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.
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.
With her “sparkling technique” and “shining tone,” emerging soprano Hannah De Priest is rapidly winning recognition for her skillful interpretation of music from the high baroque. As a soloist, she has performed with the Newberry Consort, Ars Musica Chicago, Chicago’s Bella Voce, American Bach Soloists Academy, L’Académie du Roi Soleil, and the Madison Bach Musicians, among many others. Recent accolades include being named the sole American finalist of Le Concours Corneille in Rouen, France, attending the Carmel Bach Festival as a Virginia Best Adams vocal fellow, covering the soprano lead in André Campra’s Le carnaval de Venise as a 2017 Boston Early Music Festival Young Artist, and, with pianist Michael Pecak, being invited as one of ten duos to the 2020 Oxford Lieder Mastercourse. When not singing, Hannah enjoys taking brisk walks, reading detective novels, and cooking vegetarian food. She is thrilled to début with Les Délices this season! hannahdepriest.com.
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.
Shawn Keener has been winning over multimedia skeptics with stylish, intelligent presentation design since 2012. As a musicologist, editor, and graphic designer with an upbringing in the theater, she brings a unique skill set to creating concert backdrops that are visual extensions of historically informed performance. She has an ongoing relationship with Chicago’s Newberry Consort—notably “Rosa das Rosas: Cantigas de Santa Maria” (2012–15) and “Le Roman de Fauvel” (2016)—and created the presentation for Les Delices/Blue Heron’s “Remède de Fortune” in 2017. After years working at the Newberry Library (Chicago), Keener is now an editor at A-R Editions, the leading North American publisher of scholarly editions of music.
With her “rich, smooth mezzo soprano” (St. Louis Post), Kim Leeds engages audiences in her exploration of life’s essence through music. She has appeared as a soloist with the Bach Akademie Charlotte, Ad Astra Musical Festival, American Bach Soloists Academy, Handel Society of Dartmouth, Bach Society of St. Louis, Tafelmusik, and the Oregon Bach Festival. As a choral artist, Ms. Leeds has performed with the Weimar Bach Academy, Junges Stuttgart Bach Ensemble, Handel and Haydn Society, GRAMMY® nominated True Concord, GRAMMY® winning ensemble The Crossing, Gramaphone award-winning ensemble Blue Heron, and GRAMMY® nominated ensemble Seraphic Fire. In recent years, Ms. Leeds has garnered multiple accolades including winning the Tafelmusik Vocal Competition in 2016, attending the Carmel Bach Festival as a Virginia Best Adams Fellow in 2017, was a finalist for the American Prize in Art Song in 2019, and this past summer worked with Philippe Herreweghe as a Britten-Pears Young Artist in their Bach Cantata programme.
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.
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).
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.
Praised for her “alluring” performances and “easy virtuosity,” soprano Elena Mullins has wide-ranging interests in the field of early music. As a performer of period chamber music she has appeared with The Newberry Consort, Three Notch’d Road, Les Délices, and Apollo’s Fire. She takes a scholarly interest in the performance practices of early repertoires, and co-founded the medieval music ensembles Alkemie and Trobár. She holds a DMA in Historical Performance Practice and a BA in Musical Arts from The Eastman School of Music. She returned to CWRU in 2016, where she directs the Early Music Singers and the Baroque Dance Ensemble, and teaches medieval music history and notation.
“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.
Steuart Pincombe is known for his captivating performances and innovative programs on both modern and historical instruments. His playing has garnered wide acclaim from the public and critics alike with the Philadelphia Inquirer calling him “a gorgeous player with perfect intonation, imaginative phrasing,” and a “superb soloist” (Strad Magazine). 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), Apollo’s Fire (US), and the Springfield (MO) Symphony (US). In addition to being featured on numerous radio stations including BBC, CBC, NPO, and NPR, he has recently begun recording for 7 Mountain Records in Amsterdam. Steuart lives in Missouri on an off-grid farm with his wife Michelle and the various plants and animals that are under their care.
Cellist and gambist Rebecca Landell Reed’s “luminous” (Cleveland.com) and “notable” (The New York Times) sound elicits a range of expression “from classically evocative to Hitchcock horrifying” (Washingtonian). Her solo appearances include performances with Apollo’s Fire, Atlanta Baroque Orchestra, Vermont Symphony Orchestra, Three Notch’d Road, and Batzdorfer Hofkapelle. Rebecca pursues a diverse professional career, such as performing and acting in Studio Theatre’s An Iliad, working with composer Eric Shimelonis on NPR children’s show Circle Round, and developing educational programs with the Crumhorn Collective. She is currently based in Oberlin, Ohio, where she teaches cello and viola da gamba.
“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.