Elisse Albian

Soprano Elisse Albian enjoys performing in a variety of genres such as opera, concert works, and ensemble singing. She completed her Bachelor’s of Music at the University of California, Los Angeles in 2020 and is actively pursuing a Master of Music in Voice at Mannes (The New School) under the instruction of Amy Burton. During her undergraduate studies, Elisse participated enthusiastically in both the choral and opera departments at UCLA. Her opera credits included singing the role of Euridice in Opera UCLA’s productions of Charpantier’s La descente d’Orphée aux enfers and Campra’s Orfero nell’Inferi under the musical direction of Stephen Stubbs. Within UCLA’s choral department, Elisse was a two year member of Seraphic Fire’s Emerging Artist Program. She also performed with UCLA Chamber Singers and participated in the 2020 GRAMMY award-winning recording of Richard Danielpour’s The Passion of Yeshua.

Chelsea Helm

With spirit and sensitivity, soprano Chelsea Helm brings a versatile voice to the concert stage. An active choral artist, Ms. Helm appears regularly with Seraphic Fire, the Santa Fe Desert Chorale, True Concord Voices & Orchestra, and Conspirare, with whom she was nominated for a 2020 Best Choral Album GRAMMY® award for The Hope of Loving.

Last season Ms. Helm was featured on numerous recordings and digital concerts, including Reena Esmail’s Quarantine Madrigals with Conspirare, the Santa Fe Desert Chorale’s Home for the Holidays concert recorded with Four/Ten Media, and Bach’s Cantata BWV 4, “Christ lag in Todes banden” with Bach Vespers at Holy Trinity in New York City. She also enjoyed numerous solo appearances, including the Brahms Requiem, Haydn’s Theresienmesse, and Orff’s Carmina Burana (True Concord), and was heard on Seraphic Fire’s Mozart & Monteverdi concert recorded live in Miami.

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, the Rice University Orchestra and at the University of Wisconsin La-Crosse.

With a special affinity for new music, Ms. Helm has created several roles in chamber works for live theatrical and digital mediums. She was featured in Houston Grand Opera’s NOW, Episode 2 from their Star-Cross’d series of short-form operatic films. She also created the title role in Lolly Willowes, a contemporary chamber musical that premiered at MATCH Houston in 2019.

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 jazz vocalist, Ms. Helm is an alumna of WMU’s Gold Company, and she recorded a Downbeat award-winning album with vocal jazz quartet the Four Corners.

Vidita Kanniks

Vidita Kanniks is a multi-faceted soprano specializing in ensemble music, historical performance and cross-cultural work. Equally at home with her background in Indian Classical music and her Western classical training she strives to represent both sides authentically in her unique artistic identity. Her interdisciplinary work paired with her sensitive musicianship and affinity for language has led her to gain attention through social media content and live performances across the United States and internationally.

Most recently, Vidita was heard as a finalist in both the Colorado Bach and Audrey Rooney Bach Competitions. In the 2020-21 season, Vidita kept engaged with a number of virtual performance initiatives including her recorded work featured through San Francisco-based Baroque ensemble, Voices of Music, and her involvement with ‘How it’s Musically Made’, a podcast series re-defining the art song genre through remote collaboration and commissioned new works reflecting the pandemic era. In previous years she has been a Young Artist with the VOCES US Scholars program (2019-20), the Grant Park Music Festival’s Vocal Fellowship (2019) the Aspen Music Festival’s Professional Choral Institute with Seraphic Fire (2019), and Songfest, Los Angeles (2017).

Vidita holds Bachelor’s degrees in Vocal Performance and Music History from the University of Cincinnati (CCM) with a minor in French, and a Master’s in Early Music Performance from McGill University in Montreal, Québec. She currently resides on Early Music America’s Emerging Professional Leadership Council and lives in Cincinnati where she is active as a performer and teaching artist.

Jane Long

Hailed as a “clear, agile soprano” (The Georgia Straight), Vancouver, Canada, native Jane Long performs as a chamber singer, concert soloist, and recitalist. She sings with ensembles such as Seraphic Fire (Miami, Florida) and musica intima (Vancouver, Canada) as well as solo opportunities that come her way. 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 musical 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 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. During the COVID-19 crisis, she has enjoyed staying home with family, pottery, and gardening.

