Seraphic Fire is a nationally recognized ensemble of professional singers chosen for their exceptional talent. Seraphic Fire flies these renowned artists to South Florida for intensive rehearsals followed by engaging performances and tours.
Praised for her “sweet clarion soprano,” Sara Guttenberg is a renowned American soprano known for her vocal versatility and “gorgeous timbre.” Recent solo engagements include Bach’s St. Matthew Passion with both Seraphic Fire and the University of Wisconsin-Madison Choral Union, and Mozart’s Requiem with the Aspen Music Festival Orchestra under the baton of Xian Zhang. Sara is a regular member of Grammy-nominated and award-winning ensembles such as Seraphic Fire, True Concord, Clarion Music Society, and the Oregon Bach
Festival chorus. She is a featured ensemble soloist on the Naxos recording of William Bolcom’s Songs of Innocence and of Experience, which received three Grammys.
In addition to performing, Sara has extensive teaching experience both as a voice teacher and a conductor. She serves as chorusmaster and the artistic education coordinator for Seraphic Fire, as well as a faculty member for the Ensemble Young Artist Program at UCLA and the Professional Choral Institute at the Aspen Music Festival. Sara is currently pursuing a doctorate at the University of Wisconsin-Madison in choral conducting.
With spirit and sensitivity, soprano Chelsea Helm brings a versatile voice to the concert stage. An active choral artist, Ms. Helm appears this season with GRAMMY®-winning Conspirare, GRAMMY® nominated True Concord Voices & Orchestra, the Santa Fe Desert Chorale, and GRAMMY® nominated Seraphic Fire.
Last season she enjoyed performances with the Bach Society of Houston and the Calvin Oratorio Society of Grand Rapids, Michigan, and was a Vocal Fellow with the Charlotte Bach Festival, under the direction of Scott Allen Jarrett.
A Michigan native, Ms. Helm has appeared as a concert soloist with the Grand Rapids Symphony, Kalamazoo Symphony Orchestra, Muskegon Symphony Orchestra, Brevard Festival Orchestra, and with University Orchestras at Rice University’s Shepherd School of Music and the University of Wisconsin La Crosse. Favorite performances include the Mozart Requiem and Orff’s Carmina Burana.
On the operatic stage, Ms. Helm has performed the roles of Norina in Don Pasquale (Janiec Opera Company), Nireno in Giulio Cesare and Nella in Gianni Schicchi (Shepherd School of Music), and Frasquita in Carmen (Soo Theatre Project). Named “West Michigan’s leading young soprano” by Opera Grand Rapids after winning their 2013 Collegiate Vocal Competition, she went on to join the company for several comprimario and chorus roles.
Ms. Helm holds a Master of Music in Voice Performance from the Shepherd School of Music at Rice University, and a Bachelor of Music in Voice Performance and Music Education from Western Michigan University. Also a WMU Gold Company alumna, Ms. Helm recorded a Downbeat award-winning album with vocal jazz quartet the Four Corners.
Ms. Helm is currently based in New York City and sings with The Fifth Avenue Presbyterian Church Chamber Choir.
Hailed as a “clear, agile soprano” (The Georgia Straight), Vancouver, Canada native Jane Long performs as a chamber singer, concert soloist, and recitalist. She is thrilled to be making her debut with Seraphic Fire in December.
In recent years, she has had the honor of studying with renowned musicians including Emma Kirkby, Andreas Scholl, Richard Egarr, and Ellen Hargis, and performing alongside accomplished artists like Suzie Leblanc, Sarah Connolly, Marc Destrubé, Laura Pudwell, and Charles Daniels.
Some of her recent highlights include Buxtehude’s Membra Jesu Nostri with Alexander Weimann, innovative performance and new music collaborations with Arkora Music Collective, solo concert performances with pianist Jane Coop, performances as soprano soloist in Early Music Vancouver’s all-women tour of Vivaldi Gloria and Magnificat, led by Monica Huggett, Handel’s Messiah conducted by Calvin Dyck, and Gerry Van Wyck, soprano soloist with Early Music Vancouver’s Praetorius Christmas Vespers project, directed by David Fallis, the Britten-Pears Baroque Vocal Programme, the Victoria Philharmonic Choir’s performance of J.S. Bach’s St John Passion, and singing the title role in Opera After Hours’ production of Dido and Aeneas. Jane Long has also joined the Vancouver Chamber Choir on tours of Eastern Canada and the United States, performing as soloist in their production of Bach Magnificat and Vivaldi Gloria with Symphony Nova Scotia.
Jane received her Bachelors of Music in Vocal Performance from the University of British Columbia and her Masters of Music in Vocal Performance from the Guildhall School of Music & Drama in London, England. She now works as a free-lance artist and lives in Washington State with her husband and three young children.
With a warm, clear voice that perfectly suits early and baroque music as well as choral ensemble work, Stefanie Moore’s vocal spark and flexibility are accompanied by a
musicality, intelligence, and sense of humor that make her performances “standout” (San Antonio Express News), “soothing and lovely” (Austin American Statesman), and “graceful” (Santa Fe New Mexican). Stefanie has performed in England, France, Hungary, Canada, and the United States,with The Austin Symphony, The New York Philharmonic, Charm City Baroque, Bach Sinfonia, Washington Bach Chorus, Third Practice, Simon Carrington Chamber Singers, San Antonio Bach, The Texas Early Music Project, AVE of San Francisco, and the California Bach Choir. Her London solo debut was a performance of Berlioz’s Nuits D’ete, soon followed by professional engagements as soloist for Haydn’s St. Nicholas Mass as well as the Mozart Requiem. On her return to the United States, Stefanie began a career as a professional chorister and baroque soloist, working with Craig Hella Johnson and the Grammy award-winning choral group Conspirare, the Grammy- nominated Seraphic
Fire, and the Santa Fe Desert Chorale.
In 2003, she was a soloist for the 100th Anniversary Stravinsky Celebration performance of the Mass and Cantata at the St. Francis Cathedral in Santa Fe, and was selected as the Victoria Bach “New Young Artist.” Stefanie has performed in England, France, Hungary, Canada, and the United States, with The Austin Symphony, The New York Philharmonic, Charm City Baroque, Bach Sinfonia, Washington Bach Chorus, Third Practice, Simon Carrington Chamber Singers, San Antonio Bach, The Texas Early Music Project, AVE of San Francisco, the California Bach Choir, and Tonality – a new
ensemble dedicated to promoting peace, unity and social justice. Stefanie resides with her family in Santa Monica, CA
Known for her “purity and flawless range” (South Florida Classical Review), soprano Sarah Moyer was exclusively featured in the 2014 the Boston Globe Magazine for her work as a professional singing artist and deemed her “the kind of church singer who will rock your sacred-music world”. As a soloist, her recent repertoire includes Celestial Sprites (a duo recital with pianist Nate Salazar), Handel’s Messiah with the Handel Society of Dartmouth College, Handel’s Messiah with Variant Six + Bourbon Baroque, Mozart’s Requiem and Theofanidis’ Four Levertov Settings at Aspen Music Festival with Seraphic Fire, Handel’s Ode for St. Cecilia’s Day with Emmanuel Music, Haydn’s Salve Regina with Masterworks Chorale, Vivaldi’s All’ombra di sospetto and Handel’s Nel dolce dell’oblio with Les Bostonades, American premieres of Melani’s Regina Coeli a5 and Teodora with Reed College Collegium, world premieres of Kallembach’s Easter Oratorio and Theofanidis’ Four Levertov Settings with Seraphic Fire, American premieres of Nørgård’s Nova Genitura and Seadrift with Lost Dog New Music Ensemble, Foss’ The Prairie with Boston Modern Orchestra Project, and Buxtehude’s Membra Jesu Nostri; she also “beautifully executed” (Miami Herald) the world premiere of Runestad’s The Hope of Loving with Seraphic Fire, and was described as “perfect for Baroque works… one wants to hear more from this obviously gifted singer” (South Florida Classical Review) for her brief performance in Handel’s My Heart is Inditing.
