2425 featured artists – Apollo's Fire

JESSICA BEEBE

Soprano Jessica Beebe is lauded for having a “honey-colored tone” and “the most radiant solo singing” by Opera News. As a sought-after concert soloist, Ms. Beebe has performed as a soloist with several major orchestras and ensembles across the world including The New York Chamber Orchestra at Carnegie Hall, The English Concert at the Barbican Theatre and Carnegie Hall, The Los Angeles Philharmonic, The Philadelphia Orchestra, The Indianapolis Symphony Orchestra, The Indianapolis Baroque Orchestra, The Folger Consort, Utah Symphony, Omaha Symphony, Baltimore Symphony, Tallahassee Symphony Orchestra, Asheville Symphony, Philharmonie Austin, Lancaster Symphony Orchestra, The Washington Bach Consort, Piffaro, Tempesta di Mare, Bach Choir of Bethlehem, Bach Festival Winter Park, Lyric Fest, Brooklyn Art Song Society, and more. Some of Beebe’s operatic highlights include premiering multiple operas by Jennifer Higdon, Lembit Beecher and David Hertzberg with Opera Philadelphia, Handel’s Messiah with Bergen National Opera in Norway, and a Los Angeles Philharmonic debut in Meredith Monk’s opera, Atlas. Ms. Beebe is a member of Variant 6, The Crossing, Seraphic Fire, Clarion, Lorelei, Trio Eos, The Thirteen, Apollo’s Fire, and is on several GRAMMY®-nominated albums with The Crossing and Clarion Ensemble.

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TINA BERGMANN

Tina Bergmann, hammered dulcimer, was hailed by Pete Seeger as “the best hammered dulcimer player I’ve heard in my life.” A fourth-generation musician, Ms. Bergmann began playing music at age eight, learning the mountain dulcimer from her mother in the aural tradition and learning the hammered dulcimer at the knee of West Virginia-native builder and performer Loy Swiger. Demonstrating gifts for both performance and teaching, she has been a featured performer across the United States, performing solo; as a duo with her husband, bassist Bryan Thomas; with her stringband Hu$hmoney; and as a featured soloist with Apollo’s Fire and Canadian early music group, La Nef.

ARYSSA LEIGH BURRS

Mezzo-soprano ARYSSA LEIGH BURRS is hailed for her “rich sound and thoughtful musical ideas” while “transcending vocal styles and genres with flexibility and ease” (DC Theater Arts). Recent and upcoming soloist engagements include, Nerone (Poppea, InSeries Opera), Bach’s St. John Passion (Clarion Music Society, The Thirteen), Messiah (The Thirteen), Minerva (Return of Ulysses, InSeries Opera), Wassail! (Apollo’s Fire), BWV 7 (Bach Choir of Bethlehem), and in May 2025, Copland’s In The Beginning (Cathedral Choral Society). Aryssa performs with ensembles such as The Crossing, The Thirteen, Clarion Music Society, and Ensemble Altera. Aryssa’s comfort in various styles is best heard as a founding member of Lyyra, the internationally touring, 6-voiced women’s ensemble from the Voces8 Foundation, which was recently signed to Warner Classics. Lyyra is making strides in the vocal world by promoting women’s voices while performing a wide range of genres for diverse audiences.

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HYUNKUN CHO

Cellist HyunKun Cho is from Gwangju (South Korea) and lives in Barcelona (Catalonia). He began playing the classical cello at 15 and graduated from the Korea National University of Arts with Myungwha Chung.

His path led him to the Berlin University of the Arts, where he studied with Markus Möllenbeck baroque cello and received chamber music lessons with Prof. Mitzi Meyerson.

He continued his studies at the Escola Superior de Música de Catalunya in Barcelona with Bruno Cocset and Emmanuel Balssa for historical cello and Chamber music with Pedro Memelsdorff, and he did a specialized degree at the Geneva University of Music with Bruno Cocset.

