Our artists

Joyce Alper has played baroque oboe with the Boston Handel & Haydn Society, Boston Cecilia, Abendmusik, Cambridge Bach Ensemble, Schola Cantorum of Boston, St. Botolph's Town Bande, Longy Oboe Band, Harvard University Baroque Orchestra, Hartford Philharmonic Society, Genesee Baroque Players, Atlanta Baroque Orchestra, and the New Trinity Baroque. She has recently returned to Boston after nine years in Texas, where she played with the Dallas Bach Society, Texas Baroque Ensemble, Fort Worth Early Music, Denton Bach Society, Orchestra of New Spain, La Bande Ancienne, Concerto Antico, Incarnation Baroque Orchestra, Texas Early Music Project, Austin Handel-Haydn Society, Orchestra of St. David's, Texas Bach Collegium, La Folia, and Ars Lyrica Houston.

She has taught baroque oboe at the University of North Texas for seven years and has given master classes and workshops at Louisiana State University, University of Houston, Texas Tech University, and the Texas Early Music Festival. In addition, she was the director of school programs for the Dallas Bach Society for three years, bringing early music and dance programs into Dallas public schools. In January, 2004, she will give a gallery talk about eighteenth century oboes at the musical instrument collection of the Boston Museum of Fine Arts.

As a recipient of a grant from the Frank Huntington Beebe Fund, Ms. Alper studied with Ku Ebbinge at the Royal Conservatory in The Hague, Netherlands. She has also studied baroque oboe with Stephen Hammer, Sand Dalton, and Washington McLain.

Leif Aruhn-Solén, tenor ,was born in Stockholm, Sweden. He studied vocal performance at the Royal College of Music in Stockholm from 1994 to 1998. In 2001, he earned the Artist Diploma from Oberlin College, Ohio. At home in both opera and oratorio, Mr. Aruhn-Solén has a particular interest in music from the early Baroque period through Mozart. Recent engagements have included Rameau's Les Paladins, Mozart's Zaide, Monteverdi’s L’Orfeo, and the world premiere of Rimbaud, la parole libérée by Marco-Antonio Pérez-Ramirez. In addition he has sung the roles of Almaviva in Rossini's Il Barbiere di Siviglia, Don Ramiro in Rossini’s La Cenerentola and Don Ottavio in Mozart’s Don Giovanni. On the concert stage he has performed both as the evangelist and the tenor soloist in Bach’s St. Matthew and St. John Passions and Christmas Oratorio. Other often performed tenor solos have included Bach’s Mass in B minor, Handel’s Messiah and Mozart’s Requiem. Mr. Aruhn-Solén has appeared with Grand Théâtre de Genève, Théâtre du Châtelet in Paris, Opéra National de Montpellier, the New Israeli Opera in Tel Aviv, Glimmerglass Opera in New York, Chicago Opera Theater, Opera Theatre of Saint Louis and the Göteborg Opera. His orchestral engagements have taken him to several of the world's music centers to perform with such prestigeous orchestras as Les Arts Florissants conducted by William Christie, Il Giardino Armonico, Concert Spirituel, the Cleveland Orchestra, the City of Birmingham Symphony Orchestra, the Oslo Philharmonic Orchestra, the Jerusalem Symphony Orchestra, the Singapore Symphony Orchestra, the Belgrade Philharmonic Orchestra, the Swedish Radio Symphony Orchestra, the Gothenburg Symphony Orchestra, the Drottningholm Baroque Ensemble and the Stockholm Baroque Orchestra.

Photographer Peter Knutson

Christina Babich, baroque 'cello, is a native of Akron, Ohio. She began cello studies at age eight under the Suzuki Method and the Northern Ohio Cello Academy. Christina won the 1996 Akron Youth Symphony Concerto Competition, and was a soloist with the University of Akron Symphony Orchestra as result of the 2001 Concerto Competition. She has performed with the Cleveland Orchestra Youth Orchestra, and in master classes given by Steven Isserlis, Second City Musick and the Miami String Quartet. Other coaches include René Schiffer, Reinmar Seidler, Ingrid Matthews, and Cynthia Roberts. Christina was a winner in the 2001 Tuesday Musical Club competition, the winner of the Cleveland Cello Society Competition, and received a fellowship to teach cello at Credo Chamber Music Festival in Oberlin , Ohio . She has attended the Meadowmount Music School as a student of Hans Jensen, the “Cellomania” conference in Atlanta as a pupil of Martha Gerschefski, and the National Orchestral Institute at the University of Maryland . She was instructed in historical performance practice at both the Amherst Early Music Festival, studying baroque cello with John Mark Rozendaal and Rainer Zipperling and viola da gamba with Sarah Cunningham, and at the Tafelmusik Baroque Summer Institute in Toronto to study with Christina Mahler.

Christina received a Master’s in Music Performance from the Cleveland Institute of Music with Richard Aaron and is currently studying at Case Western Reserve University for a Doctorate of Musical Arts in Early Music, focusing her studies on the baroque cello, the viola da gamba and the medieval vielle. She has most recently appeared with the Cleveland Chamber Symphony, Citymusic Cleveland, and Apollo’s Fire (The Cleveland Baroque Orchestra).

Terry Barber , countertenor & tenor, joined the roster of the Metropolitan Opera 2002 season for the opera, Sly , with Placido Domingo. Mr. Barber made his New York City Opera debut in 2001 in Il Ritorno d’Ulisse in Patria and has covered Daniel Taylor in the NYC Opera’s production of Handel's Rinaldo starring David Daniels. In summer of 2002 he has performed at the International Spoleto Festival both the Spirit and the Witch in Purcell's Dido and Aeneas .

Recent highlights include Mr. Barber’s debut performances at Carnegie Hall in the role of Orlovsky in Die Fledermaus with the National Chorale under Martin Josman (New Year’s Eve 2004); with the London Philharmonic Orchestra in a tour of Europe; and the Portland Baroque Orchestra in Handel’s Messiah under the direction of Nicholas Kramer. Recent performances with the New Trinity Baroque Orchestra of Pergolesi’s Stabat Mater with Evellyn Tubb earned him the comment, ‘'...his grasp of the texts and elegant phrasing made for charismatic singing' (The Atlanta Journal-Constitution).

At home in various styles, Mr. Barber was recognized by three-time Grammy Award winners, Chanticleer. In 1998 he completed a year-long tour with Chanticleer, where he performed and recorded gospel, jazz, folk music in 12 languages, opera, and classical music ranging from Gregorian chant to contemporary repertoire. He was called by the press “...the jewel in Chanticleer’s crown...” when he was the featured soloist on Chanticleer's Mexican baroque tour.

Mr. Barber’s recent CD releases include featured solos on Karl Jenkins, AdiemusV , released by EMI as well as Dido and Aeneas for New Trinity Baroque. He has recorded two tracks on the Buddah-Bar chill-out series, Living Theater Vol. 2 and 3. Dj Tracy Young's remix of Terry's vocal for “The World Is A Stage” has been listed in the top 10 world-wide by various Djs. Terry Barber is a soloist on Crossing the Stone , released by Sony Classical and featured as classical album of the week in the United Kingdom. Dorian's release, The Jesuit Operas , includes Mr. Barber in the role of Japan. Terry Barber recorded Reflections with Chanticleer for Warner. He also recorded Jewel's Chrismas album for Columbia Records.

Mr. Barber began private study in the arts at the age of seven, and has been involved in the entertainment industry since that time. He is a graduate of the Northwestern University Musical Theater Program. A role was created with his extreme vocal range in mind for the musical A Robin Hood Tale , by Lawrence Rush and Kathy Phillis. He performed in Hello Dolly at Lincolnshire Theatre of Chicago, and was also a recipient of the Winthrop Bean Theater Award.

Other reviews:

“Barber has a rippling tone of warm silver, both exciting and tenderly moving, that is unusually satisfying for this vocal range...” (The Oregonian)

“...crisply pointed performances of great vitality and verve...” (Los Angeles Times)

“...fresh, attractive, lyric voice...” (San Jose Mercury News)

“...a superb soprano...” (Herald Tribune)

William Bauer , baroque viola & viola d'amore, comes from St. Louis. He began his baroque studies on the viola d’amore under Joseph Ceo (University of Rhode Island). Subsequently, he has studied baroque violin with Reinhard Goebel (Musica Antiqua Köln) and Richard Gwilt (London Baroque). He appeared at numerous concerts, and has been a soloist at the Iraklion International Festival (Crete), the Lisbon and Vancouver Early Music festivals. He has produced solo recordings for the well-known labels such as Deutsche Grammophon, Polydor, Naxos, First Edition, Nannerl and Studio 115.

Bass Cameron Beauchamp , a native of San Antonio, Texas, is in demand throughout the country as a soloist and chamber musician. He appears this concert season with Boston's Exsultemus, Austin’s grammy-nominated ensemble Conspirare, Orpheus Chamber Singers of Dallas, Atlanta’s New Trinity Baroque, with whom he sings this season arias and the role of Pilatus in Bach’s "St. John Passion," and the Santa Fe Desert Chorale. Based in Boston, Cameron also performs regularly with Boston Secession, Schola Cantorum, and at the Church of the Advent.

Cameron studied voice and jazz trombone at the University of North Texas, one of the nation’s largest and most prestigious music schools. While at UNT, he appeared with the A Cappella Choir at two ACDA National Conventions and received a Downbeat Award for his recording with one of the university’s world-famous jazz ensembles. A ten-year resident of the DFW area, Cameron frequently performed with ensembles in the area, including Dallas Bach Society, Texas Camerata, Orpheus Chamber Singers, Texas Choral Artists, the Helios Ensemble, and the Orchestra of New Spain. He was also a regular soloist for the Dallas Symphony Orchestra’s annual Christmas concert series. He actively maintained a private voice studio and inspired many of his students to pursue careers in music.

Cameron has participated in recording projects for numerous record labels, including Edition Lilac, Pro Organo, Klavier, and GIA. He has also performed for BBC Radio and WRR Classical Radio of Dallas. With Conspirare, he can be heard on an upcoming release on Harmonia Mundi as well as a future television project for PBS .

Martha Bishop, violone, bass violin, baroque 'cello & viola da gamba, studied viola da gamba with John Hsu at Cornell University. She has taught cello, viola da gamba and composition at Agnes Scott College and viola da gamba at Emory University, and is a frequent workshop clinitian on viola da gamba in the US and abroad.

An experienced performer, Martha has performed with the Atlanta Symphony Orchestra, Atlanta Baroque Orchestra, K.E.M.P. (Knoxville Early Music Project), Harmonie Universelle, and the Atlanta Bach Choir. She has appeared as soloist with the Atlanta Symphony in Bach's St. John Passion and Brandenburg Concerto No. 6. Martha is past president of the Viola da Gamba Society of America and currently serves as the Musical Director of its annual Conclave.

She also finds time to frequently contribute to the Newsletter of the Viola da Gamba Society of America , the Atlanta Early Music Newsletter, "Broadside". Her didactic publications, editions of early music and compositions for viola da gamba and cello are used worldwide. She has also successfully completed in several composition contests writing music for early music instruments. Her compositions are published by PRB Publications, Fountain Park Publishing Company, and are available in audio format from Finale's "SmartMusic."

Alexander Bonus, natural trumpet, is regularly engaged by organizations such as Apollo's Fire, Chicago Opera Theater, Tafelmusik, Dallas Bach Society, Indianapolis Baroque Orchestra, and the Boston Early Music Festival. He has appeared in recitals with the Newberry Consort, trumpet soloist Niklas Eklund, and Tragicomedia. In addition, Mr. Bonus has performed as principal cornettist with the Philharmonia Baroque Orchestra. His recent semi-improvised cornetto recital was broadcast live from the Chicago Cultural Center.

In 2003, Mr. Bonus founded the Forces of Virtue ensemble and record label to promote unknown sacred and dramatic music from the renaissance to the baroque. He has lectured at the Eastman School of Music, Northwestern University, DePaul University, Roosevelt University, and the Newberry Library. Alexander Bonus holds two degrees from the Eastman School of Music and is currently pursuing a Ph.D. in musicology and performance practices at Case-Western Reserve University.

Ivan Bozicevic , chamber organ, studied piano and composition at the Belgrade Faculty of Music (Serbia), where he graduated in 1984 and in 1989 received a Master's degree. Until 2001 he taught Harmony, Counterpoint and Music Analysis at the same Faculty as well as the Academy of Arts in Novi Sad (northern Serbia). From 1984 to 1988 he studied organ at the Hochschule für Musik in Frankfurt with the renowned professor Edgar Krapp. Acquires a broad repertoire, with a special emphasis on baroque and modern music. Specializes early organ music in Salamanca (with Guy Bovet and Montserrat Torrent). Gives many successful concerts in Croatia, Hungary, Switzerland, Spain and Serbia.

Ivan's big creative output as a composer encompasses three symphonies, orchestral, chamber, choir and soloistic works, as well as electronic compositions and jazz music. He received numerous composition awards, and his works are frequently played on radio, TV and concerts here and abroad (Sweden, Germany). Since December 2001 he lives in Split, Croatia, as a freelance artist. After moving to Split, Ivan widens his music activity to include organ and piano playing, composing, arranging and theatre music.

Allison A. Brown , soprano, is a native of Atlanta. She graduated from Clayton College and State University where she received a Bachelor of Music in Vocal Performance concentrating in early music. While at CCSU, Ms. Brown had the privilege to study voice with Dr. Cheryl Boyd-Waddell and early music practices with Dr. Lyle Nordstrom. Ms. Brown has sung with several choirs in the Atlanta area, as well as early music ensembles in Atlanta and Athens. She is a member of the Atlanta Choral Artists which has performed several times with the Atlanta Baroque Orchestra. With NTB she appeared in numerous perforamances, and is featured as a First Witch in NTB's recording of Purcell's "Dido & Aeneas" (2002)

David Brutti studied saxophone with Jean-Marie Londeix and Marie Bernadette Charrier at the “Conservatoire de Bordeaux - Jacques Thibaud”, obtaining the "Medaille d'Or", and with Pier Narciso Masi at the “Accademia Pianistica Internazionale di Imola”, obtaining the Master in Chamber Music. From 2000 to 2008 David Brutti has been awarded in over fifteen international and national competitions including the Gaudeamus Interpreters Competition 2007 - Amsterdam, and "What's next 2006" - Nuova Consonanza.

In 2012 he began the study of the cornetto, Renaissance and Baroque musica with Andrea Inghisciano. Since then he has an intense concert activity in the world of Early Music. He has collaborated with the Accademia Bizantina, Odhecaton, Modo Antiquo, La Reverdie, Il Gusto Barocco, “Cappella Marciana” - Venice, “Cappella Musicale di San Petronio” - Bologna. He has recorded for Brilliant Classics, Amadeus, Bongiovanni, Stradivarius, Ort1.

(David Brutti joined New Trinity Baroque for the first time in June of 2018, in a concert of music by Caccini, Monteverdi and Stylus Fantasticus, presented at the Belgrade Early Music Festival)

Karolina Bäter (born 1978) studied recorder with Walter van Hauwe at the Conservatory of Amsterdam where she got the master degree in 2004 with focus on chamber music. In the same year she began her transverse flute studies with Barthold Kuijken at the Royal Conservatory of The Hague where she finished the specialization in Early Music and Historical Performance Practice in 2008 with the Bachelor degree.

From 1998 until 2004 she was member of a renaissance ensemble The Royal Wind Music (conducted by Paul Leenhouts) and a recorder quartet QNG . Karolina won many prizes at international music competitions as the Deutscher Musikwettbewerb in Bonn (2002), the International Penderecki Competition in Cracow (2002) and was finalist during the International Gaudeamus Competition in Rotterdam (2003). Since 2002 she frequently performs in Europe as a member of a contemporary music ensemble MAE (directed by composer Yannis Kyriakides), focusing on electronic music. She is the founding member of the trio The Roentgen Connection (Goska Isphording, harpsichord; Karin Preslmayr, viola da gamba), playing exclusively contemporary and newly written pieces for historic instruments. Together with cello player Jelte van Andel she formed the duo Jellina Karote , performing mainly improvised and self-composed music. Karolina is regularly invited to contribute musically in theatre productions, i.e. at Het Veemtheater ( Geruis /2008), with the Veenfabriek ( LICHT=is de machine /2009, directed by Paul Koek) and Andco, Berlin ( WARLAB /2010). Since 2009 she is member of baroque/modern music group Novevecchio (with singer Irene Kurka) combining contemporary and early music in their programmes. Karolina also gave concerts with the ASKO ensemble and the Concertgebouworkest, Amsterdam. Her performances are recorded and broadcasted by the Concertzender, BBC, the NPS (Vrije geluiden), Radio Beograd, B92, Metropolis TV, Art TV. She recorded CDs under various labels (Lindoro, Konkurrent/In the fishtank, unsounds).

As a chamber musician as well as a soloist she is frequently invited on various festivals (Musica Antiqua Perast, November Music, Klangzeit Münster, Musica Polonica Nova/Wroclaw, Klang Köln, Huddersfield Contemporary Music Festival, Making New Waves/Budapest, November Music Den Bosch, Wien Modern/Vienna, März Musik/Berlin, Dny Klavesyn/Wroclaw, Gaudeamus Music Week). Next to playing concerts, Karolina is regularly giving master classes on recorder as well as transverse flute (as guest teacher at the Ansambl Renesans, Belgrade i.e.). With her new base in Belgrade/Serbia, Karolina is since 2009 a member of baroque music ensemble Nymbus (Andrej Jovanic, theorbo; Djordje Milosevic, cello), giving concerts with the aim to promote unknown early music in the Balkan area. Next to that she started collaboration with harpsichord/clavichord player Svetlana Stojanovic-Kutlaca.

(Karolina Bäter joins New Trinity Baroque for the first time in March of 2011, in the series of concerts featuring J.S. Bach's great Mass in B minor)

Lara Carr , soprano

Atlanta native Lara Carr became interested in Early Music just after graduating with her Master of Music degree from Westminster Choir College in 2006 (B.M. in Piano and Voice Performance, Kennesaw State University, 2004). She fell in love with the style and freedom of expression of the pre-Baroque and Baroque period while attending a workshop given by Julianne Baird, and has had the honor to continue to study both with her and acclaimed soprano Laura Heimes. She worked under Drew Minter and Alex Weimann playing the role of Linfea in La Calisto at Amherst Early Music Festival, and she performed in scenes from Purcell’s The Fairy Queen with Richard Stone. She sang the role of Clarice in Il guioco del Quadriglio and Venere in a scene from Cesti’s Il pomo d’oro at the International Baroque Institute at Longy. Before her Early Music pursuits, her roles included Miss Wordsworth in Albert Herring (2005) and Hero in Béatrice et Bénédict (2005) at WCC, and scenes from The Rape of Lucretia (Lucia) and The Merry Wives of Windsor (Alice Ford) at Crittenden Opera Workshop, Le Nozze di Figaro (Susanna) and Orfeo ed Euridice (Euridice) at Harrower Opera Workshop, as well as The Mikado (Yum-Yum) and Die Zauberflöte (Pamina) at KSU. She has been heard in recital and concert in NJ and GA, and was a soloist with the Cobb Symphony Orchestra, the Atlanta Pops Orchestra, and the KSU Chamber Orchestra. Her teachers have included Laura Brooks Rice, Lindsey Christiansen, J.J. Penna, and Dalton Baldwin. Carr currently teaches and performs in the Atlanta area where she resides.

(Lara Carr joined New Trinity Baroque for the first time in March of 2009, in the program "Baroque in France.")

Siniša Ćirić , baroque violin & viola, received his undergraduate degree from the Academy of Arts, University of Novi Sad (Yugoslavia), and is currently persuing graduate studies in violin at University of Georgia in Athens. Before it, he attended "Mihajlo Vukdragovic" High School of Music in Sabac, and "Slavenski" Elementary Music School. He participated at many courses and master classes in violin, working with professors such as Kunakov, Uros Pesic, and Jean Marc Vajerbedian. Sinisa's professional work experience involve Belgrade Philharmonic Orchestra (Yugoslavia), the Symphonic Orchestra of the Radio-Television of Serbia, the Orchestra of the National Theatre, ensemble "Camerata Academica", and the Opera Orchestra of the Serbian National Theatre in Novi Sad. Mr. Ciric participated on many concerts as a soloist, member of chamber ensemble, member of an orchestra, etc. While performing with the Symphonic Orchestra of Serbian Radio Television, MR. Ciric cooperated with many national and international conductors, such as Zubin Mehta, Christian Mandeal, Gyula Nemet, Milen Nacev, Mikis Teodorakis, Ion Ionku, Mladen Jagust, and Bojan Sudjic. He performed with soloists such as Naum Starkman, Verner Hink, Jasminka Stancul, Istvan Varga, Stefan Milenkovic, Natasa Veljkovic and Sreten Krstic.

