Jonathon Adams

Born in amiskwaciwâskahikan (Edmonton, Canada), Jonathon Adams is an Indigenous baritone of Cree-Métis descent. In concert, he has appeared as a soloist with Philippe Herreweghe, Sigiswald Kuijken, Hans-Christoph Rademann, Helmut Rilling, Václav Luks, BachPlus, Vox Luminis, il Gardellino, and B’Rock Orchestra. Jonathon attended the Royal Academy of Music and the Conservatorium van Amsterdam.In 2020 and 2021 Jonathon holds the Netherlands Bach Society’s “Young Bach Fellowship” and is a core member of Amsterdam Baroque Orchestra & Choir. Recent career highlights include a solo debut at the Bruges Concertgebouw in Purcell’s Ode to St. Cecilia, Bach cantatas at Snape Maltings Concert Hall, a residency at the Fondazione Cini in Venice, and concerts with Amsterdam Baroque in China, Japan, and at the Château de Versailles.

Julie Andrijeski

Julie Andrijeski is celebrated as a performer, scholar, and teacher of early music and dance. She has been recognized for her “invigorating verve and imagination” (Washington Post), “fiery and poetic depth” (Cleveland Plain Dealer), and “velvety, consistently attractive sound” (New York Times). In addition to her frequent performances with Les Délices, she is Co-director of the ensemble Quicksilver, Artistic Director and Concertmaster of the Atlanta Baroque Orchestra, and Principal Player with Apollo’s Fire, the Cleveland Baroque Orchestra. Ms. Andrijeski joined the Music faculty at Case Western Reserve University in 2007, where she is now Senior Instructor, teaching early music performance practices and directing the baroque orchestra, chamber music, and dance ensembles. She won Early Music America’s Thomas Binkley Award, for outstanding achievement in performance and scholarship, and was named a 2016 Creative Workforce Fellow by Cuyahoga Arts & Culture (Ohio), supporting her research and performance of 17th-century music in manuscript.


Francesca Brittan

Francesca Brittan is a scholar of nineteenth- and twentieth-century music and sound cultures. She holds a Ph.D. from Cornell University (2007), and was a Research Fellow at Queens’ College, Cambridge between 2006-08. She joined the faculty at Case in 2009. Her current research and teaching interests include intersections between sound and histories of medicine; conceptions of auditory attention/cognition from the Enlightenment to the present; sonic histories of magic and supernaturalism; orchestral and conducting cultures; and French musical aesthetics from romanticism to post-structuralism. She occasionally teaches courses on popular music, especially blues and early rock and roll.

Thomas Carroll

With a sound described as “beautifully warm” (Herald Times) and “sweet and agile” (New York Times), period clarinetist and instrument builder Thomas Carroll performs extensively throughout North America and Europe on historical instruments. He holds degrees from Oberlin Conservatory, Indiana University, and The Royal Conservatoire of The Hague, where his major teacher on early clarinets and chalumeaux was Eric Hoeprich. Internationally, Thomas has performed as an orchestral and chamber musician in venues ranging from the Kozerthaus in Berlin to the Concertgebouw in Amsterdam and has recorded as principal clarinet of L’Arte del Mondo. He has been featured as a soloist with Mercury: The Orchestra Redefined, Lyra Baroque, Ensemble ad Libitum, Boston Baroque, and Grand Harmonie to critical acclaim. In North America, Thomas is the principal clarinetist with Boston-based Grand Harmonie, Houston-based Mercury, and the romantic opera orchestra of Teatro Nuovo, frequently collaborating with other early music specialists throughout North America including the Clarion Music and Handel and Haydn Societies, Sonoma Bach, Musica Angelica, and Boston Baroque. He has given faculty chamber recitals and guest lectures and masterclasses on both coasts and at the Hawaii Performing Arts Festival and is a frequent lecturer and soloist at the International Clarinet Association conferences. An interest in instrument mechanics and acoustics has led Thomas to a secondary career as an instrument builder and extensive research into 18th and 19th century wood treatment and seasoning. His instruments and mouthpieces are played throughout North America, Europe, and Australia.

Jean-Bernard Cerin

The Haitian baritone, Jean Bernard Cerin, completed his DMA in Voice at the University of Michigan in Ann Arbor, a Master of Music degree at the New England Conservatory in Boston and a B.A. in Economics at St. Joseph’s University in Philadelphia, Pennsylvania.

Praised for his “burnished tones and focused phrasing,” Jean Bernard Cerin has charmed audiences throughout the USA, France, Austria, and his native Haiti. An avid recitalist, concert artist and opera singer, his engagements have taken him to venues such as the Kimmel Center and the Academy of Music in Philadelphia, The Kennedy Center and Library of Congress in Washington D.C., Beethovenhaus in Baden bei Wien, Boston’s Jordan Hall and Carnegie Hall in NYC among many others.

