2015 - 2016 Season Artist Bios - bostonbaroque.org · et Bénédict under Seiji Ozawa. ... premiered the role of Maria in Diego Luzuriaga's El Niño ... Texas; the Yale Choral Artists,

Antonio Vivaldi: Juditha Trimphans Artist Bios2015 - 2016 season

Performances: Friday and Saturday, October 23 & 24, 2015

! 2015 - 2016 Season Artist Bios

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DANIELA MACK - mezzo-soprano, as Juditha - Daniela Mack makes her debut with Boston Baroque this season.

“As Rosmira, mezzo-soprano Daniela Mack delivered a superb follow-up to her star turn in last season’s Barber of Seville, delivering athletic, perfectly tuned coloratura and letting the audience feel viscerally the depth of the character’s ardor and pain,” wrote Joshua Kosman, San Francisco Chronicle.

“Carmen’s Seguidilla in the first act has in recent times become the vehicle for the singer to convey a maximum of sensuality. Daniela Mack matches a bounty of rounded curves with her sultry mezzo voice, dark enough to be rebellious yet bright enough to keep the character constantly intriguing. One can easily believe her seducing Don Jose into abandoning all sense of duty. No one will be able to claim this isn’t the “real Carmen” in either voice or appearance,” stated D.S. Crafts, Albuquerque Journal, on June 28, 2014 for her title role in Carmen at the Santa Fe Opera.

“Argentinian Daniela Mack might have scored highest on points: a purringly elegant BMW of a singer, with perfect legato in Gounod’s O ma lyre . . . I would deem her the

finished article,” wrote Rupert Christiansen in The Telegraph.

Mezzo-soprano Daniela Mack has been acclaimed for her “caramel timbre, flickering vibrato, and crisp articulation” (Opernwelt) as she “hurls fast notes like a Teresa Berganza or a Frederica von Stade” (San Francisco Chronicle). Ms. Mack was recently a finalist in the 2013 BBC Cardiff Singer of the World Competition.

In the upcoming 2014-15 season, Ms. Mack returns to San Francisco Opera as Rosmira in Handel’s Partenope in a production by Christopher Alden and to Opera Theatre of Saint Louis as Rosina in a new production of The Barber of Seville. She will also be heard with the Los Angeles Philharmonic in Beethoven’s Symphony No. 9, with the Washington Chorus in Beethoven’s Missa solemnis, with the Sydney Symphony in Canteloube’s Chants d’Auvergne and Falla’s Siete canciones populares españolas. Ms. Mack will also make her New York concert debut with the Collegiate Chorale as Joacim in Handel’s Susanna at Town Hall. In the summer of 2015, she debuts at the Saito Kinen Festival in Berlioz’s Béatrice et Bénédict under Seiji Ozawa. Future seasons will see her at the Metropolitan Opera, Royal Opera House-Covent Garden, San Francisco Opera, Arizona Opera, and Fort Worth Opera, as well as with the Boston Symphony Orchestra and Orchestre de la Suisse Romande.

In the 2013-14 season, Ms. Mack returned to San Francisco Opera as Rosina in Il barbiere di Siviglia. She debuted at the Lyric Opera of Chicago as the Kitchen Boy in David McVicar’s production of Rusalka conducted by Andrew Davis and returned to Madison Opera as Sister Helen Prejean in Dead Man Walking. She was also heard in concert with the Madison Symphony Orchestra in Mozart’s Requiem. In the summer of 2014 she made an important role and company debut: the title role in Carmen at The Santa Fe Opera in a new production by Stephen Lawless.

In the 2012-13 season, Ms. Mack made an acclaimed debut at the English National Opera in a new production of Julius Caesar as Sesto under Baroque specialist Christan Curnyn. She also debuted at Théâtre du Capitole in Toulouse as Nancy in Albert Herring, Washington National Opera as the Madrigal Singer in Manon Lescaut, and Lyric Opera of Baltimore in an all-Rossini concert.


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Boston Baroque 2015-2016 Daniela Mack

LEAH WOOL - Mezzo Soprano, as Holofernes - Leah Wool returns to Boston Baroque after her performances as Minerva in the production and recording of Monteverdi’s Il ritorno d’Ulisse in patria in 2014. Ms. Wool has been hailed by Opera News as “among the more distinctive and accomplished artists of her generation, with a “voice of truly beautiful timbre."

The 2014-2015 season brings anticipated returns to two companies: the San Francisco Symphony, for Handel’s Messiah, conducted by Jane Glover, and the Utah Opera, for Dorabella in Così fan tutte. Future seasons include appearances with Boston Baroque and the Nashville Symphony.

Leah Wool’s 2013-2014 season included a return to Boston Baroque as Minerva in Monteverdi’s Il ritorno d’Ulisse in patria, Beethoven’s Ninth Symphony with the Wiener KammerOrchester under Mark Laycock and a début with the Milwaukee Symphony Orchestra for Handel’s Messiah.

Her 2012-2013 season brought appearances with both Nashville Opera and Knoxville Opera as Angelina in La Cenerentola; Sacramento Opera and Piedmont Opera as Rosina in Il barbiere di Siviglia; and she bowed with the Utah Symphony at Deer Valley Music Festival.

In the 2011-2012 season, Leah Wool returned to the San Francisco Symphony as the second mezzo-soprano in Debussy’s The Martyrdom of St. Sebastien, bowed in Glass’ Kepler and in concert with Spoleto Festival USA, appeared with Gloria Musicae for Haydn’s Seven Last Words of Christ and sang Handel’s Messiah with both the Kansas City Symphony and the Cincinnati Symphony.

Her 2010-2011 season also included returns to Gotham Chamber Opera as the title role in Montsalvatge’s El gato con botas and Utah Opera as Hänsel in Hänsel und Gretel, Rosina in Il barbiere di Siviglia with Opéra Louisiane and the Mother in Amahl and the Night Visitors with The Little Orchestra Society at Avery Fisher Hall. On the concert stage, she returned to Avery Fisher Hall in Copland’s In the Beginning and Beethoven’s Ninth Symphony, debuted with the San Francisco Symphony for the Duruflé Requiem and sang the roles of Dido and also the Sorceress in concert performances of Dido and Aeneas with the Portland Baroque Orchestra and the Oregon Bach Festival.

In the 2009-2010 season, she sang Hänsel with Kentucky Opera, Rosina in Il barbiere di Siviglia with Knoxville Opera and added three roles to her repertoire: the title role in Handel’s Amadigi di Gaula with Boston Baroque, Isabella in L’italiana in Algeri with Utah Opera and Betty in Flora at the Spoleto Festival USA. On the concert stage, she performed Händel’s Messiah with the Utah Symphony and the Rochester Chamber Orchestra and Rossini’s Petite Messe Solennelle with the Gloria Musicae.

In 2008-2009, Ms. Wool sang the title role in La Cenerentola with Orlando Opera, Meg in Little Women with Syracuse Opera, Amastre in Xerxes with Boston Baroque, and returned to the Metropolitan Opera to cover Myrtale in Thaïs. In the summer of 2009, Ms. Wool made her debut with Glimmerglass Opera as the Secretary in Menotti’s The Consul.

In previous seasons, Ms. Wool appeared at the Metropolitan Opera in performances of the Second Bridesmaid in Le Nozze di Figaro and Marshal Murat’s Adjutant in War and Peace, bowed as Angelina in La Cenerentola with both Opera New Jersey (role début) and Opera Fairbanks and joined fellow Yale Opera alumni in concert at Weill Recital Hall as part of the inaugural “Yale at Carnegie” series.


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Boston Baroque 2015-2016 Leah Wool

AMANDA FORSYTHE, soprano as Vagaus - Amanda Forsythe returns after her performance of Poppea in Agrippina in Boston Baroque's 2014-15 season.

Amanda Forsythe has been praised by Opera News for her "light and luster" and "wonderful agility and silvery top notes." In August 2007, Ms. Forsythe made her European debut, singing Corinna in Il Viaggio a Reims at the Rossini Festival in Pesaro. According to the United Kingdom publication The Stage, “Amanda Forsythe, the outstanding Corinna, [was] technically in command of the role - she delivered ‘All’ombra ammena’ flawlessly with every run in place, the legato lines seamless, the vocal line expressively shaped in support of the text. It was perfection.”

Following her success in Pesaro, she was immediately engaged at the Grand Théâtre de Genève as Dalinda in Handel’s Ariodante, where she was proclaimed “the discovery of the evening” by Financial Times. She reprised this role in January 2008 at the Bayerische Staatsoper in Munich.

She returned to Pesaro in 2008 as Rosalia in Rossini’s L’Equivoco Stravagante and also performed in concert

with mezzo-soprano Joyce Didonato in duets from Bellini’s I Capuleti e i Montecchi. Also in the 2007-2008 season, Ms. Forsythe made debuts with The Calgary Philharmonic (Golijov’s Ainadamar), L’Orquesta Sinfonica Nacional de Mexico (Mahler 2) and Gran Teatro La Fenice (Rossini arias).

