Julie Andrijeski is celebrated as a performer, scholar, and teacher of early music and dance. She has been recognized for her “invigorating verve and imagination” (Washington Post), “fiery and poetic depth” (Cleveland Plain Dealer), and “velvety, consistently attractive sound” (New York Times). In addition to her frequent performances with Les Délices, she is Co-director of the ensemble Quicksilver, Artistic Director and Concertmaster of the Atlanta Baroque Orchestra, and Principal Player with Apollo’s Fire, the Cleveland Baroque Orchestra. Ms. Andrijeski joined the Music faculty at Case Western Reserve University in 2007, where she is now Senior Instructor, teaching early music performance practices and directing the baroque orchestra, chamber music, and dance ensembles. She won Early Music America’s Thomas Binkley Award, for outstanding achievement in performance and scholarship, and was named a 2016 Creative Workforce Fellow by Cuyahoga Arts & Culture (Ohio), supporting her research and performance of 17th-century music in manuscript.
Originally from Dallas, Texas, Cynthia Black performs as a baroque violist and violinist in the United States. She has been a featured soloist with the American Bach Soloists and has most recently performed with Apollo’s Fire, Quicksilver, Les Délices, NYS Baroque, Publick Musick, and at the Carmel Bach Festival. She recently completed a D.M.A. at Case Western Reserve University as a student of Julie Andrijeski and holds modern viola degrees from the Cleveland Institute of Music in the studios of Lynne Ramsey and Robert Vernon. Her research interests include scordatura practices in late 17th-century Italy and ornamentation in the string quartet repertoire. When not making music, she enjoys being in the kitchen and canoeing.
The extraordinary harpist Maria Christina Cleary from Ireland, “a pioneer of period harp practice” has been described as “a true virtuoso”, and a “brilliant player”. She is noted for her improvisatory skills and ingenious continuo playing, combined with a particular care to creating a beautiful sound on a perilous instrument. She has performed as soloist with, among others, Amsterdam Baroque Orchestra, American Bach Soloists, Bayerische Staatsoper, Portland Baroque Orchestra, Arion Ensemble Montreal and the RTE Concert Orchestra. Maria performs regularly with Davide Monti under the name Arparla, a violin and harp duo specialising in repertoire from the 17th to the 19th centuries.
Critically acclaimed for her “virtuosic, delicate and elegant playing,” Mélisande Corriveau performs on viola da gamba, cello, recorder, and is one of the few performers in the world specializing in the pardessus de viole. She is co‐founder and Artistic Director of the ensemble L’Harmonie des saisons, whose debut CD release ”Las Ciudades de Oro” (Cities of Gold) was the 2016 winner of the coveted Canadian JUNO Award, for best classical CD of the year in the vocal and choral category. Her recent duo release with harpsichordist Eric Milnes, ”Pardessus de viole” featuring the 18th century French repertoire for the pardessus de viole, recently won an Opus prize from the Quebec Council of Music, was named among the 10 best classical discs of the year (2016) by CBC Radio, and selected as Classical CD of the Year by Radio Canada. Mélisande is a core member of ensemble Masques, Les Voix Humaines consort of viols, Bande Montréal Baroque, Sonate 1704 and Les Boréades. Her discography numbers over 40 titles on the ATMA Classique, Analekta, Harmonia Mundi, Paradizo, Zig‐Zag Territories and Alpha labels.
First prize winner in the 2012 Musica Antiqua Bruges International Harpsichord Competition, Canadian harpsichordist and organist Mark Edwards is recognized for his captivating performances, bringing the listener “to new and unpredictable regions, using all of the resources of his instrument, […] of his virtuosity, and of his imagination” (La Libre Belgique). An active chamber musician, he is the artistic director of Poiesis, collaborates regularly with Les Boréades de Montréal, and has performed with Il Pomo d’Oro, Pallade Musica, and Flûtes Alors!. He has also given solo recitals at the Utrecht Early Music Festival and Brussels’ Bozar and performed concertos with a number of award-winning ensembles, including Il Gardellino (Belgium), Neobarock (Germany), and Ensemble Caprice (Canada). He is currently a PhD student at Leiden University and the Orpheus Instituut, Ghent, where his research examines the intersection of memory, improvisation, and the musical work in seventeenth-century France. Since 2016, he is Assistant Professor of Harpsichord at Oberlin Conservatory.
