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2011-2012 roster
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Ryaan Ahmed Ryaan Ahmed is active in the Boston area performing on lute, theorbo, and baroque guitar. He is the music director of the Harvard Early Music Society and will this fall lead the company in a fully-staged production of Cavalli's La Calisto in the New College Theatre. He was the 2010-2011 director of the Harvard-Radcliffe Collegium Musicum Chamber Singers and led the group on tours of New York and Germany. He is a member of the Erwin Bodky Award-winning Harvard Baroque Chamber Orchestra and is an accompanist at the Vancouver Early Music Baroque Vocal Programme. This past summer, he received the Harvard Office for the Arts Artist Development Fellowship, which allowed him to pursue full-time lute studies with with Pat O'Brien in New York City. He has performed in masterclasses with Benjamin Bagby, William Christie, Judy Tarling, and Stephen Stubbs. Ryaan is pursuing an AB in Computer Science at Harvard University, where his academic interests center on the application of computational methods to musicology. His current research includes work on machine translation of Winchester Troper organa, the mapping of prosody to music in chant, and the evolution of plucked string accompaniment at the turn of the 17th century. More |
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John Armato John Armato came from Los Angeles to the Peabody Conservatory of Music to study guitar in the studio of Ray Chester. While in Los Angeles he won Superior Performance and Faculty Honors awards in classical guitar. After earning his BM in guitar, John went on to earn his MM in lute performance in the studio of Mark Cudek also at the Peabody Conservatory in 2008. In Baltimore John performs regularly with the Peabody Renaissance Ensemble, Peabody Consort and is a co-founder of Heaven's Noyse. He has recently appeared with the National Gallery of Arts Vocal Ensemble with Rosa Lamoreaux in Washington D.C and on national television in Taiwan with counter-tenor Peter Lee. In 2009 John performed 17th century opera scenes with Stephen Stubbs and the Seattle Academy of Opera. Mr. Armato's recording of Francesco Da Milano's "Recercar no. 33" will appear in a short film "Heloise: From Hell and Back for Love." John has performed on "Maryland in the Morning" on WYPR, and recently performed with soprano Rosa Lamoreaux and baritone William Sharp at the French Embassy. In 2010 John performed with the Peabody Consort in a tour through Taiwan and Japan, and he just completed a tour throughout the east coast with Arceci-McKean and Friends.
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Mai-Lan Broekman Mai-Lan Broekman studied cello with Georges Miquelle at the Eastman School of Music, viola da gamba with Gian Lyman Silbiger, Sarah Mead, and Alice Robbins and performance practice at the Longy School of Music. She has performed in juried masterclasses for Weiland Kuijken and Paolo Pandolfo, is a founding member of the baroque ensemble Amphion's Lyre and has performed with renaissance and baroque ensembles in the New England area, including Sine Nomine, Schola Cantorum of Boston, and Plaine and Easie. |
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Suzanne is currently pursuing a MusD in Harpsichord and Historical Performance at Boston University. As a pianist and harpsichordist, she performs solo and chamber music in and around the Boston area, as well as more exotic locations from New Orleans to New Brunswick. As a choral singer she has performed with the Boston Symphony Orchestra, the Boston Pops, Tokyo Academy Chorus, and live on WGBH radio. Suzie is the organist and Director of Music at the First Parish Church of Stow and Acton, where she conducts two choirs and oversees an active music program that engages over 100 volunteer musicians each year. Under her direction, they have just produced their first CD, In dulci jubilo, a collection of Christmas music. Suzie teaches piano and has a BA in Physics from Macalester College (summa cum laude) and a MMus in Piano Performance from Temple University.
