is a native of Quebec City. He gained expertise on instruments of the lute family through studies with Paul O’Dette and Eugène Dombois, among others. In 1984, he was a finalist at Toronto’s First International Lute Competition, and was a member of Ensemble Anonymus from 1980 to 1990. He co-founded La Nef in 1991, and has been at the helm of many productions such as Perceval, The Quest for the Holy Grail, The Garden of Delights, and Music for Joan the Mad. In demand as a performer of both lute and theorbo, Mr. Bergeron gives more than sixty concerts each season with renowned early music ensembles and orchestras. He has performed and recorded with such artists as Emma Kirkby, Jordi Savall, David Daniels, Daniel Taylor, Suzie LeBlanc, Christine Brandes, Agnès Melon, Meredith Hall, Anne Azéma and Patrizia Bovi. He has played under the direction of well-known conductors and performed in concert halls throughout North America and Europe. Sylvain Bergeron teaches lute, baroque guitar and continuo at McGill University and Université de Montréal. He was recently invited to represent Canada at the ninth Festival des Cordes Pincées (Plucked Strings) in Rabat, Morocco.
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, 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, CWRU, Oberlin Conservatory, Penn State University, University of Michigan, the Conservatoire Royal de Musique de Bruxelles and The Conservatoire National Supérieur de Musique et de Danse de Paris. 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. Mr. Brault joined the early music faculty of McGill University in Montréal teaching baroque violin in 2017.
Singaporean violinist Alan Choo has established himself on the global stage as a leading soloist, chamber musician and historical specialist. He made his solo debut with the Grammy Award-winning baroque orchestra, Apollo’s Fire, at the Tanglewood and Ravinia Music Festivals in 2017, and currently serves as Artistic Leadership Fellow for the ensemble, where he takes on soloist, concertmaster and guest director roles for the 2019-20 season. He is also Founder and Artistic Director of Red Dot Baroque, Singapore’s first professional period ensemble, which has enjoyed multiple sold-out concerts and critical acclaim since their formation in August 2018. In May 2019 he was invited as guest concertmaster and soloist with the Shanghai-based baroque ensemble, Shanghai Camerata.
As a modern violinist, Alan has appeared as a soloist with the St. Petersburg Symphony Orchestra, Singapore Symphony Orchestra, Singapore Chinese Orchestra, Orchestra of the Music Makers and more. A proponent of contemporary music, Alan is co-founder of SG Inspirations, a project dedicated to performing works by Singaporean composers. In 2015, he recorded the SG Inspirations commemorative CD album with pianist Lin Hengyue as a gift to their nation on Singapore’s 50th anniversary. His piano trio Trio Phoenix combines both worlds of early and contemporary music by performing works by living composers and exploring the wealth of baroque repertoire performed with stylistic awareness on modern instruments. The trio completed their Asia Summer Tour in 2015 to critical acclaim, with repertoire ranging from Jean-Philippe Rameau to Alfred Schnittke, and were guest artists at the Lexington Bach Festival 2017.
Alan’s achievements in all areas of performance have earned him awards such as the Early Music Award 2016 from Peabody Conservatory, the Paul Abisheganaden Grant for Artistic Excellence 2015, the Goh Soon Tioe Centenary Award 2014, the Grace Clagett Ranney Prize in Chamber Music 2014 and 1st prize in the National Piano and Violin Competition 2011, Artist Category. He has also given masterclasses and lectures in violin performance, performance practice and stage presence to college students at Baldwin-Wallace College, Bowling Green State University, Yong Siew Toh Conservatory and Nanyang Academy of Fine Arts.
A graduate of the Yong Siew Toh Conservatory and Peabody Conservatory, Alan is currently in his final year at Case Western Reserve University pursuing a Doctorate in Historical Performance Practice under Julie Andrijeski. His past teachers include Victor Danchenko, Alexander Souptel and Risa Browder.
Mezzo-soprano Amanda Crider has been recognized for her “gleaming vocalism” (Boston Globe), “star acting” (Urban Milwaukee), and “superbly clear diction and warmly burnished timbre” (South Florida Classical Review). In demand for performances of classical and contemporary opera alike, Ms. Crider created the role of Alma in Keeril Makan and Jay Scheib’s Persona in its world premiere with the Beth Morrison Projects and later at LA Opera, about which the New York Times raved, “The Mezzo-Soprano, Amanda Crider, made a winsome, vulnerable, and when the story turns dark, wildly volatile Alma, who for long stretches carries the entire opera,” and San Francisco Classical Voice declared, “Crider’s performance was a tour-de-force for its sustained vocal luster, dramatic variation, and sheer amount of singing.”
Most recently, Ms. Crider was seen as the title character in L’incoronazione di Poppea at Florentine Opera, a role that she “wielded with beauty and charisma” (Voix des arts). Boston University News Service declared her “the true star” for her leading role in Boston Lyric Opera’s production of Mark-Anthony Turnage’s Greek, and Opera News lauded her “beautiful work” and “agility” playing the English Teacher in Gregory Spears and Kathryn Walat’s 2019 recording of Paul’s Case, a role which Crider premiered with the Prototype Festival and Urban Arias in 2013.
