicated programs Pipedreams and With Heart and Voice. He was a guest faculty at the 2015 and 2016 Smarano International Academies in Trentino, Italy.
Michael Unger holds a Doctorate of Musical Arts with Performer’s Certificate from the Eastman School of Music, where he was a student and teaching assistant of David Higgs and William Porter, and was also a recipient of the Jerald C. Graue Fellowship. He also a Gold Medal graduate of the University of Western Ontario, where he studied with Larry Cortner, and has pursued post-graduate coaching in Cincinnati with Roberta Gary. Formerly the Director of Music of Rochester’s Lutheran Church of the Incarnate Word and South Presbyterian Church, he currently serves as organist of Cincinnati’s historic Isaac M. Wise (Plum Street) Temple.
Caroline Giassi, a native New Yorker, began playing music at the age of three with a Cracker Jack box as a violin. She eventually graduated to a real, wooden instrument and later switched to the oboe. While pursuing graduate studies at the Yale School of Music, Caroline began playing historical oboes and found her musical home in the world of historically informed performance. She was the first and only wind player to join the Yale Baroque Ensemble and continued her baroque oboe studies at The Juilliard School where she earned a second master’s degree, this time in historical performance. Her principal teachers include Nancy Ambrose King, Steve Taylor, and Gonzalo X. Ruiz.
Caroline has performed with The Sebastians, The Handel+Haydn Society, Pegasus Early Music, New York State Baroque, New York Baroque Inc., Boston Early Music Festival, Bach Vespers at Holy Trinity Lutheran, and The English Concert in America. In addition to her performing career, Caroline is passionate about teaching and works with students of all ages. She is a teaching artist for 2nd grade students in NYC classrooms through the organization S’Cool Sounds, as well as a continuing guest artist in oboe and early music at her alma mater, The University of Michigan.
Priscilla Herreid plays period oboes, recorders, and a multitude of renaissance wind instruments with some of the finest ensembles in the US and abroad. She appears regularly with Piffaro, The Handel + Haydn Society, Trinity Baroque Orchestra, Tempesta di Mare, The Sebastians, Boston Baroque, and Hesperus, and can often be seen with Portland Baroque, Tenet, Venice Baroque, Philharmonia Baroque, Ex Umbris, The Waverly Consort, New York Baroque Inc., and The City Musick. Priscilla was part of the onstage band for the Shakespeare on Broadway productions of Twelfth Night and Richard III, starring Mark Rylance. She is former director of the Early Music Ensemble at Temple University, and is on the faculty of the Madison (WI) Early Music Festival, where she directs recorder and alta capella ensembles. For several years, Priscilla was the soprano at various New York City parishes that celebrate the Latin mass, and still sings occasionally for the mass around NY and CT. She was recently featured as guest recorder soloist in Vivaldi's C Major concerto (RV 443) with the Portland Baroque Orchestra. Priscilla's playing has been called “downright amazing” by the Philadelphia Inquirer, “particularly fine” by the Washington Post, and the New York Times has praised her “soaring recorder, gorgeously played...” She is a graduate of Temple University and The Juilliard School. www.priscillaherreid.com
Originally trained as a linguist, oboist Fiona Last aims to explore as many musical languages as possible. From playing 16th-century polyphony on the shawm to performing Stravinsky with John Adams, she is always seeking out new instruments to play and new musical idioms through which to express herself. Her interest in early instruments stems from the belief that we all seek to mine the most potential possible from the music that we play, and that understanding a musical style through the instrument for which it was written and vice-versa can bring a special kind of life to music-making. She has performed with The Handel + Haydn Society, Tempesta di Mare, the Carmel Bach Festival, Piffaro, Sonnambula, and the Bach Festivals of Philadelphia and Charleston, and is currently a fellow with the Orchestra of the Age of Enlightenment. Fiona holds a Master’s degree in Historical Performance from The Juilliard School; she also received MM and BM degrees in oboe performance from the Yale School of Music and Temple University respectively, and a BA in Arabic and Ethnomusicology from The School of Oriental and African Studies in London.
Molly Werts McDonald, a native of Fairway, Kansas, has been a violinist in the Rochester Philharmonic since 2013. With a Bachelor of Music degree and a Certificate in World Music, Molly was one of RPO Concertmaster Juliana Athayde’s first students at Eastman. She then continued on to complete a Master of Music degree at the Cleveland Institute of Music with William Preucil.
