Sarah Brailey

is hailed by The New York Times for her “radiant, liquid tone,” “exquisitely phrased,” and “sweetly dazzling” singing. She has performed Steve Reich at Carnegie Hall, Handel’s Messiah with the Saint Paul Chamber Orchestra, and with Kanye West and Roomful of Teeth at the Hollywood Bowl. Highlights of Brailey’s recent seasons include Barber’s Knoxville: Summer of 1915 with Colorado Symphony; George Benjamin’s Dream of the Song with the Lorelei Ensemble and Boston Symphony Orchestra; Handel’s Silete venti and Purcell’s Fairy Queen with Handel and Haydn Society; Webern’s Op. 13, 14, and 25 with Trinity Wall Street; Zweite Dame in Mozart’s Die Zauberflöte with the Clarion Music Society; various John Zorn works at the Louvre Museum, Sarajevo Jazz Fest, and November Music in s-Hertogenbosch; Handel’s Messiah with Charlotte Symphony and Albany’s Cathedral of All Saints; Bach’s Magnificat and Christmas Oratorio with Musica Angelica; Costanza in Haydn’s L’isola disabitata with the American Classical Orchestra; and Ligeti’s Clocks and Clouds at the Tanglewood Festival of Contemporary Music. Brailey’s awards include First Prize in the 2015 Handel Aria Competition and the Leopold Damrosch Award in the 2014 Lyndon Woodside Oratorio Solo Competition.

Cait Frizzell

earned her master’s degree with distinction from the Royal College of Music in London in July 2015. She actively pursues her work in contemporary music and folk literature by working with living composers in the United States and abroad. Tackling projects that feature vastly different genres, she gave her debut recital at Carnegie Hall’s Weill Recital Hall with exclusively contemporary repertoire in the same month that she recorded the soundtrack of X-Box game Wander. She also recently completed a fellowship residency at Tanglewood Institute where she studied with such singers as Dawn Upshaw and Stephanie Blythe. As a professional chorister, Frizzell sings with Irish folk ensemble Anúna and works closely with the group’s resident composer and artistic director, Michael McGlynn.

Jolle Greenleaf

has been hailed as a “golden soprano” and called “a major force in the New York early music-scene” by The New York Times. She is a sought-after soloist in music by Bach, Buxtehude, Handel, Purcell, and, most notably, Claudio Monteverdi. 2016-2017 Season highlights include two programs on Carnegie Hall’s “La Serenissima” series, J. S. Bach’s St. Matthew Passion with the Washington Bach Chorus, and a return to the beloved Vespers of 1610 by Claudio Monteverdi. As Artistic Director of TENET, Greenleaf creates diverse programs, directs, and sings in performances of repertoire spanning from the Middle Ages to the 21st Century. “A treasured staple in New York” (The New York Times), TENET’s programming and performances has been lauded by The New York Times as “adventurous and expressive.”

Chorus Master

Sara Guttenberg

is highly sought after as a soloist and chamber artist, charming critics and audiences with her “vocal finesse” (South Florida Sun-Sentinel) and “soaring tones” (Miami Herald). Guttenberg is a member of critically-acclaimed Seraphic Fire and the Berwick Chorus of the Oregon Bach Festival. Known for her vocal versatility, she has performed and recorded music of multiple vocal genres. She is a featured ensemble soloist on Naxos recordings of William Bolcom’s Songs of Innocence and of Experience, which earned four GRAMMY® Awards. She has sung under the batons of Nicholas McGegan, Michael Tilson Thomas, John Nelson, Leonard Slatkin, and Helmuth Rilling. Guttenberg is pursuing a doctoral degree in choral conducting at University of Wisconsin-Madison. Previously, she spent seven years teaching at Southern Utah University, where she conducted multiple ensembles in addition to teaching choral music education classes and voice. Originally from Wisconsin, she received her bachelor’s degree in music education and voice performance from the University of Wisconsin-Madison and her master’s degrees in voice performance and choral conducting from the University of Michigan.