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Grant Herreid Grant Herreid performs frequently on early reeds, brass, strings and voice with Piffaro, Hesperus, ARTEK, and My Lord Chamberlain's Consort, and appears frequently with the Newberry Consort, the Folger Consort, King's Noyse, Apollo's Fire, Brandywine Baroque, Sinfonia New York, and the New York Consort of Viols. He is on the faculty at Yale University, where he directs the Collegium Musicum and, as Artistic Director of the Yale Baroque Opera Project, he was music director for their recent productions of Cavalli's Giasone, Sacrati's La Finta Pazza, and Cavalli's Scipione Affricano. Grant also teaches at Mannes College of Music, and directs the New York Continuo Collective, an ensemble of singers and early plucked-string instruments devoted to the interpretation of 17th-century continuo song. He is a stage director for the Accademia d'Amore baroque opera workshop in Seattle, and has played theorbo, lute and baroque guitar with the Chicago Opera Theater, Aspen Music Festival, Portland Opera, and New York City Opera, as well as the opera programs at Juilliard, Curtis, and Mannes. Grant has created and directed several theatrical early music shows, and he devotes much of his time to exploring the esoteric unwritten traditions of medieval, Renaissance, and baroque music with the early music ensemble Ex Umbris and the plucked-string group Ensemble Viscera. More |
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Motomi Igarashi Motomi Igarashi has played the double bass since she was 12. She received first prize at the Aspen Music Festival Double Bass competition, has given double bass solo recitals and appears as a concert soloist with orchestras in the USA, England and Japan. After graduating from the Juilliard school, she went to France to study viola da gamba. She traveled throughout Europe and spent several years in intensive study of baroque style Music with Marianne Muller and Paolo Pandolfo. Motomi currently studies lirone with Erin Headley.
MoreSince Motomi came back from Europe, she has been playing the viola da gamba, violone, the baroque double bass and lirone with various groups such as The American Classical Orchestra, the Concert Royal, Artek, BEMF, Foundling Orchestra, Handel and Haydn Society, and Bach Collegium Japan, both on the East coast and in Japan. Recently, Motomi appeared as a soloist for NY Philharmonic for Brandenburg Concert No.6. Also she is a founding member of Anima, a Baroque ensemble. |
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Silvie Jensen A vocalist of great versatility, hailed by the New York Times as "marvelous," Silvie Jensen enjoys a wide-ranging career, which includes early and contemporary music, opera and musical theater, and ethnic, improvised, and experimental music. She has performed at London’s Barbican Centre with Ornette Coleman, Teatro Comunale Ferarra with Meredith Monk, Carnegie Hall with Philip Glass, and Brooklyn Academy of Music. Ms. Jensen has also appeared at Lyric Opera of Chicago, Ash Lawn Opera, Stonington Opera House, Riverside Opera, American Chamber Opera, One World Symphony, Miller Theater, Sacred Music in a Sacred Space, Voices of Ascension, Bang on a Can Marathon, Clarion Society, in Handel’s Messiah at Trinity Wall Street, and with the Broadway Bach Ensemble singing Mahler’s 4th symphony and Canteloube’s Songs of the Auvergne. . Her performance in Hildegard von Bingen's chant opera Ordo Virtutum, as well many of her performances as a vocal soloist with the Christopher Caines Dance Company, have been critically acclaimed by the New York Times. She has commissioned and premiered works created for her, and has presented solo recitals at Weill Hall, Steinway Hall, Symphony Space, Amreicas Society, Liederkranz Club, the Stone, and Nicholas Roerich Museum, and the Cell Theater. Her recordings can be heard on the ECM, London, Koch, Helicon, and Soundbrush Records labels.