Molly’s first exposure to baroque violin came through the Eastman Collegium, led by Paul O’Dette and Christel Thielmann, and was lucky to play in master classes with artists such as Elizabeth Wallfisch and Kristian Bezuidenhout. She went on to work with Julie Andrijeski in the Case Western Baroque Orchestra and has since enjoyed opportunities to perform with Publick Music, Pegasus Early Music, Schola Cantorum, Third Thursdays at the Memorial Art Gallery, and New York State Baroque. In 2016, Molly spent a summer at the Tafelmusik Institute in Toronto, studying with Jeanne Lamon, Julia Wedman, and other members of the Tafelmusik ensemble.
In addition to the RPO and Baroque violin, Molly is passionate about teaching, and has her own private studio as well as coaching and coordinating chamber music for the Hochstein music school. She is a founding member of the Salaff String Quartet along with three other members of the RPO.
Daniel Elyar is an active performer and recording artist and has specialized in baroque performance practice in Europe and North America for over twenty years. Mr. Elyar has performed and recorded with ensembles in North America and Europe such as Tafelmusik, the Utrecht Baroque Consort, Concerto d’Amsterdam, Teatro Lirico, Concerto Palatino, the Boston Early Music Festival Orchestra, the New York Collegium, Ensemble REBEL (NYC), NYSEMA, Tempesta di Mare and Clarion Players and Choir (NYC) and the Trinity Baroque Orchestra on Wall street. Mr Elyar is the former director of the renaissance collegium at Temple University. Mr. Elyar has taught over twelve years at the Settlement Music School in Philadelphia and is full-time faculty there. Mr. Elyar holds a Bachelor of Music from the Cleveland Institute of Music, and Artist’s Diploma from the Sweelinck Conservatory (Amsterdam) and a Masters of Music from the Royal Conservatory (the Hague). Some of Mr. Elyar’s teachers are Heidi Castleman, Sigiwald Kuijken, Lucy van Dael and Monica Huggett. Mr. Elyar has performed under the baton of directors as Andrew Parrott, Gustav Leonhardt, Ton Koopman & William Christie. Mr Elyar has recorded for Chandos, Naxos, ELECTRA, ATMA, Musica Omnia and Hungarton labels.
Beiliang Zhu won the 1st prize and the Audience Award at the XVIII International Bach Competition in Leipzig 2012 (Violoncello/Baroque Violoncello) as the first string player to have received this honor on a baroque instrument. She received her Master of Music from the Juilliard School in Historical Performance with Phoebe Carrai (Baroque cello) and Sarah Cunningham (Viola da Gamba), Bachelor of Music Degree and Performer's Certificate from the Eastman School of Music. Beiliang is currently pursuing a Doctor of Musical Arts in Violoncello, under the guidance of Steven Doane, and a Master of Arts in Ethnomusicology at the Eastman School of Music.
Hailed by the New York Times as “particularly exciting”, and by the New Yorker as bringing “telling nuances” and being “elegant and sensual, stylishly wild”, Beiliang has given solo recitals at the Bach Festival Leipzig, Boston Early Music Festival, the Seoul Bach Festival, the Helicon Foundation, among others; has performed with internationally acclaimed artists and ensembles, such as William Christie, Masaaki Suzuki, Monica Huggett, Paul O’Dette, Stephen Stubbs, Alexander Weimann, the Boston Early Music Festival Orchestra, the Early Music Vancouver Orchestra, the Juilliard Baroque, the Philadelphia Orchestra, the Trinity Wall Street Orchestra among many others. As Beiliang seeks artistry in a wide range of repertoire and different roles as a modern cellist, baroque cellist, and violist da gamba, she has won a section cellist position of the Rochester Philharmonic Orchestra during undergraduate, has held the principal cellist position of Mercury Houston, and has won awards including the Arthur Foote Prize given by the Harvard Musical Association, 2nd prize in the Holland America Music Society International Competition, the Eastman Cello Concerto Competition, and the 2010 Henry I. Goldberg Young Artist Prize at the American Bach Soloists Academy. Fascinated by studies of cultures, Beiliang believes firmly in the communicative qualities of musical performances therefore invites the listeners to converse with her through various means. More information can be found on www.beiliangzhu.com if so desired.
