emily dahl irons
Violinist Emily Dahl Irons is an active performer known for her inventive and intuitive style. She enjoys a diverse career ranging from broadway musicals to baroque opera. Highlights include a Beethoven-themed salon concert using an 1807 piano and the St Matthew Passion at the Concertgebouw. Emily’s poised and gracious sound can be heard throughout Boston with the Handel and Haydn Society and Les Bostonades, among others, and she is a core member of Grand Harmonie, Emergence Quartet, and Antico/Moderno. After studying abroad at the Royal Academy in London, Emily now lives in Roslindale where she happily investigates local bakeries and ice cream.
Sarah Darling holds a variety of leading roles on violin and viola with A Far Cry, the Harvard Baroque Chamber Orchestra, Musicians of the Old Post Road, Boston Baroque, Antico Moderno, Gut Reaction, and Musical Offering, also performing with the Boston Early Music Festival, the Carmel Bach Festival, Emmanuel Music, and Boston Ballet. Sarah has recorded for Naxos, Linn, Paladino, Azica, MSR, and Centaur Records. She studied at Harvard, Juilliard, Amsterdam, and Freiburg (via the Beebe, Paine, and DAAD grants), and is currently finishing a doctorate at New England Conservatory with Kim Kashkashian. She is active as a teacher and coach, with a special interest in body mechanics and musical rhetoric and recent guest sessions at Longy, Yale, and Cornell. Sarah has been described as "focused, nuanced, and arresting" (Boston Musical Intelligencer) and praised for her “excellent solos” (Boston Globe), “absolute concentration and astonishing precision” (Badischer Zeitung), and “sympathy and spirit” (Hub Review).
Julia McKenzie performs internationally on historical and modern violins in a wide range of musical styles. She specializes in period performance with numerous ensembles, including Les Bostonades, Boston Baroque, Handel & Haydn Society, Newton Baroque, American Baroque Orchestra, and Rowe's Lane Quartet, a period string quartet focusing on chamber music of the early 19th century. She has appeared in international music festivals, including the Casals Festival, Ravinia Festival, and the Beethoven Festival in Krakow/Warsaw with Boston Baroque; Tage Alter Musik in Regensburg, the Indianapolis Early Music Festival, and festivals in Mexico City with the Musicians of the Old Post Road; and at the BBC Proms in London with the Handel & Haydn Society.
A native of Boston, Abigail Karr received Bachelor and Master of Music degrees at Rice
University’s Shepherd School of Music, studying violin with the late Sergiu Luca. She appears with many ensembles on modern and historical violin, including the Handel & Haydn Society (as occasional principal player and soloist) and the Trinity Baroque Orchestra of Manhattan. With keyboardist Yi-heng Yang, she has recorded Mendelssohn's complete violin sonatas on historical instruments at the renowned Concert Hall at Drew University in Madison, NJ. Abigail’s solo and chamber music performances have drawn praise from such publications as Toronto NOW magazine, the New York Times and the Boston Musical Intelligencer. She holds a degree in historical performance from The Juilliard School, and lives in New York City.
Originally from Annapolis, Maryland, Anna Griffis (viola & violin) is active as a soloist, chamber musician, and orchestral player. She made her concerto debut with the Baltimore Symphony Orchestra at the age of 16, and was the second prize winner in the Van Rooy Solo Competition. Equally at home on modern and historical instruments, she's principal viola with New Bedford Symphony and Grand Harmonie, a member of the Albany and Hartford Symphonies, and plays with Emmanuel Music, Boston Baroque, Les Bostonades, Arcadia Players, and Rhode Island Philharmonic. She is a member and executive director of the new music group the Ludovico Ensemble, and co-founded Trio Speranza, prize-winners at the Early Music America Baroque Competition. In addition to performing, Anna teaches privately and at the Dana Hall School of Music and oversees music P.R. and box office for Tufts University.
