Gail Abbey, soprano, has been a member of Emmanuel Music’s soprano section since 1986, and has appeared as soloist in their performances of Bach’s St. Matthew Passion, St. John Passion, and Mass in B minor, Handel’s Brockes Passion and Israel in Egypt, and Mozart’s Magic Flute, as well as Bach cantatas and Schütz and Buxtehude motets. With the soprano trio Trium she was featured in Emmanuel’s 2006 Schumann Chamber Series. She has also soloed, toured, and recorded with the Handel and Haydn Society, Boston Baroque, and Cappella Clausura. Ms. Abbey is a graduate of Westminster Choir College where she toured and recorded with the Westminster Choir, sang in the Spoleto Festival, and soloed with the New York Philharmonic under the direction of Zubin Mehta. In addition to singing, Ms. Abbey is the Office Administrator to Blue Heron, and teaches voice in her home in Holliston, MA.
Matthew Anderson has been praised for the warm tenor voice and polished musicality he brings to oratorio, opera, and musical theater. He has appeared at the Aldeburgh Festival as a soloist in Bach’s St. Matthew Passion and at the Carmel Bach Festival, where he was featured as a 2010 Virginia Best Adams Fellow and a 2011 festival soloist in Bach’s St. John Passion. Mr. Anderson has twice won prizes in the American Bach Society Competition, and received second prize in the Oratorio Society of New York Solo Competition. Recent performances from his varied repertoire include Stravinsky’s Renard at Tanglewood and the Mostly Mozart Festival with the Mark Morris Dance Group; John Harbison’s Winter’s Tale with the Boston Modern Orchestra Project; Haydn’s Creation with Emmanuel Music; Bach’s St. John Passion (Evangelist) at Princeton University, Boston University, and the University of Chicago; several works by Benjamin Britten (Serenade, Saint Nicolas, and Cantata Misericordium); John Austin’s new opera Heloise and Abelard at Harvard University; and Handel’s Messiah at Carnegie Hall. Also recognized as a gifted performer of the American songbook, Mr. Anderson has won high praise for his performances with Keith Lockhart and the Boston Pops in Carousel (as Mr. Snow), “A Richard Rogers Celebration”, and “An Evening of Cole Porter”. Mr. Anderson spent two seasons as a vocal fellow at the Tanglewood Music Center and was a Lorraine Hunt Lieberson Fellow with Emmanuel. He studied classics at Harvard and voice at the New England Conservatory.
Soprano Roberta Anderson is privileged to have sung for over twenty years with Emmanuel Music and Craig Smith. In addition to being a frequent soloist in the Bach Cantata Series, she has performed in both the Brahms and Schumann recital series, and in many of the group’s collaborations with the Mark Morris Dance Company. She has appeared as soloist with Boston Baroque, the Handel and Haydn Society, Boston Early Music Festival, Boston Symphony Orchestra, Music from Aston Magna, Back Bay Chorale, North Shore Philharmonic, Masterworks Chorale, Cantata Singers, Coro Allegro, Boston Camerata, Ensemble Abendmusik, Musicians of the Old Post Road, and Foundling. Her solo oratorio credits include Bach’s St. Matthew Passion and St. John Passion, Magnificat, Mass in B minor, Handel’s Messiah and Israel in Egypt, Mozart’s Vesperae Solennes de Confessore, Requiem, and Mass in C minor, Monteverdi’s 1610 Vespers, Faure’s Requiem, Britten’s Ceremony of Carols, Carissimi’s Jephthe, Vivaldi’s Gloria, Stravinsky’s Mass, and Respighi’s Laud to the Nativity. Opera performances have included Purcell’s Dido and Aeneas and King Arthur, Mozart’s Marriage of Figaro, and Monteverdi’s Orfeo and Coronation of Poppea.
Richard B. Beams is the founder and director, Opera con Brio (www.operaconbrio.com). He has been teaching opera history and opera-related courses for over forty years, the last thirty-five primarily through Opera con Brio which he founded as an opera-education program for adults in the Boston area in 1979. This program has offered over 60 different courses, ranging from studies of individual composers (Verdi, Rossini, Mozart, Handel, Bach, Vivaldi, Mahler, Strauss, Wagner, Puccini, Britten, Berlioz) to period and history courses (The Age of Bel Canto, Russian Opera, French Opera, Classical Literature and Legend as Opera, Shakespeare and Opera, Wagner’s RING: Music, Myth, and Meaning.) For years these courses were also available to Pine Manor College students as Directed Studies. Mr. Beams has also led numerous opera tours, both for Opera con Brio and for other organizations. Among the many tours have been the following: The Salzburg Festival, The Rossini Festival (Pesaro, Italy), The Bayreuth Festival, The Glyndebourne Festival, The Glimmerglass Festival, The Aldeburgh Festival, The Santa Fe Festival, Moscow and St. Petersburg. Recent tours: Donizetti Bicentennial Tour to Northern Italy (1998), The Halle and Gottingen Handel Festivals in Germany (1999), Bellini tour to Sicily (2002), Rossini tour to Italy (2003), Vivaldi’s Venice (2008), Haydn Bicentennial Tour to Berlin (2009), Britten Tour to England (2010), Wexford Opera Festival, Ireland (2011), Teatro Colon, Buenos Aires (2012). Mr. Beams is also a frequent lecturer on opera. In addition to lectures for the University of New Hampshire and various independent organizations, he has lectured for such opera companies as The Omaha Opera, The Sarasota Opera, The Handel and Haydn Society, Opera North, Boston Baroque and The Opera Company of Boston. For fifteen years he was the regular pre-opera. Mr. Beams has been a recipient of two NEH Fellowships and was on the advisory board of the Boston Concert Opera, The Berkshire Opera Company and The Boston Chamber Music Society as well as a consultant to Opera World Inc.
Charles Blandy has been described as “a versatile tenor with agility, endless breath, and vigorous high notes” (Goldberg Early Music Magazine) and “unfailingly, tirelessly lyrical” (Boston Globe). With Emmanuel Music in Boston he has sung the title role in Stravinsky’s The Rake’s Progress, the Evangelists in Bach’s St. John and St. Matthew Passions, major roles in Handel’s Ariodante and Mozart’s The Magic Flute, and appeared in John Harbison’s The Great Gatsby. In recent years he has sung Handel’s Messiah with the Portland Baroque Orchestra, and the American Bach Soloists in San Francisco; at Lincoln Center with the National Chorale; with the Bethlehem Bach Choir, Charlotte Symphony, Boston Modern Orchestra Project, Los Angeles Philharmonic, Opera Boston, Handel and Haydn Society, Boston Baroque, and the Cantata Singers. He was a Tanglewood fellow, and has degrees from Indiana University and Oberlin College. He is originally from Troy, NY.
Tenor Jonas Budris is a versatile young artist, active on opera and concert stages in Boston. He recently created the role of Brother William in the world premiere of John Austin's opera Heloise and Abelard, and was praised for his "incredible squillo" (Boston Classical Review). He performed as Bastien in Opera Boston's First Night production of Mozart's Bastien & Bastienne; in that company's mainstage productions, he understudied the roles of Fritz in Offenbach’s La Grande-Duchesse de Gérolstein, The Officer in Hindemith’s Cardillac, and Don Luigi in Donizetti’s Maria Padilla. He also sang the title role in Bernstein’s Candide with Lowell House Opera at Harvard. On the concert stage, Mr. Budris was a featured soloist with the Boston University Baroque Orchestra in Handel's Chandos Anthems No. 8 under Martin Pearlman.He joined Boston Baroque for Handel's Messiah and the Handel and Haydn Society for Bach's St. Matthew Passion and Mozart's Coronation Mass. Mr. Budris is an Artist in Residence with the Metropolitan Chorale of Brookline. He sings regularly with Canto Armonico, and he has performed as a soloist and ensemble singer with Aston Magna. Mr. Budris graduated from Harvard University, where he sang as a Choral Fellow with the University Choir at Memorial Church.
American soprano Kendra Colton “carried herself like a goddess and sang radiantly and vividly,” according to a review in the New York Times. She has been soloist with major orchestras, ensembles, and festivals including the Boston Symphony, Los Angeles Philharmonic, Cleveland Orchestra, San Francisco Symphony, Minnesota Orchestra, Pittsburgh Symphony, Indianapolis Symphony, Houston Symphony, the National Symphony (Kennedy Center), and many others. She has appeared at the festivals of Tanglewood, Banff, and Ravinia, the Casals Festival, the Santa Fe Chamber Music Festival, and the Carmel Bach Festival. Her operatic credits include Boston Lyric Opera, Boston Early Music Festival, International Handel Festival in Göttingen, and four centuries of music in numerous productions for Milwaukee’s Skylight Opera. Ms. Colton’s solo CDs include Le Charme, a collection of French of songs and He Brought Me Roses, 25 lieder by Joseph Marx. A new recording of songs by Britten, Barber, Gurney and Vores will be released in June on the Naxos label. She has also recorded the title role in Griffelkin by Lukas Foss with the Boston Modern Orchestra Project, and Bach’s St. John Passion and Cantata BWV 133 with Emmanuel Music, where she performs regularly in recitals, oratorios and their weekly Cantata Series. In addition to her singing career, Ms. Colton teaches at Oberlin College in Ohio and is on a personal mission to visit all of the National Parks in the US.