Maria Christina Cleary

The extraordinary Harpist Maria Christina Cleary from Ireland, has been described as “a true virtuoso”, a “brilliant player” and “a pioneer of period harp practice”. She is noted for her improvisatory skills and ingenious basso continuo playing, combined with a particular care to create a beautiful sound on a perilous instrument. A native of Ireland, Maria grew up surrounded with Irish music as well as receiving a Classical musical training in piano, recorder, harp and singing. She was part of an inter-disciplinary group based on the Renaissance epoch (Capriol Consort Dublin, directed by Doris Keogh at the Royal Irish Academy of Music). She studied harp at the College of Music Dublin with Mercedes Garvey, and later began a Degree in Psychology at Trinity College Dublin. She studied harp at the Koninklijk Conservatoriums in The Hague and Brussels(Susanna Mildonian). During her studies, her mind was opened to many types of music: contemporary, electronic, jazz and Informed Practices, experimental music with non-tonal and micro-tonal tuning systems.

Mélisande Corriveau

Critically acclaimed for her exceptional musical mastery, Mélisande Corriveau is a specialist in the interpretation of early music as a gambist, cellist and recorder virtuoso. A core member of Ensemble Masques and Les Voix Humaines consort of viols, she is constantly in demand for performances, tours, and recordings principally in North America and Europe as a solo artist and with numerous renowned ensembles. Her discography numbers over 50 titles on the Alpha, Paradizo, Zig-Zag Territoire, Analekta and Atma Classique labels. Her recent duo releases with harpsichordist Eric Milnes, Pardessus de viole and Marin Marais : Badinages, were the recipient of many awards including the Opus Prize, CBC’s Top 10 best classical discs of the year, Radio-Canada’s Classical CD of the Year, and made the Apple Music prestigious TOP Ten Classical Recordings list. With Eric Milnes, she co-founded and co-directs Ensemble L’Harmonie des saisons, which was awarded the Juno Prize for their debut recording Las Ciudades de oro in 2016. Mélisande Corriveau received a Doctoral Degree from the Université de Montréal.

Tekla Cunningham

Praised as “a consummate musician whose flowing solos and musical gestures are a joy to watch,” and whose performances have been described as “ravishingly beautiful” and “stellar” and lauded for ” long, amber-tinted lines and pertly articulated phrases,” baroque violinist (and occasional violist and viola d’amorist) Tekla Cunningham enjoys a multi-faceted career as a chamber musician, concertmaster, soloist and educator devoted to music of the baroque, classical and romantic eras. She is concertmaster and orchestra director of Pacific MusicWorks, and Artist-in-Residence at the University of Washington. She founded and directs the Whidbey Island Music Festival, now in its fifteenth season, which produces vibrant period-instrument performances of music from the 17th-19th centuries and she plays regularly as concertmaster and principal player with the American Bach Soloists in California.

Karin A. Cuéllar Rendón

Karin A. Cuéllar Rendón is a Bolivian historical violinist and scholar currently residing in Montreal, Canada. Cuellar performs regularly with Montreal-based period ensembles such as Arion, Les Boreades, and L’Harmonie des saison. Past collaborations have included Orchestra of the Age of the Enlightenment, Florilegium, Oxford Bach Soloists, Ex Cathedra, American Bach Soloists, Apollo’s Fire, ARTEK, and the National Symphony Orchestra of Bolivia. Cuellar earned a Master of Arts degree in Historical Performance from Case Western Reserve University under the guidance of Julie Andrijeski and Ross Duffin, and obtained an Advanced Diploma on baroque violin from the Royal Academy of Music in London, where she studied with Maggie Faultless, Rachel Podger, and Matthew Truscott as a beneficiary of the San Marino and Vincent Meyer scholarships. Cuellar is currently pursuing a PhD. in musicology at McGill University with a research focus on performance practices in South America in the first half of the 19th century, using as a case study the music of composer Pedro Ximenez Abrill Tirado.

Hannah De Priest

With her “sparkling technique” and “shining tone,” emerging soprano Hannah De Priest is rapidly winning recognition for her “accomplished voice and stage-ready persona” (Olyrix). Recent accolades include being named the sole American finalist of Le Concours Corneille in Rouen, France, attending the Carmel Bach Festival as a Virginia Best Adams vocal fellow, and covering the soprano lead in André Campra’s Le carnaval de Venise as as a Boston Early Music Festival Young Artist. On the recital stage, (and more recently, in her own kitchen), she collaborates frequently with pianist Michael Pecak. A shared love of poetry and language fuels the duo’s interest in song repertoire from all time periods. When not singing, Hannah enjoys taking long walks, reading detective novels, and cooking vegetarian food.

Mark Edwards

First prize winner in the 2012 Musica Antiqua Bruges International Harpsichord Competition, Canadian harpsichordist and organist Mark Edwards is recognized for his captivating performances, bringing the listener “to new and unpredictable regions, using all of the resources of his instrument, […] of his virtuosity, and of his imagination” (La Libre Belgique). An active chamber musician, he is the artistic director of Poiesis, collaborates regularly with Les Boréades de Montréal, and has performed with Il Pomo d’Oro, Pallade Musica, and Flûtes Alors!. He has also given solo recitals at the Utrecht Early Music Festival and Brussels’ Bozar and performed concertos with a number of award-winning ensembles, including Il Gardellino (Belgium), Neobarock (Germany), and Ensemble Caprice (Canada). He is currently a PhD student at Leiden University and the Orpheus Instituut, Ghent, where his research examines the intersection of memory, improvisation, and the musical work in seventeenth-century France. Since 2016, he is Assistant Professor of Harpsichord at Oberlin Conservatory.