In the 2010-2011 season, she returned to Covent Garden as Manto in a new production of Steffani’s Niobe, conducted by Thomas Hengelbrock and directed by Lukas Hemleb. The production was revived in December 2011 at the Grand Théâtre de Luxembourg. Also in the 2010-2011 season, she debuted with Opera d’Angers-Nantes as Nannetta in Verdi’s Falstaff, returned to The Boston Early Music Festival for the title role in Steffani’s Niobe and to Boston Baroque for Rameau's Les Indes Galantes.

Ms. Forsythe began the 2011-2012 season with a recording of Haydn’s Creation with Boston Baroque for Linn records. She gave birth to her second son in November 2011, performed arias with The Handel and Haydn Society in March 2012 and made her Seattle debut in Handel’s Il Trionfo del Tempo with Pacific Musicworks. She returned to Covent Garden in the spring for Verdi’s Falstaff. The new production was directed by Robert Carsen and conducted by Daniele Gatti; Gramophone praised her Nannetta as “meltingly beautiful.”

The 2012-2013 season began with a performance and recording of Handel’s Orlando with Vancouver Early Music. Other performances included Handel’s Partenope, Apollo e Dafne, Teseo and Almira with Boston Baroque, Pacific Musicworks, Philharmonia Baroque and the Boston Early Music Festival, as well as appearances with Mercury Baroque and Apollo's Fire.


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Boston Baroque 2015-2016 Amanda Forsythe

SONJA DUTOIT TENGBLAD, soprano - as Abra and Ozias - Sonja Tengblad returns to perform with Boston Baroque following her performances as Giunone and La Fortuna in the 2013-2014 season’s performances and recording of Il Ritorno d'Ulisse in Patria.

Praised by the Boston Globe for her "crystalline tone and graceful musicality", soprano Sonja DuToit Tengblad is a versatile performer with credits spanning the Renaissance era through the most current composers of our time. Recent highlights include Cupid in Purcell’s King Arthur with the Handel and Haydn Society, Knussen’s Symphony No. 2 with the Boston Modern Orchestra Project, Mozart's Le Nozze di Figaro as Susanna, and her Carnegie Hall and Lincoln Center debuts with the New York City Chamber Orchestra. Upcoming solo debuts include Messiah with the New Bedford Symphony and Carmina Burana with the Austin Symphony Orchestra.

A lover of new music, Ms. Tengblad has premiered many works and roles. She recently performed in the Boston premiere of Kati Agocs' Vessel for three solo voices and chamber ensemble with the Boston Modern Orchestra Project and joined BMOP again as the soprano soloist for Oliver Knussen's Symphony No. 2 last spring. She also premiered the role of Maria in Diego Luzuriaga's El Niño

de los Andes with VocalEssence of Minnesota and was the soprano soloist for the American premiere of Siegfried Matthus' Te Deum at the American Guild of Organists' National Convention in 2008. A highlight for Ms. Tengblad was appearing in a concert celebrating the 80th birthday of composer Dominic Argento where the Minnesota Star Tribune reported her to have given "the most affective performance of the evening."

An active ensemble singer, Ms. Tengblad performs with the 5-time Grammy®-nominated ensemble Conspirare out of Austin, Texas; the Yale Choral Artists, the Oregon Bach Festival; Vox Humana out of Dallas, Texas; and Boston’s Blue Heron, Emmanuel Music, the Lorelei Ensemble and the Handel and Haydn Society.


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Boston Baroque 2015-2016 Sonja Dutoit Tengblad

Frideric Handel: The Messiah Artist Bios2015 - 2016 season

Performances: Friday and Saturday, December 12 & 13, 2015


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JEANINE DE BIQUE - soprano - Jeanine De Bique makes her Boston Baroque debut this season.

Recognized as an artist of “dramatic presence and versatility” (Washington Post), Trinidadian soprano Jeanine De Bique’s luscious tone and compelling stage presence have led to accolades around the world. Her performance at the Isabella Stewart Gardner Museum in Boston was hailed by the Boston Musical Intelligencer as “a moment of enchantment that one wished didn’t have to end. Particularly notable were De Bique’s ravishing messa de voce and gorgeously floated pianissimo,” calling the performance “jaw-dropping.” Her engagements in 2014-15 currently include singing in recital for Cincinnati’s Matinee Musicale and in Canada at the Isabel Bader Centre for the Performing Arts; her debut with Theater Heidelberg as Climene in Jommelli’s Fetonte; and the role of Pearl in Gordon’s Morning Star in her Cincinnati Opera debut.

She has won many prestigious international awards, including the Arleen Auger Prize at the Hertogenbosch International Vocal Competition (Netherlands), Third Prize in the Viotti International Music Competition (Italy), the Borse di Studio Prize at the International Competition for Young Opera Singers (Italy), and the Gerda Lissner Vocal Competition (New York). She was a finalist and a study

grant award recipient of the 2011 Metropolitan Opera National Council Auditions, and received a study grant from the Licia Albanese-Puccini Foundation. Winner of the 2008-09 Young Concert Artists International Auditions and the Paul A. Fish Memorial First Prize, Ms. De Bique made her recital debuts in the YCA Series at Merkin Concert Hall in New York and the Kennedy Center in Washington, D.C.

Jeanine De Bique began her 2013-14 season with her debut as Juliette in Romeo et Juliette with the St. Petersburg Opera, Florida. She then sang as soprano soloist in Messiah with Atlanta Symphony Orchestra, and debuted as Clara in Porgy and Bess with the Royal Danish Opera. Other season highlights include performances of “Exultate Jubilate” with the Sinfonia Rotterdam at the Concertgebouw in Amsterdam, performances with the North Netherlands Orchestra in the Netherlands, a recital in Washington DC at the National Museum for Women in the Arts, and singing as soloist in Danielpour’s A Woman’s Life in her debut with the Rochester Philharmonic. In summer 2014 she debuted as Sister Rose in Jake Heggie’s Dead Man Walking with Central City Opera.

During recent seasons, Ms. De Bique was a member of the Vienna State Opera House Ensemble where she appeared as Gianetta in L’elisir d’amore, Barbarina in Le nozze di Figaro, Kate Pinkerton in Madama Butterfly, Eine Modistin in Der Rosenkavalier, and Ada in Wagner’s Die Feen. She made her debut as Barbarina in Le nozze di Figaro with L’Opéra et Orchestre de Montpellier, France. In April 2013 she was presented in recital at Merkin Hall, New York in the Young Concert Artist, Inc. Series and at the Trinidad and Tobago Embassy with pianist Christopher Cano. As Artist-in-Residence with the Basel Opera in Switzerland during the 2009-10 season, Ms. De Bique sang Sophie in Werther. She has sung the title role in Monteverdi’s L’incoronazione di Poppea and La Princesse in Ravel’s L’enfant et les sortileges with the Chautauqua Music Program and has toured with the Russian Philharmonic as Clara in Gershwin’s Porgy and Bess in Russia, Poland, and Greece.


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Boston Baroque 2015-2016 Jeanine de Bique

CHRISTOPHER LOWREY, countertenor - Christopher Lowrey returns to Boston Baroque after his 2014-2015 season performance in St. John Passion.

Christopher Lowrey, originally from the United States, holds degrees with distinction from Brown University, the University of Cambridge, where he sang with the choir of Trinity College, and the Royal College of Music International Opera School. He is a winner of the 2013-14 Sullivan Foundation Award, the London Handel Society’s Michael Oliver Prize at the 2010 Handel Singing Competition, and the Rhode Island chapter of the 2005 National Association of Teachers of Singing competition. He was a grand finalist in the 2014 Metropolitan Opera National Council Auditions as well as a semi-finalist in 2013, a finalist in the 2008 London Bach Society Competition, as well as the 2006 Fulbright Scholarship competition. He has studied with Russell Smythe, Derek Lee Ragin, Ashley Stafford, and Pierre Massé.

Christopher has sung for such distinguished conductors as Laurence Cummings, Stephen Layton, Masaaki Suzuki, Christian Curnyn, Martin Pearlman, Richard Egarr, Leonardo García-Alarcón, and Paul Agnew, with a wide range of companies including the Academy of Ancient Music, Boston Baroque, Opéra Royal de Versailles, La Fenice, Aix-en-Provence Festival, Royal Scottish National

Orchestra, Melbourne Symphony Orchestra, Göttingen Handel Festival, Ambronay Festival, Cappella Mediterranea, Auckland Philharmonia Orchestra, Orquestra Barroca da Casa da Música, London Handel Festival, Early Opera Company, La Nuova Musica, and Sablé-sur-Sarthe Festival.

2014-2015 performances include the roles of Pastore and Speranza in Orfeo by Monteverdi in a Royal Opera House/Roundhouse collaboration, Bach’s St John Passion with Boston Baroque, a revival of Gernando Faramondo for the Hobart Baroque Festival in Brisbane, Australia, Tamerlano in Vivaldi’s Bajazet with Pinchgut Opera in Sydney, Handel’s Saul (David, cover) with the Glyndebourne Festival and Britten's A Midsummer Night’s Dream at the Grand Théâtre de Genève.

