A frequent oratorio and concert artist, soprano Nacole Palmer splits her time between Maine, Boston, and New York City. Carnegie Hall debut: Handel’s Messiah with the Oratorio Society of New York. Lincoln Center debut: Bach's Christmas Oratorio with the Riverside Choral Society. Other solo credits include her acclaimed performances with The Clarion Music Society; Bach's St. John Passion and Orff's Carmina Burana with Seraphic Fire of Miami; Haydn’s Creation with the Ulster Choral Society; Mozart’s Mass in C Minor with Trinity Wall Street.
In Ms. Palmer’s first professional recording collaboration, released on the NAXOS label, she joins The Trinity Choir as Soprano Soloist for three Haydn masses (Theresienmesse, Schöpfungsmesse, and Harmoniemesse) conducted by Jane Glover. Ms. Palmer also performed the Theresien and Schöpfungs Masses, as well as Handel’s Messiah, with Ms. Glover and Rebel Baroque Orchestra. In 2018, Ms. Palmer will release an album recording of James Blachly's Songs of Ishmael, featuring songs that were written for her with texts from Moby Dick. A new music aficionado, Ms. Palmer’s other contemporary credits include Stephen Albert’s To Wake the Dead and Samuel Barber’s Knoxville: Summer of 1915, both performed in the Aspen Music Festival concert series.
A passionate proponent of arts and music as avenues of strengthening communities, Ms. Palmer co-founded the Yale College Opera Company in 1998, and she helped start a music camp in the Lower Ninth Ward of New Orleans, LA, in 2009. Both have grown into flourishing organizations with their own leadership and new names: Opera Theater of Yale College and Make Music NOLA.
Dr. Matthew W. Leese is a conductor, baritone, stage director and educator based in Keene, New Hampshire. A master of versatility, Leese received his Bachelor’s degree in Vocal Performance from the University of Otago, Graduate Diploma in Historical Performance from the Longy School of Music, Masters in Early Music from Indiana University and Doctorate in Choral Conducting and Literature from the University of Illinois.
Matthew’s reputation as an intelligent and thoughtful interpreter has led him to a path of successful appointments as a choral and opera conductor. Recent noted projects have included directing and conducting Hans Krasa’s ‘Brundibar’ for the Redfern Arts Center Voices of Terezin series, Benjamin Britten’s ‘The Little Sweep’ with Keene State Opera and the Colonial Theatre, period performances of Bach’s ‘Johannespassion’ with Monadnock Chorus, and designing a Ewing Arts Award-winning season with the Chamber Singers of Keene. Additional regular conducting responsibilities include directing the Keene State College Vocal Consort, Voices of the Bay and the St Andrews Spring Sing in New Brunswick, and serving as artist in residence with the Boston City Singers.
As a baritone, Leese appears frequently as a concert soloist and professional chorister, performing with medieval ensemble LIBER, SPIRE (Kansas City) and TACTUS (Oklahoma City). Matthew has studied voice with Cynthia Haymon, Robert Harrison, Paul Elliott, Laurie Monahan and Judy Bellingham and conducting with Fred Stoltzfus, Chester Alwes, Jack Speirs and Michael Joel. He has performed in masterclass and coachings with Tony Thornton, Wayne Abercrombie, Joseph Flummerfelt, Simon Carrington, Håkan Hagegård, Nigel North, Dana Maiben, Frances Conover Fitch, and Karen Grylls.
Soprano Jennifer Bates, a Maine native, enjoys a multifaceted career in the opera, concert and recital worlds. Recent engagements include the role Pepik in the NY Philharmonic production of The Cunning Little Vixen, multiple appearances with NY City Opera, Zemlinsky’s Der Zwerg with the American Symphony Orchestra, and as the featured soloist at the Bach Vespers Cantata Series just steps from Lincoln Center for ten years.
Highlights of previous seasons have included performances at Carnegie Hall, singing Haydn’s Lord Nelson Mass with the New England Symphonic Ensemble, and many European engagements, including Elgar’s The Kingdom with Maestro Leonard Slatkin and the Philharmonia in the prestigious Three Choirs Festival, Haydn’s Creation with Robert Tear at the Dartington International Summer Festival, Fauré’s Requiem with Sir David Willcocks at Royal Albert Hall, and Verdi’s Requiem at Windsor Castle.
As a recitalist, she has performed in multiple venues in the US and abroad, including a tour of Great Britain performing Britten’s Holy Sonnets of John Donne, and a recital at the French Embassy in Washington D.C.