Laury Gutierrez

Praised as “a first-rate instrumentalist” (Boston Globe), Venezuelan viola da gambist Laury Gutiérrez specializes in music by women composers and early music from Ibero-America. She holds degrees from Indiana University, Longy School of Music, and the College of Saint Scholastica, and received fellowships and scholarships from these institutions and Boston University. She is the founding director of La Donna Musicale, a non-profit organization that promotes, performs, and preserves music by women composers. Their four groundbreaking CDs, have received critical acclaim at home and abroad. She is also founding director of Rumbarroco, whose mission is to unite diverse communities by highlighting the fusion and confluence of the cultures of Europe, Africa, and the Americas through musical performances and educational outreach. RUMBARROCO’s three CDs, Latin-Baroque Fusion, I’ve Found a New Baby: Baroque Meets Afro-Latin Jazz, and Latinas InFusion have been resounding successes with critics and audiences alike. Ms. Gutiérrez was a Fellow at the Radcliffe Institute at Harvard University, and she is a resident scholar at the Brandeis University Women’s Studies Research Center.

Gail D. Hernández Rosa

Gail Hernández Rosa is an early music specialist based in San Francisco. She performs with American Bach Soloists, Washington Bach Consort & Philharmonia Baroque. Her chamber music engagements include concerts at Wigmore Hall, The Place, Bishopsgate Hall, Royal Opera House & Wilton’s Music Hall. She has collaborated with the Kreutzer Quartet & Zalas Trio and is the co-founder of Beneath a Tree – Baroque to Folk. Gail’s versatility has allowed her to perform internationally with the Scottish Chamber Orchestra, Gabrieli Consort and Players (BBC Proms), Florilegium, Yorkshire Baroque Soloists, BBC Scottish Symphony, Scottish Ballet, Northern Ballet Sinfonia & Royal Northern Sinfonia. While living in Philadelphia she performed with Tempesta di Mare, Handel Choir of Baltimore, Pennsylvania Ballet, Opera Philadelphia, Chamber Orchestra of Philadelphia, Philly Pops, Academy of Vocal Arts, Delaware Symphony and Opera Delaware. As an educator, Gail has been faculty at the Royal Academy of Music Junior Department, Royal Conservatoire of Scotland & Hill House International School. As part of SCO Connects she was chamber music coach/conductor, given Masterclasses in the US & UK and adjudicated the 2019 San Francisco Symphony Youth Orchestra Competition. 

Priscilla Herreid

Priscilla Herreid plays renaissance winds with Piffaro, Hesperus, The Gabrieli Consort, Tenet, Ex Umbris, The Waverly Consort, The City Musick, and The Bishop’s Band. She is principal oboist of Boston Baroque, Tempesta di Mare, New York Baroque Inc., and The Sebastians, appears regularly with The Handel + Haydn Society and Trinity Baroque Orchestra, and has performed with the Boston Early Music Festival Orchestra, Philharmonia Baroque, Mercury, and American Bach Soloists. Priscilla frequently coaches ensembles at Yale University and The Juilliard School, and has taught at the Madison and Amherst Early Music Festivals and the Oberlin Baroque Performance Institute. Priscilla’s playing has been called “downright amazing” by the Philadelphia Inquirer, and the New York Times has praised her “soaring recorder, gorgeously played…”

Edwin Huizinga

I am a Dutch – Canadian violinist that loves to discover new sounds on the violin. I work a lot in the baroque world, the folk world, and also the contemporary world of music and art. I am a director of two festivals in North America, and love to compose. My latest composition was premiered at the Palace of Versailles with Opera Atelier and the Tafelmusik Baroque Orchestra. I also love creating new collaborations and experiences with different art forms in one unique performance. Combining art, music, movement, and poetry is my most recent project, with premieres happening deep in the heart of Big Sur. I have recorded on more then thirty albums to this date from platinum releases, to small indie labels of all original music.

Shira Kammen

Multi-instrumentalist Shira Kammen has spent much of her life exploring the worlds of early and traditional music of all kinds. A member for many years of the early music Ensembles Alcatraz and Project Ars Nova, she has also worked with Sequentia, Hesperion XX, the Boston Camerata, storyteller/harpist Patrick Ball, singers Anne Azema, Azam Ali, and Joanna Newsom, the Balkan group Kitka, Anonymous IV, the King’s Noyse, the Newberry and Folger Consorts, The Compass of the Rose, the Oregon, California and San Francisco Shakespeare Festivals, the California Revels, and is the founder of Class V Music, an ensemble dedicated to providing music on river rafting trips. She has worked with students in many different settings, among them teaching summer music workshops in the woods, coaching students of early music in such schools as Yale University, Case Western, the University of Oregon at Eugene, and working at specialized seminars at the Fondazione Cini in Venice, Italy and the Schola Cantorum Basiliensis in Switzerland. She has played on a number of movie and television soundtracks, when weird medieval instruments are needed. 