American Soprano, Susan Consoli has led an active and versatile career throughout the United States and abroad with repertoire ranging from Bach to Harbison to Gershwin. She has worked under such notable conductors as Grant Llewellyn, Paul Goodwin, Harry Christophers, Bruno Weil, Laurence Cummings, Odaline (Chachi) de la Martinez, Craig Smith, John Finney, James David Christie and Ryan Turner. Additional collaborations include director/choreographer Chen Shi-Zheng and Tero Saarinen, as composers Peter Child, David Patterson and John Harbison of whom she premiered (Boston) his work A Clear Midnight and Vocalism. Festivals include: Festival CLASSIQUE au vert, Boston Early Music Festival, Movimentos Internationales TanzFestival, LAOKOON Festival, Ribeauvillé Festival de Musique Ancienne, and the Carmel Bach Festival. Appearances with Boston Camerata & Tero Saarinen Dance Company include: Borrowed Light in Paris at the Théâtre National de Chaillot, Berlin, Hamburg, Wolfsburg, Oulu and Tampere, An American Vocalist & Saw ye my hero in Paris and Travellin’ Home in Ribeauvillé. This is Ms. Consoli’s 11th season as a soloist with Emmanuel Music. Highlights include Beethoven Ah perfido!, Servilia in La Clemenza di Tito, Handel Apollo e Dafne, Bach Mass in B Minor, Handel Alexander's Feast and over thirty Bach cantatas. Ms. Consoli was the Lorraine Hunt Lieberson Fellow for the 2010-2011 season.
Colorado native Jacob Cooper’s ebullient stage presence has been recognized on the opera stage (“stunning” – The Boston Globe), in recital, and as a dynamic component of ensembles. He is a member of many of New England’s premiere period ensembles, including solo turns with the Handel + Haydn Society, Emmanuel Music, Arcadia Players, and Cambridge Concentus. He has also performed with Boston Baroque, Boston Modern Opera Project, Juventas New Music Ensemble, Schola Cantorum of Boston, The Marsh Chapel Choir and others. A noted commitment to the sung text has been heard in his “impeccable diction” (Classical Voice of New England) and in showcasing “the best piece of Shakespearean acting I’ve seen all year” (HubReview). On the opera stage, he has performed as Lord Collins (Ruthven) in OperaHub’s production of Marschner’s Der Vampyr, Saul in Charpentier’s David et Jonathas, Ford (Falstaff), Leporello (Don Giovanni), Belcore (L’Elisir d’Amore), and John Brooke (Little Women). In past seasons he has performed with Santa Fe Pro Musica, Publick Musick, Boston Secession, Santa Fe Desert Chorale, and the Providence Singers.
Pamela Dellal, mezzo-soprano, acclaimed soloist and recitalist, has been praised for her “exquisite vocal color,” “musical sensitivity,” and “eloquent phrasing.” She sang the premiere of Harbison’s The Seven Ages in New York, San Francisco, Boston, and London; she debuted at the Kennedy Center under Julian Wachner in Bach’s Mass in B minor, and at Lincoln Center under William Christie in Handel’s Messiah. She has performed under Seiji Ozawa, Christopher Hogwood, Paul McCreesh, Bernard Labadie, and Roger Norrington. Ms. Dellal has performed leading roles in Handel’s Alcina, Britten’s Albert Herring and Rape of Lucretia, Purcell’s Dido and Aeneas, Mozart’s La Clemenza di Tito and Così fan tutte, Barber’s Vanessa, and Harbison’s Winter’s Tale. She has appeared with the Handel and Haydn Society, Aston Magna, Boston Early Music Festival, Tokyo Oratorio Society, Opera Company of Boston, the National Chamber Orchestra, Boston Baroque, Baltimore Choral Arts Society, and the Dallas Bach Society, and has performed in concert in major cities in Europe, the US, Australia and Japan. With Sequentia, Ms. Dellal has made numerous recordings of the music of Hildegard von Bingen, and has toured the US, Europe, and Australia. Passionate about chamber music, early music, and contemporary music, she performs frequently with Dinosaur Annex, Boston Musica Viva, Ensemble Chaconne, Blue Heron, and the Musicians of the Old Post Road. She has been a regular soloist in Emmanuel Music’s Bach Cantata Series since 1984, having performed almost all 200 of Bach’s sacred cantatas. Ms. Dellal has made over 25 recordings on various labels. She currently serves on the faculties of the Boston Conservatory, the Longy School of Music of Bard College, and Brandeis University.
Richard Dyer’s most recent appearance in musical theater was when he performed, with a few helpful transpositions, the role of Nanki-Poo in The Mikado in 1959. In between those performances and this one his principal occupation was writing about music in The Boston Globe and many other newspapers and magazines, as well as the New Grove Dictionaries of Music, Opera, and American Music, the Encyclopedia Americana, and the Metropolitan Opera Encyclopedia of Opera; he was twice the winner of the Deems Taylor/ASCAP award for distinguished music criticism. Since his retirement from The Globe in 2006 after 33 years there, he has remained active as a teacher (at the Tanglewood Music Center, Aspen, the Bard Graduate Vocal Arts Program); he has written program notes and interviews or given talks for the Boston Symphony, Opera Boston, the Boston Lyric Opera, and Boston Midsummer Opera and several other organizations and spent four seasons on the board of Emmanuel Music. He has covered European and Asian tours by the Boston Symphony, the Opera Company of Boston, and the Boston Philharmonic Youth Orchestra. He has served on the eight different juries of four international piano competitions as well as at the Miss America Pageant. He is delighted to have been invited to perform a speaking role in Die Entfuhrung aus dem Serail, and is even more relieved than the audience tonight that he won’t have to sing.
Mezzo-soprano Mary Gerbi is a versatile soloist, chamber musician, and ensemble member whose repertoire ranges from medieval chant to new music premieres. She has been praised for "unleashing superb virtuosic brimstone" (Boston Globe) and for her "earthy tone and crisp diction" (Boston Musical Intelligencer). As an oratorio soloist, her recent performances include Haydn’s Salve Regina and Britten’s Ceremony of Carols with Boston Cecilia, Corigliano’s Fern Hill with the Maryland Choral Society, and Handel’s Judas Maccabeus with the Berkshire Bach Society; this season she makes her solo debuts with both Emmanuel Music and the Handel and Haydn Society. As a performer of baroque opera, she played the title role in Amherst Early Music’s production of Scarlatti’s La Principessa Fedele, and portrayed Elisa in Maria Teresa Agnesi’s Sofonisba with La Donna Musicale. Last season she appeared on the Boston Modern Orchestra Project’s concert series performing David Lang’s The Little Match Girl Passion "with outstanding sensitivity and skill" (Boston Classical Review) as one of "four exquisitely timbred and compatibly voiced singers" (Boston Musical Intelligencer). In high demand as an ensemble member, she sings regularly with the Handel and Haydn Society, Boston Baroque, Emmanuel Music, Yale Choral Artists, and numerous other groups. A skilled interpreter of renaissance and medieval music, Ms. Gerbi is a founding member of Cut Circle, which recently released a double CD of Franco-Flemish polyphony entitled "De Orto and Josquin: Music in the Sistine Chapel around 1490." She has toured internationally with the Liber Ensemble for Early Music and received fellowships from the Fondazione Giorgio Cini and the Vancouver Early Music Programme. Raised in Millbrook, NY, she studied at Boston University and has resided in the Boston area ever since.
Boston-based baritone Bradford Gleim performs opera, oratorio and song, specializing particularly in Baroque and Classical repertoire. His “rich, expressive voice,” he has been described as “consistently impressive, his restraint only reinforced by his vocal charisma” and his flexible burnished baritone praised as “reliable and resonant.” He has been heard with such groups as Opera Boston, The Mark Morris Dance Group, Conspirare, Seraphic Fire, and The New Haven Symphony. Last season Mr. Gleim was featured in Mendelssohn's Elijah with Portsmouth Pro Musica, Haydn's Creation with the Texas Choral Consort, Brahms' Requiem with the Oratorio Chorale, and Bach's B Minor Mass with Boston Cecilia. He has appeared as a soloist with Boston’s premiere period orchestras: Boston Baroque under Martin Pearlman, Emmanuel Music conducted by Ryan Turner, and the Handel and Haydn Society led by Harry Christophers. Among many memorable debuts, Mr. Gleim was proud to be honored with the Borromeo String Quartet’s Guest Artist Award and to subsequently perform Samuel Barber’sDover Beach with the quartet in Jordan Hall in 2007. An active recording artist, Mr. Gleim has recorded on the Coro, Harmonia Mundi, Musique en Wallonie and Linn Records labels. When not singing himself, Bradford Gleim serves as Assistant Professor of Voice at Berklee College of Music.