Zoe Kemmerling is a native Californian who is pursuing an eclectic musical career as a violist, baroque violinist, writer, and administrator in Boston. She appears frequently on the early music landscape with local groups such as Musical Offering, Grand Harmonie, and Les Bostonades. She is also an enthusiastic promoter of contemporary music, frequently premiering her colleagues' compositions, and helping shape Boston's dynamic new music scene through her work with Equilibrium Concert Series and the Boston Modern Orchestra Project. She is also a freelance writer of insightful and witty program notes, and has worked as an educator with young musicians in community programs in Chelsea, Lawrence, and Mattapan. Recent studies and fellowship opportunities have taken her to Apple Hill Center for Chamber Music (NH), the Tanglewood Music Center, and Toronto's Tafelmusik Baroque Summer Institute.
Israeli-born cellist Guy Fishman is active as a concerto soloist, recitalist, chamber musician, and orchestral player. He is principal cellist of Boston’s Handel and Haydn Society, with which he made his Symphony Hall solo debut in 2005. Fishman is in demand as an early music specialist in the United States and abroad, having performed in recital and with Boston Baroque, Apollo’s Fire, Les Violons du Roy, Emmanuel Music, Rockport Music, the Museum of Fine Arts, the Boston Museum Trio, Arcadia Players, and El Mundo. He performs on standard cello with the Colorado Music Festival, Albany Symphony, Orchestra of St. Luke's, among others. Recent appearances include the Dvorak concerto with the Reading Symphony Orchestra and a highly-praised survey of Bach suites in Boulder, Colorado.
kate bennett wadsworth
Kate Bennett Wadsworth studied modern cello with Laurence Lesser at the New England Conservatory and baroque cello with Jaap ter Linden at the Royal Dutch Conservatory in the Hague, after completing a bachelor's degree in Scandinavian studies at Harvard College. She has appeared at festivals throughout North America and Europe with baroque ensembles such as Arion, Tafelmusik, B'Rock, Apollo's Fire, Aradia, Clarion, Masques, and the Theatre of Early Music, and her continuo playing can be heard on the Naxos, ATMA, Artemis/Vanguard,and early-music.com labels. As well as being an active baroque cellist, Kate also has a special passion for classical and romantic performance practice, which she has explored as both recitalist and chamber musician.
Described as playing "with great skill and style" and "sensitively played" (Boston Music Intelligencer), Colleen McGary-Smith enjoys an active performing career on both baroque cello and modern cello as well as the viola da gamba. She completed her pre-college studies at the Eastman School of Music and received her Bachelor of Music degree from Cleveland Institute of Music and a Master of Music degree from Boston University School for the Arts. Colleen performs regularly with Boston Baroque, Handel and Haydn Society, L'Academie, Les Bostonades and Long and Away, a consort of viols as well as many other freelance groups in Boston. Colleen is also an avid cello and chamber music instructor.
Michael Unterman enjoys an active career as both a modern and baroque cellist. On baroque cello, he is a core member of the Portland Baroque Orchestra and performs frequently with
groups such as The Handel & Haydn Society, Trinity Wall Street, and New York Baroque Inc. Special performances have included principal/solo cello appearances with Les Arts Florissants, Pacific Baroque Orchestra, and the Britten-Pears Institute in England. In 2014 he earned a Master’s degree in Historical Performance from The Juilliard School, where he studied with Phoebe Carrai. As a modern cellist, Michael’s primary work has been with the Boston-based conductorless chamber orchestra A Far Cry, which he joined in 2010.
Viola da Gamba & Violone
emily walhout, viola da gamba
Emily Walhout grew up playing the cello, but discovered her love for baroque bass lines at Oberlin Conservatory, where she took up the baroque cello and the viola da gamba, thus launching an active career in early music. Ms Walhout was a founding member of La Luna, and was a member of The King's Noyse from 1987 through 2004. Ms Walhout has played viola da gamba or principal cello for the Boston Early Music Festival Orchestra, Seattle Baroque, Portland Baroque, Les Boreades, Les Violons Du Roy, New York Collegium, and Trinity Consort (Portland, OR). She has toured as a chamber musician throughout North America and Europe, and she has recorded extensively with the Boston Camerata, La Luna and The King's Noyse. A resident of Waterown, MA, Ms Walhout maintains a small studio of private students and coaches several devoted viol consorts.