Michele Kennedy

Praised by The Washington Post as “a fine young soprano with a lovely voice” that is “a wonder to hear” (SF Chronicle), Michele Kennedy is a versatile specialist in early and new music. Recent highlights include The Monteverdi Vespers with Dark Horse Consort | Voices of Ascension, Bach Cantatas with American Classical Orchestra, Bach’s Magnificat and St John Passion with Voices of Music | SFS Chorus, and Charpentier’s In Nativitatem at Saint John the Divine. Last season, Michele debuted in Poulenc’s Gloria with Bach Society of St. Louis, Handel’s Messiah with Trinity Wall Street, and in Mendelssohn’s Midsummer Night’s Dream with SF Ballet.  Michele has premiered new works with Center for Contemporary Opera, Contemporaneous, Experiments in Opera, Harlem Stage Opera, and Mimesis Ensemble. Next year she’ll do a nationwide tour with Lorelei Ensemble in the world premiere of Julia Wolfe’s Her Story. Please find more at

Henry Lebedinsky

Henry Lebedinsky has performed on historical keyboards with the Seattle Symphony, Seattle Baroque Orchestra, Seattle Opera, the St. Paul Chamber Orchestra, the Charlotte Symphony, Seraphic Fire, and Sonoma Bach. He serves as co-Artistic Director of Seattle’s Pacific MusicWorks and the Bay Area’s Agave Baroque. With countertenor Reginald Mobley, he has spent the past dozen years introducing listeners near and far to music by Black composers from the past 250 years, including recent appearances at the Musée d’Orsay in Paris and Festival Printemps Musical des Alizés in Morocco. An active composer and poet, his sacred music for choir and organ is published by Paraclete Press, Carus-Verlag Stuttgart, and CanticaNOVA.

Susan McClary

Episode 15: Orpheus Myth (April 19)

Susan McClary is Fynette H. Kulas Professor of Music at Case Western Reserve University, where she directed a performance of Stradella’s La Susanna (1681) in 2018. Her books include Feminine Endings: Music, Gender and Sexuality, Desire and Pleasure in 17th-Century Music, and The Passions of Peter Sellars. In 1995 McClary received a MacArthur Fellowship.

David McCormick

Episode 7: Folk Influences (November 30)

David McCormick performs regularly on both violin and viele (medieval fiddle) and is in demand as an educator and arts leader. He was founding Artistic Director of Charlottesville-based baroque ensemble Three Notch’d Road and is a founding member of Alkemie, a medieval ensemble based in New York City. With Alkemie, David has appeared at Indianapolis Early Music Festival, Music Before 1800, and Amherst Early Music Festival. He is the founding Artistic Director of Early Music Access Project (EMAP), a rotating group of musicians bringing a wide range of early music to Charlottesville and surrounding communities. Through EMAP, David has been awarded a 2020 Fellowship with the Robert H. Smith International Center for Jefferson Studies, culminating in a series of concerts exploring Thomas Jefferson’s extensive music library.

Jason McStoots

Episode 15: Orpheus Myth (April 19)

Reviewers describe McStoots as having an “alluring tenor voice” (ArtsFuse) and as “the consummate artist, wielding not just a sweet tone but also incredible technique and impeccable pronunciation.” (Cleveland Plain Dealer) A respected interpreter of medieval, renaissance and baroque music, his recent appearances with BEMF include Le Jeu in Les plaisirs de Versailles by Charpentier, Apollo in Orfeo, Eumete and Giove in Il ritorno d’Ulisse in patria both by Monteverdi. Other performances include evangelist in Bach’s St. Mark Passion (Emmanuel Music), evangelist and soloist for Bach’s Christmas Oratorio (Bach Collegium San Diego), and soloist for Monteverdi’s Vespers of 1610 (Green Mountain Project NYC.) In addition, he has appeared with Boston Lyric Opera, Pacific MusicWorks, Les Délices, TENET, Folger Consort, Newbury Consort, Pablo Casals Festival, and the Tanglewood Music Center. He is a core member of Blue Heron Vocal Ensemble and can be heard on all their recordings.

Robert Mealy

Episode 8: Unwritten Traditions (November 30)

Robert Mealy is the director of Historical Performance at Juilliard. Born in Berkeley, Calf., Mealy has recorded and toured a wide variety of repertoire throughout the U.S. and Europe with many ensembles—including Sequentia, Tragicomedia, Les Arts Florissants, and Tafelmusik. Mealy appears as chamber musician at major early music festivals worldwide. He is concertmaster at Trinity Wall Street for their complete series of Bach cantata performances. He has led the Boston Early Music Festival Orchestra since 2004, making three Grammy-nominated recordings with them and many festival concerts, including a special appearance at Versailles. Mealy has led the Mark Morris Dance Group Music Ensemble in performances in New York, New Haven, and Moscow, and accompanied Renée Fleming on the David Letterman Show. He directs the Baroque ensemble Quicksilver and is a member of the King’s Noyse and the Medieval quartet Fortune’s Wheel. He has more than 80 recordings on most major labels. 