Gitanjali Mathur

is hailed as having “skyrocketing coloratura” (South Florida Classical Review), “fluid voice…and impressive dexterity” (The Austin Chronicle), “piercingly clear soprano” (Austin390.com) and being a “natural and convincing comedic actress” (Austin360.com). Mathur completed her higher studies in voice performance at Indiana University along with minors in Mathematics and Computer Science. She is also a full-time member of Conspirare, and is on several of their GRAMMY®-nominated recordings conducted by Craig Hella Johnson. Mathur is a part of the eclectic group Convergence and the early music groups Ensemble viii and Texas Early Music Project, all based out of Austin. In May 2009 and 2010, she was nominated in the Best Singer category for the Austin Critics’ Table Awards. She has performed in France, Italy, Germany, and Denmark as a soloist and a chorister. She sings and records regularly with Seraphic Fire and is featured on its GRAMMY®-nominated CD A Seraphic Fire Christmas. Most recently, Mathur sung the role of Serpina in Pergolesi’s La Serva Padrona, the role of Gabriel in The Creation by Haydn, Mozart’s Exsultate, Jubilate, the role of the Witch in Purcell’s Dido and Aeneas, made her solo Carnegie Hall debut with Helmuth Rilling in J.S. Bach’s St. Matthew Passion in 2007 and sang in the Oregon Bach Festival and Santa Fe Desert Chorale. Mathur also sang the solos for Handel’s Messiah with Austin Symphony Orchestra and to performed a lead role in John Blow’s delightful baroque opera Venus and Adonis with Austin Vocal Arts Ensemble.

Sarah Moyer

was exclusively featured in 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, Moyer’s recent repertoire includes the world premiere of Theofanidis’ Four Levertov Settings with Seraphic Fire, American premieres of Nørgård’s Nova Genitura and Seadrift with Lost Dog New Music Ensemble, world premiere of Runestad’s The Hope of Loving with Seraphic Fire, and Foss’ The Prairie with Boston Modern Orchestra Project. Moyer appears frequently with Skylark, Santa Fe Desert Chorale, True Concord, Vox Humana TX, and the Berwick Chorus of Oregon Bach Festival.

Kathryn Mueller

has been a soloist with Firebird Chamber Orchestra, American Bach Soloists, Portland Baroque Orchestra, Phoenix Symphony, San Antonio Symphony, Santa Fe Pro Musica, Winston-Salem Symphony, and Arizona Opera. She has sung as an ensemble member with Seraphic Fire, Santa Fe Desert Chorale, Oregon Bach Festival, and Handel and Haydn Society. Mueller has won awards from the Carmel Bach Festival’s Adams Fellowship, Oratorio Society of New York’s Solo Competition, and Early Music America’s Baroque Performance Competition. She holds degrees in music from Brown University and The University of Arizona, is on the voice faculty at East Carolina University.

Rebecca Myers

was recently described in San Francisco Chronicle as singing with “an appealing blend of vulnerability and grace.” Myers is a solo and ensemble singer who performs in and around the Philadelphia area. She is a member of The Crossing, an award-winning vocal ensemble fully dedicated to the performance of new music under the direction of Donald Nally. Her last season with The Crossing included collaborations with Quicksilver Baroque and International Contemporary Ensemble for the highly anticipated Seven Responses project at Lincoln Center’s Mostly Mozart Festival. Myers has appeared as a chorister and soloist with Santa Fe Desert Chorale, American Bach Soloists, Apollo’s Fire, Choral Arts Philadelphia, Bach Collegium Philadelphia, The Laughing Bird, Piffaro, Opera Philadelphia, and Prometheus Chamber Orchestra.

Molly Netter

enlivens complex and beautiful music with a voice described as “crisp and clear, white yet warm” (Seen and Heard International). As a soprano soloist, Netter has performed with Julliard415 at Lincoln Center and toured internationally in Japan, Singapore, and Burma under Masaaki Suzuki. Hailed for her “command of the stage with a full range of Baroque stage conventions” (Early Music America), she has also performed at the Boston Early Music Festival, Trinity Wall Street, and with the Yale Schola Cantorum under Nicholas McGegan, David Hill and Simon Carrington. Netter has premiered numerous works by David Lang, Simon Emmerson, Ran Duan, and Sven-David Sandström at The Kennedy Center, Yale School of Music, Oberlin Conservatory, and the Stuttgart Festival under Helmuth Rilling. With a wide range of repertoire, she has performed as soloist with Yale Opera and Cantata Profana based in New Haven, the Clarion Music Society, Heartbeat Opera, and Experiments in Opera in New York City, and recently toured Northern Germany as a vocalist with the Triple Point jazz trio. Netter holds an ad hoc Bachelor of Music degree in composition and contemporary voice from Oberlin Conservatory and a master’s degree in early music voice from the Yale Institute of Sacred Music where she studied with James Taylor.

