MARGARET CARPENTER HAIGH

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” (CVNC). Commanding “expressive power, exquisite diction, and a clear, flexible voice” (Cleveland Classical), Margaret is in demand as a soloist and chamber musician throughout North America. Her dazzling technique and formidable skill as a collaborative artist shine in performances of repertoire spanning from the Renaissance and Baroque to the modern day.

Recent solo engagements include Handel Messiah with Memphis Symphony and Winston-Salem Symphony, Bach St. Matthew Passion with Bach Akademie Charlotte and Messiah Festival of the Arts, Bach B minor Mass with Bach Akademie Charlotte and American Bach Soloists Academy, Del Tredici’s An Alice Symphony with Portland Symphony, Vaughan Williams Benedicite and Bach Jauchzet Gott with Arizona MusicFest, and Rutter Requiem with Evansville Philharmonic.

2019-2020 season highlights include appearances with Bach Akademie Charlotte, Handel and Haydn Society, The Choir of Trinity Wall Street, Newberry Consort, Alchymy Viols, GRAMMY©-winning Apollo’s Fire, Baldwin Wallace Bach Festival, and a solo Canadian début with Scaramella, presenting original work on Baroque gesture and the Ferrarese concerto delle donne. With her own ensemble L’Académie du Roi Soleil she looks forward to performing Couperin’s Leçons de Ténèbres, 16th-century Italian musica reservata in a program entitled “Secret Music 1580: Music for the Three Ladies of Ferrara,” and one-voice-per-part program of Parry’s Songs of Farewell and Howells’ Take him, earth, for cherishing.

Margaret has been privileged to perform as a Britten-Pears Young Artist under Mark Padmore at the Aldeburgh Festival (UK) and at the American Bach Soloists Academy under Jeffrey Thomas (San Francisco, CA). Touring engagements have taken her to Israel, Germany, and France under the baton of Timothy Brown, and she has been featured as a soloist in the Easter at King’s Concert Series in King’s College Chapel, Cambridge.

As a choral conductor, Margaret was Artistic Director of Nova Voce, Charlotte’s premier women’s choral ensemble, from 2018-2020. She has served on the faculty of the Oklahoma Arts Institute in Quartz Mountain and the Bach Akademie Charlotte Vocal Fellows Program. She has previously served as Director of Youth Education Projects for Apollo’s Fire: The Cleveland Baroque Orchestra and has also held positions as assistant chorus-master to the Winston-Salem Symphony Chorus and acting director of the Keele Bach Choir, Keele Philharmonic Choir, and Keele Philharmonic Orchestra in Staffordshire (UK); and she was selected as a conducting fellow at the Yale Norfolk Chamber Music Festival in Norfolk, CT.

A native of Charlotte, North Carolina, Margaret holds the D.M.A in Historical Performance Practice from Case Western Reserve University; the M.Mus in Choral Studies from the University of Cambridge, where she was a Gates Cambridge Scholar; and the B.M. in voice and B.A. in organ from the University of North Carolina at Greensboro. She has held faculty positions at the University of North Carolina at Charlotte, Bach Akademie Charlotte’s Summer Festival, and Oklahoma Summer Arts Institute. 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 full-time member of The Choir of Trinity Wall Street.

WEBSITE

DANIEL MOODY

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).

WEBSITE

MOLLY NETTER

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

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

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

WEBSITE

JACOB PERRY

Jacob Perry Jr., tenor, based in the Washington Metro Area, receives praise for his “gorgeous and stylish” interpretations of Renaissance and Baroque repertoire. 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. Mr. Perry was selected as the tenor participant of the Virginia Best Adams Masterclass of the 2020 Carmel Bach Festival (postponed).

Deeply immersed in vocal chamber music, Mr. Perry enjoys playing with Les Canards Chantants, a soloist-ensemble based in Philadelphia, as well as engagements with ensembles such as The Thirteen, the Art of Early Keyboard, 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 vocal works by contemporary composers through engagements with Third Practice, hexaCollective, and Great Noise Ensemble. As Co-Artistic 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.

WEBSITE

EDWARD VOGEL

With a voice described as “velvet-toned” (BBC Music Magazine), and praised for his “appealing, midweight baritone” (The New York Times), “forthright agility and bold declamation” (Musical America), baritone Edward Vogel is recognized as a sensitive, versatile performer. Recent highlights include solo appearances with GRAMMY®-winning Apollo’s Fire under the direction of Jeannette Sorrell, solo debuts with the Jacksonville and Tucson Symphonies, and his solo debut with the New York Philharmonic Orchestra in Handel’s Israel in Egypt, for which Musical America praised him as “one of the evening’s highlights.” Other recent solo appearances include Handel’s Messiah and Monteverdi’s Vespers with Apollo’s Fire; and Ralph Vaughan Williams’s Dona Nobis Pacem, Bach’s Mass in B minor, and Brahms’s Ein deutsches Requiem with GRAMMY®-nominated True Concord under the direction of Eric Holtan. In 2019 Edward made his international solo debut in Bach’s Mass in G Major at Snape Maltings, UK, under the direction of Philippe Herreweghe.

Highly in-demand as an ensemble singer, Mr. Vogel has performed with groups including Bach Collegium Japan, and Paul Hillier’s Theatre of Voices in the world premiere of David Lang’s the writings at Carnegie Hall.

An avid recitalist, Edward finds passion in delivering sensitive, intimate performances of both art song and genres that go beyond the traditional classical canon. A two-time Vocal Fellow at the Tanglewood Music Center, he has honed his craft by coaching with champions of art song including Dawn Upshaw, Roger Vignoles, and the late Sanford Sylvan. His musical interests have led to engaging and acclaimed recitals of repertoire ranging from music of medieval Iberia to British art songs of the twentieth century.

Mr. Vogel holds degrees from the Yale School of Music and the University of Notre Dame.

WEBSITE

“The U.S.A.’s hottest baroque band.” –CLASSICAL MUSIC MAGAZINE (UK)