Scott Metcalfe

Episode 9: Medieval Christmas (December 14)
Episode 14: Medieval Visionaries (March 29)

Scott Metcalfe is the director of Blue Heron, acclaimed by The Boston Globe as “one of the Boston music community’s indispensables” and winner of the 2018 Gramophone Classical Music Award for Early Music and the 2015 Noah Greenberg Award. From 2010-19 he was music director of New York’s Green Mountain Project (Jolle Greenleaf, artistic director), and he has been guest director of TENET, the Handel & Haydn Society, the Tudor Choir and Seattle Baroque, Pacific Baroque Orchestra, Quire Cleveland, and the Dryden Ensemble. Metcalfe also enjoys a career as a baroque violinist, playing with Les Délices (dir. Debra Nagy), L’Harmonie des Saisons (dir. Eric Milnes), and other ensembles. He has edited songs from the Leuven Chansonnier for the Alamire Foundation (Belgium), and is preparing a new edition of the songs of Binchois. He has taught at Boston University, Harvard University, and Oberlin Conservatory, and is currently a visiting member of the faculty at the New England Conservatory.

Eric Milnes

A native New Yorker, Eric Milnes, is director of La Bande Montréal Baroque, and L’harmonie des saisons, Quebec. He has received critical acclaim for performances as conductor, organist and harpsichordist throughout North and South America, Europe and Asia with recent appearances at the Regensburg, Potsdam, Bremen, Utrecht, Bruge and Lufthansa festivals, at The Forbidden City Concert Hall, Beijing, on tour throughout Japan and at the International Baroque Festival, Bolivia. North American performances include Mostly Mozart Festival, Boston Early Music Festival, Berkeley Bach Festival, Santa Fe Festival, Montreal Festival and as conductor with Seattle Baroque Orchestra, Portland Baroque Orchestra, New York Collegium, and Les Voix Baroque. His latest CD release, Cuidades de Oro (sacred music from colonial New Spain) won the 2016 JUNO (Canadian Grammy) for the best Classical Album of the Year. ATMA Classique features him directing the recording of the complete Bach sacred cantatas – eight volumes are completed. He has collaborated in recording and performance with Gustav Leonhardt, Wieland Kuijken, Sigiswald Kuijken, Bart Kuijken, Andrew Parrott, Reinhard Goebel, and Christophe Rousset, among many others. He takes greatest pride in the accomplishments of his daughters Mary Leah (Vanderbilt University, ’15)  and Hannah (Columbia College, ’16).

Reginald Mobley

Particularly noted for his “crystalline diction and pure, evenly produced tone” (Miami Herald), countertenor Reginald Mobley is highly sought after for baroque, classical and modern repertoire, and performs extensively for many prolific orchestras worldwide.

Past performances of note include an extensive tour of sixteen concerts around Europe singing Bach’s Matthäus-Passion with the Monteverdi Choir & English Baroque Soloists led by Sir John Eliot Gardiner, Händel’s Messiah with the Royal Scottish National Orchestra and Purcell’s King Arthur with the Academy of Ancient Music in London. Other recent and forthcoming highlights include his recital debut at the Musée d’Orsay, a European tour with the Monteverdi Choir of the St John Passion (2021), Ottone Poppea with the Budapest Festival Orchestra (2021), performances of Mozart’s Requiem with Orkiestra Historyczna in Poland, Händel’s Messiah with Boston Händel + Haydn society under Masaaki Suzuki and tours of Germany and Belgium with Balthasar Neumann Chor und Ensemble and the Freiburger Barockorchester.

Allison Monroe

Allison Monroe performs on violin, viola, vielle, rebec, and sings. She has appeared with the Boston Camerata, Newberry Consort, Les Délices, Apollo’s Fire, Atlanta Baroque Orchestra, and Indianapolis Baroque Orchestra. As a founder and Director of Programming for medieval ensemble Trobár, Allison enjoys exploring the stories and music of medieval peoples and bringing them to life for modern audiences. She also served as Artistic Director and played violin and viola on an album of English Renaissance music for violin band, voice, and lute, released in 2020. Allison received a DMA in Historical Performance Practice from Case Western Reserve University, where she now directs the Collegium Musicum.

Daphna Mor

Daphna Mor (recorders, voice, ney) 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, Little Orchestra Society, Apollo’s Fire and more, 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. She co-composed WAVES- for recorders, voice, cello and a beat boxer for Carolyn Dorfman Dance and performed it in summer 2017 in New York’s Summer Stage among other venues.

Elena Mullins

Praised for her “alluring” performances and “easy virtuosity,” soprano Elena Mullins has wide-ranging interests in the field of early music. As a performer of period chamber music she has appeared with The Newberry Consort, Three Notch’d Road, Les Délices, and Apollo’s Fire. She takes a scholarly interest in the performance practices of early repertoires, and co-founded the medieval music ensembles Alkemie and Trobár. She holds a DMA in Historical Performance Practice and a BA in Musical Arts from The Eastman School of Music. She returned to CWRU in 2016, where she directs the Early Music Singers and the Baroque Dance Ensemble, and teaches medieval music history and notation.