HyunKun Cho has created various ensembles as a musical leader and played in others. He has been awarded several times, such as:

With the ensemble “La Prosperina”, they won the 1st prize for Early Music and the Audiences Award in Saarbrücken in 2010.
With the ensemble “Matis”, they won the 2nd prize at the International Telemann Competition for Chamber Music Ensemble of 2013.
He was awarded at the Berliner-Bach competition in 2013. The same year, he got a prize from the York Early Music Competition with Ensemble Nexus-Baroque and was invited to a musician residency in Ambronay.
In 2014, he won the Early Music competition in Yamanashi, Japan, with Camerata D’Amico, a classical period quartet.
As a soloist, he was awarded 3rd prize at the International Competition Musica Antiqua Bruges 2014.
With his new Ensemble Chorda Elegans, he participated in the Berliner-Bach competition 2018; he was awarded three prizes: 1st prize, audience prize, and best interpretation prize.
He won the 1st prize, audience prize, and special prize at the International Telemann Competition in 2019 in Magdeburg.

He has recently collaborated with Pedro Memelsdorff and his Arlequin Philosophe ensemble on their concert-seminar tour “Opera and Slavery in the French Caribbean” / “Kourou, Musica nel naufragio di un’utopia migratoria, Guiana francese 1763-1765” (2019-2024) in Venice, Potsdam, New Orleans, Wroclaw, Basel, and Berlin/Postdam; he has carried out coaching tasks for the musicians of the Freiburg Conservatory orchestra at its Early Music Festival, with Jean Christophe Dijoux (2023); and has published with Michael Form and the Au Pieds du Roy ensemble “Bach: Recovered Chamber Concertos” (2023). He has also collaborated on the seminars “Franz Schubert, ammiratore di Beethoven” (2023) with Pedro Memelsdorff and Andreas Staier, and “Pulcinella musico e filosofo. Arie e cantate comiche napoletane nel Settecento” (2023), with Pedro Memelsdorff and Pino De Vittorio. His most recent published work is “A la Mode Française” with Patrimonio Sonoro (2024).

ALAN CHOO

Violinist Alan Choo, whose performances have been described by The Straits Times Singapore as “an intoxicating brew of poetry and dare-devilry,” appears on the global stage as a leading soloist, chamber musician and historical specialist. He made his solo debut with Apollo’s Fire at the Tanglewood and Ravinia Music Festivals in 2017, and currently serves as Concertmaster and Assistant Artistic Director for the ensemble. He is also Founder and Artistic Director of Red Dot Baroque, Singapore’s first professional period ensemble and Ensemble-in-Residence at the Yong Siew Toh Conservatory of Music. In May 2019, he was invited as guest concertmaster and soloist with the Shanghai-based baroque ensemble, Shanghai Camerata. He has also appeared as a soloist with the FVG Orchestra (Italy), St. Petersburg Symphony Orchestra, Singapore Symphony Orchestra, Singapore Chinese Orchestra, Orchestra of the Music Makers and more.

Alan is the recipient of 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 the Cleveland Institute of Music, Michigan State University, Baldwin-Wallace College, Bowling Green State University, Yong Siew Toh Conservatory and Nanyang Academy of Fine Arts.

Alan holds a Doctorate in Historical Performance from Case Western Reserve University, as well as degrees from the Peabody Conservatory and the Yong Siew Toh Conservatory. His teachers include Julie Andrijeski, Risa Browder, Victor Danchenko and Alexander Souptel. His solo debut album with Apollo’s Fire, the complete Mystery Sonatas of Heinrich Biber, was released on AVIE Records in 2024 and debuted at #2 on the Billboard Classical chart.

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NICOLE DIVALL

Nicole Divall is one of the most versatile musicians of her generation, performing as a soloist, chamber musician, and orchestral leader on both modern and period instruments. A prizewinner in the 1997 Lionel Tertis International Viola Competition, she has performed at numerous festivals in the Americas and with various ensembles, including Apollo’s Fire. In 2005 she returned to her home country to join the Australian Chamber Orchestra, a position which she held for 16 years. Nicole is a graduate of the Canberra School of Music and the University of Michigan, and completed the Emerson Quartet Graduate String Quartet Program at the Hartt School of Music in Connecticut.

