Hailed as “powerfully expressive” (Boston Classical Review) and an “effervescent” conductor of “finesse” (Boston Globe) Ryan Turner stands alone for his masterful interpretations of Bach, Britten, Mendelssohn, and Harbison. Now in his 16th season as Artistic Director of Emmanuel Music in Boston, Mr. Turner has established himself as a sterling conductor and innovative programmer. Passionate and assiduously fluent in the music of Bach, Mr. Turner has conducted the complete cycle of 200 sacred Bach cantatas, as well as the complete masterworks of Bach: St. John Passion, St. Matthew Passion, his own reconstruction of the St. Mark Passion, Mass in B minor and Christmas Oratorio, the complete Orchestral Suites and performances at the Bachfest in Leipzig. In addition, he has led major works by Stravinsky, Mozart, Handel, Britten and Harbison. A champion of new music, Turner has programmed and premiered the works of composers John Harbison, Errollyn Wallen, Matthew Aucoin, James Primosch, Jonathan Bailey Holland, Kati Agócs, Julian Grant, Damien Geter, Zanaida Robles, Elena Ruehr, and Omar Najmi, including 20 commissions for Emmanuel Music. Ryan Turner is Director of Vocal Ensembles at MIT where he is conductor of the Concert Choir and Chamber Chorus. Raised in El Paso, Texas, Mr. Turner holds degrees from Southern Methodist University and Boston Conservatory. He lives north of Boston with his wife, soprano Susan Consoli, and their two children, Aidan and Caroline.

Charles Blandy has been praised as “unfailingly, tirelessly lyrical” (Boston Globe); “a versatile tenor with agility, endless breath, and vigorous high notes” (Goldberg Early Music Magazine). Recent performances include Handel’s Messiah with Saint Paul Chamber Orchestra; the role of Belmonte in Mozart’s Abduction from the Seraglio with Emmanuel Music; Monteverdi’s Il Ritorno d’Ulisse, Vespers of 1610, L’Orfeo, and assorted madrigals with Boston Early Music Festival; Bach’s B minor Mass with the American Classical Orchestra (NYC) at Lincoln Center; and St. Matthew Passion with the American Bach Soloists (SF, CA). He is a regular in Emmanuel’s Bach ongoing cantata series. With them he has also appeared in John Harbison’s The Great Gatsby; as the Evangelist in the Bach Passions; and in Stravinsky’s Rake’s Progress, Mozart’s Magic Flute, and Handel’s Ariodante. In recent years he has also sung with the Portland Baroque Orchestra; the National Chorale, Bach Choir of Bethlehem, Handel and Haydn Society, Boston Baroque, Exsultemus, Charlotte Symphony, Berkshire Choral Festival, Pittsburgh Bach and Baroque. He is adept in contemporary music: He appeared in the world premiere of Osvaldo Golijov’s Ainadamar starring Dawn Upshaw; premiered Rodney Lister’s chamber song cycle Friendly Fire with Collage New Music; appeared with Boston Modern Orchestra Project in Thomson’s Four Saints in Three Acts; and is on a Naxos CD of Scott Wheeler’s Construction of Boston. His studies have been at Tanglewood, Indiana University, and Oberlin College. He is originally from Troy NY

American mezzo-soprano Deborah Rentz-Moore has been called “captivating” (ClassicsToday.com) and is known for her “deep, radiant clear tone” (Early Music America) and “burnished low tones” (Boston Classical Review). She enjoys frequent solo collaborations with Emmanuel Music, The Boston Camerata and Aston Magna and has been featured with celebrated ensembles such as The Boston Early Music Festival, Handel+Haydn Society, The Bach Sinfonia, Magnificat Baroque, Voices of Music, Tapestry Boston and El Mundo. She has appeared at Lincoln Center, Boston Symphony Hall, Jordan Hall, Hill Auditorium, The Paris Philharmonie, the Finnish Opera, The Utrecht Early Music Festival, Prague Spring Festival and Tanglewood. A member of Emmanuel Music’s famed weekly Bach cantata series since 1999, Ms. Rentz-Moore has consistently earned critical acclaim for operatic and oratorio roles in Emmanuel’s performances of Bach, Mozart, Handel, Purcell, Stravinsky and Harbison. Ms. Rentz-Moore’s recordings on the Musica Omnia, Centaur, Meridian and Harmonia Mundi labels span styles from medieval chant to 21st-century compositions.  Her two recent recordings with The Camerata, “Free America” and “Hodie Christus Natus Est” have met with critical and popular success, with the later debuting at #11 on Billboard’s Traditional Classical Chart.  She appears on video with Voices of Music, Emmanuel Music, and The Boston Camerata. Holding a Master of Music in Voice performance from the University of Michigan and a Bachelor of Arts in Music (voice) and Environmental Science from Skidmore College, Ms. Rentz-Moore has taught on the voice faculty of the University of Rhode Island and the Seacoast Academy of Music, and is Resident Artist in Voice at the University of New Hampshire.