Joëlle Morton is a widely sought performer and teacher in North America, Europe, Australia and Brazil, specializing in a variety of period instruments, including Renaissance and Baroque violas da gamba, violone and double bass. She is artistic director for the Scaramella concert series in Toronto, where in addition to numerous other freelance performing affiliations, she teaches viola da gamba and historical bass at the University of Toronto, and is the official Viol Consultant for the Hart House viols collection. Joëlle is also much in demand as a musicologist and clinician, presenting lecture/demos on the history and development of string instruments. She is the author of a number of scholarly articles and urtext performing editions of music. Her website (www.greatbassviol.com) serves as an important international resource to those interested in researching large bowed bass instruments.
Cynthia Roberts is one of America's leading baroque violinists and has appeared as soloist, leader, and recitalist throughout North America, Europe, and Asia. She has served as concertmaster of the New York Collegium, Apollo's Fire, Concert Royal, and Les Arts Florissants. She performs regularly with Trinity Baroque Orchestra, Tafelmusik, and the American Bach Soloists and is a principal player with the Carmel Bach Festival. She has appeared with the London Classical Players, Taverner Players, Clarion Music Society, American Bach Soloists and Smithsonian Chamber Players. Her playing was featured on the soundtrack of the film Casanova and she has performed live on the Late Show with David Letterman. She has toured South America as concertmaster of the Los Angeles ensemble Musica Angelica with actor John Malkovich in The Infernal Comedy: Confessions of a Serial Killer and appeared as guest soloist and concertmaster with the New World Symphony conducted by Michael Tilson Thomas. Ms. Roberts teaches at the Juilliard School, the University of North Texas, and the Oberlin Baroque Performance Institute. She has given master classes at Eastman, Indiana University, the Cleveland Institute, Cornell, Rutgers, the Minsk Conservatory in Belarus, the Leopold Mozart Zentrum in Augsburg, the Utrecht Early Music Festival, The Middle School of the Shanghai Conservatory, and for the Jeune Orchestre Atlantique in Santes, France. Her recording credits include Sony, Analekta, BMG/Deutsche Harmonia Mundi, and Eclectra.
A native of Germany, Theresa Salomon came to New York in 1993. The Frankfurter Allgemeine Zeitung has described her interpretations as “of the highest standard” and praised her “crystal-clear intonation” and “rhythmic precision.” She has performed in numerous international festivals, such as Festival Presence, Paris; Gulbenkian Festival, Lisbon; Prague Spring Festival; Ostfriesland Festival, Germany; Connecticut Early Music Festival; Staunton Chamber Music Festival, Virginia; and Ostrava Days for New Music, Czech Republic, where she was a soloist with the Janáček Philharmonic. Ms. Salomon performs on both baroque and modern violin in New York with ensembles such as the Orchestra of St. Luke’s, REBEL Baroque Orchestra, New York Collegium, SEM Ensemble, American Classical Orchestra, Trinity Wall Street Baroque Orchestra, and others. She also directs a new chamber music series at Music Under Construction and plays frequently for the dance wing of the organization, Dance Under Construction. Her teachers include Ulf Hoelscher, Philipp Hirshhorn, Wolfram Koenig, and Todd Philipps. She has recorded for the labels Vandenburg and Tzadik. Theresa is on the adjunct faculty of Montclair State University’s John J. Cali School of Music, teaching historic performance practice and baroque violin.
Alissa Smith, violist, holds music degrees from the Australian National University and the Juilliard School, where she was a Teaching Fellow. Her five-year tenure as violist of the Canberra String Quartet included recitals at Carnegie Hall; performances at the Park City, Aspen, Bravo! Colorado, and Steamboat Springs music festivals; and a residency with the Emerson String Quartet.
A versatile performer on modern and baroque violas, Alissa has appeared with The Knights at the Tanglewood and Ravinia Festivals, and toured Australia and North America with The Australian Chamber Orchestra. She has performed with the Orchestra of St. Lukes, American Composers Orchestra, Klangforum Wien and the Houston Symphony Orchestra. International festival appearances include the Sydney Festival alongside Lou Reed and at the Istanbul International Jazz Festival.
As a baroque violist Alissa currently performs with Clarion, NYBI and The Trinity Baroque Orchestra, and recently appeared with Apollo’s Fire, The Sebastians, Opera Lafayette, NY Collegium and at the Staunton and Carmel Bach Festivals.
Alissa can be heard on recordings of numerous movie soundtracks including “Casanova”, “Julie and Julia”, “True Grit” and “Keeping Up with the Joneses”; period instrument recordings of Bach Motets with The Trinity Choir and Mozart Symphonies with Apollos Fire; and on the multi Grammy award winning album “Winter Morning Walks” with Dawn Upshaw and The Australian Chamber Orchestra.