Acclaimed for her “ethereal sound” and “especially vivid” performances (The Baltimore Sun), soprano Julie Bosworth interprets a multitude of musical genres. From medieval song to compositions of the 21st century, this versatile singer delights in the performance practice of every age. She has been featured on live radio broadcasts by NPR, WBJC and WYPR in Baltimore, and WGBH Boston. On the operatic stage, Julie has performed with American Opera Theater, Opera Studio Nederland, Raylynmor Opera, and Peabody Opera Theater, singing such roles as Queen of the Night (The Magic Flute), Cleopatra (Giulio Cesare), Belinda (Dido and Aeneas), Blanche de la Force (Dialogues of the Carmelites), and the title role in L’incoronazione di Poppea.
Equally at home on the concert stage, Julie is an active oratorio soloist and chamber recitalist. She is a core member of the critically acclaimed group The Broken Consort, an exuberant and experimental medieval and new music ensemble. In addition, she has sung with the Baltimore Symphony Orchestra, Hesperus, The Peabody Consort, The District 8, The Bridge Ensemble, and The New Consort (which was the recipient of the 2015 American Prize in Chamber Music). She has been a featured artist at the Indianapolis Early Music Festival and will return in 2017 to perform with Hesperus and The Peabody Consort. Julie holds degrees in Music Education, Voice Performance, and Early Music from Millikin University and The Peabody Conservatory.
Amy Goldin has been a core member of Antioch Chamber Ensemble since 2002, with whom she has performed in numerous festivals here and abroad, including Piccolo Spoleto in Charleston, SC, the Musique en Morvan Festival and the Festival des Choeurs Laureats in France, Nautilus Music Festival in Nova Scotia, and the Tolosa International Choral Competition in Spain.
Amy is also a member of Kairos: A Consort of Singers, and has performed with numerous ensembles and in various vocal styles throughout the greater metropolitan area, including Aeode Consort, Prana, Juneau Vocal Alliance, Cantori New York, the Greenwich Village Singers, the Cygnus Ensemble, Opera Quotannis, and Teatro Grattacielo. She can be heard singing the role of Branghien in Frank Martin’s oratorio Le Vin Herbé, recorded by Newport Classics and released in 2000; on Antioch’s CD The Passing of the Year, released by MSR Classics in May, 2010; and on Kairos’ album The Valley Sings, released by MSR classics in November 2012. She lives in Woodstock with her husband and two children.
Mr. Dodson’s current and upcoming seasons feature a wide variety of engagements throughout the United States. In the 2016-2017 season, he makes his solo debut with Boston Baroque as Nireno in Giulio Cesare and bows as Perforated in Loose, Wet, Perforated, a new opera by Nicholas Vines, with Guerilla Opera, a role which he also recorded for commercial release by Navona Records.
Recent seasons: featured countertenor soloist in Purcell's incidental music for Oedipus, semi-staged by the Henry Purcell Society of Boston; alto soloist in the American premieres of Alessandro Melani's Lauda Anima Mea and Giacomo Perti's Magnificat; alto solos in Dixit Dominus (Charpentier) and Missa Sanctae Mariae Magdalenae(Sances) at Duke Chapel in Durham, North Carolina. International: Ottone in L’incoronazione di Poppea, at the Aldeburgh Music Festival in Suffolk, England; member of the prestigious Britten-Pears Young Artist Programme; First Witch/Sailor in Dido and Aeneas with the Klang und Raum Festival in Irsee, Germany.
Mr. Dodson can be heard as alto soloist in works by Charpentier and Sances on Viva Italia released on MSR Classics. He was a 2010 regional finalist in the Metropolitan Opera National Council Auditions (New England Region) and a 2008 National Finalist in the National Society of Arts and Letters National Career Awards Competition in Voice.
Mezzo-soprano Erin Grainger moves from opera to concert as a soloist and ensemble musician. Erin loves theatrical repertoire, savoring character mezzo roles and ensemble chamber music. As soloist she has performed with the Newfoundland Symphony Orchestra, Burlington Chamber Orchestra, Middlebury Bach festival, L’orchestre symphonique de Longueuil, Ensemble Telemann, Summer Opera Lyric Theatre, Orpheus Choir of Toronto, Middlebury Community Chorus, the Opera Company of Middlebury, and as an ensemble musician with Counterpoint and the Chœur de l’Opéra de Montréal.