Molly Quinn

has captivated audiences with her “radiant” soprano, possessing an “arresting sweetness and simplicity” (The New York Times) in diverse repertoire ranging from Monteverdi to Appalachian root music. In 2016-2017 she toured with the Bang on a Can All-Stars performing Julia Wolfe’s Steel Hammer; made debut appearances with The Helicon Society, The Catacoustic Consort, and El Fuego Ensemble; and returned to Apollo’s Fire and Saint Thomas Fifth Avenue. She is a frequent collaborator with New York City’s TENET and can be heard throughout their season. Quinn has been a soloist with many noted orchestras and ensembles including The Knights NYC, The Clarion Music Society, the Choir of Trinity Wall Street, The Carmel Bach Festival, The Folger Consort, and Quicksilver. She holds both a Bachelor of Music and Master of Music in Voice Performance from University of Cincinnati-College Conservatory of Music.

Margot Rood

has been hailed for her “luminosity and grace” by The New York Times and can be heard performing a wide range of repertoire across American stages. Recent and upcoming solo appearances include The Cleveland Orchestra (Stravinsky’s Threni); Boston Symphony (Benjamin’s Dream of the Song); Rhode Island Philharmonic (Messiah); New World Symphony (Reich’s Desert Music); La Renommée in Lalande’s Les Fontaines de Versailles with Boston Early Music Festival; Hyacinthus in Mozart’s Apollo und Hyacinthus with Emmanuel Music; and Amor in Gluck’s Orfeo ed Euridice with Grand Harmonie. Rood has performed as a soloist with some of the premiere new music ensembles in the United States, and was a 2015 recipient of the St. Botolph Club Foundation’s Emerging Artist Award for her work in new music. Notable recent engagements include her Carnegie Hall debut in the world premiere of Shawn Jaeger’s Letters Made with Gold under the direction of Dawn Upshaw, Kati Agocs’ Vessel, and Evangelist in Arvo Pärt’s Passio with the Boston Modern Orchestra Project.

Meredith Ruduski

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.

Amanda Sidebottom

is an active soloist and ensemble singer based in New York City. She has been a soloist with The Soul’s Delight, Brooklyn Baroque, Amor Artis, The Cathedral of St. John the Divine, and Mark Morris Dance Group. She has sung with professional chamber choirs across the United States, including Santa Fe Desert Chorale and Yale Choral Artists. At home, Sidebottom has appeared in concert with ensembles including the Trinity Choir of Trinity Wall Street, the Choir of St. Luke in the Fields, and American Classical Orchestra Chorus. Her duo with lutenist Erik Ryding, Well-Tuned Words, has toured the east and west coasts as well as Europe and recently released its debut album Great Wonder (Quill Classics). Sidebottom is a graduate of DePauw University and Indiana University’s Historical Performance Institute

Brenna Wells

has been praised for her “angelic,” “soaring,” and “captivating” voice. Her operatic roles include Galatea in Acis and Galatea, First Witch in Purcell’s Dido and Aeneas, La Musique in Charpentier’s Les Plaisirs de Versailles, and she was Première Nymphe de l’Acheron in Boston Early Music Festival’s production and GRAMMY® nominated recording of Lully’s Psyché. Wells has sung and recorded with such acclaimed ensembles as the BEMF Orchestra, Blue Heron, Britten-Pears Baroque Orchestra, Boston Baroque, Opera Boston, L’Académie, and the Handel and Haydn Society. She has appeared in many festivals world-wide including the London Handel Festival, Aldeburgh Festival, Amherst Early Music Festival, BBC Proms, and in both 2008 and 2009, she was selected to perform in the Early Music Seminars at the Fondazione Giorgio Cini in Venice, Italy. Recent season highlights include solo appearances with the Handel and Haydn Society, Boston Baroque, Collage New Music, Connecticut Early Music Festival, Boston Baroque, Yale Choral Artists, Boston Modern Orchestra Project, The Metropolitan Chorale, Boston Early Music Festival, Ensemble VIII, Early Music Underground, Vermont Symphony Orchestra, Sammamish Symphony Orchestra, and Emmanuel Music as their Lorraine Hunt Lieberson Fellow. Last season includes appearances in the Seattle’s St. Cecilia Music Festival with works including Mozart’s Exultate Jubilate and Vivaldi’s Gloria as well as appearances with Vancouver Early Music Festival, and Pacific Musicworks’ production of Dido and Aeneas.

