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.



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.


Vocalist Aryssa Leigh Burrs is hailed for her “rich sound and thoughtful musical ideas” while “transcending vocal styles and genres with flexibility and ease.” Ms. Burrs spent the Summer ’21 season as an Apprentice Artist with Central City Opera. While with CCO, she performed a solo Al Fresco Concert, covered the role of Sorceress in Dido and Aeneas, and was a feature ensemble member in a paired down production of Carousel. Aryssa will return as a Resident Artist with Opera Columbus-Capital University, where she was be seen singing the role of Zerlina in their spring 2021 production of Mozart’s Don Giovanni. Other recent engagements include Elvis Costello’s The Juliet Letters with UrbanArias and Mame Dennis in Mame at The Seagle Festival. Ms. Burrs is a recent graduate of Northwestern University, where she obtained a Masters of Music in Voice and Opera Performance. At Northwestern, she performed in numerous opera productions (Orlofsky, Die Fledermaus; Captain, Dog Days; Baba the Turk, The Rake’s Progress), while also appearing as soloist with various choral and orchestral ensembles (Am I born, David T. Little; Terra Nostra, Stacy Garrop; The Branch Will Not Break, Christopher Cerrone). As she is committed to using music for cultural and social justice causes, one of Ms. Burrs’ most cherished performances include her orchestral debut with the Charlotte Symphony as a featured soloist with the acclaimed drag queen production of Thorgy and the Thorchestra. Ms. Burrs also had the honor to perform a set of musical theater and operatic hits for the incomparable Justice Ruth Bader Ginsburg at a “thank you” dinner.

During the pandemic, Aryssa Leigh got to continue to hone her passion for progressive concert work and a lifelong interest in exploring musical styles through story and song. In January ’21, Aryssa created, produced, and performed in the virtual debut performance of her concert entitled Identify, which raised funds for the non-profit organization “Phenomenal Womxn” to launch their summer camp to teach empowerment through the arts to young girls. This concert looks at Aryssa’s personal pillars of identity and the music and visual arts that help her to feel challenged, curious, and ultimately empowered in those bits of herself; all with the intent, of inviting audience and collaborators alike to join her in the use of art in their own explorations. Identify, to be performed again for many seasons to come, encompasses styles ranging from english baroque, french mélodie, german romanic opera, to contemporary feminist pop.

Ms. Burrs holds both a Bachelor of Music Degree in Voice Performance and a Bachelor of Music Education Degree in Choral/General Music from the University of Maryland in College Park. Ms. Burrs has taught K-12 General and Choral Music in Montgomery County, MD, Public Schools, while maintaining a private voice and piano studio. Continuing to use her commitment and passion for educational programming, Ms. Burrs is currently teaching music and music theatre courses, leading dramatic coachings, and teaching solo voice at Capital University in the virtual format. DC Metro Theater Arts states, “From the moment she burst onstage, Aryssa [Leigh] Burrs charmed and dazzled the audience with her rich, full voice…she has the knack for singing pop and jazz music exceptionally well without compromising her vocal technique.”



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).


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.



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.


Applauded by the New York Times for his “elegant, mellifluous and expressive baritone,” Charles Wesley Evans is establishing a fine career as an early music artist, and recitalist. This Georgia-born singer began singing professionally as a chorister at The American Boychoir School in Princeton, New Jersey. With The American Boychoir he toured both nationally and internationally, performing under the batons of notable conductors, John Williams, Zubin Mehta, James Levine, Kurt Masur, Vladimir Spivakov and Lorin Maazel. His singing has won him awards from numerous organizations and vocal competitions including the National Association of Teachers of Singing, the Mobile Opera Auditions, the Orpheus Vocal Competition, the Atlanta Music Club Auditions, and the Georgia Young Artist Competition.

Charles’ singing has led to a variety of opportunities throughout the United States and abroad. Most recently he has performed various works with Princeton Pro Musica chorus and orchestra, the Delaware Valley Philharmonic Orchestra and chorus, the Dryden Ensemble, TENET, Berkshire Baroque, the Master Chorale of South Florida and “Baroque Masterpieces” with the San Antonio Symphony Orchestra. He is also proud to be on the roster of the Grammy award-winning ensemble Conspirare and Grammy-nominated ensembles Seraphic Fire and the Trinity Choir of Trinity Church Wall Street. Charles has been broadcast on New York, South Florida, Texas and Kansas public radio, and he has recorded on the Naxos and Harmonia Mundi labels.
Charles holds a Bachelor of Arts in Music from Brewton-Parker College in Mt. Vernon, GA with further study at the Boston Conservatory of Music and Westminster Choir College of Rider University. He is currently Visiting Assistant Professor of Music at the University of South Florida in Tampa, Florida.


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.



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.


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” (  

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.


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.



