[divider]Olivier Brault, concertmaster, hails from Terrebonne in Québec and brings communicative enthusiasm and scholarship to concerts throughout North America and Europe. In addition to directing the chamber ensemble Sonate 1704, he performs as Music Director with Les Goûts Réunis in Luxembourg, as a member of Four Nations Ensemble in New York, and as soloist with many Montréal-based ensembles including the Ensemble Caprice, Les Boréades de Montréal, La Bande Montréal Baroque, Quatuor Franz Joseph, and Les Idées heureuses. He holds a Doctorate from the Université de Montréal, where he specialized in 18th-century violin repertoire. He has led workshops and masterclasses at the Conservatoire de Musique de Montréal, McGill University, CWRU, Oberlin Conservatory, Penn State University, University of Michigan and the Conservatoire Royal de Musique de Bruxelles. He has participated in over 65 recordings, many award-winning. In 2011 he received the medal of the Assemblée Nationale de Québec for cultural contributions to his nation.
Julie Andrijeski, violin, is one of the USA’s leading baroque violinists and is a respected specialist in 17th-century repertoire. She is also an active baroque dance teacher and performer. She is a founding member of Apollo’s Fire, Artistic Director of the Atlanta Baroque Orchestra and Co-director of the 17th-century ensemble Quicksilver. She directs the baroque music and dance ensembles at CWRU, teaches baroque violin at the Cleveland Institute of Music and leads baroque dance seminars at The Juilliard School. In 2016 she received a coveted Creative Workforce Fellowship from Cuyahoga Arts and Culture as well as Early Music America’s Thomas Binkley award for excellence in performance and scholarship.
Matthew Bassett, timpani, holds a Bachelor’s degree from the Cleveland Institute of Music and a Master’s degree from Cleveland State University. He has been the principal timpanist of the Mansfield Symphony and Cleveland Pops Orchestra and has served as part-time faculty at CWRU and Cleveland State. Currently the principal timpanist with the Buffalo Philharmonic Orchestra and Acting Director of the SUNY Buffalo State Percussion Ensemble, he resides in Buffalo, NY with his wife Kathleen and their daughter Sadie.
Cynthia Black, viola, enjoys a varied musical life, performing music from several centuries as a baroque violist and violinist across the United States. This season she appears with Apollo’s Fire, Les Délices, Indy Baroque, Washington Bach Consort, American Bach Soloists, Three Notch’d Road, and Atlanta Baroque. She recently completed a Doctor of Musical Arts degree at Case Western Reserve University as a student of Julie Andrijeski and holds modern viola degrees from the Cleveland Institute of Music in the studios of Lynne Ramsey and Robert Vernon. She currently lives in a tiny house in Berkeley, California.
Christopher Caudill, horn, has performed on both baroque and natural horns with the North Carolina Symphony, North Carolina Baroque Orchestra, and the Brussels Chamber Orchestra. He is a graduate of Northwestern University and was a member of the Civic Orchestra of Chicago. He recently played a season with the National Symphony Orchestra in Washington, DC.
Stephanie Corwin, bassoon, enjoys a multifaceted career playing modern and historical bassoons. Based in New York City, she performs with ensembles at home and throughout North America, including the Handel and Haydn Society, the American Classical Orchestra, Philharmonia Baroque Orchestra, Clarion Society, and Trinity Baroque Orchestra. She holds degrees from Davidson College, Yale University, Stony Brook University, and Indiana University, where her principal teachers were Frank Morelli and Michael McCraw.
Aniela Eddy, violin, has performed throughout the United States and Europe. In addition to frequently teaching at El Sistema music programs in South and Central America, she is a member of CityMusic Cleveland and plays regularly with the Case Baroque Orchestra, Lucerne Festival Academy Orchestra, and various other ensembles. She received degrees in violin performance from the San Francisco Conservatory of Music and the Cleveland Institute of Music.
Alice Culin-Ellison, violin, is a doctoral student in the Historical Performance Program at CWRU, studying with Julie Andrijeski. She performs with Bourbon Baroque and Indianapolis Baroque Orchestra, and has worked under the direction of Christophe Rousset, Philippe Herweghe, and Matthew Halls, among others, in both the US and Europe. She received a Bachelor’s degree in music from the University of Michigan and a Master’s degree of music from Indiana University. She is the 2015 winner of the Early Music America Summer Scholarship.