“Brian Shaw epitomizes the versatile twenty-first century trumpeter.”
– Elisa Koehler, Fanfares and Finesse
Brian Shaw is Julian & Sidney Carruth Associate Professor of Trumpet/Jazz Studies at Louisiana State University in Baton Rouge. He is also Principal Trumpet of the Baton Rouge Symphony, Co-Principal Trumpet of the Dallas Winds, and enjoys an international performing career as a modern and historical trumpet artist. This season, Shaw has performed as a soloist in Houston, Denver, and continues as Visiting Professor of Baroque Trumpet Studies at the Eastman School of Music. He also continues his research as co-author (with Nick Smart of the Royal Academy of Music, London) of a biography titled Song For Someone: The Musical Life of Kenny Wheeler for Equinox Books, UK.
Over the past year, Shaw has performed in concert alongside saxophonist Branford Marsalis. as guest principal trumpet of the Kansas City Symphony, made his debut on keyed trumpet (performing Haydn's Concerto in E-flat with Austin's La Follia Baroque), and was the featured trumpet soloist with the Dallas Wind Symphony on John Williams' "With Malice Toward None" from the Spielberg film Lincoln. He has recently toured Europe with the Boston Early Music Festival Orchestra, was the only American Baroque trumpet soloist featured in the final concert of the 2014 International Trumpet Guild Conference, and performed as a soloist with the Hong Kong Wind Philharmonia. Shaw's most recent solo CD, redshift (accompanied by the Dallas Wind Symphony), was issued in 2014 on Klavier Records.
Shaw has won prizes in several international trumpet competitions and is the dedicatee of numerous new works, including Brett William Dietz’s redshift and Joseph Turrin’s Two Images. He can also be heard as principal trumpet on recordings with the University of Texas Wind Ensemble (Naxos Records) the Eastman Wind Ensemble (Danzante, on Summit Records), the Dallas Wind Symphony (Reference Recordings), and the professional choral ensemble Conspirare (Harmonia Mundi).
Active as a Baroque trumpet player, Shaw has performed throughout North America and Europe. His 2008 recording Virtuoso Concertos for Clarino includes some of the most difficult pieces ever written for the instrument and was accompanied by an orchestra comprising New York’s finest period musicians. Early Music America observed: “Shaw’s tone is beautiful, and his playing unfailingly musical… His is a voice that will make a major mark on Baroque trumpet playing.”
As a jazz musician, Shaw performs regularly on the popular LSU concert series “Hot Summer Nights and Cool Jazz” alongside his colleagues pianist Willis Delony and bassist Bill Grimes. He also directs the LSU Jazz Ensemble, which has hosted such luminaries as Bobby Shew, Wayne Bergeron, Wycliffe Gordon, Denis DiBlasio, and Rufus Reid during his leadership. His books and transcriptions are published by Advance Music, Presser, Schott, and Universal Edition.
Shaw holds degrees from Eastern Illinois University (B.Mus), the Eastman School (M.Mus) and the University of Texas at Austin (D.M.A.).
Brian Shaw is proud to be a Yamaha Performing Artist.
Steven Zohn performs on historical flutes with many ensembles in the eastern United States, including (in his home base of Philadelphia) the Bach Collegium and Night Music. From 1995 to 2004 he served as founding Artistic Director of Publick Musick. In addition to concertizing, he has taught for The Juilliard School’s graduate program in historical performance and Amherst Early Music. His contributions to the study and performance of early music were recognized by the American Musicological Society with its Noah Greenberg Award. Among his recordings are world premieres of recently discovered Telemann flute duets and the composer’s moral cantatas, with soprano Julianne Baird. Also active as a musicologist, he has published widely on eighteenth-century topics, especially on Telemann and the Bach family, and is Laura H. Carnell Professor of Music History at Temple University’s Boyer College of Music and Dance. When he is not performing, lecturing, or writing, he enjoys playing with his son Elliott.
