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. www.nacolepalmer.com
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.
Soprano Amy Goldin enjoys singing a diverse repertoire, ranging from early to new music, from classical and jazz to kirtan. A core member of the Antioch Chamber Ensemble since 2002, she has performed with them in numerous festivals here and abroad, including Piccolo Spoleto in Charleston, SC, the Musique en Morvan and Festival des Choeurs Laureats in France, Nautilus Music Festival in Nova Scotia, and the Tolosa International Choral Competition in Spain.
Amy has also performed with many acclaimed ensembles in New York City and the greater Hudson Valley, including Voices of Ascension, Holy Trinity Bach Choir, TENET, The Clarion Society, Sacred Music in a Sacred Space, Fifth Avenue Presbyterian Chamber Choir, Sheep Island Ensemble, The Juneau Alliance, Kairos Consort, and Prana. She has performed as soloist for Handel Messiah and Mozart Requiem (Danbury Concert Choir), Bach Magnificat (Music in the Somerset Hills), Bach Cantatas Nos. 115, 147, 80 (Kairos Consort), and Faure Requiem (Newburgh Symphonic Chorale and Antioch Chamber Ensemble). She currently resides in Woodstock, NY with her two children.
Mary Sullivan, soprano, has appeared as a soloist with numerous ensembles in New England, including the Oratorio Chorale, Cantemus, the Concord Women’s Chorus, and the Lincoln Festival Chorus. Other recent appearances include the Messiah sing hosted by the Downeast Singers under Artistic Director Anthony Antolini, and the King’s Chapel concert series in Boston. She has been presented as a recitalist at Bowdoin College’s Studzinski Recital Hall with pianist and Artist in Residence George Lopez, and was a featured soloist at the PORTopera gala fundraising dinner.
Ms. Sullivan is the Artist in Residence with the Oratorio Chorale under Artistic Directory Emily Isaacson, for which she presented a solo recital as part of a recent concert season. She is also the resident soloist at St. Peter’s Episcopal Church in Portland, with organist Herbert Taylor; and she has been a guest soloist at St. Andrew’s in Newcastle with organist Sean Fleming.
She has appeared with Sean Fleming and the Maine Friends of Music in their series of chamber music concerts in the Midcoast area. She is featured on composer Steven Finch’s CD An Apple Gathering, and has sung world premieres of works by Mr. Finch and also by Boston-area composer Ruth Lomon. Ms. Sullivan is the producer on several CDs of classical vocal and instrumental music; two of the selections on the most recent CD, composer Graham Gordon Ramsay’s The Sacred Voice were nominated for Grammy awards by Albany Records.
Ms. Sullivan studied voice with celebrated soprano Nancy Armstrong and mezzo soprano Pamela Dellal, and maintains a private voice studio in Brunswick, Maine.
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 Mary Gerbi is a versatile soloist and chamber musician whose repertoire ranges from medieval chant to new music premieres. She has been praised for her “earthy tone and crisp diction,” “trumpet-like projection,” and “impressive control,” (Boston Musical Intelligencer); and for “project[ing] emotion with easy power” (Boston Globe). She has performed as an oratorio soloist with the Handel and Haydn Society, Emmanuel Music, Arcadia Players, Berkshire Bach Society, Boston Cecilia, and Maryland Choral Society, among others. An experienced interpreter of early music, she has presented lecture-recitals at the Peabody Essex and Concord Museums and is currently a core member of Ensemble Origo, a group that presents early repertoire in historical contexts. A naturally gifted actress, she has performed Baroque operatic roles with Connecticut Early Music Festival, Amherst Early Music, and La Donna Musicale. Also an advocate of new music, she performed David Lang’s The Little Match Girl Passion for the Boston Modern Orchestra Project “with outstanding sensitivity and skill” (Boston Classical Review). She appears on True Concord’s Grammy-nominated album Far in the Heavens and on a dozen other recordings with groups such as Boston Baroque, Cut Circle, and Lorelei Ensemble. Raised in Millbrook, NY, she studied at Boston University and has resided in the Boston area ever since.
