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.
Philadelphia native Sylvia Berry is one of North America’s leading exponents of the fortepiano. Hailed by Early Music America as “a complete master of rhetoric, whether in driving passagework or [in] cantabile adagios,” she is known not only for her exciting performances but for her engaging commentary about the music and the instruments she plays. Her disc of Haydn’s London Sonatas (recorded on an 1806 Broadwood grand) garnered critical acclaim. A review in Fanfare enthused, “To say that Berry plays these works with vim, vigor, verve, and vitality, is actually a bit of an understatement.” She dedicates herself to the performance practices of the 18th and early 19th centuries with an avid interest in the sociological phenomena surrounding the music of that period. She is also the founder and artistic director of The Berry Collective, a period chamber ensemble featuring repertoire spanning from Schobert to Schubert.
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.
Theo Chandler is a composer,currently pursuing his Doctorate of Musical Arts at the Rice University Shepherd School of Music, studying with Anthony Brandt. Chandler is the recipient of a Charles Ives Scholarship from the Academy of Arts and Letters and a Morton Gould Award from ASCAP. He was selected as the winner of Juilliard’s Orchestra Competition, Juilliard’s Gena Raps Competition, the New Juilliard Ensemble Competition, and the Maryland Wind Festival Call for Scores. Chandler has received commissions from the New York Youth Symphony, Tanglewood Music Center, Les Délices, Golden West Winds from the United States Air Force Band of the Golden West, Amir Eldan, George Sakakeeny, Alexa Still, Michael Rosen, and others. He has been a fellow at Tanglewood Music Center and Aspen Music Festival and School. For the summer of 2018, he has received a fellowship to Copland House CULTIVATE and has been invited for the I-Park Composer + Musicians Collaborative Residency. Presently, he is the Emerging Composer Fellow for Musiqa, and was previously the Young Composer in Residence for the Detroit Chamber Winds and Strings. He received his previous degrees from The Juilliard School and Oberlin Conservatory, studying composition with Melinda Wagner, Samuel Adler, Steven Stucky, and Lewis Nielson.
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.
Fascinated by the cello’s origins and the creative process of new music, Elinor Frey plays both period and modern instruments. Her recent release on the Belgian label Passacaille, Berlin Sonatas with Lorenzo Ghielmi on fortepiano, was nominated for a Juno award for Best Classical CD, Solo & Chamber Music and won the 2015 Québec Opus Prize for Early Music CD of the year. In Summer 2017, she released Fiorè, the world premiere recording of the sonatas of Angelo Maria Fiorè and various unknown Italian arias the, performed alongside Lorenzo Ghielmi and Suzie LeBlanc. Frey’s CD of new works for Baroque cello, titled Guided By Voices, will be released on the Analekta label in March 2019. Frey’s honors include a US-Italy Fulbright Fellowship, the SSHRC Canada Graduate Scholarship, American Musicological Society, and Canada Council for the Arts grants facilitating her work on Italian cello music. In recent seasons she has performed with Il Gardellino, Ensemble Caprice, and Studio de musique ancienne de Montréal, as well as with her quartet, Pallade Musica, grand prize winners of the 2012 Early Music America Baroque Performance Competition. Frey holds degrees from McGill, Mannes, and Juilliard.
Anna Marsh, baroque bassoon, was highlighted by Philadelphia’s Broad Street Review: “…memorable solos for Anna Marsh…a perfect evocation of a flowing river” and Boulder’s Daily Camera: “the real highlight may have been Anna Marsh on bassoon. Marsh’s concerto received a well-earned and warm ovation.” Anna plays with Opera Lafayette, Tempesta Di Mare, Tafelmusik, Opera Atelier, Pacific Musicworks, Seattle Baroque Orchestra, Trinity Wall Street Baroque Orchestra, Washington Bach Consort, among others. She is bassoon faculty at the San Francisco Early Music Society Baroque Workshop and the Hawaii Performing Arts Festival where she also runs the Instrumental program. She is also the co-director of the Medieval, Renaissance and Baroque group Ensemble Lipzodes. She holds a Doctorate of Music in Historical Performance from Indiana University and has been heard on Performance Today, Harmonia, the Super Bowl, CBC radio and on the record labels Chandos, Analekta, Centaur, Naxos, Avie, and on Musica Omnia’s Grammy nominated album of Handel’s “Israel in Egypt”.
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.
Beguiling and intelligent, provocative and classic, ravishingly beautiful and deliciously edgy – The Newberry Consort has been delighting audiences for more than three decades. Called “Chicago’s gift to early music” by the Boston Globe, Consort brings to the stage the sounds, stories, and spirit of times past in meticulously researched and beautifully performed multi-media programs.
Directed by David Douglass, Newberry Musician-in-Residence, and early music diva Ellen Hargis, the ensemble plumbs the Chicago Newberry Library’s vast music collection and assembles a star-studded roster of local and international artists to bring world-class performances of music from the 13th to the 18th centuries to audiences around the world.
Affiliated with the Newberry Library Center for Renaissance Studies, the Consort also serves as an ensemble-in-residence at both the University of Chicago and Northwestern University. In addition to an annual concert series in Chicago, the Consort has an active touring schedule.
Steuart Pincombe, viola da gamba, can be heard regularly as a soloist and chamber musician in leading international venues and quite possibly around the corner in your local brewery or cafe. Wherever he performs Steuart aims to engage with his audience through creative presentations of Western classical music repertoire. The Philadelphia Inquirer calls him “a gorgeous player with perfect intonation, imaginative phrasing”, the Strad Magazine refers to him as a “superb soloist”, virtuoso cellist Giovanni Sollima calls Steuart “a complete artist, true virtuoso and poet, totally at ease with all languages and musical styles.” In addition to his numerous chamber engagements, he has appeared as soloist with ensembles such as Solistenensemble Kaleidoskop (DE), Holland Baroque (NL), Wallfisch Band (UK), Symphonie Atlantique (NL), Apollos Fire (US), and the Springfield (MO) Symphony (US). If you can’t hear him live, Steuart makes regular appearances on radio and has been featured on BBC, CBC, NPO, and NPR. In addition to his summer festival teaching, Steuart is Visiting Teacher of Historical Performance at the Oberlin Conservatory of Music. Steuart and his wife Michelle started the Music in Familiar Spaces Artist Collective with the aim of equipping other leading artists to engage with new audiences.
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.
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.