Ms. Moyer is simultaneously active as a vocal chamber music artist. Nationally she appears frequently with GRAMMY® nominated Skylark, GRAMMY® nominated Seraphic Fire, Santa Fe Desert Chorale, Conspirare, GRAMMY® nominated True Concord, Lorelei Ensemble, The Thirteen, and Ensemble Origo. She is a recipient of the 2015 St. Botolph Emerging Artist Award and was a finalist in the 2019 Handel Aria Competition.
Soprano Kathryn Mueller thrills with easy agility (San Francisco Classical Voice), crystalline sound, and effortless high notes. She has performed as a soloist with the LA Chamber Orchestra, American Bach Soloists, Portland Baroque Orchestra, Santa Fe Pro Musica, Charlotte Symphony, and Memphis Symphony, and as an ensemble member with Seraphic Fire, the Santa Fe Desert Chorale, and the Oregon Bach Festival. She collaborates as a guest artist with the award-winning early music group Wayward Sisters, and has also sung operatic roles for Arizona Opera, the North Carolina HIP Music Festival, and Bach Collegium San Diego.
Kathryn’s honors include prizes from the Oratorio Society of New York’s Solo Competition and Early Music America’s Baroque Performance Competition, and an Adams Fellowship at the Carmel Bach Festival. She received a GRAMMY nomination for her solo work on True Concord’s album Far in the Heavens, and is featured as a soloist on Seraphic Fire’s best-selling Monteverdi Vespers of 1610.
Kathryn’s career highlights include a 3-week concert tour of Indonesia with the Swara Sonora Trio, and soloing in Mozart’s Vespers at Carnegie Hall. She has an upcoming commission project, in collaboration with Santa Fe Pro Musica, for USA Fellow Reena Esmail to compose a work for soprano and orchestra based on Chickasaw writer Linda Hogan’s powerful poem “A History of Red.”
Kathryn began her musical studies on the edge of Arizona’s White Mountain Apache Reservation. She got her first pro gig – a church section leader position – during high school in Rhode Island, continued her vocal studies as an undergraduate at Brown University, and then earned a Masters degree in vocal performance from the University of Arizona. She lives in Raleigh with her husband (a college choir director) two small children, and crazy dog.
Praised for her “crystalline tone and delicate passagework” (San Francisco Chronicle), soprano Arwen Myers is quickly gaining a reputation as a captivating & sensitive interpreter of repertoire spanning from early to new music. A versatile artist known for her flexibility and mastery of a wide range of vocal colors & styles, Ms. Myers has performed major works with Portland Baroque Orchestra, Early Music Vancouver, Pacific MusicWorks, and Indianapolis Symphony Orchestra, among many others, and has sung under such notable conductors as Nicholas McGegan, Monica Huggett, David Fallis, John Butt, David Hill, Scott Allen Jarrett & Matthew Dirst. Recent & upcoming highlights include Handel with Philharmonia Baroque Orchestra & Oregon Bach Festival; Bach & Purcell with Portland Baroque Orchestra; Vivaldi, Monteverdi & Gabrieli with Early Music Vancouver; Fauré with Indianapolis Symphony Orchestra; world premieres by Robert Kyr, Zachary Wadsworth, J.J. Wright & Michel Petrossian; and Handel Semele (title role) with American Bach Soloists Academy. An enthusiastic collaborator, she has been featured with some of the nation’s premiere chamber ensembles, including Seraphic Fire, Bach Akademie Charlotte, and Cappella Romana, among others, and she is a core member of Fear No Music – the only singer in the acclaimed Portland-based new music ensemble. A native of Augusta, GA, Arwen holds degrees from the Indiana University Jacobs School of Music, and she currently serves as Director of Communications & Marketing at Trinity Episcopal Cathedral and Executive & co-Artistic Director of Northwest Art Song in Portland, OR. Arwen belongs to Beyond Artists, a coalition of artists that donates a percentage of their concert fee to organizations they care about, and is an individual member of 1% of the Planet. She is an active freelance artist across the United States & beyond.
Recently described in the San Francisco Chronicle as singing with “an appealing blend of vulnerability and grace,” soprano Rebecca Myers is a solo and ensemble singer who performs an exceptionally wide range of repertoire around the world. She is a member of The Crossing, the two time GRAMMY award-winning vocal ensemble fully dedicated to the performance of new music. She was one of three female soloists featured on the GRAMMY nominated recording of Thomas Lloyd’s Bonhoeffer sung by The Crossing and recorded in 2015.
In 2017, Rebecca premiered the role of Parthenope in Opera Philadelphia’s world premiere of The Wake World by David Hertzberg. Rebecca has appeared as a soloist and in recital with Choral Arts Philadelphia, Apollo’s Fire Baroque Orchestra, Lyric Fest, Prometheus Chamber Orchestra, Opus Opera, and Bourbon Baroque. She is a founding member of the vocal sextet Variant 6, an ensemble that specializes in the juxtaposition of early music and new music in interesting and creative venues. Also a highly sought after ensemble singer, Rebecca regularly appears with Seraphic Fire, Skylark Vocal Ensemble, and The Santa Fe Desert Chorale.
Canadian-American soprano Molly Netter enlivens complex and beautiful music, both old and new, with a “clear, beautiful tone and vivacious personality (NYTimes). This season includes the US premiere of a new solo work by David Lang conducted by Joe Hisaishi at Carnegie Hall and in Tokyo, as well as solo engagements with the GRAMMY Award-winning Boston Early Music Festival, the Grand Rapids Bach Festival, the New World Symphony, New York Baroque Incorporated, and the “Times Arrow Festival” at Trinity Wall Street, where she is also a current full-time member of the choir. Molly has performed as a soloist with the Chicago Symphony Orchestra, Apollo’s Fire Baroque Orchestra, the Smithsonian Chamber Orchestra, the Albany Symphony, Yale Opera, Heartbeat Opera, BOP Opera in Montreal, Contemporaneous Ensemble, the Staunton Music Festival, with Juilliard415 at Lincoln Center, and in Lorelei Ensemble, Seraphic Fire, TENET, and Clarion Music Society. Molly has toured internationally with with the Triplepoint contemporary/jazz ensemble and as a soloist in Japan, Singapore and Burma under Masaaki Suzuki.
Ms. Netter holds a Bachelor of Music degree in composition and contemporary voice from the Oberlin Conservatory and a Master’s degree in early music voice and oratorio from the Yale Institute of Sacred Music where she studied with James Taylor. Between degrees, she taught English in Kyoto, Japan.
Hailed for her “radiant sweetness” by the New York Times, Molly Quinn has garnered praise for her thought provoking and delightful interpretation of music from the medieval to the modern. She has collaborated with notable musicians and arts organizations around the globe including The Knights NYC, Portland Baroque Orchestra, Apollo’s Fire, The Folger Consort, The Bang on a Can All-Stars, TENET, Trinity Wall Street, Ascension Music, Clarion Music Society, Saint Thomas Fifth Avenue, Bach Collegium San Diego, Grand Rapids Symphony, Pacific Baroque Orchestra, North Carolina Baroque Orchestra, Ensemble VII, The Helicon Society, Quicksilver Ensemble, and Acronym.