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
Boston-based mezzo-soprano Katherine Growdon has received critical acclaim for her expressive performances – from “incisively authoritative” (New York Times) to full of “heartrending emotion” (San Francisco Classical Voice). Her voice has been described as “rich, rippling” and “full of dusky colors and pathos” (Boston Globe). A versatile performer in concert and theatrical settings, she is known for her total commitment to music, character and text: “...she used her eyes and expressive face to heighten the meaning of all she sang; I was riveted and felt like she was singing directly to me” (Boston Musical Intelligencer). Katherine has performed as a soloist with renowned groups including the Handel + Haydn Society, Boston Baroque, Emmanuel Music, American Bach Soloists, Mark Morris Dance Group, Bach Collegium San Diego, Atlanta Baroque Orchestra, Boston Modern Orchestra Project, and the Albany Symphony. An ardent lover of song, Katherine has presented numerous recital programs, including at Trinity Wall Street in NYC and LiederAlive! in San Francisco, and she was one of thirty international singers invited to participate in Thomas Quasthof’s first Das Lied competition in Berlin. Katherine’s fellowships and awards include the Tanglewood Music Festival, the Aspen Music Festival, the Carmel Bach Festival as a Virginia Best Adams fellow, first place in the Western regional NATSAA competition, and third place in the American Bach Soloists vocal competition. On disc Katherine appears as a trio soloist in Kati Agócs Vessel on the critically acclaimed BMOP recording The Debrecen Passion (also featuring the Lorelei Ensemble). Katherine's current season includes a performance of Ezra Sims' If I Told Him at Beyond Microtonal Pittsburgh, St. Catherine in Honegger's Jeanne d'Arc au bûcher with Odyssey Opera, Knüpfer and Bach cantatas with Ensemble Origo, and a 3 week Ireland tour of Gare St Lazare Ireland's Here All Night.
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 Victoire.
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.
Originally from Evian, France; Mezzo-Soprano Joëlle Morris has performed throughout Europe and the United States. She is admired for her versatility – from the concert stage to the operatic arena; in intimate jazz settings and French cabaret; or simply sharing her gifts as voice teacher and coach.
Since relocating to Maine in 2011, Joëlle has appeared with the Bangor Symphony Orchestra; the Mozart Mentor Orchestra; and is regularly a featured artist at Colby College, Bates College, Bowdoin College, the Franco Center, Waterville Opera House, Nordica Auditorium, the Colby Jazz Faculty Ensemble, King’s Chapel in Boston and the Early Music Festival in Portland. Her appreciation of chamber music has led her to be the co-founding member of both the Amethyst Chamber Ensemble and the Resinosa Ensemble. The latter specializes in 21st century and commissioned works.
Although a classically trained singer, Joëlle has not shied away from other musical genres, touring with various jazz bands throughout Europe and the United States. In 2017, she was featured at Jazz at Lincoln Center in New York City with the Colby Faculty Jazz Ensemble. An appreciation of Edith Piaf’s repertoire has led to numerous concerts in Europe and the USA, featuring the grande dame of French chanson, most notably at the 2014 World Acadian Congress in Quebec, Canada.
In addition to a busy concert schedule in New England and annual summer appearances in France, Joelle is a faculty member at Colby College and Bates College, and resides in central Maine with her husband and two children. https://joellemorris.com/
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
As the conductor of choirs praised as "superb" (The New York Times) and "well-prepared and joyful" (Detroit Free Press), Noah Horn has established an international reputation as a sought-after choral conductor and tenor. He directs the vocal ensemble Audivi, which frequently serves as the professional chorus for the Detroit Symphony Orchestra, and with whom he has conducted regional premieres of many Baroque masterworks including Bach's Mass in B minor and Monteverdi's Vespers. He has served as director of choral activities at Wayne State University and Western Michigan University, and on the music faculty of Amherst College, Wesleyan University, and Hampshire College. His former students hold artistic director positions in choirs across the country. As a tenor specializing in oratorio, Noah has sung solo roles for much of the standard repertoire from the Medieval era to Mendelssohn, as well as premiering dozens of new compositions. He sings with professional ensembles across the country, including Conspirare and Spire. Noah holds the D.M.A., M.M.A., and M.M. degrees from Yale University in choral conducting, and the M.M. and B.Mus. degrees from Yale and Oberlin College in organ performance.
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].
John David Adams began voice studies while growing up in the musically rich greater Boston area. He went on to study voice and opera at Hartt School of Music, and the San Francisco Conservatory of Music. His voice teachers have included Leopold Simoneau, William Metcalf, Dr. Edwin Barlow, Eric Howe, and Malcolm Smith. He established his professional music career on the West Coast where he lived and performed as a soloist and in ensembles for many years. He later returned to New England where, now based in Maine, he enjoys a full schedule of performing engagements and teaching.