Ms. Crider’s 2019-20 season includes a debut with the Calgary Symphony, performances with the GRAMMY®-nominated ensemble Seraphic Fire, soloist in Sarah Kirkland Snider’s Penelope with Nu Deco Ensemble, a duo recital with countertenor Reggie Mobley, and two separate appearances with Jacksonville Symphony in Beethoven’s Mass in C and Manuel de Falla’s Three Cornered Hat.
A sought-after soloist and recitalist on the concert stage, Ms. Crider has appeared regularly with Seraphic Fire and Apollo’s Fire, as well as performed with the Bach Festival Society of Florida, the International Contemporary Ensemble, the Cooperstown Chamber Music Festival, the Symphony Orchestras of Eugene, Savannah, Charlotte, Syracuse, Charleston, Amarillo, Southwest Michigan and Jacksonville, and Philharmonic Orchestras of Louisiana, Carnegie Mellon and Greeley. She made her Carnegie Hall debut in the fall of 2007 singing as mezzo soloist in Messiah with the New England Symphonic Ensemble, and returned the following season as soloist in Haydn’s Lord Nelson Mass. She has performed as a soloist in Beethoven’s Symphony No. 9, Bach’s B minor Mass, Monteverdi’s L’Orfeo, Handel’s Messiah, Mozart’s Requiem and Mass in C minor, Britten’s Phaedra, Bach’s St. John Passion, Bernstein’s Jeremiah Symphony and Ravel’s Chansons Madécasses, and has been a featured recitalist on the Trinity Church Concerts at One Series and with Five Boroughs Music Festival. Of her New World Symphony performance of de Falla’s El Amor Brujo in 2014, South Florida Classical Review boasted, “Amanda Crider’s smoky mezzo-soprano assayed the flamenco vocal solos with gutsy abandon,” as well as celebrating “Her rhythmic acuity and incisive declamation.”
Ms. Crider’s first foray into the operatic world as L’Enfant in L’Enfant et les Sortilèges at the Tanglewood Music Center in 2001 was hailed by Opera News as “delightful,” the Boston Globe stating she sang with “ineffable tenderness.” Since then, she has delighted audiences in the roles of Angelina (La Cenerentola), Zerlina (Don Giovanni), Cherubino (Le Nozze di Figaro), Sesto (Handel Giulio Cesare), the title role in Carmen, Nellie Forbush (South Pacific), Diana (Orpheus in the Underworld), Speranza/Pastore #3 (Monteverdi L’Orfeo), Siébel (Faust), Olga (Eugene Onegin), Prince Orlofsky (Die Fledermaus), Laurey (Oklahoma) and Mallika (Lakmé) at companies including the Dallas Opera, Orlando Opera, Florida Grand Opera, Knoxville Opera, Opera Omaha, Nevada Opera, Des Moines Metro Opera and Eugene Opera, Anchorage Opera and Opera Boston, New York City Opera, Castleton Festival and Glimmerglass Opera.
Ms. Crider was a 2012 grant recipient from the Pittsburgh Concert Society, and a 2011 finalist in both the Joy in Singing Debut Artist Competition and the Jensen Foundation Vocal Competition. In addition she was a 2009 finalist in the José Iturbi International Voice Competition, the 2nd Place Winner in the 2008 Shreveport Opera Singer of the Year Competition, 2007 Recipient of the Palm Beach Opera Vocal Competition David and Ingrid Kosowsky Award, Finalist in the 2006 Oratorio Society of New York Vocal Competition and 2005 Center for Contemporary Opera Competition, and a 2003 Recipient of a Richard F. Gold Career Grant from the Shoshana Foundation. Ms. Crider is also the Founder and Artistic Director of Miami’s Art Song concert series, IlluminArts.
is currently a Master’s candidate at the University of Akron. She holds a degree in vocal performance from Cleveland State University, where she studied voice with Amanda Powell. She has also studied with Ms. Noriko Paukert, Dr. Laurie Lashbrook, and Dr. Frank Ward. Ms. Foreman has received African American Spiritual performance scholarships named for the late A. Grace Lee Mims, with whom she studied voice. While an undergraduate student, she served as AF’s first Artistic Outreach Intern, singing the role of Princess Pamina in AF’s in-school workshops and performances. She has performed with the Akron Symphony Orchestra and Cleveland Opera. In 2020 she joined AF’s professional chorus, Apollo’s Singers, with whom she has performed in Cleveland and New York City.
The American soprano Amanda Forsythe, highly praised for her performances on both sides of the Atlantic, sang Euridice on the recording of Charpentier’s La descente d’Orphée aux enfers with the Boston Early Music Festival which won the 2015 GRAMMY® AWARD for Best Opera Recording. Her highly acclaimed CDs have included her début solo album of Handel arias “The Power of Love” with Apollo’s Fire on the AVIE label. She recently toured with the outstanding French countertenor Philippe Jaroussky, performing works based on the Orfeo myth, and subsequently recorded the role of Euridice in a new edition of Gluck’s Orfeo for the ERATO label.
