Amanda Crider Alto
“I had a wonderful time performing the role of Zerlina in Don Giovanni with Lorin Maazel’s Castleton Festival in Virginia. Castleton was an idyllic place to spend the summer singing with world class colleagues. It was of course, bittersweet with the passing of Maestro Maazel, but I felt honored to be part of the incredible festival he has built as part of his legacy.”
“Amanda Crider (Zerlina) wins the Oscar for best supporting actress…the portrayal of a peasant girl moving between naïve wedding happiness, confused carnal desire, guilty bluster and finally tender erotic ministration was the highlight of the show; none of the other principals combined acting and singing so effortlessly.”
—Robert Battey, Washington Post
Reginald Mobley Countertenor
“This summer, I had an extremely successful West Coast festival tour.” Reggie’s summer started with a concert – and soon-to-be-released recording – of the Marian motets of underappreciated female Italian Baroque composer, Isabella Leonarda at the Berkeley Early Music Festival with SF based Agave Baroque. He then made his return as a festival soloist with OBF in the Monteverdi Vespers and new artistic director Matthew Halls’ own reconstruction of the Bach ‘St. Mark Passion’.
“The whole aria was marvelous, but his ability to shape one lungo possibile note into an entire phrase, to shift that one incredibly pure tone in both dynamic and timbral spaces and then finish with the most delicate flourish of controlled vibrato–that alone would have made the experience worthwhile.”
—Lorin Wilkerson, Northwest Reverb
The summer ended with a pair of highly acclaimed performances of Handel’s first oratorio, ‘Il Trionfo del Tempo’ with Les Voix Baroques and Pacific Baroque Orchestra at Chamber Musicfest Ottawa and Early Music Vancouver.
“His remarkable voice borders on the indescribable: darker at the bottom and richer than that of a conventional countertenor (if there is such a thing), with mid- and top-range agility and a delicious way with ornamentation plus the genuine expressiveness that marks a great Baroque-era vocal specialist.”
—David Gordon Duke, Classical Voice North America
Steven Soph tenor
“As one of this summer’s Carmel Bach Festival’s Virginia Best Adams Fellows, I was immersed for four amazing weeks studying with and performing alongside world-class concert artists. Participating in the Festival provided an opportunity to take risks, try out new repertoire, and truly grow as a performer. I am confident what I learned will inform many choices throughout my career.”
Steven also sang as Uriel in Haydn’s Creation with Texas Choral Consort, started up and recorded with some other Seraphic Fire artists in Trident, recorded a Renaissance disc with Cut Circle, and went to the Netherlands to perform in Festival Musica Sacra in Maastricht.
“[It] felt less like celestial messengers proclaiming holy writ than astonished witnesses to a miracle.”
—Robert Faires, The Austin Chronicle