Mr. Adams has appeared with instrumental and choral ensembles across the country, including the San Francisco Symphony and Chorus, Berkeley Symphony, Berkeley Lyric Opera Orchestra, Marin Chamber Orchestra, Midcoast Symphony Orchestra, North Shore Philharmonic Orchestra, Southern Maine Symphony Orchestra, New England Wind Symphony, Arlington Philharmonic, Colby Symphony Orchestra, Southern Maine Symphony Orchestra, Maine Music Society, Maine Pro Musica, Oratorio Chorale, Androscoggin Chorale, Nashua Choral Society, Bowdoin Chorus, St. Mary Schola, Chorus Pro Musica, Masterworks Chorale, Choral Arts Society, Longfellow Chorus, St. Cecilia Choir, as well as the Blue Hill Bach, White Mountain Bach, and Portland Early Music festivals. He is equally praised for portrayals in diverse opera and musical stage roles, from Handel to Sondheim, in productions by Opera Boston, San Francisco Lyric Opera, Granite State Opera, PORTopera, Berkeley Opera, Apollo Opera, and New England Light Opera, to name a few.
In recital, he has appeared in programs sponsored by Opera Down East, Longwood Opera, Vanderkay Summer Music Series, Boothbay Opera House, Rangeley Friends of the Arts, and Lincoln Arts Festival.
He maintains a private voice studio as well as being a member of the voice faculty at Bay Chamber Music School in Rockport, Maine.
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
Marika, whose playing was hailed as “mightily impressive, tonally attractive and intellectually secure” (Philadelphia Inquirer) enjoys an active freelance career performing as concertmaster and/or principal for ensembles as diverse as Spire Ensemble (KC), Trinity Wall Street Baroque Orchestra (NYC), Washington Bach Consort, Zenith (Brunswick, ME), Hallgrims Kirkja International Baroque Orchestra (Iceland) and Barocco Boreale (Finland), among others. She has toured 30 countries with distinguished European and American early music ensembles, led and coached opera productions at Harvard and Cornell, and taught master classes as well as lectured at the Novia University of Applied Sciences (Finland). Her 20 - odd recordings include the Grammy-nominated Handel’s Israel in Egypt with the Trinity Wall Street Choir and Baroque Orchestra. Marika is a proud founding member of Philadelphia’s Franklin Quartet, and holds two master’s degrees (Baroque Violin Performance and Baroque Violin Pedagogy) from the Royal Conservatory in The Hague, Netherlands.
Karen Burciaga is an early string specialist who delights in bridging the gap between classical and folk music. She has performed with The King’s Noyse, Exsultemus, Grand Harmonie, Arcadia Players, Meravelha Medieval Ensemble, Austin Baroque Orchestra, La Follia Austin Baroque, and numerous period ensembles in New England and Texas. She is a founding member of viol consort Long & Away and of Seven Times Salt, a English consort specializing in music of the 16th and 17th centuries. Karen holds a BM from Vanderbilt University and an MM in Early Music Performance from the Longy School of Music of Bard College, where she studied violin with Dana Maiben, viola da gamba with Jane Hershey, and historic dance with Ken Pierce. She also immersed herself in Renaissance violin technique with renowned fiddler David Douglass, confirming her love of 16th-century styles. Outside of the early music realm, Karen is the fiddler for Newpoli, an award-winning southern Italian folk group, and for Ulster Landing, focused on traditional folk music of the Celtic nations. Based in Boston, she is in high demand as a wedding musician across New England, maintains a private string studio, and serves on the board of the Viola da Gamba Society - New England.
Christopher Evatt is an active collaborative pianist and organist based out of Keene, NH, where he serves as a staff pianist for Keene State College. He feels fortunate to be able to make music with and for others, whether it is early music on historical keyboard instruments, duo partnerships on piano, or choral and sacred music on organ. In 2018, he received his DMA in Piano Accompanying and Chamber Music, with a minor emphasis in organ, from the Eastman School of Music of the University of Rochester (NY). His doctoral lecture recital, "Reexamining the Twenty-Four Italian Songs and Arias," given with soprano Angela Calabrese, will be presented at the NATS Eastern Division Conference at Nazareth College in March. Dr. Evatt is the organist at St. John's Episcopal Church in Walpole, NH, where he recently started a series of monthly organ recitals. Previous church organist positions include Pinnacle Lutheran Church in Rochester, NY, and St. John's UCC in Coopersberg, PA. Dr. Evatt is a frequent choral accompanist, presently working with the KSC Concert Choir and the Grand Monadnock Youth Choirs' Cecilia Ensemble. He is an alumnus of the SongFest vocal accompanying program and the Music Academy of the West instrumental accompanying program. He has studied with Malcolm Matthews, Judith Hancock, and John Ferguson on organ, and Jean Barr, Anne Epperson, and David Renner on piano. His MM in Collaborative Piano and BM in Piano Performance are from the University of Texas at Austin.