Baritone Dana Whiteside has appeared as soloist in numerous oratorios and orchestral works including the Boston premiere of Kurt Weill’s “The Prophets” from The Eternal Road, Bach’s St. John Passion and Mass in B Minor, and the Boston premiere of John Harbison’s Supper at Emmaus. In addition, Mr. Whiteside has been soloist in Brahms’s Ein Deutsches Requiem; Bach’s Christmas Oratorio and cantatas BWV 4, Christ lag in Todesbanden, and BWV 82, Ich habe genug; Beethoven’s Missa Solemins, Mass in C Major and the Ninth Symphony; Carl Orff’s Carmina Burana; Benjamin Britten’s Cantata Misericordium; and Stravinsky’s Pulcinella as well as the Boston premiere of John Harbison’s Winter’s Tale with the Boston Modern Orchestra Project. A product of the New England Conservatory of Music and the Tanglewood Music Center, Mr. Whiteside is an avid recitalist, and has performed a wide range of programs with groups like Musicians of the Old Post Road and the Florestan Recital Project. He has given recitals at Boston’s French Library/Société Française, the University of Oregon and Boston University in offerings that include 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, Francis Poulenc’s Banalites, Aaron Copland’s Songs on Texts of Emily Dickinson, and Mahler’s Lieder eines fahrenden Gesellen (Songs of the Wayfarer) with orchestra. Recognized for singing with “dignity and sensitive phrasing” (Boston Classical Review) and possessing a voice of “noble clarity both powerful and resonant” (The Washington Post), Mr. Whiteside also enjoys affiliation with Cantata Singers and Skylark Vocal Ensemble.

Boston based soprano and flutist Mara Riley is recognized for her compelling musicality, having a particular affinity for early music, art song, and ensemble work. The 2025-2026 season brings performances with the Boston Early Music Festival in Boston, New York, and Germany. She will sing the role of Armillo in Provenzale’s La Stellidaura vendicante, and joins the company of Telemann’s Don Quichotte at the Magdeburger Telemann-Festtage. She sings with Aeternum in Napa Valley, CA, and attends Toronto Summer Music’s Art of Song program as a vocal fellow.

Recent solo appearances have been with Emmanuel Music, the Boston Early Music Festival (Telemann’s Don Quichotte), Sarasa Ensemble (Tavener’s Akhmatova Songs), Colorado Bach Ensemble (BWV 47, BWV 10), Nightingale Vocal Ensemble, the Boulder Bach Festival, Cambridge Chamber Ensemble (Handel’s Samson), Rhode Island Civic Chorale and Orchestra (Handel’s Messiah), and the Back Bay Chorale (Handel’s Israel in Egypt). She was a 2024/2025 Voces8 US Scholar. She received an honorable mention in the 2024 Calliope’s Call Young Singer Art Song Competition.

In 2023, she was named first prize winner in the Colorado Bach Ensemble’s Young Artist Competition. She was the 2023 soprano fellow with Emmanuel Music’s Bach Institute, and she has since sung regularly with Emmanuel Music.

She sang the role of Calisto in Cavalli’s La Calisto at the New England Conservatory. Other favorite opera roles have included: Mary Bailey in Heggie’s It’s a Wonderful Life, Flora in Britten’s The Turn of the Screw, Belinda in Purcell’s Dido and Aeneas, and Héro in Berlioz’s Béatrice et Bénédict. As a baroque flutist, she has performed with Blue Hill Bach, Boston Early Music Festival, and the Handel + Haydn Society (upcoming). She recently completed a double masters (MM ‘24) in Flute and Vocal Performance at the New England Conservatory.

Claire Huchthausen is a PhD student at MIT studying nuclear and particle physics under Dr. Janet Conrad. During her undergraduate studies at the University of Virginia, she sang with the University’s flagship choral ensemble, the University Singers, and in chamber music. With the University Singers she performed in major works such as Rachmaninoff’s All Night Vigil, Mozart’s Requiem, the regional premiere of Johnson’s Considering Matthew Shepard, and the North American premiere of Ešenvalds’ St. Luke Passion. She has recently joined the MIT Chamber Chorus.