Molly has also garnered acclaim for her work crossing genres in classical, folk, and contemporary music. Molly was dubbed “pure radiance” by the Los Angeles Times for her work with The Bang on a Can All-Stars in Steel Hammer. Highlights of 2019 include the role of Belinda in Dido and Aeneas with Angel’s Share NYC, the title role in Handel’s Theodora with Staunton Music Festival, and concerts across the globe.
She has been featured in projects by notable presenters including The Lincoln Center White Lights Festival, Moscow’s Gold Mask Festival, BAM Next Wave Festival, Bang on a Can marathon, San Francisco Early Music Series, and Carnegie Hall’s Venetian Festival. She is a festival soloist at The Staunton Music Festival, and staff musician and featured soloist at The Carmel Bach Festival.
Recent recordings include Biber’s rarely performed O Dulcis Jesu with Acronym Ensemble. Cleveland Classical Review describes Molly’s vocal tone as blossoming “like ink in clear water.” She was a featured soloist on Trinity wall Street’s Grammy Nominated recording of Handel’s Israel in Egypt. She has performed as a soloist in such noted international venues as Shostakovich Hall in St Petersburg, Teatro National de Costa Rica, The Arts Center of NYU Abu Dhabi in the United Arab Emirates, Vancouver’s Chan Centre for the performing arts, and San Cristobal Cathedral in Havana, Cuba.
Australian soprano Nola Richardson has been praised by the New York Times for her “beautiful tone” and the Washington Post for her “astonishing balance and accuracy”, “crystalline diction” and “natural-sounding ease”. After being awarded the First Prize in all three American competitions focused on the music of J. S. Bach, and winning further prizes in the Handel Aria Competition; she is rapidly making debuts with most Baroque ensembles around the country. Nola also performs regularly with a large range of orchestras, choral societies, and opera companies across the US and abroad. Recent seasons have included her Kennedy Center debut with Opera Lafayette in Handel’s Radamisto; performances of Bach cantatas with the Grand Rapids Symphony, American Bach Soloists in San Francisco and the American Classical Orchestra at Alice Tully Hall; and an international tour with The English Concert in Handel’s Semele. Some other highlights include performing BWV 51 and Scarlatti’s “Su le Sponde del Tebro” with the Baltimore Symphony Orchestra; “Simply Sondheim” with the Boston Pops; Handel’s Messiah with the Colorado Symphony; a tour to Russia, Estonia, and Latvia performing Arvo Pärt’s Passio with the Yale Schola Cantorum; the premiere of Michael Gandolfi’s Carroll in Numberland (alongside soprano Dawn Upshaw) at Tanglewood; and the First Lady in Die Zauberflöte with Clarion Music Society. Her next season will include debuts with the Seattle Symphony (Messiah), Philharmonia Baroque Orchestra (Coffee Cantata), Musica Angelica (Hunt Cantata), and return appearances with the American Bach Soloists, the Colorado Bach Ensemble, Madison Bach Ensemble, Clarion, the Baltimore Choral Arts Society, and Seraphic Fire among others. She will be appearing as a soloist with the Bethlehem Bach Choir for the Leipzig Bach Festival in 2020. Nola is represented by Athlone Artists, and she is currently pursuing a DMA at Yale.
Hailed for her “colorful and vital” singing by The Washington Post, performs a wide range of repertoire across North American stages.
The 2019/2020 season marks her debuts with Tafelmusik Baroque Orchestra, Washington Bach Consort, and South Florida’s Enlightenment Festival. Recent solo appearances include Philharmonia Baroque, New Jersey Symphony, Charlotte Symphony Orchestra, Cleveland Orchestra, Boston Symphony, Rhode Island Philharmonic, TENET Vocal Artists, Seraphic Fire, Bach Collegium San Diego, A Far Cry, and numerous concerts with acclaimed ensemble Blue Heron. Margot made her solo debut at Boston’s Symphony Hall in 2011 and since then has been a frequent soloist with Handel and Haydn Society.
Margot’s recent and upcoming stage appearances include La Renommée in Lalande’s Les Fontaines de Versailles and Francesca Caccini’s Alcina with Boston Early Music Festival, Galatea in Acis & Galatea and First Witch in Dido & Aeneas with Handel and Haydn Society, Polly Peachum in The Beggar’s Opera and Hyacinthus in Mozart’s Apollo et Hyacinthus with Emmanuel Music.
Notable recording releases include the role of La Paix in Charpentier’s Les Arts Florissants with Boston Early Music Festival, and the role of Emily Webb on Monadnock Music’s recording of Ned Rorem’s Our Town, released by New World Records. She has recorded repertoire from the medieval to the 21st-century with Coro, Albany Records, Blue Heron, BMOP Sound, CPO, Toccata Classics, and Sono Luminus. Her solo recording with composer Heather Gilligan, Living in Light, is now available. She can be heard on Blue Heron’s Music from the Peterhouse Partbooks Vol. 5, which won the Gramophone Award for Early Music in 2018.
Margot belongs to Beyond Artists, a coalition of artists that donates a percentage of concert fees to non-profit organizations. She supports My Sister’s Place, an institution that supports domestic violence survivors, through her performances.
is hailed by critics for her “delicate, mellifluous sound” and “effortless,” “radiant” tone. She appears regularly with Santa Fe Desert Chorale, Seraphic Fire, and the Texas Early Music Project, among others. Ruduski recently made her debut with South Florida Master Chorale as soprano soloist in Haydn’s Lord Nelson Mass, Austin Symphony Orchestra as soprano soloist in Handel’s Messiah, and as soprano soloist in Brahms’ German Requiem with Chorus Austin. Ruduski has also performed Pergolesi’s Stabat Mater with conductor Harry Bicket in Santa Fe. She currently serves as Operations Coordinator at Texas Early Music Project, where she produced, co-wrote, and stage-directed its latest opera pastiches. Ruduski holds a master’s degree in music from University of Houston and a bachelor’s degree in music from University of Texas at Austin.
Soprano Brenna Wells is known for her varied operatic and concert performances and has sung and recorded with such ensembles as the Boston Early Music Festival, Blue Heron, Britten-Pears Baroque Orchestra, Boston Baroque, Opera Boston, Boston Modern Orchestra Project, Yale Choral Artists, and the Handel & Haydn Society. She has appeared in many festivals world-wide, including the London Handel Festival, Aldeburgh Festival, Connecticut Early Music Festival, Amherst Early Music Festival, BBC Proms in London, the Beethoven Festival in Warsaw and the Fondazione Giorgio Cini in Venice, Italy. Recent highlights include performances with Vermont Symphony Orchestra, Sammamish Symphony Orchestra, New World Symphony, Cleveland Orchestra Miami, St. Cecilia Festival, Seraphic Fire, Brookings Harbor Friends Series, Vancouver Early Music Festival, Ensemble Viii, Pacific Musicworks, Emerald City Music and the premiere recording of John Luther Adams’ Becoming Desert with the Seattle Symphony Chorale and Orchestra. This season she can be heard performing with Pacific MusicWorks Underground, Ensemble Viii, Capella Romana, Blue Heron, Music and 9th and Stewart, and as a Participating Artist with the Professional Choral Institute at the Aspen Music Festival and School with Seraphic Fire.