Sarah Moyer

Known for her “purity and flawless range” (South Florida Classical Review), soprano Sarah Moyer’s most recent work as a concert artist includes Barber’s Knoxville: Summer of 1915, Pergolesi’s Stabat Mater, Grant’s SALT (world premiere), as well as countless Bach cantatas with Emmanuel Music, and Monteverdi’s Lamento della Nympha with Skylark Vocal Ensemble. She has also performed as a soloist with the Cape Symphony Orchestra, Aspen Chamber Symphony, Bourbon Baroque, Lost Dog New Music Ensemble, Boston Modern Orchestra Project, and Emmanuel Music, among others. She has performed world premieres by Harbison: No better time, Kallembach: Easter Oratorio, Theofanidis: Four Levertov Settings, and Runestad: The Hope of Loving, and American premieres by Melani: Teodora and Regina Coeli a5. and Nørgård: Nova Genitura and Seadrift.

As a choral artist, she appears with GRAMMY® nominated groups Seraphic Fire, Skylark, Conspirare, Clarion Music Society, True Concord, as well as Santa Fe Desert Chorale, Variant 6, Spire, The Thirteen, and Ensemble Origo. She can be heard as a soloist on Skylark’s GRAMMY® nominated albums Seven Words from the Cross and Once Upon a Time, and is excited to have joined Variant 6 for their newest album Fall and Decline, music by Gregory Brown.

Sarah was a finalist in the 2019 Handel Aria Competition and is a 2015 recipient of the St. Botolph Emerging Artist Award. She received her Masters in Music from New England Conservatory of Music and her Bachelors in Music from Oklahoma State University.

In her spare time, Sarah enjoys hiking and competing in triathlons. During Covid-tide, she taught herself how to play the ukulele and made it her pandemic’s work to revive music from the Tin Pan Alley genre. www.sopranosarahmoyer.com

Kathryn Mueller

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.

Arwen Myers

Praised for her “crystalline tone and delicate passagework” (SF Chronicle), soprano Arwen Myers is known as a captivating & sensitive interpreter of repertoire spanning early to new music. Recent & upcoming highlights include solo appearances with Philharmonia Baroque Orchestra, Oregon Bach Festival, Portland Baroque Orchestra, Early Music Vancouver, Pacific MusicWorks, Seraphic Fire, Bach Akademie Charlotte, and Bach Collegium San Diego. She is also a core member (and only singer) in acclaimed new music ensemble Fear No Music, and was a featured soloist on Chor Leoni’s JUNO-nominated When There Is Peace. A member of Beyond Artists and 1% for the Planet, Arwen pledges a percentage of her income to nonprofit organizations. Based in Portland, OR, Arwen is an active freelance artist across the United States & beyond.

Rebecca Myers

Rebecca Myers is a celebrated performing and recording artist who specializes in a comprehensive variety of repertoire including early, contemporary, and chamber music.

Recent seasons have seen solo engagements with Seraphic Fire, Tempesta di Mare, Lyric Fest, Opera Philadelphia, Apollo’s Fire, the CalPoly Bach Festival, and Philadelphia’s Bach @ 7 series. Also a highly sought after recital artist, Rebecca has been featured in art song recitals with pianists Laura Ward and Benjamin C.S. Boyle presented by the European American Musical Alliance (EAMA), The Woodmere Art Museum, and Opus Opera.

Acclaimed for her work in the field of new music, Rebecca is a core member of The Crossing, the two-time GRAMMY-winning ensemble dedicated entirely to new music. She has premiered works by the top living composers around the world and she was a soloist on the 2016 GRAMMY-nominated Bonhoeffer, released by The Crossing. Rebecca is a founder and member of the cutting-edge vocal sextet, Variant 6, who specialize in early and contemporary vocal chamber music.

Molly Netter

A versatile and joyous musician, Canadian-American soprano Molly Netter enlivens complex and beautiful music, both old and new, with “a natural warmth” (LA Times) and “clear, beautiful tone and vivacious personality” (NY Times). She can be heard on five GRAMMY-nominated albums since 2017 and has performed as a soloist with ensembles such as the Chicago Symphony Orchestra, New World Symphony, the Boston Early Music Festival, Apollo’s Fire, Musica Angelica, Contemporaneous, Juilliard415, Heartbeat Opera, and the Bang on a Can All-Stars. She has been a full-time member of the Choir at Trinity Wall Street since 2015.

Molly is an active performer, curator, educator, and advocate of new music, regularly commissioning new works by living composers. Recent collaborators include David Lang, Julia Wolfe, Amy Beth Kirsten, Doug Balliett, Katherine Balch, Molly Joyce, and Jessica Meyer, among others. Notable chamber performance highlights include inaugural casts of Pulitzer-winning operas Angel’s Bone (Du Yun, 2015) and PRISM (Ellen Reid, 2017). She was a featured curator/performer on Trinity Wall Street’s 2018 acclaimed “Time’s Arrow Festival,” programming an eclectic evening of Barbara Strozzi paired with newly commissioned contemporary works. In 2020 she began commissioning an entirely new repertoire for self-accompanied singer and clavicytherium, emphasizing the florid voice, early music vocal techniques, and improvisation as a bridge between style and genre.