Bass-baritone Paul Guttry enjoys the variety of opera, oratorio, and a specialization in early music. Paul has performed throughout the USA and internationally with Chanticleer, Sequentia, the Boston Camerata, and New York’s Ensemble for Early Music. Paul has been a member of Emmanuel music since 1996. A founding member of the Renaissance choir Blue Heron, locally he has also appeared as soloist with the Handel and Haydn Society, the Boston Early Music Festival, the Tanglewood Music Center, Cantata Singers, Boston Cecilia, Prism Opera, Intermezzo, Boston Revels, Collage, and the Boston Modern Orchestra Project. This spring he appeared as the Father in Britten’s The Prodigal Son with Intermezzo. In addition to Emmanuel’s Bach CDs, Paul can be heard on recordings of medieval music by Sequentia, Kurt Weill’s Johnny Johnson and French airs de cour with the Boston Camerata, and on all the recordings of the Renaissance choir Blue Heron.
William Hite William Hite’s reputation as an engaging and expressive artist has led to appearances with the Boston Symphony Orchestra, the Philadelphia Symphony Orchestra, Dresdner Philharmonie, American Symphony Orchestra, Washington Bach Consort, New York City Ballet, Mark Morris Dance Group, New York Collegium, National Arts Center Orchestra (Ottawa), Charlotte Symphony, Boston Baroque, Toronto Consort. Emmanuel Music, Tafelmusik under the direction of Bernard Haitink, Seiji Ozawa, James Levine, Rafael Frübeck de Burgos, Nicholas McGegan, Christopher Hogwood, Jane Glover, Grant Llewellyn, Leon Botstein, Stephen Alltop, John Harbison, and Peter Schreier. Mr. Hite’s recent and upcoming engagements include Messiah with Apollo Chorus in Chicago, Elijah with the Evansville Philharmonic, Schubert’s Winterreise with pianist Gilles Vonsattel at New York City’s Bargemusic, Britten’s War Requiem at Symphony Hall in Boston, the role of the Evangelist in the St. John Passion at Trinity Church Wall Street and with the Bach Society of Minnesota, and the title roles in both Jephtha and Judas Maccabaeus with the New Haven Chorale. Mr. Hite’s extensive discography now contains over 40 recordings spanning a wide spectrum of musical idioms. He may be heard on recently released recordings in Messiah with Chicago’s Apollo Chorus on the Clarion label, Acis and Galatea on NCA and The Construction of Boston by Scott Wheeler on Naxos. He is Senior Lecturer in Voice and coordinator of the voice area at the University of Massachusetts in Amherst. Please visit www.williamhitetenor.com.
Baritone Brett Johnson has been firmly established in the musical world of Boston for over twenty-five years. He has appeared regularly with the premier ensembles of the city, including Boston Baroque, Emmanuel Music, and the Handel and Haydn Society. Comfortable in the rich Early Music world of the city, he has also done extensive solo work in oratorio and recital. His warm baritone, interpretive maturity, and keen intellect have been appreciated throughout his performing career. Mr. Johnson has recorded with several chamber ensembles on Telarc International, Harmonia Mundi, and Koch International. Mr. Johnson is a respected teacher of voice and a composer of works for chorus. He has a large studio in the Boston area, and has been a member of several of the area’s finest teaching institutions. Mr. Johnson's compositions have been performed by Emmanuel Music and The Orpheus Singers.
Soprano Margaret Johnson has sung with several ensembles in the Boston area as both a soloist and chorister, including The Boston Camerata, Cantata Singers, and Orpheus Singers. Since 1978 she has sung with Emmanuel Music, which she considers her musical home. She has soloed in Emmanuel’s Debussy, Schumann, and Harbison chamber series, performed Webern’s Op. 15, 16, and 17 with Emmanuel musicians in Sunday services, and has twice appeared as one of the three boys in Emmanuel’s performances of Mozart’s Magic Flute. She is a founding member of Trium, a soprano trio which held its first concert at Emmanuel in 1997. Margaret is a developmental psychologist.
Frank Kelley sings throughout North America and Europe. He has performed frequently with the Boston Lyric Opera, Opera Boston, Florentine Opera, Opera Theater of St. Louis, and the San Francisco Opera Company. He has appeared at the Gran Teatre del Liceu (Barcelona), the Theatre de la Monnaie (Brussels), The Frankfurt Opera, Opera de Monte Carlo, and in the Peter Sellars productions of Weill’s Die Sieben Todsünden, Das Kleine Mahagonny, and Mozart’s Cosi fan tutte and Le nozze di Figaro. The Mozart operas, broadcast on PBS's "Great Performances,” are available on London DVD, as is Die Sieben Todsünden. Mr.Kelley performed the role of Eddie Fislinger in Robert Aldridge’s Grammy-winning recording of Elmer Gantry and his most recent recording of Carlisle Floyd's Wuthering Heights with the Milwaukee Symphony will be released on Naxos. In March of 2015 he made his opera directing debut with the Florentine Opera. In concert performances, Mr. Kelley has sung with the Boston Symphony, Cleveland, Chicago Symphony, and St. Paul Chamber orchestras as well as the National Symphony, the Dallas Symphony, and the Orchestra of St. Luke's. He has performed medieval and Renaissance music with Sequentia, the Boston Camerata, and the Waverly Consort, and with the Handel and Haydn Society, Boston Baroque, Emmanuel Music, Music of the Baroque, and Aston Magna. Mr. Kelley has participated in numerous festivals, including the Tanglewood, Ravinia, Marlboro Music, Nakamichi, Next Wave, and Boston Early Music as well as the Wexford Festival Opera and Pepsico Summerfare. He has recorded for various prominent classical labels. Mr. Kelley sings regularly with Emmanuel, both in the Bach Canata Series and in special projects, including Schumann, Brahms, and Schubert lieder series, and many operas. Mr. Kelley performed Die Schöne Müllerin (Schubert) and Dichterliebe (Schumann) with Russell Sherman, and most recently was heard in Handel's Susanna.
Coloratura soprano Barbara Kilduff began her career as a National winner of the Metropolitan Opera Council auditions, going from there to win first prize in the famed Munich International Competition and the silver medal in the Tchaikovsky Competition in Moscow. Within a year of these competitions, Kilduff made favorable debuts with the Bavarian, Vienna and Hamburg State Operas, all in the demanding role of Zerbinetta in Richard Strauss'Ariadne auf Naxos, a role she went on to sing in Basel, Vancouver, Athens and Cologne. Zerbinetta was also the role of her 1987 Metropolitan Opera debut with Jessye Norman, conducted by James Levine. In the same season, Kilduff also appeared as Adele in Die Fledermaus, and she returned the following season as Cleopatra in Julius Caesar under Trevor Pinnock, and as Blondchen in Die Entfuehrung aus dem Serailunder James Levine. Her La Scala debut was in the role of Blondchen, this time under Wolfgang Sawallisch. Further performances throughout Europe and America include Sophie (Der Rosenkavalier) at the Bavarian State Opera, in New York, San Diego and Vienna; Queen of Shemakhan (Rimsky-Korsakov's The Golden Cockerel under Mistislav Rostropovich); the Nightingale and Fire (Ravel's L'Enfant et les Sortileges under Charles Dutoit); Orff's Carmina Burana with the St Louis Symphony under Leonard Slatkin and Schoenberg's Von Heute auf Morgen under Pierre Boulez in Ludwigshafen, Milan, Rome and Vienna. Ms Kilduff has also appeared in many recordings of both opera and oratorio, and has given recitals in artists’ series across the United States. She has been a visiting faculty member at Boston University's College of Fine Arts and the New England Conservatory of Music, and is currently a faculty member at Phillips Academy in Andover. Recent performances include Norina (Don Pasquale) with the Newton Symphony Orchestra under Geoffrey Rink, with Emmanuel Music under Craig Smith, a Mozart Requiem and Haydn Mass with Dedham Choral Society under Jonathan Barnhart, the world premiere of Luis Bacalov’s Cantos para Nuestros Tiempos (Psalms for Our Times) under William Thomas. Previous appearances with Emmanuel Music include Queen of the Night in Mozart’s The Magic Flute in 2006.