CHARLES WESLEY EVANS

“An elegant, mellifluous and expressive baritone” (The New York Times), CHARLES WESLEY EVANS has been lauded by The Miami Herald as “the peak of the night’s solo work” and by The Washington Post as “a warm, strong baritone.” Charles began singing professionally as a chorister at The American Boychoir School in Princeton, New Jersey, where he toured nationally and internationally, performing with notable conductors and orchestras around the globe. He enjoys a varied career performing works from the Baroque to gospel and musical theatre. Recent concert work includes performances with The Cleveland Orchestra, Austin Symphony, Fort Worth Symphony, Sinfonia de Camera, and Sonare Baroque Ensemble of Düsseldorf, among others. He has served on the faculties of the University of South Florida, University of Tampa, and Lawrence University, and holds a Bachelor’s in music from Brewton-Parker College in Mt. Vernon, Georgia, with further study at Boston Conservatory and Westminster Choir College.

CHLOE FEDOR

Violinist Chloe Fedor is known for her “lovely, plush, seductive tone” (New York Times) and lauded for her “soulful, virtuosic” playing and “impeccable technical control” (Opera News). Chloe is artistic advisor and concertmaster of baroque programming at Lakes Area Music Festival, co-concertmaster of Lyra Baroque Orchestra, a member of the Grammy award-winning ensemble Apollo’s Fire, a member of ACRONYM, and frequent soloist with Four Nations Ensemble. She also appears with The American Classical Orchestra, Carmel Bach Festival, The English Concert, Handel and Haydn Society, Mercury Chamber Orchestra, Oregon Bach Festival, Philharmonia Baroque Orchestra, Seraphic Fire, Staunton Music Festival, Tafelmusik Baroque Orchestra, and Trinity Wall Street Baroque Orchestra. Chloe has had recurring guest concertmaster roles with Amor Artis, Bach Vespers at Holy Trinity, Ensemble Altera, New York Baroque Incorporated, and principal roles in Early Music New York, Mercury Chamber Orchestra, The Sebastians, and Trinity Wall Street Baroque Orchestra.

Chloe earned her Bachelor of Music degree from the Eastman School of Music and two Master of Music degrees from The Juilliard School, both in modern violin and historical performance. She was a concerto competition winner at both alma maters as well as a laureate of the Performer’s Certificate from The Eastman School and the Juilliard Career Fellowship Grant from The Juilliard School. Her principal teachers include Charles Castleman, Carol Cole, Ron Copes, Monica Huggett and Cynthia Roberts.

Chloe’s summer festival appearances include the BBC Proms (England), Caramoor, Carmel Bach Festival, Edinburgh International Festival (Scotland), Festival Dans le Jardins de William Christie (France), Oregon Bach Festival, Ravinia, Sarasota Music Festival, Schleswig-Holstein Musik Festival (Germany), Spoleto USA, Tanglewood Music Festival, and Utrecht Early Music Festival (The Netherlands). In 2018, Chloe was featured on Broadway as the onstage violinist in the Shakespeare’s Globe production of “Farinelli and the King,” starring Sir Mark Rylance and Iestyn Davies. Chloe can be heard on ACRONYM’s 2020 album Cantica Obsoleta, featuring previously unrecorded 17th century works.

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FIONA GILLESPIE

Fiona Gillespie is a folk and classically-trained singer, songwriter, composer, and music educator. Raised in a family of traditional Celtic musicians Fiona grew up step dancing, singing ballads, and playing the Irish whistle, on which she competed nationally and internationally until 2006. She holds degrees in voice performance from Westminster Choir College (BM) and the University of North Texas (MM).

Fiona’s debut, full-length compositional recording with collaborator Elliot Cole released with a premier performance in New York City on October 31, 2021. The half-hour folk-rock cantata, scored for voices and 12-piece band of historical, modern, and electronic instruments, recreates the ancient Scottish ballad of Tam Lin. Her album of Scottish folk songs arranged by composers of the Viennese School, “Wisps in the Dell” released in 2019, and a “prequel” disc, “The Gallant David Rizzio” releases in 2022, all three of which are with the ensemble Makaris. As a featured performer Fiona’s recent and upcoming engagements include The Baroque Orchestra of Colorado, Musica Sierra, Carmel Bach Festival, Five Boroughs Music Festival, Labyrinth Baroque Ensemble, The Washington National Cathedral, Mountainside Baroque, The Academy of Sacred Drama, The Bach Choir of Bethlehem, Fire and Grace, and ALKEMIE. She sings regularly as a professional chorister with Skylark Ensemble, Apollo’s Fire, Kinnara Ensemble, Bach Vespers at Holy Trinity, and St. Tikhon’s Choir, and with churches in both New York City and Philadelphia.