Equally at home on the concert platform and on the opera stage, in recent seasons Amanda Forsythe’s major engagements have included Mendelssohn’s A Midsummer Night’s Dream with the Boston Symphony under Andris Nelsons and the Los Angeles Philharmonic under Susanna Mälkki, Handel’s Sileti venti and Laudate pueri with the Chicago Symphony Orchestra under Nicholas Kraemer, Messiah with Seattle Symphony, Bach’s Magnificat and concert performances as Marzelline Fidelio with the Accademia Nazionale di Santa Cecilia under Sir Antonio Pappano. Following performances as Amour in Gluck’s Orphée at London’s Royal Opera House, she participated in tours of this work, and of Mozart’s C Minor Mass and Requiem with the Monteverdi Choir and Orchestra under Sir John Eliot Gardiner.
She is a regular soloist with the highly acclaimed baroque ensembles Philharmonia Baroque Orchestra (PBO), Apollo’s Fire, Handel and Haydn Society, Boston Baroque, Pacific Musicworks, the Boston Early Music Festival, and the Monteverdi Choir and Orchestra. She sang the title role of Teseo with PBO at the Tanglewood and Mostly Mozart Festivals under Nicholas McGegan, and made her début at the Oregon Bach Festival in Bach’s Mass in B Minor and Magnificat under Matthew Halls.
Amanda Forsythe made her USA stage début with the Boston Early Music Festival, where her many roles have included Poppea and Drusilla L’incoronazione di Poppea, Niobe and Manto (recording) in Steffani’s Niobe, regina di Tebe, Aglaure in Psyché (Lully), Venus in Venus and Adonis (John Blow), Pallas in The Judgment of Paris (Eccles), Isabelle in Le Carnaval de Venise (Campra), Serpina in La serva padrona and Edilia in Almira, Königin von Castilien, for which she received rave reviews. Having made her début at Seattle Opera as Iris in Semele, Amanda Forsythe recently returned there to sing Pamina in Die Zauberflöte. Her operatic repertoire also includes Poppea in Agrippina, the title role in Partenope, Dorinda in Orlando, Amenaide in Tancredi, Bastienne in Bastien und Bastienne, Ninfa/Proserpina in Orfeo, Amore in Il ritorno d’Ulisse in patria, Oberto in Alcina, Dafne in Apollo e Dafne, Atalanta in Xerxes, Vagaus in Juditha Triumphans and roles in Les Indes Galantes and The Fairy Queen.
She made her European operatic début in the role of Corinna in Il viaggio a Reims at the Rossini Opera Festival in Pesaro, subsequently returning to perform Rosalia in L’equivoco stravagante, and Jemmy in Guillaume Tell, described by one critic as “…the best singing of this crucial part I’ve ever encountered…”. At her invitation, Amanda Forsythe joined the distinguished American mezzo-soprano Joyce di Donato in a performance of Bellini duets in the festival’s ‘Malibran’ recital.
Major European opera house engagements have included Dalinda in Ariodante in Geneva and Munich and Barbarina in Le nozze di Figaro, Manto in Steffani’s Niobe, regina di Tebe, Amour in Gluck’s Orphée and Nannetta in Falstaff at London’s Royal Opera House. Her performance as Nannetta was described by Gramophone Magazine as “meltingly beautiful”.
Amanda Forsythe’s recordings include Venus in Venus and Adonis, Aglaure in Lully’s Psyché, and La Grande Pretresse in Lully’s Thésée with the Boston Early Music Festival (all for CPO), Manto in Steffani’s Niobe with BEMF (Erato), the title role in Handel’s Teseo with Philharmonia Baroque (PBO’s own label), Bach’s St. John Passion and Messiah with Apollo’s Fire (AVIE), Dorinda Handel’s Orlando with Early Music Vancouver (ATMA) and Haydn’s Creation with Boston Baroque (Linn). She also sings on the DVD recordings of the Pesaro productions of L’equivoco stravagante and Guillaume Tell as well as Manto in the Royal Opera production of Steffani’s Niobe (Opus Arte). Her latest CD of Steffani duets with the Boston Early Music Festival was awarded the Diapason d’Or in January 2018.
has been noted for his “mellifluous sound and sensitive style” (Washington Post). In 2008, he won first prize at the American Bach Soloists’ International Baroque Violin Competition. He is co-artistic director of Pittsburgh’s Chatham Baroque, a frequent concertmaster of the Washington Bach Consort, and performs regularly with Apollo’s Fire, Opera Lafayette, the Four Nations Ensemble, and Ars Lyrica.
Spanish-born violinist Francisco Fullana, winner of the 2018 Avery Fisher Career Grant, has been hailed as a “rising star” (BBC Music Magazine), an “amazing talent” (conductor Gustavo Dudamel) and “frighteningly awesome” (Buffalo News). His Carnegie Hall recital debut was noted for its “joy and playfulness in collaboration … it was perfection” (New York Concert Review).