SHIRLEY HUNT, VIOLA DA GAMBA
Praised by The Strad as “stylish and accomplished,” Shirley Hunt embraces an eclectic musical life as a soloist, chamber musician, and continuo player. Ms. Hunt has performed and recorded with the nation’s leading period instrument ensembles including Handel and Haydn Society, Boston Baroque, Philharmonia Baroque Orchestra, American Bach Soloists, Trinity Baroque Orchestra, Musica Angelica, Portland Baroque Orchestra, and Bach Collegium San Diego. Ms. Hunt performs regularly at the Metropolitan Museum of Art with the Renaissance ensemble Sonnambula, and appears in recital annually at the Museum of Jurassic Technology, where she is an artist in residence. Recent season highlights include performances at the Isabella Stewart Gardner Museum, the Library of Congress, Caramoor, National Sawdust, Sala Nezahualcoyotl (Mexico City), and La Jolla Music Society.
motomi igarashi, violone
Motomi Igarashi is a ubiquitous presence in the New York early music scene. A first prize winner at the Aspen Music Festival Double Bass competition, Ms. Igarashi studied double bass with Eugene Levinson at the Juilliard School, as well as Franco Petracchi and Duncan McTier. After graduating from the Juilliard School, she went to France to study viola da gamba. Traveling through Europe, she spent years in intensive study with Marianne Muller, Wieland Kuijken, and Paolo Pandolfo and most recently studied lirone with Erin Headley. She plays the viola da gamba, violone, the baroque double bass and lirone with groups such as The American Classical Orchestra, Anima, Artek, Bach Collegium Japan, Boston Baroque, the Concert Royal, Dryden Ensemble and REBEL, Orchestra of St. Lukes, Trinity Baroque Orchestra, both on the East coast and in Japan.
andrew arceci, violone
Developing a varied career as performer, composer, and scholar, Andrew Arceci performs regularly on viola da gamba, violone, and double bass throughout North America, Europe, and Asia. In the United Kingdom, he has appeared with the Orchestra of the Age of Enlightenment, C'then Baroque, and Oxford Baroque. In the United States, he has collaborated with the Washington Bach Consort, Tempesta di Mare: Philadelphia Baroque Orchestra, Harmonious Blacksmith, Musica Sequenza, and frequently with L'Academie. Festival highlights include the Brighton Early Music Festival (UK), Indianapolis Early Music Festival (US), the Shandelee Music Festival (US), the Washington Early Music Festival (US), and the 2011 FOCUS! Festival (US), where Mr. Arceci - with Joel Sachs and the New Juilliard Ensemble - gave the North American premiere of El|bieta Sikora s Canzona: for Viola da Gamba and Orchestra at New York s Alice Tully Hall.
chris palameta, oboe
Born in Montreal and currently residing in Paris, Christopher Palameta is one of the most celebrated historical oboists of his generation. After being appointed oboist in the Tafelmusik Baroque Orchestra (based in Toronto, Canada), of which he was a core member for four years, he relocated to France to pursue work with many of Europe’s finest period ensembles, including Le Concert Spirituel, Les Siècles, Pygmalion, Les Musiciens du Louvre, Le Cercle de l’Harmonie, La Simphonie du Marais, Le Concert Lorrain, Opera Fuoco and Le Palais Royal in France ; Die Kölner Akademie and the Mannheimer Hofkapelle in Germany ; Musicaeterna (Perm Opera Orchestra, Russia), the Helsinki Baroque Orchestra, the Finland Baroque Orchestra, and various other Swiss, Belgian, and Scandinavian ensembles.
heloise degrugillier, recorder
Heloise Degrugillier has worked extensively as both a recorder and traverso performer, and teacher throughout Europe and the United States. She has performed with leading period ensembles, including the Boston Early Music Festival Opera, Handel and Haydn, the Boston Camerata, Tempesta Di Mare and Antico Moderno. Heloise also enjoys an active teaching career, working with the Amherst Early Music Festival, the Texas Toot, Pinewoods Early Music Week, and others. She is the president and music director of the Boston Recorder Society. She has completed her studies in the Alexander Technique and has a Masters in Music from the Utrecht Conservatory in the Netherlands. She studied recorder with Heiko ter Scheggett, Saskia Coolen, and Pedro Memelsdorff.
teddie hwang, traverso
Since 1999 Teddie Hwang has dedicated herself to historical performance, being fascinated by the timbre and vocal qualities of the traverso. She studied with Wilbert Hazelzet and received her Master's degree in Historical Flute Performance from the Koninklijk Conservatorium in The Hague, Netherlands. She holds a Bachelor's degree in Music and Germanic Studies from Indiana University, where she studied modern flute with Kathryn Lukas and graduated with high distinction. Currently living in Germany, Teddie collaborates with a wide spectrum of chamber ensembles and orchestras, playing repertoire ranging from 17th century airs de cour to Beethoven symphonies.