Fiona is a co-founder and manager of the band The Chivalrous Crickets, the Baroque-Folk crossover duo, Disordering the Attic. She teaches voice at Muhlenberg College in Allentown, PA, where she has led opera workshop and music directed main stage productions (recent: Gilbert & Sullivan’s Trial by Jury, 2019). Fiona taught voice at Lycoming College from 2013-2017, as well as directed opera (stage & music: Humperdinck’s Hansel und Gretel), co-taught courses on Baroque music and art that traveled to Italy, Germany, and Austria, and helped coordinate and lead choir tours to Washington DC, Florida, and China. She has led folksong arranging and group singing workshops at the Big Sur Fiddle Camp, and for Bethlehem PA’s Celtic Cultural Alliance.

DAVID GUZMÁN

Puerto Rican bass-baritone DAVID GUZMÁN, currently based in Milwaukee, WI, has made a name for himself as a frequent performer on stages across the Midwest. Since 2022, some of David’s stage work includes Vodník in Rusalka and the Newscaster in the world premiere of Night of the Living Opera (Milwaukee Opera Theatre), the Fifth Jew in Salome and Antonio in Le nozze di Figaro (Madison Opera), and Don Alfonso in Così fan tutte: Remix and the Duke of Verona in Roméo et Juliette (The Florentine Opera). Additionally, in the 2023-2024 season, he joined the chorus of the Lyric Opera of Chicago for their performances of Der fliegende Holländer and Aida.

During the summer of 2022, David made his Milwaukee Opera Theatre debut in their new English adaptation of L’Orfeo. “As the stern Pluto, David Guzmán’s low bass was filled with foreboding” [Gwendolyn Rice] and “carried a much more divine energy about him in the role” [The Small Stage]. Other engagements during the 2021-2022 season included Figaro in Brew City Opera’s performance of the second act of Le nozze di Figaro, the Court Usher in Rigoletto with The Florentine Opera, and Leporello in Don Giovanni at the Teatro América in Puerto Rico.

Early in 2021, David performed the role of Truffaldin in Strauss’s Ariadne auf Naxos as well as Leporello in excerpts from Don Giovanni, both at the University of Cincinnati College-Conservatory of Music (CCM). Other engagements at CCM include the role of Pistola in Falstaff and the bass solo in Bach’s Weinen, Klagen, Sorgen, Zagen [BWV 12] with the CCM Chamber Singers. In 2019, David reprised the role of Sarastro in Die Zauberflöte at the Aquilon Music Festival. The bass-baritone debuted this role in 2017 at the Puerto Rico Conservatory of Music.

In 2018, David made his Wisconsin solo debuts performing the bass solo of Bach’s Jesu, der du meine Seele [BWV 78], part of the St. Casimir Concert Series, and by stepping in as Eddie in Michael Lydon & Ellen Mandel’s football-themed opera Passion in Pigskin, produced by Opera on Tap–Wisconsin. During the same year, he formed part of the young artist roster at the Aquilon Music Festival in Oregon, performing the role of Bartolo in Le nozze di Figaro and creating the role of Monsieur Harpin in the modern-day world premiere of the French parody La chûte de Phaëton, by Lully/Le Grand.

Past roles include Kecal in The Bartered Bride and Thierry & M. Javelinot in Dialogues des Carmélites (Puerto Rico Conservatory of Music), the Herald in Verdi’s Otello (Teatro de la Ópera), King Herod in the world premiere of Albert Guidobaldi’s opera-oratorio El Auto Sacramental de los Reyes Magos, and Don Attilio in The Phantom of the Opera (PSB Productions).

During the 2016-2017 season, David co-founded and directed the baroque vocal octet, the Puerto Rico Baroque Singers. He presented two all-Bach concerts with the ensemble and performed the bass solo in Christ lag in Todes Banden [BWV 4].

David regularly performs with Cincinnati-based ensemble The Union under the baton of Trevor Kroeger. Early in 2019, David joined the Junges Stuttgarter Bach Ensemble in Germany where, during Bach Week, he performed cantatas by Bach and Telemann as well as Telemann’s Johannes-Passion in a series of lecture concerts led by Hans-Christoph and Jos van Veldhoven. In 2015 and 2017, the bass-baritone formed part of the Weimar Bach Cantata Academy, led by Helmuth Rilling. Similarly, David’s time with the ensemble consisted of lecture concerts in Weimar, Leipzig, and Eisenach, among other cities where J.S. Bach lived and worked. Later in winter 2017, David was invited for a special Weihnachts-Oratorium engagement with Helmuth Rilling in Schwäbisch Gmünd.

