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.
Canadian soprano Hélène Brunet is hailed by the critics as “a singer of tremendous quality” with “a voice of perfect beauty” and “sincere expression”. Recognized for her interpretations of the works of Bach, Handel and Mozart, her repertoire extends from Baroque to the music of the 20th and 21st centuries.
Hélène is a regular guest with reputed orchestras and ensembles across North America and Europe, notably with American Bach Soloists in San Francisco, with American Classical Orchestra at the Lincoln Center in New York City, with Orchestre Métropolitain de Montréal and conductor Yannick Nézet-Séguin, and Toronto’s Tafelmusik Baroque Orchestra. Last June, she sang at the Festival Tage Alter Musik in Regensburg, Germany.
Hélène was recently a prize winner at the Lyndon Woodside Oratorio-Solo Competition at Carnegie Hall in New York. The album Las Ciudades de Oro, where she is featured with ensemble L‘Harmonie des Saisons, has won a Juno Award for best Vocal Album in 2016.
Hélène is a recipient of a professional development grant from the Canada Council for the Arts.
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.
Colin Lawson is Director of the Royal College of Music, London. He has an international profile as a period clarinettist and has played principal clarinet in most of Britain’s leading period orchestras, notably The Hanover Band, The English Concert and the London Classical Players, with whom he has recorded extensively and toured worldwide. Described as ‘a brilliant, absolutely world-class player’ (Westdeutsche Allgemeine Zeitung) and ‘the doyen of period clarinettists’ (BBC Music Magazine), he has appeared as soloist in many international venues, including London’s major concert halls and New York’s Lincoln Center and Carnegie Hall. His discography comprises concertos by Fasch, Hook, Mahon, Mozart, Spohr, Telemann, Vivaldi and Weber, as well as a considerable variety of chamber music.
Colin has published widely on performance practice and the history of the clarinet, especially for Cambridge University Press. He is co-editor of a series of Cambridge Handbooks to the Historical Performance of Music, for which he co-authored an introductory volume and written a book on the early clarinet. He is also editor of the Cambridge Companion to the Orchestra (2003) and co-editor of the Cambridge History of Musical Performance (2012) and Cambridge Encyclopaedia of Historical Performance in Music (2018).
Described by the New York Times as a “lovely, tender high tenor” in one concert and “appropriately brash” in another, three-time Grammy nominee and Gramophone Award winning tenor Owen McIntosh is widely know for the color and creativity he brings to the stage. Recent solo engagements include; Carmina Burana with the Carmel Bach Festival, Monteverdi’s L’Orfeo with Apollo’s Fire, Bach’s St. John Passion with Tenet, Mozart’s Die Zauberflöte with Boston Baroque, Haydn’s L’isola Disabitata with the American Classical Orchestra, Monteverdi’s Vespers of 1610 with Green Mountain Project, Bach’s’ St. Matthew passion with Grand Rapids Symphony and Monteverdi’s il Ritorno d’Ulisse in Patria with Boston Baroque. In 2018, McIntosh, as a member of Blue Heron, won the British Gramophone Award in the early music category with their recording of a 16th century anonymous mass with no name; making history as the first non-European group to ever receive the award.
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.
Martin Near has been acclaimed for the “sweet limpidity” of his singing (The New York Times), with a “cool, beaming countertenor” commended for its “crystal clear…beautiful, blooming top notes” (New York Classical Review). He enjoys a varied career exploring twin passions for early music and new music. Highlights of recent solo performances include a concert version of Machaut’s Remede de Fortune, created as a collaboration between Blue Heron and Cleveland’s Les Délices (Debra Nagy, director) and returning to Blue Heron’s 2018-19 season, and Richard Rodney Bennett’s Ophelia (1987) with Boston’s Odyssey Opera under the artistic direction of Gil Rose. Mr. Near maintains a parallel career in the pipe organ industry, providing services in organ pipe reconditioning and repair, voicing, tonal finishing, and tuning for Spencer Organ Company of Waltham, and he has also been known to compose, arrange, and engrave using Finale.