Lute & theorbo
Matthew Wadsworth, lutenist, is in great demand as a soloist, continuo player and chamber musician. He has appeared at many of the major festivals in the UK, Europe and North America and can frequently be heard on radio, both in live performance and on disc. Matthew studied lute with Nigel North at London's Royal Academy of Music, and then spent a year at the Royal Conservatory of Music in The Hague. Matthew has recorded for Avie, Deux-Elles, Linn, EMI, Channel Classics and Wigmore Live. His 6 CDs to date have all received international critical acclaim and have been featured as Gramophone Editors Choice on several occasions.
Hank Knox studied harpsichord with John Grew at McGill University in Montreal and with Kenneth Gilbert in Paris. He has given numerous harpsichord recitals, and is a founding member of Ensemble Arion, with whom he has toured Canada, the United States, Europe, Japan, South America and Mexico. He has performed, recorded and toured with the Tafelmusik Baroque Orchestra and le Studio de musique ancienne de Montréal; he plays regularly with the Orchestre symphonique de Montréal. He has recorded for Radio Canada and the CBC, and appears on recordings with Arion on the early-music.com, Atma, Analekta, CBC, Titanic and Collegium labels. His has released a recording of Frescobaldi's keyboard works performed on an Italian harpsichord of 1677 on the Atma label, and a recording of works by D'Anglebert performed on an upright harpsichord for early-music.com. Hank Knox directs the Early Music program at McGill University, where he teaches harpsichord and figured bass accompaniment, coaches chamber music ensembles, and conducts the McGill Baroque Orchestra.
Akiko Enoki Sato received advanced training in harpsichord and figured bass with Hank Knox at McGill University's Early Music Program. Akiko has been heard as soloist and continuo player in Japan, Canada and US. She is now residing in Boston with her husband, Toshi and their cats, Hana & Momotaro. Akiko is a founder of early music ensemble Les Bostonades. They regularly perform French 17th and 18th century repertoires as well as Italian and German baroque music. She also performs with Boston based ensembles and she regularly plays continuo for graduate students in the Early Music programs at the Longy School of Music and the Historical Performance Department in Boston University. Before she become a harpsichordist, Akiko was an organist and earned a Master's Degree in Organ Performance from Cleveland Institute of Music and Sacred Music degree from Southern Methodist University. Her principal teachers were Dr. Robert T. Anderson and Karel Paukert.
Zachary Wilder, tenor
American tenor Zachary Wilder is recognised for his work in repertoire from the 17th and 18th centuries and is sought after on both the concert and operatic stages on both sides of the Atlantic. Having studied at the Eastman School of Music and at the Moores School of Music, University of Houston, Zachary subsequently moved in Boston after the beginning of his collaboration with Boston Early Music Festival and a summer of studies as a Tanglewood Music Fellow.