Born in San Diego, California, Luthien Brackett was named after the character of the elf princess Lùthien Tinùviel in J.R.R. Tolkien’s legendarium. Praised by the press for her “lushness and delicacy,” and “silky tone among all registers,” Luthien is in great demand as a concert soloist and professional chorister. Her most recent solo appearances include J. S. Bach’s St. Matthew Passion with the Yorkshire Bach Soloists and Yorkshire Bach Choir (UK); Brahms’ Love Song Waltzes with Mark Morris Dance Group for the Mostly Mozart Festival in New York (US); Handel’s Messiah with The Choir of Trinity Wall Street and Trinity Baroque Orchestra in New York (US); Bach’s Christmas Oratorio with Sinfonia da Camera in Urbana, Illinois (US); and Bach’s Mass in B Minor with Impromptu Bach (US). Among her numerous commercial recordings are four GRAMMY-nominated albums, including The Clarion Choir’s Alexander Kastalsky: Memory Eternal, a 2019 GRAMMY nominee for Best Choral Performance. Luthien appeared with The Clarion Choir and covered the roles of Juno and Ino in the English Concert’s 2019 international tour of Handel’s Semele. She has recently completed her postgraduate studies at the University of York in England, where she was the second female choral scholar ever appointed at York Minster Cathedral. She also appeared with I Fagiolini in their production of Monteverdi’s Orfeo at the York Early Music Festival and LSO St. Luke’s in London, and with The Monteverdi Choir in Berlioz’s Benvenuto Cellini at the BBC Proms.
Mezzo-soprano, Amanda Crider, has quickly won national attention for her “gleaming vocalism” (Boston Globe). The Wall Street Journal declared, “the eloquent Ms. Crider carried the evening,” while the New York Times praised her “winsome, vulnerable and deeply expressive” performance in the role of Alma in the world premiere of Keeril Makan’s opera, Persona with Beth Morrison Projects. Her 2018-2019 season included a return to Apollo’s Fire as Mezzo Soloist in Bach’s Mass in b minor, Poppea in L’incoronazione di Poppea with Florentine Opera, Mezzo Soloist with Amarillo Symphony in Bernstein’s Jeremiah Symphony and Beethoven’s 9th Symphony, joining the company of Scottish National Opera’s production of Greek by Mark Anthony Turnage, and multiple concerts with Seraphic Fire. In the 2017-18 season, Ms. Crider debuted with Los Angeles Opera, and also sang Cenerentola for Orlando Opera, Speranza in Monteverdi’s L’Orfeo with Apollo’s Fire, Carmen with the Pine Mountain Music Festival and was Mezzo Soloist in Messiah with the Jacksonville Symphony. Other opera engagements include roles with Dallas Opera, Boston Lyric Opera, Florida Grand Opera, The Castleton Festival, Opera Omaha and Glimmerglass Opera among others. Amanda has appeared as a soloist with ensembles including Charlotte Symphony Orchestra, New World Symphony, and the International Contemporary Ensemble. An active recitalist, she has appeared on programs at Trinity Wall Street, Five Boroughs Music Festival and Marilyn Horne’s The Song Continues at Carnegie Hall. She has been a prize winner and finalist in the José Iturbi International, Jensen Foundation, Oratorio Society of New York, and Center for Contemporary Opera Vocal Competitions, and is a recipient of a Richard F. Gold Career Grant from the Shoshana Foundation. Ms. Crider is also the Founder and Artistic Director of IlluminArts, Miami’s Art Song and Vocal Chamber Music Series.
Possessing a “beautiful, ringing, and agile countertenor” (Boston Classical Review), Doug Dodson brings sensitive musicality and strong dramatic instincts to repertoire ranging from the baroque to the contemporary. Praised as a “vivid countertenor” by the Wall Street Journal, Mr. Dodson’s current and upcoming seasons feature a wide variety of exciting engagements throughout the United States.
In the 2018-2019 season Mr. Dodson appeared as an alto soloist in Handel’s Messiah and Bach’s St. Matthew Passion with New York City’s TENET Vocal Artists and the period-instrument ensemble The Sebastians, and made his solo debut with the Connecticut Early Music Festival in New London, CT. Additionally, Mr. Dodson created the role of Arion in the American premiere of Jonathan Dove’s Arion and the Dolphin with the Harvard Summer Chorus and sang the countertenor solo in Bernstein’s Chichester Psalms with the Greater Newburgh Symphony Orchestra of Newburgh, NY. Performances in the 2019-2020 season include debuts with the Cape Cod Symphony and the Charlotte Symphony, performing works by Bach and Handel.
Mr. Dodson is a dedicated ensemble singer and appears regularly with several esteemed choral ensembles throughout the country, including Seraphic Fire, Skylark, the South Dakota Chorale, and Boston’s prestigious Handel & Haydn Society. He has earned degrees in anthropology from the University of South Dakota (Vermillion) and in vocal performance from the University of Missouri – Kansas City Conservatory of Music and Dance, and was a proud member of the prestigious Britten-Pears Young Artist Programme in conjunction with Aldeburgh Music in Aldeburgh, UK. He recently made his television debut as a contestant on season 35 of Jeopardy!, where he was a three-day champion.
With her “vivid, deeply satisfying sound” and “rich, smooth mezzo soprano”, Kim Leeds engages audiences in her exploration of life’s essence through music. As a soloist, she has appeared with the Bach Akademie Charlotte, Ad Astra Musical Festival, American Bach Soloists Academy, Handel Society of Dartmouth, Bach Society of St. Louis, the Tafelmusik Baroque Chamber Orchestra and Choir, and the Oregon Bach Festival Discovery Series. In recent years, Ms. Leeds has garnered multiple accolades including winning the Tafelmusik Vocal Competition in 2016, attending the Carmel Bach Festival as a Virginia Best Adams Fellow in 2017, was a finalist for the American Prize in Art Song in 2019, and recently worked with Philippe Herreweghe as a Britten-Pears Young Artist in their Bach Cantata programme.
Ms. Leeds enjoys performing a wide range of repertoire from Zelenka and Barbara Strozzi, to Janacek, Irving Fine, and Poulenc as well as sung premieres of works by James MacMillan, Richard Danielpour, James Kallembach, and Julia Wolfe. As a choral artist, Ms. Leeds has toured with Helmuth Rilling in Eastern Germany as a member of the Weimar Bach Academy and toured Northern Italy and Southern Germany with the Junges Stuttgart Bach Ensemble under the direction of Hans Christoph Rademann. In the US, she has performed with the Oregon Bach Festival, Handel and Haydn Society, GRAMMY® nominated True Concord, GRAMMY® winning ensemble the Crossing, and the Gramaphone award-winning ensemble Blue Heron.
In her hometown of Boston, Ms. Leeds has appeared as a soloist with the Commonwealth Chorale, Cantata Singers, Music at Marsh Chapel, and can be heard on the 2017 Boston Modern Orchestra Project’s recording of Jeremy Gill’s “Before the Wresting Tides”. Ms. Leeds holds degrees from Mannes College of Music and the Boston Conservatory.
Mezzo-soprano, Margaret Lias, has been celebrated for her “warm,” “arresting,” and “rich-toned” singing. Margaret made her Boston Symphony Hall debut in 2011 with Handel and Haydn Society (Handel, Israel in Egypt). In 2017, Margaret received praise for her Cleveland Orchestra solo debut singing Stravinsky’s Threni: Lamentations of Jeremiah. Select solo appearances in 2019 and 2020 include Boston Baroque (Vivaldi, Gloria), Princeton Pro Musica (Duruflé Requiem), Boston Cecilia (Corigliano, Fern Hill), Coro Allegro (Vivaldi, Gloria and Magnificat), and Emmanuel Music (Bach, Mass in B minor). An avid supporter of ensemble work, Margaret was a founding member of The Skylark Vocal Ensemble, is a member of Seraphic Fire, Boston Baroque, Voices of Ascension, Vox Vocal Ensemble, Handel and Haydn Society, and Emmanuel Music.