James E. Bobb joined the faculty of St. Olaf College in Northfield, Minnesota in September of 2012 with more than 20 years’ experience directing church music in Lutheran and United Church of Christ congregations. As Cantor to the Student Congregation, Bobb succeeds the retired John Ferguson in three main spheres of activity at St. Olaf. As Cantor to the Student Congregation, Bobb plays organ and/or oversees the preparation of music for the six live-streamed chapel services each week (http://www.stolaf.edu/multimedia/), including Sunday morning Eucharists, for which the five large choral ensembles of St. Olaf rotate liturgical leadership. As Assistant Professor of Organ and Church Music, Bobb is one of two professors of organ and teaches church music classes in one of the few undergraduate-only programs leading to a Bachelor of Music degree in Church Music. As director of the 100-voice St Olaf Cantorei, Bobb leads the upper-class ensemble in concerts, worship services, and the annual St. Olaf Christmas Festival.
Following in the Lutheran cantorial tradition, Bobb regularly composes or improvises music for weekly worship. He recently composed a new congregational setting of the Holy Communion liturgy which was introduced to the St. Olaf College Congregation in September of 2013.
Bobb holds performer’s certificates and M.M. degrees and in organ and harpsichord performance and literature from the Eastman School of Music where his teachers included Russell Saunders and David Craighead in organ and Arthur Haas in harpsichord. His undergraduate work was at Capital University where his teachers were Janet Linker in organ and Frank Hussey in piano.
As the Minister of Music at First Congregational Church, Columbus, Ohio from 2009-2012, Bobb presided over a three-manual 1972 Rudolph von Becherath organ of 73 ranks, a four-manual 1931 W. W. Kimball organ of 66 ranks, four parish ensembles and two concert series. He also taught organ and organ literature at Capital University in Columbus. For fifteen years prior to that, Bobb served the Lutheran Church of the Incarnate Word in Rochester New York. There he led parish ensembles of all ages, conducted the St. John Passion and other works by Bach, Buxtehude, Schütz, Gabrieli, Purcell, and Telemann, and led the choir on a tour of Sweden. Also in Rochester, he was director of the Rochester Bach Festival, an instructor in Sacred Music at the Eastman School of Music, Adjunct Professor of organ at Nazareth College, and a chapter dean of the American Guild of Organists.
At the harpsichord, Bobb has performed Bach’s Goldberg Variations in Manhattan, Boston, Rochester, and Baltimore. He has appeared as organ and harpsichord soloist, conductor, and continuo player with The Publick Musick and the Rochester Bach Festival. With The Publick Musick, he had appeared in New York, Indiana, Maine, and Germany, and has recorded music of Telemann and Vivaldi. Bobb has also enjoyed leading hymn festivals in Ohio, New York, Georgia, and Oklahoma.
Edoardo Bellotti, associate Professor of Organ, Harpsichord and Improvisation at the Eastman School of Music, has extensive teaching experience, having been Professor of Organ, Harpsichord and Improvisation in several musical institutions and universities including the Conservatory ofTrossingen and the University of Bremen in Germany, the University of Udine and the Conservatory of Trento in Italy.
A virtuoso organist and renowned improviser, Bellotti performs at leading festivals and concert venues throughout the world. He is currently collaborating in a project of new organ music and visual art in Milan, in conjunction with the art installation of the American minimalist Dan Flavin. He has performed the complete works of Cesar Franck, and has worked with orchestras in Italy and abroad, performing a wide spectrum of repertoire, including the Italian premiere ofSatyagraha by Philip Glass. He is also considered a leading expert in the performance of renaissance and baroque keyboard music.
He combines his international performing career with musicological research and teaching, publishing articles as well as new critical editions of music of the 17th and 18th centuries. He is a frequent guest lecturer at international conferences. He has made several critically acclaimed recordings on historical instruments, including Promenade (Loft Recordings), a recording of organ repertoire and original improvisations on the Eastman School of Music’s Italian baroque organ at the Memorial Art Gallery in Rochester.
Praised for her “sparkle and humor, radiance and magnetism” and hailed for “a voice equally velvety up and down the registers”, Laura Heimes is widely regarded as an artist of great versatility, with repertoire ranging from the Renaissance to the 21st century. She has collaborated with many of the leading figures in early music, including Andrew Lawrence King, Julianne Baird, Tempeste di Mare, The King’s Noyse, Paul O’Dette, Chatham Baroque, Apollo’s Fire, The New York Collegium, Voices of Music, Brandywine Baroque, Trinity Consort, and Piffaro – The Renaissance Band. She has been heard at the Boston, Connecticut, Berkeley and Indianapolis Early Music Festivals, at the Oregon and Philadelphia Bach Festivals under the baton of Helmuth Rilling, at the Carmel Bach Festival under Bruno Weil, and in Rio de Janeiro and Sao Paulo, Brazil in concerts of Bach and Handel. With the Philadelphia Orchestra she appeared as Mrs. Nordstrom in Stephen Sondheim’s A Little Night Music. December 2003 marked her Carnegie Hall debut in Handel’s Messiah with the Masterwork Chorus and in December 2011 appeared in the acclaimed staged production of the same work with the Pittsburgh Symphony under Maestro Honeck. A native of Rochester NY, she holds her Bachelors degree from SUNY Geneseo and Master of Music degrees in Choral Conducting and Voice Performance from Temple University.