Annie Garlid grew up in New England and recently moved to New York City after living in Germany for a decade. She studied literature at Smith College, viola performance at New England Conservatory, early music at the Hochschule für Musik in Cologne, and ensemble singing at the Schola Cantorum in Basel.
As a viola player and singer, she is most interested in very old and very new forms of musical innovation as well as in its recontextualization and intersection with other media.
She works and has worked together with a number of young composers and artists, including Holly Herndon, Bill Kouligas, Caterina Barbieri, Cat Lamb, Nile Koetting, Marc Sabat, Max Murray, Martin Hiendl, Cat Hope, Rishin Singh, and Henry Andersen. She plays and sings regularly with De Nieuwe Philharmonie Utrecht, Solistenensemble Kaleidoskop, Handel and Haydn Society, Songs, Konzert Minimal, Arcades, and Arcadia Players.
Violinist Margaret Humphrey maintains a vibrant freelance schedule based in Philadelphia PA, and performs with orchestras and chamber ensembles around the country. Early music being her special focus, she performs with the Kingsbury Ensemble in St Louis, and in chamber ensembles in the Ancient Music Series of St. Savin France. She is a member of the Lyra Baroque Orchestra based in St. Paul Mn, and is concertmaster of the Bach Society of Mn. A founding member of Belladonna, she has toured nationally and internationally for festivals and music series’ and was featured on the syndicated radio shows Harmonia and Performance Today with two CDs on the Dorian and Ten Thousand Lakes labels. Ms Humphrey has also recorded for Chandos and Naxos. Her newest chamber ensemble Cerulean Fire, performs Early Music combined with Jazz, Contemporary, and Latin repertoire in compelling programming concepts.
Hailed as “a great organist” displaying “phenomenal technique and sheer musicality” (Bloomberg News), James Kennerley is a multi-faceted musician, working as a conductor, keyboardist, singer, and composer. His performances are known for their illustrious flair and thrilling virtuosity, subtlety and finesse, drawing on the full resources of the instrument. James’ YouTube performances have enjoyed worldwide popularity and millions of views globally.
Mr. Kennerley was appointed the Municipal Organist of Portland, Maine, by the Mayor in September 2017, following a unanimous vote from the Search Committee and the City Council. He will be the eleventh organist to hold the internationally renowned position, following a 27-year tenure by his immediate predecessor, Ray Cornils. Mr. Kennerley's official duties begin in January 2018. Together with the Friends of the Kotzschmar Organ, the Municipal Organist position is one of the most prominent and significant for the promotion of the organ, its music, and the many educational and outreach opportunities it enables.
In July 2017, Mr. Kennerley was named Music Director of Ars Musica Chorale, an 80-voice choral society, and the New Jersey State Children's Chorus, Ridgewood, NJ's leading choir for young voices. Are Musica Chorale was founded in 1965 and has become the area's premiere choral group, presenting major works from the choral literature with orchestra, as well as boasting a young artist program and a commitment to the commissioning and performance of new choral works.
Mr. Kennerley made his Carnegie Hall solo début in 2016 with the celebrated ensemble the Sejong Soloists. Performances this season include concerts at Alice Tully Hall, the Frick Collection, the Metropolitan Museum’s MetLiveArts series, and in the Lincoln Center White Light festival. He has also given concerts at Washington National Cathedral, Saint Patrick’s Cathedral, Princeton University, the Royal Albert Hall, Saint Paul’s Cathedral, Westminster Abbey, and other major venues throughout the United States and Europe. Mr. Kennerley was a prizewinner at the 2008 Albert Schweitzer International Organ Competition, and a finalist at the inaugural (2013) Longwood Gardens International Organ Competition.
Mr. Kennerley is frequently in demand as a performer and educator in this regard, and his trademark improvisations are frequent highlight of his versatile concert programming. The late John Scott (former Director of Music at Saint Thomas Church, Fifth Avenue) deemed one of the finest improviser of his generation.
