Daphna Mor has performed throughout Europe and the United States as both a soloist and ensemble player. Mor’s “astonishing virtuosity” (Chicago Tribune) has been heard in solo recitals in the United States, Croatia, Germany and Switzerland. She has performed as a soloist with the New York Collegium, the New York Early Music Ensemble and Little Orchestra Society, and as a member of the orchestra with the New York Philharmonic, New York City Opera and Orchestra of St. Luke’s. Mor was awarded First Prize in the Settimane Musicali di Lugano Solo Competition and the Boston Conservatory Concerto Competition, and has appeared in a duo with Joyce DiDonato on the singer’s promotional tour for the album In War and Peace. Devoted to new music, Mor has recorded on John Zorn’s Tzadik label, and has performed the world premiere of David Bruce’s Tears, Puffes, Jumps, and Galliard with the Metropolis Ensemble. Also active in the world music community, Mor has performed in festivals and on stages worldwide, including New York’s Summer Stage and Munich’s Gasteig. She can also be heard on Sting’s album If On A Winter’s Night for Deutsche Grammophon. Mor serves as the Music Director of Beineinu, a New York initiative dedicated to the modern cultivation of Jewish culture, and is a performer and teacher of liturgical music of the Jewish diaspora. She leads programs for the Education Department of the Metropolitan Museum of Art.
Praised for her “dazzling technique and soulful expressiveness,” (Rocky Mountain News), and a musical approach that’s “distinctly sensual…pliant, warm, and sweet,” (New York Times), Debra Nagy is one of North America’s leading performers on the baroque oboe. She is principal oboe with Boston’s Handel & Haydn Society and performs with ensembles around the country including the American Bach Soloists, Apollo’s Fire, Boston Early Music Festival, and others. Passionate about chamber music, Debra is the founder/director of Les Délices (whose debut recording was named “One of the Top Ten Early Music Discoveries of 2009”) and also performs late-medieval music as a regular guest with Boston’s acclaimed Blue Heron and Chicago’s Newberry Consort. Debra has received many awards for her creative and scholarly pursuits including first-prize in the American Bach Soloists Young Artists Competition, a 2009 Fellowship from the National Endowment for the Humanities, and a 2010 Creative Workforce Fellowship from Cuyahoga Arts & Culture. She has recorded over 30 CDs with repertoire ranging from 1300-1800 and has had live performances featured on the radio across the U.S., Canada, and in Europe.
Debra’s passion for unearthing little-known masterpieces caused the New York Times to dub Les Délices “an early music group with an avant-garde appetite,” adding, “concerts and CDs by Les Délices are journeys of discovery.” Inspired by a creative process that brings together research, composition in historical styles, improvisation, and artistic collaboration, highlights of Debra’s recent projects have included critically-acclaimed multimedia productions of Machaut’s medieval masterpiece Remede de Fortune and music from the recently-discovered Leuven Songbook (c. 1470). Her Baroque-Jazz crossover program, Songs without Words (‘successful, risk-taking music!” – The Whole Note) has not only expanded the repertoire for her instrument but also challenged accepted notions about period instruments (CD released by Navona Recordings, 2018). She eagerly anticipates the premiere performances of The White Cat, a fairytale-based pastiche Baroque opera for singers and chamber ensemble with puppetry and projections that brings to life Aesop’s Fables and Marie-Catherine D’Aulnoy’s 1690s feminist fairytale in April 2022 (postponed from April 2020 due to the Covid crisis).
Recent social unrest and the restrictions of the COVID-19 Pandemic have inspired several new projects. Debra reimagined Les Délices’ traditional concert series for the virtual space and safely recorded 6 different programs for broadcast during their 2020-21 season. One reviewer described the first program as, “in a word: sensational!” and another recognized “[Les Délices] raises the bar for streaming events that have fairly taken over since the pandemic halted live performing arts. At a most challenging time Les Délices embarks on a creative adventure to extend its audience beyond their in-person performances rather than an alternative to them. The modest ticket price is a cultural gift.”