Sara Cyrus, horn, has performed on natural horn across North America with many groups, including the Venice Baroque Orchestra, American Classical Orchestra, Philharmonia Baroque, Trinity Baroque, ARTEK, Early Music NY, the Sebastians, the Connecticut Early Music Festival, and Mercury Baroque. She has recorded on natural horn with the Philharmonia and Rebel Baroque Orchestras. Ms. Cyrus has given masterclasses on early horn at several schools, including Interlochen and The Juilliard School.
Paul Dwyer, cello, is assistant principal cellist of the Lyric Opera of Chicago. He enjoys a rich musical life ranging from early music on historical instruments to new works by young composers. He is a founding member of Diderot String Quartet and ACRONYM, the 17th-century string band. He grew up in Vienna and Munich, before returning to the US for studies at Oberlin Conservatory and the University of Michigan, as well as additional graduate studies in historical performance at The Juilliard School. He was a Fulbright Fellow to the Netherlands, and the recipient of the Jacob K. Javits Fellowship and Thedore Presser Award.
Evan Few, violin, has established himself as a leader in his generation of historical performance specialists. An assertive, collaborative instrumentalist, his affiliations include some of the most celebrated ensembles in Europe and the Americas. He performs each year at the Carmel Bach Festival and, now residing in his hometown of Atlanta, has served as Artistic Administrator of the Atlanta Baroque Orchestra since 2014. He recently helped establish Frontera, a chamber group based in Mexico City.
Mary Kay Fink, piccolo, joined The Cleveland Orchestra as piccoloist in 1990 and has appeared as a soloist with the orchestra on numerous occasions. She is also active as a chamber musician, soloist and educator, giving flute and piccolo master classes at colleges and universities throughout the United States. She teaches flute and piccolo at the Cleveland Institute of Music.
Andrew Fouts, violin, has been noted for his “mellifluous sound and sensitive style” (Washington Post) and as “an extraordinary violinist” who exhibits “phenomenal control” (Bloomington Herald-Times). In 2008, he won first prize at the American Bach Soloists’ International Baroque Violin Competition and joined Pittsburgh’s Chatham Baroque. He performs regularly with American Bach Soloists and as concertmaster of the Washington Bach Consort. He has taught at the Madison Early Music Festival and the Oficina de Música de Curitiba, Brazil.
Amara Guitry, flute, recipient of a Fulbright Graduate Award to the UK, is a graduate of the Oberlin Conservatory of Music and the Guildhall School of Music & Drama and also earned a doctorate degree from City University London and the Guildhall School. She has performed with many groups across the UK, USA, and Europe, including The English Haydn Festival, the Purcell Singers & Orchestra and she serves as principal flute of the Washington National Cathedral Baroque Orchestra.
Carrie Krause, violin, performs extensively across the United States. She has served as Concertmaster of the Bozeman Symphony, Pacific Baroque, and New Trinity Baroque, as visiting Artistic Director of Seattle Baroque and String Orchestra of the Rockies, and as a soloist with Juilliard 415 in Jordon Hall, Alice Tully Hall, Duke’s Hall, and the Thomaskirche. She directs the I-90 Collective and Baroque Music Montana, and teaches a large studio of award-winning students. She holds degrees in violin performance from Carnegie Mellon Univeristy, the Cleveland Institute of Music, and The Juilliard School.
Eric Hoeprich, clarinet, is a specialist in performing on historical instruments. He currently serves on the faculties of the Paris Conservatoire National Supérieur de Musique, the Royal Conservatory of Music (The Hague), Indiana University, and the Royal Academy in London. A founding member of Frans Brüggen’s Orchestra of the 18th Century, he has performed frequently as a soloist with many major early music ensembles as well as several modern orchestras. Additionally, he is the founder of two wind ensembles – Nachtmusique and the Stadler Trio. He has recorded on many labels including Deutsche Grammaphon, Philips, EMI, SONY, Harmonia Mundi, Glossa, and Decca. His monograph on the clarinet (The Clarinet, Yale University Press) was published in 2008.
Susanna Perry Gilmore, violin, is concertmaster of the Omaha Symphony, a position she previously held with the Memphis Symphony for fifteen years. In addition to her orchestral role, she enjoys a multifaceted career as a solo artist and chamber musician and has been heard on National Public Radio on Performance Today, A Prairie Home Companion, and America’s Music Festivals. Ms. Gilmore received her Bachelor’s degree in music from Oxford University in England and Master’s in violin performance at the New England Conservatory in Boston.