2010 marked Zachary’s European debut as Renaud in Lully’s Armide on tour with Mercury Houston at the Théâtre de Gennevilliers. The following year brought him back to France to the Festival d’Aix-en-Provence as Coridon in Haendel’s Acis and Galatea which subsequently toured to la Fenice in Venice. Zachary relocated to France after he was chosen by William Christie in 2013 to take part in Les Arts Florissants’ prestigious academy for young singers, Le Jardin des Voix. He now works with leading ensembles including Les Arts Florissants, Bach Collegium Japan, Boston Early Music Festival, Cappella Mediterranea, Le Concert Spirituel, Collegium Vocale Gent, Ensemble Pygmalion, Handel & Haydn Society, The Monteverdi Choir & Orchestra, Orchestre de Chambre de Paris, Le Poème Harmonique, Royal Philharmonic Orchestra, San Francisco Symphony, and Les Talens Lyriques. Recent highlights include an international tour with Sir John Eliot Gardiner of Monteverdi's operas as Eurimaco in Il ritorno d’Ulisse in patria and Lucano in L’Incoronazione di Poppea (La Fenice in Venice, Salzburg Festival, Edinburgh Festival, Lucerne Festival, Berliner Festspiel, Wroclaw, Palau de la Musica, Paris Philharmonie, Lincoln Center, Chicago Harris Theater); Everardo in Zingarelli's Giulietta e Romeo (Schwetzingen Winter Festival); un Sylphe in Rameau’s Zaïs with Les Talens Lyriques (Festival de Beaune, Theater an der Wien, Opéra Royal de Versailles, and the Royal Concertgebouw in Amsterdam); Händel's Messiah with the San Francisco Symphony Orchestra; Alessandro in Mozart’s Il re pastore (Harvard); Zadok the Priest in Haendel’s Solomon (Hannover’s Galerie Herrenhausen), Mass in B minor and Magnificat with Bach Collegium Japan (National Auditorium in Dublin and Théâtre des Champs-Elysées), and the arias in the Johannespassion with Collegium Vocale Gent (Madrid, Bruges, Brussels, Barcelona, and Seville). Zachary’s discography comprises several recordings with Boston Early Music Festival, including their Grammy Award winning La Descente d’Orphée aux Enfers as Tantalus. He can also be heard on Le Jardin de Monsieur Rameau with Les Arts Florissants, Ballie Sonate: Monteverdi & Rossi with Ensemble Clematis, Bach's Magnificat with Arion Baroque, Zamponi’s Ulisse nell’isola di Circe as Mercurio with Leonardo Alarcon and Cappella Mediterranea, Félicien David’s Le Désert with the Orchestre de Chambre de Paris, Lully's Persée 1770 as Euryale with Le Concert Spirituel, Stravaganza d'Amore with Ensemble Pygmalion, and Rameau’s Zaïs with Les Talens Lyriques. Upcoming releases include a disc of Clérambault and Rameau cantatas with les Bostonades and a solo recording of Venetian lute songs.
teresa wakim, soprano
Praised for her gorgeous, profoundly expressive instrument (Cleveland Plain Dealer) and possessing a voice of "extraordinary suppleness and beauty," (The New York Times), soprano Teresa Wakim has garnered wide acclaim performing and recording music from the Renaissance to the freshly-composed, and is perhaps best known as "a fine baroque stylist." (Miami Herald) She has performed as soloist under many of the world's renowned early music specialists, including Harry Christophers, Laurence Cummings, Ton Koopman, Nicolas McGegan, Martin Pearlman, Stephen Stubbs, and Jeannette Sorrell. She recently won First Prize in the International Soloist Competition for Early Music in Austria, and was named Lorraine Hunt Lieberson Fellow by Emmanuel Music. Noted engagements include soloist in Mozart's Coronation Mass with the Handel & Haydn Society, Bach's Mass in B Minor and St. John Passion with the Amsterdam Baroque Orchestra, Bach's Wedding Cantata with The Cleveland Orchestra, Handel's Messiah with the Charlotte, Tucson, and San Antonio Symphonies, the role of Pamina in The Magic Flute with Apollo's Fire, and a title role in Handel's Acis and Galatea with the Boston Early Music Festival. Engagements in the 2013-14 season include debuts with the San Francisco Symphony, New World Symphony, Omaha Symphony, and Boston Baroque. Wakim can be heard as soloist on numerous recordings, including four Grammy-nominated albums with the Boston Early Music Festival and Seraphic Fire. "With a voice of lambent beauty," soprano Teresa Wakim enjoys a successful career as soloist in opera, oratorio, and chamber music. She has sung in many of the world's most renowned halls, including Severance Hall in Cleveland, Royal Albert Hall in London, Carnegie's Zankel Hall, and Boston's Symphony Hall, Sander's Theater, and Jordan Hall. She completed her undergraduate vocal studies with distinction at the Oberlin Conservatory of Music, studying with Lorraine Manz, and pursued a master's degree at Boston University's College of Fine Arts in the studio of Penelope Bitzas, focusing on the performance of baroque vocal music with Martin Pearlman, Peter Sykes, and Joshua Rifkin. She has performed with the acclaimed ensembles of Boston Baroque, the Handel & Haydn Society, Emmanuel Music, the Boston Early Music Festival, Seraphic Fire, Blue Heron Renaissance Choir, Boston Secession, and Apollo's Fire. Her musical interests extend to smaller ensembles as well, including Exsultemus, Bourbon Baroque, La Donna Musicale, Amphion's Lyre, L'Académie, Les Bostonades, and Newton Baroque. Ms. Wakim is featured on two Grammy-nominated recordings of Lully operas with the Boston Early Music Festival for CPO, and recently sang a title role in their fall 2009 production in Handel's Acis & Galatea. Engagements for the 2009-2010 season include premiere performances of new works with the Boston Choral Ensemble and Coro Allegro, recording her role as Diane in Charpentier's Actéon with The Boston Early Music Festival in Germany, Bach's glorious cantata Jauchzet Gott in allen Landen with the St. Alban's Bach Festival Orchestra in North Carolina, Handel's Messiah across southern Florida with Seraphic Fire, a solo appearance with the Handel & Haydn Society in their Zest for Love concert in February, and the role of Morgana in Handel's Alcina in Louisville with Bourbon Baroque.