Penney Pinette grew up in the untamed woods of Maine where she spent hours studying the shapes and colors in nature. Creating clothes for leading ladies, starlets, ingénues, and dancers yielded an understanding of how to make flattering forms functional. As a Boston-based designer focusing on dance and theatre, she enjoyed employment as a draper for Huntington Theatre Company, and also supervised the costume shop at Tufts University. In addition to designing, she currently manages the costume shop and teaches at Boston University. Some of her work has been with local puppeteer Bonnie Duncan of They Gotta Be Secret Agents, theater companies like New Repertory Theatre, and others in the local dance community, including Prometheus Dance, Contrapose Dance, Cary McKinley, and Fort Point Theater Productions. She has designed costumes for the Boston Conservatory dance department. Recent work has included Brickbox’s Theatre production of Much ado about Nothing and Doubt. This is her debut adventure working with Emmanuel Music in collaboration with MIT.

Jessica Elliott’s recent Associate Lighting Design credits: Boston Lyric Opera: Macbeth, Romeo & Juliet. A.R.T.: The Odyssey, WILD, Macbeth in Stride, Chasing Magic. Recent and upcoming Design credits: Wheelock Family Theatre: Annie. Commonwealth Shakespeare Company: A Christmas Carol (Co-Design), Ancram Opera House: Invasion!. This fall, Jessica is a member of the lighting design faculty at both Boston University and Emerson College. She holds her MFA in Lighting Design from Boston University.

Delene Beauchamp studied stage and production management at Emerson College, where he was PSM for How We Got On, First ASM for Mary, Sweet Mary... and served as the Production Manager of emShakes. Professional credits include ASM for American Moor (Lantern Theatre Company) and Props Manager for The Wanderers (The Lantern). Delene is delighted to be a part of the Dido’s Ghost team and thanks Rebecca, Brad, Aaron, and all my friends and family in Boston for their love and support!

While pole dance has become most of their identity, Olivia Moon is also a photographer, sock-lover, martini enthusiast, princess, and simp. Based in Boston, Olivia is curious about pushing boundaries and buttons of all sorts; WBUR named her as one of 15 artists of color making an impact in Boston. It’s the closest to 30 under 30 she’ll ever get. With movement and visual arts as vehicles, Olivia finds nourishment beyond herself where weightlessness meets seemingly impossible feats. Currently, Olivia is exploring collaborative group pole installations and trying to stay afloat.

Sarah Konner is a dance artist, improviser and somatic movement educator. Sarah creates dance-theater with Austin Selden and others that has been shown at performance venues, universities, and museums across the country. She has had the pleasure of working with Jeanine Durning, ChavasseDance&Performance, Shura Baryshnikov, Sarah Shelton Mann, Jenna Reigel, Gabrielle Revlock, Heidi Henderson, Megan Kendzior, Alex Springer and Xan Burley, Headlong Dance Theater, and setGo Performance. Sarah is currently an Associate Professor at the Boston Conservatory. She holds an MFA in Dance from Smith College and certification in Body-Mind Centering®

Cassie Wang (she/her) is a Boston-based interdisciplinary artist exploring various mediums within the framework of contemporary dance performance. Originally from Kansas City, she received her B.A. from Pomona College in Computer Science with minors in Dance and Media Studies. Cassie is a principal dancer with KAIROS Dance Theater and a movement researcher with Partnering Lab. Other recent performance and collaboration credits include the Boston Lyric Opera, Paula Josa-Jones, The Slutcracker, Ilya Vidrin, and Shura Baryshnikov. Cassie was the 2024–25 Dancemakers Resident at the Boston Center for the Arts, a 2024–25 Next Steps for Boston Dance grantee, and a 2025 danceWEB Scholar at ImPulsTanz. Her work has been presented by Arrow Street Arts, Asian American Ballet Project, Resilience Dance Company, and Cotuit Dance Festival. Her artistic endeavors embody a relentless pursuit for an understanding of Self in relation to surrounding circumstances and works to capture feelings of chance, existential intimacy.