Misty Bermudez

has captivated critics and audiences alike with her “ravishing” voice (Miami Herald) and her “compelling” concert performances (Palm Beach Arts Paper). A Seraphic Fire founding member, Bermudez has performed with many professional ensembles around the country including the Oregon Bach Festival, The Santa Fe Desert Chorale, Spire Chamber Ensemble, and Conspirare. As a soloist, she has appeared with San Antonio Symphony, Master Chorale of South Florida, Southwest Florida Symphony, New World Symphony, Back Bay Chorale in Boston, Opera Naples, and Illuminarts in Miami. Bermudez serves in the voice faculty of Miami-Dade College, Kendall Campus, where she directs the Opera Theatre Ensemble, and she is the Summer Artistic Director of the Civic Chorale of Greater Miami.

Luthien Brackett

is praised by the press for her “easy, appealing alto” and “silky tone among all registers,” and 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 Baldwin Wallace Bach Festival; Handel’s Messiah with The Choir of Trinity Wall Street and Trinity Baroque Orchestra; the Charlotte Symphony Orchestra; Barbara’s Venice: The Music of Barbara Strozzi with Pegasus Early Music; and the Russian premiere of Maximilian Steinberg’s Passion Week with The Clarion Society. Solo appearances include Bach’s St. Matthew Passion with the Washington Bach Consort, Bach’s St. John Passion with TENET and the Sebastians, and Beethoven’s Symphony No. 9 with the Johnstown Symphony Orchestra. Among her numerous commercial recordings are the Choir of Trinity Wall Street’s anthology of the Complete Haydn Masses (Naxos), as well as its 2013 GRAMMY® nominated recording of Handel’s Israel in Egypt (Musica Omnia), and the Pulitzer Prize winning and GRAMMY® nominated Anthracite Fields with the Bang on a Can All-Stars. Brackett regularly appears with some of the country’s preeminent vocal ensembles including The Antioch Chamber Ensemble, TENET, Vox, Voices of Ascension, The Clarion Society, Santa Fe Desert Chorale, Spire Chamber Ensemble, and the Choir of Trinity Wall Street. Brackett received her training at Westminster Choir College.

Amanda Crider

has sung with Dallas Opera, New York City Opera, Florida Grand Opera, The Castleton Festival, Glimmerglass Opera, Opera Boston, Opera Omaha, Des Moines Metro Opera, Anchorage Opera, Gotham Chamber Opera, and Eugene Opera. Her 2016-2017 Season included a debut with Boston Lyric Opera and a return to Apollo’s Fire as a soloist in Handel’s Messiah. Crider has also appeared as a soloist with ensembles including Charlotte Symphony Orchestra, Eugene Symphony, New World Symphony, Bach Festival Society of Florida, Charleston Symphony Orchestra, and the International Contemporary Ensemble. She has been a prize winner and finalist in the José Iturbi International Voice Competition, Jensen Foundation Voice Competition, Joy in Singing Debut Artist Competition, Shreveport Opera Singer of the Year Competition, Palm Beach Opera Vocal Competition, Oratorio Society of New York Vocal Competition, Center for Contemporary Opera Competition, and is a recipient of a Richard F. Gold Career Grant from the Shoshana Foundation. Crider is also the founder and Artistic Director of Miami’s Art Song and Vocal Chamber Music concert series, IlluminArts.

Doug Dodson

is making his mark on opera and concert stages throughout the United States in repertoire ranging from baroque to contemporary. He has been hailed as a “vivid countertenor” (The Wall Street Journal) with a voice that is “pellucid” (The Boston Globe) and “unusually sparkling” (Kansas City Star). In recent seasons, Dodson has performed the roles of Ottone in Monteverdi’s Poppea with Aldeburgh Music, Farinelli the Rooster in the world premiere of Ken Ueno’s Gallo with Guerilla Opera, David in Handel’s Saul with Boston’s Back Bay Chorale, and The United Way in the American premiere of Tod Machover’s Death and the Powers with the American Repertory Theatre and Chicago Opera Theatre. Dodson also performs regularly with some of the nation’s best professional choral ensembles including the Handel and Haydn Society, Skylark, and South Dakota Chorale.