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A native of Boston, Massachusetts, Abigail Karr received her Bachelor and Master of Music degrees at Rice University's Shepherd School of Music, studying violin with the late Sergiu Luca. She has appeared with many ensembles on modern and historical violin, including the Handel & Haydn Society of Boston, the Trinity Baroque Orchestra of Manhattan, and the Arcadia Players of Northampton, Massachusetts. An active chamber musician, noted for the "focused direction" she brings to performances, she is a founding member of the Arcturus Chamber Ensemble, Boston Hausmusik, and the Rosetta String Trio, which, in addition to its commitment to historical performance, has commissioned and premiered three new works. She is currently studying Baroque violin at The Juilliard School. |
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Amanda Keil Mezzo-soprano Amanda Keil sings repertoire that spans over 800 years, from medieval chant to contemporary opera, Baroque monody to operatic mainstays. A current Resident Artist with Dicapo Opera, she has been seen as Nerone in L'Incoronazione di Poppea, Orlofsky in Die Fledermaus, the Fairy Queen in Iolanthe, and as Hillary Clinton and Gwen Ifill in the world premiere of Say it Ain't so Joe, by Curtis K. Hughes, which will be released on CD in 2011. In 2008 she toured with The Boston Camerata, performing the medieval story of Tristan and Isolde in Paris and Boston. Amanda is the founder of Musica Nuova, which invigorates early music performances with staging, movement, and storytelling. The group won funding from the Anna Sosenko Trust, was the 2010 Ensemble in Residence at Amherst Early Music, and was featured in the 2009 Society for Historically Informed Performance Summer Concert Series. Amanda holds a masters degree in voice and historical performance from Boston University and a bachelors degree in French horn performance from The Hartt School. www.amandakeil.com More |
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James Kennerley James Kennerley has been Organist and Music Director at the Church of Saint Mary the Virgin, Times Square, since 2008. As a singer, Mr. Kennerley has performed with many groups, including concerts with the choir of Trinity, Wall Street, and Clarion Music Society, where he recently performed as part of the rededication of the organ at Alice Tully Hall, Lincoln Center. He has studied with Robert Rice, David Lowe and Braeden Harris. As an organist, Mr. Kennerley has performed at many of the major venues in Europe and the US, both as a soloist and accompanist, and has been a prizewinner at several competitions.
Mr. Kennerley made his New York conducting debut at Lincoln Center in 2009 in two performances of a contemporary operetta, The Velvet Oratorio, which was received to great acclaim by press and audience alike. A native of the United Kingdom, Mr. Kennerley was a chorister of Chelmsford Cathedral and also served as an Organ Scholar at Jesus College of Cambridge University and Saint Paul's Cathedral, London, and had the honor of performing in the presence of HM the Queen on several occasions.
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Jim Miller After a highly successful career on modern trumpet which included nine seasons as Principal Trumpet of the San Francisco Opera Orchestra and performances, recording, and touring with the Metropolitan Opera, James Miller has chosen to devote his performance energies to cornetto and baroque trumpet. He has performed and recorded with Artek, the Choir of St. Luke in the Fields, and his own ensemble, Infiorare. In 2010 he travelled around the United States performing Monteverdi's Vespers of 1610 with Artek and numerous other ensembles. He is especially devoted to sacred music and can be found on Sundays at Immanuel Lutheran Church where he is a section leader in the choir, co-directs the children's choir, and plays cornetto, natural and modern trumpet.
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Dorothy Olsson Dorothy J. Olsson has given numerous workshops in historical dance and has choreographed for Piffaro, the Folger Consort, Western Wind Vocal Ensemble, Mannes Camerata (Mannes College of Music), Wake Forest University and Princeton University. Dorothy teaches at the Amherst Early Music Festival where she has directed several historical theatrical productions. Dorothy received her B. M. in Music Education, major in Bassoon, from the Crane School of Music (State University College at Potsdam, NY), and received her Master of Music in Musicology from Manhattan School of Music. She completed her Ph.D. in Performance Studies at New York University, with a dissertation on early twentieth-century dance. She was an Assistant Professor of Dance Education at New York University for ten years. Dr. Olsson has co-authored seven books on historical dance, including Terrstepery, A Primer for Historical Dance. Her article on "Seventeenth-Century Dance" appears in A Performer's Guide to Seventeenth-Century Music (ed. Stewart Carter, Schirmer Books). She is the Founder and Director of the New York Historical Dance Company (www.newyorkhistoricaldance.com).