Garry Clarke, baroque violin, joined New Trinity Baroque in 2006. He has recently come to notice as one of the UK's finest interpreters of baroque music - he is Artistic Director of The 18th Century Concert Orchestra "one of the finest exponents of baroque music in the country" and performs with groups including The Academy of Ancient Music, The Sixteen, The Hanover Band and the Orchestra of the Age of Enlightenment. With these ensembles he has toured all over the world - North and South America, Canada, Japan, India, Macau, Hong Kong, Korea, Turkey, Greece and throughout Europe. He has been part of many recordings and broadcasts and has made numerous appearances on film and television. Garry's early forays into baroque music were made with the help of the performer and eminent musicologist Peter Holman, then with John Holloway and Catherine Mackintosh at The Royal College of Music in London. Further grounding came with his acceptance into the European Baroque Orchestra where he worked with Ton Koopman and Roy Goodman and continued violin studies with Michaela Comberti. He toured throughout Europe with the EBO before working on a variety of projects with William Christie and the French ensemble Les Arts Florrisants.

As a boy, Garry Clarke wanted to be many things but a baroque violinist wasn't one of them. At eight, he dreamed of being a professional footballer (soccer player), and what little boy didn't? It was a big disappointment for him to discover he was too short and fat for soccer and that when teams were picked, he was always the last chosen. But he worked hard on this and by the age of 14 had managed to slim down, get some athletic ability (although he was still always last in the cross country races), and get a regular goalkeeping position with the local Boys Brigade team - the runaway league champions. As goalies were in short supply, he was even being picked first for the school teams. This is probably when he learned his first important life lesson and the reason that he eventually did become a baroque violinist: supply and demand.

Mr. Clarke also considered a career on the stage as an actor but, having played the ultimate role of God in a 1970s school production of Captain Noah and His Floating Zoo, (a role which required much of its delivery sung from off-stage), he thought that Hollywood would be simply unable to afford him.

How about an angelic choir boy? After three failed attempts to get into the Junior School Choir, we can give Mr. Clarke full marks for perseverance (but not, at that stage, for his singing skills although these improved considerably over time). He also wondered about a career in clairvoyancy but could see no future in it (although he could name musical notes by just hearing them).

So, after regular schooling came drama school, and music college, where there came a sudden flash of light, like a bolt of lightening, a thunder-stroke from the gods: the discovery of period instruments. Not only did Mr. Clarke like the sound but he got to travel the world and play great music, unlike most of his friends who played regular 'modern' instruments.

Still, the career fantasies continued. Artisan cheesemaker? A jousting knight? A bare-back Cossack rider? A rock star? An arts administrator? A sailor? Alas, playing the baroque violin always won out at the end of the day.

So what else would you like to know? Mr. Clarke was born and brought up in Coventry, UK (not strictly true, he was born in Nuneaton about half an hour down the road from Coventry). His mother was a piano teacher and his father a cabinet-maker and teacher. Mr. Clarke loves Lancashire and Wenslydale cheese (rock on Wallace and Gromit), traditional English puddings like Spotted Dick and Sussex Pond Pudding, and the theatre (still dreaming of that career in acting). Oh yeah, and he's a life-long fan of the Aston Villa Football (Soccer) Club along with fellow violinist Nigel Kennedy, and heir to the British throne, Prince William.

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Chris Conely , countertenor, recently received his Master of Music degree from the University of Kentucky in Lexington, where he studied with Dennis Bender and Jennifer Lane. He performs both as a soloist and as a chamber musician, and has recently appeared in Stradella's "La Susanna" with the Magnificat Baroque (Bay Area, San Francisco). He also has appeared on several festivals, including the Staunton Music Festival in Virginia, and the Tropical Baroque Festival in Miami Beach, and has attended several workshops in historical performance, including the San Francisco Early Music Society's Summer program. Chris' upcoming appearances include a repeat performance at the Staunton Music Festival (Handel's "Semele"), as well as several more appearances with NTB next year.

Chris Conely , countertenor, recently received his Master of Music degree from the University of Kentucky in Lexington, where he studied with Dennis Bender and Jennifer Lane. He performs both as a soloist and as a chamber musician, and has recently appeared in Stradella's "La Susanna" with the Magnificat Baroque (Bay Area, San Francisco). He also has appeared on several festivals, including the Staunton Music Festival in Virginia, and the Tropical Baroque Festival in Miami Beach, and has attended several workshops in historical performance, including the San Francisco Early Music Society's Summer program. Chris' upcoming appearances include a repeat performance at the Staunton Music Festival (Handel's "Semele"), as well as several more appearances with NTB next year.

Praised for her “warmth and composure” (Wichita Eagle), baroque bassoonist Stephanie Corwin has established herself at the forefront of emerging artists. With enthusiasm for music of both the past and present, Stephanie plays extensively on historical and modern bassoons. As a soloist, she was named the inaugural winner of the Meg Quigley Vivaldi Bassoon Competition and was a semifinalist in the 2007 Ima Hogg Young Artists Competition. Stephanie enjoys performing with a wide array of ensembles, including the Orchestra of St. Luke’s, the American Classical Orchestra, Handel and Haydn Society, Cambridge Concentus, Opera Lafayette, the Aulos Ensemble, REBEL, Arcadia Players, Harvard Baroque Chamber Orchestra, and the Classical Music Consort (Toronto). Stephanie has appeared at the Mostly Mozart Festival, Washington Square Music Festival, Staunton Music Festival, Yellow Barn Music Festival, Norfolk Chamber Music Festival, Spoleto Festival USA, and with the National Repertory Orchestra.

Born and raised in Marietta, Georgia, Stephanie pursued her undergraduate studies at Davidson College. Under the tutelage of Frank Morelli, Stephanie received her M.M. from Yale University and her D.M.A. from Stony Brook University. Stephanie also holds a Performer Diploma in historical bassoons from Indiana University’s Early Music Institute, where she studied with Michael McCraw.

Along with harpsichordist Hsuan-Wen Chen, Stephanie is a co-founder of The Soul's Delight, a period instrument chamber ensemble that employs various combinations of strings, winds, and voices in its exploration of 18th century music. Stephanie is also a member of Le Tourbillon (Jason Wang, tenor; Graham St-Laurent, oboe; Andrus Madsen, harpsichord), an ensemble that plays with the vivacity evoked by its name, "the whirlwind."

(Stephanie Corwin will join New Trinity Baroque for the first time in concert in December of 2010, in the program "Baroque Candlelight Christmas.")

Tatiana Daubek , baroque violin, comes from Pound Ridge, New York. She holds degrees from the University of North Texas and Boston University, where she studied both modern and baroque violin. Tatiana’s principal teachers and mentors have included Julia Bushkova, Cynthia Roberts, Dana Mazurkevich, and Elizabeth Blumenstock.

This past summer, Tatiana was awarded a full scholarship to participate in Jeune Orchestre Atlantique in Saintes, France, where she worked with renowned conductors, Philippe Herreweghe and Bernarde Labadie.

As a free-lance artist, beside New Trinity Baroque, Tatiana plays with various period ensembles throughout the country including Boston Baroque, Concert Royal, the Orchestra of New Spain, Musica Maris, La Riche and Co., L’Academie, and is currently working on promoting Cambridge Concentus, an upcoming period ensemble comprised of instrumentalists and singers based in the Boston area.

(Tatiana Daubek joine New Trinity Baroque for the first time in November of 2008, in the program entitled "Baroque in Germany.")

Jonathan DeLoach (recorder)...

more info coming soon...

Florian Deuter , baroque violinm, has had a remarkable career in the field of Historical Performance Practice. Since Reinhard Goebel invited him in 1986 to join Musica Antiqua Köln , he has propelled himself into positions of leadership by means of his formidable talent and unquenchable energy. By 1994, he was concertmaster of Goebel’s ensemble; since then, he has led the Gabrieli Consort, the Chapelle Royale, the Collegium Vocale Gent, the Amsterdam Baroque Orchestra, Les Musiciens du Louvre and Concerto Köln among other ensembles.

In 2003, in Cologne he founded the ensemble Harmonie Universelle to explore the rich and diverse literature of seventeenth and eighteenth-century chamber music.

Florian Deuter plays on a violin by Matthieu Besseling, Amsterdam .

(Florian Deuter performed with New Trinity Baroque for the first time in the program of French music in June of 2017)

Steven Devine, harpsichord, received his early musical training at Chetham’s School of Music, Manchester where he studied harpsichord, organ, piano and conducting. He continued his education at Oxford University studying music, and now divides his time between professional performances on the harpsichord, piano and conducting, and as Assistant Curator at the Finchcocks Collection of historical keyboard instruments in Kent.

As a harpsichordist, since he won first prize in the inaugural Broadwood Harpsichord Competition in 1993, he has performed extensively in Britain and Europe and has made recording for Radio 3, Classic FM, WDR, Radio France and Channel 4. Steven is currently Associate Music Director of Opera Restor'd.

Later this year, Steven will be conducting Handel's Orlando with the Dartington Festival Baroque Orchestra, Athalia with the Academie d'Ambronay and, for Raymond Gubbay Productions , Handel's Messiah and the Vivaldi by Candlelight, Mozart by Candlelight and Carols by Candlelight series throughout the UK and Ireland with performances at the Royal Albert Hall, Royal Festival Hall and Barbican in London, St David's Hall, Cardiff, Bridgewater Hall, Manchester and many others.

His editions of 17th and 18th century repertoire, used by a widening circle of artists, include John Eccles’ Semele, John Gay’s Beggars’ Opera, Claudio Monteverdi’s Poppea and the complete musical settings of the poetry of John Wilmot, the Second Earl of Rochester.

Steven’s first solo CD entitled Bellows, Jacks and Tangents, features the early instruments of the Finchcocks Collection and was described as “superb…wholeheartedly recommended” by Early Music Review. His second solo disc features the works of the German composer JCF Fischer and will be released later this year. Steven has made over thirty discs with other artists and orchestras.

Scott Douglas, baroque timpani, joined New Trinity Baroque in 2006. He has been known through Atlanta community for many years in variety of settings. Comfortable in every style, Scott enjoys playing timpani and other baroque percussion instruments. He

Miriam Dubrow, soprano, a dynamic interpreter of 17th and 18th century music, inspired the Washington Post to describe her singing as "radiant," and to write that she "clearly has a true affinity for the Baroque style." Her repertoire ranges from Sephardic ballads to opera and oratorio.

Opera highlights include Aricie in Rameau's Hippolyte et Aricie, Bellezza in Stradella's Academia d'Amore, Amour in Charpentier's Les Arts Florissants and Anacreon, Eurydice and Musica in Monteverdi's Orfeo and Miles in Britten's Turn of the Screw.

Ms. Dubrow has been an invited performer at festivals and concert series worldwide, including the Tanglewood Music Festival, Redwoods Festival, International Festival for Arts and Ideas, Boston Early Music Festival, Kennedy Center, Hudson River Concert Series, Internationale Musick Festival, and the British Council Recital Series with Martin Isepp.

She performs often with The Four Nations Ensemble, Stephen Stubbs, Max van Egmond, the Violins of Lafayette, Opera Lafayette, Bach Sinfonia and her early music trio, Marley's Head. She has also been a featured artist on National Public Radio's Marc Steiner Show and Curtain Call with Charles Sepos. Ms. Dubrow currently lives in Paris, France.

Kathleen Duguet develops a comprehensive approach to making music by performing on recorder, traverso, and baroque and modern oboes. Playing regularly with the New York Collegium, The Bach Ensemble and Handel and Haydn Society among others, Kathleen is also the co-founder of RHETORIC, a chamber music ensemble performing four centuries of music on authentic instruments. She was a finalist in Early Music America’s Bodky Competition, and in the Early Music Network’s International Chamber Music Competition. Kathleen has recently completed a recording for Dorian of music for two oboes by Jan Dismas Zelenka. Originally from Naples, Florida, Kathleen followed her music to Eastman and Indiana University before moving to New York.

"... Duguet, on baroque oboe, played with high energy and an equal amount of accuracy."

"... Duguet plays her flauto traverso nimbly and with delightful ornamentation and she tosses all her difficult leaps and skips off with ease."

( Charleston Post and Courier

during the Spoletto Festival)

Erin Ellis , baroque cello, began her cello studies at the age of 4 in Birmingham, Alabama. Since then, she has gone on to receive Bachelors and Masters degrees with honors in cello performance from the Cleveland Institute of Music and a Doctorate of Musical Arts degree from the Eastman School of Music with a minor in Early Music. She has studied baroque performance at the Longy, Tafelmusik, and Vancouver early music festivals and with teachers Phoebe Carrai, Jaap ter Linden, and Christina Mahler. Past performance projects include appearances as featured soloist with the Eastman Collegium Musicum, performances at the Rochester Early Music Festival and Memorial Art Gallery (Rochester, NY), and as continuo player for Amherst Early Music Festival’s production of Conradi’s Ariadne. Dr. Ellis also plays viola da gamba and was a member of viol consorts at both the Cleveland Institute and Eastman School of Music.

As a dedicated music educator, Dr. Ellis maintained an active preparatory studio in Rochester and served as a Teaching Assistant at Eastman before relocating to Atlanta, Georgia. Dr. Ellis has also been recognized for her work in the field of musicology and was awarded the Graue Award for excellence in musicology by faculty from the Eastman School of Music in 2009. Erin currently resides in Roswell, GA .

(Erin Ellis will join New Trinity Baroque for the first time in concert in December of 2010, in the program "Baroque Candlelight Christmas.")

Soprano Jennifer Ellis , who” offers a freshness of voice, fineness of timbre, and ease of production that place her in the front rank of early-music sopranos,” (andante.com) is emerging as one of the leading interpreters of the Baroque repertoire. She recently made her debut with the Washington Bach Consort singing Bach’s Cantata #51 Jauchzet Gott and Ascension Oratorio and performed Vivaldi’s Gloria with the New York Collegium with Andrew Parrott conducting. Her international career has included appearances with the period instrument groups American Bach Soloists, New York Collegium, Portland Baroque Orchestra, Santa Fe Pro Musica, Seattle Baroque Orchestra, Opera Lafayette, El Mundo, Apollo's Fire, Musica Angelica, Magnificat, Ensemble Solamente (Budapest, Hungary), Ensemble Tourbillon (Prague, Czech Republic), and Musica Aeterna (Bratislava, Slovakia). Opera highlights include leading roles in Handel's Acis and Galata, Blow’s Venus and Adonis , Pergolesi's La Serva Padrona , Duron’s zarzuela “ Salir el Amor del Mundo ”, and Purcell's Dido and Aeneas . A specialist in the music of Spain and Latin America, Jennifer has toured villancicos and zarzuela’s extensively with Richard Savino and El Mundo and has performed on programs with Andrew Lawrence-King.

In addition, Ms. Ellis has sung with the Mark Morris Dance Group and the Charlotte Symphony. She has been heard in many concert series and festivals including Aston Magna, Houston Early Music, Music Before 1800, Connecticut Early Music, Carmel Bach, and the Berkeley and Boston Early Music Festivals. Ms Ellis has recorded Villancicos y Cantatas for Koch, the works of Cozzolani (Gramophone editors pick, August 2002) for Musica Omnia, Carissimi Motets and Cantatas for Hungaroton, and Monteverdi Vespers for Eclectra. She was awarded first prize in the Berkeley Piano Club Voice Competition, finalist in the Early Music America Medieval / Renaissance Competition, first runner up at the 2000 Bethlehem Bach Vocal Competition, the Adam's Fellowship at the Carmel Bach Festival, and performed at the Pacific Music Festival in Sapporo, Japan with Nicholas McGegan. Born in San Francisco and a graduate of the University of Michigan and the Guildhall School of Music in London, Jennifer currently lives in New York City.

Paula Fagerberg , baroque harp, appears regularly at university concert halls and early music festivals throughout the United States. Active as a soloist, lecturer, chamber musician, and a continuo player in Baroque chamber and opera orchestras, she specializes in the harps and repertoire of the Renaissance, Baroque, and Classical eras. Paula studied the art of continuo with Nigel North and historical harps with Andrew Lawrence-King while attending graduate school at Indiana University’s Early Music Institute. She graduated magna cum laude with a performance degree in early music/historical harps from Clayton State University, where she was a student of lutenist Lyle Nordstrom and a Spivey Scholar who was awarded the honor of The University System of Georgia Outstanding Scholar for her graduating class.

The former editor of the Journal of the Historical Harp Society, Paula has given solo harp performances at the U.S. Embassy in Stockholm as well as at the private residence of the American ambassador to Sweden. Recent projects include a concert on 200-year-old harps at Oxford University, England; an upcoming tour will take her to three countries in South America. Paula is the founder of Quarter Comma, a chamber ensemble dedicated to music of the early Italian Baroque, whose inaugural concert at the Bloomington Early Music Festival 2007 featured the internationally known cornettist Bruce Dickey as guest artist. Other ensemble work includes ongoing collaborations with the Bloomington, Indiana-based ensembles Fénix de los Ingenios and Ensemble Lipzodes, and, in Atlanta, appearances with The Garlandia Ensemble, Atlanta Schola Cantorum, and the Atlanta Baroque Orchestra.

(Paula Fagerberg joined New Trinity Baroque for the first time in December of 2007, in the program entitled "Christmas in Germany.")

Atlanta native, Evan Few (baroque violin), received his principle training at the Oberlin Conservatory, covering a broad range of performance fields during his studies there. A pupil of Marilyn McDonald, he studied both modern and baroque violin, performed with the Contemporary Music Ensemble, and was a founding member of the Jasper String Quartet. During his performance- and study-rich tenure with Jasper, Evan worked with some of the world's leading string quartet pedagogues and performers, and spent a year in graduate residency at Rice University.

It is primarily in the field of historical performance, however, that Evan has developed his voice. In the Fall of 2007, he moved to Den Haag, Netherlands, where he studies at the Royal Conservatoire under the tutelage of Kati Debretzeni and Elizabeth Wallfisch. Since his establishment in Europe, he has joined the ranks of numerous early music ensembles, including Anima Eterna (Belgium), Collegium ad Mosam and Luthers Bach Ensemble Groningen (Netherlands), Harmonie Universelle (Germany), and the Wallfisch Band (UK). He also performs frequently as chamber music soloist, and recently helped establish Au Courant with fellow Oberliners Lisa Crawford, harpsichord, and Sarah Walder, gamba.

Evan spends his summers in Carmel, California, where he performs with the Carmel Bach Festival.

(Evan Few joined New Trinity Baroque for the first time in December of 2008, in the program "Christmas in Italy.")

Michael Fields , lute, archlute, chitarrone/theorbo, baroque guitar, harp & director, was born in Hawaii, with the song of the surf and the rhythm of ukeleles making a lasting impression on him. He began his musical journey playing folk, rock and jazz in California and Australia, until a romantic interest in older music took him to England in 1974 to study classical guitar and lute. His career as a performer, opera director and teacher has since taken him back around the world several times, and has led to many rewarding and interesting collaborations along the way, including directing a performance of Dido & Aeneas in Belgrade in 1996 with Predrag Gosta as the Sorceress and Evelyn Tubb as Dido. Recent highlights have been characteristically diverse, and included being the guitar soloist in Rodrigo’s "Concerto de Aranjuez" with the Camden Chamber Orchestra in London, giving a guitar recital in a Benedictine Monastery in Big Sur, California, playing guitar and harmonica on a CD promoting organic breakfast cereals and playing the lute on Van Morrison’s latest CD! He directs the medieval vocal ensemble, Vox Animae, whose CD and video recording of Ordo Virtutum by Hildegard of Bingen has received international acclaim. Michael is also a popular teacher, teaching courses in many parts of the world, including Finland, Latvia, Poland and Italy, as well as England. His extra-musical interests include painting, carpentry, Tai chi, psychology and philosophy. Since meeting as students, Evelyn and Michael have enjoyed a fruitful partnership exploring music from folk-song to their own compositions, but have specialised in Renaissance, Baroque and early Romantic songs to the lute or guitar. They have achieved an empathy and communication with each other, the music and the audience which has found followers from Japan and Australia to Europe. Critics have praised “the absolute affinity between voice and instrument” achieved by the duo. To date they have recorded five CDs together - three of English Ayres, one of Italian baroque arias by Sigismondo D’India, and a collection of Lieder with 19th century guitar. Their most recent recording is a critically acclaimed CD with their ensemble, Sprezzatura, of music by Daniel Purcell (Henry’s younger brother).