Aside from his onstage pursuits, David is an avid language lover whose studies have recently focused on Russian and his native Spanish. In 2024, the bass-baritone founded Thee Studio, providing voice lessons and vocal and language coaching to artists and enthusiasts.

David Guzmán holds a Bachelor of Music Degree from the Puerto Rico Conservatory of Music and a Master of Music Degree from the University of Cincinnati College-Conservatory of Music.

SONYA HEADLAM

Born of Jamaican parentage, soprano SONYA HEADLAM has been praised as “an entrancing soloist… with elan, flawless intonation, a velvety middle voice, and on-the-mark coloratura” (South Florida Classical Review). Engagements in 2022 include her Philadelphia Orchestra debut in Handel’s Messiah; Beethoven’s Ninth Symphony and Handel’s Messiah with the North Carolina Symphony; Bach’s B Minor Mass with the Grand Rapids Symphony; a much praised debut with the New World Symphony (Miami) in Mozart’s Exsultate Jubilate; and her Severance Hall debut with Apollo’s Fire, with critics calling her “the highlight of the concert… she sang flawlessly and with seeming abandon” (ClevelandClassical.com).

Sonya’s previous solo performances include Carnegie Hall, Trinity Wall Street, Bang on a Can All-Stars, and venues in South America, Europe, and Asia, as well as a Caribbean tour with members of the Cuban Philharmonic. On the opera stage, her favorite roles have included Fiordiligi in Mozart’s Così fan tutte with Light Opera of New Jersey. Sonya holds a Doctorate in Vocal Performance from Rutgers University, where she has also held a visiting scholar appointment.

CALEB HUDSON

Uniting virtuosity and musical sensitivity, Caleb Hudson has carved out a unique space in the world of classical trumpet. A long-standing member of the esteemed Canadian Brass for over a decade, he has captivated international audiences. Caleb, a native of Lexington, Kentucky, earned both his Bachelor and Master of Music degrees from the Juilliard School. The New York Times has praised his artistry as “brilliantly stylish.”

In March 2024 Hudson releases his debut solo album “Nothing Less,” a testament to the art of ensemble-driven dialogue. Featuring a distinct blend of solo trumpet, violin, cello, flute, and clarinet, the music allows virtuosity and collaboration to intermingle seamlessly. The album introduces fresh compositions by Remy Le Boeuf, Kyle Athayde, and Caleb Hudson himself, while also offering innovative takes on classics by Corelli and Philip Glass.

Caleb is acclaimed for his renditions of Bach’s Brandenburg Concerto No. 2, which he performs on both the modern piccolo trumpet and the historical baroque trumpet. This expertise has enabled solo engagements with renowned ensembles such as the Philadelphia Orchestra, Orpheus Chamber Orchestra, Orchestra of St. Luke’s, Trinity Baroque Orchestra, Handel and Haydn Society, and Philharmonia Baroque.

Caleb co-founded “Triple Cortado,” an innovative trio featuring Canadian Brass trombonist Achilles Liarmakopoulos and virtuosic pianist Ahmed Alom. This reimagined piano trio explores a diverse range of new compositions and arrangements, pushing the boundaries of brass chamber music.

Beyond performance, Caleb is deeply committed to expanding the brass repertoire. A prolific arranger and composer, his works are often performed by Canadian Brass. His original composition, “White Rose Elegy,” debuted at Lincoln Center, performed by the New York Philharmonic Principal Brass.

Caleb’s contributions also extend to educational literature; he was the recording artist for the groundbreaking Suzuki Trumpet School, Volume I. He credits his artistic growth to mentors such as Richard Byrd, Vincent DiMartino, Ken Larson, Raymond Mase, Mark Gould, and John Thiessen.

Currently, Caleb serves as the Associate Professor of Trumpet at the Butler School of Music at the University of Texas at Austin. He has previously taught at the University of North Texas and Colorado State University, where his students have achieved professional success in both academic and performance realms. Deeply grateful for the opportunities and insights his musical journey has provided, Caleb is committed to nurturing the next generation of musicians.