His recent roles include Gernando in Handel's Faramondo at the Göttingen Festival, L’humana fragilità in Monteverdi Il ritorno d’Ulisse in Patria with Boston Baroque, Discordia/Euripilo/Polluce in the modern premiere of Cavalli’s Elena at the Aix-en-Provence Festival (Montpellier, Versailles, Nantes, Angers, and Rennes) Pastore in Monteverdi Orfeo with the Academy of Ancient Music at the Barbican Centre, Joacim in Handel’s Susanna for the Iford Festival and Creonte in the modern premiere of L’Ippolito by Almeida at the Casa da Música.

Recent concert appearances include Bach's B Minor Mass with the Melbourne Symphony Orchestra and St. John Passion with the Auckland Philharmonia Orchestra, Handel's Israel in Egypt with the Holst Singers at St. John’s Smith Square, a concert of Dowland and contemporary composers for the Spitalfields Music Festival with the City of London Sinfonia, Bach's Christmas Oratorio at Cadogan Hall, Messiah with the Royal National Scottish Orchestra and Handel's Il trionfo del tempo e del disinganno with La Nuova Musica.

His recordings include Handel's Faramondo (Gernando) on the Accent label, Monteverdi's Il ritorna d’Ulisse in Patria (L’humana fragilità) on Linn Records, Handel and Vivaldi Dixit Dominus on the Harmonia Mundi label and the Bernstein Missa Brevis on Hyperion, as well as an album of Handel Arias for the EMI Emerging Artists Series.


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Boston Baroque 2015-2016 Christopher Lowrey

THOMAS COOLEY, tenor - Thomas Cooley returns to perform with Boston Baroque after his performance in Monteverdi's Vespers of 1610 in the 2014 - 2015 season.

Mr. Cooley has consistently been praised for his great versatility, expressiveness and virtuosity as a singer. His voice is equally at home on the concert stage and in the opera house. His repertoire ranges across more than four centuries, encompassing the early masters such as Monteverdi, Purcell, Handel, Bach, Mozart and Haydn, as well as works by Romantic, 20th-century and contemporary composers including Beethoven, Berlioz, Mendelssohn, Mahler, Elgar, Stravinsky, Britten, Henze and Rihm.

Thomas Cooley believes firmly in communicating with the audience using the text as a vehicle to convey the emotions of the music at hand. This relationship to the text and commitment to the emotional depth of the music make Thomas Cooley a widely-respected and sought after performer. Possessing a lyric tenor voice of great flexibility, dynamic range, warmth and precision, he has appeared on an international level with such conductors as Helmuth Rilling, Donald Runnicles, Osmo Vänskä, Eji Oue, Michael Tilson-Thomas, Wolfgang Sawallisch, Nicholas McGegan, Robert Spano, David Robertson, Carlo Rizzi, Franz Welser-Möst, Manfred Honneck,

Michael Schønwandt, Gil Shohat, and Kryzstof Penderecki.

His repertoire on the concert stage includes works such as Beethoven's Missa Solemnis with the Atlanta Symphony, Berlioz' Nuits d'été and L'enfance du Christ as well as Haydn's Seasons with the St. Paul Chamber Orchestra, Berlioz' Requiem and Bach's St. Matthew Passion at Carnegie Hall with the Orchestra of St. Luke's, Stravinsky's Les Noces for the St. Louis Symphony, Handel's Messiah with Houston Symphony, Mendelssohn's Lobgesang with the National Arts Centre Orchestra in Ottawa, Honneger's King David and Handel’s Solomon for the Netherlands Radio in Utrecht, L’allegro and Acis in Acis and Galatea with Music of the Baroque in Chicago, Mozart's Requiem in Amsterdam's Concertgebouw, Elgar's Dream of Gerontius with the Berliner Singakademie, Britten's War Requiem with the Munich Bach Choir, Bernstein's Candide with the Charleston Symphony and Penderecki's Credo with the SWR Orchestra in Berlin. Cooley is frequently invited to perform in Beethoven's Ninth Symphony, a role which has taken him to Singapore, Japan, Taiwan, Germany, Italy, Spain and throughout the United States, most recently at the Oregon Bach Festival and with the Alabama and Kansas City Symphonies.

His sensitive and intelligent sense of style also make Thomas Cooley an internationally sought after performer of Baroque music. He is a well-known interpreter of the works of Bach and Handel, most especially in the role of the Evangelist in Bach's Passions and in the great oratorios of Handel. In the realm of Baroque music he has performed with renowned conductors such as, Andrea Marcon, Harry Christophers, Helmuth Rilling, Kenneth Montgomery, Jane Glover, Paul Goodwin, Bruno Weil and Kenneth Slowik, with whom he recorded the Evangelist role in the St. Matthew Passion last season at the Oberlin Baroque Performance Institute.

One reviewer wrote “Thomas Cooley . . . brought to the taxing part of the Evangelist a lyrical tenor voice, crisp German diction, and a remarkable control of nuance and dynamic range. The subtle shading he would bring to a phrase such as “weinete bitterlich” was breathtaking . . .”


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Boston Baroque 2015-2016 Thomas Cooley

DASHON BURTON, bass-baritone - Dashon Burton returns to perform with Boston Baroque following his performance in Handel's Messiah in December 2014.

Praised for his "nobility and rich tone," by The New York Times and his "enormous, thrilling voice seemingly capable . . . [of] raising the dead" by The Wall Street Journal, bass-baritone Dashon Burton began 2014/15 singing in the new St. Mark's Passion at the Oregon Bach Festival, followed by a month of performances singing recitals and the role of Jesus in the St. Matthew Passion at the Carmel Bach Festival. This season, he returns to the Bach Choir of Bethlehem for recitals, cantatas and festival performances, is a soloist in Bach's Mass in B minor at Alice Tully Hall with the American Classical Orchestra and in the Mozart Requiem during a residency at Bowdoin. He returns to the Philharmonia Baroque for performances of Vivaldi's Dixit Dominus and the Zelenka Mass with Nicholas McGegan and sings Messiah in Boston and Cincinnati. Burton takes on the role of Jupiter in Les Talens Lyriques' production of Castor and Pollux in France and sings Bach Cantata No. 82, Ich habe Genug, with Seraphic Fire in Miami.

In recent seasons, Dashon debuted with the Cleveland Orchestra in Janacek’s The Cunning Little Vixen led by Franz Welser-Möst; also with Boston's Handel and Haydn

Society in their production of Samson. He has toured Europe in the St. John Passion with Christoph Pregardien's Le Concert de Lorraine and has sung the role of Jesus in the St. Matthew Passion with the Charlotte Symphony, on tour in the Netherlands, at the Carmel Bach Festival and in New York and Italy with Maasaki Suzuki and the Yale Schola Cantorum. At Carnegie Hall, Dashon is a regular guest in Messiah performances and sang in Zankel Hall at Carnegie in Arvo Pärt’s Passion with Ensemble ACJW. Among his other turns with the Bach Choir of Bethlehem, Dashon sang the title role of Elijah with them at home in Pennsylvania, and at the Strathmore Center in Bethesda, Maryland.

Dashon Burton brought home a 2nd prize (no 1st prizes awarded) from the 2012 ARD International Music Competition in Munich, plus the first prize in Oratorio from the 49th International Vocal Competition in ‘s-Hertogenbosch, the Netherlands. These awards follow his First Place wins in both the 2012 Oratorio Society of New York's Competition and the Bach Choir of Bethlehem's Competition for Young American Singers.

Burton appears frequently with Trinity Church Wall Street and music director Julian Wachner, with whom he has been soloist in Fauré's Requiem, in Bach’s St. John Passion and Handel’s Messiah at Lincoln Center’s Alice Tully Hall. The New York Times wrote, “the bass-baritone Dashon Burton . . . is possessed of a clarion D that served him well in ‘The trumpet shall sound.’ ”

Mr. Burton began his professional studies at Case Western Reserve University and graduated from the Oberlin College Conservatory of Music. Immediately upon graduation, he was invited to join Cantus, a professional men's classical vocal ensemble based in Minneapolis and known for its concerts and collaborations with renowned organizations and artists such as the Saint Paul Chamber Orchestra, the Minnesota Orchestra, the Boston Pops, James Sewell Ballet and Bobby McFerrin.

After his tenure with Cantus ended in 2009, Burton entered Yale University's Institute of Sacred Music, where he studied vocal literature including Monteverdi's Vespers of 1610, Bach's St. Matthew Passion, and Mendelssohn's Elijah under tenor James Taylor.


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Boston Baroque 2015-2016 Dashon Burton

Antonio Vivaldi: The Four Seasons2015 - 2016 seasonPerformances: Thursday, December 31, 2015 and Friday, January 1, 2016


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CHRISTINA DAY MARTINSON, concertmaster, Boston Baroque - Born in Saskatchewan, Canada, baroque violinist Christina Day Martinson has twice been a National Finalist and prize-winner in the Canadian Music Competition. She has performed solo concertos with Boston Baroque, Tempesta di Mare, the UNICAMP Symphony Orchestra in Brazil, the NEC Bach Ensemble and the Symphony Orkest Mozart in Amsterdam. She is also the recipient of the Netherland-America Foundation Grant and Frank Huntington Beebe Award.

