As a true basso whose voice has been described by The Examiner as “a deep, warm sound,” Paul An enjoys a versatile career as an operatic and concert soloist and chamber musician. From school gyms, to Carnegie Hall, as well as hundreds of venues in between, Paul has enjoyed singing in four continents and forty-nine states.
Paul has performed more than sixty operatic and oratorio roles. Highlights from recent and upcoming seasons include solo performances with the Nashville Opera, Los Angeles Philharmonic, New York Philharmonic, Loft Opera, Tulsa Symphony, Prototype Festival, and LA Opera in such works as Meredith Monk’s opera Atlas, Beethoven Missa Solemnis, Philip Glass Koyanisqaatsi, Mozart Requiem, and Haydn Creation.
As an avid vocal chamber musician, Paul works with notable groups such as the Choir of Trinity Wall Street, Tenet, Western Wind, Santa Fe Desert Chorale, and Voices of Ascension. He is thrilled to make his debut with Ensemble VIII.
Born on St Cecilia’s day, the Grammy-nominated British countertenor Ryland Angel has built an international reputation on both the opera and concert stage, in repertoire ranging from the Baroque to new operatic commissions at major opera houses, concert halls and festivals throughout Europe and the USA.
He has performed in Monteverdi’s Orfeo, Gavin Bryars’s Doctor Ox’s Experiment (English National Opera), Fairy Queen (Barcelona), Gluck’s Orfeo (Koblenz), Amadigi (Karlsruhe), Venus and Adonis (Flanders Opera), Dido and Aeneas (Opera Comique), The Play of Daniel (Spoleto), and Ballet Comique de La Royne (Geneva). Angel has sung on over 80 recordings including music of Buxtehude, Charpentier, Scarlatti, Stradella, Spears, O’Regan, Handel, Monteverdi, Purcell, Bach, and on the film soundtracks of Jack Reacher, Zoolander 2, Freedom, Le Petit Prince, La Peau, Henry 4th, Machete, The Mystery of Dante, Gemini Man and the PBS TV special Heavenly Voices. Recent engagements include Doux Mensonges (Opera National de Paris), Agrippina (NYCO), A Midsummer Night’s Dream (Florentine and Kansas Opera), Julius Caesar (Utah and Colorado Opera), Sant Alessio with William Christie (Paris, London, New York), Carmina Burana (Lincoln Center/Prague Proms), St. John Passion (Saint Thomas Church and Mechanics Hall), Classics and Rock (Seoul Philharmonic Orchestra) and Messiah (Boston Symphony Hall & Carnegie Hall). Recent and upcoming recordings include The Flaming Fire (MSR), Heart and Soul (Centaur) and Now Fatal Change (NMC), La Sposa (Solo Luminus), Le Nozze in Baviera (Naxos), Archivo de Guatemala (Naxos), Chant Electronique (Chesky), Justinian Intonations (Neuma), Bleed for the throne (SXSW) and a recital at the National Gallery with Parthenia Viol consort. Recent creations include Tesla, Fantini Futuro, The Call, Including Words and The Chant Project.
Paul D’Arcy (tenor) is in demand nationally as a soloist, chamber musician, and music educator. Recent solo appearances include Handel’s Messiah with the Austin Symphony, Tucson Symphony, True Concord, and Ensemble viii; Mozart’s Requiem with the Austin Symphony; Mendelssohn’s Elijah and Bach’s Christmas Oratorio with Concordia University; Haydn’s Lord Nelson Mass with the Advent Choir of Boston; Monteverdi’s Vespers with ensemble viii; Schütz’s Musikalische Exequien with the Texas Early Music Project and ensemble viii; Vaughan Williams Mass in G Minor with Spire; the Brahms Liebeslieder; and the world premiere of Mozart Requiem Undead at the Fusebox Festival in Austin, TX.