A passionate supporter of Anglican liturgical music, Margaret has been a sought-after cantor for events such as bishop consecrations, priest ordinations, and Holy Week services in major cathedrals and churches in the US (St. John the Divine, New York, NY, Trinity Church in the City of Boston, MA, and Cathedral of St. Philip, Atlanta, GA) and abroad (Westminster Abbey (The Collegiate Church of St. Peter), London, England, and Coventry Cathedral (St. Michael’s Cathedral), Coventry, England.). Presently, Margaret is a core member of Emmanuel Music, ensemble-in-residence at Emmanuel Church, Boston, MA.
Margaret belongs to Beyond Artists, a coalition of artists that donates a percentage of their concert fees to organizations they care about. She supports common cathedral and Episcopal Relief and Development through her performances.
Recognized for “vibrant and colorful” singing (The New York Times) mezzo-soprano Kate Maroney’s recent soloist appearances include with the Orlando Philharmonic Orchestra, Indianapolis Symphonic Choir, New York City Ballet, Santa Fe Desert Chorale and Symphony, Seraphic Fire, Master Chorale of South Florida, Berkshire Choral Festival, TENET, Carmel Bach Festival, Opera Grand Rapids, New York Baroque Incorporated at Trinity Wall Street, LA Opera, Lincoln Center Festival, Oregon Bach Festival, Musica Sacra, Bach Collegium San Diego, Princeton Pro Musica, Bach Vespers Holy Trinity, Mark Morris Dance Group, Yale Choral Artists, American Opera Projects, Berkshire Bach Society, and Clarion. In addition to noted interpretations of concert and oratorio repertoire from Bach to Mendelssohn, Kate is sought after by composers and has premiered works and collaborated closely with Philip Glass, John Corigliano, David Lang, Martin Bresnick, Julia Wolfe, Michael Gordon, Missy Mazzoli, Hannah Lash, Nina Young, Dominick Argento, Christopher Cerrone, Daron Hagen, Matthew Welch, Paola Prestini, Ted Hearne, Lisa Bielawa, and Scott Wheeler. She holds a D.M.A. from Eastman, degrees SUNY Purchase and Yale, teaches voice pedagogy at Mannes (The New School), and resides in Brooklyn with musician-husband Red Wierenga, son Ossian, and two adorable felines names Misha and Ayler. Kate is a passionate believer in the deeply transformative, fully humanizing power of music and in its ability to foster empathy in the community of performers and listeners alike. She particularly values collaborations with kind and generous colleagues who share this conviction.
American contralto Emily Marvosh has been gaining recognition for her “plum-wine voice,” and “graceful allure,” on the stages of Carnegie Hall, Jordan Hall, Disney Hall, Lincoln Center, Prague’s Smetana Hall, and Vienna’s Stefansdom. Following her solo debut at Boston’s Symphony Hall in 2011, she has been a frequent soloist with the Handel and Haydn Society under the direction of Harry Christophers. Other recent solo appearances include the American Bach Soloists, Boston Baroque, Tucson Symphony Orchestra, Phoenix Symphony, Princeton Festival, Boston Symphony Orchestra, Music Worcester, the Boston Early Music Festival Fringe, the National Cathedral, and the Chorus of Westerly.
She is a founding member of the Lorelei Ensemble, which promotes innovative new music for women. With Lorelei, she has enjoyed collaborations with composer David Lang, the Boston Modern Orchestra Project, Duke Performances, and the Boston Symphony Orchestra.
This season’s solo assignments include Brahms’s Alto Rhapsody, Mahler’s Second Symphony, and Handel’s Solomon.
Miss Marvosh can be heard on two recent GRAMMY-nominated recordings: Brahms’s Ein Deutsches Requiem with Seraphic Fire, and Prayers and Remembrances with True Concord Voices and Orchestra. She belongs to Beyond Artists, a coalition of artists that donates a percentage of their concert fees to organizations they care about. She supports Common Cause and Rosie’s Place through her performances. She holds degrees from Central Michigan University and Boston University.
is equally at home in any style ranging from medieval to jazz, but finds the baroque period as the source of his rising popularity in North America. A “voice that simply has to be heard to be believed” (Knoxville Metro Pulse), Mobley has appeared with top ensembles including Charlotte Symphony, Indianapolis Baroque Orchestra, and Early Music Vancouver.
Mezzo-soprano Clara Osowski, who sings “from inside the music with unaffected purity and sincerity” (UK Telegraph), is an active soloist and chamber musician throughout the United States and Europe. Recognized for her excellence in Minnesota, Clara was a recipient of the prestigious 2018-2019 McKnight Artist Fellowships for Musicians administered by MacPhail Center for Music.
In international competition with pianist Tyler Wottrich, in March of 2017, Clara became the first ever American prize winner when she placed second at Thomas Quasthoff’s International Das Lied Competition in Heidelberg, Germany. In September, the duo was also one of four to reach the finals in the very prestigious Wigmore Hall/Kohn Foundation Song Competition in London, and Clara was awarded the Richard Tauber Prize for the best interpretation of Schubert Lieder. She was given Radio-Canada People’s Choice Award and third place in the song division at the 2018 Concours Musical International de Montréal and recently selected as a Virgina Best Adams Fellow at the 2019 Carmel Bach Festival.
Clara’s passion for contemporary music is exhibited in the song-cycles she has premiered by Libby Larsen, Juliana Hall, Timothy Takach, Linda Kachelmeier, Jeremy Walker, Linda Tutas Haugen, Paul Rudoi, and James Kallembach. In 2018, Clara released Haunted Blue, her debut album as a soloist with jazz composer/pianist Jeremy Walker performing “songs that may reflect the future of classical music” (New Classical Tracks, Classical MPR).
In addition to performing, Clara serves as the Associate Artistic Director of Source Song Festival, a week-long art song festival in Minneapolis, Minnesota. This festival strives to create and perform new art song, and cultivate an educational environment for students of song, including composers, vocalists, and collaborative pianists.
Countertenor Andrew Rader has been called the “purest and most vibrant [countertenor]…in memory, recent or otherwise” (Arts-Louisville.com), known for his “accurate, powerful, indeed thrilling” (John Gilks, operaramblings) interpretations of Baroque and Modern repertoire.
Operatic roles include Giulio Cesare, Oberon in A Midsummer Night’s Dream, Eustazio in operamission’s Rinaldo, and he was the cover for the three countertenors in Adams’ The Gospel According to the Other Mary. In 2020, he will be performing the role of Silvio in operamission’s new production of Il Pastor Fido.
For over a decade, Mr. Rader has been an active soloist in the major Baroque and modern oratorio repertoire. Performance highlights include St. John Passion with Music City Baroque, Indianapolis Baroque, and Madison Bach Musicians, Messiah with Bourbon Baroque, New Mexico Philharmonic, and numerous other ensembles, BWV 182 with South Carolina Bach Society, BWV 180 with the Bloomington Bach Cantata Project, Orff’s Carmina Burana, DiOrio’s Stabat Mater, and Carissimi’s Historia di Job with Magnificat Baroque, in which his voice was said to be “as solid as his character’s faith” (San Francisco Classical Voice).
In addition to working as a soloist, he has a deep love of chamber music, having worked with Seraphic Fire, The Rose Ensemble, LIBER: Ensemble for Early Music, and Echoing Air in recent seasons.