Brad Fugate , countertenor, grew up in Elkin, North Carolina and began his academic musical studies at Furman University in Greenville, SC, then continued his education at Cincinnati College-Conservatory of Music where he began singing early music. After post-graduate work at Florida State in the Voice Performance department he moved to Boston to study at New England Conservatory and to take advantage of the wonderful music-making opportunities. In an effort to regain his Southern heritage, Brad has just recently moved to Greensboro, NC and is happy to call North Carolina home again. Professionally, Brad has prepared the roles of Arcetro in Peri's Euridice (Longy Early Music Opera, Boston) and Hunter/Shepherd in Venus and Adonis by John Blow (Longy Early Music). Brad has also been guest soloist at Harvard University (Cambridge, MA), with Boston Cecilia (Boston), Duke Chapel (Durham, NC), Orlando Philharmonic, Palm Beach Baroque Orchestra, Tallahassee Bach Parley, New Trinity Baroque (Atlanta, GA), Church of the Advent (Beacon Hill/Boston), Trinity Church at Copley Square (Boston), Church of the Redeemer (Brookline, MA) and St. Paul's Episcopal Cathedral (Boston).

James Gallagher , baroque violin & viola, is from Dallas, Texas. Mr. Gallagher has performed with all the major Dallas area period instrument orchestras and ensembles such as Dallas Bach Society, Fort Worth Early Music, Concerto Antico, and Orchestra of New Spain. In 2001, James had the opportunity to entertain the visiting King of Spain during his trip to Dallas, in a performance with Orchestra of New Spain. Mr. Gallagher also frequently acts as concertmaster with Atlanta's leading early music ensemble, New Trinity Baroque. During Spring of 2002, his performances with New Trinity Baroque included a solo performance of Bach’s Sonata No. 6 for solo violin, a performance as concertmaster of Monteverdi's Vespers - which was characterized by critics as "the most outstanding musical performance in Atlanta since 1976," and an all-Handel program which included a period instrument premiere of Handel's "Gloria." In August of 2001, he performed Bach's Chaconne in d minor and his own original composition in an unaccompanied Baroque violin recital which took place in Dallas. From 1996-2000 James received his primary Baroque performance practice training through University of North Texas' Baroque orchestra course under Dr. Cecil Adkins. He has studied with such Baroque violinists as Simon Standage, Cynthia Roberts, Judson Griffin, Marilyn McDonald, Elizabeth Blumenstock, David Douglass, Clare Adkins Cason, Michael Sand, and Julie Andrejeski. Conducting two Dallas based youth orchestras, and keeping up with a large private studio, Mr. Gallagher spends a great deal of his time investing in the musical endeavors of his some 80 private and group students. Mr. Gallagher's instrument is the 1999 "Holstein," which was so kindly presented to him by its maker, Dr. Cecil Adkins, as a gift. The instrument, based on historical originals of 17th and 18th centuries, has a peculiarity which separates it from its ancestors: its fingerboard and tailpiece are beautifully spotted with "cow spots." Having recently moved to the country east of Dallas, James spends his spare time practicing his "Holstein" with the backdrop of Texas cattle right outside his window.

To learn more about James Gallagher, visit http://jamesgallagher.weebly.com

Daniel Golleher , baroque violin & viola, resides in the Metroplex of Dallas, Texas. Mr. Golleher began his formal music education in 1997 at The University of North Texas at Denton (UNT). At UNT, under the direction of Dr. Cecil Adkins and Dr. Lyle Nordstrom, Mr. Golleher started his Early Music endeavors. As a concerto competition winner in the Early Music Department of UNT he performed Vivaldi’s "Summer" from "The Four Seasons" with the UNT Collegium Musicum. Mr. Golleher held concert master duties of the UNT Collegium Musicum for two years. Traveling within the United States and abroad to pursue his musical studies has allowed him to train with Anshel Brusilow, Cynthia Roberts, David Douglass, Jeanne Lamon, Julianne Baird, Linda Melstead, Monica Huggett, Philip Lewis, Simon Standage and Timothy Haig. Mr. Golleher has also studied with Tafelmusik (Toronto, Canada) and has performed with the UNT Collegium at the Berkeley Early Music Festival (Berkeley, CA) and the Boston Early Music Festival (Boston, MA) Fringe Concerts.

Mr. Golleher’s professional career has taken him from the East Coast to the South to tour and/or work with such musicians and ensembles as John Holloway, Monica Huggett, Lisa Loeb, James Richman, Cynthia Roberts, Amarillo Symphony, Atlanta Baroque, Church of the Incarnation Music Series, Dallas Bach Society, The Helios Ensemble, New Trinity Baroque, Orchestra of New Spain, Paradigm Vocal Ensemble, Richardson Symphony, Shreveport Symphony, Turtle Creek Choral and various ensembles throughout the DFW Metroplex. The summer of 2006 will take Mr. Golleher to Toronto to record with Aradia on the record label Naxos.

Off the concert stage Mr. Golleher keeps a full private studio of 40 students at the 'Vivace School of Music' where he teaches music theory, piano, viola and violin. Mr. Golleher formed the 'Vivace School of Music' in 2003 to cater to the musical needs of music students of North Dallas. Mr. Golleher enjoys educating young people in the concert hall through ‘The Young People's Concert’ with the symphonies in the DFW Metroplex and has also participated in a concert lecture at Georgia State University in Atlanta, Georgia with New Trinity Baroque.

In addition to forming the 'Vivace School of Music' Mr. Golleher is the founder and artistic director of 'Sounds of The Royal Music Box. 'Sounds of The Royal Music Box' is an ensemble dedicated to the performance practice of the Baroque Style (1600-1750) as well as Modern Style performances. The group performs on both period and modern instruments.

Daniel Golleher performs on a 2005 Timothy Johnson Baroque Violin and a 1996 Bronek Cison Modern Violin.

PREDRAG GOSTA was born in Belgrade, Yugoslavia. He started exploring music at the age of six through initially studying violin, and later continuing training in voice, harpsichord and conducting. While pursuing his postgraduate studies at Trinity College of Music in London, Predrag founded New Trinity Baroque, which was immediately noticed for its lively and captivating performances. He also holds a triple Master of Music degree from Georgia State University in Atlanta, where he concentrates most of his time with the group in concert performances and presenting lectures.

Predrag has received training in historical performance practice through working closely with many experienced early music artists, including Emma Kirkby, Julianne Baird, Andrew Lawrence-King, and others, and most notably with Michael Fields and Evelyn Tubb, with whom he has been collaborating in numerous projects. Described by the critics as "an artist of dynamic temperament and impeccable expression" (Radio Television Belgrade), he has been featured on both the concert and the operatic stage equally as a conductor, vocal soloist, and harpsichordist. He has performed at numerous festivals, including the Boston and Amherst Early Music Festivals, Dartington International Summer School in England, and the Belgrade International Early Music Festival in Yugoslavia, of which he was the Artistic Director for several years.

Judson Griffin, baroque violin, appears regularly in New York as concertmaster of Concert Royal, Amor Artis, and the American Classical Orchestra, among others. This season, in addition to regular return engagements as concertmaster of the Florida Pro Musica and Dallas Bach Society, he was guest soloist and concertmaster with New Trinity Baroque in Atlanta. He has been associated with the Connecticut Early Music Festival for many years as concertmaster, soloist, and conductor, and is now in his third year as music director. He served as concertmaster for the Maryland Handel Festival's final years of its survey of Handel oratorios, and as music director of the Clarion Music Society in New York for its final year. He has been a principal player with Helicon, the Boston Early Music Festival Orchestra, the Smithsonian Chamber Orchestra, and Apollo's Fire of Cleveland; and concertmaster of the Philadelphia Classical Orchestra. Mr. Griffin led an orchestra for dance performances at the Maggio musicale in Florence, and led the Lobkowitz Quartet in performances of Haydn's Seven Last Words in Germany. He has toured with the English Concert and Trevor Pinnock; played with the Akademie der alten Musik in Berlin; with the Complesso barocco in Innsbruck, Milan, and Venice; and has been a soloist at the Festival de Clisson, France. Solo recitals have been given in Boston, Detroit, Washington, D.C., in New York at Weill Recital Hall and Merkin Hall, and in Alaska. Mr. Griffin is a graduate of the Eastman School of Music and earned a doctorate at The Juilliard School. He plays a baroque violin by Gio. Paolo Maggini, Brescia, ca. 1610-20, and a classical violin by Claude Pierray, Paris, 1707.

Mr. Griffin's more than 60 recordings include new music from the mid-1970s to early 1980s; quartets of Haydn, Mozart, and Beethoven on period instruments with the Smithson String Quartet, of which he was a member for 10 years; the Schubert Octet with the European ensemble Atlantis; recordings with Philharmonia of San Francisco and Tafelmusik of Toronto, among others; works of Richard Strauss, Elgar, and Barber with the Smithsonian Chamber Orchestra on modern instruments strung in gut; and the Mozart Requiem and Haydn Creation as concertmaster of Amor Artis, all on period instruments. In an earlier career Mr. Griffin was a prize-winning viola soloist and champion of contemporary music; he was a member of the Rochester Philharmonic Orchestra, principal viola of the Aspen Chamber Symphony for 5 years, and a member of the New York Chamber Soloists; and taught at Aspen, Juilliard, and the University of North Carolina at Greensboro.

The young Serbian-Austrian mezzo-soprano Tijana Grujic (pronounced: Ti-yana Gru-yich ) is steadily earning international acclaim for her performances of leading operatic roles. Praised by the Frankfurter Allgemeine Zeitung for her “sizeable voice with a warm, rich timbre,” the 29-year-old mezzo began her association with Landestheater Linz (Austria) in 2004, where she has performed over 15 roles, including Hänsel in Hänsel und Gretel, Orlowsky in Die Fledermaus, Siebel in Faust, La Speranza in L’Orfeo, Mercedes In Carmen, Rosina in Il Barbiere di Seviglia, Olga in Eugen Onegin. Tijana sang the roles from Donna Elvira in Don Giovanni and Composer in Ariadne auf Naxos under the baton of chief conductor Dennis Russell Davies.

Tijana Grujic recently appeared in Germany with Staatstheater Nürnberg as Rosina, Staatstheater Darmstadt as the Page in Salome, Eduige in Rodelinda, and Smeraldine in The Love of Three Oranges. Her additional performances have included numerous roles with Staatstheater Mainz, and Sesto in Heinrich Graun’s Caesar and Cleopatra with the Festival Kammeroper Rheinsburg.

She also gave a number of solo recitals that became well known in Germany for her outstanding interpretations of german “Lied” and Slavic composers. She participated in music festivals Germany and Austria (Saarbrucken New Music Festival, Festival of World Music Berlin, Culture days Karlsruhe, Bruckner Fest Linz). Mahler’s Lieder eine fahrenden Gesellen sang Tijana with the Symphony of Thuringer State Theatre. With Bruckner Orchester Linz she sang Beethoven's Ninth Symphony as an Open-Air concert under the baton of Dannis Russel Davies. Her additional orchestral repertoire includes J.S. Bach’s Mass in b minor, Mozart’s Mass in c minor, and Rossini’s Petit Messe Solonelle.

Tijana Grujic was born and raised in Belgrade, Serbia, and earned her music graduate degree with honors at the Johannes Gutenberg Universität Mainz (Germany).

(Tijana Grujic joins New Trinity Baroque for the first time in October of 2009, in the program "Handel's Nightmare.")

Praised as “a first-rate instrumentalist” (Boston Globe), the Venezuelan viola da gamba player Laury Gutierrez specializes in music by women composers and in early music from Ibero-America. She has performed under the direction of Thomas Binkley, Monica Huggett, John Holloway, and Wendy Gillespie, among others, and has been a featured guest artist-lecturer at Northeastern University, Harvard University, Brandeis University, and the University of Rhode Island. She holds degrees in solo performance and historical performance practice from Indiana University, Longy School of Music, and the College of Saint Scholastica.

She also received fellowships and a scholarship from Boston University, where she did doctoral work in historical performance. Ms. Gutiérrez is the founding director of La Donna Musicale, a non-profit organization that promotes, performs, and preserves the music of women composers. Their four groundbreaking CDs, Antonia Bembo’s The Seven Psalms of David Vols. I and II, The Pleasures of Love and Libation: Airs by Julie Pinel and other Parisian Women, and Anna Bon: La virtuosa di Venezia, have received national and international critical acclaim .

(Evan Few joined New Trinity Baroque for the first time in December of 2008, in the program "Christmas in Italy.")

A Regional Finalist in the Metropolitan Opera National Council Auditions, National Finalist for the Lyric Opera of Chicago Center for American Artists, Grand Prize-winner of both the Florida Grand Opera Competition and the Heinz Rehfuss Singing Actor Competition, and a winner in the Liederkranz Foundation, Palm Beach Opera, Fort Worth Opera, Opera Birmingham, Connecticut Opera, and the Oratorio Society of New York vocal competitions, JASON HARDY is happy to perform again with New Trinity Baroque. Two seasons ago he was featured as Uberto in Pergolesi's comic masterpiece, "La Serva Padrona."

Mr. Hardy has appeared in venues such as the Carnegie Hall (Mozart's "Requiem" and "Ein Deutches Requiem" by Brahms, under the baton of John Rutter), the Kennedy Center (with the National Symphony Orchestra), as well as with New York Choral Society, and the Baltimore Symphony Orchestra. He performed in Bach's "Magnificat" and "St. John Passion," Haydn's "The Creation," Handel's "Messiah," Fauré's "Requiem," Stravinsky's "Pulcinella" etc. He recently debuted with New York City Opera in Handel's "Acis and Galatea," for which Opera News said that the role of Polyphemus was "brilliantly played by Jason Hardy." Other credits for Mr. Hardy include Dulcamara ("L'Elisir d'Amore") with Cleveland Opera, Il Bonzo ("Madama Butterfly") with Toledo Opera, Sparafucile ("Rigoletto") with Opera Birmingham, 5th Jew ("Salome") with Baltimore Opera, Colline ("La Bohème") with Palm Beach Opera, Frank ("Die Fledermaus") with the Merola Opera Program of the San Francisco Opera, as well as Bardolfo (Salieri's "Falstaff"), Judge Turpin ("Sweeney Todd"), and Don Magnifico ("La Cenerentola") with Wolf Trap Opera, etc. Mr. Hardy also recently sung the role of Parsons under the baton of Maestro Lorin Maazel in the pre-production recording of his new opera, 1984. Upcoming engagements include an opera gala with Opéra de Montréal, Don Magnifico ("La Cenerentola") with Opera Birmingham and Don Alfonso ("Così fan Tutte") with Connecticut Opera.

In recital, Mr Hardy performed song repertoire and vocal chamber works ranging from Purcell to Prokofiev at the prestigious Marlboro Music Festival. He has presented recitals nationwide under the auspices of the Marilyn Horne Foundation, including a debut recital at Weill Hall, where he performed the world premiere of John Musto's viva sweet love. He is also a founding member of the Southeastern Festival of Song.

Upcoming concerts include Bach's Mass in B Minor and Beethoven's Ninth Symphony with the National Chorale in his Avery Fisher Hall debut. Hardy recently released his first solo CD, entitled "Youth and Love," which is available for preview at his website, jasonhardy.net.

William Hearn , theorbo

Mathias Hedegaard, tenor, is originally from Denmark. He graduated from the Danish Opera Academy in 2007 after studies with Professor Kirsten Buhl. Previous studies at the Royal Music Academy Copenhagen with exam in 2004.

Mathias made his operatic debut at the Royal Opera as Gastone LA TRAVIATA in 2006. Other opera appearances include Acis ACIS AND GALATHEA at the Innsbruck Opera, Austria, Male Chorus RAPE OF LUCRETIA, the title role in ORFEO in Copenhagen, and he premiered the double role Daniel/Verner GIFT OF EDEN by Hvidfeldt Nielsen at the Aarhus Summer Opera. In the 2009-10 season he is engaged to sing Trin in LA FANCIULLA DEL WEST and Gastone in LA TRAVIATA at the Danish National Opera, Aarhus.

Mathias Hedegaard has appeared as soloist with the majority of Danish symphony orchestras, Concerto Copenhagen, with orchestras in Sweden and Germany in pieces like Händel's Messiah, The Christmas Oratorio, the Evangelist in St. John's passion, Haydn: The Creation and Mozart Requiem. He has worked with conductors like Adam Fischer, Andrew Parrott, Giancarlo Andretta, Lars Ulrik Mortensen, Christoph Eberle and Roy Goodman. In spring 2009 Mathias Hedegaard toured Holland with the highly respected baroque ensemble De Nederlandse BachVereniging as soloist in St. Matthew Passion lead by Lars Ulrik Mortensen.

Lied concerts are very important to Mathias Hedegaard, and he has given recitals all over Denmark, most recently in the Danish Radio new concert hall, in Sweden, Scotland and Austria, His regular accompanists are Tove Lønskov and Søren Rastogi.

Mathias Hedegaard has released several recordings; Songs by Danish composer Weyse, accompanied by Marie Rørbech, ' Serenades and Romances' with the Danish Radio Sinfonietta, conducted by Adam Fischer, which was reviewed with great acclaim in all papers and was awarded 5 stars, 'Italian Baroque' with Copenhagen Saxophone Quartet, and his most recent recording is Cantatas by Carl Nielsen with Aarhus Symphony Orchestra. His rewards and prizes include Edit Aller's Memorial Grant (2001), Gladsaxe Music Prize (2006), Léonie Sonning Music, Foundation Scholarship (2006), the Axel Schiøtz Prize (2006), the Artist Prize awarded by the Danish music reviewers (2007), The Hartmann Brothers Special Prize and Prince Henrik's Grant, 2009.

John Holloway is one of the pioneers of the modern “Early Music” movement in Britain. He played his first public concert in aid of Hungarian refugees in 1956. He was 8 years old. After a conventional training at the Guildhall School of Music and Drama and various international competitions, he worked as a freelance in London: throughout the 1970s he combined concert-mastering and managing the orchestra of Kent Opera, appearances with all the prominent chamber-orchestras in London, contemporary music and string quartet concerts, and, after encountering Sigiswald Kuijken in 1972, performances on Baroque violin.

In 1975 John Holloway founded the ensemble L'Ecole d'Orphée, which made the first complete recording on baroque instruments of Handel’s instrumental chamber music. He has performed and recorded a considerable repertoire with such distinguished colleagues as Emma Kirkby, Stanley Ritchie and Andrew Manze, Davitt Moroney and Lars Ulrik Mortensen, Marion Verbruggen and Jaap ter Linden. He won a Gramophone Award in 1991 for his recording of Biber's Mystery Sonatas.

Recording projects have included an extended series of CDs of Buxtehude, including all the chamber music, which was awarded a Danish “Grammy” in 1994 and again 1997. With Lars Ulrik Mortensen and David Watkin in Trio Veracini he has made the only recording of Corelli's opus 5 sonatas with the instrumentations specified by the composer. Holloway's CD of Schmelzer's “Sonatae unarum fidium”, with Lars Ulrik Mortensen and Aloysia Assenbaum, was released by ECM in 1999 to great acclaim. The year 2000 saw the release of a CD of other sonatas from the Kromeriz Library, and of a CD of trio sonatas by Telemann. In 2002 ECM released “Unam Ceylum”, the first of two CDs featuring the 1681 Sonatas by Biber; the second CD was released in 2004. This last summer he has recorded a double CD of the complete sonatas and partitas for solo violin by J.S. Bach for ECM - who recently released his newest Veracini CD.

John Holloway has been Professor of Baroque Violin at the Guildhall School of Music and Drama in London and Guest Professor at the Schola Cantorum in Basel and at the Early Music Institute at IU Bloomington, Indiana. Since 1999 he has been Professor of Violin and String Chamber Music at the Hochschule für Musik in Dresden, Germany. In September 2004 he was Regents' Lecturer at UC Berkeley. Since 2005 he is appointed Artist in Residence and Guest Lecturer at Georgia State University in Atlanta.

John Holloway was concertmaster of Andrew Parrott's Taverner Players from 1977-1991, and of Roger Norrington's London Classical Players from 1978-1992. With these and other ensembles he has directed many concerts from the violin. On the basis of all this experience he is developing a further career as a conductor; recent projects have ranged from Bach to Britten. From 2000 to 2004 John Holloway was Music Director of the Indianapolis Baroque Orchestra, and from 2005 to 2006 the Music Director of New Trinity Baroque , a period instrument ensemble and orchestra based in Atlanta, USA.