D’Arcy is an avid chamber musician and choral singer. As a New York City based freelance musician, D’Arcy has had the opportunity to work with many of the city’s most celebrated ensembles and conductors. Concert performances include the New York Philharmonic Orchestra under Jap van Zweden, Musica Sacra and the Cathedral of St. John the Divine under Kent Tritle, the Orchestra of St. Luke’s under Pablo Heras-Casado, the American Classical Orchestra under Thomas Crawford, the choir of Trinity Wall Street under Julian Wachner, Musica Viva under Alejandro Hernandez-Valdez, the St. Andrew’s Music Society under Andrew Henderson, the Trident Ensemble, and the Los Angeles Philharmonic Orchestra under Gustavo Dudamel. Other projects include performances with the New York City Ballet under Andrew Litton, National Sawdust, the Worldless Music Series at BAM, Bach Vespers at Holy Trinity Lutheran under Donald Meineke, recordings with Essential Voices under Judith Clurman, and the premiere of David Lang’s Mile Long Opera.
D’Arcy also travels nationally, performing with the Grammy® winning Conspirare in Austin, True Concord in Tucson, Skylark in the greater Boston area, Ensemble viii in Austin, the San Diego Bach Collegium, Ensemble Origo in Hartford and Boston, Seraphic Fire in Miami, the Santa Fe Desert Chorale, the Cape Cod Symphony, Vox Humana in Dallas, the Apollo Master Chorale in Minnesota, Spire in Kansas City, the Advent Choir in Boston, and the Victoria Bach Festival. He has performed on numerous recordings for Harmonia Mundi, Reference Recordings, Naxos, and PBS, including the 2015 Grammy winning album, The Sacred Spirit of Russia with Conspirare. D’Arcy maintains an active voice studio of approximately twenty students in New York City, and is a vocal coach for the New York City Children’s Chorus.
Soprano Jolle Greenleaf is one of today’s foremost figures in the field of early music. She has been hailed by The New York Times as a “golden soprano” and “a major force in the New York early music scene.” Ms. Greenleaf was named the artistic director of TENET Vocal Artists in 2009, where she sings and directs the ensemble in repertoire spanning the Middle Ages to the present day. Her flair for imaginative programming has been lauded as “adventurous and expressive,” as well as “smart, varied and not entirely early” (The New York Times). She is a celebrated interpreter of the music of Bach, Buxtehude, Handel, Purcell and, most notably, Claudio Monteverdi. Ms. Greenleaf has performed as a soloist in venues throughout the U.S., Scandinavia, Europe, and Central America for exceptional presenters including Vancouver Early Music Festival, Denmark’s Vendsyssel Festival, Costa Rica International Music Festival, Puerto Rico’s Festival Casals, Utrecht Festival, at Panama’s National Theater, and San Cristobal, the Cathedral in Havana, Cuba.
Nathan Hodgson is a New York based tenor specializing in early and chamber music. He sings with the Bach Vespers program at Holy Trinity Lutheran Church in New York City and performs regularly with ensembles across the nation. Recent performances include appearances with Ensemble VIII in Austin, Texas; with The Thirteen Chamber Choir in Washington, D.C., Skylark Vocal Ensemble, and with Bricolage Ensemble in a series of workshops and performances in San Juan, Puerto Rico. A recent graduate of the University of North Texas, Nathan sang with the school’s prestigious A Cappella Choir for their tour to South Korea and performance at the 2013 ACDA National Conference in Dallas, Texas, and with the school’s early music ensemble, Collegium. Before moving to New York, Nathan sang in the Dallas area with the Orpheus Chamber Singers, Dallas Bach Society, and Denton Bach Society.
Abigail Haynes-Lennox, soprano, quoted as angelic and stylish in her interpretations of Bach and Mozart, is equally at home with genres ranging from early plainchant to 19th- century Mélodie to improvised avant-garde. Originally from Bartlett, Tennesseee, she began her vocal studies at Ann Arbor, Michigan, where after finishing her bachelors degree in vocal performance at the University of Michigan, she served as music director for the Wesley Foundation of First Methodist, performed with the Michigan Opera Theater under Stephen Lord, and was a frequent soloist appearing on premier recordings of contemporary works. In 2007 Lennox completed her master’s degree study in voice at the Yale Institute of Sacred Music where she studied under James Taylor, Ted Taylor, and Judith Malafronte.