Molly holds a BM in composition and contemporary voice from Oberlin Conservatory and an MM in early music voice from the Yale Institute of Sacred Music. She is currently on voice faculty at the Oberlin Baroque Performance Institute. www.mollynettervoice.com

Molly Quinn

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.

Nola Richardson

Making her mark as an “especially impressive” (The New York Times) soprano, Australian/American Nola Richardson was born in Sydney, Australia but sadly lost her Australian accent after her family emigrated to Colorado when she was six. She began her musical studies on the violin at age seven and continued with vocal studies at Illinois Wesleyan and the Peabody Conservatory. Performing the works of J.S. Bach has become the cornerstone of her career and she has gratefully received First Prize in three vocal competitions focusing on his works. These honors have catapulted her to the forefront of Baroque ensembles and symphonies around the country, where she has been praised for her “astonishing balance and accuracy,” “crystalline diction,” and “natural-sounding ease” (Washington Post). In recent seasons she has made debuts with the Seattle, Pittsburgh, and Colorado Symphonies (Handel Messiah); filmed arias with the Atlanta Symphony for a documentary about J. S. Bach; made appearances at the Lincoln Center with the American Classical Orchestra; and performed with a wide range of Baroque ensembles including the American Bach Soloists, the Philharmonia Baroque Orchestra, the Colorado Bach Ensemble, and Musica Angelica. Past operatic highlights include her debut at the Kennedy Center with Opera Lafayette (Fraarte in Handel Radamisto) which drew praise for her “particularly appealing freshness and directness” (Washington Post), and a “standout” performance (Opera News) as the First Lady in Die Zauberflöte with the Clarion Music Society. Nola is the first and only soprano to receive the prestigious DMA degree in Early Music Voice from Yale, where she attended the Institute of Sacred Music. Her upcoming season will include performances with the American Bach Soloists, the Grand Rapids and Kansas City Symphonies, Musica Angelica, Seraphic Fire, and debuts with Ars Lyrica Houston, and the Tuscon Baroque Music Festival. Nola is an Athlone Artist and resides in NYC.

Margot Rood

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.

Luthien Brackett

Born in California to parents who loved to read, Luthien Brackett was named after a character in J.R.R. Tolkien’s legendarium. Praised by the press for her “lushness and delicacy,” and “silky tone among all registers,” she is in great demand as an alto soloist and professional chorister. Her recent solo appearances include the role of third Damigella in a film of Francesca Caccini’s opera “La liberazione di Ruggiero” for Brighton Early Music Festival in England, J.S. Bach’s Mass in B Minor with Spire Chamber Ensemble in Kansas City, Hildegard von Bingen’s “Ordo Virtutum” with Seraphic Fire in Miami, and Rachmaninoff’s All-Night Vigil with Skylark Vocal Ensemble in Boston. Other notable recent engagements include an international tour of Berlioz’s “Benvenuto Cellini” with The Monteverdi Choir and Orchestras, and an international tour of Handel’s “Semele” with The Clarion Society and The English Concert. Her forthcoming performances include “Arrows. Eros.”, a new work by Mark Morris Dance Group; J.S. Bach’s Mass in B Minor with the Grand Rapids Symphony Orchestra, and Handel’s Messiah with the Fort Worth Symphony Orchestra. Among her numerous commercial recordings are four GRAMMY-nominated albums: Handel’s “Israel in Egypt” with the Choir of Trinity Wall Street and Trinity Baroque Orchestra (2013), Julia Wolfe’s Pulitzer Prize-winning “Anthracite Fields” with the Bang on a Can All-Stars (2015), Maximilian Steinberg’s “Passion Week” (2017), and Alexander Kastalsky’s “Memory Eternal” (2019), both with The Clarion Society. www.LuthienBrackett.com.

Alexandra Colaizzi

Praised by the South Florida Classical Review as a “vocally fierce” and “deep-toned” mezzo, Alex(andra) Colaizzi brings a warmth and sensitivity to stages across the United States.

As an ensemble musician, Colaizzi performs with top-tier professional choral ensembles such as the Santa Fe Desert Chorale and GRAMMY® nominated Seraphic Fire. She has appeared as a performer and soloist with GRAMMY® award-winning vocal band Roomful of Teeth at the 2019 Cincinnati May Festival, and was recently featured with the John Daversa Jazz Orchestra for composer Justin Morell’s newest album, All Without Words.