Edwin Huizinga, violin, performs as a folk, baroque, classical, and improvising musician. He is a founding member of ACRONYM, a 12-piece ensemble that focuses on recording previously unrecorded baroque music, and with William Coulter, is a member of Fire & Grace, a cross-genre duo exploring folk and classical music from around the world. This summer he will be directing a nature and music camp in Big Sur, as well as teaching at the Big Sur fiddle camp.
Greg Ingles, trombone, is a graduate of Interlochen, Oberlin Conservatory, and SUNY Stony Brook and was solo trombonist in the Hofer Symphoniker in Germany. He is a member of the ensembles Quicksilver, Piffaro and Ciaramella and is the Music Director of the Dark Horse Consort, which was featured at the 2015 Boston Early Music Festival. He played with the Globe Theater in their Broadway debut and is currently the Lecturer in Sackbut at Boston University.
Kristen Linfante, viola, holds Bachelor’s and Master’s degrees from The Juilliard School, and specializes in both modern and baroque viola. She has served as Principal Viola of the Orchestra de Catania in Sicily and has performed with the Philadelphia Orchestra, San Francisco Symphony, Opera, and Ballet, Houston Symphony, and the Minnesota Orchestra. She is currently the Executive Director of Chamber Music Pittsburgh, and also performs frequently with Chatham Baroque.
Eva Lymenstull, cello, has performed as a baroque cellist and violist da gamba throughout Europe and the US, including appearances with the Orchestra of the Age of Enlightenment, Holland Baroque Society, and Orpheon Consort, as guest principal cellist of the Atlanta Baroque Orchestra and Lyra Baroque Orchestra, and as principal cellist of Symphonie Atlantique. She received a master’s degree in baroque cello from the Royal Conservatory of The Hague, where she studied with Jaap ter Linden, and also holds degrees from Rice University and the University of Michigan. She is currently pursuing a DMA in historical performance practice at Case Western Reserve University.
Steven Marquardt, trumpet, performs exclusively on historical instruments, doubling on baroque trumpet and horn. Originally from Minnesota, he is an established freelancer in New York City, regularly performing with Trinity Baroque Orchestra, The American Classical Orchestra, Bach Vespers at Holy Trinity, and Spire Chamber Ensemble. He earned his Master of Music degree from Indiana University and his Bachelor of Music degree from Concordia College-Moorhead. He currently resides in New York City with his wife, Marissa.
Catharina Meints, cello, has had a distinguished career performing baroque and modern cello and viola da gamba. Retired after thirty-five years in the Cleveland Orchestra, she now teaches at Oberlin where she and her late husband, James Caldwell, started the Baroque Performance Institute. Active as a chamber musician and soloist, she has made over two dozen recordings. Recently she has published a book, The Caldwell Collection of Viols – a life together in the pursuit of beauty, chronicling her antique instrument collection.
Kyle Miller, viola, made his concerto debut in 2005 with the Reading (Pennsylvania) Symphony Orchestra as the dog in P. D. Q. Bach’s Canine Cantata, Wachet Arf!. A founding member of ACRONYM, Diderot String Quartet, and New York Baroque Incorporated, he also has appeared in concert with the English Concert, Four Nations Ensemble, Mercury, the Sebastians, Tafelmusik Baroque Orchestra, and Trinity Baroque Orchestra. He was recently selected to be an English Concert American Fellow he has performed at the Carmel Bach Festival.
Allison Monroe, viola, is a DMA student in historical performance practice at CWRU, studying with Julie Andrijeski, She received degrees from the University of Maryland and Royal Welsh College of Music and Drama. She has performed with many early music ensembles including the Newberry Consort, Les Délices, the Oregon Bach Festival’s Berwick Academy, Seattle Baroque Orchestra, the Washington Bach Consort, the Brecon Baroque Festival Orchestra, and Sequentia, as a student at Early Music Vancouver 2015.
Tracy Mortimore, contrabass, enjoys a diverse career performing extensively on modern and historical double basses and violone. A native of Toronto, he was a longstanding member of L’ensemble Denis Sching and co-founder of the flute and double bass duo Diaphony. He also appeared with New Music Concerts, Fifth Species, and Continuum. As an early music specialist he has worked with Santa Fe Pro Musica, Washington Bach Consort, Musica Pro Rara, Rebel, Tafelmusik, Opera Atelier, Toronto Consort, Wolftrap Opera, NYSEMA, Pegasus, Chatham Baroque, Folger Consort, Clarion and Aradia Ensemble, with whom he has made over 45 recordings on the Naxos label.