Erin teaches at Johnson State and Saint Michael’s colleges in Vermont. She holds a Master of Music from McGill University, and undergraduate degrees in music and education from the University of Western Ontario and University of Toronto. She originally hails from the Ottawa Valley and now calls northwestern Vermont home, where she lives with her husband and children. For more information: www.eringrainger.com
New Hampshire-born mezzo soprano Mellissa Hughes enjoys a busy international career in both contemporary and early music. A dedicated interpreter of living composers, Hughes has worked closely with many composers, and has premiered works of many others. In the classical concert hall she has performed Mozart’s Vespers and Requiem under the baton of Sir Neville Marriner, Handel’s Dixit Dominus with Sir David Willcocks, and the role of Dido under the direction of Andrew Lawrence King. Equally at home in front of a rock band, Hughes has received widespread acclaim in her role as lead vocalist of Newspeak, an amplified alt-classical band, and for her work with Missy Mazzoli’s
Recent seasons: Tour with John Zorn for “Madrigals” and “Earthspirit” in Jerusalem, Paris, Alice Tully Hall and the Guggenheim in New York, Montreal, Ghent, Warsaw, at the Barbican in London; star in Jonathan Berger’s double bill opera, Visitations; Silver Threads, a solo cycle written for her by Jacob Cooper at (le) Poisson Rouge; a New York City Opera debut in John Zorn’s The Holy Visions; world premiere of David T. Little’s Am I Born, a solo orchestral work written for Hughes; world premiere of Alex Temple’s Liebeslied with George Manahan and the American Composers Orchestra at Zankel Hall; a Weill Hall performance and NAXOS recording of Mohammed Fairouz’s Tahwidah with the clarinetist David Krakauer; Bryce and Aaron Dessner’s multimedia song cycle The Long Count at the Muziekgebouw in Amsterdam; US premiere of Adrian Utley and Will Gregory’s score for The Passion of Joan Arc as part of Lincoln Center’s White Light Festival.
Clifton Massey, countertenor, is known for stylish interpretations of wide ranging musical styles. Praised by SF Classical Voice for "gloriously rounded tone and a measure of heft often missing in proponents of his voice type", his solo and ensemble singing has taken him to many festivals and venues including Tanglewood, the Concertgebou of Amsterdam, Metropolitan Museum of NY, Tokyo Opera City, and the Early Music festivals of Berkeley, Bloomington and Boston.
Also a valued professional ensemble singer, Clifton performs frequently with American Bach Soloists, the Philharmonia Baroque Orchestra, Bach Collegium San Diego, the American Classical Orchestra, and has been featured on the Bach Vespers series’ at Holy Trinity Lutheran and Trinity Church Wall Street in New York City. He is an alumnus of the Grammy award winning group Chanticleer, with whom he performed over 200 concerts in a variety of the world's finest concert halls. Clifton has recently relocated to the NYC area and is a member of the professional choir at Trinity Church Wall St.
Tenor Jonas Budris is a versatile soloist and ensemble musician, engaging new works and early music with equal passion.He is a featured soloist in Boston Baroque's Grammy-nominated recording of Monteverdi's opera Il ritorno d'Ulisse in patria. He appears frequently in concert with the Handel and Haydn Society as a soloist and choral singer. Mr. Budris also performs in more intimate musical settings; he particularly enjoys singing with such groups as Blue Heron, Cut Circle, Spire, and the Skylark Vocal Ensemble.Mr. Budris is a Lorraine Hunt Lieberson Felllow at Emmanuel Music, where he performs regularly in the Bach Cantata and evening concert series.On the opera stage, he has performed principal and supporting roles with numerous musical organizations, including Opera Boston, OperaHub, Guerilla Opera, and Odyssey Opera, originating such roles as John in Giver of Light and the title role of Chrononhotonthologos.Originally from Martha’s Vineyard, Mr. Budris holds a degree in Environmental Sciences & Engineering from Harvard College.
Dr. Daniel Carberg, tenor, is an internationally renowned performer and teacher with noted appearances throughout North America and Europe. Recently he has sung with Sting, Piffaro, The Catacoustic Consort, and has been featured on National Public Radio’s Performance Today. In 2010 Dan performed the title role in Claudio Monteverdi’s L’Orfeo for Opera Otago, New Zealand. Other significant appearances include the San Francisco, Berkeley, Madison and Bloomington Early Music Festivals, performances at Songfest, Amsterdam’s Concertgebouw and Musiekgebouw, Disney Hall and Carnegie Hall.
As a musical director of opera, Dan has led productions of Purcell’s The Fairy Queen and Dido and Aeneas, Monteverdi’s L’incoronazione di Poppea, Mozart’s Bastien und Bastienne, Handel’s Alcina, John Blow’s Venus and Adonis and most recently Marc-Antoine Charpentier’s Le Malade Imaginaire.