Ms. Martinson serves as the concertmaster for Boston Baroque, is a tenured member of the Handel and Haydn Society and recently served as concertmaster under Sir Roger Norrington. She was principal second violin of Philadelphia's baroque orchestra Tempeste di Mare from 2003 - 2006 and she is also a member of the award-winning chamber ensemble Musicians of the Old Post Road.

Ms. Martinson has been featured twice on WGBH radio's Classics in the Morning with Cathy Fuller, performing Heinrich Biber's Mystery Sonatas with harpsichordist Martin Pearlman. She has given chamber music recitals in Jordan Hall as well as a nationally televised chamber concert in Japan's Ishihara Hall in June 2006. In March 2008, Ms. Martinson performed all of J.S. Bach's

Brandenburg Concertos with Joshua Rifkin's Bach Ensemble at the Turingen Bachwonen Festival in Germany. She also performed Vivaldi's Four Seasons with Boston Baroque and in 2009, recorded this masterwork with Boston Baroque for Telarc Records.


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Boston Baroque 2015-2016 Christina Day Martinson

Ludwig van Beethoven: Piano Concerto No. 2 in B-flat major, Op. 19

Ah! Perfido, Op. 65Symphony No. 5Franz Joseph Haydn: Scena de Berenice

Artist Bios2015 - 2016 season

Performances: Friday and Saturday, March 4 & 5, 2016


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KRISTIAN BEZUIDENHOUT, fortepiano - Kristian Bezuidenhout makes his Boston Baroque debut this season.

Born in South Africa in 1979, he began his studies in Australia, completed them at the Eastman School of Music and now lives in London. After initial training as a modern pianist with Rebecca Penneys, he explored early keyboards, studying harpsichord with Arthur Haas, fortepiano with Malcolm Bilson and continuo playing and performance practice with Paul O’Dette. Bezuidenhout first gained international recognition at the age of 21 after winning the prestigious first prize as well as the audience prize in the Bruges Fortepiano Competition.

Bezuidenhout is a frequent guest artist with the world’s leading ensembles including Freiburg Baroque Orchestra, Orchestre des Champs Elysées, Royal Concertgebouw Orchestra, Concerto Köln, Chamber Orchestra of Europe, Netherlands Radio Philharmonic Orchestra and Collegium Vocale Gent, in many instances assuming the role of guest director. He has performed with celebrated artists including John Eliot Gardiner, Philippe Herreweghe, Frans Brüggen, Trevor Pinnock, Christopher Hogwood, Pieter Wispelwey, Daniel Hope, Jean-Guihen Queyras, Isabelle Faust, Viktoria Mullova, Carolyn Sampson and Mark Padmore.

Since 2009, Bezuidenhout has embarked on a long-term recording relationship with Harmonia Mundi. Recordings include Mozart Violin Sonatas with Petra Müllejans, and Volumes 1-6 of the complete keyboard music of Mozart. Volume 1 was awarded a Diapason Découverte and Caecilia Prize and Volume 3 was recently awarded the German Preis der deutschen Schallplattenkritik. Other projects for Harmonia Mundi include Mendelssohn piano concertos with the Freiburg Baroque Orchestra and Schumann's Dichterliebe with Mark Padmore; both recordings won the Edison Award. His recording of Beethoven violin sonatas with Viktoria Mullova (ONYX label) won an ICMA and an ECHO Klassik award for the best chamber music album of 2011. In 2013, Bezuidenhout was awarded the ECHO Klassik Award for Concerto Recording of the Year (Mozart Concertos with the Freiburg Baroque Orchestra) and nominated as Gramophone Magazine’s Artist of the Year.

Recent concerts include appearances with the Mozarteum Orchester Salzburg, Freiburg Baroque Orchestra, Rotterdam Philharmonic Orchestra and in 2014/15 he performs with Seattle Symphony, Chicago Symphony, Concertgebouworkest, Berner Symphonieorchester, English Concert, Il Giardino Armonico and returns to Rotterdam Philharmonic. In recital he performs in New York, London, Wroklaw, Salzburg, Barcelona and Frankfurt, among others. in Flora at the Spoleto Festival USA. On the concert stage, she performed Händel’s Messiah with the Utah Symphony and the Rochester Chamber Orchestra, and Rossini’s Petite Messe Solennelle with the Gloria Musicae.


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Boston Baroque 2015-2016 Kristian Bezuidenhout

ANA MARIA LABIN, soprano - Ana Maria Labin makes her Boston Baroque debut this season.

Romanian born soprano Ana Maria Labin grew up in Switzerland. During her studies she won First Prize at the inaugural Swiss competition, Concours Ernst Haefliger and had her debut at the Scala di Milano as Valencienne in Die lustige Witwe under the baton of Asher Fish and the staging of Pier Luigi Pizzi.

Recently she has been invited to sing at the renowned New Years Eve concert at the Semperoper Dresden under Christian Thielemann. The concert has been broadcast live on TV and was released on CD/DVD with Deutsche Grammophon.

Her roles include Arminda in La Finta giardiniera at the Festival Aix-en-Provence, Luxemburg and Toulon, Contessa Cover in Nozze die Figaro in Glyndebourne, Klara in Haydns Die Welt auf dem Mond under Julia Jones, Héro in Berlioz’ Béatrice et Bénédict and Giulietta in Bellini’s I Capuleti ed i Montecchi with the Chelsea Opera Group. She sang Erste Dame in Die Zauberflöte at the Bayerische Staatsoper München, at Théâtre du Châtelet Paris under Lawrence Foster, Amsterdamer Oper and Opéra de Montpellier; Euridice in Gluck’s Orfeo ed Euridice in Zürich, Celia in Mozart’s

Lucio Silla, staged by Günter Krämer at the Mannheimer Mozartsommer under the baton of Dennis Russel Davies/Adam Fischer and Najad in Ariadne auf Naxos in Glyndebourne under Vladimir Jurowski. She made her debut at the Opéra de Paris Garnier singing Valencienne in Die lustige Witwe and moved on to sing Hanna Glawari in the same operetta recently.

Very devoted to the baroque repertoire, Ana Maria Labin has performed such roles as Armida in Robert Carsen’s production of Händel’s Rinaldo Glyndebourne on Tour under Laurence Cummings, Manto in Agostino Steffani’s Niobe, Regina di Tebe under Thomas Hengelbrock at the Schwetzingen Festival, the soprano part in Purcell’s King Arthur by Corinne and Gilles Bénizio (alias Shirley & Dino) under Hervé Niquet with Le Concert Spirituel at the Festival of Radio France in France and Japan, the title role of La Giuditta by Scarlatti alongside Michael Chance in Holland, Belinda in Purcell’s Dido and Aeneas at the Festival Retz and Galatea in Händel’s Acis and Galatea under Raymond Leppard with the English Chamber Orchestra.

Ana Maria Labin’s concert engagements have taken her to the Vienna Konzerthaus performing Haydn’s Il ritorno di Tobia, The Creation and The Seasons in the Congress Innsbruck, the Philharmonie in Luxembourg and the Haydn Festival in Eisenstadt with the Austro-Hungarian Haydn Philharmonic under Adam Fischer. Other concert engagements have included a tour to Italy and Turkey with the English Concert under Harry Bickett singing Vivaldi’s motet In furore iustissimae iras and arias from Handel’s Giulio Cesare and Rinaldo; La Baronessa Irene in Haydn’s La vera costanza under Andreas Spering at the Brühler Schlosskonzerte and Ino in Telemann’s Ino Kantate under Michael Schneider and La Stagione at the Kasseler Musiktage.

She performed Mozart airs and duets with the Mahler Chamber Orchestra under the baton of Antonello Manacorda at the newly built opera house in Bahrain.

The young soprano has also sung some creations and modern pieces such as La chevelure de Bérénice of Dominique Lemaître with the Orchestra Sinfonica Nazionale della RAI under Daniel Kawka; a song cycle by Richard Dubugnon under Alain Altinoglu at the Festival Présences Radio France, Beat Furrer under David Zinman and Luciano Berio’s Sequenza III at the Tonhalle Zürich.


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Boston Baroque 2015-2016 Ana Maria Labin

Wolfgang Amadeus Mozart: Die Zauberflöte (The Magic Flute) Artist Bios

2015 - 2016 seasonPerformances: Friday and Saturday, April 15 & 15, 201


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NICHOLAS PHAN, tenor as Tamino

Nicholas Phan returns to Boston Baroque after his 2014-2015 season's performance in Bach's St. John Passion.

Named one of National Public Radio’s Favorite New Artists of 2011, Nicholas Phan continues to distinguish himself as one of the most compelling young tenors appearing on the prestigious concert and opera stages of the world today.