Rooted in a deep faith in Christ, Caleb resides in Texas with his wife, Amanda, and their three children.

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ELORA KARES

ELORA KARES, soprano, has been a Young Artist Fellow with Apollo’s Fire since 2022. She is a freshman at the Cleveland Institute of Music, studying cello and voice. While in high school, she was a full-scholarship student in the Academy at CIM, studying cello, voice, and composition. She has been featured on NPR’s national young artist showcase, From the Top; and has performed as soloist in Apollo’s Fire’s Splendor of London, WASSAIL!, and Lift Ev’ry Voice concerts. As a cellist, she is the winner of the 2024 Suburban Symphony Young Soloists Concerto Competition and will perform as soloist with the symphony in spring 2025. As a soprano, she is featured with Apollo’s Fire this season in WASSAIL! and J.S. Bach’s Coffee Cantata.

MIN-YOUNG KIM

Violinist Min-Young Kim is a founding member of the Daedalus Quartet. She has toured extensively with Musicians from Marlboro, the Orpheus Chamber Orchestra, and has also collaborated in festivals and performances with members of the Juilliard, Guarneri, Cleveland, Takács and Vermeer Quartets. An advocate for music of our time, Ms. Kim enjoys working closely with composers and has premiered and performed many new works. In early music, she has performed and recorded on the baroque violin with Apollo’s Fire, the Cleveland Baroque Orchestra and New York Collegium. A graduate of Harvard University and the Juilliard School, Ms. Kim teaches violin and chamber music at the University of Pennsylvania, and was formerly on the faculty of Columbia University and the School for Strings in New York. Her major teachers include Donald Weilerstein, Robert Mann and Shirley Givens.

SAM KREIDENWEIS

Baritone SAM KREIDENWEIS enjoys a diverse career as a soloist and ensemble musician across America and abroad. He regularly sings and records with Skylark Vocal Ensemble, True Concord Voices and Orchestra, Inversion Ensemble, and the Irish groups Anúna and M’ANAM. He is a founding member of The Leonids, a nine-part low-voice ensemble in Vancouver, BC, focusing on high-level chamber performance and development of students and aspiring singers. Sam has also performed with Conspirare, Cantus Vocal Ensemble, Kinnara Ensemble, Santa Fe Desert Chorale, and can be heard on the GRAMMY© Award-winning recording of Rachmaninoff’s All-Night Vigil with the Phoenix Chorale and Kansas City Chorale.

Career highlights have included performing with Anuna at the Last Night of the BBC Proms, performing for the Japanese Royal Family in a revolutionary musical adaptation of the traditional Noh play, At the Hawk’s Well, and being part of the original cast and recording of Considering Matthew Shephard by Craig Hella Johnson with Austin-based Conspirare.

When not performing, Sam is a diversity, equity, and inclusion practitioner, using his love of mentoring and education to develop equitable and inclusive systems for corporations and nonprofits. A fierce advocate of the arts, Sam has previously served on the Board of Directors for Source Song Festival and the Twin Cities Gay Men’s Chorus. He holds degrees in voice and opera theatre performance from the University of Dayton and Arizona State University.

EMILY MARVOSH

American contralto EMILY MARVOSH has established a reputation as a singing actress with excellent musicianship, a “plum-wine voice” (Boston Globe), and “graceful allure” (Boston Musical Intelligencer), on national and international stages. Recent and upcoming solo appearances include the Handel and Haydn Society, Mobile Symphony Orchestra, Boston Symphony Orchestra, Charlotte Symphony, Huntsville Symphony Orchestra, Tucson Symphony Orchestra, as well as solo recitals in Arizona, Michigan, and Massachusetts. In the 2022-2023 season, she was the inaugural Resident Artist with the Lexington (MA) Symphony. With the Lorelei Ensemble, which promotes innovative new music for women, she received a 2025 GRAMMY® nomination. Lorelei collaborations include composers David Lang, Julia Wolfe, and Christopher Cerrone; the Boston Modern Orchestra Project, A Far Cry, Duke Performances, and major symphony orchestras in Boston, Chicago, Nashville, and San Francisco. She supports the Gabriela Lena Frank Academy of Music and Rosie’s Place as a member of Beyond Artists.