Debra Nagy, oboe, has been praised for her “dazzling technique and soulful expressiveness” (Rocky Mountain News), and deemed “a baroque oboist of uncommon elegance” (The Cleveland Plain Dealer). She performs with period instrument ensembles across the United States and is the founder of the Cleveland-based ensemble Les Délices, whose debut CD was named “One of the Top Ten Early Music Discoveries of 2009” by NPR’s Harmonia.
Rachel Niketopoulos, horn, fell in love with the natural horn in 1996 when she first heard her teacher Rick Seraphinoff perform at his summer workshop at Indiana University. She is a member of the North Carolina Symphony and plays regularly with the North Carolina Baroque Orchestra. Trained at the Alexander Alliance in Philadelphia, Niketopoulos has been a certified teacher of the Alexander Technique since 2002. She teaches music, theatre, and dance students at UNC Greensboro.
Johanna Novom, violin, appears as a soloist, chamber and orchestral musician with period ensembles across the US and internationally. First-prize winner of the American Bach Soloists’ International Young Artists Competition in 2008, she holds a Master’s degree in baroque violin from Oberlin Conservatory and was a Yale Baroque Ensemble fellow in 2010-2011 under the directly of Robert Mealy. Based in Brooklyn, NY, she currently performs with Trinity Wall Street Baroque Orchestra, Boston Early Music Festival Orchestra, Carmel Bach Festival, Clarion Music Society, Washington Cathedral Baroque Orchestra, TENET, the Sebastian Chamber Players, New York Baroque Incorporated, and ACRONYM, among others, and is a founding member of the Diderot String Quartet, a new ensemble dedicated to the performance of 18th- and early 19th-century repertoire.
Chris Nunn, viola, completed his undergraduate studies at Leeds University and The Royal Northern College with Roger Bigley, founding member of the Lindsay String Quartet. He received full scholarships to attend the Manchester Music Festival, VT, Baroque Performance Institute, Oberlin, and for Master’s studies at University of North Texas. He is associate principal viola with New Bedford Symphony Orchestra, Marsh Chapel Choir at Boston University, and Plymouth Philharmonic, and also performs with Early Music New York, L’Academie, Concert Royal, Baroque Orchestra of Maine, Indian Hill Symphony, and the Rhode Island Philharmonic.
Margaret Owens, oboe, has appeared in concert and recording with many of North America’s baroque orchestras, including American Bach Soloists, Ars Lyrica, the Handel and Haydn Society, Opera Lafayette, Tafelmusik, Tempesta di Mare, and Washington Bach Consort. This season she will perform as a soloist with REBEL Baroque Ensemble, the Sebastians, and the Washington Bach Consort. She teaches historical oboe at Indiana University and the Amherst Early Music Festival, and modern oboe at George Mason University, where she also directs the baroque chamber orchestra.
Paul Perfetti, trumpet, performs on baroque and classical trumpets and cornetto with Boston Baroque, Handel and Haydn Society, Aston Magna, Early Music New York. Recordings with Boston Baroque on Telarc, Linn, Coro and Centaur include, among others, the GRAMMY®-nominated J.S. Bach: Complete Orchestral Suites, Mass in B minor, Monteverdi’s Vespers of 1610, Il ritorno d’Ulisse; Handel’s Messiah and Mozart’s Requiem with the Handel and Haydn Society, and Monteverdi’s Orfeo with Aston Magna. Currently, Mr. Perfetti is the Artistic Administrator and Personnel Manager for Boston Baroque and serves as a lecturer of historic brass instruments at the Boston Museum of Fine Arts.
Elizabeth Phelps, violin, is Principal Second Violin of the North Carolina Symphony and a faculty member of the Eastern Music Festival. She has performed with the Grant Park Orchestra of Chicago, New World Symphony, North Carolina Baroque Orchestra, New Trinity Baroque in Atlanta, and the Mallarmé Chamber Players in Durham. She received her Bachelor’s and Master’s degrees from the Cleveland Institute of Music, where she studied with Paul Kantor and Stephen Rose.