Colaizzi’s other recent solo and ensemble credits include work with the Frost Opera Theater, the Rhodes Mastersingers Chorale (Memphis, TN), and the inaugural year of The Origin Initiative (Buena Vista, VA). A life-long student, Colaizzi has trained and performed at programs around the country, such as the Illinois Bach Academy, the International Baroque Institute at Longy, the Seraphic Fire Professional Choral Institute at Aspen School of Music, and the Amherst Early Music Festival.

A native Floridian and alumnus of the Girl Choir of South Florida, she has also performed with the Master Chorale of South Florida, and served as soloist and director of the South Florida Jewish Chorale. Colaizzi holds a B.M. in music education from the University of Miami and an M.M. in vocal pedagogy from the University of Memphis Rudi E. Scheidt School of Music. She is currently studying toward her Doctor of Musical Arts degree at the University of Miami.

Amanda Crider

Mezzo-soprano Amanda Crider has been recognized for her “deep expressivity and impressive stamina” (New York Times), “gleaming vocalism” (Boston Globe), “star acting” (Urban Milwaukee), and “superbly clear diction and warmly burnished timbre” (South Florida Classical Review). The upcoming 2021-22 Season includes appearances with White Snake Projects in a new opera by Mary Prescott, soloist in Mozart’s Requiem with Elgin Symphony and Amarillo Symphony as well as multiple appearances with Seraphic Fire. Ms. Crider has appeared as a concert soloist with Calgary Philharmonic, Apollo’s Fire, Charleston Symphony, Jacksonville Symphony, New World Symphony, Amarillo Symphony, Eugene Symphony and the International Contemporary Ensemble, among others. In demand for performances of classical and contemporary opera alike, Amanda has performed with LA Opera, Boston Lyric Opera, Florentine Opera, Dallas Opera, Beth Morrison Projects, Orlando Opera, Florida Grand Opera, Opera Omaha, Des Moines Metro Opera, Eugene Opera, Anchorage Opera, Opera Boston, New York City Opera, Castleton Festival and Glimmerglass Opera. She has performed as a recitalist with Trinity Church Concerts at One Series and Five Boroughs Music Festival, and appeared on Marilyn Horne’s “…the song continues” series at Carnegie Hall. Amanda has been a prize winner in the José Iturbi International, Jensen Foundation, Oratorio Society of New York, Palm Beach Opera, Joy in Singing Debut Artist 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 (www.illuminarts.org).

Doug Dodson

With singing described as “beautiful, ringing, and agile” (Boston Classical Review), countertenor Doug Dodson is known throughout the country as a sought-after soloist and ensemble singer. Doug’s notable recent performances include solo debuts with Boston’s Handel & Haydn Society (Bach’s Cantata 147), the Aspen Music Festival (Bach’s Cantata 106, “Actus tragicus”), the Connecticut Early Music Festival (Bach’s Cantatas 17 and 37), Boston Baroque (Nireno in Handel’s Giulio Cesare), the Oregon Bach Festival (Bach’s St. John Passion and Cupid in Blow’s Venus and Adonis), and Seattle’s Pacific MusicWorks (Speranza in Monteverdi’s L’Orfeo). Equally comfortable in contemporary repertoire, Doug’s recent seasons have included world and American premieres of pieces by Jonathan Dove, Tod Machover, Paul Crabtree, Per Bloland, and Ken Ueno, and world-premiere recordings of pieces by Nicholas Vines and James Kallembach.

Doug appears regularly with many of the nation’s premier choral groups, including Boston’s Handel & Haydn Society, Seraphic Fire, Skylark, TENET Vocal Artists, South Dakota Chorale, and Kinnara. He has earned degrees in Anthropology from the University of South Dakota and in Vocal Performance from the University of Missouri – Kansas City, and was a proud member of the prestigious Britten-Pears Young Artist Programme in conjunction with Aldeburgh Music in Aldeburgh, UK. In 2018 he made his television debut as a contestant on season 35 of Jeopardy!, where he was a three-day champion.

William Duffy

William Duffy is a California-born, Montréal-based countertenor soloist and ensemble singer, praised for his “command of the seemingly impossible high tessitura” (South Florida Classical Review). William first encountered music as a young Suzuki violinist, often facing admonishment for improvising new endings to classic repertoire. William’s appetite for variation keeps him exploring the extremes of his musical voice, finding him at various times performing jazz, Gregorian chant and music of the renaissance, baroque, and today.

His recent performance highlights include an “urban pilgrimage” tour of Joby Talbot’s Path of Miracles with Voces Boreales 18 of Montréal; “Negro Spirituals”, a lecture-recital given by conductor Floydd Ricketts of newly-founded Ensemble Noir, whose mandate is to illuminate choral works written by or about people of colour; Rachmaninoff’s All-Night Vigil with The Church of St. Andrew and St. Paul in Montréal; and performances of J.S Bach’s cantatas, Trauerode, and the B-minor mass with the American Bach Soloists Academy. During the 2020-21 ongoing Covid-19 global pandemic, William was fortunate to continue making music safely, both in-person and virtually, with Studio de musique ancienne de Montréal, The Thirteen, Seraphic Fire, Ensemble Noir, I Musici de Montréal, The Church of St. Andrew and St. Paul, and Ensemble Vocal-Arts Québec.