In 2013, Dan joined the music faculty at Keene State College, where he serves as the Coordinator of Vocal Activities. Prior to that, he taught for twelve years as Associate Professor at Millikin University in Decatur, Illinois, where he also directed a select vocal ensemble, Tudor Voices. Dan served as faculty at La Bella Musica in Urbania, Italy for two summers. And in 2008 he co-founded the annual New Brunswick Early Music Festival in Canada, where he serves as Co-Artistic Director.
American tenor Ethan DePuy brings his unique dramatic style to works ranging from the Baroque era to now. DePuy trained as a young artist at the Chautauqua Opera Company, where he was a recipient of the Young Artist Encouragement Award. His list of credits includes Nemorino in L’elisir d’amore, Peter Quint in The Turn of the Screw, Alfred in Die Fledermaus, the title role in Albert Herring, Don Basilio in Le nozze di Figaro, Jaquino in Fidelio, King Kaspar in Amahl and the Night Visitors, Chevalier de la Force in Dialogues of the Carmelites, and Motel the Tailor in Fiddler on the Roof.
Mr. DePuy has also established himself as a force to be reckoned with on the concert stage, where highlights of recent seasons include performances of Bach’s St. Matthew Passionand Easter Oratorio, Handel’s Israel in Egypt, Mozart’s Requiem, Solemn Vespers, and Coronation Mass, Schubert’s Mass in G, Haydn’s Seven Last Words, Rachmaninoff’s All Night Vigil, Stravinsky’s Mass, Buxtehude’s Membra Jesu Nostri, and the Evangelist in Bach’s Christmas Oratorio.
A native of Kansas City, MO, tenor Andrew Fuchs recently made his Lincoln Center debut in Bach’s Magnificat with the American Classical Orchestra. Other recent performances include Steve Reich’s Three Tales with Ensemble Signal at Disney Hall presented by the Los Angeles Philharmonic, Curlew River and Brahms’s Liebeslieder and Neue Liebeslieder waltzes with the Mark Morris Dance Group, the premiere of Alexander Goehr's Verschwindenes Wort for The Juilliard School's Focus Festival, Misael in Britten’s The Burning Fiery Furnace and Tristan in Frank Martin's Le Vin Herbé with Montreal’s Ballet-Opéra-Pantomime, the Evangelist in both the St. Matthew and St. John Passions with the Saint Andrew Chorale and Canticum Novum, tenor soloist in the premiere of Zachary Wadsworth's Spire and Shadow, Palestrina’s Missa Papae Marcelli with New York Polyphony, and appearances with ARTEK, Pegasus Early Music, and Lyric Fest.
An avid recitalist, Andrew was a finalist in the 2015 Joy In Singing competition, spent two summers as a Vocal Fellow at the Tanglewood Music Center, was a Finalist in the 2013 Liederkranz Competition, and was a Fellow at the Fall Island Vocal Arts Seminar. Andrew is a member of the Choir of Trinity Wall Street and frequently performs with other preeminent ensembles, including New York Polyphony, Seraphic Fire, Spire Chamber Ensemble, the New York Virtuoso Singers, Musica Sacra, and the Clarion Music Society. www.andrew-fuchs.com
Director of Choirs and Associate of Music in Voice at Colby College, tenor Eric Christopher Perry is gaining a national reputation for his passionate, imaginative chamber music performance and innovative, thought-provoking curation of choral programming. An Ivars Taurins Fellow with the Tafelmusik Baroque Summer Institute in Toronto, he performed as a soloist in Charpentier’s Messe de Morts and as the role of Evangelist in a reading of Bach’s Johannes-Passion.
Mr. Perry is frequently seen with the Handel and Haydn Society, and is also a proud member of Emmanuel Music, with whom he has sung over fifty cantatas as an ensemble member or soloist, as well as performances of Bach’s Mattäus-Passion, a reconstructed version of Markus-Passion, and as a soloist in Rossini’s Petite messe solennelle.
Recent art song programs include Schubert’s Winterreise and Die schöne Müllerin, Philip Rosseter’s 1601 Book of Ayres, Dvorák’s Cypresses, Christopher Berg’s Songs on Poems of Frank O’Hara and a recital of Australian art song at the Ballarat Art Gallery in Victoria, Australia in conjunction with the Australian Music Centre. Most recently, Mr. Perry can be heard as a contributing artist on Nine: The Guitar and Beyond [Centaur, 2015], The Vocal Music of Alan Beeler [Navona, Naxos Direct, 2016] and Cappella Clausura’s latest record, Exultet Terra: Choral Music of Hilary Tann [Navona, Naxos Direct, 2016].