Ian Petroni is a multi-disciplinary artist in Cleveland, Ohio. In his work as a designer and builder for theater, festivals, public spaces, he seeks to serve the circumstances while presenting something unexpected and challenging. His hope is to inspire the imagination of the public. Functionality is critical to me and he puts a high emphasis on understanding the specific situation that each of my pieces must interface with However, Petroni am not so much interested in work that has a clear point. Rather, he is interested in work that raises questions, or presents a complexity and even conflicting emotions. After experiencing this work, Petroni would like the audience to see the world, in a new light, from a slightly different point of view. He enjoys the challenge of conceiving of unexpected ways to use found objects, and enjoys surprising the viewer with how something can be used. Perhaps they will then see everyday objects as having creative potential. Likewise, in an increasingly digital and manufactured world, Petroni strives to create work with a handmade, organic quality. Nature is also a key influence: for example, each plant of the same species follows certain rules in how it grows, but each individual plant is also unique. Petroni enjoys challenging what he perceives as the dominant aesthetic of our time by creating work that is organic, intentionally imperfect, and handmade in the hope that the audience feels some inspiration and confirmation of their own human creative impulses. He wants people to feel that their world is something they can participate in creating.
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.
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.
Hailed “among the first rank of US Lutenists,” (Lute Society of America) Mark Rimple has appeared with Trefoil, The Folger Consort, The Newberry Consort, Severall Friends, and Piffaro, the Renaissance Band, The King’s Noyse, Mélomanie, Pomerium, Tempesta di Mare, Network for New Music, Seven Times Salt, Cygnus Ensemble and many other groups. His solo CD Tre Liuti features Italian lute music for three different instruments; an EMA reviewer praised his “transparent…” and “extraordinary sensitive” playing. He appears on recordings with Trefoil, The Newberry Consort, Seven Times Salt, and Cygnus Ensemble. As a composer, he often writes for early instruments. His music has been featured by the 21st century consort, ChoralArts Philadelphia, counter(induction, Mélomanie, The ISCM Chamber Players, and Parnassus. Mark holds the rank of Professor in the Department of Music Theory, History and Composition at The Wells School of Music at West Chester University of Pennsylvania.
“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.
Historical bassoonist Wouter Verschuren regularly performs throughout Europe and the U.S.A and is at home with repertoire ranging from the Renaissance to the Romantic. He is principal bassoonist of The Amsterdam Baroque Orchestra conducted by Ton Koopman, and regularly plays with other renowned period orchestras such as The Orchestra of the Age of Enlightenment, The Orchestra of the 18th Century, La Petite Bande and The Academy of Ancient Music.
A graduate of the Royal Conservatoire in The Hague, Wouter regularly appears as a soloist, and plays in numerous international chamber music ensembles such as Caecilia-Concert, Concerto Palatino, Oltremontano, l’Arpeggiata and many others. Specializing in performance and research of 16th and 17th century music and later repertoire, he makes regular appearances in Europe and the US with the harpsichordist and fortepianist Kathryn Cok. Their world premier recording of unknown Sonatas by Nikolaus von Krufft was released in 2009 by Challenge Records. Recently, the CD The Elegant bassoon was released and was enthusiastically received by the international press.
Besides his teaching positions at the Royal Conservatory, The Hague, and The Royal College of Music, London, Wouter regularly gives master classes in Europe, the USA and the Middle East and coaches for such festivals as the Amherst Early Music Festival, San Francisco Early Music Society (USA) and Tage der alte Musik in Hof (Germany). Wouter is also active as a researcher, currently pursuing a PhD at the Royal College of Music, with the primary aim to rediscover forgotten repertoire for dulcian and (historical) bassoon.
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.
Hailed by Gramophone for his “impressive horn playing,” Todd Williams is an active performer and educator based in Philadelphia. A leading exponent of the Natural Horn in America, he serves as Principal Horn of numerous ensembles across the country including the Handel & Haydn Society, Boston Baroque, Trinity Baroque, Clarion Society, Apollo’s Fire, Mercury, Opera Lafayette, Tempesta di Mare, and more. This season he’s served as guest principal for Tafelmusik (Toronto) and the American Bach Soloists (San Francisco) and procured future solo engagements with Philharmonia Baroque. On the topic of the Natural Horn, he has conducted lectures at the music schools of Curtis, Eastman, and Oberlin and in 2019, joined the faculty of the Juilliard School. On the modern valved horn, he is a staple of the Philadelphia music scene performing with the Philadelphia Orchestra, the Chamber Orchestra of Philadelphia, Opera Philadelphia, the Pennsylvania Ballet, and the Philly Pops. From 2003-2014, he served as solo horn of the opera festival Lyrique-en-Mer, France. He’s recorded for Deutsche Grammophon, RCA/Sony Records, Atlantic Records, CORO, Naxos, Musica Omnia, Chaconne/Chandos, and Warner Brothers. Todd is a graduate of Indiana University.