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REGGIE MOBLEY

Reggie Mobley, countertenor and AF’s Visiting Artist for Outreach, is in demand as a soloist on both sides of the Atlantic. His European engagements include the Academy of Ancient Music, the English Baroque Soloists & Monteverdi Choir (John Elliot Gardiner), the Royal Scottish National Orchestra, Freiburg Baroque Orchestra, BachAkademie Stuttgart, and Bachfest Leipzig. In North America, he has performed with the Seattle Symphony, the St. Paul Chamber Orchestra, Philharmonia Baroque, the Handel & Haydn Society (Boston), Calgary Philharmonic, and the Boston Early Music Festival, among others.

With roots in the Deep South and the struggles of the black community, Reggie is dedicated to helping the classical music industry overcome its inequality issues regarding race, gender, and sexuality. A strong devotion to social and political activism is part of Reggie’s everyday life, adding to his strength in reaching diverse communities. His outreach experience includes designing programs of music by 18th-century African composers who worked in Europe. A versatile artist, Reggie worked for two years as a singer/actor for Tokyo Disney in Japan. He has performed cabaret shows of gospel, jazz, and torch songs in jazz clubs. He serves as a programming consultant for the Handel & Haydn Society, where he directs the “Every Voice” program.

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DAPHNA MOR

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.

REBECCA MYERS

Philadelphia-based soprano REBECCA MYERS is a soloist, vocal chamber singer, collaborator, recording artist, and creator in high demand. She has appeared on three GRAMMY®-winning albums, most notably as a soloist on The Crossing’s Born, winner of the 2023 GRAMMY® for Best Choral Performance. In recent seasons Rebecca has appeared as a soloist with The New World Symphony, Tempesta di Mare, Verità Baroque, Portland Baroque, The Bach Choir of Bethlehem, and TENET Vocal Artists. She appears regularly with Seraphic Fire, Lorelei Ensemble, Ensemble Altera, and The Crossing. Rebecca grew up in Cleveland, is a graduate of Orange High School, and is thrilled whenever she can come home to perform with Apollo’s Fire. She is proud to be the Artistic Director, and a founding soprano, for the cutting edge vocal chamber music ensemble, Variant 6.

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DEBRA NAGY

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.

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ANNA O’CONNELL

Anna O’Connell 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.

GUADALUPE PAZ

Tijuana-born Mezzo-soprano Guadalupe Paz was a member of a children’s choir committed to the revival of sacred repertoire at the early age of 6. Since then, music and singing have marked her life. In 2009 she graduated from the Conservatorio Arrigo Pedrollo in Vicenza, Italy. She is a frequent guest artist at the National Opera Company of Bellas Artes in Mexico City.

On the concert stage, Ms. Paz has performed gala concerts alongside tenor Javier Camarena at Auditorio Nacional in Mexico City, with the Philharmonic Orchestra of Oviedo at the Auditorio Príncipe Felipe de Asturias, and with the Bellas Artes Orchestra at Bellas Artes Theater in Mexico City.

The mezzo’s concert repertoire includes Pergolesi’s Stabat Mater, Bach’s Magnificat and Johannes Passion, Handel’s Messiah, and Mozart’s Requiem and Vesperae Solennes de Confessore, Beethoven’s 9th Symphony and Choral Fantasy, Rossini’s Stabat Mater and Petite Messe Solennelle. F Minor Mass by Bruckner, and The Glagolitic Mass by Leoš Janaček. Ms. Paz’ repertoire also includes performances of Gustav Mahler’s 2nd and 3rd Symphonies performed at Palacio de Bellas Artes with the National Symphony Orchestra, Cary Ratliff’s Ode to Common Things with La Jolla Symphony and Chorus, Mario Lavista’s Tres Canciones para Orquesta y Mezzosoprano, Manuel De Falla’s Siete Canciones Populares, Romeo and Juliette by Hector Berlioz, and Kurt Weill’s Seven Deadly Sins at Harris Hall during the Aspen Music Festival in 2013.