A recognized specialist in the realm of early music, Mr. Kennerley has collaborated with William Christie, Richard Egarr, Nicholas McGegan, Christopher Hogwood, Monica Huggett, Julian Wachner, Gary Thor Wedow, among others. He has given solo harpsichord concerts throughout the United States and Europe to great acclaim. A member of NYC-based early music ensemble, Sonnambula, Mr. Kennerley recently recorded virtuosic works for harpsichord by sixteenth-century English composer John Bull, released on Centaur Records.
A prize-winning composer, he specializes in music for organ and choral ensembles, and for works that incorporate historic instruments. His 2012 piece Lauda novella was featured as part of the Twelfth Night Festival at Trinity Church, Wall Street and he was awarded first place in the Association of Anglican Musicians 2013 composition competition. Mr. Kennerley led a workshop for the composers of Princeton Sound Kitchen, which will result in an opera scheduled to be performed in 2017. Mr. Kennerley made his New York orchestral conducting debut at Lincoln Center in 2009 in two performances of the contemporary operetta, The Velvet Oratorio. He was Music Director for the Virginia Best Adams Fellows at the Carmel Bach Festival in July 2016, and conductor of ground-breaking US premieres of Cuban eighteenth-century music at the Hispanic Society in New York City in May that same year.
Lauded as an “excellent, true-toned tenor” by New Yorker critic Alex Ross, Mr. Kennerley has performed with many groups, including the Choir of Trinity Wall Street, Saint Thomas, Fifth Avenue, TENET, and the Clarion Music Society. He has studied with David Lowe, Robert Rice, Braeden Harris, and Maureen O’Flynn, and made his BAM/Mark Morris Dance Company soloist début in 2010 with Beethoven’s Choral Fantasy. He was a prizewinner in the 2015 New York Oratorio Society’s vocal competition held at Carnegie Hall. In December 2015 he held the world record of both playing continuo and singing the tenor solos in performances of Handel’s Messiah with Julian Wachner and the Choir and Orchestra of Trinity Church, Wall Street!
Mr. Kennerley is a longtime member of the NYC-based consort, Sonnambula, and frequently performs with them at the Metropolitan Museum and other prestigious venues. He is also a member of New Vintage Baroque, a cutting edge ensemble dedicated to the performance of early music and contemporary repertoire.
A native of the United Kingdom, Mr. Kennerley is Organist and Choirmaster at Saint Ignatius of Antioch Episcopal Church, New York City, where he directs the professional choir and coordinates the church’s extensive concert series. From 2008 he held a similar position at the Church of Saint Mary the Virgin, Times Square. He is also part of a team of musicians at Park Avenue Synagogue in New York City, one of the foremost centers of Jewish music and liturgy in the world. Mr. Kennerley was born in 1984 and became a chorister of Chelmsford Cathedral. He was educated at Harrow School and Cambridge University, where he was Organ Scholar at Jesus College. He was then appointed Organ Scholar of Saint Paul’s Cathedral, London, where he worked daily with the choir of men and boys under the direction of Malcolm Archer, and had the honour of performing in the presence of HM the Queen on several occasions. Mr. Kennerley was subsequently Associate Director of Music and Director of the Choir of Men and Boys at Christ Church, Greenwich, Connecticut.
Mr. Kennerley holds degrees from Cambridge University and The Juilliard School. He has studied the organ with David Sanger, Thomas Trotter and McNeil Robinson, and harpsichord with Kenneth Weiss, Peter Sykes, and Richard Egarr. He holds the prestigious Fellowship of the Royal College of Organists diploma.
Katie Rietman has performed as a baroque cellist on over 45 CD recordings and numerous concerts and radio broadcasts with notable baroque and classical period instrument ensembles worldwide. Her performing career has taken her to 19 countries in Europe, North America and South America. Currently residing in New York City, she performs there regularly with ensembles such as the Clarion Society, Rebel, Concert Royal, the Trinity Choir and St. Thomas Boys Choir. Other American groups that she regularly works with are the Boston Early Music Festival Orchestra, Musica Angelica, Philadelphia’s Buxtehude Consort, Tempesta di Mare, Aradia and the Toronto Chamber Orchestra. She has coached baroque and modern string players at Yale University, Bard College, Catholic University of Peru, and University of Alabama.
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