Lexa Ferrill

is a versatile performer of operatic, concert, and song repertoire. Recent engagements include a debut with the Memphis Symphony Orchestra (Handel’s Messiah, and DeMars’ American Requiem), Walla Walla Symphony (Mercédès in Bizet’s Carmen), soloist for Copland’s In the Beginning with the University of Memphis Singers, and a program of Schubert and Wolf songs for the Memphis Chamber Music Society. Her 2016-2017 Season included a debut with the Jackson Symphony Orchestra and Brahms’ Liebeslieder Waltzes with the Memphis Chamber Music Society.

Mary Gerbi

has been praised for her “earthy tone and crisp diction,” “trumpet-like projection,” and “impressive control,” (Boston Musical Intelligencer); and for “projecting emotion with easy power” (Boston Globe). She has appeared as soloist in Oratorio literature with Handel and Haydn Society, Emmanuel Music, Arcadia Players, Berkshire Bach Society, Boston Cecilia, and Maryland Choral Society. On the operatic stage, she has performed Baroque roles with Connecticut Early Music Festival, Amherst Early Music, and La Donna Musicale. Gerbi has recorded with Handel and Haydn Society, Boston Baroque, True Concord, Cut Circle, Boston Secession, and Lorelei Ensemble. Gerbi studied at Boston University.

Diana Grabowski

is a versatile performer experienced in a wide range of classical singing, having been described as “glamorous” and “glowing-toned” by Dallas Morning News. As a concert soloist, she has performed with such groups as le Violon d’Ingres (Paris), Santa Fe Pro Musica, Dallas Bach Society, Mountainside Baroque, and Tulsa Oratorio Chorus. Grabowski frequently sings with professional ensembles including Apollo Master Chorale, Vox Humana, and Santa Fe Desert Chorale. Her opera roles have included the title role in Offenbach’s La Périchole (with Opéra du Périgord); Diane in Rameau’s Zéphyre and Céphise in Rameau’s Pygmalion (with the Dallas Bach Society); Volupia in Cavalli’s L’Egisto; Cherubino in Mozart’s Le nozze di Figaro; Nancy in Britten’s Albert Herring; and Hansel in Humperdinck’s Hansel and Gretel.

Helen Karloski

is a versatile artist, equally at home in oratorio, chamber ensemble, opera and musical theater. As a soloist, Karloski has sung Mozart’s Solemn Vespers with Mostly Mozart Festival, Haydn’s Theresienmesse with Voices of Ascension, Vivaldi’s Gloria with the Pittsburgh Symphony Orchestra, Bach’s St. Matthew Passion and Brahms’ Alto Rhapsodywith St. Andrew’s Music Society, Handel’s Dixit Dominus with Tucson Chamber Artists, and Duruflé’s Requiem with Ars Musica. Favorite performances include The Cunning Little Vixen (Hen) with the New York Philharmonic, My Fair Lady starring Kelsey Grammar and Kelli O’Hara with the New York Philharmonic, Les Huguenots at Bard SummerScape, and the New York City premiere of Elliot Goldenthal’s Grendel, directed by Academy Award-nominated Julie Taymor. An accomplished ensemble singer, Karloski performs regularly with Conspirare, where she was featured on GRAMMY winning recording The Sacred Spirit of Russia, Voices of Ascension, Musica Sacra, the New York Choral Artists, Santa Fe Desert Chorale, and Handel and Haydn Society.

Margaret Lias

has been celebrated for her “warm,” “arresting,” and “rich-toned” singing. Since her Boston Symphony Hall debut in 2011 with Handel and Haydn Society (Handel’s Israel in Egypt), Lias has been a frequent soloist under the baton of Harry Christophers. In 2015, she received praise for her Lincoln Center solo debut singing Mozart’s Requiem. Select solo appearances in 2016 and 2017 included Princeton Pro Musica (Corigliano’s Fern Hill), Portland Symphony Orchestra (Beethoven’s Symphony No. 9), Handel Society of Dartmouth (Bach’s Mass in B Minor), Masterworks Chorale (Mozart’s Missa Brevis), The Cleveland Orchestra (Stravinsky’s Threni), and Emmanuel Music (Bach’s St. Matthew Passion). Lias was a founding member of vocal ensemble Skylark under Matthew Guard. She performs frequently with Boston Baroque under Martin Pearlman, Voices of Ascension under Dennis Keene, Sacred Music in a Sacred Space under K. Scott Warren, Emmanuel Music under Ryan Turner, and Musica Sacra New York under Kent Tritle.

