Bass-baritone Peter Becker has performed throughout the USA, Europe, Asia, and South America in repertoire ranging from medieval to contemporary. Theater credits include performances with Canadian Opera Company, Macerata Festival, Teatro Opera di Roma, the New York Shakespeare Festival, Glimmerglass Opera, the 21st Century Consort, and the Broadway show Band in Berlin.
Guest appearances include Tafelmusik, Smithsonian Chamber Players, the Newberry Consort, Folger Consort, Portland Baroque, and Artek. He has performed at a number of festivals including Spoleto (Italy and USA), Caramoor, Ravinia, Aldeburgh, Hong Kong, Ravenna, Jerusalem, and Saratoga. As a member of the male vocal quintet Hudson Shad, he has performed with such distinguished conductors as Kurt Masur, Zubin Mehta, Michael Tilson Thomas, Charles Dutoit, Dennis Russell Davies, and Ingo Metzmacher. Contemporary music credits include Tan Dun's Marco Polo, Peter Maxwell Davies' Eight Songs for a Mad King, Heinz Karl Gruber's Frankenstein, Oliver Knussen's Where the Wild Things Are, and Kurt Weill's Seven Deadly Sins.
Sylvia Berry has performed as a soloist and chamber musician in the US, the UK, Canada, The Netherlands, and Italy. She was hailed by Early Music America for "revealing a poetic sensibility while… [handling] up-tempo movements with verve."
In 2013 she will release a disc of Haydn piano sonatas played on a recently restored 1806 concert grand by the famed English builder John Broadwood. As a performer/scholar she specializes in music of the late 18th and early 19th centuries, and has written articles and presented lectures on the period.
Brooke Bryant received her PhD in Musicology from the CUNY Graduate Center and holds a BA from Wellesley College. A specialist in Baroque gesture, she has staged several productions, including a performance of Bach's Cantata 202 as part of a conference held at Columbia University's Italian Academy and the Metropolitan Museum of Art.
Brooke studies with the esteemed soprano Sally Sanford, with whom she also collaborates as a duet partner. She is the founding director of the ensemble Charites, and has performed with such ensembles as Company XIV, Sendebar and the Clarion Music Society. Brooke currently serves as Major Gifts Officer for The Cooper Union for the Advancement of Science and Art. She also teaches at Daniel's Music Foundation, a nonprofit offering free music classes to people with disabilities in NYC.
Soprano Maeve Höglund was last seen performing at LPR with Gotham Chamber Opera at their yearly Orientale in September. Other performances this season include Daphne in Apollo e Daphne with Pocket Opera, Rose in The Clever Mistress, Lucrezia in My Last Duchess and her debut with Gotham Chamber Opera in Mozart's Il sogno di Scipione.
During the 2010-2011 season, Maeve was a soloist for Mozart's Requiem with American Classical Orchestra and Wynton Marsalis' Mass with the Jazz at Lincoln center Orchestra. In addition, she sang on the professional recording of Stefan Weisman's Darkling, released by Albany records as well as the songs of Victor Herbert released on New World Records. Maeve's upcoming engagements include the role of Atilia in Cavalli's Eliogabalo with Gotham Chamber Opera and will appear as a soloist for the première of Paul Moravec's The Blizzard Voices at Carnegie Hall.
Stage Director Beth Greenberg is renowned for her work at the New York City Opera. For the Lincoln Center company she's directed original mainstage productions of Tales of Hoffmann and Turandot, as well as revivals including Der Rosenkavalier, Tosca, La Traviata, Intermezzo and La Boheme. Across the river, aboard an oil tanker moored in Red Hook, Brooklyn, she recently directed the site-specific Il Tabarro.
Beth Greenberg has earned a solid reputation for her collaborations with contemporary composers. Upcoming new productions include the professional World Premiere of Lori Laitman's The Scarlet Letter for Denver's Opera Colorado, starring Elizabeth Futral.
She earned a Fulbright to Germany where she apprenticed with Gotz Friedrich at Berlin's Deutsche Oper. As an educator, she's been a Mentor Director for the SDC (Stage Directors and Choreographers) Foundation, and has taught Master Classes at Mannes and Malibu's SongFest. She is a graduate of the University of Michigan School of Music and Brooklyn College.