A native of Mallorca in the Balearic Islands of Spain, Francisco is making a name for himself as both a performer and a leader of innovative educational institutions. As an orchestral soloist he has performed the Mendelssohn Violin Concerto with the Bayerische Philharmonie led by the late Sir Colin Davis, the Sibelius Concerto with the Münchner Rundfunkorchester, and the Brahms Violin Concerto with Venezuela’s Teresa Carreño Orchestra under the baton of Gustavo Dudamel. He has also soloed with the City of Birmingham, Vancouver, Pacific, Alabama and Madrid Symphonies as well as the Saint Paul Chamber Orchestra and the Spanish Radio Television Orchestra, and has worked with such noted conductors as Hans Graf, Carlos Izcaray, Alondra de la Parra, Christoph Poppen, Jose Luis Gomez, Jeannette Sorrell, and Joshua Weilerstein.
Active as a chamber musician, Francisco has participated in the Marlboro Music Festival and its Musicians from Marlboro tours and is a member of the Chamber Music Society of Lincoln Center’s Bowers Program. Upcoming festival appearances this summer include St. Petersburg White Nights, Moab, Music in the Vineyards and Saratoga Springs’s SPAC among others, as well as recital debuts at Mecklenburg-Vorpommen Festival & Formentor Classics. His musical collaborators have included Midori, Viviane Hagner, Nobuko Imai, Charles Neidich, Mitsuko Uchida, and members of the Guarneri, Juilliard, Takács and Cleveland quartets.
enjoys a multifaceted career as solo artist, chamber musician, and orchestral concertmaster. Performing on both modern and period instruments and versatile in diverse styles from classical to fiddling, she is hailed as a player who is both “thrilling and sensitive” by the Memphis Commercial Appeal, “luminous and hypnotic” by the Omaha World-Herald, and “authentic with exquisite good taste” by the Cleveland Plain Dealer. Shehas frequently been heard in chamber ensembles on National Public Radio shows such as Performance Today, A Prairie Home Companion, and America’s Music Festivals.
After beginning her career as a chamber player, at the age of twenty-six Ms. Gilmore became concertmaster of the Memphis Symphony Orchestra. There, as in Omaha, she frequently appeared as a soloist performing works such as Mozart’s Violin Concerto in A Major, Alban Berg’s Violin Concerto, Max Bruch’s Scottish Fantasy, Erich Korngold’s Violin Concerto, Ravel’s Tzigane, Prokofiev’s Violin Concerto No. 2, and Vivaldi’s Four Seasons. In July 2014 she performed the European premiere of Jennifer Higdon’s The Singing Rooms for solo violin, choir and orchestra in Paris, France. In May 2016 she was guest concertmaster and soloist with the Naples Philharmonic, Florida, for a baroque concert and was soloist and leader of Bach’s Brandenburg Concerti for the inaugural concert of the Tippet Rise Music Festival, Montana, in June 2016.
Ms. Gilmore has been a frequent guest violinist/fiddler with the acclaimed period music ensemble Apollo’s Fire (Cleveland), with whom she appears on the CD Sugarloaf Mountain: An Appalachian Gathering(Billboard Top 10 classical bestseller) and the CD Sephardic Journey: Wanderings of the Spanish Jews (Billboard Top 10 classical bestseller) which features the early 17th-century composer Salamone Rossi. In the spring of 2017 she will perform Sugarloaf Mountain around the U.S. culminating in a performance at the National Gallery in D.C. in April.
Ms. Gilmore holds a Bachelor’s degree from Oxford University (UK), where she studied musicology and performed both early music and symphonic repertoire while studying privately with Yfrah Neaman. She spent a post-graduate year in the Advanced Solo Studies Program at the Guildhall School of Music and Drama in London. Upon returning to the United States, she earned a Master’s in Violin Performance from the New England Conservatory, where she studied with James Buswell. Prior to her studies in England, Ms. Gilmore studied with Christian Teal at the Blair School of Music in the pre-college program and as a child began her violin studies with Mimi Zweig at Indiana University. On baroque violin Ms. Gilmore has studied with Robert Mealy, Cynthia Roberts, and Marilyn McDonald at the Oberlin Baroque Performance Institute.
Ms. Gilmore learned to play Celtic fiddle in her youth through sitting in on Irish sessions during her years in Nashville and England. In March 2016 she made her Celtic fiddle debut in Omaha on the Celtic Journey pops concerts, which she helped produce.
When not working as a classical and baroque violinist and fiddler, Ms. Gilmore spends time with her two daughters, Katy and Zoe. She performs on a 1776 Joseph Odoardi violin.
Canadian Soprano Meredith Hall delights audiences internationally with her “lustrous sound and fluent legato” (San Francisco Chronicle) and “bravura musical performance matched by a riveting [sense of the] dramatic” (Boston Globe). Equally at home in Opera and Oratorio, she is especially in demand for Baroque and Classical works, particularly those of Mozart and Handel.