Debra Nagy

“A baroque oboist of consummate taste and expressivity” (Cleveland Plain Dealer) with a musical approach that’s “distinctly sensual…pliant, warm, and sweet,” (New York Times), Debra Nagy, director, is one of North America’s leading performers on the baroque oboe. She plays principal oboe with the American Bach Soloists, Seattle Baroque Orchestra, and Apollo’s Fire, and is a regular guest with the Handel & Haydn Society, Boston Early Music Festival, and Portland Baroque Orchestra, among other ensembles. Following studies at the Oberlin Conservatory, Conservatory of Amsterdam, and Case Western Reserve University, 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 on the Chandos, Avie, CPO, Capstone, Bright Angel, Naxos, and ATMA labels, and has had live performances featured on CBC Radio Canada, Klara (Belgium), NPR’s Performance Today, WQXR (New York City) and WGBH Boston.

Patricia Ann Neely

Patricia Ann Neely has appeared with many early music ensembles and taught at many early music workshops, most recently, including the Smithsonian Viol Consort, the Washington Bach Consort, and Abendmusik and the VDGSA Conclave and Amherst Early Music. She was a founding member of Parthenia, spent three years touring with Sequentia, and participated in festivals in Utrecht, Berlin, Regensberg, Berkeley, Vancouver, and Boston. Pat was on the music faculty of The Brearley School for 25 years. She holds degrees fromVassar College (BA music) and Sarah Lawrence College (MFA – Historical Performance) and has recorded for many labels including Musical Heritage, Deutsche Harmonia Mundi, Erato, and Lyrichord. Pat is currently on the Board of Early Music America and the chair of its America’s Taskforce on Equity, Diversity, and Inclusion and is on the board of the Viola da gamba Society of American where she chairs its Committee on Equity, Diversity, and Inclusion.

Arash Noori

Noted as “the compelling” guitarist and “the fine” lutenist by the New York Times, Arash Noori performs throughout North America and Europe on lutes and guitars as both recitalist and accompanist. Arash has appeared in performances with Les Arts Florissants, Philharmonia Baroque, Early Music New York, Orchestra of St. Luke’s, Piffaro: The Renaissance Band, Ars Lyrica, Opera Lafayette, the Folger Consort, Repast Baroque, the Sebastians, Academy of Sacred Drama, ARTEK, and NOVUS NY of Trinity Wall Street amongst others. Hailed for his “flair and sensitivity” in accompaniment (Opera News), Arash has accompanied operas at the Wiener Staatsoper, Gran Teatre del Liceu in Barcelona, the Kennedy Center in Washington and Brooklyn Academy of Music and has performed at Carnegie Hall and Alice Tully Hall in New York, Philharmonie de Paris, Teatro Real in Madrid, and the Kimmel Center in Philadelphia. Arash has been a prize winner at several international competitions including Guitare Montréal, and the Great Lakes Guitar Competition. Arash is a core and founding member of Cantata Profana, an “intrepid” (New Yorker) ensemble that juxtaposes masterpieces from the medieval era to the 21st century with an aesthetic orientation “devoted not to new or modern or early music — such specialists proliferate — but to most anything, so long as the mixture is put together thoughtfully and put across persuasively.” (New York Times) The group was honored by Chamber Music America with an award for Adventurous Programming in 2016 and has garnered rave reviews from The New York Times, New Yorker, Boston Globe, Opera News, and The Wall Street Journal amongst others. A graduate of Yale and the Juilliard School, Arash currently serves as Adjunct Professor of Early Music at University of North Texas, College of Music. Visit for more information.

Aisslinn Nosky

Aisslinn Nosky was appointed Concertmaster of the Handel and Haydn Society in 2011. With a reputation for being one of the most dynamic and versatile violinists of her generation, Nosky is in great demand internationally as a director and soloist. From 2016-2019 Aisslinn served as Principal Guest Conductor of the Niagara Symphony Orchestra. She is currently Guest Artist in Residence with the Manitoba Chamber Orchestra. Aisslinn is also a member of I FURIOSI Baroque Ensemble. For twenty years this innovative Canadian ensemble presented its own edgy and inventive concert series in Toronto and toured Europe and North America turning new audiences on to Baroque music. With the Eybler Quartet, Nosky explores repertoire from the first century of the string quartet literature on period instruments. From 2005 through 2016, Aisslinn was a member of Tafelmusik Baroque Orchestra.

Maria Romero

Maria Romero is on faculty at Vanderbilt University’s Blair School of Music, where she teaches modern and baroque violin. She has appeared as soloist with the Princeton Festival Baroque Orchestra, Mountainside Baroque, and Indianapolis Baroque Orchestra as winner of their concerto competition, and has collaborated with ensembles including Orchester Wiener Akademie, Musica Angelica Baroque Orchestra, Bourbon Baroque, New Vintage Baroque, and Michigan Bach Collective. Maria has been featured in period performance festivals such as Valley of the Moon Music Festival, Bloomington Early Music Festival, Bloomington Bach Cantata Project, and Early Music America’s Young Performers Festival Ensemble at the Boston Early Music Festival. An alumna of Venezuela’s El Sistema music program, Maria is an advocate for social transformation and empowerment through music education and teacher training. She is concertmaster of Music City Baroque and plays with the Nashville Opera in Nashville, TN, where she lives with her husband, pianist Nicholas Reynolds.