To learn more, visit JohnHolloway.org

Paul Hopkins, natural horn , holds a Bachelor's of music performance from the University of Oregon, and a Graduate Performance Diploma from the Peabody Conservatory in Baltimore. Mr. Hopkins is a member of the Baltimore Opera Orchestra, Concert Artists of Baltimore, Maryland Symphony Orchestra, and has recorded extensively with the Omega Recording Studios. Hopkins performs regularly with the Baltimore Symphony Orchestra, National Philharmonic Orchestra, and the Washington Concert Opera.

Mr. Hopkins has extensive experience performing on both Baroque and Classical horn. He holds the Principal Horn positions with the Baltimore Handel Choir Orchestra, Modern Musick (Washington DC), and the Americantiga Orchestra (Austin, TX). He is also a regular performer with Opera Lafayette in Washington DC, the Washington Bach Consort, and the Wolf Trap Opera Company period instrument orchestra. Mr. Hopkins was a featured clinician and soloist at the 2008 and 2009 Maryland Early Brass Festival in Baltimore. Paul performs historic horns with Apollo's Fire (Cleveland), Aulos Ensemble, Ensemble Caprice (Montreal), and the Dallas Bach Society. Mr. Hopkins is a founding member of Circa 1800 Chamber Winds, one of the worlds' only period instrument wind quintets.

(Paul Hopkins collaborated with New Trinity Baroque for the first time in March of 2011, in Johann Sebastian Bach's Mass in B minor.)

A native of Meridian, Mississippi, BRAD HUGHLEY inherited a love of classical music, and particularly organ music, from his grandmother; her husband played theater organs and was somewhat of a local celebrity during the heyday of the radio era. Brad began piano lessons at age twelve and began organ lessons at age fifteen. His formal training includes an undergraduate degree in Sacred Music from Westminster Choir College (Princeton, NJ, 1997) and a Master of Sacred Music degree from Emory University (Atlanta, GA, 2000). Brad also earned a Master of Arts degree in Musicology from Brandeis University (Waltham, MA, 1999). His principal teachers were Joan Lippincott and Timothy Albrecht, with additional study with William Porter, and masterclasses with Harald Vogel, Mary Preston, Donald Sutherland, and Anne Elise Smoot. Hughley is the Organist and Chorus Master of St. Bartholomew's Episcopal Church in Atlanta, a member of the American Guild of Organists and the Association of Anglican Musicians. When he’s not practicing organ, or directing choirs, Brad likes to hike in the mountains with his wife, Amy, and take care of the fish in his water garden.

Mark Husey ['hue-zee] has been widely acclaimed as "a musical Renaissance man" for his gifts as a conductor, organist, accompanist, and tenor. A native of Harford County, Maryland, he now resides in Columbia, South Carolina.

In 1991, he received the Bachelor of Music from Westminster Choir College (Princeton, New Jersey), where he studied organ with Eugene Roan and voice with Lorna MacDonald. The recipient of numerous academic and performance awards there, he was greatly influenced by the work of Frauke Hassemann, Glenn Parker, and Joseph Flummerfelt. A chorister and soloist in The Westminster Choir, he served as its accompanist in Spoleto Festivals in the United States and Italy in 1993.

As a scholarship student at the Yale School of Music (New Haven, Connecticut), Mr. Husey studied organ with Charles Krigbaum and harpsichord with Richard Rephann, performing in master-classes for Marie-Claire Alain and Daniel Roth. Mr. Husey is presently a candidate for the Master of Arts in Pastoral Liturgy and Music from Saint Joseph's College (Rensselaer, Indiana), where his professors have included Sr. Marilyn Schauble, OSB (voice), Fr. Richard Fragomeni (liturgy and theology) and Fr. Lawrence Heiman, C.PP.S. (Gregorian chant and paleography).

As a tenor, Mr. Husey was featured as Quintus soloist in a 1991 Spoleto Festival production of Vecchi's madrigal comedy "L'Amfiparnaso" in Spoleto, Italy, and in 1993 was featured as tenor soloist in that festival's premier of Janáček's "Sedmdesat tisíc" for men's chorus. He received critical acclaim from The Washington Post for a 1996 performance of "Stabat Mater" settings of Pärt and Scarlatti with Musikanten, under the direction of Kerry Krebill. A tenor in the Grammy-winning Atlanta Symphony Orchestra Chorus, he was featured in a solo octet in performances of Mendelssohn's "Elijah," conducted by John Nelson in 2002, as well as in a solo ensemble with that group's Chamber Chorus for performances of Bach's motet "Singet dem Hernn," conducted by chorusmaster Norman Mackenzie.

As accompanist and pianist, Mr. Husey received critical acclaim in The Washington Post for performances of Argento's "Peter Quince at the Clavier" with the Alexandria Choral Society in 1994, under the direction of Kerry Krebill. He performed as accompanist to Cantors Faith Steinsnyder and David Perper in Cantors Assembly conventions at Kutscher's Resort and Carnegie Hall. Mr. Husey was the pianist and co-producer for the Atlanta premier of Lee Hoiby's setting of Dr. Martin Luther King's "I have a dream," performed in February 2003 with soprano Sabrina Coleman Clark. He has played continuo with New Trinity Baroque (Atlanta, Georgia), the Columbia Pro Cantare (Columbia, Maryland), and the National Chamber Orchestra (Rockville, Maryland).

Mr. Husey has performed solo organ recitals at Washington National Cathedral and Princeton University Chapel, as well as at venues in Canada, England, Wales, Belgium, the Netherlands, Finland, Sweden, Estonia, and the Czech Republic. He received first prize in the 1991 Music Teachers' National Association Organ Competition in Miami, Florida, as well as in the 1994 Baltimore-Washington American Guild of Organists Young Artist Competition. He holds the distinction of being one of the few organists reviewed in Opera News , for a 1995 performance of his original organ transcription of Tchaikovsky's "Iolanta," with an international cast of the Opera Camerata of Washington under the baton of Micaele Sparacino at Lisner Auditorium, to the standing ovation of a capacity audience. He has made broadcast appearances on BBC2 Radio, National Public Radio, CBS This Morning , and in the PBS documentary The Jew in the Lotus .

Mr. Husey has conducted several regional premiers of masterpieces of historic sacred choral literature, while promoting its liturgical and catechetical value. He is currently on the faculty of the Philip and Patricia Frost School of Music at the University of Miami, and sings tenor in the professional chorus of Florida Grand Opera. He plays continuo for the Tropical Baroque Festival Orchestra and the Miami Bach Society, with former members of the Florida Philharmonic Orchestra. Future performances include his original organ transcription as accompaniment to Donizetti's "La Favorita," performed by Opera Bel Canto of Washington, DC.

An accomplished chorister and woodwind player, David M. Johnson has a wealth of experience in sacred and secular music. He has sung with choirs large and small in the United States and in Germany, where he was a Fulbright grantee in 2004. A graduate of Furman University, he currently performs with a number of Atlanta-area ensembles, including the acclaimed Emory Concert Choir, with whom he recently toured Italy.

Mr. Johnson studies with Christina Howell; his first performance with New Trinity Baroque is in March of 2008, in two performances of Bach's "St. John Passion"

Bryan Jones , baroque oboe & oboe d'amore

More information coming soon...

Gregory Parker Jordan , tenor, graduated magna cum laude with a degree in Vocal Performance from Georgia State University. He has performed with The Atlanta Opera in such roles as Parpignol in Puccini's La Boheme, the Servant of Flora in Verdi's La Traviata, the Philistine messenger in Saint-Saens' Samson and Delilah, Amelia's Servant in Un Ballo in Maschera, Gobin in Puccini's La Rondine, the Second Priest in Mozart's Die Zauberflote, and most recently, the Fourth Jew in R. Strauss' Salome. Atlanta audiences will also recall his acclaimed Frederic with the Atlanta Lyric Theater's 2003 production of The Pirates of Penzance. Mr. Jordan also debuted two world premiere performances of Workshop, by Charles Knox, and Zabette, by Curtis Bryant, for the Georgia State Opera Theater. He is a recipient of the Presser Foundation Award and has been a finalist in the Georgia N.A.T.S. competition from 1996 to 1999. He can also be heard as staff soloist for All Saints' Episcopal Church in Atlanta.

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Janice Joyce, transverse flute, completed her Bachelor of Music and Master in Music in Flute Performance at the University of Georgia and the State University of West Georgia. Janice studied flute performance, post-graduate level, at the Royal Northern College of Music in Manchester, England. She has performed as a concerto competition winner at the University of Georgia and soloist for the International Electronic Composers Convention as well as solo performances at southeastern universities and other regional venues. She had performed as a freelance artist with Atlanta Musica Antiqua, Atlanta Bach Choir, Atlanta Bach Society, Camerati, Charleston Symphony, Atlanta Metropolitan Orchestra and Harmonie Universelle. She has also performed at the National Flute Conventions in Atlanta and Columbus, Ohio. For the past six years, she has been the class manager for Stephen Preston'' masterclass at the Wildacres Flute Retreat.

Dragan Karolic was born in Belgrade, Serbia, where he started his studies in flute, voice and piano. Very early he discovered his affinity for early music, and this encouraged him to continue his education in Rome, Vienna and London. After he graduated with high honors, Mr. Karolic participated in numerous master classes, with world-wide famous artists such as (voice) E. Kirkby, D. Thomas, K. Mertens, B. Schlick, H. v. d. Kamp, J. Feldman, I. Poulenard, (transverse flute) L. Beznosiuk, K. Hünteler, W. Hazelzet, B. Kuijken, (recorder) H. M. Linde, C. Pehrsson and N. Hadden.

Until 1991, when he permanently moved to live and work in Germany , he was a member of the early music ensembles Renaissance (1979-1991), Musica Antiqua Belgrade (1984-1989) and Baroque Consort (1986-1991). During 1989 he cooperated with the Elisabethan Consort, London, under the direction of Robert Spencer. Mr. Karolic was the co-founder of the Belgrade Early Music Festival in 1991, as well as the Studio for Early Music. Between 1991 and 1996 he was a soloist of the Telemann Chamber Orchestra in Blankenburg, Germany. Since 1997, Dragan Karolic is active as a vocal soloist and at the same time he teaches recorder at the Georg Friedrich Händel Konservatorium in Halle. In 1998 he founded the ensemble "Cantare e sonare" , with whom he recorded a CD "Bella Italia" (early baroque Italian love songs). Since 2001 he is a member of the Gewandhaus Chamber Choir in Leipzig and a regular guest soloist of the ensemble New Trinity Baroque, based in Atlanta, USA.

Among notable appearances Mr. Karolic sung principal bass role in Stradella´s L´Academia d`Amore, under the direction of Steven Stubbs in 1999 in Bremen. In 2000 he appeared in a Baroque pasticcio opera, at the Court Theater built by Friedrich II "the Great" in Potsdam near Berlin. As soloist and member of ensembles, Dragan Karolic participated in over a thousand concerts in the USA, England, France, Belgium, Spain, Italy, Austria, Germany, Poland, Chech Republic, Bulgaria, Israel, Syria and Cyprus. He appeared on radio and television many times, and recorded over a dozen CDs, audio cassettes and videos. Mr. Karolic is also an active composer and musicologist, interested in research and editing of forgotten manuscripts of Baroque composers.

Carolina Rodríguez Kipnis , soprano, comes from Venezuela. She is currently pursuing doctoral studies at Indiana University's Early Music Institute. From 1996 to 2001, she directed Bloomington's Ensemble Ensalada. She has performed as a soloist both in the U.S. and Latin America with groups such as Camerata de Caracas and Musicam Sacram de Venezuela, the Indiana University Pro-Arte Singers, Bloomington Early Music Festival (BLEMF) and with Tragicommedia as part of the Amherst Early Music Festival (AEM). Recent solo performances include the role of Celfa in the BLEMF production of La Púrpura de la Rosa, Schütz's Musikalisches Exequiem under the direction of Joshua Rifkin, Händel's Messiah with the Dayton Philharmonic, and Bach's Magnificat and B-Minor Mass with the Indianapolis Chamber Orchestra. Ms. Rodríguez recently relocated to the Washington D.C. area, where she teaches voice and sings in various professional ensembles. In addition to performing and teaching, Ms. Rodríguez can bake a legendary batch of brownies and is an experi enced bicycle mechanic.

Adam Kirkpatrick , tenor, has sung operatic roles and concerts in many theaters throughout the United States, singing with the: Cincinnati Opera, Atlanta Opera, Santa Fe Opera, Tri-Cities Opera (NY), Dayton Opera, Florida State Opera, Knoxville Symphony, Newton Symphony (MA), Tallahassee Symphony, LaGrange Symphony (GA), Cobb Symphony (GA), Northwest Florida Symphony, and more.

Kirkpatrick holds a BM and MM in voice performance from the Cincinnati College-Conservatory of Music, and earned his Doctor of Music degree from Florida State University. Currently, he is the associate professor of music at Kennesaw State University in Georgia. Though he spends most of his professional life teaching voice and singing, Kirkpatrick also finds time to write and publish articles related to voice and singing. He is the inventor of a patented new method for teaching the lower laryngeal position in singing using electromyographic (EMG) biofeedback.

(Adam Kirkpatrick joined New Trinity Baroque for the first time in March of 2011, in Johann Sebastian Bach's Mass in B minor.)

Gordana Kostic , soprano, was born in Serbia and has graduated in singing from the University of Art, Belgrade. She is a graduate of Trinity College of Music in London where she also completed Post-graduate Certificate, Advance Diploma and MMus course in Performance.

Her early performances include role of Belinda in the Yugoslav Premiere of Purcell's Dido and Aeneas with Evelyn Tubb and the Studio for Early Music. She toured Spain with Renaissance, an early music ensemble in Yugoslavia. She has appeared on national TV and radio and won First Prize in the Orpheus Laureates Solo Singing Competition. At Trinity she has sung Poppea in Monteverdi's L'Incoronazione di Poppea . She sang Baucis in Haydn's Philemon and Baucis with the London Philharmonic Youth Orchestra, conducted by Andrea Quinn. She has sung a recital of ethnic and contemporary music in Jerusalem. She was the soloist with the Croydon Philharmonic Choir under James Gaddarn at the Fairfield Hall and with the choir and orchestra of Bexley Centre for Music and Dance under Philip Ledger at the Royal Festival Hall. Gordana also performed Bach's Cantata No. 140 at the Brighton Festival. Gordana has also performed in British premier of Francesca Caccini's opera La Liberazione di Ruggiero dall'Isola dal' Alcina in St. John's Smith Square. In Winter 2001 she was touring the USA with London City Opera's production of Carmen and performed the Easter Recital with New Trinity Baroque.

Currently she is promoting her own project War Through the Centuries that was also performed last May in San Sebastian, Spain on the 'Seminar on Violence and Aggression'.

Recently she has performed the role of Ida and covered Adele for European Chamber Opera and Despina with Candlelight Opera. Gordana will continue working on the role of Despina throughout the year 2002 both with Candlelight Opera and Opera Interludes.

Carrie Krause , baroque violin, resides as concertmaster of the Bozeman Symphony (MT) and New Trinity Baroque. She performs regularly as soloist and ensemble member with Apollo's Fire (Cleveland) and Seattle Baroque Orchestra. Past performances include work with Chatham Baroque, Early Music New York, the Case University Collegium on rebec, and as concertmaster of the Case Baroque Orchestra.

Carrie studied early music performance at the Longy, Tafelmusik, and Oberlin summer programs and with violinists Julie Andrijeski, David Douglass, Cynthia Roberts, and Ingrid Matthews. She recieved her masters from the Cleveland Institute of Music and her bachelors from Carnegie Mellon University under Andres Cardenes. She resides in Bozeman, MT, where she performs with the Meritage String Quartet and teaches a studio of 35 students.

(Carrie Krause has appeared with New Trinity Baroque since 2005. Since the 2006/07 Season, Carrie Krause is acting as New Trinity Baroque's concertmaster.)

Natalie Kress , baroque violin

Praised by the New York Times for her “splendid playing”, 28 year old Natalie Kress has already begun a successful career as a violinist; highlights of which include performing at the Kennedy Center Honors with Yo Yo Ma in 2016; winning the 2012 Jules C. Reiner Violin Prize from the Tanglewood Music Center; as well as performances at Carnegie Hall. Natalie received her Bachelor's of Arts in Music and Psychology and Master’s in Music from Stony Brook University (where she studied with Soovin Kim) and is co-Artistic Director of Three Village Chamber Players which performs free chamber music and outreach concerts throughout Long Island and New York State (3vcp.org). As a baroque violinist Natalie studies with Beth Wenstrom and has performed with Boston's Handel and Haydn Society, Grand Harmonie, Stony Brook Baroque, Shanghai Camerata, Long Island Baroque Ensemble , and New Trinity Baroque .

(Natalie Kress performed with New Trinity Baroque for the first time in the program of Lenten music presented in honor of its 20th Anniversary)

Baroque contrabassist Jenny Labonté

more info coming soon...

Ken Lambert , baroque violin , joined New Trinity Baroque in 2006. He is a freelance violinist in the Atlanta area. Originally from a small town named Covelo in rural Northern California, Ken began his violin studies with Donna Lim, local Suzuki teacher/Volunteer Fire Captain. It soon became evident that playing the violin was more than a passing fancy for Ken's reputation as a fine musician began to grow. After graduating from High School, Ken was awarded a full tuition scholarship from the San Francisco State University School of Music and enrolled there to study violin performance with Ge-Fang Yang and the Alexander String Quartet. At SFSU Ken won the Concertmaster Chair of the University Symphony and was featured twice as a soloist. After earning his BA in Violin Performance, Ken accepted an Assistantship as a Graduate Student at the Florida State School of Music. There, he continued to excel in his musical studies performing with the University's Symphony, Opera, Chamber Orchestra, and Graduate String Quartet as well as the Tallahassee Symphony. Ken earned his Master of Music degree in 2003 and moved to the Atlanta area to begin a carreer as a violinist. Since that date, he has become a ubiquitous face in the freelance world performing regularly with the Symphonies of Columbus, Macon, Augusta, Greenville, and Charleston. Beside being a member of New Trinity Baroque, Ken is also concertmaster of the Gainesville Symphony Orchestra in Gainesville, GA where he has been featured multiple times as a soloist, and plays with the Gwinnett Ballet Theatre orchestra, also directed by Predrag Gosta. He lives with his wife, in Lawrenceville, GA.

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Joshua Lee, viola da gamba & baroque bass , leads an eclectic musical life performing on viols, violoncello, double bass, and violone with some of the world's leaders in early music. Initially trained as a violinist, he began his studies in historical performance practice at the Peabody Conservatory of Music where he was a student of Ann Marie Morgan, Mark Cudek, and Webb Wiggins. As a collaborative artist he is a member of New Trinity Baroque, a founding member of the ensembles Concerto Incognito and Marley’s Head, and has performed with the Washington Bach Consort, Olde Friends, Arcadia Players, and Hesperus. Aside from performing early music, Mr. Lee has appeared with such popular artists as The Cure, 10,000 Maniacs, REM, and great late Tammy Wynette in “unplugged” performances across the US. Also a dedicated educator, Mr. Lee has led educational residencies in inner city schools in Washington, D.C., Baltimore, Los Angeles, and San Francisco, as well as annual residencies in rural Kentucky. Now a resident of Atlanta, Joshua is on the faculty of the New School of Music where he teaches violin, ‘cello, and double bass. Recently cited by the Atlanta Journal-Constitution for his “finely tuned” and “stylish playing,” Joshua’s performances have been broadcast on National Public Radio’s “Performance Today” and “Harmonia.”

Diana Lee-Planès , b aroque violin, performs regularly on period and modern violins in chamber and orchestral settings. She has recently played with Tafelmusik, the Handel and Haydn Society, the Indianapolis Baroque Orchestra, the Dayton Bach Society, and Chorus Pro Musica, and performs annually with the Bloomington Early Music Festival Orchestra. She is a member of Trio Francesco Rognoni, which was featured at BLEMF 2003. In addition, she has formerly held the position of Concertmaster with the Columbus Indiana Philharmonic, as well as violinist with the Owensboro Symphony and Evansville Philharmonic Orchestras. Diana received a Master of Music degree in violin performance and early music from Indiana University, where she was the recipient of the Jason Paras Memorial Scholarship. Her former teachers include Stanley Ritchie, Ik-Hwan Bae, and Mauricio Fuks, and she has received additional coaching from Marc Destrubé.

Jesse Levine , natural trumpet

More information coming soon...