Adriane Post, violin, holds degrees from Oberlin Conservatory and Juilliard’s Historical Performance Program. She leads the Washington Cathedral Baroque Orchestra and is a founding member of Diderot Quartet and ACRONYM Ensemble. She performs with groups across the United States such as Handel and Haydn Society, Trinity Wall Street Baroque Orchestra, Tenet, Chatham Baroque and 4 Nations. Recent festival engagements have included Spoleto USA and the Carmel Bach Festival.
Mack Ramsey, trombone, has been a life-long specialist in performance on early instruments, playing sackbut, recorder, Renaissance flute and classical era trombones. He is a member of Dark Horse Consort and the Boston Shawm and Sackbut Ensemble. At home in the Boston area, he performs with Boston Baroque and Handel and Haydn Society Orchestra. He also appears with New York’s Green Mountain Project, Tafelmusik Baroque Orchestra, The Toronto Consort, Mercury Houston, and Trinity Baroque Orchestra.
Rebecca Landell Reed, cello, enjoys a varied career performing on multiple instruments. Earning degrees in cello performance, she became interested in viola da gamba and baroque cello while studying at Oberlin Conservatory with Darrett Adkins. She has studied with Catharina Meints, Michael Brüssing in the Czech Republic, and Norman Fischer at Rice University. She performs with the Crumhorn Collective, an outreach band of multi-instrumentalists, and explores alternative performance venues such as collaborative house concerts and staged productions.
Karin A. Cuellar Rendon, violin, has performed extensively with various orchestras such as American Bach Soloists, ARTEK, and the National Symphony Orchestra of Bolivia. She earned a BM in Violin Performance from Montclair State University, where she studied with Mary Ann Mumm and the Shanghai quartet, and recently earned an MA in historical performance practice from CWRU, where she studied with Julie Andrijeski. Her research interest focuses on orchestration practices in Dresden during the Saxon-Polish Union (1693-1760).
Jennifer Roig Francolí, violin, performs with Adastra, a period instrument duo, and has served as concertmaster and associate concertmaster of numerous ensembles, including Apollo’s Fire and the Cincinnati Chamber Orchestra. She is an internationally acclaimed soloist and has won many competitions. She teaches the Alexander Technique and The Art of Freedom® for musicians privately, online, and at the University of Cincinnati College-Conservatory of Music.
René Schiffer, cello, is praised for his “interpretive imagination and patrician command of the cello” (The Cleveland Plain Dealer). He is a native of Holland where he was a protégé of Anner Bijlsma. He later studied baroque cello with Jaap ter Linden and viola da gamba with Catharina Meints. As a member of Sigiswald Kuijken’s La Petite Bande for sixteen years, he toured four continents and appeared many times on European television. He has also performed with the Amsterdam Baroque Orchestra, Les Musiciens du Louvre, and in over forty projects with Tafelmusik of Toronto. As a concerto soloist, he has appeared throughout North America and Europe, including such venues as the Royal Theatre of Madrid, and can be heard on acclaimed CD recordings of the Vivaldi Concerto for Two Cellos and the Tango Concerto for Two Gambas (his own composition) on British label AVIE. As a chamber musician, he has performed at the renowned baroque festivals of Utrecht and Bruges, as well as the Flanders Festival and Versailles. He can be heard on more than forty CD recordings, on the Harmonia Mundi, Philips, Virgin Classics, Erato, Sony, and AVIE labels. He serves on the faculty of the Cleveland Institute of Music as Teacher of Baroque Cello, and has given masterclasses and coachings for the New World Symphony (Miami), the University of Michigan, Oberlin Conservatory, and Cincinnati College-Conservatory.
Kelsey Schilling, bassoon, performs regularly with the Washington National Cathedral Baroque Orchestra and Bach Collegium Fort Wayne, as well as many other period orchestras throughout the country. On dulcian, shawms, and recorders, he is a founding member of the wind band Forgotten Clefs, which has recently performed at the Smithsonian Institution and on Public Radio International. His other notable festival appearances have included the Berkeley Festival and Exhibition, Festival de Música Sacra (Quito, Ecuador) and the International Young Artist’s Presentation –Historical Winds (Antwerp, Belgium).