Austin-based soprano Shari Alise Wilson is among the new generation of singers specializing in early and modern music, demonstrating great versatility and stylistic sensitivity. Recent highlights include Bach’s St. Matthew Passion with Conspirare at the Victoria Bach Festival, Buxtehude’s Membra Jesu Nostri with Pegasus Early Music and New York State Baroque, a world premiere performance and recording of music by Gavin Bryars with The Crossing choir and the PRISM Quartet, the world premiere performance of John Luther Adams' "Sila: The Breath of the World" at Lincoln Center, David Lang’s Little Match Girl Passion with skybetter and associates and the Ear Heart Music Ensemble, and performances with The Crossing choir at Lincoln Center's Mostly Mozart Festival. Ms. Wilson is an active ensemble singer, performing with the Grammy award-winning ensemble Conspirare (Austin), The Crossing (Philadelphia), the Santa Fe Desert Chorale, Texas Early Music Project (Austin), Spire Chamber Ensemble (Kansas City), and Boston’s Blue Heron. She can be heard on the newly-released Blue Heron discs of Nicholas Ludford’s “Missa Regnum mundi” and “Missa Inclina cor meum,” Conspirare’s Grammy-award winning “Sacred Spirit of Russia,” and Kile Smith’s “Vespers” with The Crossing and Piffaro.
Ekaterina Gorlova, a native of Russia, completed her Bachelor of Music from the Eastman School of Music in 2017. Her private instructors included Karol Bennett-Brandt, Rita Shane, Constance Haas and Anthony Dean Griffey. She has held the position as soprano section leader at Lake Avenue Baptist Church since 2013, and has performed regularly with the Christ Church Schola Cantorum, Eastman Collegium Musicum, Eastman Voices and other concert series at the Memorial Art Gallery. She has studied historical performance practice with Grammy award winner Paul O’Dette and Ellen Hargis, and has attended the Baroque Vocal Programme of the Vancouver Early Music Festival and the American Bach Soloists Academy in San Francisco. Ekaterina performed the role of Krysia in Jake Heggie’s “Out of Darkness” and covered the title role in Massenet’s “Cendrillon” with Eastman Opera Theatre. This summer, she participated in the Boston Early Music Festival Young Artists Training Program and performed in Purcell's "Dido and Aeneas" with Pegasus Early Music.
Clifton Massey, countertenor, is known for stylish interpretations of wide-ranging musical styles. Praised by San Francisco Classical Voice for his "gloriously rounded tone," his solo and ensemble singing has taken him to many festivals and venues including Tanglewood, the Concertgebouw of Amsterdam, the Metropolitan Museum of NY, Tokyo Opera City, and the Early Music Festivals of Berkeley, Oregon, Bloomington and Boston. As a specialist in early music, Clifton performs frequently with the American Bach Soloists, Philharmonia Baroque Orchestra, the Bach Collegium San Diego, the American Classical Orchestra, and has been featured on the Bach Vespers series at Holy Trinity Lutheran and at Trinity Church Wall Street in New York City. He is an alumnus of the Grammy-winning group Chanticleer, with whom he performed over 200 concerts in a variety of the world's finest concert halls. Recent performance highlights include a disc of the music of Samuel Capricornus with ACRONYM and Holy Trinity Lutheran, Bernstein's Chichester Psalms in San Francisco, and a surprise performance at the 2018 Met Gala with iconic pop star Madonna. Clifton currently lives in Brooklyn and is a member of the Grammy-nominated professional ensemble at Trinity Church Wall Street, with whom he is proud to have been a part of the premieres of two Pulitzer Prize winning compositions: Julia Wolfe’s Anthracite Fields,and Angel’s Bone, a new opera composed by Du Yun.