Wesley Stace was born in Hastings, East Sussex in 1965. He released many albums under the name John Wesley Harding, before switching back to his birth name for more recent recordings, including 2021’s Late Style. He has recorded duets with, among others, Bruce Springsteen, Lou Reed, and Rosanne Cash. Stace has published four novels, including the international bestseller Misfortune, and recently co-wrote Mark Morris’ memoir Out Loud. He also created Cabinet of Wonders, a monthly show that plays at New York City’s City Winery, and which The New Yorker called “one of the finest nights of entertainment this city has to offer.” He has taught at Princeton, Swarthmore and Fairleigh-Dickinson, and writes regularly for the Times Literary Supplement and the Wall Street Journal. He lives in Philadelphia.

Hailed as “powerfully expressive” (Boston Classical Review) and an “effervescent” conductor of “finesse” (Boston Globe) Ryan Turner stands alone for his masterful interpretations of Bach, Britten, Mendelssohn, and Harbison. Now in his 16th season as Artistic Director of Emmanuel Music in Boston, Mr. Turner has established himself as a sterling conductor and innovative programmer.

Passionate and assiduously fluent in the music of Bach, Mr. Turner has conducted the complete cycle of 200 sacred Bach cantatas, as well as the complete masterworks of Bach: St. John Passion, St. Matthew Passion, his own reconstruction of the St. Mark Passion, Mass in B minor and Christmas Oratorio, the complete Orchestral Suites and performances at the Bachfest in Leipzig. In addition, he has led major works by Stravinsky, Mozart, Handel, Britten and Harbison. A champion of new music, Turner has programmed and premiered the works of composers John Harbison, Errollyn Wallen, Matthew Aucoin, James Primosch, Jonathan Bailey Holland, Kati Agócs, Julian Grant, Damien Geter, Zanaida Robles, Elena Ruehr, and Omar Najmi, including 20 commissions for Emmanuel Music. Ryan Turner is Director of Vocal Ensembles at MIT where he is conductor of the Concert Choir and Chamber Chorus.

Raised in El Paso, Texas, Mr. Turner holds degrees from Southern Methodist  University and The Boston Conservatory. He lives north of Boston with his wife, soprano Susan Consoli, and their two children, Aidan and Caroline.

Shura Baryshnikov is a performer, director, and choreographer who works broadly across dance, theatre, and opera. She co-founded the contemporary dance project Doppelgänger Dance Collective and the Contact Improvisation research and performance ensemble SetGo. Shura has collaborated closely with dance artists Paul Singh, Sarah Konner, Heidi Henderson, Besty Miller, and Gabriel Forestieri, among others, and with theatre directors such as Anne Bogart, Melia Bensussen, Maria Mileaf, and Kimberly Senior. Choreographic and performance credits include projects with Apple TV, Hartford Stage Company, Baryshnikov Arts, Trinity Repertory Company, FirstWorks, Motion State Arts, Emmanuel Music, Urbanity Dance, The Gamm Theatre, Odyssey Opera, and the Contemporary American Theater Festival. Baryshnikov also directed Svadba, a cinematic opera for Boston Lyric Opera, which received the award for Artistic Creation at the 2nd Annual OPERA America Awards for Digital Excellence in Opera in 2023. Shura is an Associate Professor of the Practice in Theatre Arts & Performance Studies at Brown University and a certified Countertechnique® teacher, a movement system to help the dancer think about the dancing body, focusing on the process of incorporating information into action. A proud union member, Shura holds memberships with Actors’ Equity Association, the American Guild of Musical Artists, and the Stage Directors and Choreographers Society.

An elastic singer praised for his “amusing” and “eloquently versatile voice” (Boston Music Intelligencer), baritone David Thomas Mather performs a wide body of repertoire, including early Baroque, German Lieder, and musical theatre, drawing inspiration from classical and contemporary styles in his singing. He regularly appears as a soloist with Emmanuel Music, Calliope’s Call, Odyssey Opera, and the Henry Purcell Society of Boston, and enjoys working as an ensemble singer with Capella Clausura, Carduus, the Marsh Chapel Choir, and the Choirs at Trinity Church, Copley. Recent concert performances include Carl Orff’s Carmina Burana with the Newburyport Choral Society, the St. John and St. Matthew Passions, Handel’s Messiah, BWV 123, BWV 106, BWV 140, and John Eccles’ Macbeth. David has been pleased to work collaboratively with modern opera composers including Christopher Theofanidis, Gabriela Lena Frank, and Mark Adamo, and has premiered new pieces by GRAMMY-winner Jennifer Higdon, Jonathan David, Eric Sawyer, and Niloufar Nourbakhsh. David holds his BM in Vocal Performance and Theatre Minor from DePauw University, and both an MM in Historical Performance (Voice) and a Graduate Performance Diploma (Chamber Music) from the Longy School of Music of Bard College. When he isn’t singing, you can find David pursuing graphic and web design, running games of Dungeons and Dragons, and mixing craft cocktails for friends at home.