Acclaimed as a “lovely, tender high tenor” by the New York Times, Owen McIntosh enjoys a diverse career of chamber music and solo performance ranging from bluegrass to reggae, heavy metal to art song, and opera to oratorio. A native of remote Northern California, Mr. McIntosh has enjoyed sharing the stage with the country’s finest ensembles including Apollo’s Fire, Blue Heron, Boston Baroque, Carmel Bach Festival, Les Canards Chantants, New Vintage Baroque, Staunton Music Festival, TENET, Trident Ensemble, True Concord, San Diego Bach Collegium and the GRAMMY® nominated Choir of Trinity Wall Street.
Elena Mullins, soprano, has wide-ranging interests in the field of early music. She has sung with The Newberry Consort, Apollo’s Fire, Three Notch’d Road, Generation Harmonique, and Quire Cleveland, and is the director of Early Music Singers at Case Western Reserve University. Elena takes a scholarly interest in the performance practices of early repertoires, reaching back as far as the twelfth century. In 2013 Elena co-founded Alkemie, an ensemble specializing in medieval music for voices and instruments, which was in residence at Fairmont State University in Fairmont, WV in 2016-17. She holds a DMA in Historical Performance Practice from CWRU and a BA in Musical Arts from the Eastman School of Music. Elena is an avid teacher of baroque dance, piano, and voice. In her spare time she loves to cook with friends and boulder at the neighborhood climbing gym.
Jason McStoots is a gifted young tenor whose “bright, clear, and fully-fledged” singing has been described as “exquisite” and “alluring.” Jason has performed around the world, and was honored with a Grammy award with the Boston Early Music Festival for his roles of Ixion in Charpentier’s La descente d’Orphée aux enfers and Forestan in La couronne de fleurs in 2015. Recent roles include Tabarco in Handel’s Almira, Apollo in Orfeo, and Eumete and Giove in Il ritorno d’Ulisse in patria with the Boston Early Music Festival, and Pedrillo in Abduction from the Seraglio by Mozart with Boston’s Emmanuel Music. Jason has appeared with such groups as Boston Lyric Opera, Pacific MusicWorks, Boston Camerata, TENET, San Juan Symphony, Pablo Casals Festival, Early Music Guild of Seattle, Tragicomedia, and the Tanglewood Music Center. He is a core member of Blue Heron and can be heard on all six of their recordings. Jason teaches voice at Brandeis University and has staged operatic works for the Connecticut Early Music Festival, Amherst Early Music Festival, Wayland First Unitarian Players, and Brandeis University.
Adriane Post, violin, formed her first quartet at age 11 and found her love of chamber music. She can be heard as leader of Washington National Cathedral Baroque Orchestra, founding member of ACRONYM Ensemble, member of Apollo’s Fire and Handel&Haydn Society, as a regular with Trinity Wall Street Baroque Orchestra and performing with many period instrument ensembles across the US. Described as one of North America’s “brightest and best” by Early Music America, Adriane has received a fellowship from The English Concert and has performed with Les Arts Florissants and William Christie in Thiré, France, and as concertmaster for Nicolas McGegan and Jordi Savall with Juilliard 415. Recent performances include Spoleto USA, Tanglewood, The BBC Proms and the Carmel Bach Festival. Adriane received her BM from Oberlin Conservatory and her MM from The Juilliard School’s Historical Performance program. A proud Vermonter, Adriane admits to residing happily in Brooklyn with her husband, Paul Dwyer.
Scott Metcalfe is musical and artistic director of Blue Heron, acclaimed by The Boston Globe as “one of the Boston music community’s indispensables,” and music director of New York City’s Green Mountain Project (Jolle Greenleaf, artistic director), whose performances of Monteverdi’s 1610 Vespers and other 17th-century music have been hailed by The New York Times as “quite simply terrific.” He is a frequent guest director of TENET (New York) in repertoire ranging from Machaut and Du Fay through Purcell and Bach, and he has been guest conductor of the Handel & Haydn Society (Boston), Emmanuel Music (Boston), the Tudor Choir and Seattle Baroque, Pacific Baroque Orchestra (Vancouver, BC), Quire Cleveland, the Dryden Ensemble (Princeton, NJ), and Early Music America’s Young Performers Festival Ensemble. Metcalfe also enjoys a career as a baroque violinist, currently playing with Les Délices (dir. Debra Nagy), Montreal Baroque (dir. Eric Milnes), and other ensembles. He taught vocal ensemble repertoire and performance practice at Boston University from 2006-2015 and in 2016-17 is serving as director of the baroque orchestra at Oberlin Conservatory. Some of his research on the performance practice of English vocal music in the 16th and 17th centuries will be published as two chapters of the volume of essays Music, politics, and religion in early seventeenth-century Cambridge: the Peterhouse partbooks in context (Woodbridge: Boydell and Brewer, forthcoming, 2016) and he is presently at work on a new edition of the songs of Gilles Binchois (c. 1400-1460). He received a bachelor’s degree from Brown University (1985), where he majored in biology, and a master’s degree in historical performance practice from Harvard (2005).