Mr. Phan has appeared in concert with the New York Philharmonic, Cleveland Orchestra, Philadelphia Orchestra, San Francisco Symphony, Cincinnati Symphony, Los Angeles Chamber Orchestra, Alabama Symphony and the Lucerne Symphony. Other concert appearances this season include performances at Carnegie Hall, the National Arts Center in Ottawa and the Washington National Cathedral. He also performed with the Portland Opera as Fenton in Falstaff and made his debut at the Bolshoi in a concert performance of Handel’s Hercules.

Mr. Phan has appeared with many of the leading orchestras in the United States and Great Britain, including the BBC Symphony, Chicago Symphony,

Pittsburgh Symphony, San Francisco Symphony, Los Angeles Philharmonic, National Symphony Orchestra, Baltimore Symphony Orchestra, Atlanta Symphony, St. Louis Symphony, St. Paul Chamber Orchestra, Orchestra of St. Luke’s, Les Violons du Roy, English Chamber Orchestra and the Philadelphia Orchestra. He has also toured extensively throughout Europe with Il Complesso Barocco and appeared with the Edinburgh, Ravinia, Rheingau, Saint-Denis and Marlboro music festivals and at the BBC Proms. Among the conductors he has worked with are Harry Bicket, Pierre Boulez, James Conlon, Alan Curtis, Rafael Frühbeck de Burgos, Jane Glover, Manfred Honeck, Bernard Labadie, Nicholas McGegan, Zubin Mehta, John Nelson, Helmuth Rilling, David Robertson and Michael Tilson Thomas. In recital, he has been presented by Carnegie Hall, the Metropolitan Museum of Art in New York, the Philadelphia Chamber Music Society, Oberlin Conservatory of Music and the University of Chicago.

An avid proponent of vocal chamber music, he has collaborated with pianists Mitsuko Uchida, Richard Goode, Jeremy Denk, Cecile Licad and the principal horn player of the Philadelphia Orchestra, Jennifer Montone, among others. He is also the Artistic Director of the Collaborative Arts Institute of Chicago, a Chicago-based organization devoted to promoting the teaching, performance and development of the vocal chamber music repertoire.

Now considered one of the rising young stars of the opera world, Mr. Phan recently made his debut with the Seattle Opera as Count Almaviva in Il Barbiere di Siviglia. Other recent opera performances have included his debuts at the Glyndebourne Opera and the Maggio Musicale in Florence, as well as appearances with the New York City Opera, Los Angeles Opera, Houston Grand Opera, Glimmerglass Opera, Atlanta Opera, Deutsche Oper am Rhein in Düsseldorf, Chicago Opera Theater, Opéra de Lille and Frankfurt Opera. His growing repertoire includes the title roles in Acis and Galatea and Candide, Nemorino in L’elisir d’amore, Fenton in Falstaff, Tamino in Die Zauberflöte, Don Ottavio in Don Giovanni and Lurcanio in Ariodante.

Mr. Phan’s first solo album, Winter Words made many “Best of 2011” lists including those of the New York Times, The New Yorker, Time Out New York, The Boston Globe and the Toronto Star.


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Boston Baroque 2015-2016 Nicholas Phan

LEAH PARTRIDGE - Soprano, as Pamina.

Leah Partridge returns to Boston Baroque after her appearance in Beethoven's Ninth Symphony in season 2013-2014.

Ms. Partridge has received consistent praise worldwide for her compelling stage presence and intelligent interpretations of opera’s most beloved characters. Opera Magazine has praised her for her “clarity, accuracy and poise,” and the Detroit Free Press has hailed her for her “lovely presence and shining voice.” Since making her debut in 2003 as Lucia in Lucia di Lammermoor, Ms. Partridge has had a career full of remarkable milestones. Her Metropolitan Opera debut came in 2008 as the First Niece in Peter Grimes followed by a return engagement as La Charmeuse in Thaïs. Both roles were part of the MET’s Live in HD broadcasts and were released on DVD on EMI. In 2010, Ms. Partridge performed Marie in La fille du Regiment with The Metropolitan Opera to great acclaim as a last minute replacement and the performance was captured live on Sirius Satellite Radio.

Ms. Partridge began the 2010-2011 season with her debut at the Semper Oper in Dresden, Germany as Violetta in La Traviata. She returned to Florida Grand Opera to reprise the role of Roxane in David DiChiera's

Cyrano, a role she created for the 2007 World Premiere in Detroit. She also traveled to Eisenstadt, Austria where she performed with mezzo-soprano Elina Garanca in an outdoor concert with conductor Karel Mark Chichon. She performed a series of recitals of American Songs by Heggie, R.I. Gordan, Larsen, Corigliano and Michael Tilson Thomas and will make her first CD recording of these pieces for an anticipated release in 2012.

During the 2009-2010 season Partridge was heard as Adina in L’elisir d’amore with Atlanta Opera, returned to The Metropolitan Opera for productions of La fille du regiment, Il Barbiere di Siviglia and Hamlet and made her company debut to great acclaim as Violetta in La Traviata with The Opera Company of Philadelphia.

Ms. Partridge opened the 2008–2009 season at Deutsche Oper Berlin singing Gilda in Rigoletto and joined Washington Concert Opera to sing the title role in Maria Padilla, The Metropolitan Opera as La Charmeuse in Thaïs, Opera North as Rosina in Il Barbiere di Siviglia and Florida Grand Opera in the title role of Lakmé prompting Opera News to write “Partridge's bell song was a little bit of magic: patient and confident, the whole of it was imbued with an air of mystery, intriguing nuance and rubato.” In addition, she joined Marcello Giordani in a Superstar Series concert.

A highlight of the soprano’s 2007-2008 season included her debut with The Metropolitan Opera where she sang the First Niece in a new production of Britten’s Peter Grimes. In addition she joined Michigan Opera Theatre as Roxane in David DiChiera’s Cyrano for its World Premiere production and Florida Grand Opera as Cleopatra in Giulio Cesare. Concert appearances during the season included Mahler’s Symphony No. 4 with the Augusta Symphony Orchestra, Barber’s Knoxville: Summer of 1915 with the Macon Symphony Orchestra and a concert in Dresden, Germany.

A favorite among South Florida audiences, she has had a long relationship with the Florida Grand Opera performing such diverse roles as Violetta in La Traviata, Gilda in Rigoletto, Amina in La Sonnambula, Cleopatra in Giulio Cesare, the title role in Lakmé and Lucia in Lucia di Lammermoor. The Miami Herald praised her performance of Lucia as “a singular triumph” and the Sun-Sentinel wrote, “The charismatic singer has undeniable star quality . . . [her] precise high notes and subtle acting wedded pyrotechnics with dramatic truth in a way few artists can accomplish.”


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Boston Baroque 2015-2016 Leah Partridge

ANDREW GARLAND, baritone - as Papageno

Andrew Garland returns to Boston Baroque after the 2014-15 season's performances in Cimarosa's Il maestro di cappella on New Year's Eve and New Year's Day.

American baritone Andrew Garland has been praised for his “coloratura [which] bordered on the phenomenal as he dashed through the music’s intricacies with his warm baritone, offering plenty of elegance and glamour in his smooth acting.” His latest recording, Andrew Garland: American Portraits (2013) debuted at # 1 on Amazon.com. Recent highlights include his Carnegie Hall solo recital debut, as well as performances with Lyric Opera of San Antonio as Mercutio in Romeo et Juliette, Atlanta Opera as Schaunard in La Bohème, Arizona Opera as Ping in Turandot, and Boston Lyric Opera as Starveling in A Midsummer Nights Dream. He sang the title role in Don Giovanni with Opera New Jersey, Dancairo in Carmen with Boston Lyric Opera, Figaro in Il barbiere di Siviglia with Knoxville Opera, Hermann in Les contes d'Hoffmann with Boston Lyric Opera, and Dandini in La Cenerentola with Fort Worth Opera. Concert highlights include performances with the Atlanta Symphony, National Philharmonic, Dayton Philharmonic, Tucson Symphony, Delaware Symphony, New York Festival of

Song, and with the Washington Chorale at the Kennedy Center.

Saluted by The New York Times for having a "distinctively American presence" baritone Andrew Garland is known for his engaging performances, and particularly for his interpretations on the recital stage. His recent recital debut at Carnegie Hall, where he debuted several works by living American composers, was praised for his "grace, fervor and intelligence" in Seen And Heard International and for his "lean, fine-grained, vibrant baritone" in Opera News Online.

During the 2009 - 2010 season, Garland was heard as the title role in Don Giovanni with Opera New Jersey, Dancairo in Carmen with Boston Lyric Opera, and Figaro in Il barbiere di Siviglia with Knoxville Opera. Concert engagements during the season include Carmina Burana with the Quad Cities Symphony, Vaughan Williams' Dona Nobis Pacem with the Plymouth Philharmonic, and recitals in New York, Pennsylvania, Massachusetts and Montreal, among others.