Elora Kares, (b. 2005) is a multi-faceted musician known especially for her cello and soprano voice. With a unique gift of over 8 types of synesthesia, she perceives music in vibrant colors. She showcased her synesthetically enhanced cello interpretation on NPR’s national young artist showcase, From the Top. Recognized as an Apollo’s Fire Young Artist Apprentice Soprano, beginning with them soloing in their Lift Ev’ry Voice programs, she has participated in Apollo’s Fire programs broadcasted on, and most recently toured with them to concert venues in Chicago, Detroit, and across Cleveland.



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.


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.


American contralto Emily Marvosh has established a reputation as a singing actress with excellent musicianship, a “plum-wine voice,” and “graceful allure,” on national and international stages. Recent solo appearances include the Handel and Haydn Society, Boston Symphony Orchestra, Rhode Island Philharmonic, Charlotte Symphony, Huntsville Symphony Orchestra, Tucson Symphony Orchestra, and John Davenant’s Macbeth with the Henry Purcell Society of Boston, as well as solo recitals in Tucson and the Boston area. Awards include the prestigious Adams Fellowship at the Carmel Bach Festival, the American Prize in the Oratorio and Art Song divisions, and second place in the New England Regional NATSAA competition. In the 2022-2023 season, she was the inaugural Resident Artist with the Lexington (MA) Symphony.

Her contributions to 21st century repertoire and performance include world premiere performances with The Thirteen, Juventas New Music, Shoreline Music Society, the Manchester Summer Chamber Music Festival, and the Hugo Kauder Society. She is a member of the Lorelei Ensemble, which promotes innovative new music for women. With Lorelei, she has enjoyed collaborations with composers David Lang and Julia Wolfe, the Boston Modern Orchestra Project, A Far Cry, Duke Performances, and major symphony orchestras in Boston, Chicago, Nashville, and San Francisco.

A frequent recitalist and proud native of Michigan, Emily Marvosh created a chamber recital celebrating the history and culture of her home state, which won a St. Botolph Club Foundation Emerging Artist Award. Additional solo performances in Michigan are planned for the 2023-2024 season.

She belongs to Beyond Artists, a coalition of artists that donates a percentage of their concert fees to organizations they care about. She supports Rosie’s Place and the Gabriela Lena Frank Creative Academy of Music through her performances. She holds degrees from Central Michigan University and Boston University.



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.



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.


Soprano Rebecca Myers is a celebrated performing and recording artist who specializes in a comprehensive variety of repertoire including early, contemporary, and chamber music.

Recent seasons have seen solo engagements with Seraphic Fire, Tempesta di Mare, Lyric Fest, Opera Philadelphia, Apollo’s Fire, the CalPoly Bach Festival, and Philadelphia’s Bach @ 7 series. Also a highly sought after recital artist, Rebecca has been featured in art song recitals with pianists Laura Ward and Benjamin C.S. Boyle presented by the European American Musical Alliance (EAMA), The Woodmere Art Museum, and Opus Opera.

Acclaimed for her work in the field of new music, Rebecca is a core member of The Crossing, the two time GRAMMY winning ensemble dedicated entirely to new music. She has premiered works by the top living composers around the world and she was a soloist on the 2016 GRAMMY nominated Bonhoeffer, released by The Crossing. She is also a founding member of the cutting edge vocal sextet Variant 6.



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.



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.


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”.



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.



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, 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.




Noted for her “moving expressiveness” (San Francisco Classical Voice), mezzo-soprano Gabriela Estephanie Solís enjoys a varied performing career as a concert soloist and ensemble artist.

Her diverse solo repertoire includes Bach’s B Minor Mass (American Bach Soloists Festival and Academy), Handel’s Messiah (Seraphic Fire), Copland’s In the Beginning (University of Notre Dame), Brahms’s Alto Rhapsody, Buxtehude’s Membra Jesu Nostri (Sacred Music at Notre Dame), and Golijov’s La Pasión según San Marcos (Border CrosSing and Minnesota Orchestra). She is also a frequent soloist with the California Bach Society and Chora Nova in the San Francisco Bay Area for works such as Rachmaninoff’s All-night Vigil, Vivaldi’s Gloria, Zelenka’s Missa Divi Xaverii, and various masses and cantatas by J.S Bach. Gabriela is equally comfortable on stage, and has performed the roles of Medoro in Handel’s Orlando (Boston Early Music Festival Young Artist Training Program), Bradamante in Handel’s Alcina, and Endimione in Cavalli’s La Calisto at San Francisco State University, under the direction of Christine Brandes.

An experienced ensemble artist, she has collaborated with groups such as Lorelei Ensemble, Seraphic Fire, the American Bach Soloists Choir, Cappella SF, Eya Ensemble, JSB Ensemble Stuttgart, the Weimar Bach Cantata Academy, Border CrosSing, and the choirs of the Washington National Cathedral and National Shrine of the Immaculate Conception.

Gabriela was winner of the 2018 Bethlehem Bach Aria Competition and won second place in the 2021 NATS Mid-Atlantic regionals. She also competed as a finalist in the Audrey Rooney Kentucky Bach 2021 competition and the 2022 Handel Aria Competition in Madison, WI.


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