Baritone David Kravitz has been hailed for his "large, multi-layered" and "sumptuously flexible" voice, his "power and eloquence," his "deeply considered acting" and "confident stage presence," his "impeccable musicality," and his "deep understanding of the text." Recently the New York Times described him as “a charismatic baritone,” and praised his “vividly etched and satisfying interpretation.” The 2014-15 season includes his company debuts at Opera Saratoga for Don Magnifico in La cenerentola, at Palm Beach Opera for the world premiere of Ben Moore’s Enemies, A Love Story, and at the American Repertory Theater for the world premiere of Matthew Aucoin’s Crossing, directed by Tony Award winner Diane Paulus, along with a return to Boston Lyric Opera for La traviata. Last season featured his debuts at Ash Lawn Opera as Tevye in Fiddler on the Roof, and at Dallas Opera for Tod Machover’s Death and the Powers. In past seasons, Mr. Kravitz has performed with opera companies around the United States, including Washington National Opera, New York City Opera, Glimmerglass Opera, Chautauqua Opera, Lyric Opera of Kansas City, Opera Theatre of St. Louis, Opera Boston, Chicago Opera Theater, Atlanta Opera, Florentine Opera (Milwaukee), and Opera Memphis. An experienced and versatile concert artist acclaimed as one of “the finest dramatic concert singers active today,” Mr. Kravitz has appeared as a soloist under some of the world’s leading conductors, including James Levine, Charles Dutoit, Seiji Ozawa, Rafael Frühbeck de Burgos, Masaaki Suzuki, and Bernard Haitink. He garnered rave reviews for his "resolute power and total connection" (Opera News) in Bach's St. Matthew Passion with the Boston Symphony Orchestra. This season Mr. Kravitz appears in Britten’s War Requiem in Boston’s Symphony Hall with the Boston University Symphony Orchestra, and in Beethoven’s Missa Solemnis with the Back Bay Chorale. He also returns to Emmanuel Music for Wolf’s Mörike-Lieder. Other recent concert engagements include the Philadelphia Orchestra, the Baltimore Symphony, the Boston Pops, Boston Modern Orchestra Project, Boston Baroque, and many appearances on Emmanuel Music’s renowned Bach Cantata series. His new music engagements have included numerous world and regional premieres with Collage New Music, Boston Modern Orchestra Project, Orchestra 2001, Boston Musica Viva, the Borromeo String Quartet, the Arneis Quartet, and others.Mr. Kravitz appears as a featured soloist on seven CDs released in the last two years, including works by Mohammed Fairouz with the Borromeo String Quartet (Naxos) and with the UCLA Philharmonia (Sono Luminus), by James MacMillan with Boston Lyric Opera (Bis), by Andy Vores and John Harbison with Boston Modern Orchestra Project (BMOP/sound), by Peter Ash with Atlanta Opera (Albany Records), and by Robert Stern with Coro Allegro (Navona Records). His previous recordings include works of J.S. Bach (Koch International Classics), John Harbison (New World), and Peter Child (New World).Before devoting himself full-time to a career in music, Mr. Kravitz had a distinguished career in the law that included clerkships with the Hon. Sandra Day O'Connor and the Hon. Stephen Breyer.
Mezzo-soprano, Margaret Lias, has been celebrated for her “warm,” “arresting,” and “rich-toned” singing. Since her Boston Symphony Hall debut in 2011 with Handel and Haydn Society (Handel, Israel in Egypt), Margaret has been a frequent soloist under the baton of Harry Christophers. Other select solo appearances in 2015 and 2016 include Seraphic Fire (Haydn, Lord Nelson Mass), Princeton Pro Musica (Corigliano, Fern Hill), New Bedford Symphony Orchestra (Mendelssohn, Elijah), True Concord Voices (Mozart, Requiem (Lincoln Center solo debut)), Kuhmo Chamber Music Festival (Berg, Sieben frühe Lieder), Arcadia Players (Mozart, Requiem), Staunton Music Festival (Purcell, Dido and Aeneas (Dido)), Oratorio Chorale (Dvořák, Mass in D Major), Back Bay Chorale (Duruflé, Requiem), and The Cathedral of All Saints’ Albany (Bach, St. John Passion). Margaret’s versatility as a singer allows her the opportunity to collaborate with other soloists to perform master choral works at a very high level. Margaret was a founding member of The Skylark Vocal Ensemble under Matthew Guard. She performs frequently with Seraphic Fire under Patrick Dupré Quigley, Concert Chorale of New York under James Bagwell, Voices of Ascension under Dennis Keene, Musica Sacra New York under Kent Tritle, and the New York Choral Artists under Joseph Flummerfelt. When she’s not singing, Margaret’s passion for what she calls, ‘administrivia’ manifests itself in her work as chorus representative for Handel and Haydn Society (a position she was given in 2009) and as a member of the Board of Directors for Lorelei Ensemble. www.margaretlias.com
Hailed as "excellent", "impeccable", "limpidly beautiful", "impressive", "stunning", and "Boston's best", mezzo-soprano Thea Lobo has appeared under conductors Gunther Schuller, Joshua Rifkin, Harry Christophers, Martin Pearlman and Helmut Rilling, and has been featured by the Firebird Ensemble, Carmel Bach Festival, Boston Cecilia, The Bermuda Festival, and Europäisches Musikfest Stuttgart. She performed the roles of Orgando in Handel's Amadigi with Boston Baroque, L'Enfant in L'Enfant et les Sortilèges with MetroWest Opera, Hermia in Lowell House Opera's commemorative production of Britten's A Midsummer Night's Dream, and covered the role of narrator, Xiao Qing, for the world premiere of Zhou Long's Pulitzer Prize-winning opera, Madame White Snake, with Opera Boston. A proponent of new music, she has worked as a soloist under the direction of composers Steve Reich, Howard Frazin, Fred Lerdahl and Christian Wolff. Ms. Lobo was a prizewinner at the Bach Vocal Competition for American Singers, a grant-recipient of the Julian Autrey Song Foundation, a Lorraine Hunt Lieberson Fellow for Emmanuel Music, a finalist in the Liederkranz Art Song Competition, an Adams Fellow for the Carmel Bach Festival, and a featured recitalist at the Boston Portuguese Festival with tenor Zachary Wilder. Thea Lobo has recently performed with the Northwest Bach Festival, Callithumpian Consort, Tucson Chamber Artists, Musica Sacra, Cambridge Concentus, the Boston Early Music Festival, Handel and Haydn Society, on tour with Boston Camerata, in Opera Hub's production of Satie's Socrate, and as Purcell's Dido with the St. Andrew's Bach Society.
Henry Lussier has been a freelance singer in the Boston area for over three decades. He has sung with Emmanuel Music, Boston Baroque, Schola Cantorum, the Handel and Haydn Society, and the Tanglewood Festival Chorus. He has performed as a solo artist in opera, oratorio, and recital. Mr. Lussier is also a seasoned arts marketing professional, currently at The Lyric Stage Company of Boston and previously with the American Repertory Theatre.
Described by critics as "a gifted young tenor with wonderful comedic talents" and as having an "alluring tenor voice" and "bright, clear and fully-fledged tenor sonority" Jason McStoots has performed around the world and the US. His recent appearances include Boston Early Music Festival’s production of Handel’s Almira (Tabarco), his European debut in Bach’s Christmas Oratorio and a Japanese tour of the St. Matthew Passion under the direction of Joshua Rifkin, Monteverdi’s 1610 Vespers in Seattle and Portland under Stephen Stubbs, and Mozart’s Abduction from the Seraglio. He has appeared with such groups as Boston Lyric Opera, Pacific MusicWorks, Boston Camerata, New Haven Symphony, Tragicomedia, and the Tanglewood Music Center. He can be heard on recordings with Blue Heron as well as on the Grammy-nominated recording of Lully's Pysché and on recordings of Charpentier, John Blow, and Handel with the Boston Early Music Festival on the CPO label.
Kellie McKay is currently a sophomore at the Boston Conservatory, pursuing a Bachelor of Fine Arts in Musical Theatre. She is an alumna of the Los Angeles County High School for the Arts, where she was a vocal music major. She has performed in musicals such as Into the Woods, Les Miserables and Sweeney Todd and operas such as Carmen, The Marriage of Figaro, and Orpheus in the Underworld. She is honored to be a part of Emmanuel Music's production of A Little Night Music.
A native New Englander, tenor David McSweeney has appeared both as a chorister and soloist with several local ensembles, including Emmanuel Music, Boston Baroque, Blue Heron, The Orpheus Singers, The Handel and Haydn Society, and Boston Secession.Recent solo appearances include Handel’s Israel in Egypt with the Handel and Haydn Society and Buxtehude’s Heut Triumphieret Gottes Sohn with Boston Baroque. He has also soloed with the Philharmonic Society of Arlington, Boston Cecilia, Monadnock Music, Wellesley Choral Society, and Phillips Exeter Academy. David studied music while pursuing an engineering degree from Brown University.