sarah moyer, soprano
Known for her "purity and flawless range" (South Florida Classical Review), soprano Sarah Moyer was exclusively featured in the 2014 the Boston Globe Magazine for her work as a professional singing artist and deemed her “the kind of church singer who will rock your sacred-music world”. As a soloist, her recent repertoire includes the world premiere of Theofanidis' Four Levertov Settings with Seraphic Fire, American premieres of Nørgård's Nova Genitura and Seadrift with Lost Dog New Music Ensemble, Foss' The Prairie with Boston Modern Orchestra Project, Buxtehude’s Membra Jesu Nostri, Handel’s Messiah, and Mozart’s Requiem; she also "beautifully executed" (Miami Herald) the world premiere of The Hope of Loving, by Jake Runestad with Seraphic Fire in the Fall of 2015, and was described as "perfect for Baroque works... one wants to hear more from this obviously gifted singer" (South Florida Classical Review) for her brief performance in Handel's My Heart is Inditing. A frequent interpreter of Bach, her most recent engagements include Wedding Cantata with Kaleidoscope Chamber Ensemble, Mass in B Minor, Wachet auf, ruft uns die Stimme, and Gott ist mein König (Ripieni) with Music at Marsh Chapel, Nun komm, der Heiden Heiland with Gordon College, and Bach’s Magnificat with the Boston Masterworks Chorale. In 2011 she was a featured soloist in Bach’s Schweigt stille, plaudert nicht, Es ist nichts gesundes an meinem Leibe, and Jauchzet Gott in allen Landen (at the Boston Early Music Festival Fringe Series) with New England Conservatory’s Carr Collegium. Ms. Moyer is simultaneously active as a vocal chamber music artist. Nationally she appears frequently with Skylark, GRAMMY® nominated Seraphic Fire, Santa Fe Desert Chorale, GRAMMY® nominated True Concord, Vox Humana TX, the Berwick Chorus at the Oregon Bach Festival. She is a founding member of Illumine, a trio devoted to the preservation of duets for soprano and trumpet. Locally, Moyer sings regularly with Boston’s various religious institutions such as Church of the Advent (Beacon Hill), Trinity Church (Copley Square), and Boston University’s Marsh Chapel where she is a former Choral Scholar, among others. She has also supported music education by presenting masterclasses and workshops with Skylark, and through performing with the Handel and Haydn Society Outreach Vocal Quartet from 2014-2016. She is a recipient of the 2015 St. Botolph Emerging Artist Award. Not a stranger to pop and rock music, Ms. Moyer recently sang with the Rolling Stones on their “50 and Counting/Grr! Live” tour, and made her Symphony Hall debut with the Video Game Orchestra Live!. Moyer received her Bachelor's degree in Vocal Performance from Oklahoma State University (2009) where she studied with Anne-Marie Condacse and gained the bulk of her choral training under conductors Dirk Garner, Mark Lawlor, and Natasa Kaurin-Karaca. She completed a Master's degree in Vocal Performance at New England Conservatory (2011) in the studio of Carole Haber, with whom she still studies.