"Almost everything about Joan Lippincott`s organ recital proved first class….The organist displayed a strong architectonic flair in both programming and performance, a penchant for detail and more than ample technical facility to realize her interpretative goals." ( The Los Angeles Times)

JOAN LIPPINCOTT, organ , has been acclaimed as one of America's outstanding organ virtuosos. She performs extensively in the United States under Karen McFarlane Artists and has toured throughout Europe and Canada. She has been a featured recitalist at Alice Tully Hall at Lincoln Center in New York City, at the Spoleto USA Festival, at The American Bach Society Biennial, at the Dublin (Ireland) International Organ Festival, and at conventions of the American Guild of Organists, the Organ Historical Society, and the Music Teachers National Association. She has performed on most of the prominent organs in churches and universities throughout the United States, including Yale, Harvard, Duke, Stanford, Columbia, and Princeton. She has traveled widely in Europe, studying, playing, and performing in recital on historic and contemporary organs in Holland, Denmark, Sweden, Germany, Austria, Italy, Switzerland, and France.

Dr. Lippincott has been especially in demand for Bach recitals and classes. She was recitalist at the Alice Tully Hall Bach-Handel Tercentennial and she has performed at Bach Festivals in Arizona, Massachusetts (Ozawa Hall at Tanglewood), Michigan, New York, Ohio, Oregon, and South Carolina. In 2001-2002 she performed a highly acclaimed series of eight Bach organ concerts on outstanding organs throughout New York City, called 'Bach in the Big Apple'.

Her many recordings on the GOTHIC label include music of Bach, Duruflé, Mozart, Mendelssohn, Widor, Alain, and Pinkham on major American organs. The most recent releases are Sinfonia (Organ Concertos and Sinfonias of J.S.Bach with instrumental ensemble) on the Paul Fritts Organ at Princeton Theological Seminary and J.S. Bach Preludes and Fugues recorded at Pacific Lutheran University.

Joan Lippincott presently devotes full time to concertizing and recording. She was Principal University Organist at Princeton University, 1993-2000, and for many years has been Professor of Organ at Westminster Choir College of Rider University. At Westminster, she was Head of the Organ Department, the largest organ department in the world, well known for the outstanding quality of work by students and faculty. She directed many European organ study tours and summer organ workshops, including the popular Organ Week for High School Students. Dr. Lippincott has served on summer faculties at the New England Conservatory of Music, University of Wisconsin, the Montreat Conference, the Evergreen Conference, and Bach Week at Columbia College.

A graduate of The Curtis Institute of Music and Westminster Choir College, where she was a student of Alexander McCurdy, she also studied at Union Theological Seminary and Princeton Theological Seminary. She is on the Advisory Board of The American Bach Society, an honorary member of Sigma Alpha Iota, and has received the Alumni Merit Award, the Distinguished Merit Award, and an Honorary Doctorate from Westminster Choir College.

Antoinette Lohmann , baroque violin & viola, was born in Amsterdam in 1969 and grew up surrounded by Hungarian and Rumanian gypsy music. Her father played cymbalom and piano, her mother cello. Antoinette began violin and piano lessons at the age of eight and played the pan-flute every now and then.

In 1987 she began violin studies at the Sweelinck Conservatorium with Jean Louis Stuurop and viola with Esther van Stralen. The knowledge and interest of her violin teacher inspired her to begin studying baroque violin with Lucy van Dael. She also followed courses with Jaap Schröder, among others.

Antoinette has always been active in varied musical areas and her experience includes playing violin and viola in the Argentinian tango group Bailongo and performing with the well-known Argentinian bandoneon player Rodolfo Mederos. For many years Antoinette led a salon orchestra and performed with the well-known music-theatre group Flairck in the production 'Gouden Eeuw', in which she performed on violin, viola and viola d' amore. Equally at home playing contemporary music, Antoinette was a member of the Helios ensemble, with which she recorded the work of Dutch composers such as Tristan Keuris, Jaap Geraedts and Ludwig Otten. The latter dedicated to Antoinette two of his viola works which were published by Donemus.

Currently her repertoire stretches from the early seventeenth century to the late nineteenth century, and she has a special interest in performance on unusual instruments such as the viola d' amore, the tenor violin and the piccolo violin and has extensively explored their repertoire. At the moment Antoinette is immersed in study of the lira da braccio.

In recent years she has focussed primarily on chamber music. Together with pianist Vaughan Schlepp she recorded the complete sonatas for piano and violin by Joseph Martin Kraus (1756-1792) and Margarethe Danzi for Challenge Records. For Slot Zuylen Antoinette produced and recorded a CD featuring chamber music of Bella van Zuylen (Isabelle de Charrière) and, for the series 'Museum gifts', a CD featuring Dutch music of the early baroque. She has also made numerous recordings with chamber music groups including the Nederlandse Bachvereniging (formerly Cappella Figuralis), Ensemble Schönbrunn and island. In addition Antoinette has performed in countless orchestras and ensembles, such as la Sfera Armoniosa, the Utrechts Barok Consort, Anima Eterna, Musica Temprana, Al Ayre Espanol, the Freiburger Barock Orchester and many others.

Antoinette teaches principal study Baroque violin and viola at the Utrecht Conservatorium of Music and loves garlic and cinnamon.

(Antoinette Lohmann joins New Trinity Baroque for the first time in March of 2012, in the program "Baroque Concertos & Sacred Cantatas.")

Lara Longsworth, mezzo-soprano, lives and works in Atlanta.

Jennifer MacMaster , soprano, developed passion for Baroque music while she was an undergraduate student in voice performance at Clayton College & State University, where she studied voice with soprano Cheryl Boyd Waddell, and historical performance with lutenist Lyle Nordstrom. As a student, she sang roles in a number of operatic and musical theatre productions, including Dolly in Thomas Arne's "Mayday", Diana in John Gay's "Beggar's Opera", and Squeaky Fromme in Stephen Sondheim's "Assassins". Now an active freelance musician, Jennifer's first love is still the dramatic vocal music of the early Italian Baroque. Jennifer is a member of the Renaissance/Baroque ensemble Muses Gardin (with harpist Paula Fagerberg, lutenist Lyle Nordstrom and violist Pat Nordstrom). In Atlanta, she has appeared as a guest artist with ensembles such as The Merry Band and the Atlanta Baroque Orchestra (with whom she will solo next season in a performance of Charpentier's Te Deum). Jennifer currently teaches voice performance at Atlanta's Lovett School, and she is staff soloist/section leader at All Saints' Episcopal Church and Holy Spirit Catholic Church.

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Baroque Violinist Ute Marks lives in Atlanta, Georgia, but is a native of Germany, having grown up in the state of Saxony, where the cities of Leipzig and Dresden are central to the history of Baroque music.

Ms. Marks came to Georgia State University in the mid-1990s to study with violinist Oliver Steiner, then returned to Germany to complete Masters degrees in both Music Education and English and American Studies at Humbold University in Berlin. Moving back to Atlanta in 1997, she met up with fellow German early music specialist and cellist Eckhart Richter, Professor Emeritus from Georgia State, and established her career as a Baroque violinist.

Ms. Marks is also a member of Atlanta Baroque Orchestra while performing with Dr. George Lucktenberg and other ensembles in the Atlanta area.

Anna Marsh owns five bassoons and likes to play them. She has appeared with Tafelmusik, Indianapolis Baroque Orchestra, Opera Atelier, Seattle Baroque, The National Cathedral, Opera Lafayette, Washington Bach Consort, Ensemble Voltaire, Apollo's Fire, Foundling Orchestra, Americantiga, Chicago Opera Theater, the Hollywood Bowl, Banff Centre for the Arts, Musica nel Chiostro, the Bloomington Early Music Festival, Sante Fe Pro Musica, Aradia Ensemble, Indianapolis Museum of Art and others. Anna has also taught or given masterclasses at the Hawaii Performing Arts Festival, The Eastman School of Music, The Los Angeles Music and Art School, The Albuquerque Double Reed Workshop (now the Western Baroque Music Festival) and teaches privately. She co-directs the group Ensemble Lipzodes which toured Brazil in 2008 and Equador in 2010 and has recorded two cds. She also enjoys playing with Circa 1800, a classical woodwind quintet and with From the Depths, a group devoted to music and literature. Anna has been a concerto soloist with the Foundling Orchestra, Americantiga orchestra, the USC Early Music Ensemble and the Indiana University Baroque Orchestra. Anna has also worked in the library and/or administration at the Los Angeles Philharmonic, the Washington National Gallery of Art, Museum of the City of New York and the Weyerhauser Technology Center. She has recorded for Centaur, Avie, Naxos, the Super Bowl and Musica Omnia Record Labels.

(Anna Marsh collaborated with New Trinity Baroque for the first time in March of 2011, in Johann Sebastian Bach's Mass in B minor.)

Susan Soderstrom Matteson received the Doctor of Musical Arts Degree in organ performance from the Eastman School of Music in 1985, and also earned performance degrees from Indiana University (B Mus) and The Shepherd School of Music (M Mus) at Rice University in Houston, Texas. During her university studies she was the recipient of several performance and academic awards, including Eastman's Performer's Certificate, several graduate teaching fellowships, and various competition honors. She has studied organ with Clyde Holloway, Russell Saunders and Joanne Harris Rodland, and harpsichord with Arthur Haas and Colin Tilney. Doctoral work at Eastman included research on the organ works of contemporary American composer Ned Rorem. From 1986 to 1995 she taught and for a time was music department coordinator at Finger Lakes Community College, a part of the State University of New York system in the Finger Lakes region of upstate New York. Teaching responsibilities included Music Appreciation, Music History, Music Theory, Keyboard Skills, Piano, and accompanying all choral course offerings. While living in upstate New York Dr. Matteson was also active as a church musician and private teacher, and was highly sought after as an accompanist and concert artist. Active in the local musical life of her home community, she and fellow community musicians developed a well-received program of taking music into nursing and retirement homes. Dr. Matteson has performed nationally and internationally as an organ soloist, is an accomplished flautist, and was a charter member of the Young Organists Cooperative, a national concert management agency promoting organ recitalists. A solo organ concert tour of Sweden and Germany yielded critical acclaim from the Swedish media: "...a highly engaging performance combined with a well balanced and imaginative registration....brilliant technique combined with a clear personal view and exemplary articulation...dramatic, expressive...a very convincing musical achievement." Over the past 15 years she has presented a variety of organ concerts including several dedication recitals, performances in concert series, and in 1999 as a featured recitalist at the American Guild of Organists Regional Convention in Knoxville, Tennessee. Since moving to the Atlanta area in 1996 with her husband and their three sons, Dr. Matteson has been active as an accompanist (University of Georgia, Metropolitan Atlanta Young Singers, Choral Society of Atlanta, Atlanta Youth Choir, Capitol City Opera, miscellaneous freelance engagements), church organist (currently at All Saints Lutheran Church, Lilburn GA), and as a studio teacher (piano, flute, theory). From April 1997 until 1999 she held the position of Director of Music at Wesleyan School in Norcross, Georgia, where she designed and began implementation of a comprehensive musical studies and performance program for grades K - 12. Dr. Matteson continues to maintain a private lessons studio in her home, is currently Director of Education and Accompanist for the Atlanta Institute for Musicianship and Singing/ Atlanta Youth Choir, and accompanies in a variety of settings when time permits.

Ingrid Matthews, baroque violin, won first prize in the Erwin Bodky International Competition in 1989, and since then has become well-established as one of this country's most respected artists in the field of early music. She is the Music Director of Seattle Baroque, and serves as concertmaster for the New York Collegium under Andrew Parrott. Matthews has garnered international critical acclaim for her extensive discography as a soloist, which ranges from the early seventeenth-century Italian repetoire to the complete Sonatas and Partitas for unaccompanied violin of J. S. Bach. Of the latter, the critic for "American Record Guide" writes "this superb recording is now my top recommendation... on either period or modern instruments." A frequent guest soloist with ensembles throughout North America, Matthews is also a founding member of La Luna and collaborates extensively with harpsichordist Byron Schenkman. She has served on the faculties of the University of Toronto, the University of Washington, Indiana University, the University of Southern California in Los Angeles, and the Amherst Early Music Workshop.

Julia Matthews , soprano, comes to early music through her interest in Renaissance theatre. While pursuing doctoral work in Renaissance studies in the U.K., she performed as soloist and chorister with the Legrenzi Consort, the Westminster Singers, the Europa Singers, the Renaissance Group of St Andrews, and many other groups. In the U.S. she has performed with numerous ensembles, including the American Medieval Players in Chicago, the Peabody Renaissance Ensemble in Baltimore, the Atlanta Camerata, the Atlanta Choral Artists, the Garlandia Ensemble, the Schola Cantorum of Atlanta, and New Trinity Baroque. Recent performances include "Messiah" with the Seattle Baroque, Arvo Part's "Stabat Mater" with the Atlanta Camerata, and Monteverdi's Vespers with New Trinity Baroque. Julia recently moved to Pennsylvania to join the faculty of Albright College.

A Texas native with international roots, Nathaniel Mayfield has shared his passion and love of the modern and baroque trumpet with audiences across the world. Honored as a Presidential Scholar in the Arts by President Clinton and the NFAA, a Fulbright Scholar to Germany, a Beebe and Rapaport Fellow, as well as winner of numerous solo competitions (Level 1 Award, A.R.T.S.; International Trumpet Guild Solo Competition; Yamaha Young Performing Artist Competition; Aspen Solo Competition; National Trumpet Competition), Mr. Mayfield is currently on the music faculty at Texas A&M University in College Station, TX, Concordia University, and serves both as Director of Music and on the board at The Austin School for the Performing and Visual Arts (ASPVA). Mr. Mayfield is a graduate of Interlochen Arts Academy, and also the Columbia University/The Juilliard School exchange program, where he studied with Professor Raymond Mase (Chairman of the Brass Department) while earning a degree in history. In addition to studies at Tanglewood Institute, Mr. Mayfield completed two years of postgraduate work at the Hochschule für Musik in Karlsruhe, Germany under Professor Reinhold Friedrich.

Mr. Mayfield has given masterclasses at such institutions as: The Juilliard School, Eastman School of Music, Baylor University, Grinnell College, Texas Christian University, Zagreb Conservatory in Croatia, Lausanne Conservatory in Switzerland, Laval University, and in past years served on the faculty of The American Festival for the Arts, and Domaine Forget in Quebec, Canada. He has appeared as featured baroque trumpet soloist with Mercury Baroque, Ars Lyrica, La Follia, Texas Bach Choir, Camerata Ventapane, Dallas Bach Society, Aulos Ensemble, Houston Chamber Choir, St. Cecilia Festival Baroque Orchestra, and Bach Society Houston, and as principal trumpet with Les Violons du Roy, Des Moines Metro Opera, Singapore Symphony, and Tenerife Symphony, among others. Additionally, he has participated at The Pacific Music Festival Japan, The National Repertory Orchestra, World Youth Orchestra (Jeunesses Musicales International) in Berlin, Germany, Victoria Bach Festival, Round Top Music Festival, and the Aspen Music Festival.

Mr. Mayfield is a proud Yamaha Artist, and while not traveling calls his native city of Austin home, where he lives with his wonderful wife Ulrike and beautiful daughter Elizabeth. Other interests include long distance running, studying German, physics and electricity, microbiology, home-brewing, military history, and collecting antique bricks. He can be contacted anytime through his website, www.natemayfield.com.

(Nathaniel Mayfield collaborated with New Trinity Baroque for the first time in March of 2011, in Johann Sebastian Bach's Mass in B minor.)

Holly McCarren, alto, is a native of Atlanta. She enjoyed her studies of early music while at Clayton College & State University where she completed her Bachelors Degree of Vocal Performance in 1997. Under the tutelage of Early Music Specialist Lyle Nordstrom, she participated in Master Classes with Emma Kirkby & Anthony Rooley, Paul Hilliard and the Theatre of Voices, and Elizabeth Mannion. She went on to pursue graduate studies with a graduate teaching fellowship at The University of Oregon where she studied Early Music performance practices with Baroque Cellist Marc Vanscheeuwijck. Ms. McCarren was a participant in a master class with the well-known early music group Tapestry. While in Oregon, she was a soloist at Central Lutheran Church with organist Andrew ElRay Stewart-Cook. Her love for music encompasses not only early music, but also musical theatre and opera. She played Ruth in The Pirates of Penzance and Buttercup in HMS Pinafore with the Atlanta Lyric Theatre under the direction of J. Lynn Thompson. She has worked with Cartersville Opera, The Oregon Lyric Opera, and The Oregon Opera Ensemble. Ms. McCarren can be found on a soon-to-be-released CD of Gace Brule music with The Goliard Ensemble under the direction of John Hillenbrand. Her solo concert engagements include singing with the Carroll Symphony Orchestra, The Atlanta Baroque Orchestra, The Etowah Chamber Orchestra, and New Trinity Baroque. Ms. McCarren is currently an adjunct teacher of voice at Clayton College & State University and a soloist at All Saints' Church under the direction of well-known organists Raymond & Elizabeth Chenault. She can be found on the Towerhill recordings of Promised Land and A Christmas Alleluia by the Choirs of All Saints'.

Hailed for his “vocal distinction and expressive warmth” (The Boston Globe), American baritone Thomas Meglioranza is quickly establishing himself as one of the country’s most sought after singers for a wide variety of repertoire including oratorio, opera, and orchestral works. Recently, Mr. Meglioranza was named a Winner of the Concert Artists Guild International Competition, where he was also awarded performance engagements from Rockefeller University in New York City and the Patrons for Young Artists series in Beacon, NY. He is was also named the 2002 Winner of the prestigious Joy In Singing Award.

Mr. Meglioranza’s upcoming engagements include recitals in New York City at Weill Recital Hall at Carnegie Hall and at Merkin Concert Hall, Carmina Burana and a pops concert with the Cascade Festival of Music Orchestra under Murry Sidlin, Messiah with Richard Egarr and the Portland Baroque Orchestra, and Beethoven's Christus am Ölberge with Nicholas McGegan and Philharmonia Baroque. He sang the role of Aeneas for the Atlanta-based New Trinity Baroque’s 2002/03 season opening performance and new recording of Purcell’s "Dido and Aeneas". He will also appear as guest vocalist and also portray famed diarist Samuel Pepys in a special, semi-staged concert of English Restoration music with the New York Collegium in New York City. His 2001-2002 engagements included appearances as Apollo in Handel’s Apollo e Dafne, and Messiah with the American Bach Soloists, the baritone roles in Purcell’s King Arthur with the New York Collegium conducted by Bernard Labadie, Polyphemus in Handel’s Acis and Galatea with the Baroque Orchestra of Iowa, the St. John Passion conducted by Andrew Parrott, an appearance with the Chicago Opera Theatre in the company’s acclaimed production of "L’Orfeo" at the Brooklyn Academy of Music, and Monteverdi’s "Vespro della Beata Vergine" with the Trinity Consort.

Mr. Meglioranza has made numerous appearances with orchestras in the United States, Europe, and Asia, including engagements with the Rochester Philharmonic (Paukenmesse), the Prague Radio Symphony (Beethoven’s "Mass in C"), and the Thai Royal Navy Orchestra (Mozart concert arias), and he has also performed pops programs with the Charleston Symphony and the Santa Barbara Symphony. He sang John Adams' The Wound Dresser at the Tanglewood Festival for Contemporary Music with conductor Reinbert de Leeuw, gave the Japanese premiere of Aaron Jay Kernis' song cycle Brilliant Sky, Infinite Sky in Sapporo (Japan) under the direction of the composer, and John Harbison's Words from Paterson at the Bowdoin Music Festival with Jeffrey Milarsky conducting. He has also given premiere performances of many orchestral songs written for him, including Jon Chenette's Broken Ground with the Des Moines Symphony, and Gavin Chuck’s Confiteor with the Ossia Orchestra. His portrayal of Don Giovanni, under the baton of Julius Rudel with the Aspen Opera Theater, was hailed by the Denver Post as "a triumph.” His many festival appearances include the Tanglewood, Aspen, Ravinia, Bowdoin and Pacific Music Festivals.

Mr. Meglioranza is a graduate of Grinnell College and the Eastman School of Music. He currently resides in New York City.

Jody Miller earned both the bachelor and master of music education degrees from the University of Southern Mississippi. He studied horn with Dennis Behm and Brian Stiffler, flute with Sharon Lebsack and Meri Ford Malloy, and clarinet with Wilbur Moreland. He has studied recorder with Eva Legene, Aldo Abreu, Steve Rosenberg, Tricia van Oers, and Frances Blaker. He has also taken masterclasses with Hugo Reyne and Marion Verbruggen.