William’s other notable endeavours include recording the music of Alessandro Scarlatti for award-winning filmmaker Micheline Lanctôt and performing Songs of Unrequited Love written for countertenor, horn, and harp by esteemed Canadian composer Donald Patriquin. William also sings weekly at The Church of St. Andrew and St. Paul in Montréal, where he has performed various works by contemporary composers, including: David Lang’s Little Match Girl Passion, Gregory Spears’s completion of the Mozart Requiem, Robert Koolstra’s Bach Markus-Passion reconstruction, and Arvo Pärt’s Passio. William is a member of the Montréal Symphony Orchestra Chorus and the Québec union des artistes.

Margaret Lias

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 & Haydn Society (Handel, Israel in Egypt). In 2017, Margaret received praise for her Cleveland Orchestra solo debut singing Stravinsky’s Threni. Due to the Covid-19 pandemic, much of Margaret’s concert work, tours, and collaborations was canceled. Previously scheduled and some rescheduled solo appearances include Boston Baroque (Vivaldi, Gloria), Princeton Pro Musica (Duruflé, Requiem), Andover Choral Society (works by Demetrius Spaneas, Gwyneth Walker, Leonard Bernstein, and others), Salisbury Singers (Mendelssohn, Elijah), and Emmanuel Music (Bach, Mass in B minor).

A supporter of Anglican liturgical music, Margaret has been a sought-after cantor for events such as bishop consecrations, clergy ordinations, and worship services in major cathedrals and churches in the US and abroad. Margaret is a member of Emmanuel Music, ensemble-in-residence at Emmanuel Church, Boston, MA. June 1, 2020 marked the start of Margaret’s Postulancy for Holy Orders to the Diaconate in the Episcopal Diocese of Massachusetts.

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, easily transitioning from medieval and baroque music to classical, romantic, and contemporary repertoire. Margaret was a founding member of The Skylark Vocal Ensemble under Matthew Guard. She has performed frequently with Seraphic Fire under Patrick Dupré Quigley, Boston Baroque under Martin Pearlman, Voices of Ascension under Dennis Keene, and Emmanuel Music under Ryan Turner.

Margaret began vocal studies at the age of 13 but had already been a student of the Royal School of Church Music curriculum from age 7. Margaret participated in community education studies at Eastman School of Music and eventually went on to collegiate coursework there as well.

Kate Maroney

Praised for “vibrant and colorful” singing (The New York Times) and for “beauty of voice, coupled with her artistry and natural ease as a performer, that is always a joy to experience” (Seen and Heard International) mezzo-soprano Kate Maroney’s recent and regular appearances include with the Metropolitan Opera, Bangor Symphony Orchestra, Orlando Philharmonic Orchestra, Blue Hill Bach, Indianapolis Symphonic Choir, New York City Ballet, Santa Fe Desert Chorale and Symphony, Seraphic Fire, Berkshire Choral Festival, Voices of Ascension, TENET, Carmel Bach Festival, Opera Grand Rapids, Beth Morrison Projects, Bard SummerScape, NYBI 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, Master Chorale of South Florida, The Crossing, and Clarion. Kate has premiered works and collaborated with Philip Glass (world tour from 2012—2015 as a soloist (Dance 2) in Einstein on the Beach) with the Irish company “Gare St Lazare Ireland” in a Samuel Beckett pastiche “Here All Night” that appeared at Lincoln Center’s White Lights Festival, and toured Ireland in 2018, and has collaborated with David Lang, Michael Gordon, Martin Bresnick, Julia Wolfe, Missy Mazzoli, Hannah Lash, Nina Young, Dominick Argento, Christopher Cerrone, Ted Hearne, and Scott Wheeler. Kate is currently developing a piece with composer Matthew Ricketts based on a short story by George Saunders. She is featured on multiple Grammy-nominated recordings with Albany, Naxos, and New Amsterdam Records, and is part of the world premiere and Grammy-winning recording of Ethel Smyth’s “The Prison” (Chandos 2020.) She holds a D.M.A. from Eastman, degrees from SUNY Purchase and Yale, teaches voice pedagogy at Mannes, and resides in Brooklyn with musician-husband Red Wierenga and beloved son, Ossian. www.katemaroney.com

Emily Marvosh

American contralto Emily Marvosh has been gaining recognition for her “plum-wine voice,” and “graceful allure.” Recent and upcoming solo appearances include the Handel and Haydn Society, American Bach Soloists, Charlotte Symphony, Tucson Symphony Orchestra, Lexington Symphony, Phoenix Symphony, Chorus Pro Musica, Music Worcester, and Cantata Singers.