Grant Herreid performs frequently on early reeds, brass, strings and voice with Piffaro, Hesperus, ARTEK, and My Lord Chamberlain's Consort, and appears frequently with the Newberry Consort, the Folger Consort, King's Noyse, Apollo's Fire, Brandywine Baroque, Sinfonia New York, and the New York Consort of Viols.
He is on the faculty at Yale University, where he directs the Collegium Musicum and, as Artistic Director of the Yale Baroque Opera Project, he was music director for their recent productions of Cavalli's Giasone, Sacrati's La Finta Pazza, and Cavalli's Scipione Affricano. Grant also teaches at Mannes College of Music, and directs the New York Continuo Collective, an ensemble of singers and early plucked-string instruments devoted to the interpretation of 17th-century continuo song. He is a stage director for the Accademia d'Amore baroque opera workshop in Seattle, and has played theorbo, lute and baroque guitar with the Chicago Opera Theater, Aspen Music Festival, Portland Opera, and New York City Opera, as well as the opera programs at Juilliard, Curtis, and Mannes. Grant has created and directed several theatrical early music shows, and he devotes much of his time to exploring the esoteric unwritten traditions of medieval, Renaissance, and baroque music with the early music ensemble Ex Umbris and the plucked-string group Ensemble Viscera.
Motomi Igarashi has played the double bass since she was 12. She received first prize at the Aspen Music Festival Double Bass competition, has given double bass solo recitals and appears as a concert soloist with orchestras in the USA, England and Japan.
After graduating from the Juilliard school, she went to France to study viola da gamba. She traveled throughout Europe and spent several years in intensive study of baroque style Music with Marianne Muller and Paolo Pandolfo. Motomi currently studies lirone with Erin Headley.
Since Motomi came back from Europe, she has been playing the viola da gamba, violone, the baroque double bass and lirone with various groups such as The American Classical Orchestra, the Concert Royal, Artek, BEMF, Foundling Orchestra, Handel and Haydn Society, and Bach Collegium Japan, both on the East coast and in Japan. Recently, Motomi appeared as a soloist for NY Philharmonic for Brandenburg Concert No.6. Also she is a founding member of Anima, a Baroque ensemble.
A native of Boston, Massachusetts, Abigail Karr received her Bachelor and Master of Music degrees at Rice University's Shepherd School of Music, studying violin with the late Sergiu Luca. She has appeared with many ensembles on modern and historical violin, including the Handel & Haydn Society of Boston, the Trinity Baroque Orchestra of Manhattan, and the Arcadia Players of Northampton, Massachusetts.
An active chamber musician, noted for the "focused direction" she brings to performances, she is a founding member of the Arcturus Chamber Ensemble, Boston Hausmusik, and the Rosetta String Trio, which, in addition to its commitment to historical performance, has commissioned and premiered three new works. She is currently studying Baroque violin at The Juilliard School.
Mezzo-soprano Amanda Keil sings repertoire that spans over 800 years, from medieval chant to contemporary opera, Baroque monody to operatic mainstays. She has performed with companies such as Dicapo Opera, Boston Camerata, Guerilla Opera, Oregon Bach Festival, and on tour with Musica Nuova in the Northeast and abroad.
Ms. Keil created the roles of Hillary Clinton and Gwen Ifill in the world premiere performances and recording of Say it Ain't so Joe, by Curtis K. Hughes, an opera based on the 2008 vice-presidential debates. As an arts journalist she writes a column on entrepreneurialism for Classical Singer magazine, reviews for Bachtrack.com, and writes regularly for OPERA America, and her blog, thousandfoldechocom.
As founder and artistic director of Musica Nuova, Ms. Keil curates unconventional programs of early music and produces performances in unexpected venues. Musica Nuova has been Ensemble in Residence at Amherst Early Music and was featured on the Society for Historically Informed Performance Summer Concert Series. Ms. Keil holds a masters degree in voice and historical performance from Boston University and a bachelors degree in French horn from The Hartt School.
Hailed by Opera News for her "best all-around performance" in Handel's Ariodante (Princeton Festival), soprano Marcy Richardson recently made her Carnegie Hall debut singing Kurt Weill and Mozart selections in the Best Buddies Benefit Concert, sang Handel's Messiah in Galway, Ireland, premiered the role of Ani King George in the burlesque new music opera "The Enchanted Organ" at Dixon Place in New York, and sang the role of Fiordiligi in the premiere of Jonathan Dawe's "Cosi Faran Tutti" at the Italian Center at Columbia University.
