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). Julie is Artistic Director of the Atlanta Baroque Orchestra, founding member of Apollo’s Fire, Creator and Director of the Wonder Chamber Project, and a frequent guest with various ensembles nationwide. Julie joined the Music faculty at CWRU in 2007, where she teaches historical performance and directs the baroque music and dance ensembles. Julie is frequently invited to present workshops in historical dance and music throughout the U.S. She won EMA’s Thomas Binkley Award for outstanding achievement in performance and scholarship in 2015, was named a 2016 Creative Workforce Fellow by Cuyahoga Arts & Culture, and was awarded a Grammy for “Songs of Orpheus “with Apollo’s Fire in 2018.
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.
“Irresistible” (L’Opera) soprano Hannah De Priest’s performance credits include Belinda in Dido & Aeneas, Ïole (Hercules), Oberto (Alcina), Drusilla (L’incoronazione di poppea), Isabelle (cover) in Le Carnaval de Venise, and engagements with the Newberry Consort, Madison Bach Musicians, Bella Voce, L’Academie du Roi Soleil, and Ars Musica Chicago. Recent accolades include being named a finalist in North America’s two major Bach competitions, singing as the sole American finalist of Le Concours Corneille, where she was lauded by Olyrix as “the most masterful voice”, attending the Carmel Bach Festival as a Virginia Best Adams Vocal Fellow, and, with pianist Michael Pecak, being named a 2021-22 Pegasus Rising Young Artist and selected for Oxford Lieder’s prestigious art song Mastercourse, scheduled for October 2021. Additional performances in the 2021-22 season include return engagements with Les Délices, her début with the Columbus Symphony for Bach’s St. John Passion, and multiple appearances with Bella Voce. 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.
Emi Ferguson can be heard live in concerts and festivals with groups including the Handel and Haydn Society, AMOC*, the New York New Music Ensemble, and the Manhattan Chamber Players. Emi’s recordings for Arezzo Music, Fly the Coop: Bach Sonatas and Preludes with Ruckus (2019) and Amour Cruel (2017) were amongst the top 10 albums on the Classical and World Music Billboard Charts and showcase Emi’s fascination with reinvigorating music and instruments of the past for the present. Emi has spoken and performed at several TEDX events and has been featured on media outlets including the Discovery Channel, Amazon Prime, and Vox talking about how music relates to our world today. Born in Japan and raised in London and Boston, she now resides in New York City. For more information please visit: www.emiferguson.com
Praised by the Miami Herald for their “impressive maturity and striking melodic distinction”, Sydney Guillaume’s compositions are known to be intricate, challenging and yet highly spirited. They promote human values and are full of heart and passion. His compositions have been featured at numerous conferences and international festivals like the American Choral Directors Association (ACDA), the World Choir Games and Ireland’s Cork International Choral Festival. He is an active member of the choral community as a composer, singer, clinician and conductor. In 2017, he was honored by the top music school in Haiti for his “great contribution in the expansion and the promotion of the music and culture of Haiti around the world.” Sydney graduated from the University of Miami in 2004 where his works were performed by the Miami University Chorale. Originally from Port-au-Prince, Haiti, he is currently residing in Portland, Oregon, working as a full-time composer, conductor and clinician.
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.
Reviewers describe Jason McStoots as having an “alluring tenor voice” (ArtsFuse) and as “the consummate artist, wielding not just a sweet tone but also incredible technique and impeccable pronunciation.” (Cleveland Plain Dealer) A respected interpreter of early music, his recent appearances include Le Jeu in Charpentier’s Les plaisirs de Versailles (BEMF), King Belshazzar in The Play of Daniel (Boston Camerata), evangelist in Bach’s St. Mark Passion (Emmanuel Music), soloist for Purcell’s King Arthur (Bach Collegium San Diego), and soloist for Monteverdi’s 1610 Vespers (TENET). He is a core member of Blue Heron and can be heard on all their recordings. In addition, he is an experienced stage director and dedicated educator. He has directed operas with the Connecticut Early Music Festival, Amherst Early Music Festival, and Brandeis University. Since 2017 he has been the Associate Director of the Boston Early Music Festival Young Artist Training Program, where he is a stage director, coach and mentor to young performers.