Bass-baritone Sam Kreidenweis’ stylistic versatility, rich sound, and engaging stage presence has gained him praise nationally and abroad. As a vocal chamber music artist Sam appears nationally with GRAMMY® Award-winning Conspirare (Austin, TX), Kinnara Ensemble (Princeton, NJ), Santa Fe Desert Chorale (Santa Fe, NM), Skylark Vocal Ensemble (Greater New England), True Concord Voices & Orchestra (Tucson, AZ), Vocal Arts Ensemble (Cincinnati, OH), and has sung previously with the GRAMMY® Award-winning Phoenix Chorale.
Internationally, Sam works with the Dublin based ensemble Anúna with whom he has toured throughout Ireland, the United Kingdom, the Netherlands, Belgium, China, and Japan. While singing with the Phoenix Chorale he recorded the Rachmaninoff All-Night Vigil with Chandos Records alongside the Kansas City Chorale, which received two Grammy nominations in 2016 and won for Best Choral Performance.
The 2017/18 season includes performances at the BBC Proms, Gothenburg Cathedral and a Christmas Tour of Holland with Anúna; tours with Santa Fe Desert Chorale to Texas, Oklahoma, and ACDA conferences in both LA and Chicago; and performing at the St. John's Smith Square Holy Week Festival in 2018 with Skylark Ensemble. Sam makes his debut with Boston Camerata (Boston, MA) for an intimate one on a part presentation of Charpentier's Messe de minuit pour Noël, Apollo's Fire (Cleveland, OH) in Monteverdi's L'Orfeo, and with the Austin Symphony as a soloist in the Street Chorus of the Bernstein MASS.
Bass-baritone Edmund Milly sings with the GRAMMY-nominated Choir of Trinity Wall Street, and is a founding member of Trident Ensemble. Additional recent collaborations as soloist and ensemble member include the Mark Morris Dance Group, the Clarion Choir, Cantata Profana, Antico Moderno, New York Baroque Incorporated, and Grand Harmonie. He has also contributed solos to various international radio broadcasts on BBC and CBC.
While at the American Boychoir School in Princeton, New Jersey from 1997 to 2001, he amassed formative musical experiences under the batons of Seiji Ozawa, Kurt Mazur, James Levine, and André Previn, and gained early exposure to pieces which remain in his repertoire to this day. Later, in his Lincoln Center debut under Maestro Suzuki, Edmund portrayed an "authoritative and confident" Jesus in Bach's St. John Passion (Seen and Heard International). Since then, he has sung the role of Jesus with Trinity Wall Street, the Oregon Bach Festival, and several other organizations.
From Arrigoni to Zelenka, he has relished an unusual number of opportunities to perform obscure early music gems, yet he also remains an intrepid explorer of vocal repertoire outside of his "Western art music" comfort zone; on tours with Northern Harmony, Edmund has brought stylistically authentic early American hymnody and vocal folk polyphony from Bulgaria, Georgia, Corsica, and South Africa to audiences all over Europe. In a strange twist of fate, he has even sung 140 of Elvis Presley's greatest hits - in alphabetical order - with Quebecois pop phenom Gregory Charles for a crowd of thousands at the Festival Mondial Choral de Laval.
Baritone Paul Max Tipton performs nationally to acclaim in repertoire ranging from Schütz and Monteverdi to Britten and Bolcom. He solos under such notable figures as Masaaki Suzuki, Matthias Pintscher, Nicholas McGegan, Leonard Slatkin, Ton Koopman, Helmuth Rilling and Martin Katz, and has performed with the Bach Collegium Japan, New York Philharmonic, Apollo’s Fire, Seraphic Fire, and the Orchestra of St. Luke’s.
Recent engagements include Britten’s War Requiem, Rameau’s La Lyre Enchantée, and a recording of Brahms’ Ein Deutsches Requiem, Op. 45 which earned a 2012 Grammy nomination. His singing of the Bach Passions are noted in particular for their strength and sensitivity. He studied at the University of Michigan at Ann Arbor and Yale University, and is a Lorraine Hunt Lieberson Fellow at Emmanuel Music in Boston. www.paulmaxtipton.com
Chris Pelonzi is the current Music Director for the Cathedral of the Immaculate Conception and Portland Peninsula and Island Parishes. His love and study of music began when he was three years old in Salem, NH, and brought him to McGill University in Montreal, then to build and direct a music program in a small town in Eastern Massachusetts, and now, finally, to Maine. This past year, he was the Conductor of the TABS Choral Group at UNE and Co-Sub Dean for the Portland, ME chapter of the American Guild of Organists. As a harpsichordist, he has appeared most recently with the St. Mary’s Schola and continues to perform with them regularly. Outside of music, he enjoys all the hiking, food, and Tim Horton’s coffee he and his wife Nicole can get!