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Marcy Richardson Hailed for her "best all-around performance" in Handel's Ariodante (Opera News-Princeton Festival), soprano Marcy Richardson recently made her Alice Tully and Avery Fisher Hall debut as the soprano soloist in the Faure Requiem and Mozart Vesperae Solennes de Confessore. She sang Diana/Giove in La Calisto with Vertical Player Repertory, in John Eaton's The Greeks at Symphony Space for the New Composers Alliance Summer Festival, and produced and recorded a concert of Handel arias with Operamission. She will be singing the Bach Magnificat as part of the Bach Vespers at Holy Trinity, as well as her second Dalinda in Ariodante with Opera Vivente. She has performed with Baltimore Opera, Central City Opera, Orlando Opera, Lyrique-en-Mer in Belle-Île, France, the Lucerne Festival, the Carmel Bach Festival, Bloomington Early Music Festival, VocalEssence, and has won awards from the Kurt Weill Foundation, Gerda Lissner Foundation, and the Metropolitan Opera National Council. She also has been seen as Emmaline in King Arthur, Susanna and Barbarina in Le Nozze di Figaro, Fiorilla in Il Turco in Italia, Mabel in The Pirates of Penzance, Cinderella in Into the Woods, Lili Vanessi in Kiss Me Kate and as the soprano soloist in Messiah, Die Schöpfung, Handel's Solomon, Webern's Op. 18, and the Pergolesi Stabat Mater, to name a few. Ms. Richardson is originally from Grosse Pointe, MI and is a graduate of the Indiana University Jacobs School of Music. www.marcyrichardson.com More |
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Lawrence Rosenwald Lawrence Rosenwald is the Anne Pierce Rogers Professor of American Literature at Wellesley College, where he has been teaching since 1980. He has written extensively on American literary multilingualism, on translation, on nonviolence, and on diaries, and has done numerous translations from several languages. He has performed and recorded with Schola Antiqua, Pomerium, Christmas Revels, and Jubal's Lyre, has written and performed numerous verse scripts for early music theater pieces all across the United States, and has been coaching singers on language and text at the Amherst Early Music Festival since 1984. More |
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Andy Rutherford began studying the lute in connection with his interest in 17th-century painting. A regular member of My Lord Chamberlain's Consort and Duo Marchand (with soprano Marcia Young), Rutherford has also appeared at Tanglewood and Lincoln Center with the Mark Morris Dance Group and on the Temple of Dendur series at the Metropolitan Museum of Art. He performs regularly with ensembles such as Parthenia, the New York Consort of Viols, New York's Ensemble for Early Music and the Big Apple Baroque Band. Internationally recognized as a builder of lute-family instruments, Mr. Rutherford has taught and lectured at the Lute Society of America's summer seminars.
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Kelly Savage Kelly Savage performs frequently as a soloist, continuo player and chamber musician, recently working with Vertical Player Repertory, Ensemble 212, Foundling, Big Apple Baroque, and Ensemble ACJW at Carnegie Hall. She also plays regularly with her own chamber group, Biber Baroque, and is co-founder and music director of the newly formed orchestra Vilas Baroque. The New York Times recently praised Ms. Savage's "deft accompaniment" in the pasticcio opera Amore & Psyche. She holds a doctorate from Stony Brook University, where she studied with Arthur Haas, and also holds graduate degrees from the Oberlin Conservatory and the University of Wisconsin-Madison. She is the organist and choir director at St. Stephen and St. Martin's church in Brooklyn, New York. More |
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R.B. Schlather R.B. Schlather is a Brooklyn-based theater director + designer. Recent projects include staging a night of songs with Nico Muhly and Gotham Chamber Opera at (le) Poisson Rouge, art director and costume designer for Zia Anger's feature film Always, All Ways, Anne Marie, costuming Superhero Clubhouse's fall season, and installing Auto: Self and Auto: Study for Inside Lives, a project curated by Matchbox Dances. www.rbschlather.com Future projects include designing Saturn for Superhero Clubhouse, and Assisting at Gotham Chamber Opera and New York City Opera Spring 2012. www.rbschlather. |