Emily Marvosh

is a founding member of Lorelei Ensemble, which promotes innovative new music for women. With Lorelei, she has enjoyed collaborations with composer David Lang, the Boston Modern Orchestra Project, and the Boston Symphony Orchestra. Additional ensemble collaborations in the past and upcoming seasons include the Oregon Bach Festival under the direction of Helmut Rilling, Bachakademie Stuttgart, Portland Baroque Orchestra, True Concord Voices and Orchestra, Boston Camerata, the Skylark vocal ensemble, the Yale Choral Artists, and Cambridge Concentus. Her recent awards include the American Prize (Art Song and Oratorio divisions), the Virginia Best Adams Fellowship at the Carmel Bach Festival, second place in the New England Region NATS Artist Awards, and a St. Botolph Club Foundation Emerging Artist grant for The Michigan Recital Project. Solo appearances in the 2016-2017 season included the Handel and Haydn Society, Colorado Bach Ensemble, the Phoenix Symphony, and American Bach Soloists. Marvosh holds degrees from Central Michigan University and Boston University.

Reginald Mobley

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.

Clara Osowski

has been hailed for her artistry and “rich and radiant” voice (Urban Dial Milwaukee). She was a 2012 Metropolitan Opera National Council Upper-Midwest Regional Finalist, the winner of the 2014 Bel Canto Chorus Regional Artists Competition in Milwaukee, and the runner-up in the 2016 Schubert Club Bruce P. Carlson Scholarship Competition. Osowski’s passion for art song creation and collaboration is evident in her most recent premieres with Linda Tutas Haugen (Gjendine’s Lullaby), Paul Rudoi (Midnight Songs) and James Kallembach (Songs on Letters of John and Abigail Adams). As a recitalist, she recently completed the Vancouver International Song Institute, the International Workshop on the songs of Edvard Grieg in Bergen, Norway, and traveled to Tours, France to attend the Académie Francis Poulenc. Performances in her 2016-2017 season included Dominick Argento’s A Few Words about Chekhov with chamber orchestra, alto soloist in Bach’s St. John Passion, and several recital engagements across the United States.

Angela Smucker

has earned praise for her “rich, secure mezzo-soprano” voice (Chicago Tribune) and her “powerful stage presence” (The Plain Dealer). Highlights of her 2016-2017 Season included performances with Chicago’s Haymarket Opera Company, Chicago A Cappella, Chicago Symphony Chorus, Bach Collegium San Diego, and newly-founded Third Coast Baroque. Smucker’s currently pursues doctoral studies at Northwestern University, and holds degrees from Valparaiso University, where she also served as an instructor of voice for seven years, and the University of Minnesota. She is a 2015 NATS Intern Program alumna, a 2012 Carmel Bach Festival Adams Fellow, and serves as Executive Director of Third Coast Baroque.

Elisa Sutherland

has performed as a soloist with ensembles ranging from American Bach Soloists to the Apollo Chorus of Chicago. She was the first place winner of the inaugural Handel Aria Competition in Madison, WI, and has won Encouragement and District awards at the Met Opera Auditions. Recent opera roles include Dido in Dido and Aeneas, Dorabella in Cosi fan tutte, Ottavia in L’incoronazione di Poppea, and Nancy in Albert Herring. Sutherland regularly performs with Roomful of Teeth, Philadelphia’s The Crossing, DC’s The Thirteen, New York’s Ekmeles, and her own vocal sextet, Variant 6.

Virginia Warnken

is hailed by The New York Times as an “elegant,” “rich-toned alto” with a “riveting presence.” Warnken appears with numerous other ensembles as a soloist, including Philharmonia Baroque, Carmel Bach Festival chorale and recitals, American Classical Orchestra, TENET, Green Mountain Project, and others. She has appeared on the main stages of Carnegie Hall and Lincoln Center numerous times as alto soloist in major works such as Handel’s Messiah, Bach’s Mass in B Minor, Mozart’s Mass in C Minor, and Handel’s Samson. Warnken holds a master’s degree from the Yale School of Music. During her time there she worked with renowned conductors including Masaaki Suzuki, Nicholas McGegan, and Simon Carrington.

Steven Bradshaw

has appeared as a soloist with the Chamber Orchestra of Philadelphia, Tempesta di Mare, Piffaro, Bang on a Can, Old City Baroque, The Bach Collegium of Philadelphia, and Network for New Music. In addition to performing with Seraphic Fire and his sextet, Variant 6, he’s been performing and recording with the GRAMMY® Award winning Roomful of Teeth, The Choir of Trinity Wall Street, Spire, The Thirteen, Fuma Sacra, Opera Philadelphia, Yale Choral Artists, and Apollo’s Fire. Bradshaw is a founding member of The Crossing – a Philadelphia-based new music ensemble with upcoming collaborations with ICE, Quicksilver, The American Composers Orchestra, and PRISM saxophone quartet.