Not only at home in Baroque and Modern music, he specializes in a varied repertoire, including jazz, bel canto, and stealing a few of the trouser roles from women. Whether in concert, stage, or chamber repertoire, he has been consistently praised for his clear, strong tone and effective use of text. When not on the stage, he splits his time between coaching fellow singers and spoiling his overweight cat, Brunhilde, and her younger, lithesome brother, Fafner.
Elisa Sutherland is a mezzo-soprano known for her detailed, stylistic interpretations of both early and new music. This upcoming season, she will perform with Philadelphia’s The Crossing, New York ensembles Ekmeles, TENET Vocal Artists, Clarion Choir and New Chamber Ballet, Roomful of Teeth, Cleveland’s Apollo’s Fire, Miami’s Seraphic Fire, and her own early and new music sextet, Variant 6.
Elisa has performed as a soloist with TENET Vocal Artists, Apollo’s Fire, American Bach Soloists, Apollo Chorus of Chicago, and Quicksilver Baroque, singing Bach’s Mass in b minor, Handel’s Messiah, and Buxtehude’s Membra Jesu Nostri. In the realm of contemporary music, she has premiered works for voice and chamber orchestra for university and professional ensembles. Elisa has a special love for art song, and has sung with LyricFest, Philadelphia’s premiere art song concert series, and the Brooklyn Art Song Society.
In addition to winning the Philadelphia District of the Metropolitan Opera Auditions in 2015, Elisa is the 2014 winner of the Lynne Harvey Cooper Award, and was the first-place winner of the inaugural Handel Aria Competition at the Madison Early Music Festival in 2013. Recent opera roles include Hera in Chris Cerrone’s All Wounds Bleed, Ensemble in Michael Gordon’s Acquanetta with the Prototype Festival, Dido in Dido and Aeneas, Dorabella in Cosi fan tutte, Meg in Little Women, Ottavia in L’incoronazione di Poppea, and Nancy in Albert Herring. Elisa is also remembered for her Blazing Saddles – Madeline Kahn impression in a production of Die Fledermaus.
Elisa graduated from Northwestern University with a Bachelor of Arts in Creative Writing, a Bachelor of Music in Vocal Performance, and a Master of Music in Vocal Performance. She lives in Brooklyn.
A graduate of University of The Arts, Steven has appeared with The LA Philharmonic, The Philadelphia Chamber Orchestra, Tempesta Di Mare, Piffaro, Network for New Music, and the BAM NextWave Festival. He appears regularly with Variant6, Roomful of Teeth, Trinity Wall Street, and the Crossing with whom he recorded two Grammy winning albums. He is scheduled to reprise his role in Ted Hearne’s PLACE in with the LA Philharmonic in March 2020. Steven is also a dedicated visual artist. His work has appeared at Arch Enemy Arts Philadelphia, La Luz De Jesus in Los Angeles California, and on the Crossing’s Grammy-winnning album Zealot Canticles.
Andrew Crane was named Associate Professor of Choral Conducting and conductor of the Brigham Young University Singers in 2015. Previous to this appointment, he served for four years as Director of Choral Activities at East Carolina University, and six years in the same position at California State University, San Bernardino.
Choirs under his direction have appeared by invitation at multiple conferences of the American Choral Directors Association, National Association for Music Education, and National Collegiate Choral Organization. In 2019 Crane conducted the BYU Singers at the 60th Jubilee national conference of the American Choral Directors Association in Kansas City.
On the international stage, in 2015 Dr. Crane led the East Carolina University Chamber Singers to a first place finish in the 13th Maribor (Slovenia) International Choral Competition Gallus, the only American choir to win in the history of the contest. He has also appeared as a guest conductor and lecturer in Switzerland, Vietnam, China, and Indonesia.
Additionally, Crane enjoys a career as a professional solo and ensemble tenor, having appeared with such groups as Seraphic Fire, Santa Fe Desert Chorale, Yale Choral Artists, Los Angeles Bach Festival, Spire Chamber Ensemble, North Carolina Master Chorale, Vox Humana, Lansing Symphony Orchestra, Carnegie Hall Festival Chorus, and many others.
Dr. Crane is active as a conductor of honor choirs, clinician, guest lecturer, and accompanist. He serves as president of Utah ACDA, and on the national ACDA Standing Committee for Composition Initiatives. In addition, Crane curates a choral series under his name through Walton Music. His degrees include a Bachelor of Music in music education and a Master of Music in choral conducting from Brigham Young University as well as a Doctor of Musical Arts in choral conducting from Michigan State University.
is equally adept in the genres of opera, oratorio and song literature. Diamond has presented more than 400 solo vocal performances in works by Cavalli, Monteverdi, Bach, Handel, Haydn, Mozart, Beethoven, Schubert, Rossini, Berlioz, Orff, Bartok, Janacek and Britten with symphony orchestras and opera companies across North America and Europe. He completed his Bachelor of Music at Westminster Choir College in Princeton, NJ in 1991. He received his master’s and doctoral degrees from the University of Cincinnati’s College Conservatory of Music. Diamond is assistant professor of voice at Samford University in Birmingham, AL.
Tenor Nick Karageorgiou has both established himself as a formidable chamber musician and soloist. Recently located to NY for work, Nick has been heard in many projects under Julian Wachner and the Trinity Wall Street Chorus, most recently a collaboration with LA Opera and Beth Morrison Projects, premiering Ellen Reid’s Pulitzer Prize-winning opera, p r i s m. Other recent engagements of his include concerts with Members of Seraphic Fire, St. Thomas Church on Fifth Ave, Cantus, Spire Chamber Ensemble, True Concord, The Thirteeen, The Crossing, and The Rose Ensemble.
As a soloist, Nick has been heard tackling Baroque gems under Matt Glandorf and Choral Arts Philadelphia, some of which include Monteverdi’s Vespers of 1610, Bach’s complete Christmas Oratorio, in addition to a handful of secular and sacred Bach cantatas. This March, Nick joined as a soloist for Bucknell College’s annual Bach Festival under Beth Willer. This past May, Nick joined forces with Pegasus Early Music in fully staged performances of Handel’s Acis and Galatea.
Praised for his “real musicality and finely executed coloratura,” Patrick Muehleise is an acclaimed American tenor specializing in a wide variety of concert soloist repertoire and known for his “beautiful, evenly produced lyric tenor” and “pure tone.” Recent engagements include Mozart’s Requiem with Xian Zhang at the Aspen Music Festival, Monteverdi’s Vespers of 1610 under the baton of Jane Glover, Mendelssohn’s Elijah with both Elmhurst Symphony and Fort Wayne Philharmonic, Handel’s Messiah with Winston-Salem Symphony, Bach’s B Minor Mass with Bach Akademie Charlotte, Reich’s The Desert Music with New World Symphony, Orff’s Carmina Burana with Long Beach Camerata, Rossini’s Petite messe solennelle with the University of Wisconsin-La Crosse, the role of Pan in the fully-staged period performance of Cavalli’s La Calisto with Haymarket Opera Company of Chicago; and continues this season performing Bach’s BWV 106 with Aspen Festival Orchestra under the baton of Robert Spano, Beethoven’s Symphony No. 9 in Chicago’s Symphony Center, Bach’s Coffee Cantata and Handel’s Messiah with Seraphic Fire, Bach’s B Minor Mass with Back Bay Chorale of Boston, Mozart’s Requiem with University of Wisconsin-La Crosse, and a solo recital on the Lake Wales Arts Council’s Concert Series. In addition to his work as a concert soloist, Patrick is a regular member of Grammy-nominated and award winning ensembles such as True Concord, Chicago Symphony Chorus, as well as Santa Fe Desert Chorale, Grant Park Symphony Chorus, and has taken the stage with Aspen Chamber Symphony, Lyric Opera of Chicago, Santa Fe Opera, and The Cleveland Orchestra.