Scott Metcalfe is the director of Blue Heron, acclaimed by The Boston Globe as “one of the Boston music community’s indispensables,” winner of the 2018 Gramophone Classical Music Award for Early Music and the 2015 Noah Greenberg Award. He was music director of New York City’s Green Mountain Project from 2010-19 and has been guest director of TENET, the Handel & Haydn Society, the Tudor Choir and Seattle Baroque, Pacific Baroque Orchestra, Quire Cleveland, and the Dryden Ensemble. Metcalfe also enjoys a career as a baroque violinist, playing with Les Délices (dir. Debra Nagy), L’Harmonie des Saisons (dir. Eric Milnes), and other ensembles. He has edited songs from the Leuven Chansonnier for the Alamire Foundation (Belgium) and is the author of several essays on performance practice that will be published this year. He has taught at Boston University, Harvard University, the New England Conservatory, and Oberlin Conservatory.
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 multi-instrumentalist, Allison Monroe has appeared with the Boston Camerata, Newberry Consort, Les Délices, Apollo’s Fire, Atlanta Baroque Orchestra, and Indianapolis Baroque Orchestra, playing violin, viola, vielle, rebec, and singing. Since earning her DMA in Historical Performance Practice from Case Western Reserve University (CWRU), Allison particularly enjoys creating her own musical opportunities: as Artistic Director and performer for Fair and Princely Branches, an album of English Renaissance music, released in 2020; as violinist and violist on an album of classical and early romantic duos with multi-instrumentalist Cynthia Black, recorded in July 2021; and as a founding member and co-director of Cleveland-based medieval ensemble Trobár. In the 2021-22 season, Allison looks forward to resuming live performances as a freelancer, presenting Trobár’s Cleveland series and a residency at Purdue University, Fort Wayne, teaching courses for the Siegal Lifelong Learning Center at CWRU, and directing CWRU’s Collegium Musicum and Baroque Orchestra.
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.
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, Les Delices, 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 on faculty at Oberlin Conservatory, where she teaches baroque cello and viola da gamba.
Daniel Swenberg plays a wide variety of lutes and guitars: baroque, renaissance, classical/romantic–small, medium, and large. Chief among these is the theorbo– the long lute that you are either wondering about or overhearing your neighbor discuss. In the before-times, Daniel schlepped instruments throughout North America and Europe to play with myriad ensembles. These days, he attempts maintain a reserve of sanity with quarantine projects which delve into rarely performed repertoires such Les Accords Nouveaux and other commercially dubious areas. He is on faculty at Juilliard’s Historical Performance program. Daniel received awards from the Belgian American Educational Foundation (2000) for a study of 18th century chamber music for the lute, and a Fulbright Scholarship (1997) to study in Bremen, Germany. His programing integrates and emphasizes music with the history, sciences, economics, politics, and broader culture of its time.
Camilla Tassi is a projection designer and musician from Florence, Italy. With backgrounds in computer science and classical voice, her design credits include Monteverdi’s L’Orfeo (Apollo’s Fire), Pollock’s Stinney (PROTOTYPE), Scarlatti’s Il Primo Omicidio (Yale Voxtet) and Mozart’s Magic Flute (Berlin Opera Academy). Tassi enjoys bringing design to traditionally unstaged compositions (choral, art song, recital, oratorio), recontextualizing the repertoire with today’s audiences. For video, she had designed, filmed, and edited programs for groups such as the Yale Camerata, Silent Fire exhibit, and Washington Chorus (DC). She translates Italian libretti and sings with the Yale Schola Cantorum. http://camillatassi.com
Jonathan Woody maintains a full schedule as a bass-baritone and composer, primarily in early and new music. He performs regularly with ensembles including the Choir of Trinity Wall Street, TENET Vocal Artists, and the Washington Bach Consort, and with leading historically-informed orchestras including Portland Baroque Orchestra, the Boston Early Music Festival, Opera Lafayette, and Apollo’s Fire. As a composer, Jonathan draws inspiration largely from music of the Renaissance and Baroque eras, and has had works commissioned and performed by the Choir of Trinity Wall Street, the Handel and Haydn Society, and the Cathedral Choral Society. Jonathan is committed to racial equity in the field of the performing arts, and currently serves on Early Music America’s Task Force for Inclusion, Diversity, Equity and Access. Based in Brooklyn, NY, Jonathan holds degrees from McGill University and the University of Maryland, College Park and is represented by Miguel Rodriguez of Athlone Artists.