Brad Diamond

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.

Andrew Fuchs

recently made his Lincoln Center debut in Bach’s Magnificat with the American Classical Orchestra. He has excelled in his interpretations of the Evangelist in both the St. Matthew (Saint Andrew Chorale, Canticum Novum Singers) and St. John Passions (Saint Andrew Chorale): “Fuchs made the Evangelist fully human and…served with exceptional skill” (TheaterScene). Fuchs is a member of The Choir of Trinity Wall Street where he is a frequent soloist on their “Bach at One” series at St. Paul’s Chapel. Recent performances include Steve Reich’s Three Tales with Ensemble Signal at Disney Hall presented by the Los Angeles Philharmonic, Curlew River and Brahms’s Liebeslieder and Neue Liebeslieder waltzes with the Mark Morris Dance Group, the world premiere of Alexander Goehr’s Verschwindenes Wort for The Juilliard School’s Focus Festival, Misael in Britten’s The Burning Fiery Furnace and Tristan in Frank Martin’s Le Vin Herbé with Ballet-Opéra-Pantomime (Montreal), Tomasso in Laura Schwendinger’s opera Artemisia, tenor soloist with Downtown Voices in the premiere of Zachary Wadsworth’s Spire and Shadow, Reich’s Daniel Variations and You Are (Variations) with Ensemble Signal at Miller Theater. Fuchs holds Doctor of Musical Arts and Master of Music degrees from Stony Brook Univeristy, and a Bachelor of Music degree from University of Kansas.

Brian Giebler

has garnered praise for his “most impressive… bright, clear tone and lively personality” (The New York Times), and his “faultless high tenor” (Seattle Times) with “great elegance of tone and phrasing” (Baltimore Sun). From Evangelist in Bach’s St. Matthew Passion with the GRAMMY® nominated Choir of Trinity Wall Street under Julian Wachner to Stravinsky with The Cleveland Orchestra under Franz Welser-Möst, Giebler’s “lovely tone and deep expressivity” (The New York Times) and “expressive and elegant phrasing” (Cleveland Classical) is well-suited to a variety of music. He has been a soloist with The Cleveland Orchestra (Severance Hall), Virginia Symphony Orchestra, American Classical Orchestra, New York City Chamber Orchestra (Carnegie Hall), Trinity Baroque Orchestra (Lincoln Center), Apollo’s Fire, Seraphic Fire, GRAMMY® Award winning Conspirare, TENET, New York Baroque Incorporated, Pacific Northwest Ballet Orchestra, and the Saginaw Bay Orchestra. Giebler was also a finalist in the Tafelmusik International Vocal Competition, a semi-finalist in the American Traditions Competition, and received Honorable Mention at the Biennial Bach Vocal Competition. In Summer 2017 he was a finalist in the Handel Aria Competition and served as.a Vocal Fellow at the Oregon Bach Festival.

Mark Laseter

enjoys a varied career of singing, accompanying, and teaching. In 2016-2017, he performed with Seraphic Fire and the Kinnara Ensemble. Laseter recently performed concert tours to Canada, Croatia, South Africa, France, and England, and has sung with the ensembles Princeton Pro Musica, Trinity Church Princeton, Westminster Choir, Westminster Kantorei, Princeton University Glee Club, and the Norfolk Chamber Choir. Other highlights include the American stage premiere of Philip Glass’ Kepler at the Spoleto Festival USA, and a year accompanying and teaching at the American Boychoir School. Mark recently appeared as a soloist in Charpentier’s Litanies de la Vierge, Monteverdi’s Vespers of 1600, Mozart’s Requiem, Mendelssohn’s Elijah, and Rachmaninoff’s The Bells. Laseter received his bachelor’s degree in voice performance from Westminster Choir College. Currently, he serves as organist at First Baptist Church in Chattanooga, Tennessee.