This season, Patrick will return to the world-renowned Aspen Music Festival for his second year as Artist-Faculty in partnership with the Grammy-nominated Seraphic Fire Professional Choral Institute.
Mr. Muehleise was named the 2019 tenor recipient of The American Prize Chicago Oratorio Award and in 2016 he was nominated for a Grammy Award in the Best Choral Performance. Patrick can be heard on seven nationally released recordings with Grammy-nominated and award-winning ensembles.
A “superb vocal soloist” (The Washington Post), tenor Steven Soph performs repertoire spanning the medieval to modern day. Steven collaborates with many of the finest orchestral, vocal, early, and new music ensembles in the US, including The Cleveland Orchestra, Philharmonia Baroque Orchestra, Roomful of Teeth, Apollo’s Fire, Seraphic Fire, Conspirare, Cut Circle, True Concord Voices and Orchestra, Santa Fe Desert Chorale, Aspen Music Festival, Charlotte Bach Festival, and Voices of Ascension.
Steven holds degrees from the University of North Texas and Yale School of Music, where he studied with renowned tenor James Taylor. He was a 2014 Carmel Bach Festival Adams Fellow and 2016 Oregon Bach Festival Young Artist.
An award-winning composer, conductor, tenor vocalist, and arts entrepreneur.
Paul has performed and recorded a wide range of music in professional ensembles nationwide, including Seraphic Fire, The Santa Fe Desert Chorale, Conspirare, True Concord, and Cantus. During his tenure in Cantus, he premiered dozens of new works, traveled on four continents, conducted and educated via masterclasses driven by Cantus’ artistic and programming model, and advocated for arts education and empowerment through various outreach opportunities nationwide.
Deemed “indisputably unique, confident, and innovative” through the American Prize, Paul’s compositions have been commissioned and performed by various ensembles and artists throughout North America and Europe. His work has garnered numerous grants from the Jerome Foundation, the ACF, MRAC, MSAB, the NEA, and ASCAP. His music is published through PJR Music alongside Graphite, Santa Barbara, Walton, Morningstar, and ECS music publishers.
Paul is also a fierce advocate for new music trends, resources, and issues. He is cofounder of Consortio, a website designed to help composers, conductors, and ensembles make consortium-based commissioning safe, affordable, and impactful. His presentation at the 2015 NDSU Choral Symposium, “LIVING SETS: Choral Organisms for the 21st Century,” proposed that the entire choral field should consider new music in the context of composers’ lifelong musical contributions, not just one’s next popular published work.
Paul holds degrees from the Hartt School and the University of Oregon. His teachers have included Dr. Sharon Paul, Dr. Craig Phillips, Robert Kyr, Libby Larsen, and Dr. Edward Bolkovac.
Eric Alatorre is the Bass best associated with Chanticleer, where he was a member for nearly 30 years, and is well known for his deep and rich voice. During his tenure with Chanticleer he saw the ensemble grow from a group known best in the United States to an internationally acclaimed ensemble. He has performed in many of the world’s major concert venues on 6 continents, and made nearly 60 recordings which have garnered 3 Grammy awards. Currently he spends his time singing with various ensembles around the country and adjudicating.
is Director of Choral Studies at UCLA’s Herb Alpert School of Music at UCLA and Director of Education at Seraphic Fire. He previously served on the faculties of Western Michigan University and University of South Florida, and holds a Doctoral degree from University of Miami, and Master’s and Bachelor’s degrees from University of South Florida. Bass has appeared with professional choral ensembles including Seraphic Fire, Conspirare, Santa Fe Desert Chorale, Apollo Master Chorale, Vox Humanae, and Spire. He appears on CD recordings on the Harmonia Mundi, Naxos, Albany, and Seraphic Fire Media labels. Solo orchestral engagements include appearances with The Cleveland Orchestra, New World Symphony, The Florida Orchestra, Grand Rapids Symphony, Back Bay Chorale, and The Sebastians. In 2011 Bass co-founded Seraphic Fire’s Professional Choral Institute at University of South Florida. In its inaugural year of recording, Seraphic Fire and PCI received a GRAMMY® nomination for Best Choral Performance for their recording of Brahms’ Ein Deuthches Requiem. Bass has prepared choirs for Sir Colin Davis, Sir David Willcocks, Jahja Ling, Michael Tilson Thomas, Gerard Schwarz, Giancarlo Guerrero, Michael Francis, Marcelo Lehninger, Stefan Sanderling, Evan Rogister, Danail Rachlev, Joshua Weilerstein, Markus Huber, Michael Francis, Patrick Quigley, and Robert Shaw among others.
GRAMMY Award-winning bass, Cameron Beauchamp, is active throughout the country as a soloist, chamber musician, clinician, and experimental artist. Cameron is an original member of vocal band Roomful of Teeth. Cameron has been an artist in residence as performer and clinician at numerous universities and museums around the US. He has also been featured as a soloist with the Los Angeles Philharmonic, New York Philharmonic, San Francisco, BBC, Austin, Dallas, Seattle, New World, Cincinnati and Colorado Symphonies. Cameron has recorded on Sony Classical, Harmonia Mundi, New Amsterdam Records, 4AD, and for PBS. An artist who pledges no allegiance to genre, Cameron has collaborated with TuNeYaRdS, Kanye West, Holly Herndon, Sam Amidon, The Silk Road Ensemble, Justin Sherburn, Olga Bell, Tigran Hamasyan, Maynard Ferguson, Bryce Dessner, Glenn Kotche, and Peter Sellars. He has performed on three Grammy Award-winning albums, ten Grammy- nominated albums, and one Downbeat Award-winning album. When Cameron is not making music, he passionately lives his life as a husband and father in San Antonio, where he polishes his cowboy boots and dreams of a cure for type 1 diabetes.
Baritone John Buffett enjoys a versatile career singing on the concert stage, in the Opera house, and as a professional ensemble singer. Buffett has sung with the Symphonies of Utah, San Antonio, Winston-Salem and Syracuse, The Mark Morris Dance Group, The Los Angeles and Rochester Philharmonics, and The Cleveland Orchestra. He has also been a featured performer with many of the Nation’s leading Early Music Ensembles including: Apollo’s Fire, Ars Lyrica, The Charlotte Bach Festival, Bach Collegium San Diego, The Oregon Bach Festival, and The Boston Early Music Festival. In the Opera house, Buffett has performed numerous roles with Utah Opera, Sarasota Opera, Opera Memphis, Utah Festival Opera, Mercury Opera, and The Ohio Light Opera. Also an accomplished Chamber musician, he regularly performs with some of America’s best choral ensembles like Seraphic Fire, The Santa Fe Desert Chorale, True Concord, and the Los Angeles Master Chorale.
Recent engagements include both Bach passions, Bach’s B minor mass, Easter Oratorio, Magnificat and Cantatas 32, 75, 153, 140, and 158, Monteverdi’s Vespers of 1610, the Mozart, Brahms and Faure Requiems, and Handel’s Messiah. His wide ranging roles on the Opera stage include Dandini in “La Cenerentola”, Belcore in “L’elisir d’amore”, Marullo in “Rigoletto”, Wagner in “Faust”, Golaud in “Pelleas é Mellisande” and Figaro in “Le Nozze di Figaro.”