Known for her vivid and touching vocal performances, Boston native mezzo-soprano Katherine Maysek is an artist equally at home on the stage and in the concert hall.Katherine debuted with the the Boston Symphony Orchestra with maestro Andris Nelsons in 2019. Local collaborations include Emmanuel Music, Odyssey Opera, the Newburyport Choral Society and the Boston Lyric Opera.

Ms. Maysek was a “standout” (The Wall Street Journal) as Cherubino in John Corigliano’s The Ghosts of Versailles at The Glimmerglass Festival. She reprised the role in her European debut at the Château de Versailles Spectacles. Katherine made her Carnegie Hall debut with the American Symphony Orchestra in a rare production of Max von Shillings’ Mona Lisa. Katherine’s oratorio collaborations include the Concord Chorale, Burlington Choral Society, The Orchestra Now and the Blanche Moyse Chorale among others. Katherine’s concert repertoire includes Stravinsky’s Pulcinella with maestro Gerard Schwarz, Vivaldi’s Gloria with maestro James Bagwell and numerous Bach oratorios.

Katherine has appeared with the Des Moines Metro Opera, Tanglewood Music Center, Odyssey Opera, Opera Saratoga and the Berkshire Opera Festival. Katherine received her bachelors degree from McGill University and her masters degree from Bard College Conservatory’s Graduate Vocal Arts Program.

Morgan Mastrangelo is a concert and stage artist based in Boston, MA. In concert, they sang the tenor solo in Handel’s Messiah with the Hudson Valley Philharmonic Orchestra and have made repeated appearances with Bach in Baltimore, singing the solos and ensembles in BWV 4, 140, and 182. Other concert credits include the tenor solos in Rossini’s Petit Messe Solenelle (Opera Saratoga), Verdi’s Requiem, (Fifth Avenue Presbyterian Church), and Orff’s Carmina Burana — their solo debut at Carnegie Hall — with the New England Symphonic Ensemble.

On the operatic stage, Morgan’s 2023 season included  role and company debuts with Wichita Grand Opera (Count Almaviva, Il Barbiere di Siviglia), The New York Gilbert and Sullivan Players (Frederic, The Pirates of Penzance) and City Lyric Opera (Gastone, La Traviata). Morgan sings frequently in professional choirs throughout the east coast. Prior to their position at Emmanuel they appeared throughout New York City at Carnegie Hall (American Symphony Orchestra), The Cathedral of St. John the Divine (Early Music New York), and Alice Tully Hall (American Classical Orchestra).  In October 2023, they will join the chorus of GRAMMY® Award Winning ensemble Apollo’s Fire for Handel’s Israel in Egypt — their New York Philharmonic debut. They are the recipient of the Dean’s Scholarship at New England Conservatory for 2023-2025 and are currently pursuing a Master of Music with Bradley Williams.

Recent solo highlights for soprano Sonja DuToit Tengblad include Shostakovich Symphony 14 with A Far Cry, Mahler’s 2nd Symphony with the Boston Philharmonic, Barber’s Knoxville: Summer of 1915 with the Boston Landmarks Orchestra, Monteverdi’s L’incoronazione di Poppea (Drusilla, Fortuna) with Boston Baroque; Puccini’s Suor Angelica with the Boston Symphony Orchestra and the Lorelei Ensemble, Bach’s St. John Passion with the Handel and Haydn Society, Knussen’s Symphony No. 2 with the Boston Modern Orchestra Project, the annual Bach Roots Festival in Minnesota, and her Carnegie Hall and Lincoln Center debuts with the New York City Chamber Orchestra. She was awarded 2nd place in the 2014 American Prize competition’s art song and oratorio division.

A champion of modern music, Ms. Tengblad curated the award-winning touring program Modern Dickinson, launched recital project BeatSong for soprano and percussion. She sings with the Grammy-winning ensemble Conspirare on tours of Considering Matthew Shepard and with the Lorelei Ensemble who premiered Julia Wolfe’s HerStory with five national symphonies. She founded Beyond Artists in 2019 and with every performance donates to Braver Angels, Singers of this Age, and the Eden Reforestation Project. She is the coordinator of the Mothers Out Front team in East Boston, where she lives with her family.