Miller has a large studio of private recorder students in the Atlanta area, teaches applied recorder at Agnes Scott College in Decatur, Georgia, and has taught early music and recorder workshops around the Southeast. His "Gnome Assembly Music" for recorder quintet was published by Loux Music Publishing. He has served as president of the Atlanta Early Music Alliance and as president and music director of the Atlanta Recorder Society. Miller reviews contemporary and educational compositions for the American Recorder and currently serves as education editor for the same publication. In addition to his position as assistant band director at McCleskey Middle School in Marietta, Georgia, Miller was the founding director of the school's recorder ensemble. This ensemble performed three times at the Boston Early Music and Exhibition and received outstanding reviews for their performances of music written specifically for recorder ensemble.

Under Miller’s directorship, the Emory Early Music Ensemble has begun acquiring a large collection of early instruments—all replicas of instruments that would have been used in music performed before 1750. The ensemble has grown vastly to include over fifty members in a vocal ensemble, a baroque orchestra, and a renaissance band. In addition to directing the ensemble during the academic year, Miller directs a summer recorder orchestra and beginning recorder classes.

Miller performs regularly with Ritornello Baroque Ensemble and the Emory Baroque Artists in addition to giving regular solo performances. He works closely with composer Timothy Broege and has given several premier performances of Broege's compositions, including a June 2001 performance of Broege's Two-Part Elegy for LaNoue Davenport at the Boston Early Music Festival. Broege’s lastest composition for recorder, Sonata da chiesa for recorder and organ, was dedicated to Miller and received its premier in Atlanta at St. Bartholomew’s Episcopal Church. Miller is specifically interested in contemporary chamber music for recorder and collaborates regularly with other musicians in the Atlanta area.

Kathryn Mueller , soprano, sings a wide range of vocal repertoire, with specialties in early and contemporary music. Active as a concert soloist, Ms. Mueller has performed with the Tucson Masterworks Chorale, the Washington Bach Consort, and the Quincy Symphony (Boston). She has toured with Arizona Opera in their school outreach program, and has sung the roles of Amy in Mark Adamo’s Little Women and Monica in Menotti's The Medium with the University of Arizona Opera Theater. She is also a member of several professional choral ensembles, including the Santa Fe Desert Chorale, Tucson Chamber Artists, and the Handel and Haydn Society (Boston).

Ms. Mueller holds a bachelor’s degree in music from Brown University, and recently graduated from the University of Arizona with a master’s degree in vocal performance. She also teaches early childhood music classes, and sings opera with first graders as part of the Opening Minds Through the Arts program in the Tucson public schools .

Emma Murphy, recorders, graduated from the University of Birmingham with a First Class (Hons) degree in Music and then won a scholarship to Trinity College of Music to take a University of London MMus degree and a Postgraduate Certificate, for which she was awarded a Distinction. Her teachers have included Philip Thorby and Ashley Solomon. Emma has won numerous awards including Grants from the Arts Foundation and the Foundation for Sport & the Arts and a Countess of Munster Award.

Emma has played throughout the world with some of the UK’s leading period groups, such as The King’s Consort, Ex Cathedra, New London Consort, and she plays in many chamber groups in London, most recently at the Purcell Room and the Wigmore Hall with Da Camera, as well as in Japan, where she tours annually. Emma was recently an orchestral soloist with the CBSO under the direction of the brilliant French harpsichordist/director Emmanuelle Haim.

Emma has recorded on the Hyperion label with The King’s Consort, Ex Cathedra, Orchestra of the Age of Enlightenment and she has appeared numerous times on BBC Radio 3’s ‘In Tune’ programme and made live BBC recordings, such as from the Proms and the Southbank in London.

Emma has performed twice, her solo performance to great acclaim, in the Park Lane Group’s New Year Series of contemporary music on the Southbank. She plays in a duo with the marimba player, Daniella Ganeva, specializing in contemporary & renaissance music. Emma recently took part in a recording with the pop singer, Kate Bush, for her latest album! Emma returns to her old college, Trinity College of Music, in October to give a performance of solo contemporary music as part of the college’s tutor’s showcase.

“Emma Murphy is a superb recorder player. She combines outstanding virtuosity with musical intelligence and sensitivity (not always an obvious combination) and has a solid control of tone (with no cadential dropping). She also has an endearingly cheerful stage manner that engages the audience.” EARLY MUSIC REVIEW

“Emma’s Suite in d minor by Bach showed great style and flair, achieved by clear articulation and neat fingerwork.” RECORDER MAGAZINE

“I was impressed by the superb control of recorder intonation in Emma Murphy’s delightfully-musical playing of Robert Carr’s Divisions on an Italian Ground.”

“…revealed Emma Murphy to be a brilliant performer. Playing two recorders at once with virtuosic ease, she caught the wit in such pieces as David Bedford’s Piers de Resistance and Louis Andriessen’s Ende.” THE TIMES

“Emma Murphy played both two recorders at once and two notes from one recorder in a truly virtuosic display.” EVENING STANDARD

“One of them, Emma Murphy, is a true virtuoso. I once saw her play two recorders at once and two notes from one recorder. Amazing!” HOT TICKETS

Baritone Patrick Newell received his Doctorate in Vocal Performance at Indiana University where he has had the opportunity to appear in a wide variety of opera roles with the Indiana University Opera Theater. While at Indiana he studied with Dale Moore and Dr. James McDonald. Dr. Newell was an apprentice artist with the Santa Fe Opera, and has sung on the stages of the Cedar Rapids Opera, the Dorian Opera Theater, the Cincinnati Opera and at the premier performance of the Asheville Lyric Opera. He has appeared in oratorio and recital in the mid-West and southeast, including a performance in the title role of Elijah under the baton of Louis Lane with the Wooster Choral Union. In Musical Theatre, he has performed the roles "Sweeney Todd" and "Miles Gloriosus" with CalRep Theater and has been a Vocal Coach with the Jekyll Island Musical Theatre Festival. Currently an Assistant Professor in Music at Eastern Kentucky University, he has also taught at Point Park College in Pittsburgh, Clayton College and State University in Atlanta, Brevard College in North Carolina and Luther College in Decorah, Iowa.

André Laurent O'Neil , baroque cello, has extensive experience as both soloist and continuo player. In addition to New Trinity Baroque, he works with Boston's Handel and Haydn Society and has played with the European groups Les Perruques d'Amsterdam, and L'Orfeo Barock Orchester. André has also performed with the period instrument chamber ensembles Repast, Duo Seraphim, Bacchanalia, Ars Antiqua, Arc'Angelo, Capitol Chamber Artists and Musicians of Ma'alwyck. During the summer he regularly performs in Robert Conant's Festival of Baroque Music in upstate New York, where a reviewer has praised "his lustrous ringing tone, facile technique and strong convincing grasp of the baroque style." He has presented Bach's six solo suites at the University at Albany. André graduated from Yale with honors and from the Early Music and Historical Performance Practice Program at the Royal Conservatory in The Hague, Netherlands, where he studied with Jaap ter Linden. He has given baroque performance practice presentations and masterclasses at Columbia University, the University at Albany and the Brooklyn-Queens Conservatory of Music. André plays an original John Morrison violoncello (London, 1800), using a reconstruction of a c.1700 English bow .

Mirna Ogrizović, baroque violin & viola, was born in Croatia, but lived all her life in Belgrade, Yugoslavia, where she received her violin performance degree from the School of Music, Belgrade University of Arts. She also received Master of Music degree in orchestral conducting from Georgia State University in Atlanta. Before she moved to the United States (in 2001), she was the Associate Concertmistress of the Symphonic Orchestra of the Serbian Radio Television in Belgrade, the Associate Artistic Director of the Ensemble of the Studio for Early Music, and a soloist of the Ensemble Renaissance and the Orchestra of the National Theatre. As a classical violin player, Mirna has cooperated with many international conductors, such as Milen Nacev (Bulgaria), Mikis Teodorakis (Greece), Vance Cavdarski (Macedonia) and Mladen Jagušt (Yugoslavia). As a baroque violinist, she performed with Evelyn Tubb, Michael Fields and Paul Goodwin (England), and has participated in masterclasses with late Micaela Comberti (at the world-wide famous Dartington International Summer School), as well as with Julia Bishop. She has received numerous awards in national and international competitions, including the silver medal on the international violin competition in Strezza, Italy. She recorded several CDs and videos.

Susan Patterson , viola da gamba

More information coming soon...

Zorica Pavlović , soprano

A native of Bosnia and Herzegovina, Zorica Pavlović has performed with the number of organizations including Atlanta Opera, Ash Lawn Opera, Eastman Opera Theater, Harrower Opera Workshop, Atlanta Camerata, New Trinity Baroque, Christ Church Schola Cantorum in Rochester, NY, Eastman Collegium Musicum, and Rochester Chamber Orchestra.

With the strong affinity for early music, Ms. Pavlović was also featured as a soloist at the Piccolo Spoleto Festival, Amherst Early Music Festival, and Queens College Baroque Opera Summer Workshop.

Some of the roles recently performed include Eurilla in Handel’s Il Pastor Fido at the Amherst Early Music Festival as well as Virtue and Poppea in Monteverdi’s Il Coronazione di Poppea at the Haymarket Opera’s Summer Workshop. Additional roles include Mrs. Gleaton in Floyd’s Susanna , Dorinda in Handel's Orlando , Eurydice in Rossi’s Orfeo , and Diane in La Diane De Fontaineblau .

Ms. Pavlović is a graduate of Eastman School of Music with MM in voice performance and literature and Georgia State University with BM in voice performace. She is a featured soloist on a newly released recording A Sunday in Paris , by the Christ Church Schola Cantorum in Rochester, NY, a compilation of the 19th century French sacred music.

(Zorica Pavlović performed with New Trinity Baroque for the first time in the program of Handel’s Italian Arias & Duets at the 2009 Piccolo Spoleto Festival in Charleston, South Carolina.)

Amanda Pepping , natural trumpet, enjoys her multi-faceted career as a performer, arranger, and educator. She has given recitals and made solo appearances throughout the United States, Europe, and Asia. As a baroque trumpeter, she has performed in groups such as the Houston Bach Society, Kammerorchester Reinhold Friedrich, and Musica Antiqua Cologne. Amanda was a 2005-6 Fulbright Fellow in Karlsruhe, Germany, where she studied with world-renowned trumpet soloist, historian, and teacher Dr. Edward Tarr. She has performed with groups including the New Mexico Symphony Orchestra, the Phoenix Symphony, the National Repertory Orchestra in Breckenridge, Colorado, the Arizona Opera, and the Brass Band of Battle Creek, Michigan.

Amanda received her doctorate from the University of Texas in Austin where she studied with Ray Sasaki and served as a teaching assistant to musicologist Dr. Lorenzo Candelaria. She holds her master’s and bachelor’s degrees from Arizona State University where she studied with and was a teaching assistant to David Hickman. She has also studied with German trumpet soloist Reinhold Friedrich, Emory Harvison of the Phoenix Symphony, and Robert Dorer and Douglas Carlsen of the Minnesota Orchestra. Several of her arrangements can be heard on her first solo album, Amanda, which is available through Summit Records. She is the editor of the News section for the International Trumpet Guild Journal.

(Amanda Pepping will join New Trinity Baroque for the first time in concert in December of 2010, in the program "Baroque Candlelight Christmas.")

Paul Perfetti , natural trumpet & cornetto

More information coming soon...

Martha Perry, baroque violin & viola , in addition to being a member of New Trinity Baroque, performs with the Indianapolis and Atlanta Baroque Orchestras, the Dayton Bach Society, and the ensemble, Anima Fortis, winner of Early Music America's 2002 "Professional Development Award." Having performed at the Berkeley, Bloomington, and Boston Early Music Festivals, Martha has also recently performed with Ensemble Ouabache, The Comic Intermezzo, and on an educational artist residency with the ensemble Marley's Head. Martha has performed with Virginia-based groups Capriole, The Governor's Musick, The Cavalier Consort, and Old Dominion University's Collegium Musicum, and has been heard on the early music radio program, "Harmonia," and on N.P.R.'s "Performance Today." Ms. Perry recently completed her Master of Music in Early Music Performance at Indiana University, where she was a student of Stanley Ritchie. While at I.U. Martha served as Mr. Ritchie's graduate assistant for the Baroque Orchestra, as an Associate Instructor for the Music Education Department, and was a recipient of the Dorothy L. Penniman Graduate School of Music Scholarship. Martha has studied at early music workshops and performed on masterclasses in the U.S., Canada, England, and Austria, as well as with baroque violinist Annie Loud. She is currently serving as the Executive Assistant for the Bloomington Early Music Festival in Bloomington, Indiana.

Josip Petrac , baroque cello, was born in Zagreb, Croatia. He received his Bachelor of Music degree in Cello Performance at the Academy of Music of Zagreb University, and was straight away very active as a cello professor, chamber musician and soloist. He won the first prize in the Cello Performance State Competition in Croatia in 1992. He performed in Croatia, Bosnia & Herzegovina, Slovenia, Germany, France, Hungary, Norway and Austria. He played with the Diogenes String Quartet, Sarajevo Philharmonic, Youth Philharmonic Orchestra of Zagreb, Narvik Peace Symphony Orchestra (Norway), etc. Recently he moved to the United States where he received the assistantship for graduate studies at Georgia State University in Atlanta.

Marianne Richert Pfau , baroque oboe & oboe d'amore, completed her Ph.D. in historical musicology in New York after receiving graduate performance degrees in recorder and historical double reeds from the Musikhochschule Hamburg, and in music therapy from the Guildhall School of Music London. She serves as Professor of Music History at the University of San Diego where she also directs the Angelus Early Music Series and produces International Early Music Festivals. Long focused on Medieval Studies, M. Pfau has published a complete edition of Hildegard von Bingen's Symphonia, as well as a monograph, with Stefan Morent, entitled Hildegard von Bingen: Der Klang des Himmels (Cologne: Böhlau, 2005). She now publishes and records newly discovered Baroque music for hautbois for Prima-la-Musica, UK. Her book, with Bjoern Lindemann, on Hautbois Reed Making (Egge Verlag Kassel) is forthcoming February 2011.

Active as baroque oboist and recorder virtuoso, M. Pfau performs with American Bach Soloists, Jubilate Baroque Orchestra, and California Bach Society in San Francisco, and in Europe with Musica Alta Ripa, Corona Musica and Cythara Ensemble. She has recorded four CDs on the labels genuin (Leipzig) and virtilia (Hamburg) with the trans-Atlantic Hautbois ensemble Toutes Suites she formed in 2006 and directs.

(Marianne Pfau collaborated with New Trinity Baroque for the first time in March of 2011, in Johann Sebastian Bach's Mass in B minor.)

A native of Hamden, CT, violinist Elizabeth “Libby” Phelps leads a varied career as an orchestral and chamber musician in the Triangle Area. Currently based in Raleigh, North Carolina, she has served as Principal Second Violin of the North Carolina Symphony since 2013. In the summer of 2014, she joined the faculty of the Eastern Music Festival in Greensboro.

Before moving to North Carolina, Elizabeth completed a four year fellowship with the New World Symphony in Miami Beach, Florida where she often performed as concertmaster, most memorably under Michael Tilson-Thomas during a performance of Steven Mackey’s Eating Greens when she had to play a scordatura solo representing the backing up of a UPS truck. Other memorable opportunities include performing Arnold Schoenberg’s Pierrot Lunaire with Paula Robison as well as Brahms’ Viola Quintet in G Major with Christian Tetzlaff.

Long an advocate of contemporary music, Elizabeth was a founding member of FiveOne, a collaborative ensemble of composers and instrumentalists based in Cleveland, OH. In 2010, she was a participant at the Lucerne Festival Academy in Luzern, Switzerland where she performed at the KKL concert hall under the baton of Pierre Boulez. Since joining the NC Symphony, Elizabeth has performed chamber works of Caroline Shaw and Sarah Kirkland Snider, as well as joining Gabriel Kahane for a special concert at Cat’s Cradle in Carrboro, NC.

In June of 2015, Elizabeth finally gave in to her love of baroque and attended the Tafelmusik Baroque Summer Institute in Toronto, Ontario where she performed in various chamber and orchestral ensembles, as well as masterclasses for members of the Tafelmusik Baroque Orchestra. After this transformative experience, she went on to participate in the Tafelmusik Winter Institute, the San Francisco Early Music Society Baroque Workshop, and the American Bach Soloists Academy in San Francisco, California.

A fan of all kinds of music, Elizabeth has tried, with varying degrees of success, to learn other instruments and styles. She learned bass in her middle school's jazz band, a skill which came in handy when she joined the Miami based cover band Somewhat Hungover during her time at the New World Symphony. She also enjoys playing the viola and doing shape-note singing with the North Carolina Sacred Harp society.

Elizabeth holds both a Bachelors and Masters degree from the Cleveland Institute of Music where she studied with Paul Kantor and Stephen Rose. She has played in masterclasses for such varied artists are Pamela Frank, Jorja Fleezanis, Jordi Savall, and Cynthia Roberts. On baroque violin, she has worked with Elizabeth Blumenstock, Jean Lamon, Robert Mealy, Julia Wedman, and David Wilson.

Following a playing injury in 2012, Elizabeth became passionate about body awareness and currently practices Pilates on a regular basis. Her main goal in life is to be settled enough somewhere so she can finally get a dog. She loves history and art, and appreciates a good cup of coffee.

Jackie Pickett , baroque contrabass - biographer D. Antoinette Handy in her 1998 edition of Black Women in American Bands and Orchestras describes bassist Jacqueline Pickett as "...a perfect example of a late twentieth-century musician who is ready to move into the twenty-first century..." As the first person to receive the Doctorate of Musical Arts Degree in Double Bass from the University of Wisconsin-Madison, Dr. Pickett works in a variety of settings as a performing artist. She is equally at home in both written and oral traditions of musical performance as a symphony musician, chamber musician (including "new" music), jazz musician, and educator. Her principal teachers were noted jazz artist Richard Davis and New York Philharmonic bassist Homer Mensch. She has a Master of Music Degree from Yale University. Since 1988, she has been principal bassist of the Columbus, Georgia, Symphony Orchestra. Prior to her position with the CSO, she played as a section bassist with the Detroit, Michigan and Jacksonville, Florida Symphony Orchestras. During the summer months from 1982-1997, she played with the Mineria Symphony in Mexico City. As a chamber musician, Dr. Pickett performs with the Ritz Chamber Players (based in Jacksonville, Florida) and the Nashville Chamber Orchestra in Nashville, Tennessee. She has given solo double bass recitals in Johannesburg, South Africa and universities throughout the United States. She is the bassist for jazz vocalist Johnnie Eason. Dr. Pickett currently teaches on the faculties of Clayton College and State University and Georgia State University. She also teaches classical double bass for the Atlanta Symphony Orchestra Talent Development Program.

Daniela Giulia Pierson, baroque violin & viola, studied with Marilyn McDonald, Manfredo Kraemer and Cynthia Roberts and performs throughout the Northeast in recital and with such groups as Tempesta Di Mare, New York State Baroque and members of Belladonna. Ms. Pierson brings a unique perspective to her music-making: a dual citizen of the United States and Italy, she lived in Rome for several years and performed and recorded extensively with Nando Citarella and La Paranza, the internationally renowned Neapolitan folk music and dance troupe specializing in Commedia dell'Arte. She has also been a member of the critically acclaimed Italian ensemble I Giullari di Piazza, Artists-in-Residence at the Cathedral of Saint John the Divine (New York City), touring with them throughout North America. Classically trained on viola, Ms. Pierson attended Mannes College of Music on full merit scholarship and the University of Pennsylvania (where she graduated summa cum laude) and has studied with Karen Ritscher and Misha Amory with extensive chamber music coaching with Julius Levine and Felix Galimir. She lives in Philadelphia.

Adriane Post , baroque violin & viola, became interested in Historical Performance during her studies at Oberlin, where she learned and subsequently and fell in love with the Baroque Violin. She received her BM from the Oberlin Conservatory of Music, studying both modern and baroque violin under the tutelage of Marilyn McDonald, and Master of Music degree from Juilliard, studying with Monica Huggett.

As a member of New Trinity Baroque, Adriane toured US, UK, Sweden, Finland and Serbia, appearing at festival such as Piccolo Spoleto (USA), Sastamala Gregoriana (Finland) and the International Early Music Festival in Belgrade (Serbia). She has also played with other Baroque groups such as Apollo's Fire, Publick Musick, Oberlin Baroque Orchestra, Handel and Haydn Society, Trinity Wall Street Baroque Orchestra, The Knights, Passamezzo Moderno, Burlington Chamber Orchestra, Arcadia Players, and others.

Her diverse musical interests have led her to take part in Contemporary Music, Baroque, Jazz, and she has played in a variety of different ensemble settings, including the Oberlin Contemporary Ensemble, and the Eliot String Quartet, of which she was a founding member.