Sherezade Panthaki

Soprano Sherezade Panthaki has developed ongoing collaborations with many of the world’s leading interpreters including Nicholas McGegan, Mark Morris, Simon Carrington, Matthew Halls, and Masaaki Suzuki, with whom she made her New York Philharmonic debut. Celebrated particularly for her early music expertise, “mining deep emotion from the subtle shaping of the lines” (The New York Times), recent seasons have included returns to Philharmonia Baroque Orchestra, Bach Collegium Japan, the Boston Early Music Festival, Tafelmusik Baroque Orchestra, Minnesota Orchestra, Houston Symphony, Mark Morris Dance Group, St. Thomas Church Fifth Avenue New York, The Choir and Orchestra of Trinity Wall Street, as well as debuts with NDR Hannover Radiophilharmonie, Germany and Voices of Music. She tours frequently with the New York City based Parthenia Viol Consort, and is a founding member and artistic advisor of the newly-debuted Kaleidoscope Vocal Ensemble, a one-voice-per-part octet celebrating racial and ethnic diversity in performances and educational programs of early and new music. Born and raised in India, Ms. Panthaki began her musical education as a pianist at an early age. She holds a Masters degree in Voice Performance from the University of Illinois, and an Artist Diploma from the Yale School of Music/ Yale Institute of Sacred Music. Ms. Panthaki frequently presents vocal masterclasses across the United States, and currently teaches voice lessons at Yale University.

Michael Pecak

Polish-American fortepianist and conductor Michael Pecak has performed to great acclaim throughout the United States, Canada, and Europe. Having earned degrees from Northwestern (BM) and Indiana Universities (MM), Michael studied with Malcolm Bilson as a Graduate Fellow at Cornell University before going on to earn his DMA in historical performance practices from McGill University. Michael enjoys working with singers as an accompanist/coach. A frequent collaborator with soprano Hannah De Priest, they were invited as one of ten duos for the 2020 Oxford Lieder Mastercourse. This fall, together with the Collaborative Arts Institute of Chicago, Michael will lead a three-day workshop devoted to Polish art songs. As a conductor, Michael has collaborated with numerous American opera companies and festivals, including Florida Grand Opera and Opera Saratoga. Michael is the Music Director of the Chicago City Wide Symphony Orchestra and works on the music staff of Northwestern University Opera Theater.

Rebecca Reed

Cellist and gambist Rebecca Landell Reed’s “luminous” ( and “notable” (The New York Times) sound elicits a range of expression “from classically evocative to Hitchcock horrifying” (Washingtonian). Her solo appearances include performances with Apollo’s Fire, Atlanta Baroque Orchestra, Vermont Symphony Orchestra, Three Notch’d Road, and Batzdorfer Hofkapelle. Rebecca pursues a diverse professional career, such as performing and acting in Studio Theatre’s An Iliad, working with composer Eric Shimelonis on NPR children’s show Circle Round, and developing educational programs with the Crumhorn Collective. She is currently based in Oberlin, Ohio, where she teaches cello and viola da gamba.

Byron Schenkman

Byron Schenkman believes in the power of music to bring people together for healing and joy. In addition to performing live on piano, harpsichord, and fortepiano, Byron can be heard on more than forty CDs, including recordings on historical instruments from the National Music Museum, Vermillion, and the Museum of Fine Arts, Boston. A recipient of the Erwin Bodky Award from the Cambridge Society for Early Music “for outstanding achievement in the field of early music,” Byron was voted “Best Classical Instrumentalist” by the readers of Seattle Weekly, and their piano playing has been described in The New York Times as “sparkling,” “elegant,” and “insightful.” Byron is based in Seattle where they currently direct the chamber music series Byron Schenkman & Friends.

Nell Snaidas

Grammy-nominated, Uruguayan/American soprano Nell Snaidas is one of the leading specialists in Iberian/LatinAmerican early music in the Americas. In addition to her busy performing career, Nell is highly sought out for concert curations. Her award-winning programs have been called, “revelatory” (BBC Music Magazine) “innovative and brilliant” (Cool Cleveland). The New York Times calls her a “superb soprano” and a “brilliant comic-actress”. Nell is also the co-Artistic Director of GEMAS:Early Music of the Americas. This concert series in NYC, devoted to the Early Music and Performers of Latin America and Canada, is a project of the Americas Society and GEMS (The Gotham Early Music Scene).

Yvonne Smith

Based in Houston, violist Yvonne Smith performs frequently with Bach Society Houston, La Follia Austin Baroque, Ars Lyrica Houston, and American Bach Soloists (San Francisco). In 2016, Yvonne founded La Speranza, an ensemble that explores and illuminates the connection between music and wellness through their historically informed performances of wind and string chamber music in Houston communities. Yvonne also appears regularly in the Houston Symphony, Houston Grand Opera Orchestra, Houston Ballet, and Grant Park Orchestra (Chicago). She earned her Master and Bachelor of Music degrees in Viola Performance from the Shepherd School of Music at Rice University under the tutelage of Joan DerHovsepian and James Dunham. She recently attended the inaugural 2020 Smithsonian Haydn Academy. Yvonne’s baroque viola was made by Timothy Johnson in 2017 after Andrea Guarneri, 1676.