Solo appearances at the Tanglewood Music Festival, the Aspen Music Festival and the Mostly Mozart Festival at Lincoln Center highlight other important performances. Mr. Buffett, currently on faculty at CSU Long Beach, received bachelor’s and master’s degrees from the Eastman School of Music.
Praised for his “polished baritone and acting skills” and “sterling musical work,” baritone Steven Eddy is a versatile young performer with a broad repertoire spanning opera, oratorio, and art song. An avid concert artist and Baroque music specialist, Mr. Eddy has appeared as a soloist with Seraphic Fire, Philharmonia Baroque Orchestra, American Classical Orchestra, Sacred Music in a Sacred Space, American Bach Soloists Academy, Spire Chamber Ensemble, Choral Arts Philadelphia, Handel Choir of Baltimore, New York Virtuoso Singers, and Bach Vespers at Holy Trinity.
Equally adept on the opera stage, Mr. Eddy recently made his New York Philharmonic debut in the world premiere of David Lang’s prisoner of the state, singing as a Guard and covering the role of The Prisoner. Other roles in his repertoire include Raimbaud (Le comte Ory), Pablo Picasso (After Life), Dandini (La Cenerentola), Charlie (Three Decembers), Dancaïre (Carmen), Aeneas (Dido & Aeneas), Schaunard (La bohème), and Harlekin (Ariadne auf Naxos). He has had the pleasure of performing with such companies and festivals as Fort Worth Opera, Opera Saratoga, Opera Birmingham, LoftOpera, Chelsea Opera, Aspen Opera Theater Center, Tanglewood Music Center, American Lyric Theater, Center for Contemporary Opera, Arbor Opera Theater, and the Seagle Music Colony.
Mr. Eddy recently won 1st Prize in the Oratorio Society of New York’s Lyndon Woodside Competition. He is also the winner of the 2015 Joy in Singing Music Sessions, which led to his New York solo recital debut at Merkin Hall, and was also a Regional Finalist of the Metropolitan Opera National Council Auditions.
Upcoming performances include concerts with True Concord Voices and Orchestra and Seraphic Fire, recitals with Brooklyn Art Song Society and Philadelphia’s LyricFest, as well as his debut with the Oratorio Society of New York in the 2019/2020 season.
has been applauded by The New York Times for his “elegant, mellifluous and expressive baritone.” Evans began singing professionally as a chorister at The American Boychoir School in Princeton, New Jersey, where he toured nationally and internationally singing under the batons of notable conductors such as John Williams, Zubin Mehta, James Levine, Kurt Masur, Vladimir Spivakov, and Lorin Maazel. Evans maintains an active career as a concert soloist and professional choral singer, and has recently made his Carnegie Hall and David Geffen Hall debuts. His singing has been heard on a variety of broadcasts throughout the United States and recorded on a number of notable recording labels. Evans holds a Bachelor of Arts in Music from Brewton-Parker College, with further study at the Boston Conservatory of Music and Westminster Choir College of Rider University. He currently serves in the Artist Associate Faculty at University of Tampa.
Acclaimed to have “a beautiful sound” (New York Times), Philippines born bass-baritone Enrico Lagasca is enjoying a career in Oratorio, Opera, Chamber Music, and Recitals with repertoire from Early to Contemporary music both as Soloist and Chorister. Season performances with the Choir of St. Ignatius Loyola, Tenet Vocal Artists, Bach Choir of Holy Trinity Lutheran Church, St. Thomas Choir of Men and Boys, Musica Sacra New York, Cathedral Choir of St. John the Divine, Trinity Choir of Trinity Wall Street, The Metropolitan Opera Chorus, Santa Fe Desert Chorale, Bach Collegium San Diego, Conspirare, Ensemble VIII, Skylark Vocal Ensemble, and Seraphic Fire. Orchestra appearances include the New York Philharmonic, American Symphony Orchestra, Orchestra of St. Luke’s, American Classical Orchestra, Pacific Symphony, Israel Philharmonic Orchestra, to name a few. Recent solo performance highlights include Mendelssohn Die erste Walpurgisnacht, US premiere of Jonathan Dove’s Monster in the Maze, Beethoven Symphony no. 9, Haydn The Creation, Bach Mass in B Minor, Haydn Lord Nelson Mass, Mozart Requiem, Rossini Stabat Mater, Operatic roles as L’arbre/Fauteuil (L’Enfant et les sortilèges), Collatinus (Rape of Lucretia), Lorenzo (I Capuleti e I Montecchi). Festival appearances include the Salzburg Festival, Oregon Bach Festival, Virginia Arts Festival, Mostly Mozart Festival, Twelfth Night Festival, and the Bard Summerscape Festival. Enrico has appeared as guest vocalist with the Mark Morris Dance Company, Idan Cohen Dance Company, Baltimore Choral Arts, among others. He has recorded discs with the Philippine Madrigal Singers, ACRONYM, Bach Choir of Holy Trinity, Trinity Choir of Trinity Wall Street, American Symphony Orchestra, Skylark, and Santa Fe Desert Chorale. Enrico studied at the University of the Philippines and at Mannes College of Music. He currently resides in Queens, New York.
has established himself as both a soloist and sought-after ensemble singer in New York City and around the United States, having been called “gripping” by The New York Times, and described as singing with “calm fluidity” by The Washington Post. Recent engagements include singing the role of Evangelist in Ginastera’s Turbae ad Passionem Gregorianam with the Choir of Trinity Wall Street, Washington Chorus, and NOVUS NY at Carnegie Hall; Angel’s Bone with the Prototype Festival; Steve Reich’s Three Tales with Ensemble Signal at the Walt Disney Concert Hall in Los Angeles; Paul Moravec’s Songs of Love and War with The Dessoff Choirs; Anne Hamilton’s The Event of a Thread at Park Avenue Armory; performing with Kanye West at the Hollywood Bowl for his two 808’s and Heartbreak concerts; and appearing with Andrea Bocelli during NBC’s 2015 broadcast of Christmas in Rockefeller Center. As an ensemble singer, Thomas is a member of the acclaimed Choir of Trinity Wall Street and performs regularly with Seraphic Fire, GRAMMY® Award winning Roomful of Teeth, Pomerium, Spire, TENET, Musica Sacra, VOX Vocal Ensemble, Antioch, Voices of Ascension, New York Virtuoso Singers, Early Music New York, Yale Choral Artists, and Meridionalis. Other highlights include touring the world with Chanticleer; leading over 1,000 people in Times Square in the singing of John Lennon’s Imagine for Yoko Ono’s installation Imagine Peace; and singing You Can’t Always Get What You Want with the Rolling Stones.
A versatile performer and scholar, baritone David Rugger is establishing a career in oratorio, early music, and ensemble singing. Rugger’s repertoire encompasses music written from the Renaissance to the present, though he is particularly noted for his interpretation of music from the Baroque, especially Bach. Rugger has recently performed with the Bach Society of St. Louis, the Bach Akademie Charlotte, Mountainside Baroque, Indianapolis Symphonic Choir, Dayton Bach Society, Oregon Bach Festival, and on several Bach cantata series. He is an alum of the American Bach Soloists Academy and he was a Virginia Best Adams Fellow at the Carmel Bach Festival. He has performed under the batons of Dana Marsh, Scott Allen Jarrett, Jeffrey Thomas, Eric Stark, Michael Beattie, and John Butt. Rugger received his PhD in musicology at Indiana University, where he also studied voice and was active in the Historical Performance Institute. He has given papers at the national meetings of the American Musicological Society, the North American British Music Studies Association, and the Midwest Victorian Studies Association. Rugger is currently on the faculty of University of Indianapolis.
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