She has performed with the New Composers Alliance Summer Festival, New York Festival of Song (NEXT-New Songs Series), Opera On Tap, Toledo Opera, Baltimore Opera, Central City Opera, Opera Vivente, St. Petersburg Opera, Vertical Player Repertory, OperaMission, Orlando Opera, Lyrique-en-Mer in Belle-Île, France, the Lucerne Festival, The Mimesis Ensemble, MidAmerica Productions at Avery Fisher and Alice Tully Hall, and has won awards from the Kurt Weill Foundation, Gerda Lissner Foundation, and the Metropolitan Opera National Council. She is originally from Grosse Pointe, MI and a graduate of the Indiana University Jacobs School of Music. Please visit www.marcyrichardson.com
Kelly Savage performs frequently as a soloist, continuo player and chamber musician, recently working with Vertical Player Repertory, Ensemble 212, Foundling, Big Apple Baroque, and Ensemble ACJW at Carnegie Hall. She also plays regularly with her own chamber group, Biber Baroque, and is co-founder and music director of the newly formed orchestra Vilas Baroque.
The New York Times recently praised Ms. Savage's "deft accompaniment" in the pasticcio opera Amore & Psyche. She holds a doctorate from Stony Brook University, where she studied with Arthur Haas, and also holds graduate degrees from the Oberlin Conservatory and the University of Wisconsin-Madison. She is the organist and choir director at St. Stephen and St. Martin's church in Brooklyn, New York.
Nicholas Tamagna, countertenor, was the first prize winner of the 2011 inaugural Nico Castel International Mastersinger Competition, first prize winner of the New York Lyric Opera Theatre Competition, third place winner of the Arkadi Foundation Competition at Merkin Hall, and finalist in the Marguerite McCammon Voice Competition 2012 with Fort Worth Opera.
Of his portrayal of Farnace in Mozart's Mitridate with Little Opera Theatre of New York, The New York Times wrote, "He grew in force and stability...and he understood the most important thing about this repertory: that ornamentation serves a dramatic purpose." Other roles include: Tolomeo (Giulio Cesare in Egitto), Prince Orlofsky (Die Fledermaus), Ruggiero (Alcina), The Witch (Hansel and Gretel), and Pane/Endiomione (La Calisto). Nicholas has performed as a guest soloist with various ensembles and orchestras including: DCINY at Avery Fischer Hall, Amor Artis, Fairfield Chorale Society, and Princeton Pro Musica. For future engagements and inquiries visit www.nicholastamagna.com.
Vita Wallace is known as a powerful, sensitive, and versatile musician. She is a member of the early-music ensembles Anima, ARTEK, the Dryden Ensemble, and Foundling, and has been a guest artist with Parthenia, Festival Scarlatti in Sicily, and numerous other baroque ensembles and festivals.
Vita and her brother, Ishmael, have performed, recorded, and taught extensively as the Orfeo Duo. They recently recorded all of the Beethoven sonatas for violin and piano on period instruments for the Frederick Collection of Historical Pianos. Vita graduated from the Mannes College of Music with the Felix Salzer Award.
Elizabeth Weinfield is the founder of the New York-based viola da gamba ensemble, Sonnambula, and a member of the viol consort Long & Away. She has appeared as a baroque violist and viol player with such ensembles as Anonymous 4, Lionhart, The New York Consort of Viols, Siren Baroque, Tafelmusik Baroque Summer Festival, Parthenia and others.
Currently she is a PhD candidate in historical musicology at the Graduate Center of the City University of New York where she is writing on 17th-century French pastoral music and iconography, and she holds a Master's degree in music from Oxford University. A former researcher at the Yale University Collection of Musical Instruments, she is now the content editor of the Metropolitan Museum of Art's Helibrunn Timeline of Art History, a publication to which she contributes as a writer on music, and Adjunct Professor of Music at Yeshiva University. Her recent credits on modern viola include a recording of Gregory Spears's Requiem (New Amsterdam Records, forthcoming 2011).