Ananeah Nevil is a first-year student at MIT interested in Biological Engineering, a 2025 Emerson voice scholar, and a member of the MIT chamber chorus. Ananeah graduated from Sidwell Friends School in Washington DC in 2025. She trained as a classical vocalist (Opera) at the Peabody Institute of the Johns Hopkins from 2021-2025 and was selected into the Peabody Vocal Performance Academy in 2022. She has won the Peabody Honors Competition (2025), Peabody Achievement award (2023) and placed in the top 2 positions at the National Association of Teachers of Singing (NATS) MD/DC chapters every year since 2021. Ananeah had major roles in all four years of the theater and musical productions in high school, including the lead role of Molly in Peter and the Starcatcher, Gretchen in Mean Girls, and Mrs. Tottendale in The Drowsy Chaperone. She was the head of the Sidwell a cappella group, Passing Notes, and lead soprano in their chamber chorus. She also plays the flute and piano. Ananeah has conducted research in Immunology at the University of Maryland for the past four years and was a national Top 300 scholar in the 2025 Regeneron Science Talent Search. She was a varsity rower in school and loves running and hiking. She is studying voice with Dr. Kerry Deal at MIT.

Ava Scanlon is a scenic designer and multidisciplinary artist from New Hope, PA, with a background in fine arts. Based on the East Coast, she recently completed her BFA in Theater Design and Technology at Emerson College (Class of 2025). Ava specializes in scenic design, props construction, and scenic painting, with additional experience in hair and makeup design. Her recent credits include Bat Boy: The Musical, Imogen Says Nothing, and Head Over Heels (Scenic Designer), as well as work on Cabaret (Scenic Charge) and A Doll’s House (Props Lead). She has collaborated with regional theaters and cruise lines, including the Bucks County Playhouse and Virgin Voyages, where she is currently a Scenic Associate.

Allison Voth is an associate professor of music at Boston University’s School of Music, and principal coach at Boston University’s Opera Institute. She concertized with Lucine Amara of the Metropolitan Opera and is widely known as a diction coach in Boston and throughout the U.S. She has worked with Opera Boston, Boston Lyric Opera, Emmanuel Music, Chautauqua Opera, Providence Opera, Granite State Opera, the Verismo Opera of New Jersey and Opera North. Festivals include Opera Unlimited, The Florence Vocal Seminar and the Athens Music Festival. Ms. Voth is recognized for her supertitles, which have been used in productions with the Washington Opera, the Chicago Symphony Orchestra, the Barbicon Festival in London, Beth Morrison Projects, Boston Modern Orchestra Project, Opera Boston, and Palm Beach Opera. For several years she had an ongoing collaboration with John Conklin as supertitle co-writer and designer for Boston Lyric Opera. As a champion of new music, she has performed and assisted in many premieres with ALEA III, Collage New Music, The New Music Consort, The Group for Contemporary Players, and The National Orchestra Association New Music Project. She is a specialist in the music of Paul Bowles and produced and performed in a multi-media production of music and readings entitled Paul Bowles: One Man, Two Minds at Merkin Hall in New York. The EOS Ensemble consequently invited her to participate in its Paul Bowles Festival in New York where she premiered a set of piano preludes. In 2011 as part of the Boston University Fringe Festival and BU’s yearly Incite Festival in New York, she co-produced and music directed a Paul and Jane Bowles centennial celebration. Ms. Voth is the Chamber Series Music Director for the Cantata Singers in Boston. She can be heard on CRI recordings

Sasha Peterson currently lives and dances in the Boston area. Sasha has worked with folks such as Ali Kenner Brodsky, Audrey Maclean, Betsy Miller, Boston Lyric Opera, CRCI, Grant Jacoby, Lisa Race, and Shura Baryshnikov. She is a company member at Ruckus Dance and VLA DANCE, and is also in process with Continuum Dance Project and Laila Franklin. She teaches at Midday Movement Series and is also a licensed massage therapist.

Joshua Tuason is a dance artist and educator based in Providence, RI. Associate Professor of Dance at the Boston Conservatory where he teaches Cunningham Technique and Alexander Technique. A Registered Somatic Movement Educator through ISMETA. President-elect of the Rhode Island Dance Alliance, a local non-profit that fosters community. Performance collaborations: Stephen Petronio Company, Yvonne Rainer, Pam Tanowitz, Dance Heginbotham, Merce Cunningham Trust. Gratitude to Shura and Emmanuel Music for this opportunity.