Patrick Muehleise

is in demand throughout the country as a versatile singer in opera, choral, and concert repertoire. He regularly collaborates with nationally acclaimed ensembles such as The Santa Fe Desert Chorale, Tucson Chamber Artists, and Music of the Baroque. In 2015-2016, Muehleise performed Carmina Burana with the Tucson Chamber Artists, recorded an inaugural disc with the new Apollo Master Chorale in Minneapolis, and took the stage at the 2015 National ACDA Convention in Salt Lake City with The Santa Fe Desert Chorale. During his 2014-2015 season, he made his Lyric Opera of Chicago debut in the chorus of Wagner’s Parsifal; and made soloist appearances in Bach’s St. Matthew Passion and St. John Passion, Mozart’s Mass in C Minor and Coronation Mass, Handel’s Messiah, David Lang’s Little Match Girl Passion, Copland’s The Tender Land as the role of Martin, and Britten’s Albert Herring as the title role.

Tyler Ray

specializes in early music, art song, oratorio, and chamber music, and is quickly establishing himself as a sought-after soloist and professional chorister. Solo engagements for the 2016-2017 season included Handel’s Messiah with Charleston Symphony under Ken Lam, and Handel’s Messiah and Bach’s St. Matthew Passion with the Messiah Festival of the Arts under Mark Lucas. Solo highlights from 2015-2016 included Haydn’s Creation with the Yale Glee Club; Bach’s BWV 10 conducted by Matthew Halls; Monteverdi’s Vespers of 1610, Arvo Pärt’s Passio, and Handel’s Dixit Dominus conducted by David Hill; and Bach’s Christmas Oratorio and Stravinsky’s Les noces with Yale Camerata under Maggie Brooks. An avid chamber musician, Ray is on the roster of several professional ensembles including Conspirare, The Santa Fe Desert Chorale, The Thirteen, Kinnara Ensemble, and Vox Humana. Ray holds a Bachelor of Arts in Music from Friends University and a Master of Music in Voice from the Yale Institute of Sacred Music.

Stefan Reed

enjoys an active chamber music, oratorio, and recording career with performances and projects throughout the country. Reed’s voice has been characterized as an “intense, focused, lyric tenor” (Miami Herald), and his performances have been described as “dramatically expressive and technically impressive” (Boston Musical Intelligencer). He performs regularly with Boston Baroque, Blue Heron, and Handel and Haydn Society. Recent solo engagements include Schubert’s Mass in G with Vermont Symphony; Bach’s Magnificat, Cantata 140, and the Evangelist in Cantata V of The Christmas Oratorio; Beethoven’s Symphony No. 9; Handel’s Israel in Egypt and Mozart’s Waisenhaus Mass with Handel and Haydn Society; Beethoven’s Symphony No. 9 with the Arcadia Players and Worcester Chorus; Handel’s Messiah with the Concord Chorus and Orchestra; Mozart’s Requiem and Haydn’s Missa in tempore belli with Dedham Choral Society; Bach’s Mass in B Minor with Boston Cecilia; and Britten’s Cantata Misericordium with Coro Allegro. Other performance highlights include Mozart’s Requiem, Rachmaninoff’s Vespers, and Schumann’s Das Paradies und die Peri with Back Bay Chorale.

Steven Soph

has been lauded as a “superb vocal soloist” (The Washington Post) possessing a “sweetly soaring tenor” (The Dallas Morning News) of “impressive clarity and color” (The New York Times). Soph’s 2016-2017 Season marked his return to The Cleveland Orchestra and Seraphic Fire for Stravinsky’s Threni; Voices of Ascension (NYC) for arias in Bach’s St. John Passion; the Chicago Chorale for Bach’s B Minor Mass; and the Bach Society of St. Louis for Mozart’s Mass in C Minor. Recent seasons’ highlights include appearances with The Cleveland Orchestra in an all-Handel program led by Ton Koopman; New World Symphony and Seraphic Fire in Reich’s Desert Music; Symphony Orchestra Augusta in Bach’s B Minor Mass; the Mainly Mozart Festival Orchestra (San Diego) in Mozart’s “Orphanage” Mass and Mass in C Minor; and the Cheyenne Symphony Orchestra in Handel’s Messiah. Soph remains active with top American ensembles including GRAMMY® nominated Seraphic Fire; GRAMMY® Award winning Conspirare; GRAMMY® Award winning Roomful of Teeth; GRAMMY® nominated True Concord Voices & Orchestra; Trident; Yale Choral Artists; Cut Circle; Santa Fe Desert Chorale; Colorado Bach Ensemble; Apollo Master Chorale of Minneapolis; American Classical Orchestra Chorus; Spire Chamber Ensemble; and the Choir of St. John’s Cathedral, Denver.