A native New Yorker, Eric Milnes, is director of La Bande Montréal Baroque, and L’harmonie des saisons, Quebec. He has received critical acclaim for performances as conductor, organist and harpsichordist throughout North and South America, Europe and Asia with recent appearances at the Regensburg, Potsdam, Bremen, Utrecht, Bruge and Lufthansa festivals, at The Forbidden City Concert Hall, Beijing, on tour throughout Japan and at the International Baroque Festival, Bolivia. North American performances include Mostly Mozart Festival, Boston Early Music Festival, Berkeley Bach Festival, Santa Fe Festival, Montreal Festival and as conductor with Seattle Baroque Orchestra, Portland Baroque Orchestra, New York Collegium, and Les Voix Baroque. His latest CD release, Cuidades de Oro (sacred music from colonial New Spain) won the 2016 JUNO (Canadian Grammy) for the best Classical Album of the Year. ATMA Classique features him directing the recording of the complete Bach sacred cantatas – eight volumes are completed. He has collaborated in recording and performance with Gustav Leonhardt, Wieland Kuijken, Sigiswald Kuijken, Bart Kuijken, Andrew Parrott, Reinhard Goebel, and Christophe Rousset, among many others. He takes greatest pride in the accomplishments of his daughters Mary Leah (Vanderbilt University, ’15) and Hannah (Columbia College, ’16).
“A baroque oboist of consummate taste and expressivity” (Cleveland Plain Dealer) with a musical approach that’s “distinctly sensual…pliant, warm, and sweet,” (New York Times), Debra Nagy, director, is one of North America’s leading performers on the baroque oboe. She plays principal oboe with the American Bach Soloists, Seattle Baroque Orchestra, and Apollo’s Fire, and is a regular guest with the Handel & Haydn Society, Boston Early Music Festival, and Portland Baroque Orchestra, among other ensembles. Following studies at the Oberlin Conservatory, Conservatory of Amsterdam, and Case Western Reserve University, Debra has received many awards for her creative and scholarly pursuits including first-prize in the American Bach Soloists Young Artists Competition, a 2009 Fellowship from the National Endowment for the Humanities, and a 2010 Creative Workforce Fellowship from Cuyahoga Arts & Culture. She has recorded over 30 CDs with repertoire ranging from 1300-1800 on the Chandos, Avie, CPO, Capstone, Bright Angel, Naxos, and ATMA labels, and has had live performances featured on CBC Radio Canada, Klara (Belgium), NPR’s Performance Today, WQXR (New York City) and WGBH Boston.
Allison Monroe recently completed her DMA in Historical Performance Practice at Case Western Reserve University, where she studied violin with Julie Andrijeski. A multi-instrumentalist, Allison also plays viola, treble viol, recorder, rebec, and vielle. She holds a B.A. in violin performance from the University of Maryland and an M.M. in viola performance from the Royal Welsh College of Music and Drama. Her performing credits include concerts with the Newberry Consort, the Oregon Bach Festival’s Berwick Academy, Seattle Baroque Orchestra, the Washington Bach Consort, the Brecon Baroque Festival Orchestra, and Sequentia as a student at Early Music Vancouver 2015. Allison’s research interests include reconstructing repertoire for early seventeenth-century English violin band and the use of bowed instruments in accompanying medieval monophonic song.