She is a core member of the Lorelei Ensemble, which promotes innovative new music for women. With Lorelei, she has enjoyed collaborations with composer David Lang, BMOP, and the Boston Symphony Orchestra. www.emilymarvosh.com

Reginald Mobley

Particularly noted for his “shimmering voice, a voice which also allows lucid and pure levels” (BachTrack), countertenor Reginald Mobley is highly sought after for baroque, classical and modern repertoire.

Reginald leads a very prolific career in the United States, where he resides. In March 2020, he became the first ever programming consultant for the Handel and Haydn Society following several years of leading H+H in his community engaging Every Voice concerts. He is a regular guest with Cantata Collective, Musica Angelica, Agave Baroque, Charlotte Bach Akademie, Seraphic Fire, Quodlibet, Pacific Music Works, Bach Collegium San Diego, San Francisco Early Music Society, Philharmonia Baroque Orchestra…. Recent engagements have included concerts and recordings with organisations such as Opera Lafayette, Miller Theatre (Columbia University), Blue Heron in Boston, Chatham baroque in Pittsburgh, Washington Bach Consort. Most of the recordings are available online.

In Europe, his career is expanding; in the UK, he has toured with the Monteverdi Choir and English Baroque Soloists for the last five years, and continues to do so, and has performed with the Royal Scottish National Orchestra, Academy of Ancient Music and was due to make his debut with the City of Birmingham Symphony Orchestra in June 2022. He was also invited to perform with the OH! (Orkiestra Historycsna) in Poland and the Vienna Academy in Austria (Musikverein), gave a recital (with a Spiritual programme) at the Musée d’Orsay in Paris, toured with the Freiburger Barockorchester under Kristian Bezuidenhout, Balthasar Neumann Chor & Ensemble and the Bach Society in Stuttgart.

In the autumn 2021, he will perform the role of Ottone in L’incoronazione di Poppea with the Budapest Festival Orchestra for a series of concerts in Europe, and has been invited to sing Messiah with the Chicago Symphony Orchestra in December 2021. Reginald is expecting to be touring Australia in April 2022 together with Bach Akademie Australia.

His recordings have been received with critical acclaim, including several Grammy nominations, most recently for his work on A Lad’s Love with Brian Giebler on BRIDGE 9542 label, which has been nominated for a Grammy Award for Best Classical Solo Vocal Album. He has also been featured on several albums with the Monteverdi Choir and Sir John Eliot Gardiner, including a recording of Bach’s St Matthew Passion and Magnificat. His own projects include Peace In Our Time on Vgo Recordings label with frequent collaborators, Agave Baroque. He also looks forward to the release of American Originals with Agave Baroque, which celebrates the music of composers of colour.

Clara Osowski

Mezzo-soprano Clara Osowski, who sings “from inside the music with unaffected purity and sincerity” (UK Telegraph), is an active soloist and chamber musician hailed for her “rich and radiant voice” (UrbanDial Milwaukee).

Recent performance highlights include Clara’s June 2021 Minnesota Opera debut as Mrs. Herring—termed “a natural” (Star Tribune, Minneapolis)–in Britten’s Albert Herring, and her recital appearance as a fill-in for Susanna Philips in The Schubert Club International Artist Series Recital with Eric Owens. She has also been a featured recitalist at the Enlightenment Festival of Seraphic Fire, The Dame Myra Hess Memorial Concerts, and at several universities. Clara has collaborated with numerous chamber musicians, including pianist Wu Han, The Lydian String Quartet, VocalEssence Ensemble Singers, the Minneapolis Guitar Quartet, Accordo, and Dark Horse Consort. Her passion for contemporary music is exhibited in the song-cycles and chamber music she has premiered or commissioned from several composers, namely James Kallembach, Libby Larsen, David Evan Thomas, Linda Kachelmeier, Reinaldo Moya, Carol Barnett, and Juliana Hall.

Clara’s further list of credits to date is extensive: a Metropolitan Opera National Council Upper-Midwest Regional Finalist, winner of several competitions including the Bel Canto Chorus Regional Artists Competition of Milwaukee and the Houston Saengerbund Competition, a repeated runner-up in The Schubert Club Bruce P. Carlson Scholarship Competition, and a third-place contender in the Madison Handel Aria Competition, among others. In a Minnesota-based recognition of her overall professional excellence, Clara received the prestigious 2018-19 McKnight Artist Fellowship for Musicians, administered by MacPhail Center for Music.