Guadalupe Paz has collaborated with Roberto Kalb, Alberto Zedda, Jan LathamKoenig, Eduardo Diaz-Muñoz, Yves Abel, Ivan López-Reynoso, Carlos Miguel Prieto, Srba Dnic, Marcelo Ayub and Nikza Bareza, among others. During her career Ms. Paz has been a recipient of diverse accolades including 1st place in the 2015 inaugural competition of the Rossini Award organized by the Palm Springs Opera Guild of the Desert, and 3rd place in the open vocal category of the same competition in 2016. She won 1st place at the Musical Merit Foundation of Greater San Diego in 2013 and 2014, was a finalist in the “Toti dal Monte” competition, and won 2nd place at the Mexican Singing Competition “Carlo Morelli”.

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JACOB PERRY

JACOB PERRY, tenor, is lauded for his stylish interpretations of early music. As a soloist, he lends his graceful sense of phrasing and luminous tone to engagements with the American Classical Orchestra, Apollo’s Fire, Bach Collegium San Diego, Philharmonia Baroque, Portland Baroque, Tafelmusik, Tempesta di Mare, and Washington Bach Consort. In 2024, he was nominated for a GRAMMY® Award as a soloist on Apollo’s Fire’s recording of Handel’s Israel in Egypt. Deeply immersed in vocal chamber music, Jacob performs with ensembles including Les Canards Chantants, Blue Heron, and TENET. Career highlights include his recent solo debut with the New York Philharmonic singing Handel’s Israel in Egypt, headlining the inaugural festival of Western Early Music at the Beijing Central Conservatory of Music with Les Canards Chantants, and English Orpheus—a tour-de-force exploration of love songs and poems from the Elizabethan, Restoration, and early 18th-century periods he performed with Tempesta di Mare.

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JONATHAN PIERCE RHODES

With his mellifluous “honey-voice,” Tenor Jonathan Pierce Rhodes has emerged as an exciting young presence in the world of opera, drawing attention and admiration from audiences and critics alike.

This season, Mr. Rhodes continues his residency in Washington National Opera’s Cafritz Young Artist Program where he is set to grace the stage as Pong in Puccini’s Turandot, a brand-new production directed by Francesca Zambello. Mr. Rhodes’ previous roles at Washington National Opera include Police Buddy 2 in Jeanine Tesori and Tazewell Thompson’s Blue, and Frank in The Passion of Mary Cardwell Dawson, a character he first brought to life at The Glimmerglass Festival in 2019.

With a particularly strong presence in the field of contemporary opera, this season will also see Mr. Rhodes make his house and role debut with New Orleans Opera as The Son in their new production of Blue. Additionally, he is set to portray Timothy Laughlin in the West Coast premiere of Gregory Spears and Greg Pierce’s Fellow Travelers with Opera Parallèle this spring.

Mr. Rhodes has been honored to spend the past three summers as a young artist at The Glimmerglass Festival. In the last season, he covered the title role in Leonard Bernstein’s Candide and portrayed Cacambo, receiving praise as a “big-voiced standout” by the Wall Street Journal. Previous years have seen him as the Armored Man in The Magic Flute and Cherubiel in the world premiere of Holy Ground at the festival.

Mr. Rhodes has been recognized as an encouragement award winner in the Houston District of the Metropolitan Opera Laffont Competition. In 2019, he received the 1st place Neva Pilgrim Award in the Civic Morning Musicals Competition and had the distinction of being named a recipient of Eastman’s William Warfield Scholarship Award. Rhodes holds both a Bachelor of Arts in Political Science and a Bachelor of Music in Vocal Performance from The Eastman School of Music/University of Rochester. He is a recent graduate of Rice University where he received his Masters in Opera Performance.

ERICA SCHULLER

ERICA SCHULLER, soprano, brings vocal artistry, theatricality, and panache to baroque opera and concert performances across North America. She is a frequent soloist with Haymarket Opera in Chicago, the Boston Early Music Festival, Ars Lyrica in Houston, and New Trinity Baroque Orchestra, as well as Apollo’s Fire. Much admired for her comic acting, she won high kudos for two productions of Telemann’s Pimpinone with Haymarket Opera, where she played the lead female character, Vespetta. Her performance was described as “show stealing” by CHICAGO CLASSICAL REVIEW.

Erica was featured in Apollo’s Fire’s national touring production of Monteverdi’s Orfeo in 2018, singing the roles of La Musica and Euridice. She recently made her debut with Chicago’s Third Coast Baroque Ensemble in Handel’s Lucrezia. Upcoming engagements include the role of Poppea with Haymarket Opera in Monteverdi’s L’incoronazione di Poppea.

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