Baritone Mark McSweeney has appeared as soloist with many of the area’s leading ensembles, including the Handel and Haydn Society, the Cantata Singers, and the New England Bach Festival. He has had a long association with Emmanuel Music, appearing in many performances of oratorio, recital, and opera, as well as in the Bach Cantata Series. He has been heard in recital at the Museum of Fine Arts, Harvard University, and on public radio broadcasts. In the area of contemporary music, he has appeared as Chou en-Lai in Adams’ Nixon in China at Australia’s Adelaide Festival, with the Minnesota Contemporary Ensemble in Harbison’s Words from Paterson, with Collage New Music in Andrew Imbrie’s Four Songs, and in the Boston premieres of new works by Lee Hyla and Peter Lieberson.
Grayson Mills is thrilled to be a part of Emmanuel Music’s A Little Night Music. She is an alumna of the South Carolina Governors School for the Arts and Humanities and has had success in many singing competitions including NATS and Classical Singers Competition. This past summer she attended the International Performing Arts Institute in Kiefersfelden, Germany to study musical theatre. She is currently working toward her BFA in Musical Theatre at the Boston Conservatory.
Sam Filson Parkinson is a bass- baritone studying at The Boston Conservatory. At the conservatory Parkinson can be seen singing the role Sarastro from Die Zauberflöte (February '14); he was previously assistant director for The Cunning Little Vixen (November '13) and the children's opera Mooch the Messy (Fall '13); and sang in the chorus of La Boheme (Spring '13). Sam has been a member of the Tanglewood Festival Chorus since Spring '13 and regularly sings with the Boston Pops and the BSO in Symphony Hall.
Eric Christopher Perry is consistently recognized for his thoughtful musical expression and effortless coloratura singing and was recently reviewed as "exuberant" and "sweetly sung" in his Boston solo debut- Bach’s Mass in B Minor (Boston Musical Intelligencer). Mr. Perry made his professional singing debut at the Fredonia Bach and Beyond Festivalunder the baton of Grant Cooper. In 2010 he made his national symphony debut as "The Milkman" in Krása’s children’s opera Brundibár with the Phoenix Symphony. In 2011 he was awarded Tafelmusik Baroque Summer Institute's Ivars Taurins Fellowship, where was a soloist in Charpentier’s Messe des Morts and sang the role of Evangelist in Bach’s St. John Passion. He has performed with Boston Baroque, Emmanuel Music, Opera New Jersey, Orpheus Singers, Amherst Societatis-Oratorio, Trinity Church in the City of Boston, and New Hampshire Master Chorale. His recital of Australian art song with pianist Bronwyn Blaiklock was featured in the Ballarat Art Gallery’s Modern Masterpieces Exhibit in conjunction with the Australian Music Centre. Also an emerging choral conductor, last season's highlights included concerts with Plymouth State University's Chorale and the New Hampshire Music Educators' Association All-State Women's Choir. Mr. Perry earned degrees from Fredonia State University, Arizona State University, and University of Massachusetts, Amherst. Teachers include Gerald Thomas Gray, David Britton, William Hite, Tony Thornton, and Thea Fenton Wheeler, with additional mentorship from Dan Perkins. He serves as adjunct lecturer of singing at Plymouth State University and the Phillips Academy in Andover, Massachusetts. For more information please visit his website, www.ecpmusic.com.
Heralded for his "stunning florid flourishes" and his "expressive, beautiful" singing, Baritone Will Prapestis performs frequently as a soloist and ensemble member throughout New England. Recently, Will sang the role of Serpent in the world-premiere of Elena Ruehr's canata Eve with Cantata Singers at Jordan Hall. He has had the pleasure of singing with such ensembles as Boston Baroque, with whom he traveled to Poland in 2015 for the Ludwig van Beethoven Festival, Emmanuel Music as a chorister, and a soloist and chorister with Cantata Singers, Renaissance Men, of which he is a founding member, the Orpheus Singers, Exsultemus, with whom he made his BEMF debut, Cappella Clausura, Sound Icon, featured in the Monadnock Music Festival, Terpsichore, Copley Singers, Oriana Consort, Boston University Chamber Chorus, and the Fredonia College Choir. Will has performed at many venues, including Boston Symphony Hall, Jordan Hall, Warsaw Philharmonic, Boston Marsh Chapel, Emmanuel Center, Trinity Church Copley Square, Thomaskirche in Leipzig, Veterans Memorial Auditorium Arts and Cultural Center in Providence, RI and Kleinhans Music Hall in Buffalo, NY. Will is also a very busy bass player, thoroughly active in the Boston and New York City Pop Music scenes, performing with as many as four bands as a bass guitarist, vocalist and arranger. He is also a highly-sought session artist. Will is a native of Elmira, NY, and he earned his Bachelor of Music in Performance at SUNY Fredonia.
Jaylyn Olivo, soprano, can hardly remember a time when she did not sing with some church choir or other. She has sung with Emmanuel Music since 1984, sang with Cantata Singers from 1984 to 2011, and is a member of the Tanglewood Festival Chorus. She served on the Vestry of Emmanuel Church, as both a Vestry member and clerk; was clerk and then vice president of the Emmanuel Music board for many years; and was the founding editor of Voices, the Emmanuel Church newsletter. She is a retired medical editor and an avid cook, gardener, and traveller.
Deborah Rentz-Moore has been praised for her “deep, radiant clear tone” (Early Music America) and “lustrous” (The Boston Globe) singing. A longtime solo collaborator with Emmanuel Music, she has worked with some of the most celebrated ensembles in North America, including the Boston Camerata, the Boston Early Music Festival, the Handel and Haydn Society, Aston Magna, and the Mark Morris Dance Group. Ms. Rentz-Moore’s recent performances include the role of Storge in Handel’s Jeptha, the role of Dido and The Sorceress in Purcell’s Dido and Aeneas, alto solos in Handel’s Messiah, Bach’s B Minor Mass and Christmas Oratorio, Mozart’s Requiem, Durufle’s Requiem, Dvorak’s Mass in C, and Beethoven’s Mass in C. In addition to her appearance in Emmanuel Music’s production of Susanna, 2014 season highlights include Beethoven’s Missa Solemnis with the Salisbury Singers, Lovely Vine and Puer Natus Est with Boston Camerata and Schuetz’s Musikalische Exequien with the Newton Choral Society. A proponent of early American music and Shaker music, she has conducted Shaker manuscript research, given numerous solo concerts at Hancock Shaker Village and one at Tanglewood, been featured in Tero Saarinen Dance Company/Boston Camerata’s remarkable Borrowed Light and is a soloist on the critically-acclaimed Harmonia Mundi recording The Rose of Sharon with Ensemble Phoenix Munich. Other recordings include: Cozzolani: Concerti Sacri (i1642) (Musica Omnia), Cozzolani: Messa Paschale (Musica Omnia), Feliz Navidad (Musicians of the Old Post Road), The Golden Harvest (Glissando), L’Orfeo: favola in musica 1607 (Centaur), J.S. Bach: Cantatas 62, 45, 140 and 192 (Musica Omnia) and Cozzolani’s Salmi a Otto Voci (1650) (Musica Omnia).
Krista River has appeared as a soloist with the Boston Symphony, the Santa Fe Symphony, Handel and Haydn Society, the Florida Orchestra, the Charlotte Symphony, the North Carolina Symphony, and the Pittsburgh Bach and Baroque Ensemble. Winner of the 2004 Concert Artists Guild International Competition and a 2007 Sullivan Foundation grant recipient, her opera roles include Dido in Dido and Aeneas, Sesto in La clemenza di Tito, Cherubino in Le nozze di Figaro, Rosina in Il barbiere di Siviglia, Zerlina in Don Giovanni, Anna in Weill’s Seven Deadly Sins, Nancy in Britten’s Albert Herring, and the title role in Handel’s Xerxes. For Ms. River’s New York Recital debut at Weill Recital Hall at Carnegie Hall, the New York Times praised her “shimmering voice…with the virtuosity of a violinist and the expressivity of an actress.” 2013-2014 performances include appearances with the St. Paul Chamber Orchestra, the North Carolina Symphony, the Cape Cod Symphony, Serenata of Santa Fe, Sarasa, and Boston Baroque. Ms. River began her musical career as a cellist, earning her music degree at St. Olaf College. She resides in Boston and is a regular soloist with Emmanuel Music’s renowned Bach Cantata Series.