In addition to performing, Clara is a Co-Founder and Co-Artistic Director of Source Song Festival, a week-long art song festival in Minneapolis, Minn. The festival strives to create and perform new art song while cultivating an educational and welcoming environment for students of song—composers, vocalists, and collaborative pianists.

Andrew Rader

“Countertenor Andrew Rader has been a featured soloist on three continents, performing major Baroque and Modern works throughout his career. He has sung the title role in Giulio Cesare, Oberon in A Midsummer Night’s Dream, Eustazio in Rinaldo, and he was the cover for the three countertenors in Adams’ The Gospel According to the Other Mary. Concert work includes St. John Passion, Come, Ye Sons of Art, Fire and Ice: Michelangelo the Writer, Messiah, Vivaldi’s Gloria, Chichester Psalms, Handel Dixit Dominus, and L’Amfiparnaso, and Carmina Burana, Not only at home in Baroque and Modern music, he specializes in a varied repertoire, including jazz, musical theater, bel canto, and lieder. Whether in concert, stage, or chamber repertoire, he has been consistently praised for his clear, strong tone and effective use of text. In addition to his performing career, he has established himself as a successful voice coach and teacher. His students have been accepted to prestigious undergraduate and graduate programs (IU, CCM, CIM, Juilliard, NEC) or apprenticeship programs (Washington National, Merola, MONC, Glimmerglass, Wolf Trap, Santa Fe) in the classical music industry, as well as College Light Opera Company, Aspen Summer Music Festival, Summer Stock, and various other programs that specialize in musical theater and light opera. Currently, he is the pianist and private voice teacher at Whiteland Community High School in Whiteland, Indiana.”

Virginia Warnken

Hailed by the New York Times as an “elegant,” “rich-toned alto” with “riveting presence,” mezzo-soprano Virginia Warnken Kelsey is known for her heartfelt and dynamic interpretations of 17th and 18th opera and oratorio. In recent seasons, Virginia has been featured as a soloist with the New York Philharmonic, Los Angeles Philharmonic, San Francisco Symphony, BBC Symphony Orchestra, Seattle Symphony, Cincinnati Symphony Orchestra, Philharmonia Baroque, Boston Early Music Festival, Spoleto Festival, Carmel Bach Festival, TENET Vocal Artists, Trinity Wall Street Choir, Seraphic Fire, among many others. Recent roles/engagements include Dido in Purcell’s Dido and Aeneas, several roles with Boston Early Music Festival Opera, and numerous programs of early 17th c. Italian works, of which Virginia is particularly fond. Also recognized for her exciting and unique performances of avant-garde 20th and 21st century works, Virginia is an original member of the groundbreaking Grammy© Award-winning alternative-classical vocal band Roomful of Teeth. Lauded by Rolling Stone, NPR, and the New York Times, Roomful of Teeth is a vocal project dedicated to mining the expressive potential of the human voice. Through study with masters from singing traditions the world over, the eight-voice ensemble continually expands its vocabulary of singing techniques and, through an ongoing commissioning process, forges a new repertoire without borders.

When not engaged with music, Virginia enjoys an active lifestyle of yoga, weight lifting, hiking, swimming in the ocean, and basking in sunshine.

Blake Beckemeyer

Tenor Blake Beckemeyer specializes in period performances of J. S. Bach, having performed over 20 unique cantatas and multiple performances of large works by the composer. His CD, recorded as a member of Vox Orchester and Chor, Alexander’s Feast (Deutsche Harmonia Mundi), was recently nominated for three Opus Klassik awards including Best Ensemble and Best Performance of a Choral Work. This season, he returns to perform two programs with Seraphic Fire. In 2023, Beckemeyer will sing his first Bach Johannes-Passion Evangelist—including the arias—with Christ Church Cathedral and Indy Baroque, adding to a previous Evangelist in performances of the Schütz Weihnachtshistorie with Dana Marsh.

Beckemeyer was part of the premiere performances of The Passion of Yeshua at the Oregon Bach Festival with Joann Falletta, in which the conductor later won a Grammy for her recording of the work. In previous years, Beckemeyer has also sang with Charlotte Bach Akademie, Indianapolis Early Music Festival, Weimar Bachkantaten Akademie, Bach Ensemble-Helmuth Rilling, Border CrosSing, and as a regular concertist with the Bloomington Bach Cantata Project. Beckemeyer marks his liturgical performing communities as the Lilly-endowed Christ Church Cathedral and also Second Presbyterian Church, both in Indianapolis.