Recent and upcoming performances include the Leipzig Bachfest with the Ottawa Bach Choir, Handel’s Messiah for the Grand Philharmonic Choir (Kitchener Waterloo), Guelph Chamber Choir, Toledo Symphony, and Amadeus Choir, Elgar’s The Apostles for Pax Christie Chorale of Toronto, “A Celtic Christmas” programme for Apollo’s Fire in Cleveland and New York. Other engagements include appearances for St. Paul’s Lyra Baroque Orchestra singing Mozart and Haydn, Bach’s Johannes Passion with the Baldwin Wallace Bach Festival, his B Minor Mass with the Amadeus Choir of Toronto, Matthäus Passion with the Grand Philharmonic Choir of Kitchener Waterloo, Hippolyte et Aricie for VOICEBOX: Opera in Concert, and Messiahs for Symphony Nova Scotia and the Newfoundland Symphony. She has also been featured by Music and Beyond in Ottawa and for the Sweetwater Festival in Ontario.
Past highlights include performances at the Göttingen Handel Festival in Germany, Messiah with the Toronto Symphony, Portland Baroque Orchestra, Apollo’s Fire, Victoria Symphony, Memphis Symphony, and a Handel programme for the Grand Rapids Symphony. Also on her schedule were performances with the Arizona Chamber Music Festival in Tucson and the Hot Earth Ensemble of Newfoundland. Ms. Hall has been heard in San Francisco in Rameau’s Pygmalion and Arne’s Comus with Philharmonia Baroque, toured Canada’s west coast with La Nef, starred as Dido in Dido and Aeneas for Apollo’s Fire and debuted with Boston Baroque in Rameau’s Pygmalion. Also on her schedule were, Purcell’s The Indian Queen for the Toronto Masque Theatre and concerts with the Montreal Baroque Festival, in Halle, Germany at the Handel Festival and recording projects with La Nef for CBC Radio Canada and with Toronto Masque Theatre for CBC Radio Two.
Ms. Hall appeared at the Shannon International Music Festival for Beethoven’s Irish and Scottish songs with Nicholas McGegan at the piano as well an all Mozart programme. She was heard at the Montreal Baroque Festival and at Domaine Forget in a programme with the Toronto Consort, in Memphis for Mozart’s Mass in C Minor, Tucson for the Arizona Chamber Music Festival and Toronto with Pax Christi Chorale for Mendelssohn’s St. Paul. Of particular note was her recital debut in Toronto for the Women’s Musical Club with guitarist Bernard Farley.
Further credits include the title role in Rameau’s Zephyr for McGegan’s Philharmonia Baroque, a Baroque evening for the Windsor Symphony, Bach’s Johannes Passion for Orchestra London and the Toronto Operetta Theatre production of the zarzuela El barberillo de Lavapiés. She was also heard as Aristeo in Rossi’s Orfeo for the Toronto Consort and was featured in a Handel programme for I Musici de Montreal.
The Newfoundland native has sung the title roles of Monteverdi’s L’incoronazione di Poppea (Houston Grand Opera and Opera Atelier, Toronto) and Handel’s Partenope (Göttingen Handel Festival, Germany) as well as Pamina in Mozart’s Die Zauberflöte (Opera Atelier, Toronto) and Phébé in Rameau’s Castor et Pollux (Opera in Concert, Toronto). Other Handel roles include: Semele (Handel & Haydn Society, Boston); Pleasure in The Choice of Hercules (Philharmonia Baroque, San Francisco) and Mary Magdelene in Resurrezione (Opera Atelier). In Mozart roles, Ms. Hall has appeared as Zerlina in Don Giovanni at the National Arts Centre in Ottawa, Bastienne in Bastien und Bastienne with Tafelmusik in Toronto and as Elvira in Don Giovanni for Opera Atelier’s tour of Japan. Her performances as Susanna in The Marriage of Figaro with the same company were received with great acclaim in Toronto and Tokyo. Previous operatic engagements have included Giunone in Cavalli’s Ercole amante in Utrecht, Tanglewood and Boston; Eurydice in Gluck’s Orfeo for Cleveland Opera; Galatea in Handel’s Acis and Galatea for Opera Atelier; Dido in Dido and Aeneas for Apollo’s Fire (Cleveland); Messagiera in Monteverdi’s Orfeo for Vancouver Early Music; and Altisidore in Boismortier’s Don Quichotte for Paris’ Opera Comique.
Concert appearances include Mozart’s Mass in C Minor with the Toronto Mendelssohn Choir and the Arcadia Chamber Orchestra in Osaka, Japan; Handel’s Gloria with Pittsburgh’s Chatham Baroque; Pergolesi’s Stabat Mater and Handel’s Dixit Dominus with Le grand Choeur de Montreal; Bach’s Mass in B Minor for the St. Lawrence Choir of Montreal and his Missa Brevis for the Vancouver Chamber Choir. Ms. Hall toured Japan appearing in a series of song recitals in Osaka and Tokyo with her husband, guitarist Bernard Farley. For Toronto Operetta Theatre she performed the role of Nanine in the Canadian premiere of The Widow by Calixa Lavallee.
She has recorded several albums on the ATMA label with the early music ensemble La Nef, including Songs of Robbie Burns, Oikan ayns Bethlehem and the Battle of Killiecranckie and her latest CD with Apollo’s Fire is Sacrum Mysterium. In release are discs for Deutsche Grammophon Archiv, Philips, Naxos (Rameau’s Castor et Pollux and Purcell’s The Tempest), Dorian, NPR Records and CBC Records with such groups as Les Musiciens du Louvre, Le Concert Spirituel, Opera in Concert/Aradia, The Musicians of the Globe, The Toronto Consort and Tafelmusik. Ms. Hall can also be heard in the title role in a recording of Handel’s Partenope with the Internationale Händel-Festspiele Göttingen, conducted by Nicholas McGegan.