Margot Rood, hailed for her “luminosity and grace” by The New York Times, performs a wide range of repertoire across American stages. Following her solo debut at Boston’s Symphony Hall in 2011, she has been a frequent soloist with Handel and Haydn Society under the direction of conductor Harry Christophers. Recent and upcoming solo appearances include Rhode Island Philharmonic (Messiah); New World Symphony (Reich's Desert Music); Handel and Haydn Society (Messiah, Vivaldi Gloria, Bach Mass in B Minor); Seraphic Fire (Messiah, Vivaldi Gloria, Mozart Requiem); Bach Collegium San Diego (Messiah); A Far Cry (Golijov's Three Songs); Oratorio Chorale (Brahms Requiem); Kent Singers (Brahms Requiem); Tucson Chamber Artists (Bach St. John Passion and Mozart C Minor Mass); Back Bay Chorale (Bach St. John Passion); Brookline Symphony (Mahler Fourth Symphony); and the Boston Early Music Festival Fringe. She is often featured on the Marsh Chapel Choir Bach Cantata Series. Recent stage appearances include Amor in Gluck’s Orfeo ed Euridice with Grand Harmonie, Emily Webb in Rorem’s Our Town with Monadnock Music, Johanna in Sweeney Todd with St. Petersburg Opera, the title role in Handel's Esther at Harvard University, and Ramiro in Helios Early Opera’s production of Cavalli’s Artemisia. In addition to opera and oratorio, Ms. Rood has performed as soloist with some of the United States’ premiere new music ensembles, and was a 2015 recipient of the St. Botolph Club Foundation's Emerging Artist Award for her work in new music. Notable recent engagements include her Carnegie Hall debut in the world premiere of Shawn Jaeger’s Letters Made with Gold under the direction of Dawn Upshaw, and Evangelist in Arvo Pärt's Passio with the Boston Modern Orchestra Project. Ms. Rood is a core member of Boston’s Lorelei Ensemble, an all-female vocal ensemble dedicated to the performance of new music, and is a founding member of the Michigan Recital Project, which features commissions by emerging composers. Also sought after as a collaborator, Ms. Rood has been invited by composers at Columbia University, University of Pennsylvania, University of Louisville and Keene State College for performances and masterclasses. Her new recording with composer Heather Gilligan, Living in Light, will be released in 2017.
Bobbie Steinbach is a longtime member of Boston’s very special theatre community, working as an actor, a director and a teacher. During the 2012-13 season she appeared in Actors’ Shakespeare Project’s Pericles as the Bawd, Stoneham Theatre’s It’s A Wonderful Life as Mrs. Potter, in the Lionel Barry role, and CentaStage’s The Fakus: A Noir (IRNE award winner for Best New Play) as con woman extraordinaire Mrs. Joseph Patrick Paul Costello. She recently directed Romeo and Juliet, A Midsummer Night’s Dream and Macbeth for Shakespeare Now!. As an Actors’ Shakespeare Project Founding Member/Resident Actor, she has appeared in thirteen plays in the canon, including Richard III, Twelfth Night, All’s Well That Ends Well, The Winter’s Tale, Macbeth, Coriolanus, Othello, Timon of Athens, Henry IV, Parts 1 & 2, Julius Caesar and Troilus and Cressida. Regional performances include A Little Night Music with Michigan Opera Theatre; the Boston Pops at Boston Symphony Hall and Tanglewood; Huntington Theater Company’s Dead End, The Rose Tattoo and The Corn is Green; New Repertory Theater’sCollected Stories, (IRNE Award Best Actress/Elliot Norton Nomination-Outstanding Actress),The Clean House (Elliot Norton Award- Best Production), Romeo and Juliet, A Girl’s War (IRNE Award-Best Actress), The Waverly Gallery and Stonewall Jackson’s House (Elliot Norton Award-Outstanding Actress); Lyric Stage Company’s Follies, The Importance of Being Ernest, Arms and the Man, A Little Night Music, Spitfire Grill, Assassins, and Over the River and Through the Woods (Elliot Norton Award-Outstanding Actress); Boston Playwrights’ Theater’s Deported/a dream play, A Girl’s War and Sailing Down the Amazon (Elliot Norton Award-Outstanding Actress); Speakeasy Stage Company’s Anna in the Tropics;Stoneham Theatre’s Rimers of Eldritch, A Prayer For Owen Meany, and Much Ado About Broadway; Christmas Revels at Sanders Theatre; Boston TheatreWorks’ Our Town and Coyote on a Fence; and Merrimack Repertory’s A Funny Thing Happened on the Way to the Forum, Christmas Carol, and Ring Round the Moon. Bobbie will be co-directing Romeo and Juliet for Actors’ Shakespeare Project’s 10th anniversary season, opening October 2013 at the Strand Theatre. When she is not acting or directing, she offers private audition coaching. Her husband Bob is her best scene partner, always. Bobbiesteinbach.com
Praised by the Boston Globe for her "crystalline tone and graceful musicality", soprano Sonja DuToit Tengblad is a versatile performer, with credits spanning the Renaissance era through the most current composers of our time. Recent highlights include Knussen’s Symphony No. 2 for orchestra and high soprano with the Boston Modern Orchestra Project, Purcell’s King Arthur as Cupid with the Handel and Haydn Society, Brahms’ Ein Deutsches Requiem with the National Lutheran Choir, and her Carnegie Hall and Lincoln Center solo debuts (Poulenc Gloria and Rutter’s Requiem) both with the New York City Chamber Orchestra. A lover of new music, Ms. Tengblad recently performed in the Boston premiere of Kati Agocs’ Vessel for three solo voices with the Boston Modern Orchestra Project. She also premiered the role of Maria in Diego Luzuriaga's El Niño de los Andes with VocalEssence of Minnesota, and was the soprano soloist for the American premiere of Siegfried Matthus' Te Deum at the American Guild of Organists’ National Convention in 2008, and Carol Barnett's The World Beloved, A Bluegrass Mass (available through Clarion recordings). Ms. Tengblad also appeared in a concert celebrating the 80th birthday Dominic Argento of which the Minnesota Star Tribune reported her to have given "the most affective performance of the evening". An active ensemble singer, Ms. Tengblad performs with the 5-time Grammy-nominated ensemble Conspirare out of Austin, Texas; Blue Heron; the Oregon Bach Festival; Boston’s Lorelei Ensemble, and the Handel and Haydn Society Chorus. She holds the soprano position in the Handel and Haydn Society’s Vocal Outreach Quartet. www.sonjatengblad.com
Hailed as “the real thing” (Cleveland Plain Dealer) and praised for his “elegant style” (Boston Globe), Sumner Thompson is one of today’s most sought-after young baritones. His appearances on the operatic stage include roles in productions from Boston to Copenhagen, including the Boston Early Music Festival’s productions of Conradi’s Ariadne (2005) and Lully’s Psyché (2007), and several European tours with Contemporary Opera Denmark as Orfeo in Monteverdi’s L’Orfeo. He has performed across North America as a soloist with Concerto Palatino, Tafelmusik, Apollo’s Fire, Les Boreades de Montréal, Les Voix Baroques, and many other ensembles and orchestras of both conventional and early music inclinations. Also a noted recitalist, Mr. Thompson has sung in Stuttgart, Amsterdam, and Regensburg, and at London’s Wigmore Hall.