Of important note is his recording, On the Other Shore, a disc of folk songs setting by Steven Mark Kohn on the Azica label. The disc has been praised for his "virile, luxuriantly warm and beautiful" baritone and for his "positive, confident attitude with a vibrant personality, subtle and boisterous as needed, that makes each song into a mini-drama or comic scene" in American Record Guide. 2009 also saw the release of his disc of gongs by Lee Hoiby entitled A Pocket of Time on the Naxos Label.

Recent highlights on the opera stage include Hermann in Les contes d'Hoffman, The Gamekeeper in Rusalka, and Schaunard in La Bohème all with Boston Lyric Opera. He stepped in with one day's notice as Dandini in La Cenerentola with Opera Company of Philadelphia, and also has sung the role with the Fort Worth Opera and Opera Company of North America. He made his debut with the Seattle Opera when he stepped in at the last minute for Nathan Gunn as Riolobo in Catàn's Florencia en el Amazonas, and returns to the prestigious company in 2013 to sing Schaunard and in 2015 for Harlekin in their production of Ariadne auf Naxos. He has sung Figaro in Il Barbiere di Siviglia with both Dayton Opera and Bob Jones University, and the role of Giuseppe in The Gondoliers with the Utah Symphony and Opera.


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Boston Baroque 2015-2016 Andrew Garland

MARY WILSON - soprano as Queen of the Night

Mary Wilson returns to Boston Baroque following her 2015 performance in Bach's St. John Passion.

Mary Wilson is acknowledged as one of today's most exciting young artists. Cultivating a wide-ranging career singing chamber music, oratorio and operatic repertoire, her “bright soprano seems to know no terrors, wrapping itself seductively around every phrase” wrote Dallas Morning News. She continues to receive critical acclaim from coast to coast: “The discovery was Mary Wilson, a fine lyric soprano with focused, lustrous tone and sterling enunciation,” said The Philadelphia Inquirer. “Her fast passages were flawless in intonation and seemingly easy in execution (the mark of a first-rate technique)” and “Her feel for the sound and meaning of words was impeccable; her mastery of Handel’s grand leaps and wide-ranging runs was total” wrote San Francisco Classical Voice.

Ms. Wilson began the 2009-2010 season singing the role of Oriana in Handel’s Amadigi di Gaula in a return to Boston Baroque, Beethoven’s Symphony No. 9 with the Dayton Philharmonic, Mahler’s Symphony No. 4 with the Buffalo Philharmonic, Hadyn’s Lord Nelson Mass with theKansas City Symphony, and Messiah with both the Detroit Symphony and the Cleveland Orchestra. She sings

Carmina Burana and Mozart’s Exsultate Jubilate with the Quad Cities Symphony, Bach’s B Minor Mass and Mozart’s Requiem with the Florida Bach Festival, Carmina Burana with the Boulder Philharmonic, Monteverdi’s Vespers of 1610 with Boston Baroque, Mozart’s Requiem with the Cedar Rapids Symphony, Bach’s St. John Passion with Musica Angelica. sings an alumni recital at St. Olaf College, and joins the American Bach Soloists for a concert of virtuosic solo cantatas by Handel and Vivaldi.

During the 2008 – 2009 season Ms. Wilson sang Gilda in Rigoletto with the Arizona Opera, debuted with Boston Baroque at the Casals Festival for Handel Gloria and Baroque arias, and sang Bach Cantata No. 51 and No. 191 at the Grand Rapids Bach Festival. She performed Carmina Burana with the Detroit Symphony for Leonard Slatkin’s inaugural performance as the new Music Director of the Orchestra, Hadyn’s Lord Nelson Mass with the Southwest Florida Symphony, Haydn’s Salve Regina and Fajer’s Missa de Los Angeles with Musica Angelica, and Handel’s Messiah with both the Charlotte Symphony and the University Musical Society in Ann Arbor, Michigan.

With the Iris Orchestra, Ms. Wilson sang Mozart’s Exultate Jubilate and a world premiere song cycle by Ned Rorem entitled Songs Old and New, for which she was praised: “The star of the evening was soprano Mary Wilson whose virtuoso performance infused the songs with crystalline beauty. Her expressive voice is perfectly suited to the Rorem works, bringing along warmth, whimsy and color.” (Go Memphis) With the Kansas City Symphony and Nicholas McGegan she sang a repeat concert of Mendelssohn Lobgesang and selections from Beethoven’s Leonore of which the Minneapolis Star Tribune said “Mary Wilson stole the scene as the soubrette Marzelline.” In addition, Ms. Wilson joined the Florida Bach Festival for Rossini’s Stabat Mater, Bach’s Easter Oratorio, and Brahm’s German Requiem, the Los Angeles Master Chorale for Mendelssohn’s Elijah, the Delaware Symphony Orchestra for Ravel’s Sheherazade, and with the American Bach Soloists she sang Pergolesi’s Stabat Mater and virtuoso Handel duets in celebration of their 20th Anniversary Season.


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Boston Baroque 2015-2016 Mary Wilson

GUSTAV ANDREASSEN, bass - as Sarastro

Gustav Andreassen returns to Boston Baroque after his appearance as Nettuno in Monteverdi's Il ritorno d'Ulisse in Patria in the spring of 2014.

Norwegian-American bass Gustav Andreassen has performed with major opera companies and orchestras throughout North American and Europe, to great acclaim. For his recent portrayal of Sparafucile in Rigoletto, Opera News stated: “The extraordinary potent bass of Gustav Andreassen was all black tone — sonorous, distinctive, with fine musicianship and dramatic flair.” In the 2013–2014 season Gustave will return to Toronto as Osmin in Die Entführung aus dem Serail with Opéra Atelier, will sing the Grand Inquisitor in Austin Lyric Opera’s Don Carlo.

Gustav Andreassen’s 2012–13 season engagements included singing as King in Aida with Cincinnati Opera and as soloist in Verdi’s Requiem with the Binghamton Philharmonic. In 2011–12 he sang as Ramfis in Aida with Opera Tampa, Nick Shadow in The Rake’s Progress with the Cincinnati Chamber Orchestra, and Samuel in Un Ballo in Maschera with New Orleans Opera. His 2010–11 season included singing Sparafucile in Rigoletto with Cincinnati Opera; the roles of Truffaldino in Ariadne auf Naxos, Nick Shadow in The Rake’s Progress, also Wotan

in an Opera Gala, “The Romance of the Ring,” all with Toledo Opera; and Verdi’s Requiem with both Opera Naples and the Alexandria Symphony Orchestra.

Recent highlights include Colline in La bohème with Portland Opera, also with Indianapolis Opera; Raimondo in Lucia di Lammermoor with Green Mountain Opera Festival; as soloist in Beethoven’s Symphony No. 9 with both the Fresno Philharmonic and Springfield Symphony orchestras; in Verdi’s Requiem with Rochester Philharmonic, also with the Louisville Orchestra; and as soloist at the Aspen Music Festival in Shostakovich’s Symphony No. 13, “Babi Yar.”

Other highlights include appearing as Leporello in Don Giovanni at Arizona Opera, Osmin in Die Entführung aus dem Serail with Opéra Atelier (Toronto), singing as soloist in Verdi’s Requiem with the Hartford Symphony Orchestra, in Mozart’s Requiem with the Atlanta Symphony, in an appearance with the South Dakota Chamber Orchestra in a vocal showcase concert through Sounds of South Dakota, a concert appearance as Prince Gremin in Eugene Onegin with the National Symphony Orchestra, the roles of Mercury and Ghost of Hector in Berlioz’s Les Troyens with the Boston Symphony Orchestra under James Levine at Tanglewood, and performances of Schoenberg’s Gurreliederat the Aspen Music Festival.


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Boston Baroque 2015-2016 Gustav Andreassen

SARA HEATON, soprano - as Papagena

Sara Heaton returns to Boston Baroque after her New Year's Eve and New Year's Day performances of Mozart arias in season 2014-15.

American soprano Sara Heaton, noted for her “gleaming lyricism” by Opera News Online and her “sweet, pure soprano” by the Chicago Tribune, is gaining recognition as a sensitive performer of both opera standards and new works. Of recent note, Sara won first prize in the Marie Kraja international singing competition in Albania. She had her American Opera Projects debut in Numinous City by Pete Wyer, and sang her first Nedda in Pagliacci with Symphony Pro Musica. Sara returned to Chicago Opera Theater to sing Lidochka in Shostakovich’s Moscow, Cheryomushki, and this summer covered Leila in The Pearl Fishers as a second-year Apprentice Artist with The Santa Fe Opera. Upcoming engagements include being featured in an opera gala concert with Symphony by the Sea, and singing Jenifer in Tippett’s Midsummer Marriage with Boston Modern Orchestra Project.