Praised as “fiery, wild, and dangerous” (Classical Voice North Carolina) with “a talent for character portrayal” (Chicago Classical Review), soprano Margaret Carpenter Haigh captivates audiences with her “flawless intonation” and “perfect vocalism” (CNVC). Her dazzling technique and formidable skills as a collaborative artist shine in performances of repertoire spanning from the Renaissance and Baroque to the modern day.
Recent highlights include appearances with Memphis Symphony, Winston-Salem Symphony, Portland Symphony, Messiah Festival of the Arts, Bach Akademie Charlotte, Arizona MusicFest, and Evansville Philharmonic. She can be heard regularly with some of the nation’s premier ensembles including The Choir of Trinity Wall Street, Handel and Haydn Society, Bach Akademie Charlotte, and Apollo’s Fire.
She is co-artistic director of L’Académie du Roi Soleil, with which she has performed in venues across the United States and the United Kingdom.
Margaret holds degrees from Case Western Reserve University; the University of Cambridge, where she was a Gates Cambridge Scholar; and the University of North Carolina at Greensboro. Recent scholarship includes work on physical gesture in the madrigal repertoire of the concerto delle donne in late sixteenth-century Ferrara, and she frequently lectures on physical gesture for singers. Margaret lives in New York City and is a member of the Choir of Trinity Wall Street.
Countertenor Daniel Moody has garnered widespread acclaim for his “sweet and melancholy sound” (The Washington Post) and his ability to “pierce hearts” and “utterly silence a room” (The Boston Musical Intelligencer). Cited for a “vocal resonance, [that] makes a profoundly startling impression” (The New York Times) and for his “vivid and powerful” voice (The Boston Musical Intelligencer), Mr. Moody is equally celebrated for his interpretations of contemporary and baroque works.
Moody’s opera appearances have included the title roles in Handel’s Giulio Cesare and Rinaldo, Arsamene in Xerxes, Lichas in Hercules, Didymus in Theodora, Oberon in Britten’s A Midsummer Night’s Dream, L’Enfant in Ravel’s L’enfant et les sortileges, and as the “eerie yet forceful” (Broadway World) leading role of Man #1 in the world premiere of Desire by composer Hannah Lash. Moody recently appeared as Nerone in Monteverdi’s L’incoronazione di Poppea at Cincinnati Opera. American Record Guide raved about “how versatile (Moody) and his voice have become,” and spoke of “numerous moments of utter beauty…where he would start singing ever so sweetly and then just let his voice blossom out into something big and round and smooth.”
Moody’s upcoming performances include debuts with Opera Lafayette (Venus and Adonis) and Minnesota Orchestra (Messiah), a tour of St. Matthew Passion with Apollo’s Fire, Handel’s Orlando at Staunton Festival and the premiere of Elena Ruehr’s Cosmic Cowboy, to be performed in the fall of 2020 with White Snake Projects.
“Moody delivered a combination of tenderness and theatrical verve” (San Francisco Chronicle) in his recent duet concert with mezzo-soprano Anne Sofie von Otter and the Philharmonia Baroque Orchestra (Nicholas McGegan), and his performance of the title role in Handel’s Rinaldo led the San Diego Story to declare, “Moody’s voice grows stronger and brighter as it ascends. He may help create a new operatic vocal category: Helden Countertenor.” Daniel has also performed roles in Mark Morris’ productions of Britten’s Curlew River and Purcell’s Dido and Aeneas at BAM (Howard Gilman Opera House) and at the Tanglewood Music Festival where the Financial Times noted his “inspired and absorbing performances.”
Moody recently made his Carnegie Hall Stern Auditorium debut with Oratorio Society of New York and also with Musica Sacra (Kent Tritle), and has performed as soloist with the Atlanta Symphony (Thomas Søndergård conducting), Les Violons du Roy in Québec City, (Bernard Labadie), Apollo’s Fire, The Cleveland Baroque Orchestra (Jeannette Sorrell), the Portland Baroque Orchestra (David Hill), and symphonies of Illinois, Charleston (Ken Lam), and Winston-Salem (Robert Moody). He gave the American premiere of George Benjamin’s intricate Dream of the Song (Stefan Asbury) at the Festival of Contemporary Music at Tanglewood Festival. He has also appeared with numerous early music groups including Boston, Indianapolis and Washington Early Music Festivals, renowned group Acronym at the Isabella Stewart Gardner Museum in Boston, Baroque Chamber Orchestra of Colorado, Mountainside Baroque (Maryland) and La Fiocco (Pennsylvania).
is a soprano and harpist who works to recreate the lost traditions of the harpist troubadours. Her love of Celtic music was cemented by a visit to Ireland at a young age, where the fascinating mix of concerts (in a castle and in the streets of Dublin), monuments, and museums led her lifelong fascination with harps. She has researched the history of self-accompaniment with harps ranging from medieval to modern folk instruments. Her self-accompanied repertoire includes medieval, renaissance, and early baroque songs from Italy, Germany, and the British Isles. She is currently completing doctoral studies in Historical Performance Practice at Case Western Reserve University.