She has studied in Boston with Nicolas Kitchen of New England Conservatory, and in France with Regis Pasquier of the Paris Conservatory, where she additonally pursued her interest in languages, studying music and French for a year abroad in Paris. A native of Burlington, Vermont, Adriane now resides in Brooklyn, New York.

(Adriane Post joined New Trinity Baroque for the first time in December of 2007, in the program "Christmas in Germany." She could be heard on several of NTB's CD recordings .)

Alan Raines, organist & conductor, received the M.M. and D.M.A. degrees in Choral Conducting at UCLA as a student of Donald Neuen, and M.M. degree in Organ Performance from Rice University’s Shepherd School of Music. He joined faculty at Georgia State University in 1999, and there he conducts the Georgia State University Singers, the Choral Society, teaches graduate conducting and administrates the graduate choral program at GSU. Before GSU, he held the position of Director of Choral Activities at the University of La Verne in La Verne, California, and he also served as the Assistant Conductor of the Angeles Chorale in Los Angeles. A frequent guest conductor and sought after clinician with choruses throughout the United States, Raines has conducted All-State Choruses in three states and guest conducted honor choruses in Nebraska, Tennessee, Alabama, Georgia, Florida, Mississippi and Virginia this year alone. Under his direction, the University Singers recently made their successful debut in Spivey Hall to a near capacity audience. His choirs have performed throughout most of Europe, including invitations to sing Evensong at St. Paul’s, Winchester and Gloucester Cathedrals. In September he will travel to Chonan City in South Korea to guest conduct the Chonan City Choir and Orchestra in Haydn’s Lord Nelson Messe. Equally active as a vocal coach and accompanist, Raines can be heard in recitals around the country as a member of the Paradox Duo with University of Houston Instructor of Saxophone, Karen Wylie. Raines is a member of MENC, GMEA, Pi Kappa Lambda and is currently serving as the Repertoire and Standards Chair for the College Division of the Georgia Chapter of American Choral Directors Association.

Rebecca Ribchester was born in the UK in 1984. She began her formal training at Wells Cathedral School with the assistance of a British Government DfFE scholarship. In 2002 she was awarded the Oliv Zorian Scholarship to study at the Royal Northern College of Music (RNCM) with Richard Ireland, and graduated in 2006 with a first class honours degree and a high distinction. Whilst a student at the RNCM, Rebecca won major prizes for solo and chamber music. As a soloist, Rebecca has performed in the UK, Europe and North America as both a sonata partner and concerto soloist. Recent performances have included recitals as part of the concert series at St. George's Brandon Hill and Music at Park House, Cheltenham. In 2004 she participated in classes at the EAMA summer school at La Schola Cantorum, Paris. Rebecca has taken masterclasses with Emanuel Hurwitz, Atis Bankis, Yfrah Neaman, Hugh Bean and Marianne Thorsen. In 2006 she was awarded the Joanna Scott Foundation Scholarship, which allowed her to purchase a violin by Glen Collins. In 2007 she will give the Philadelphia premiere of a new violin concerto written by Matthew Schreibeis with musicians from the Curtis Institute of Music.

Rebecca studied the art of chamber music with members of the Fitzwilliam, Lindsay and Endellion quartets. In 2002 she was invited to perform at the opening festival of the Commonwealth Games and played at the centenary celebrations of Prokofiev (2005) and Shostakovich (2006) in Manchester. In 2005, she was invited by conductor Martyn Brabbins to join the Cheltenham Festival Academy, an ensemble comprised of outstanding students from UK conservatoires. Rebecca is an experienced orchestral musican and has held concertmaster and associate principal positions in the Britten Pears Orchestra (UK), Internationales Jugendsinfonieorchester Elbe-Weser (Germany) and the RNCM Symphony, Chamber and Opera Orchestras. She has worked with conductors including Alexander Polianichko, Oliver Knussen, Paul Daniel, Enrique Mazzola and Gianandrea Noseda. Rebecca has performed for BBC television and radio.

A versatile and creative musician, Rebecca is committed to the performance of new music. She has given many premieres of new works by young British and American composers and has included her own compositions in recital programmes. Rebecca has worked with composers Markus Stockhausen, Huw Watkins and Jonathan Harvey and enjoys working with electronic and experimental techniques. As a compliment to her interest in contemporary music, Rebecca is an active baroque violinist. She studied baroque and classical violin with Pauline Nobes (Academy of Ancient Music) and has performed with members of The Bach Players (Netherlands) and I Fagiolini (UK). Since 2007 she has played with Tempesta di Mare (Philadelphia Baroque Orchestra). Rebecca currently lives in Philadelphia, where she works as a freelance violinist.

Christof Richter , baroque violin, obtained his Bachelor and Master of Music degrees at the Peabody Institute. He furthered his studies in Vienna at the Konservatorium der Stadt Wien and has participated in the Taos Chamber Music Festival, New England Bach Festival, Baroque Performance Institute at Oberlin, and the Institut fur Musik und Kirche , Bressanone, Italy. A frequent performer in the Baltimore-Washington area, Mr. Richter also regularly returns to his native Colombia, South America for recitals and concerto appearances. He is the concertmaster of the Haendel Choir Period Instrument Orchestra of Baltimore and the artistic director and founder of La Rocinante . He performs with many of the period instrument ensembles in the Baltimore-Washington area and with the Kennedy Center Opera House Orchestra.

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Eckhart Richter, baroque 'cello, received his Bachelor and Master of Music degree at the Yale University School of Music and his Doctorate of Music at the Florida State University School of Music. His principal cello teacher, Luigi Silva introduced him to early cello music and his principal theory and composition teacher, Paul Hindemith to the viol and the treasures of early music as a member of Hindemith’s famed Collegium Musicum at Yale. Singing and playing this music has been among his greatest musical pleasures ever since. A former member of the Houston and National Symphony Orchestra, he has appeared as soloist and chamber music player on the U.S. Public Broadcasting and Educational Televisions Network and toured throughout the United States and Europe. For eleven summers he was a cello teacher, chamber music coach and Associate Musical Director at the Kinhaven Music School in Vermont. He was on the music faculty of Converse College School of Music, Mississippi State College for Women, the University of Georgia, Emory University where he directed the Emory Consort, and Georgia State University from where he retired in 1995. At the present time he is concentrating his efforts on the Baroque Cello as a member of the Atlanta Baroque Orchestra and the Metropolitan Baroque Players. He also has been a member of the Atlanta Symphony Chorus since 1988.

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Brent Runnels has fashioned a broad and diverse musical career as a performer, arts administrator and advocate, educator and musical entrepreneur.

As a pianist Brent Runnels has won critical acclaim for his performances in the US , Europe , Australia and Russia as an orchestral and recital soloist, chamber musician, and jazz pianist. He is the top-award winner of the New Orleans International Piano Competition and the Jacksonville Classical Piano Competition. Mr. Runnels has appeared as a soloist with such orchestras as the Atlanta Symphony, Prague Radio Symphony, Milwaukee Symphony, Kosice State Philharmonic, Ural Academic Philharmonic, Slovak Sinfonietta of Zilina, Florida Orchestra, Florida Symphony, Dubuque Symphony, Orlando Philharmonic, Mansfield Symphony, Brevard Symphony and the Gwinnett Philharmonic. He has given recitals in London , Prague , New York , Chicago , Los Angeles , Sydney and Atlanta . Chamber music has become a significant part of his performance career. He is the founder and pianist of The Inman Piano Trio, an ensemble represented by Philip Truckenbrod Concert Artists known for performances of the masterpieces of the trio repertoire as well as unusual and rarely heard chamber works. He has performed extensively as a jazz pianist and has appeared with such jazz artists as Jon Faddis, Clark Terry, Gene Bertoncini, Lou Soloff, Laurie Holloway and Warren Covington. In 1993 and 1994 he toured central Europe with John Whitney as the Runnels/Whitney Jazz Piano Duo.

Brent Runnels also sings professionally with The Schola of the Cathedral of St. Philip in Atlanta , where he is a staff tenor and director of the concert series.

Brent Runnels maintains a strong commitment to arts education and support for the performing arts. He is Executive and Artistic Director of Orchestra Atlanta, Inc., a not-for-profit cultural organization based in Atlanta that conducts summer classical and jazz music camps and presents performances of chamber music and jazz. From 1993-1999 he was founder and Artistic Director of the Orlando Jazz Festival. He has been a frequent guest at the South Bohemia Music Festival in the Czech Republic and has given masterclasses for the European Piano Teacher’s Association in Prague , Brno and as guest artist at the Urals Summer International Academy of Arts in Novouralsk , Russia . Mr. Runnels has taught on the music faculties of Rollins College , Concordia College , the Manhattan School of Music and Georgia State University .

Brent Runnels trained with Constance Keene and John Browning as a scholarship student at the Manhattan School of Music in New York . There he earned a Doctor of Musical Arts degree as well as the school’s highest graduate honor, the Harold Bauer Award. Other pianists he has worked with are Karl Ulrich Schnabel, Jeanne-Marie Darré, Martino Tirimo, Richard Goode and George Driscoll. A native of Rockville , Maryland , he is a member of the international roster of Steinway Artists.

Critical praise for performances by Brent Runnels:

"great capacity for lyricism and tonal nuance ..."- St. Louis Post-Dispatch

“featured a crystalline performance by pianist Brent Runnels." - Atlanta Journal Constitution

“Runnels plays with freedom, bravura and a big surging sound." - Orlando Sentinel

“gloriously played and rapturously received ... (Inman Piano Trio) – Des Moines Register

“the evening’s highlight was the Concerto in A minor by Edvard Grieg. Guest pianist Brent Runnels showed no signs of fatigue despite driving 1,100 miles from Atlanta after flights were grounded. His playing was beautiful; equally effective where asked to express boldness or a softer sensibility.” – Lubbock Avalanche-Journal ( September 16, 2001)

Michelle Rush (baroque viola) resides in Boston where she freelances and teaches. She received the Bachelor of Music, Magna cum laude, from the University of Houston where she studied with Lawrence Wheeler, and earned her Master of Music and Doctor of Music from the Florida State University while studying with Pamela Ryan. Her extensive research on injury prevention and the physiology of string playing is a cornerstone of her teaching method and a hallmark of her playing.

She has maintained a varied private studio of beginning to advanced violin and viola students for ten years, and has seven years experience teaching viola and chamber music at the college level. As a soloist Dr. Rush was first runner-up in the Florida State Doctoral Concerto Competition and state winner in the MTNA Collegiate Artist Competition. As a chamber musician, she has performed Ellen Taaffe Zwilich’s String Quartet No. 2 with the Eppes Quartet in New York City in a live broadcast for WNYC, and has attended the Festival Institute at Round Top, Bowdoin, Musicorda, and the Lydian String Quartet Workshop. She also plays baroque viola and has performed with the Tallahassee Bach Parley, Atlanta Baroque, the International Baroque Institute at Longy, and has played with New Trinity Baroque since 2005.

Nancy Schechter , baroque violin & viola, joined New Trinity Baroque in 2006. She has performed internationally as a soloist and chamber musician. She has performed at music festivals in the United States and Europe, including the Tanglewood Music Festival in Lenox, Massachusetts; the Spoleto Festival of Two Worlds in Charleston, South Carolina and in Spoleto, Italy; The Chautauqua Institute in Chautauqua, New York; the American Institute of Musical Studies in Graz, Austria; and the Red Lodge Music Festival in Red Lodge, Montana. For five years she was first violinist of the Alea String Quartet. She has served as concertmaster of the Valley Symphony Orchestra in Edinburg, Texas, and the Danville Symphony Orchestra in Danville, Illinois and is currently principal second violin of the Macon Symphony.

While growing up in New York she studied at the Juilliard School of Music. She earned both bachelors and masters degrees in violin performance at the Eastman School of Music in Rochester, New York, and a D.M.A. degree from the University of Illinois at Champaign Urbana. Dr. Schechter has been on the faculty at Georgia State University, Edinboro University of Pennsylvania, the University of Texas Pan American, the Conservatory of Central Illinois, Luzerne Music Center, and the Illinois Summer Youth Music program. She teaches violin and viola at the Sugarloaf School of Music in Lawrenceville, Georgia.

In the March 2006 issue of The Strad , her recent CD Swing Song and other forgotten treasures by Ethel Barns received acclaim in a review by Margaret Campbell. "This CD is sheer enchantment, with some haunting melodies that persist in the memory... Nancy Schechter.as a soloist . reaches the heart of Barns's music in that she has just the right approach to the Romantic style, with playing that is graceful but never indulgent." This recording is an outgrowth of her scholarly activities, which have focused on works by women composers and early music. Her interest in Baroque violin was initially sparked as an undergraduate at the Eastman School of Music, where she worked with the renowned Baroque violinist Dana Maiben. She recently attended the Amherst Early Music Festival, where she performed in an orchestra under the direction of Andrew Lawrence-King. Dr. Schechter combined her interest in women composers and Baroque music in her doctoral research which included an edition, analysis and performance of the violin sonatas of Isabella Leonarda. While she specializes in these areas, Dr. Schechter is comfortable in many styles.

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Praised for her lively personality, abundant charm, and luscious vocalism (Chicago Tribune), soprano Erica Schuller is a versatile performer, bringing committed artistry to a broad musical repertory. Her particular affinity for Baroque repertoire has brought her increasing attention from some of the country's finest Early Music ensembles. Upcoming engagements include roles with The Boston Early Music Festival and a concert appearance with The Haymarket Opera Company’s Summer Workshop.

This past season, Ms. Schuller performed leading and supporting operatic roles with The Boston Early Music Festival, The Haymarket Opera Company and Opera Siam. In Boston, Ms. Schuller performed the roles of La Fortuna and Damigella in the 2015 Festival centerpiece opera L'Incoronazione di Poppea, and was praised for bringing beauty and bearing to her roles (Boston Globe). As Oriana in The Haymarket Opera Company's production of Handel's Amadigi di Gaula, Chicago Classical Review praised “her warm, agile soprano, full of passion and depth.” She also created the roles of Joan Strasinsky and Princess in the world premiere of the newly composed opera The Snow Dragon by award winning novelist and composer Somtow Sucharitkul, and was described as "ethereal" by Broadway World Magazine. She reprised these roles in Thailand with Opera Siam. Ms. Schuller also made her debut performance with Great Lakes Baroque this season, under the direction of renowned harpsichordist Jory Vinikour. Additional performances include a recital of English Baroque lute songs with The Church of Beethoven, a presentation of Couperin's Leçons de Ténèbres through St. Chrysostom's Church Concert Series in Chicago, and engagements with Second City Musick and Bella Voce ensembles.

Past performances include the roles of Vespetta in Telemann's Pimpinone and Lisetta in Scarlatti’s Gli equivoci nel sembiante, both with The Haymarket Opera Company in Chicago; Livietta in Pergolesi’s Livietta e Tracollo with the Boston Early Music Festival; the roles of Marzelline in Beethoven’s Fidelio and soprano soloist in Glass’s Hydrogen Jukebox with Skylight Theatre; Elvira in Rossini’s L’italiana in Algeri and Second Woman in Purcell’s Dido and Aeneas with The Florentine Opera Company; as well as concert engagements with the Milwaukee Symphony Orchestra, San Francisco Bach Choir, San Francisco Chamber Orchestra, and Bella Voce.

In addition to her work on the opera stage, Ms. Schuller can be heard as the voice of Marte in Duron’s Salir el Amor del Mundo, recorded for the Dorian Record Label with Richard Savino and El Mundo. She can also be heard on the Boston Early Music Festival's Grammy-nominated recording of Lully’s opera Psyché, which was performed in Boston in 2007.

Other operatic highlights include Armida in Handel’s Rinaldo, Pamina in Mozart’s Magic Flute, Belinda in Purcell’s Dido and Aeneas, and Amor in Cavalli’s L’Egisto, Noémie in Massenet’s Cendrillon, Euridice in Rossi’s L’Orfeo and Lazuli in Chabrier’s L’Étoile.

Originally from Wisconsin, Ms. Schuller received her Master of Music from the San Francisco Conservatory of Music, and holds degrees in Vocal Performance and Music Education from the Eastman School of Music. She currently lives and teaches voice lessons in Chicago.

Sherri Seiden, soprano, has experienced a whirlwind year with several high points that have propelled her around the globe. In March of this year, she performed as a soloist with the Liaoning Symphony in Shenyang, China, with Peter McCoppin, conductor. She recently made her Carnegie Hall debut with Mid-America Productions singing as soprano soloist both the Brahms and Rutter Requiems with John Rutter, conductor. She also had a Solo Recital debut in Weill Recital Hall at Carnegie Hall. In January 2007 Ms. Seiden will debut with Attila Glatz Concerts in Ontario, Canada.

The first place winner of the Regional Metropolitan Opera competition, Ms. Seiden roles include Rosina ("Il Barbiere di Siviglia" with Florida's Treasure Coast Opera), Amor (Gluck's "Orfeo" with Chattanooga Symphony and Opera), Queen of the Night ("The Magic Flute"), Stella ("Street Car Named Desire" with Capitol City Opera, Atlanta), etc. She has also performed with the Greenville Symphony Orchestra, the Fort Wayne Philharmonic, Toronto Festival Orchestra, the Hamilton Symphony Orchestra, the Atlanta Pops Orchestra, and most recently with the Liaoning Symphony in Shenyang, China. Lover of opera, oratorio, and the musical theater, she was featured as Christine in the European Tour of "The Phantom of the Opera," and was part of a long running production of "Beauty and the Beast" at the Schubert Theater in Los Angeles.

Ms. Seiden earned her Bachelor of Music degree from the Boston Conservatory and went on to study at the Royal Academy of Dramatic Art in London. She also studied with Professor Rudolf Knoll at the Mozarteum in Salzburg. She completed a post-graduate program with the University of Toronto's Opera Division.

Steven Soph, tenor, currently resides in Boston. He attended the University of North Texas where he studied with Julie McCoy and David Sundquist while performing with Collegium Musicum, Canticum Novum, and the A Cappella Choir. In Dallas, he was a member of the Orpheus Chamber Singers, Texas Choral Artists, Helios Ensemble, Dallas Bach Society, Orchestra of New Spain, Paradigm Vocal Ensemble, and was a soloist and section leader in the Chancel Choir of the Episcopal Church of the Incarnation. Having just relocated to Boston, Steven sings in the Church of the Advent's professional choir. Steven Soph's previous involvement with New Trinity Baroque includes concert and recording of Purcell's "Dido & Aeneas", which was released in 2004 on Edition Lilac label, as well as Carissimi's two oratorios, "Jonas" and "Jephte."

Cathy Stein , baroque oboe & oboe da caccia

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Kevin Sutton received his early training at Ball State University, completing a vocal performance degree in 1986. He holds the Master of Church Music degree from Scarritt Graduate School in Nashville Tennessee, and has studied conducting at the University of North Texas.

In June 1999, Mr. Sutton presented the world premiere of "Four Holy Sonnets of John Donne" by eminent New York composer Ronald Roseman with the National Symphony Orchestra of El Salvador in San Salvador. As a soloist, Kevin Sutton has appeared frequently with the Denton Bach Society, The Arlington Choral Society and the Orchestra of New Spain. In 1997, he was chosen to be an Artist Fellow of the Bach Aria Group for their Bach Aria Festival and Institute in Stony Brook, Long Island, New York. He is also soloist, section leader and vocal coach at the Church of the Incarnation in Dallas, Texas, one of the largest Anglican churches in the United States.

Avidly interested in New Music, Mr. Sutton works actively with a number of composers and has had several works written especially for him and his choirs. A capable pianist, he served as assistant musical director and staff accompanist for the Ball State University Summer Theatre Festival from 1983 to 1986.

In 1993 he founded The Helios Ensemble, then a five-voice chamber group. In 1999 he reformed the ensemble into a twenty-four voice professional chamber choir. As a conductor, Mr. Sutton beings many years of experience as a church musician and guest conductor to the podium. He has held a number of church positions over the last twenty years in Indiana, Tennessee and Texas. His work as both a conductor and chorister has taken him throughout the United States and Europe.

Although a great deal of his time is spent in musical pursuits, Kevin Sutton is as enthusiastic collector of antique phonographs and classical recordings. He is also on the staff of Brook Mays Print Music in Dallas. A thoroughly average tournament dart player and the bane of all greenskeepers, he is famous for his inaccurate aim and delivery both with darts and golf clubs.