Karim Sulayman

Lebanese-American tenor Karim Sulayman has garnered international attention as a sophisticated and versatile artist, consistently praised for his sensitive and intelligent musicianship, riveting stage presence, and beautiful voice. A 2019 GRAMMY® Award winner, he regularly performs on the world’s stages in orchestral concerts and opera, as well as in recital and chamber music, while forging a standout path in the music of the Italian Baroque.

Arnie Tanimoto

Gold medalist of the 7th International Bach-Abel Competition, Arnie Tanimoto is equally at home on the viola da gamba and baroque cello. He was the first-ever viola da gamba major at The Juilliard School, where he soloed on both instruments. Described by The New York Times as a “fine instrumental soloist” Arnie performs in venues across the United States, Europe, and Japan. The recipient of a 2017 Frank Huntington Beebe Fund Fellowship he has also performed and recorded with Barthold Kuijken, the Boston Early Music Festival Ensemble, and the Smithsonian Consort of Viols. As a teacher, Arnie serves on faculty at the Mountainside Baroque Summer Academy as well as maintaining a private studio. He holds degrees and certificates from Oberlin Conservatory, the Eastman School of Music, The Juilliard School, and the Schola Cantorum Basiliensis.

Catalina Vicens

Award-winning musician, Catalina Vicens, a native of Chile based in Basel, Switzerland, started her international career at an early age. By age 20 she had already played in the main concert-halls of more than ten countries in North and South America, including the Teatro Colón de Buenos Aires Argentina,  the Kimmel Center in Philadelphia and the Teatro Municipal do São Paulo. 


Vicens combines a vibrant international soloist and research career. Having specialized in performing on antique keyboard instruments, she has been invited to play on the oldest playable harpsichord in the world, featured in her latest recording “Il Cembalo di Partenope” (Diapason d’Or); the 15th-century gothic organ of St. Andreas in Ostönnen (one of the oldest and best-preserved organs in the world), as well as in several prestigious collections in the UK, Europe, Japan and USA. She is also recognized for her work with medieval keyboards, working alongside specialized instrument builders in the reconstruction of medieval and renaissance organs. Part of this project is the upcoming double CD with old and new music performed in several of these instruments.

Jonathan Woody

Bass-baritone Jonathan Woody is a sought-after performer of early and new music in New York and across North America. In increasing demand as a soloist, Jonathan has made appearances in recent seasons with historically-informed orchestras such as Boston Early Music Festival, Tafelmusik Baroque Orchestra, Bach Collegium San Diego, Portland Baroque Orchestra and New York Baroque Incorporated. In the 2017/18 season, Jonathan appeared with Apollo’s Fire on a national tour of Monteverdi’sL’Orfeoin the role of Caronte and participated in the Britten-Pears Young Artist Programme in Aldeburgh, UK.

Jonathan is also committed to ensemble singing at the highest level and is regularly featured as a member of the Grammy®-nominated Choir of Trinity Wall Street, where he has earned praise as “charismatic” and “riveting” from the New York Times for his solo work.

Elizabeth Weinfield

Elizabeth Weinfield is a music historian whose research explores the relationships among gender, performance, and race in the early modern period. Her interests include music by women in the crypto-Jewish communities of Antwerp, historiography, performance practice, and the early music revival in America. She holds a PhD in historical musicology from the Graduate Center, CUNY (2019) and is a Lecturer in Music History at The Juilliard School in New York. Weinfield has served as the editor of the digital publication the Heilbrunn Timeline of Art History at the Metropolitan Museum of Art and as a researcher at the Yale Collection of Musical Instruments. Founder and artistic director of the ensemble Sonnambula, she has designed site-specific concerts at the Met Museum, the Cloisters, the Hispanic Society, and the Frick, and recently published the first complete recording of the music of the 17th-century composer, Leonora Duarte (Centaur Records, 2019). She is working on her first book, Leonora Duarte (1610–1678), Converso Composer in Antwerp: An Early Modern Feminist Identity, a monograph on Duarte that investigates music’s role in the convergence of business and culture in the early modern domestic space.

Shelby Yamin

A native New Yorker, violinist Shelby Yamin has earned distinction for her sparkling, vivacious performances. Equally adept as a modern and period violinist, Shelby was the winner of the Juilliard415 concerto competition, and has been featured as a soloist with the Philharmonia Baroque Orchestra, San Francisco Academy Orchestra, the Tafelmusik Winter Institute, and the Oregon Bach Festival Berwick Academy, where she returned as guest concertmaster in 2019. Shelby was the first prize winner of the Berkeley Piano Club’s Barbara Fritz Chamber Music Competition and the first prize winner of the Virtuoso e Belcanto competition in Lucca, Italy, where she was a recipient of the Luigi Boccherini Award. 2020 will see the releases of both her recording of contemporary works for harpsichord, violin, and flute, by Paladino Records, as well as her album of Maddalena Lombardini Sirmen’s Six Duets for Two Violins, Op. 5, which is the first to be recorded on historical instruments.