Beckemeyer holds degrees from Indiana University-Jacobs in Early Music Voice and DePauw University in Voice and Mathematics. When not singing, Beckemeyer works as a mortgage underwriting executive with Amerisave Mortgage, the ninth-largest lender who funds over $4B in loan volume monthly.

Steven Bradshaw

A graduate of the 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 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-winning album Zealot Canticles.

Andrew Crane

Andrew Crane joined the faculty at Brigham Young University in 2015, where his main duties include conducting the award-winning BYU Singers and teaching courses in the graduate conducting curriculum. 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 state, regional, and national conferences of the American Choral Directors Association, National Association for Music Education, and National Collegiate Choral Organization. Recent examples include the 2019 ACDA national conference in Kansas City, the 2020 Utah Music Educators Association conference in St. George, and the 2020 Western Division ACDA Conference in Salt Lake City. In 2022 he will conduct the BYU Singers at the Western Division ACDA Conference in Long Beach, CA.

International awards include BYU Singers’ first place distinction and overall Gran Prix win in the 2020 International Youth Choir Festival “Aegis Carminis.” In 2015, he conducted the East Carolina University Chamber Singers to first place honors at the 13th Maribor International Choral Competition Gallus, the only American choir to win in the history of the contest.

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, Spire Chamber Ensemble, Carnegie Hall Festival Chorus, and many others.

Dr. Crane is active as a conductor of honor choirs, clinician, adjudicator and presenter. He is Past President of Utah ACDA, and served four years on the national ACDA Standing Committee for Composition Initiatives. In addition, Crane curates a choral series under his name through Walton Music. He holds BM and MM degrees from Brigham Young University, and a DMA from Michigan State University.

Brad Diamond

Dr. Brad Diamond is a talented and versatile tenor known for his musicianship and style. Equally adept in the genres of opera, oratorio and song literature, Diamond has presented over 400 solo vocal performances featuring 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. Dr. Diamond completed his Bachelors of Music Degree from Westminster Choir College in Princeton, NJ in 1991. He received his Masters and Doctorate degrees from the University of Cincinnati’s College Conservatory of Music between 1993 and 2004. Dr. Diamond currently holds the position of Professor of Voice at Samford University.

Nick Karageorgiou

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.

Patrick Muehleise

Praised for his “beautiful, evenly produced lyric tenor” and “pure tone,” Patrick Muehleise mainly specializes in concert soloist repertoire. Recent solo engagements include Bach’s BWV 106 under the baton of Robert Spano and 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 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, Beethoven’s Symphony No. 9 in Chicago’s Symphony Hall with the Chicago Bar Association Symphony Orchestra, and solo recitals with the Lake Wales Arts Council’s Concert Series and Milwood United Methodist Church in his hometown of Kalamazoo, MI.

Though the pandemic has proved difficult for everyone, Patrick mostly stayed busy by recording in his home studio for virtual concerts and church services, editing video concerts and education workshops, teaching voice lessons, and was honored to join True Concord for an in-person video recording project of Orff’s Carmina Burana in partnership with Arizona PBS.

As an educator, Patrick has maintained a private voice studio for the last 10 years in addition to countless masterclasses and workshops at the university level, two residencies at UCLA, and has served as Artist-Faculty at the Aspen Music Festival for two years 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 category for his collaboration on True Concord’s album “Far In The Heavens: Choral Music of Stephen Paulus” and can be heard on seven nationally released recordings with Grammy-nominated and award-winning ensembles.

Follow Patrick on Instagram @patricktenor or www.patrickmuehleise.com

James Reese

James Reese is a frequently sought soloist and collaborative musician. This season, he makes a recital debut with the Philadelphia Chamber Music Society, and orchestra debuts with the Harrisburg Symphony and the American Bach Soloists. James regularly appears with leading American orchestras and organizations, among them Philharmonia Baroque Orchestra, Lyric Fest, TENET Vocal Artists, Tempesta di Mare, and the Gamut Bach Ensemble. Notable recent performances include a tour to Venice, Italy with the Green Mountain Project, and an appearance at the Calgary Philharmonic Orchestra Bach Festival. About that performance, the Calgary Herald wrote, “tenor James Reese will be remembered and surely welcomed back in the future….he sang with remarkable clarity of diction and vocal focus. [He made] a very strong impression.” James is an advocate for new music, and is a founding member of Philadelphia vocal sextet Variant 6. He performs with leading ensembles, including The Crossing, Seraphic Fire, and Gallicantus. He is the winner of the Margot Fassler Award for the Performance of Music at Yale, and the Career Advancement Grant from the Musical Fund Society of Philadelphia. James is a graduate of Northwestern University’s Bienen School of Music, and holds a masters degree from the Yale School of Music. He lives in Philadelphia.

Steven Soph

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.