Anna has sung as soloist with the Hong Kong Early Music Society and the Maui Chamber Orchestra. In Cleveland, she sings with the Trinity Cathedral Chamber Singers and the Cleveland Chamber Choir. She holds degrees from the University of Southern California and Providence College. She studies voice with Ellen Hargis and Dina Kuznetsova, and historical harps with Maxine Eilander. Her Ithaca-based duo, Gothic Fire, specializes in Medieval and Renaissance music performed on rebec and harp. She is thrilled to make her debut with Apollo’s Fire in these concerts.
Tenor Jacob Perry Jr., based in the Washington Metro Area, receives praise for his “gorgeous and stylish” interpretations of Renaissance and Baroque repertoire (ClevelandClassical.com). He has been featured as a soloist with Apollo’s Fire, Handel Choir of Baltimore, Mountainside Baroque, Tempesta di Mare, The Thirteen, Washington Bach Consort, and The City Choir of Washington. Jacob has been selected as the tenor participant of the Virginia Best Adams Masterclass of the 2020 Carmel Bach Festival.
Deeply immersed in vocal chamber music, Jacob enjoys active membership in Les Canards Chantants, a soloist-ensemble based in Philadelphia, as well as engagements with ensembles such as The Thirteen, the Art of Early Keyboard (ARTEK), New Consort, and Cathedra. Additionally, he can be heard singing with larger choirs such as Yale Choral Artists, The Clarion Choir, Washington Bach Consort, and the Choir of Washington National Cathedral. He has explored the vocal works by contemporary composers through engagements with Third Practice, hexaCollective, and Great Noise Ensemble. In his newly assumed role as Co-Director of Bridge, a genre-defying vocal ensemble based in Washington, he draws on his instincts for theatricality and story-telling, as the group explores the connections between early masterpieces and ground-breaking new works.
Career highlights include multiple tours performing in Roman Basilicas with the choir of the Basilica of the National Shrine, headlining the inaugural festival of Western Early Music at the Beijing Central Conservatory of Music with Les Canards Chantants, his Kennedy Center debut as a featured soloist in Monteverdi’s Vespro della Beata Vergine with The Thirteen, and a recital celebrating the anniversary of Monteverdi’s 450th birthday with theorbists Richard Stone and William Simms.
Since 2013, Jacob has served as a cantor and professional chorister of the Basilica of the National Shrine of the Immaculate Conception. He earned his B.A. in Vocal Performance from University of Maryland, Baltimore County.
has for the past twenty years studied and performed dances of the Renaissance and Baroque periods. He also plays baroque guitar and studied lute at the Royal College of Music in London. This combination of performing as both dancer and musician has made him popular with leading early music ensembles in Europe, where he works regularly with The Harp Consort, Akademie for Alte Musik Berlin, The Balthasaar Neumann Ensemble and the trio Los Otros. He also performs in the Americas, Australia, and Japan. He has taught dance to music students throughout Europe, choreographed for TV and Opera, and acted and performed Commedia dell’Arte. He has been a favorite with Apollo’s Fire audiences for over 10 years, particularly in the holiday program “Sacrum Mysterium – A Celtic Christmas.” Mr. Player enjoys combining the disciplines of art and historical research, while living in the 21st century.
has been praised as “the star of the evening” (Seen and Heard International, UK) and “charismatic and theatrically arresting” (San Francisco Chronicle). A highly versatile musician, she is at home in repertoire from Monteverdi to Mozart to Ravel, and has toured internationally as soloist in baroque opera, oratorio, and crossover folk programs. Her tour performances with GRAMMY®-winning baroque orchestra Apollo’s Fire (Jeannette Sorrell) include such venues as the National Concert Hall of Ireland in Dublin, the Irish National Opera House, the Aldeburgh Festival (UK), the Metropolitan Museum in New York, the National Gallery in Washington, and Zellerbach Hall in San Francisco, among others. Her 2019 debut as Messiah soloist with the Calgary Symphony won kudos as “the soloist of the night… singing to perfection.”
As a recording artist, Ms Powell has been featured on several Apollo’s Fire albums including Sugarloaf Mountain, Sephardic Journey, and Christmas on Sugarloaf Mountain, all of which received rave reviews on both sides of the Atlantic and debuted in the top ten on the BILLBOARD Classical Chart. Her 2015 solo debut album, Beyond Boundaries, is an intimate program of folk, jazz, and global music. She is a fluent improvisor and has collaborated with such artists as Bobby McFerrin and Sheila Jordan.