At the same time, Debra created a bi-weekly web series variety show for early music called SalonEra. A salon experience for the 21st century, SalonEra stays timely and relevant in introducing a wide range of artists and performing traditions. Produced remotely, SalonEra brings together regular contributors and special guests whose personalities, perspectives, and contributions set the stage for fascinating conversations and fulfilling artistic exchange. Unlimited by geography or program conventions, SalonEra has attracted a wide audience and enables her to dramatically expand the range of repertoire and artists that Les Délices presents. Importantly, the program also provides paid work for performing artists whose livelihoods have been deeply impacted by the pandemic.
A dedicated and inspiring teacher, Debra serves on the artist faculties of the American Bach Soloists’ Summer Academy and the Oregon Bach Festival’s Berwick Academy, and has given masterclasses at Juilliard, the Cleveland Institute of Music, San Francisco Conservatory, Cincinnati Conservatory, and University of Washington. She is also committed to service and to fostering the next generation of leaders through her work as a mentor and as a former board member of Early Music America and liaison to its Youth Advisory Board.
When not rehearsing, performing, or dreaming up new projects, Debra cooks prodigiously (including much canning and pickling) and loves commuting by bicycle from her home in Cleveland’s historic Ohio City neighborhood.
Hailed as a virtuoso by the Cleveland Plain Dealer, Kathie Stewart is a founding member and principal flute of Apollo’s Fire: The Cleveland Baroque Orchestra. An advocate of the baroque flute as a mainstream instrument, Stewart serves as Teacher of Baroque Flute at the Cleveland Institute of Music, Kulas Visiting Artist at Case Western Reserve University, and is Assistant Director for the Seattle Baroque Flute Workshop. Stewart has performed as soloist with The Cleveland Orchestra, Cleveland Opera, Oberlin Baroque Ensemble, Tafelmusik Baroque Orchestra, Washington Bach Sinfonia, ARTEK, and Turn the Corner Irish Band. Stewart has performed at the BBC Proms, Snape Proms, Tanglewood Festival, Aspen Music Festival, Ojai Music Festival, Boston Early Music Festival, New World Symphony’s Baroque Festival, Oberlin College Artist Series, National Academy of Sciences, Library of Congress, and Dumbarton Oaks Series. Stewart is a faculty member of the Oberlin Conservatory of Music where she serves as Curator of Harpsichords in the Historical Performance Department and additionally taught baroque flute for nearly twenty years. A proponent of historical temperaments, she tunes and maintains the Conservatory’s world-class collection of historical harpsichord reproductions.
Stewart appears on fourteen recordings with Apollo’s Fire including solo performances in Bach’s Brandenburg Concerto No. IV (AVIE) and Telemann’s Concerto in E Minor for Flute and Recorder (AVIE). An accomplished Irish flute player, she can be heard on Scarborough Fayre: Traditional Tunes from the British Isles and the New World, Come To The River: an Early American Gathering, and Sugarloaf Mountain: an Appalachian Gathering. Radio appearances include holiday specials on National Public Radio, NPR’s World of Opera, SymphonyCast, and Performance Today. Her concerts have been broadcasted on Britain’s BBC Radio, Canada’s CBC, European Community Radio, and on WCLV’s “Seaway” syndication network carried by member stations of the European Broadcasting Union.
Stewart holds a Bachelor of Music degree from West Virginia University as a student of Joyce Catalfano and a Master of Music degree from Manhattan School of Music as a student of Thomas Nyfenger. She completed doctoral coursework at the University of Cincinnati College-Conservatory of Music as a student of George Hambrecht and participated in Eiji Hashimoto’s Baroque Ensemble. Fascination with the traverso led her to the Baroque Performance Institute at Oberlin Conservatory where she studied baroque flute and recorder with Christopher Krueger.