Praised for his clear, beautiful lyric tenor, Brian Thorsett is in demand throughout the West Coast for opera, oratorio and recital. During the 2007-8 season, Brian undertakes the roles of Tamino in Die Zauberflote, Ferrando in Cosi fan tutte, Agenore and Alessandro in Mozart’s Il Re Pastore, Ernesto in Don Pasquale, the title character in Roberto Deveraux, Don Ramiro in La Cenerentola, and Fenton in The Merry Wives of Windsor. Concert engagements include Evangelist in Schütz’s Weihnachtshistorie with Philharmonia Baroque Orchestra, Bach’s St. John Passion, Mendelssohn’s Die Erste Walpurgisnacht and Scarlatti’s Magnificat, as well as recitals in Half Moon Bay and San Francisco, CA. Current projects also include a premiere recording of Robert Conrad’s A Fancy Bred (settings from Shakespeare’s plays) and a concert of operatic and song highlights on the words of that same great bard. Recently, Brian garnered Grand Prize at the 30th Annual Carmel Music Society Competition and made his solo debut recital on their subscription series in May 2007 with pianist Charles Worth. He is a graduate of San Francisco Opera’s Merola Training Program, was a Glimmerglass Young American Artist and spent two summers at the Music Academy of the West studying with Marilyn Horne, Randall Behr and Warren Jones. Additional stage credits include Don Ottavio, Nemorino, Rinuccio, Jenik, Tonio, Gennaro, Lord Percy, Nero, Frederic, Mayor Upfold and all of the major works of Bach.

Randall Tinnin , natural trumpet

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Paul Max Tipton , lyric baritone, is building a fine solo and chamber career as a concert artist, and is engaged regularly with acclaimed ensembles in Austin, Miami, Ann Arbor, Minneapolis/St. Paul, and Detroit. He sang the role of Judas in Bach’s St. Matthew Passion under Helmuth Rilling at Carnegie Hall in 2007, and later made his Boston debut in the same work as bass soloist with the Back Bay Chorale, conducted by Scott Jarrett. This past winter he was a soloist under Craig Hella Johnson with Conspirare in Austin in a performance sponsored by the National Endowment for the Arts’ American Masterpieces: National Choral Initiative. No stranger to opera, he has sung Schaunard with the New York Opera Society while on tour in Toulouse.

Mr. Tipton trained on a full-tuition fellowship at the University of Michigan School of Music in Ann Arbor, being mentored by mezzo-soprano Luretta Bybee and bass-baritone Greer Grimsley, also having studied with visiting artists Grace Bumbry and the late Lorraine Hunt-Lieberson. While at the University of Michigan, he performed the title role in Don Giovanni under the baton of Martin Katz, and soloed under Leonard Slatkin on the Naxos recording of William Bolcom’s Songs of Innocence & of Experience, a project that won four Grammys in 2006, including Best Choral Recording. Further training included study of the music of Kurt Weill with Angelina Réaux, protégée of Leonard Bernstein, and he has worked closely with composer Ricky Ian Gordon, joining him twice in concert in Ann Arbor and Florence, Italy.

Engagements in 2007-2008 include a return to Carnegie Hall for performances of Händel choral works with Ton Koopman, performances of Schubert Masses with Seraphic Fire and the New World Symphony under Michael Tilson Thomas, studio recordings with Conspirare in Austin, TX, and recitals in Philadelphia and Boston.

(Paul Tipton will be joining New Trinity Baroque for the first time in March of 2008, in the program of Bach's "Johannes-Passion.")

Ana Torbica started her musical education by playing the violin and singing in the Children's Choir of the Radio-Television of Serbia. After finishing her secondary music education in violin at the Dr Vojislav Vuckovic Music School in Belgrade, she continued her undergraduate studies in singing at the Faculty of Arts in Nis, followed by postgraduate studies in baroque viola at the Royal Academy of Music in London. As the Master of Arts student in Historical Performance, she currently studies baroque viola with Jane Rogers and singing with Michael Chance. For her studies at the Academy, she received the Christopher Hogwood Scholarship, the Royal Academy of Music Bursary and the Andreas and Margaret Makris Matching Scholarship, while a generous grant from Macfarlane Walker Trust enabled her to purchase a new baroque viola by Jan Pawlikowski.

Ana's interest in the historical performance came through the work at the Baroque Academies in Belgrade and Austria, as well as the Dartington International Summer School in England. She participated in the masterclasses with eminent artists such as Thomas Hampson, Marijana Mijanovic, Evelyn Tubb, Darina Takova, Ottaviano Tenerani, Ilia Korol, Florian Deuter, Bojan Cicic, Adrian Butterfield, Robert Howarth, William Bauer, Roberta Mameli, Christian Hiltz, Christian Frattima and Marina Bartoli-Compostella, Renata Pokupic, and others. She also collaborated with artists such as Trevor Pinnock, Philippe Herreweghe, Rachel Podger, Lawrence Cummings, John Butt, Pavlo Beznosiuk and Margaret Faultless in various projects at the Royal Academy of Music.

As an active performer, Ana appeared as a soprano soloist and a baroque violist with professional ensembles such as New Trinity Baroque (dir. Predrag Gosta), Savaria Baroque Orchestra (dir. Pál Németh), as well as with the Baroque Orchestra of the New Belgrade Opera and of the Belgrade Early Music Festival. She also has appeared at many festivals and competitions, where she won numerous prizes, especially in the chamber music and singing. As a modern violist, she has performed with the Makris Symphony Orchestra in Serbia and the Gwinnett Ballet Theatre Orchestra in Atlanta. From 2018 she is a freelance artist in her home country as a member of the Association of Musical Artists of Serbia. She is featured on a CD recording of Buxtehude's "Membra Jesu Nostri" with New Trinity Baroque.

Ana is passionate about sport and especially likes swimming and riding a bicycle.

DeWayne Trainer, tenor, lives and works in Atlanta.

Cuauhtemoc Trejo , transverse flute

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"Evelyn Tubb is a singing actress with graceful presence, alert eyes, distinct and communicative words, pure pitch, a timbre that can swell and sparkle without loosing steadiness, definite notes and fluent divisions, bold graces and adornments that ring out freely." (Opera Magazine, July 1996)

Evelyn Tubb , soprano, has been hailed by critics as “one of the few truly outstanding sopranos of her generation”, and has attracted world-wide admiration for innovative and adventurous performances which breathe life and character into both familiar and forgotten songs. After spending her formative years on the Isle of Wight, Evelyn studied at the Guildhall School of Music in London. A background in dance as well as singing, plus eclectic musical tastes, has given rise to her own expressive style, which is equally at home in jazz as in medieval music. As a member of the Consort of Musicke, and in her duo partnerships with Michael Fields and Anthony Rooley, Evelyn has made dozens of recordings and given concerts and broadcasts in the USA, Japan, Australia, Israel and East & West Europe. Evelyn has a great love for music mixed with drama, and has performed works ranging from medieval music-drama, through baroque opera, to modern music-theatre pieces by Peter Maxwell-Davies and David Bedford. As well as having a busy calendar of international concerts and recitals, Evelyn has often appeared in programmes for English, Dutch, Swiss and Italian television. Her inspiring teaching is widely recognised, and she is much in demand for courses world-wide, as well as being Professor of Singing at the Scola Cantorum Basiliensis in Basel, Switzerland. When not flying around the world, she is passionate about creative cooking.

"...a voice of extraordinary sensitivity both in nuance and colour, and an artist with no less remarkable mimetic and terpsichorean gifts." (The Musical Times, September 1995)

Jerry Ulrich , the Director and Conductor of the Georgia Tech Chamber Choir is an ASCAP award-winning arranger and composer. Ulrich is originally from Illinois, where he received his early training in music and developed a passion for songwriting. His compositions and arrangements are in the catalogs of six publishers in the US and abroad. His music has been performed at Carnegie Hall, Lincoln Center, throughout New York City and on national radio and television, as well as throughout Europe, Asia, and Australia.

He has composed commissioned works for professional choirs and orchestras, including the Grammy-award winning Orchestra of St. Luke's, colleges and universities throughout the United States, and churches and schools in both the U.S. and abroad.

Dr. Ulrich is currently Associate Professor of Music and Director of Choral Activities at the Georgia Institute of Technology, where he directs two mixed choirs and the all-male Georgia Tech Glee Club. Dr. Ulrich came to Atlanta from LaGuardia High School of Music & Art and Performing Arts (the Fame school) in New York City, where his choirs were featured in all major NYC concert venues and on national and international television and radio.

Dr. Ulrich's prior university teaching experience includes positions at Ashland University (OH), Long Island University (NY), City University of New York, and Hofstra University. During 1990-1991 he was Visiting Fulbright Professor of Music at the Royal Scottish Academy of Music and Drama in Glasgow, Scotland. His early training included four years singing with legendary conductor Robert Shaw in the Atlanta Symphony Orchestra Chorus and Chamber Chorus. Additional academic study included a Master of Music degree from Southern Methodist University, where he was a student of Lloyd Pfautsch, and the Doctor of Musical Arts degree in choral conducting from the University of Cincinnati College-Conservatory of Music.

Over the years, his choirs have shared the stage with Robert Shaw, Alice Parker, Paul Simon, Judy Collins, Hugh Masekela, Kenny Chesney, Jennifer Nettles (Sugarland), Joe Walsh, and Stephen Schwartz, as well as the Atlanta Symphony Orchestra, the Orchestra of St. Luke's and the Atlanta Ballet. Georgia Tech choirs under his direction have performed at national and international conferences (including the College Music Society and the Hawaii International Conference on Arts & Humanities), performed on national television (ESPN, The Weather Channel, The Discovery Channel, and Cartoon Network) and toured the US and abroad. In the past ten years, five different choral ensembles under his direction have appeared over a dozen times at New York City's Carnegie Hall.

(Jerry Ulrich collaborated with New Trinity Baroque for the first time in March of 2011, in Johann Sebastian Bach's Mass in B minor.)

Tara Venkatesan , soprano, has performed with the Vienna Chamber Orchestra, with the American Baroque Orchestra, the Wykham Consort, The Tiny Baroque Orchestra of Yale University, and The Oxford University Symphony Orchestra. Opera highlights include: GALATEA (lead) in the Handel pastiche Galatea , CLORI (lead) in Cavalli’s L’Egisto , CASSANDRA in Cavalli’s La Didone , THALIA in the S. Landi and D. Belli pastiche opera La Lira Muta . She has also performed as the soprano soloist in oratory works such as Handel's Messiah , Pergolesi's Stabat Mater , Vivaldi's Gloria , and as the role of the Peri in Schumann's Das Paradies und die Peri . She is also a recording artist for Walt Disney India and is featured as the voice of Miley Cyrus in the film Bolt.

When she's not singing, Tara is conducting her PhD cognitive science research at the University of Oxford, on how music technologies like virtual reality, haptic wearable devices, and artificial-intelligence composition systems influence our sense of connectedness to artists and fans. She uses her research expertise to consult for emerging entertainment technology startups in the US and UK . She received her B.S. in Cognitive Science from Yale University in 2018.

(Tara Venkatesan performed with New Trinity Baroque for the first time in the program "Musical Delirium" in March of 2020 in Atlanta.)

The Dutch recorder player, Marion Verbruggen , is one of the most extraordinary virtuosos of her generation. Famed for her high-spirited, technically dazzling performances, she has earned an international reputation as a master of style on her instrument throughout North America, Europe, Africa, Japan and Australia. Enamored of the recorder from an early age, she studied at the Amsterdam Conservatory and the Royal Conservatory in The Hague with Frans Brüggen. Upon completing her diplomas cum laude, she was invited to join the faculty at the Royal Conservatory. Her prizes include the first International Recorder Competition in Bruges, the Nicolai Prize for the Performances of Contemporary Dutch Music, and the Erwin Bodky Award for Early Music.

As a soloist Marion Verbruggen plays with prestigious ensembles including Musica Antiqua Köln, Akademie für Ancient Musik Berlin, The Amsterdam Baroque Orchestra, Philharmonia Baroque Orchestra, The Orchestra of the Age of Enlightenment and Tafelmusik Orchestra. She performs in chamber music ensembles with other renowned early music artists including harpsichordists Gustav Leonhardt, Bob Van Asperen and Ton Koopman, gambist Wieland Kuijken, baroque cellist Jaap ter Linden, and violinist Lucy van Dael. Her early music festival appearances include Utrecht, Berkeley, Berlin, Boston and Tel Aviv. Marion Verbruggen also plays solo recitals throughout the world.

Marion Verbruggen guest teaches at the Royal Conservatory in The Hague and gives master classes and workshops throughout the world. Her diverse discography includes music ranging from 17 th century Spanish songs and theatre music to her own transcriptions of the J.S. Bach Cello Suites. She has recorded for BMG, EMI Erato, harmonia mundi usa, Ricercar, Sony, Titanic, and Accent.

Sarah Weiner , baroque oboe, oboe d'amore and oboe da caccia, is an active performer on both modern and historical instruments. She has performed with various ensembles around the country including The Bach Sinfonia, New Trinity Baroque, Texas Camerata, Smithsonian Chamber Orchestra, Vox Amadeus, The American Classical Orchestra, Folger Consort, Londontowne Symphony, Washington Bach Consort, Orchestra of New Spain (Dallas) and l’Orchestra Classica di Santa Croce in Batignano, Italy. She is a founding member of Sarabande, a trio of three Baroque oboists (all named Sarah) who perform 18th-century chamber music for double-reed instruments, and a former member of the cross-over group Ensemble Galilei, which combines early performance practice with Celtic folk music traditions. Sarah also teaches privately and at the University of Virginia where she has coached the early music ensembles. Originally from the Pacific Northwest, Sarah completed her undergraduate studies at the University of Washington, and later migrated to the Midwest where she completed her Master of Music in Historical Performance at the Oberlin Conservatory. She continued her graduate studies at the Early Music Institute at Indiana University where she was a winner in the 1996 Early Music Institute concerto competition. Sarah has recorded for Telarc, Dorian/Sono Luminus, and Maggie’s Music.

Photography by Julie Ainsworth.

Magdalena Wór, mezzo-soprano, is originally from Poland and has been living in United States since 1991. She is a student of Magdalena Moulson-Falewicz and a recent graduate of Georgia State University. Ms. Wór is a 2002 Metropolitan Opera Competition National Finalist, Winner of the 2002 Mozarteum Competition, and a 2001 and 2002 Recipient of the Florence Kopleff Vocal Scholarship. Ms. Wór is an alumnus of the San Francisco Opera’s 2003 Merola Summer Opera Workshop where she sung Rosina in Gioacchino Rossini’s Il Barbiere di Siviglia, and her recent performances include Henryk Górecki’s Third Symphony (Symphony of Sorrowful Songs), and Ludwig van Beethoven’s Ninth Symphony.

Ms. Wór has also sung Meg Page in Otto Nicolai's The Merry Wives of Windsor, Rebecca Nurse in Robert Ward's The Crucible, and was a participant in The Harrower Summer Opera Workshop.

Wanda Yang-Temko , soprano - described by critics as having "simply unbelievable vocal power and control," and "a winning stage personality," soprano Wanda Yang Temko is completing a doctorate in performance from the Indiana University School of Music in Bloomington, Indiana. She holds a Master of Music degree in Voice Performance from Georgia State University and a Bachelor of Arts degree in Psychology and Liberal Studies from Emory University. She made her international operatic debut as Erste Knabe in Mozart's "Die Zauberflöte" in Rome. Other highlights include the Mother in Menotti's "Amahl and the Night Visitors" and Morgana in Handel's "Alcina".

Acclaimed for performances on the operatic and concert stages, she has collaborated with some of the most renowned Early Music artists of our time, including Andrew Lawrence-King, Paul Hillier, Nigel North, Paul Elliot, and Stanley Ritchie. An acknowledged interpreter of Johann Sebastian Bach, she was a semi-finalist in the inaugural year of the Chimay Baroque Singing Competition. In 2001 she created the role of Ninfa in the Bloomington Early Music Festival's innovative production of "I lavori d'amore persi", a theatrical experience utilizing the works of Claudio Monteverdi, and was soloist in Bach's "Passion According to St. Matthew" with the Columbus Indiana Philharmonic Orchestra. As a recitalist she performs throughout the country, featuring the works of Barber, Rachmaninov, Ravel, Handel, Bach, and the great German Romantic composers. Wanda's interest in contemporary music is equally keen, as evinced by her skilled and nuanced performances of the works of Olivier Messiaen. As a professional chorister, she has performed with conductors such as Robert Shaw, Robert Spano, Donald Runnicles, William Fred Scott, and Alfred Calabrese.

A multi-faceted performer, she is the host of Afternoon Classics and Concert 90 on Atlanta's own NPR affilliate, WABE, 90.1FM, where she also writes, produces, and hosts a 30 minute weekly show highlighting singers and their connections to their art and the world, called "The Art of Song." Wanda can also be heard as Detective Phillips in Mind's Ear Audio Productions' French Quarter , a radio drama series featured on National Public Radio's "NPR Playhouse." Equally at home as a stage director, she has received warm reviews for her direction of Britten's "Noye's Fludde" for the Cathedral of St. Philip.

Kurt-Alexander Zeller , tenor, is Director of Vocal Activities and Opera at Clayton College & State University and has performed in opera and musical theatre, oratorio, early music, and recital throughout North America and much of Europe. He holds degrees in Voice Performance and in Theatre from Southern Methodist University and a doctorate, with major studies in voice performance, musicology, and opera directing, from the College-Conservatory of Music in Cincinnati, where he was a founding member of CCM's Early Music Lab. For several seasons, he was a member of the performance comp. of the Tony Award-winning Oregon Shakespeare Festival and appeared often with its Terra Nova Consort. Dr. Zeller produced programs for EMGO throughout the 1990s and has prepared performance versions of Haydn's L'infedelta delusa and Mozart's La finta giardiniera for the Portland Chamber Orchestra. He is an active writer and lecturer on music, often introducing ASO programs and concerts at Spivey Hall, and is Program Annotator for the Salem (OR) Chamber Orchestra. He is passionately attached to early music (the 17th century is his favorite) but lives by the artistic credo that “to specialize is to brush one tooth.”

Danijela Zezelj-Gualdi , baroque violin & viola, joined New Trinity Baroque in 2006. She was born in Croatia where she began to study violin in 1984. By eleven, she had already become the youngest member of the Zadar Chamber Orchestra. Together with this orchestra she performed at important Croatian venues and festivals such as Musical Evenings in St. Donat and the Zagreb Academy of Music.

Her higher-level education began at The Academy of Arts in Novi Sad, Serbia, when she began her studies with Professor Eugenia Tchougaeva in 1993. It was here that Ms. Zezelj-Gualdi became a member of the chamber orchestra Camerata Academica, which afforded her the opportunity to perform throughout Europe. In 1998 she graduated from the Academy and became a member of the Belgrade Philharmonic Orchestra.

A year later, she was awarded a full scholarship to study at Carnegie-Mellon University in Pittsburgh, Pennsylvania, where she graduated with a Masters Degree in 2001. In 2006, Ms. Zezelj-Gualdi graduated with the doctoral degree in Violin Performance at the University of Georgia. There she studied violin with Dr. Michael Heald and her second instrument, viola with Dr. Mark Neumann. Additionally, she studied with world-renowned musicians Pamela Frank, Andres Cardenes, Carolyn Huebl, Chris Wu, Katie McLin, Mischa Amory, Marina Jashvilli, Timothy Baker and members of the Quarteto Latinoamericano.

As an active performer she played both the violin and viola extensively in solo recitals throughout the U.S and Eastern Europe. As a concerto soloist her most recent performance was the Mendelssohn Violin Concerto with the University of Georgia Symphony Orchestra. Ms. Zezelj-Gualdi is also a passionate interpreter of contemporary music. In 2004 she was a featured soloist in the Composer in Residence concerts at Hodgson Hall, Athens (with renowned contemporary composers Augusta Reed Thomas and James MacMillan.)

Since her youth, Ms. Zezelj-Gualdi has consistently impressed audiences in numerous chamber ensembles. She frequently performs with the University of Georgia Faculty and collaborates with renowned artists such as Evgeny Rivkin. In the fall of 2004, Ms. Zezelj-Gualdi joined guitarist John Huston and formed Duo Lunaire, a chamber group that performs actively with a diverse repertoire of contemporary and historical music. She also participated at the American Liszt Society Festival held at University of Georgia in February 2006. At the UGA Summer Music Camp and GA ASTA Chamber Music Workshop in 2005 she coached young chamber music groups. In 2004 Ms. Zezelj-Gualdi performed at Carnegie Hall with the ARCO Chamber Orchestra. Additionally in the spring of 2005, she joined Classic City Strings, Athens' Premiere String Quartet.

Ms. Zezelj-Gualdi has also been an avid performer of early music. In Croatia she played with the chamber group "Zadarski Madrigalisti" which specialized in music from the Renaissance. In 2006 she joined New Trinity Baroque Orchestra, performing on period instruments featuring early music from the Baroque era.

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