“Pure and shining” (Cleveland Plain Dealer) soprano Clara Rottsolk has been lauded by The New York Times for her “clear, appealing voice and expressive conviction” and by The Philadelphia Inquirer for the “opulent tone [with which] every phrase has such a communicative emotional presence.” In a repertoire extending from the Renaissance to the contemporary, her solo appearances with orchestras and chamber ensembles have taken her across the United States, the Middle East, Japan and South America. In collaboration with pianists Sylvia Berry and Byron Schenkman, and guitarist-lutenist Daniel Swenberg, Ms. Rottsolk has given recitals of song from the 17th to 21st centuries in venues including the Goethe-Institut Boston, Town Hall Seattle, St. Mark’s Church Philadelphia, and Swarthmore College. Her recordings are Myths and Allegories, French Baroque cantatas with Les Délices and “supple and stylish… and unflaggingly attractive” (Gramophone Magazine) Scarlatti Cantatas with Tempesta di Mare on the Chandos-Chaconne label.
Soprano Margot Rood, hailed for her “luminosity and grace” by The New York Times, performs a wide range of repertoire. Recent and upcoming appearances include those with Cleveland Orchestra, Boston Symphony Orchestra, New World Symphony, Handel and Haydn Society, Les Délices, Seraphic Fire, A Far Cry, Boston Modern Orchestra Project, Rhode Island Philharmonic, Blue Heron, Lorelei Ensemble, Cape Symphony, Bach Collegium San Diego, Grand Harmonie, as well as onstage with Boston Early Music Festival, Monadnock Music, St. Petersburg Opera, Helios Early Opera and Green Mountain Opera Festival. Ms. Rood is the recipient of prestigious awards including the St. Botolph Emerging Artist Award (2015), the Lorraine Hunt Lieberson Fellowship at Emmanuel Music (2015), and 3rd place in The American Prize competition (2016). Her debut solo recording with composer Heather Gilligan, Living in Light, is now available from Albany Records. Ms. Rood holds degrees from the University of Michigan and McGill University and is an avid fan of cupcakes. www.margotrood.com
Jaap ter Linden, cellist, gambist, and conductor, has a long history in the Historical Performance world. His many tours have taken him to countries throughout Europe, Japan, Australia and the United States, often with only the music of Bach in his backpack. As conductor, he has worked with ensembles such as the Handel and Haydn Society, Philharmonia, Portland and Lyra Baroque; Arion and Tafelmusik; the Wroclaw Symfonie in Poland; Bordeaux Opera in France, and many others, performing repertoire from the 18th and 19th century, from Purcell to Mendelssohn and Schubert. He has numerous recordings to his name, notably the Bach cello suites, which he has recorded twice. His latest recording, the complete sonatas for cello and piano by Beethoven with David Breitman, are to be released this year. With his Mozart Akademie in Amsterdam he recorded the complete Mozart symphonies to great acclaim. He finished many years of teaching at the Royal Conservatory Den Haag in 2016, when he will move to the United States.
Emily Walhout grew up playing the cello, but discovered her love for baroque bass lines at Oberlin Conservatory, where she took up the baroque cello and the viola da gamba, thus launching an active career in early music. Ms. Walhout was a founding member of La Luna, and was a member of The King’s Noyse from 1987 through 2004. She has played viola da gamba or principal cello for the Boston Early Music Festival Orchestra, Seattle Baroque, Portland Baroque, Les Boreades, Les Violons Du Roy, New York Collegium, and Trinity Consort (Portland, OR). Ms. Walhout has toured as a chamber musician throughout North America and Europe, and she has recorded extensively with the Boston Camerata, La Luna and The King’s Noyse. A resident of Waterown, MA, Ms Walhout maintains a small studio of private students and coaches several devoted viol consorts.
Charles Weaver is on the faculty of the Juilliard School, where he teaches Historically Informed Performance on Plucked Instruments. In 2016, he was the assistant conductor for Juilliard Opera’s production of Cavalli’s La Calisto. He has also directed an opera with New York’s Dell’Arte Opera and has accompanied operas with the Yale Baroque Opera Project and the Boston Early Music Festival. He also works with the New York Continuo Collective: an ensemble of players and singers exploring seventeenth-century vocal music in semester-length workshop productions. Chamber music appearances include Quicksilver, Early Music New York, Piffaro, Chamber Music Society of Lincoln Center, the Folger Consort, Blue Heron, and Musica Pacifica. In addition to teaching lute at the Lute Society of America Summer Workshop and the Madison Early Music Festival, Charles is associate director of music at St Mary Church in Norwalk, Connecticut, where he specializes in Renaissance polyphony and Gregorian chant.