Sara had her professional debut as Despina in Così fan tutte with Boston Baroque. She has sung with Boston Lyric Opera, the American Repertory Theater, Opera Boston, Central City Opera, Boston Midsummer Opera,

Opera Providence, Opera North, and the New Philharmonia Orchestra. In the 2010-2011 season, Sara received critical acclaim for her performance of Miranda in the US premiere of Tod Machover’s Death and the Powers, praised for her “daunting power and agility in the stratospheric notes of her final scene,” and was singled out as giving “the finest performance of the evening.” With Santa Fe Opera, she was hailed “a standout” for her performance of Gilda in the apprentice scenes program.

Sara has received the Richard F. Gold Career Grant from the Shoshana Foundation, was a regional finalist in the Metropolitan Opera competition, and a finalist in the Giulio Gari Competition. She won 2nd place in the Young Patronesses of the Opera Competition, received an Encouragement Grant from the Schuyler Foundation for Career Bridges, and was a semi-finalist in the Competizione dell’Opera in Germany. She holds a Masters of Music degree from Boston University and a Bachelor of Arts in Anthropology from the University of Pennsylvania.


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Boston Baroque 2015-2016 Sara Heaton

SONJA DUTOIT TENGBLAD, soprano - as First Lady

Sonja Tengblad returns to perform with Boston Baroque following her performances as Giunone and La Fortuna in the 2013-2014 season’s performances and recording of Il Ritorno d'Ulisse in Patria.

Praised by the Boston Globe for her "crystalline tone and graceful musicality", soprano Sonja DuToit Tengblad is a versatile performer with credits spanning the Renaissance era through the most current composers of our time. Recent highlights include Cupid in Purcell’s King Arthur with the Handel and Haydn Society, Knussen’s Symphony No. 2 with the Boston Modern Orchestra Project, Mozart's Le Nozze di Figaro as Susanna, and her Carnegie Hall and Lincoln Center debuts with the New York City Chamber Orchestra. Upcoming solo debuts include Messiah with the New Bedford Symphony and Carmina Burana with the Austin Symphony Orchestra.

A lover of new music, Ms. Tengblad has premiered many works and roles. She recently performed in the Boston premiere of Kati Agocs' Vessel for three solo voices and chamber ensemble with the Boston Modern Orchestra Project and joined BMOP again as the soprano soloist for Oliver Knussen's Symphony No. 2 last spring. She also

premiered the role of Maria in Diego Luzuriaga's El Niño de los Andes with VocalEssence of Minnesota and was the soprano soloist for the American premiere of Siegfried Matthus' Te Deum at the American Guild of Organists' National Convention in 2008. A highlight for Ms. Tengblad was appearing in a concert celebrating the 80th birthday of composer Dominic Argento where the Minnesota Star Tribune reported her to have given "the most affective performance of the evening."

An active ensemble singer, Ms. Tengblad performs with the 5-time Grammy®-nominated ensemble Conspirare out of Austin, Texas; the Yale Choral Artists, the Oregon Bach Festival; Vox Humana out of Dallas, Texas; and Boston’s Blue Heron, Emmanuel Music, the Lorelei Ensemble and the Handel and Haydn Society.


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Boston Baroque 2015-2016 Sonja Dutoit Tengblad

MARA BONDE, soprano - as Second Lady

Soprano Mara Bonde has thrilled audiences in diverse venues throughout the United States and Europe with her electric stage presence and musical artistry. Her voice has been described as having “sweet purity of tone” by The Boston Herald and “ravishing” by The Boston Globe. Equally at home in both classical and popular styles, Mara is no stranger to the world of “symphony pops”. She has been the guest artist for “Holiday Pops” with the Boston Pops, the Naples Philharmonic, the Syracuse Symphony, the New Haven Symphony, and the Charlotte Symphony. She made her Boston Pops debut under the direction of Keith Lockhart in Brush up your Shakespeare, which was nationally televised on PBS’s Evening at Pops.

Mara made her debut with the Baton Rouge Symphony singing “Holiday Pops” in 2011 and returned for encore holiday performances in 2013. On the concert stage, she has sung with the Utah Symphony, the San Diego Symphony, the Stamford Symphony, the Ridgefield Symphony, the Nashua Symphony, the Handel & Haydn Society and Boston Baroque. Mara is a featured soloist on Robert Shaw’s Telarc recording Appear and Inspire. She performs and records regularly with Boston Musical

Theater (specializing in the “Great American Songbook”), both here and abroad and has toured with them in South Korea, Russia and Belgium. A very special recording project is the newly released Sound Spectrum on Navona Records, featuring Mara collaborating with her father, composer and pianist Allen Bonde. Mara’s recent opera debuts include Hanna in The Merry Widow with Imperial Symphony Orchestra; Adina in L’elisir d’amore with Sarasota Opera; and Echo in Ariadne auf Naxos with Boston Lyric Opera. She was seen as Kathie in “Remembering Romberg” at the Historic Asolo Theater with the Artist Series of Sarasota. She has also graced the stages of Opera Omaha, Glimmerglass Opera, Utah Opera, Light Opera Oklahoma, Opera Company of North Carolina, National Opera Company (Raleigh), and the Lake George Opera Festival, in works ranging from Mozart to Mollicone, and Sullivan to Sondheim. Mara was a National Semi-Finalist in the Metropolitan Opera National Council Auditions (First Place Winner Rocky Mountain Region) and the First Prize winner in the Bel Canto Vocal Scholarship Awards. Current engagements include a return to Boston Lyric Opera for Le vin herbé. Mara holds a Master of Music in vocal performance from Boston University where she was invited to join the Opera Institute. She earned a Bachelor of Arts in French from Mount Holyoke College, studied at the Sorbonne in Paris and at Tanglewood Music Center. She was a Fellow at the Aspen Music Festival and one of 12 singers selected to study at the Britten-Pears School in Aldeburgh, England, with Richard Bonynge and Joan Sutherland.


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Boston Baroque 2015-2016 Mara Bonde

EMILY MARVOSH, contralto - as Third Lady

Emily Marvosh makes her Boston Baroque debut.

American contralto Emily Marvosh has been gaining recognition for her “flexible technique and ripe color,” “sterling voice,” and “graceful allure.” Following her solo debut at Boston’s Symphony Hall in 2011, she has been a frequent soloist with the Handel and Haydn Society under the direction of Harry Christophers. Other recent solo appearances include the Charlotte Symphony (Messiah), Music Worcester (Beethoven’s Ninth Symphony), L’academie (Vivaldi’s Nisi Dominus), Back Bay Chorale (Bach Magnificat), the Brookline Symphony (Sea Pictures), the Boston Early Music Festival Fringe, the Chorus of Westerly (Dvořak Stabat Mater), the White Mountain Bach Festival (Vivaldi’s Salve Regina), Opera Boston (La Grande Duchesse de Gérolstein) and Boston Lyric Opera (Rusalka); she is often featured on the Marsh Chapel Choir Bach Cantata Series.

Awards include the prestigious Adams Fellowship at the Carmel Bach Festival (2013), the American Prize in the Oratorio and Art Song divisions (2013), and second place in the New England Regional NATSAA competition (2014).Her contributions to 21st century repertoire and performance include world premiere performances with

Juventas New Music and Intermezzo Chamber Opera, and in 2013, Miss Marvosh created the roles of Viviane and the Mother in the world premiere of Hugo Kauder’s Merlin with the Hugo Kauder Society. She is a founding member of the Lorelei Ensemble, which promotes new music for women. Of a recent Lorelei performance, one critic wrote, “Marvosh, whose stage presence was a joy to behold, offered a tone that had the velvety soulfulness of a cello . . . and lent a refreshing pious solemnity to this more joyful of Mass texts.”

A frequent recitalist and proud native of Michigan, she has created a chamber recital that celebrates the history and culture of her home state. The Michigan Recital Project features commissions by emerging composers and performances by fellow Michiganders. The recital, for which Miss Marvosh won a St. Botolph Club Foundation Emerging Artist Award, has ongoing performances across the country.

Upcoming solo engagements include the Tucson Symphony Orchestra (Mahler’s 3rd Symphony), Handel’s Messiah at Carnegie Hall, Chorus Pro Musica (Stravinsky’s Les Noces) and the Nashoba Valley Chorale (Beethoven’s Missa Solemnis).

Ensemble appearances in the past and upcoming seasons include the Oregon Bach Festival under the direction of Helmut Rilling, the Bachakademie Stuttgart, Portland Baroque Orchestra, Tucson Chamber Artists, Boston Camerata, the Skylark Chamber Ensemble, the Yale Choral Artists, and Cambridge Concentus.

A regular member of Miami-based Seraphic Fire, Miss Marvosh can be heard on their recent Grammy®-nominated recording of Brahms’s Ein Deutsches Requiem. She holds degrees from Central Michigan University and Boston University.


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Boston Baroque 2015-2016 Emily Marvosh

OWEN MCINTOSH, tenor - as Monostatos

Tenor Owen McIntosh returns to Boston Baroque following his performance in Il ritorno d'Ulisse in Patria in the spring of 2014.

A native of remote Northern California, Owen McIntosh has enjoyed a career of diverse musical endeavors. From reggae to heavy metal, opera to oratorio, his journey been unique and persistent. Heralded by critics as “stylistically impeccable,” “He sings with vocal energy and rhythmic bite” and his “strong yet sweet tenor voice” produces the “Clearest lines and most nuanced performances.”