Described by the Atlanta Journal-Constitution as a dignified and beautiful singer, baritone Paul Max Tipton enjoys an active career in opera, oratorio, and chamber music and has performed and recorded throughout the United States. Mr. Tipton’s repertoire ranges from Schütz and Monteverdi to Britten and Bolcom, with his interpretations of the Bach Passions being acclaimed in particular for their strength and sensitivity. His strong commitment to lieder and the art of the song recital has led to his programming being lauded for its unique sense of story. Recent and upcoming performances include Britten’s War Requiem, Handel’s Dettingen Te Deum, Monteverdi’s Vespers of 1610, the title role in Mozart’s Don Giovanni, and Frank Martin’s Sechs Monologe aus Jedermann. Mr. Tipton has enjoyed collaborations with artists and conductors including Masaaki Suzuki, Helmuth Rilling, Nicholas McGegan, Ton Koopman, Leonard Slatkin, Ted Taylor, Paul Hillier, Craig Hella Johnson, Ricky Ian Gordon, Simon Carrington, and Martin Katz. Recent engagements include performances with the symphonies of San Antonio, Grand Rapids, Lincoln, and Stamford, in addition to appearances with the Yale Camerata, New Trinity Baroque, the Rose Ensemble, Seraphic Fire, Ensemble Florilege, the Yale Collegium Players, Lyra Baroque, Conspirare, and Oregon Bach Festival. Mr. Tipton studied in the oratorio and early music program at the Yale University Institute of Sacred Music and was mentored by tenor James Taylor. He also studied at the University of Michigan School of Music under tenor George Shirley and mezzo-soprano Luretta Bybee. For more information, please visit: paulmaxtipton.com
Lynn Torgove, a long time member of Emmanuel Music, is well known to Boston audiences as a singer and director. This past summer with Emmanuel Music, she was the stage director of and sang the role of the Tango Singer in John Harbison's The Great Gatsby, both at Jordan Hall and Ozawa Hall. Ms. Torgove has sung many of Mr. Harbison’s works, including his song cycle North and South, and as the mezzo-soprano soloist in Four Psalms on the Cantata Singers recording. This coming spring she will be performing a full recital of Mr. Harbison's songs for mezzo, piano and ensemble, The Songs of John Harbison, with readings by Lloyd Schwartz, at Williams College. This past year, she has been a soloist in the Boston Modern Orchestra Project's performance of Sir Michael Tippett's Midsummer Marriage, the Boston Jewish Music Festival's concert Fathers and Sons: the Music of Adler and Weiner, was the alto soloist in Frank Martin's Et la vie l'emporta and Zelenka's Missa Votiva with Cantata Singers. Last season, she sang in Aston Magna’s 40th Anniversary Concert, performing the roles of the ‘Sorceress’ in Purcell’s Dido and Aeneas and ‘Truth’ in Handel’s oratorio The Triumph of Time and Truth in Seiji Ozawa Hall at Tanglewood. She has been a featured soloist with the Cantata Singers, Opera Boston, St. Louis Symphony, the Portland Symphony, and the Tallahassee Symphony. Ms. Torgove has toured internationally with the Boston Camerata and can be heard on their recording The Sacred Bridge on the Erato label. As a stage director, Ms. Torgove has directed Menotti’s Amahl and the Night Visitors for MIT, Stravinsky’s The Rake’s Progress, Britten’s The Little Sweep, Hans Krása’s opera Brundibár, A Kurt Weill Cabaret, and Britten’s Noye’s Fludde for the Cantata Singers, as well as John Harbison’s Full Moon in March and Lucas Foss’ Griffelkin with the Boston Modern Orchestra Project. This season, with Emmanuel Music, Ms. Torgove will be the stage director and will be singing the role of Desiree Armfeldt in Stephen Sondheim's A Little Night Music to be performed at the Boston Conservatory Theater. She has been on the faculty of the Opera Institute at Boston University, New England Conservatory, Boston Conservatory, and the Walnut Hill School for the Arts. She currently teaches at the Longy School of Music and Hebrew College, where she is the Head of Vocal Arts. Ms. Torgove recently received her Masters in Jewish Studies and was ordained as a Cantor in June 2012 from Hebrew College in Newton, Massachusetts.
Praised for her “bejeweled lyric soprano" (Boston Globe), as "a marvel of perfect intonation and pure tone" (New York Arts), and with a voice of “extraordinary suppleness and beauty” (New York Times), soprano Teresa Wakim was first prize winner of the 2010 International Soloist Competition for Early Music in Brunnenthal, Austria. Much sought after in Europe and North America for her interpretations of concerted repertoire, she has performed under the batons of such conductors as Roger Norrington, Harry Christophers, Laurence Cummings, Martin Haselböck, Ton Koopman, and Nicholas McGegan. Noted solo engagements include Bach’s Mass in B Minor, St. John Passion, and Magnificat with the Amsterdam Baroque Orchestra, Bach’s Wedding Cantata and Mendelssohn’s Hear My Prayer with the Cleveland Orchestra, Bach's Missa Brevis with the San Francisco Symphony, Monteverdi's Vespers with Boston Baroque, Bach's Magnificat with Wiener Akademie Orchester, Brahms's Ein Deutsches Requiem with the Omaha Symphony, Bach's Mass in B Minor with Louisiana Philharmonic, Mozart's Exsultate Jubilate with New World Symphony and the Handel and Haydn Society, Handel's Messiah with the Charlotte, San Antonio, Alabama, and Tucson symphonies, and Orff's Carmina Burana with Boston Landmarks Orchestra. In addition, she performs with many of North America's top early music ensembles, including Mercury Baroque Orchestra, Apollo's Fire, Vancouver Early Music, Dallas Bach Society, and Atlanta Baroque Orchestra. She has portrayed and recorded operatic roles from Monteverdi to Mozart, including the roles of Flore, Aréthuse, and Daphne on the 2015 Grammy-winning Best Opera Recording of Charpentier’s La Descente d'Orphée aux Enfers and La Couronne de Fleurs with the Boston Early Music Festival.
Jason Wang, tenor, performs a wide range of repertoire with many of Boston's leading ensembles such as Boston Baroque, Boston Lyric Opera, the Schola Cantorum of Boston, and Emmanuel Music. He has recently appeared as a soloist in Haydn’s Theresienmesse and Part-Songs, Handel’s Messiah, Monteverdi's Vespers of 1610, and with the King's Chapel Choir in Handel's Nisi Dominus. His previous concert work includes performances with Boston Baroque, the Boston Modern Orchestra Project, the Mark Morris Dance Group as part of the Fleet Bank Celebrity Series, the Marsh Chapel Choir and Collegium, as a soloist with the Boston University Baroque Orchestra conducted by Martin Pearlman, and with the Cambridge Concentus under the direction of Joshua Rifkin. Mr. Wang most recently appeared with Emmanuel Music in performances of John Harbison's The Great Gatsby.For three seasons Mr. Wang performed with Opera Boston, appearing in their productions of Shostakovitch's The Nose and Offenbach's The Grande Duchesse of Gérolstein among others. Additional operatic engagements have included performances with the Boston University Opera Institute, the Handel and Haydn Society, Boston Youth Symphony Orchestras in Verdi's Rigoletto, and with Boston Lyric Opera in Wagner’s Der fliegende Holländer. Mr. Wang is a graduate of Cornell University and the Boston University College of Fine Arts and can be heard on recordings released on the Albany and Linn labels.
Soprano Kristen Watson, hailed by critics for her “blithe and silvery” tone and “winning stage presence”, has made solo appearances with the Orpheus Chamber Orchestra, Mark Morris Dance Group, American Classical Orchestra, Handel and Haydn Society and Boston Baroque at such venues as Walt Disney Concert Hall, Alice Tully Hall, and Boston’s Symphony Hall. A former Lorraine Hunt Lieberson Fellowship recipient, Ms. Watson recently appeared as Anne Trulove in Emmanuel Music’s production of The Rake’s Progress. Praised for her “keen musicianship, agility and seamless control,” Ms. Watson has been recognized by the Concert Artists Guild, Oratorio Society of New York, Joy in Singing, American Bach Society, and Louisville Bach Society competitions. Opera audiences have heard her in productions with Boston Lyric Opera, Opera Boston, Intermezzo Opera, Opera Providence, Opera Theatre of Pittsburgh and the Boston University Opera Institute in such roles as Tytania in A Midsummer Night’s Dream and Adele in Die Fledermaus. A versatile crossover artist, she has also performed frequently with the Boston Pops in programs ranging from Mozart to Richard Rodgers. Additional solo performances include the Boston Early Music Festival, Carmel Bach Festival, Aston Magna Festival, Boston Modern Orchestra Project, Boston Landmarks Orchestra, Evansville Philharmonic, Topeka Symphony, Gulf Coast Symphony, Pittsburgh Camerata, Walden Chamber Players, and Musicians of the Old Post Road.
Critics have praised Brenna Wells for her "angelic", "soaring", and "captivating" soprano voice. Her operatic roles include Galatea in Acis and Galatea, First Witch Purcell’s Dido and Aeneas, La Musique in Charpentier's Les Plaisirs de Versailles, and she was Première Nymphe de l’Acheron in the Boston Early Music Festival’s production and Grammy-nominated recording of Lully’s Psyché. Ms. Wells has sung and recorded with such acclaimed ensembles as the BEMF Orchestra, Blue Heron, Britten-Pears Baroque Orchestra, Boston Baroque, Opera Boston, L’Académie, Seraphic Fire, and the Handel and Haydn Society. She has appeared in many festivals world-wide including the London Handel Festival, Aldeburgh Festival, Amherst Early Music Festival, BBC Proms and in both 2008 and 2009, she was selected to perform in the Early Music Seminars at the Fondazione Giorgio Cini in Venice, Italy. Highlights from recent seasons include her soloist debut at Symphony Hall under the direction of Harry Christophers as well as soloist debuts with Emmanuel Music, Boston Baroque, Ensemble VIII, and Boston Cecilia among others. She performed in the Yale Choral Artists' inaugural season, under the baton of William Christie, and will return as a soloist in their performance of Mozart’s Mass in C Minor under director, Jeffrey Douma. The 2013-2014 Season also includes solo appearances with the Handel and Haydn Society, Albuquerque Baroque Players, and a return to the Boston Early Music Festival’s tour of the Charpentier Opera Double Bill: La Descente d’Orphée aux Enfers and La Couronne de Fleurs to Victoria, British Columbia and New York.