Christel Thielmann is assistant professor of Conducting and Ensembles at the Eastman School of Music, where she has directed and coached the Eastman Collegium Musicum, the Eastman Collegium Baroque Orchestra, the Eastman Collegium Viol Consort, and numerous other ensembles since 1978. As viola da gambist, flutist, and recorder player, she has toured extensively as a member of The Musicians of Swanne Alley and has appeared with Fretwork, The Parley of Instruments, The Harp Consort, Tafelmusik, and the Boston Early Music Festival Orchestra. She has performed at many of the leading early music festivals including those in Boston, Vancouver, Barcelona, Edinburgh, Aldeburgh, Bath, and Regensburg, as well as numerous appearances on the English and Dutch Early Music Networks. She has recorded for the BBC, Westdeutscher Rundfunk, NPR, Virgin Classics, harmonia mundi, Hyperion, CBC, Focus, and Pantheon Records.
On treble, tenor and bass violas da gamba, and their medieval ancestors, Rosamund Morley has performed with many renowned early music ensembles as diverse as ARTEK, The Boston Camerata, The Catacoustic Consort, Lionheart, Piffaro and Sequentia. In addition to her position in Parthenia, New York's premiere consort of viols, she is a founding member of the Elizabethan group, My Lord Chamberlain's Consort. An interest in playing contemporary music as well as early music was fostered by many years working with the New York Consort of Viols. She has toured worldwide as a long-standing member of the Waverly Consort, and has appeared as soloist at the Brooklyn Academy of Music with Les Arts Florissants. Her busy teaching schedule has included numerous national and international workshops such as Charney Manor and the Benslow Music Trust in Hitchin, UK, Triora Musica in Liguria, Italy, the Cammac Music Center in Quebec, Canada, Amherst Early Music in New England, the Port Townsend workshop in Seattle and the Viola da Gamba Society of America's annual Conclave. She directs the summer music course, Viols West, at Cal Poly in San Luis Obispo, California and holds teaching positions at Columbia and Yale Universities. Ms. Morley has recorded for CBS Masterworks, Arabesque, Musical Heritage Society, Classic Masters, EMI/Angel, Museovich Productions and MSR Classics.
Praised by the San Francisco Classical Voice for playing "with maturity and panache," Cora Swenson Lee performs actively in the Boston and Rochester areas. Cora began her studies in Chicago at the age of 4. Her most influential teachers have been Eastman School of Music professor Alan Harris and long-time cellist of the renowned Vermeer Quartet, Marc Johnson. Cora holds a Bachelor’s Degree from the Eastman School of Music (2010) and a Master’s Degree Boston University College of Fine Arts (2012). Cora is currently pursuing her Doctorate in Cello Performance at the Eastman School of Music.
Cora is a member of Boston Baroque and Emmanuel music, and has appeared with the Handel and Haydn Society, the Rochester Philharmonic Orchestra and the New World Symphony. She is the former cellist of the Boston Public Quartet and Les Sirenes, and current cellist of Trio Speranza, which was a prizewinner at the 2014 Early Music America Baroque Performance Competition. Cora was named as a 2014-2015 season Lorraine Hunt Lieberson Fellow at Emmanuel Music.
Cora is currently on the faculty of the Hochstein School of Music and Dance in Rochester, NY. She also works as a teaching assistant for Alan Harris and as a secondary lesson teacher at the Eastman School of Music.
Aika Ito, a native of Tokyo, Japan, joined the first violin section of the Rochester Philharmonic Orchestra in September 2014. Previously she was a member of the Canton Symphony Orchestra and the Akron Symphony Orchestra. She has participated in several summer festivals including the Pacific Music Festival, Schleswig Holstein Music Festival, and the Tanglewood Music Festival. She plays in the Blossom Festival Orchestra and Rochester Chamber Orchestra, and subs in the Cleveland Orchestra.
She is a violist of the Salaff String Quartet formed by RPO members Thomas Rodgers, Molly Mcdonald, and Benjamin Krug. As a baroque violinist, she is a member of the Christ Church Consort and Schola Cantorum.
Ito began studying the violin at the age of four. She holds a Bachelor of Music degree from the Toho School of Music in Tokyo, where she studied with Tsugio Tokunaga, former concertmaster of the NHK Symphony Orchestra. She earned an artist diploma at the Cleveland Institute of Music with Stephen Rose, principal 2nd violinist of the Cleveland Orchestra. During her education, she also studied with Mayumi Ohira, Kumi Iguchi, Akihiro Miura and Asako Urushihara.