Parker Ramsay’s career is distinguished by its breadth and crossing of instrumental boundaries and genres at the harp, organ and harpsichord. At age seventeen, Parker was awarded the organ scholarship at King’s College, Cambridge where he served under the direction of Stephen Cleobury. His tenure with the Choir of King’s College, Cambridge included performing for the Festival of Nine Lessons and Carols in 2012, as well as six international tours and four recordings. In 2014, he was awarded First Prize at the Amsterdam International Organ Competition. Parker has performed at the Concertgebouw in (Amsterdam), the Royal Albert Hall (London), the Musée d’Orsay (Paris), the National Center for the Performing Arts in (Beijing), Sejong Center for the Performing Arts (Seoul), Verizon Hall in (Philadelphia), Carnegie Hall and Alice Tully Hall (New York City).
As a harpist, Parker specializes in repertoire for early harps and new music for the modern pedal harp. In March 2018, he led the University of Louisville Harp Project, premiering nine works written for solo harp. In 2019, he will record his own transcription of J.S. Bach’s Goldberg Variations for the pedal harp at the Chapel of King’s College, Cambridge. As a continuo player, he has worked with the Academy of Ancient Music, the Academy of Sacred Drama, and the Shanghai Camerata. In 2020, he will commence the Kithara series in New York, in which he will premiere six new chamber works for harp and other instruments during the 2020-21 season. Parker has worked closely with composers such as Marc Satterwhite, David Fulmer, Tom Morrison and Saad Haddad.
Parker holds a bachelor’s in history from the University of Cambridge (UK), and a master’s degree and artist diploma in historical keyboards from Oberlin Conservatory. He also holds a master’s degree in harp performance from the Juilliard School, where he studied with Nancy Allen, principal harpist of the New York Philharmonic. His prior teachers were Isabelle Perrin (Head of Strings, Norwegian Academy of Music, Oslo), Sivan Magen (Principal Harp, Finnish Radio Symphony, Helsinki) and Skaila Kanga (Head of Harp Emerita, Royal Academy of Music, London). In addition to his work as a performer, he works as a staff writer for VAN Magazine (Berlin) and maintains his blog, Harping On: Thoughts from a Recovering Organist.
Cellist and gambist Rebecca Landell Reed’s “luminous” (Cleveland.com) and “notable” (The New York Times) sound elicits a range of expression “from classically evocative to Hitchcock horrifying” (Washingtonian). She enjoys a varied performing career as a soloist and chamber musician with groups like Apollo’s Fire and Three Notch’d Road, as well as collaborating with a variety of artists creating experimental programs.
During her undergraduate work at Oberlin Conservatory, Rebecca was classically trained on cello with Darrett Adkins and explored historical performance practice on Baroque cello and viola da gamba with Catherina Meints. Inspired to broaden her expressive range, she incorporated classes in acting and education while completing her master’s degree with Norman Fischer at Rice University. She later moved to Holland to work with Steuart Pincombe, creating innovative programs in unusual performance venues.
Rebecca pursues a varied professional career, such as performing and acting in Studio Theatre’s An Iliad, working with composer Eric Shimelonis on the NPR children’s show Circle Round, developing educational programs with the Crumhorn Collective, and creating unique artistic combinations with artists like filmmaker Mathias Reed and poet Derek Gromadzki. Her solo appearances on cello and viola da gamba include performances with Apollo’s Fire, Atlanta Baroque Orchestra, Vermont Symphony Orchestra, Three Notch’d Road, and Batzdorfer Hofkapelle. She can be heard on recordings with Three Notch’d Road and Apollo’s Fire, including the 2019 GRAMMY® Award winning recording Songs of Orpheus. Rebecca is currently based in Oberlin, Ohio, where she teaches cello and viola da gamba and performs regularly with Apollo’s Fire, Akron Symphony, and Ashland Symphony.
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.
Praised as “an authoritative artist” (Cleveland Plain Dealer) and “an elegant and energetic singer” (Seen and Heard International), baritone Jeffrey Strauss has performed with leading period music ensembles including Tafelmusik, the Consort of Musicke with Emma Kirkby and Anthony Rooley, the Taverner Consort under Andrew Parrott, The Handel & Haydn Society, Seattle Baroque, The Newberry Consort, and Tempesta di Mare, among many others. Trained at an early age in Jewish liturgical music by Cantor Daniel Gildar, he later studied voice and art song in London with Yvonne Rodd-Marling and Martin Penny, and in Paris with Gérard Souzay. He has been a regular soloist with Apollo’s Fire since 1995, and is especially known for his appearances in Handel’s Messiah, the Bach St. John and St. Matthew Passions, Sephardic Journey, O Jerusalem!, and music of Monteverdi including the 1610 Vespers, Il Combattimento di Tancredi e Clorinda, and the title role in L’Orfeo. A longstanding proponent of contemporary music, he has collaborated with Ralph Shapey and the Contemporary Chamber Players of the University of Chicago (Contempo), the Chicago Chamber Musicians, the Pacifica Quartet, and Eighth Blackbird, and has premiered works by Babbitt, Bernstein, Axelrod, and Shapey. He has appeared twice with the Omaha Symphony, and performed the role of Mephistopheles in Berlioz’s Damnation of Faust. An accomplished stage actor, his 2014 performance as Tevye in Fiddler on the Roof at the Lancaster Opera House—reprising a role he first played at age 17—was hailed as “masterful” (Buffalo News).
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.