Erik Schmalz, trombone, works internationally with prestigious ensembles including Tafelmusik, Handel and Haydn Society, Trinity Baroque Orchestra, Ciaramella, Green Mountain Project, The Toronto Consort, and Dark Horse Consort, performing on period trombones, renaissance slide trumpet, and recorder. In addition, he was cast as one of the seven instrumentalists in the Globe Theater’s productions of Richard III and Twelfth Night on Broadway. Mr. Schmalz received degrees in trombone performance from Oberlin Conservatory of Music and the University of Cincinnati College-Conservatory of Music. He resides in Collinsville, Connecticut.
Karina Schmitz, viola, holds degrees from the New England Conservatory and the Cleveland Institute of Music. Her early music studies began at Oberlin Conservatory with Marilyn McDonald, Miho Hashizume and David Breitman. She continued her training in the Apollo’s Fire Apprentice Program while serving as Concertmaster of the Case Baroque Orchestra. She is currently Principal Second Violin with Tempesta di Mare in Philadelphia, Assistant Principal Violist of the Carmel Bach Festival Orchestra, and violist with the Coriolan String Quartet, a period ensemble based in Boston.
Chiara Stauffer, violin, was born and raised in Switzerland and received her BM and MM from the Basel University of Music, with a minor in baroque violin from the Schola Cantorum Basiliensis. She enjoys playing a broad variety of music and has had the privilege of performing across three continents. Since relocating to Cleveland in 2012, she co-founded Time Canvas, a trio performing chamber music and improvisation. She is a member of the FiveOne Experimental Orchestra and CityMusic Cleveland, and freelances in both classical and jazz settings.
Nina Stern, clarinet, has carved a unique and diverse career for herself as a world-class recorder player and classical clarinetist. She performs widely as a soloist and with orchestras such as The New York Philharmonic, Philharmonia Baroque, Opera Lafayette, and American Classical Orchestra. She has recorded for Erato, Harmonia Mundi, Sony Classics, Newport Classics, Wildboar, Telarc, MSR Classics, and Smithsonian labels. She teaches for Juilliard’s Historical Performance program and has served on the faculties of the Mannes College of Music and as a visiting professor at Oberlin Conservatory. She is founder and Artistic Director of S’Cool Sounds, an award-winning music education project serving public school and underserved children in the US, East Africa, and the Middle East.
Kathie Stewart, flute, is a founding member and principal flutist of Apollo’s Fire. A faculty member of the Cleveland Institute of Music, she is a Kulas Visiting Artist at Case Western Reserve University, and Curator of Harpsichords at the Oberlin Conservatory of Music, where she taught baroque flute for nearly twenty years. She is an avid proponent of Celtic music, playing Irish flute on several Apollo’s Fire recordings. She has performed with the Cleveland Orchestra, Tafelmusik, The Four Nations Ensemble, Oberlin Baroque Ensemble, ARTEK, and the Bach Sinfonia in Washington, D.C. She is also Assistant Director of the Seattle Baroque Flute Workshop.
Emi Tanabe, violin, is a graduate of the Eastman School of Music. She holds a Professional Diploma from Roosevelt University and a Master’s degree in music from the University of North Texas. She has performed with Atlanta Baroque Orchestra, Fort Worth Early Music and San Francisco Bach Choir. Currently she performs with the Baroque Band, Bach & Beethoven Ensemble, and Haymarket Opera Company in Chicago.
Todd Williams, horn, is a leading exponent of the natural horn in America and serves as principal horn of numerous ensembles across the country including the Handel and Haydn Society, Boston Baroque, Trinity Wall Street, Clarion Society, Mercury, Opera Lafayette, Tempesta di Mare, and more. On the modern valved horn, he is a fixture in the Philadelphia music scene, performing with the Philadelphia Orchestra, the Chamber Orchestra, the Opera and Ballet companies of Philadelphia, the Academy of Vocal Arts, and the Philly Pops. He has recorded for Deutsche Grammophon, RCA/Sony Records, CORO, Naxos, Musica Omnia, Chaconne/Chandos, and Warner Brothers.
Sue Yelanjian, contrabass, attended Oberlin Conservatory and received degrees from the Cleveland Institute of Music and Boston University. She has performed and toured nationally and internationally with Apollo’s Fire and Tafelmusik and has also worked with the Drottningholm Opera Theater in Sweden, the Baroque Chamber Orchestra of Colorado, Chatham Baroque, and Washington Bach Consort. She appears on numerous recordings on the Koch, Analekta, Electra and Canadian Broadcasting Corporation labels.
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