His most recent performances include the title role in Charpentier’s David et Jonathas with Helios Opera, tenor soloist in Bach’s B Minor Mass with Tucson Chamber Artists and Tenor Soloist in Monteverdi’s Vespers of 1610 with Sound of Stowe. Past performances include the Evangelist in Telemann’s Passion of St. Luke and St. John with Boston University and Exsultemus, Comprimario soloist in Shostakovich’s The Nose with Opera Boston, and a Jordan Hall performance of Benjamin Britten’s Serenade for Tenor and Horn. Furthermore he was featured as Camille in the The Merry Widow with Townsend Opera, Dema in Cavalli’s L’Egisto with NEC, Robert in Hin und Zurück at the Kurt Weill Festival’s in

Dessau, Germany, Ferrando in Mozart’s Così fan tutte and Rinuncio in Puccini’s Gianni Schicchi with the North Star Opera Repertory Theater.

In addition to solo repertoire Mr. McIntosh is a member of various national chamber ensembles including Exsultemus, Boston Baroque, Blue Heron, Harvard Baroque Chamber Orchestra, Handel and Haydn Society, Emanuel Music, Artek Early Music, Tucson Chamber Artists, and Seraphic Fire.


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Boston Baroque 2015-2016 Owen McIntosh

STEFAN REED, tenor - as Armored Man 1

Stefan Reed is making his Boston Baroque debut.

Stefan Reed, originally from Glasgow, Virginia, is currently based in Jamaica Plain, Massachusetts. Mr. Reed received his Bachelor of Arts in music from George Mason University and while there he was awarded the Best Overall Performer Award at the National Association of Teachers of Singing Regional Competition held in South Carolina.

He completed his master’s degree in vocal performance at the New England Conservatory. Mr. Reed spent two summers as a fellow at the Tanglewood Music Festival, where he had the opportunity to work closely with such scholars and artists as Stefan Asbury, Phyllis Curtin, Kayo Iwama, James Levine, William Sharp, Lucy Shelton, Bright Sheng, and Dawn Upshaw.

Mr. Reed is currently performing as a tenor soloist with many organizations throughout the country. Recent engagements include several performances with the Handel & Haydn Society, including the Evangelist in Part V of Bach’s Christmas Oratorio and soloist for Bach’s Cantata 140 and Handel’s Israel in Egypt, as well as Purcell’s King Arthur with the Miami-based ensemble

Seraphic Fire and the Firebird Chamber Orchestra. Other solo performances include Rachmaninov’s Vespers and Schumann’s Paradise and the Peri with the Back Bay Chorale and numerous performances with the the Mount Vernon Symphony, Marsh Chapel Choir and Collegium, the Tanglewood Chamber Music Ensemble, and both the Boston and Maryland Masterworks Chorales.


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Boston Baroque 2015-2016 Stefan Reed

DANA WHITESIDE, baritone - as Armored Man 2

Dana Whiteside is making his Boston Baroque debut.

Baritone Dana Whiteside has appeared asn a soloist in numerous offerings of oratorio and orchestral works including the Boston premiere of Kurt Weill’s The Prophets from The Eternal Road and in Bach's Saint John Passion and Mass in B Minor and the Boston premiere of John Harbison’s Supper at Emaus with the Cantata Singers. In addition, he has appeared as a soloist in Brahms’ Ein Deutsches Requiem, Bach’s Christ lag in Todesbanden, and Handel’s Alexander’s Feast, Beethoven’s Ninth Symphony and Mass in C, Carl Orff’s Carmina Burana, Benjamin Britten’s Cantata Misericordium as well as Stravinsky’s Pulcinella, and Bach’s Christmas Oratorio and Cantata 82 (Ich habe genug) as well as the Boston premiere of John Harbison’s Winter’s Tale with the Boston Modern Orchestra.

An avid recitalist, Mr. Whiteside has offered a wide range of programs on themes inspired by the beauty of Venice, the writings of William Shakespeare and French cabaret. He has appeared on the Vox Humana Series and at Boston’s French Library/Société Française and with the Florestan Recital Project. He has performed at University

of Oregon and Boston University in Schumann’s Liederkreis, op. 39, Samuel Barber’s Despite & Still, Beethoven’s An die ferne Geliebte, John Musto’s Shadow of the Blues: Songs to Texts of Langston Hughes, Ernest Chausson’s Serres Chaudes and Aaron Copland’s Songs on Texts of Emily Dickinson.

Among the highlights of last season were his recital debut with Musicians of the Old Post Road, his performance as baritone aria soloist in Bach’s Saint Matthew Passion with Masterworks Chorale, the recital programs Milton’s Sweet Echo, Shakespeare’s Songs, and Venetian Melodies and the role of Count Carl Magnus in Stephen Sondheim’s A Little Night Music with Emmanuel Music. Upcoming appearances for 2014-2015 season include baritone soloist with the Cantata Singers in Cantata #195 “Dem Gerechten (For the Righteous) and in Handel’s Messiah with Worcester Music at Mechanics Hall as well as Ralph Vaughan Williams's A Sea Symphony with Manchester Choral Society & Orchestra, Carmina Burana with Andover Choral Society and Nashoba Valley Chorale and Claudio Monteverdi’s Vespers of 1610 with Boston Baroque and the role of Jesus in Bach’s Saint John Passion which he will sing with Emmanuel Music and in the Bach Festival at University of Massachusetts at Amherst under the direction of Julian Wachner.


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Boston Baroque 2015-2016 Dana Whiteside

MARK STRESHINSKY, stage director

Mark Streshinsky returns to Boston Baroque after his work with Il ritorno d'Ulisse in Patria in the spring of 2014.

Mark Streshinsky is currently Artistic Director of West Edge Opera in California, a post he has held since 2009. West Edge Opera was formerly known as Berkeley Opera, a 30-year-old company that Mark renamed and moved to a new theater in El Cerrito, California. Since taking over the company, Mark has worked closely with former artistic director-now music director, Jonathan Khuner. He has directed productions of Don Giovanni, a one evening version of Wagner's Ring, an adaptation of Carmen and Handel's Xerxes and Strauss' Ariadne auf Naxos.

In 2012, he directed Daron Hagen's Vera of Las Vegas and in the fall of 2010, Mark made his European debut directing Massenet's Manon for Palau des Artes Reina Sofia in Valencia, Spain.

Mark also regularly directs for the Cincinnati Opera, debuting with the company in 2006 with The Tales of Hoffmann. Since then, audiences have seen his productions of Lucie di Lammermoor, Carmen and Eugene Onegin. He also directed the company's 75th Anniversary Gala Concert. For Lyric Opera of Kansas

City, Mark directed Handel's Guilio Cesare and Puccini's Madama Butterfly. He also created a new production of The Marriage of Figaro which closed their theater as they moved to a new Performing Arts Center.

Mark has also directed The Marriage of Figaro and La Cenerentola for Michigan Opera Theater in Detroit. Other companies that have used Mark's productions are The Dallas Opera (La Cenerentola and La Boheme) and Seattle Opera (La Traviata). In 2007, Mark received great critical success directing the world premier of David Carlson's and Colin Graham’s Anna Karenina which celebrated the opening of the Ziff Opera House in Miami. The opera was subsequently performed at Opera Theatre of St. Louis as well. Anna Karenina was also the featured production of the 2007 Opera America conference. Mark took on this project when director and librettist, Colin Graham, passed away. Graham, one of Mark’s mentors had chosen him to carry on his work.

Prior to becoming Artistic Director of Berkeley Opera, Mark directed four operas for the company, creating critically acclaimed productions of Eugene Onegin, Handel's Acis and Galatea and Legend of the Ring (a one-evening version of Wagner's Ring cycle). He also directed the world premier of Chrysalis, by composer Clark Suprynowicz and playwright John O’Keefe. For Chrysalis, Mark also served as company liaison to the composer and designed the scenery and costumes.

Mark has been a member of the staging staffs of San Francisco Opera, New York City Opera, Dallas Opera, Los Angeles Opera and Seattle Opera. He has also served on the faculties of West Coast Opera Works and Bay Area Summer Opera Theater Institute in San Francisco, Opera North in New Hampshire and Des Moines' Metro Opera's young artist programs, staging opera scenes with young singers. He has also worked with vocal students at the San Francisco Conservatory of Music.

In April of 2010, Mark began an association with the Yale Opera Graduate degree program, directing productions of Stravinsky's Le Rossignol and The Peter Brook version of Carmen. In 2011, Mark was invited back to Yale to direct a double bill of Lee Hoiby's The Scarf and Purcell's Dido and Aeneas.


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Boston Baroque 2015-2016 Mark Streshinsky

Documents

2015 - 2016 Season Artist Bios - bostonbaroque.org · et Bénédict under Seiji Ozawa. ... premiered the role of Maria in Diego Luzuriaga's El Niño ... Texas; the Yale Choral Artists,