Soprano Jayne West has performed with many of the country's leading orchestras and chamber groups, including the Boston Symphony Orchestra, Philadelphia Orchestra, National Symphony, Detroit Symphony, Orchestra of St. Luke, the Handel and Haydn Society, and St. Paul Chamber Orchestra under conductors Seiji Ozawa, Bernard Haitink, Trevor Pinnock, Neeme Järvi, Roberto Abbado, Jesus Lopez-Cobos, Christopher Hogwood, Jane Glover, Grant Llewellyn, and Keith Lockhart. She has sung at the Edinburgh Festival, Tanglewood Music Festival, Grant Park Series, Saito Kinen Festival, and with the Brussels National Opera, Houston Grand Opera, The New Israeli Opera Tel Aviv, and Boston Lyric Opera. Ms. West has been a member of Emmanuel Music since 1987. Ms. West has recorded for Hyperion, Decca/Argo, MusicMasters, CRI, Koch, Telarc, London Records and Newport Classics. She performs in duet with Lorraine Hunt Lieberson on the Lorraine at Emmanuel CD on Avie Records and in duet with Don Wilkinson on Classic American Songs. Ms. West is on the faculty at Longy School of Music of Bard College, New England Conservatory Continuing Education, and is Community Connections Coordinator for Emmanuel Music.
Baritone Dana Whiteside has appeared as soloist in numerous offerings of oratorio and orchestral works including the Boston premiere of Kurt Weill’s “The Prophets” from The Eternal Road, and in the Bach Saint John Passion and Mass in B Minor and the Boston premiere of John Harbison’s Supper at Emaus with the Cantata Singers. In addition he has appeared as soloist in Brahms’ Ein Deutsches Requiem, Bach’s Christ lag in Todesbanden, and Handel’s Alexander’s Feast, Beethoven’s Ninth Symphony and Mass in C, Carl Orff’s Carmina Burana, Benjamin Britten’s Cantata Misericordium as well as Stravinsky’s Pulcinella, and Bach’s Christmas Oratorio and Cantata 82 (Ich habe genug) as well as the Boston premiere of John Harbison’s Winter’s Tale with the Boston Modern Orchestra. An avid recitalist, Mr. Whiteside has offered a wide range of programs on themes inspired by beauty of Venice, the writings of William Shakespeare and French cabaret. He has appeared on the Vox Humana Series and at Boston’s French Library/Société Française and with the Florestan Recital Project. He has performed at University of Oregon and Boston University in Schumann’s Liederkreis, op. 39, Samuel Barber’s Despite & Still, Beethoven’s An die ferne Geliebte, John Musto’s Shadow of the Blues: Songs to Texts of Langston Hughes, Ernest Chausson’s Serres Chaudes, and Aaron Copland’s Songs on Texts of Emily Dickinson. Among the highlights of last season were his recital debut with Musicians of the Old Post Road, his performance as baritone aria soloist in Bach’s Saint Matthew Passion with Masterworks Chorale, the recital programs “Milton’s Sweet Echo”, “Shakespeare’s Songs,” and “Venetian Melodies” and the role of Count Carl Magnus in Stephen Sondheim’s A Little Night Music with Emmanuel Music. Upcoming appearances for 2014-2015 season include baritone soloist with the Cantata Singers in Cantata #195 Dem Gerechten (For the Righteous) and in Handel’s Messiah with Worcester Music at Mechanics Hall and the role of Jesus in Bach’s Saint John Passion which he will sing in the Bach Festival at University of Massachusetts at Amherst and with Emmanuel Music as well as Ralph Vaughan Williams A Sea Symphony with Manchester Choral Society & Orchestra and Claudio Monteverdi’s Vespers of 1610 with Boston Baroque.
Described as possessing a “remarkably clear, flexible lyric tenor,” and a “radiant tone, Zachary Wilder is a sought-after performer on the operatic and concert stage. He has performed with ensembles including Apollo’s Fire, Ars Lyrica Houston, Back Bay Chorale, Blue Heron, Boston Early Music Festival, Cappella Mediterranea, Ensemble Médical de Munich, Emmanuel Music, A Far Cry, Mark Morris Dance Group, and Les Ombres. He debuted in Europe with Mercury Baroque in Lully’s Armide at the Théâtre de Gennevilliers. In 2011 he performed as Coridon in Handel’s Acis and Galatea at Festival D’Aix en Provence and at La Fenice in Venice. Mr. Wilder was a Lorraine Hunt Lieberson Fellow at Emmanuel Music, a Gerdine Young Artist at the Opera Theatre of Saint Louis, Adams Vocal Masterclass Fellow at the Carmel Bach Festival, and a Tanglewood Music Center Fellow. He can be heard on BEMF’s Grammy-nominated recording of Lully's Psyché, and on their recordings of Charpentier's Actéon and John Blow's Venus and Adonis (CPO). Performance highlights include many Handel roles: Grimoaldo in Rodelinda, San Giovanni in La Resurrezione, and Mordecai in Esther. Other roles include Telemaco/Pisandro in Monteverdi's Il Ritorno D'Ulisse and Vespers of 1610; Haydn's Creation and Seasons, the Evangelist in Bach's St. John’s Passion and St. Matthew Passion, Charpentier's Te Deum, Mozart's Requiem, and Mercurio in Zamponi's Ulisse nell'Isola di Circé, to be released on Ricercar. He will be joining Le Jardin des Voix on tour in 2013, and will play Osman in BEMF’s production of Handel's Almira. More information can be found at http://www.zacharywilder.com
American bass-baritone Donald Wilkinson is celebrating his 32nd year as a professional singer and member of Emmanuel Music. He has enjoyed a distinguished career in concert, opera, oratorio, recital, and contemporary music, and has appeared throughout the US and Canada. He made his European debut performing the role of Dionysos in the world premiere of Theodore Antoniou’s opera, The Bacchae at the Acropolis in Athens, Greece. Since that debut, he has appeared in Australia, New Zealand, Finland, Sweden, Germany, France, England, and Holland. He has performed under such acclaimed conductors as Seiji Ozawa, Craig Smith, Michael Tilson Thomas, Gunther Schuller, John Harbison, Ryan Turner, Grant Llewellyn, Christopher Hogwood, Gil Rose, and Oliver Knussen. Mr. Wilkinson’s discography includes Ned Rorem’s soon-to-be-realeased Our Town on BMOP Sound; the role of President Abraham Lincoln in the World Premiere recording of Eric Sawyer’s Our American Cousin, also on BMOP Sound; the title role on the internationally acclaimed Johnny Johnson by Kurt Weill on Erato Disques; and John Harbison’s Recordare on Koch International Classics. Mr. Wilkinson was a recipient of a Tanglewood fellowship. He teaches voice at Phillips Academy, Andover and currently resides in Nahant, MA. This June 2014, Mr. Wilkinson will be producing the first Nahant Music Festival.
Soprano Shari Alise Wilson is among the new generation of singers specializing in early and modern music, demonstrating great versatility and stylistic sensitivity. Recent highlights include performances at the Houston Early Music Festival with La Donna Musicale, Bach’s Magnificat with American Bach Soloists, Handel’s Messiah with Austin’s Ensemble VIII, David Lang’s Little Match Girl Passion with Boston Modern Orchestra Project, Haydn’s Creation (Angel) with Marsh Chapel Collegium, and the New York debut of Kile Smith’s Vespers with Piffaro and The Crossing Choir. She made her New York City solo debut in 2006 at Merkin Hall in the world premiere performance of Benjamin C.S. Boyle’s Cantata: To One in Paradise, and has travelled to the Festival of Two Worlds in Spoleto, Italy, where she performed in choral concerts and operas, most notably working with Gian Carlo Menotti in Amahl and the Night Visitors. Engagements this season include concerts with Conspirare at the International Polyfollia Choral Music Festival in Saint-Lô, France, Haydn’s Theresienmesse with Cambridge Concentus, works by Bach and Monteverdi with Seraphic Fire (Miami), soprano soloist with the Boston Cecilia, and Handel’s Messiah with Ensemble VIII; she will also join Exsultemus for their 10th Anniversary season. She can be heard on the newly-released Blue Heron disc of Nicholas Ludford’s Missa Regnum mundi and on Kile Smith’s Vespers with Piffaro and The Crossing Choir.
Majie Zeller has received critical praise for the "opulent tone" and "warmth of expression" she brings to her performances of opera, oratorio, and song. Her operatic appearances include roles in Nixon in China, Candide, and Ainadamar with Opera Boston; and Madama Butterfly, Akhnaten, and Resurrection with Boston Lyric Opera. As a member of Cantata Singers, she appeared as Mother Goose in The Rake’s Progress and Mrs. Noye in Noye’s Fludde, and has been a soloist in the Bach St. Matthew Passion and B minor Mass, Schumann’s Faust, Mozart Requiem and many cantatas. She can be heard on the Cantata Singers’ CD of John Harbison’s Four Psalms on New World. She has also appeared as a soloist with Emmanuel Music, Boston Classical Orchestra, Granite State Opera, Monadnock Music, Michigan Opera Theater, Chorus pro Musica, and many other performing organizations. Upcoming performances include A Little Night Music with Emmanuel Music in January 2014.