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Daniel Swenberg New York-based Lutenist Daniel Swenberg plays a variety of Renaissance and Baroque Lutes, Theorbos, and early Guitars. As a soloist, Mr. Swenberg concentrates on the repertoires of the Baroque Lute in 18th-century Germany, Austria, and Italy and the Baroque Guitar in Spain and New Spain/Latin America. His principal devotion is to Basso-Continuo playing (the Baroque practice of semi-improvised accompaniment from the bass). Among the ensembles with whom he works regularly are: ARTEK, REBEL, Visceral Reaction, The Four Nations Ensemble, the Mark Morris Dance Group, Tafelmusik, Opera Atelier, The Metropolitan Opera, the Canadian Opera Company, The Orchestra of St Luke's, The Carmel Bach Festival, Staatstheater Stuttgart, New York City Opera, Stadtstheater Klagenfurt, Helicon, The Grand Tour Orchestra, Clarion, Les Violons du Roy, Piffaro, Spiritus Collective, Les Voix Baroques, Musica Pacifica, Gotham Chamber Opera, the Sejong Soloists, Apollo's Fire, and Lizzy and the Theorboys. He has accompanied Renee Fleming at the MET, Carnegie Hall, the Aspen Music Festival, and at the Mostly Mozart Festival/Live from Lincoln Center. He has received awards from the Belgian American Educational Foundation for a study of 18th-century chamber music for the lute, and a Fulbright Scholarship to study in Bremen, Germany with Stephen Stubbs and Andrew Lawrence King, at the Hochschule fuer Kuenste. He studied previously with Pat O'Brien at Mannes College of Music, receiving a Masters Degree in Historical Performance-Lute. Prior to his concentration on lutes, he studied Musicology at Washington University (St. Louis) and received a B.M. in classical guitar from the North Carolina School of the Arts.
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Gwendolyn Toth Recognized as one of America's leading performers on early keyboard instruments, Gwendolyn Toth performs with equal ease on the harpsichord, lautenwerk, organ, fortepiano, and clavichord. Ms. Toth has won prizes in the Magnum Opus Harpsichord competition and in American Guild of Organist competitions. She has been heard in and on radio concert throughout North America, Europe and the Far East. She is the director and founder of New York City's virtuoso period instrument ensemble, ARTEK. Under her direction, the ensemble released the first North American recording of Monteverdi's opera, Orfeo, on the Lyrichord Early Music Series label, to outstanding critical acclaim. Ms. Toth and ARTEK have toured throughout America and Europe with the Mark Morris Dance Group and recently made their Lincoln Center debut. As a soloist on historical organs, Ms. Toth has performed throughout Europe and released her second recording of early organ music in 2010.
MoreMs. Toth holds the D.M.A. in performance from Yale University. She has taught at Yale University, Mount Holyoke College, Barnard College and Rutgers University. In addition to being the artistic director of ARTEK, she is Orchestra Director at Manhattan College and Choral Director at Mount Saint Vincent College, and she teaches harpsichord at Montclair State University and Hunter College of the City University of New York. |
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Vita Wallace Vita Wallace is known as a powerful, sensitive, and versatile musician. She is a member of the early-music ensembles Anima, ARTEK, the Dryden Ensemble, and Foundling, and has been a guest artist with Parthenia, Festival Scarlatti in Sicily, and numerous other baroque ensembles and festivals. Vita and her brother, Ishmael, have performed, recorded, and taught extensively as the Orfeo Duo. They recently recorded all of the Beethoven sonatas for violin and piano on period instruments for the Frederick Collection of Historical Pianos. Vita graduated from the Mannes College of Music with the Felix Salzer Award. More |
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Elizabeth Weinfield Elizabeth Weinfield is the founder of the New York-based viola da gamba ensemble, Sonnambula, and a member of the viol consort Long & Away. She has appeared as a baroque violist and viol player with such ensembles as Anonymous 4, Lionhart, The New York Consort of Viols, Siren Baroque, Tafelmusik Baroque Summer Festival, Parthenia and others. Currently she is a PhD candidate in historical musicology at the Graduate Center of the City University of New York where she is writing on 17th-century French pastoral music and iconography, and she holds a Master's degree in music from Oxford University. A former researcher at the Yale University Collection of Musical Instruments, she is now the content editor of the Metropolitan Museum of Art's Helibrunn Timeline of Art History, a publication to which she contributes as a writer on music, and Adjunct Professor of Music at Yeshiva University. Her recent credits on modern viola include a recording of Gregory Spears's Requiem (New Amsterdam Records, forthcoming 2011). More |
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