In addition to participating in masterclasses with Martin Katz, Stephen Layton, and David Daniels, she has performed as soloist in such performances as Bach St. John and Buxtehude Membra Jesu Nostri under Simon Carrington, Mozart Vespers with Sir David Willcocks and again with Sir Neville Marriner, Bach Magnificat in E-flat major with Helmuth Rilling, Beethoven Mass in C and multiple Bach Cantatas with Yale ensembles, a program of French Baroque music with the Ensemble European William Byrd, Steve Reich Daniel Variations with the New World Symphony, Purcell Dido and Aeneas with Apollo’s Fire, and Bach Weihnachts Oratorium and B minor Mass with the American Bach Soloists under Jeffrey Thomas. Inspired by her experiences, Lennox enjoys teaching and working with young musicians and engaging in collaborative projects with fellow artists in addition to pursuing a solo career.
Clifton Massey, countertenor, was raised on a steady diet of country & western, bluegrass, and other close-harmony singing in Dallas, TX. These early influences instilled a love of pure tone and ensemble work, leading to rich musical experiences in a variety of styles. He has participated in the Ojai Festival, Tanglewood Music Festival, Oregon Bach Festival, and the early-music festivals of Berkeley, Boston, and Utrecht. He collaborates frequently with notable early-music ensembles such as the Philharmonia Baroque Orchestra, American Bach Soloists, Trinity Baroque Orchestra, and the American Classical Orchestra. He is an alumnus of the Grammy-award-winning group Chanticleer. Highlights of recent seasons include performing with pop icon Madonna at the Met Gala, modern premieres of Bassani’s Giona and Stradella’s La Susanna with the Academy of Sacred Music, and performing in the inaugural two month installation of Reich Richter Pärt at The Shed, a vibrant new venue in NYC. Upcoming projects include Bach in Montreal and Leipzig, as well as collaborations on ornamented polyphony with Artek.
Clifton is based in Brooklyn, NY, and sings full-time with the professional choir of Trinity Church Wall Street under the direction of Julian Wachner. He holds degrees from TCU and the Indiana University Historical Performance Institute, where he studied with Paul Hillier and Paul Elliott.
Praised for her “skyrocketing coloratura,” “fluid and dexterous voice,” “piercingly clear soprano” as well as for being a “natural and convincing comedic actress,” Gitanjali Mathur regularly performs in Austin with the Texas Early Music Project, Convergence, and Conspirare. She also sings and records with Seraphic Fire and is featured on their Grammy-nominated CD A Seraphic Fire Christmas. She made her solo Carnegie Hall debut with Helmuth Rilling in J.S. Bach’s St. Matthew Passion in 2007, and has performed in France, Italy, Germany, and Denmark, in the Oregon Bach Festival and with the Santa Fe Desert Chorale. This year she will debut with Bach Collegium San Diego and Tucson Chamber Artists, will sing solos for Handel’s Messiah with the Austin Symphony Orchestra, and will perform a lead role with the Austin Vocal Arts Ensemble in John Blow’s baroque opera Venus and Adonis.
Since 2006, John Proft has maintained an active singing career, traveling around the country to perform with professional choirs and chamber ensembles in Austin, Atlanta, Boston, Dallas, Kansas City, and Santa Fe. While getting his Bachelors in Music from University of North Texas, he began singing professionally with the Dallas Bach Society and the Orpheus Chamber Singers. Then, based in the thriving early-music scene of Boston, he began traveling to perform with ensembles like Austin’s Grammy-winning Conspirare, Miami’s Grammy-nominated Seraphic Fire, and the Santa Fe Desert Chorale. As a soloist, he has performed with the Harvard Collegium Musicum and in Boston Early Music Festival’s 2010 opera, Dido and Aeneas. He has worked with world-renowned conductors Harry Christophers, Ton Koopman, and Craig Hella Johnson. In 2013, John received his Masters of Music in Choral Conducting from Southern Methodist University and is currently based in Sacramento, California.
Hailed for her “radiant sweetness” by the New York Times, Molly Quinn has garnered praise for her thought-provoking and delightful interpretation of music from the medieval to the modern. She has collaborated with The Knights NYC, Portland Baroque Orchestra, Apollo’s Fire, The Folger Consort, The Bang on a Can All-Stars, TENET, Trinity Wall Street, Ascension Music, Clarion Music Society, Saint Thomas Fifth Avenue, Pacific Baroque Orchestra, North Carolina Baroque Orchestra, Quicksilver Ensemble, and Acronym.
She has been featured in projects by notable presenters including The Lincoln Center White Lights Festival, Moscow’s Gold Mask Festival, BAM Next Wave Festival, Baldwin Wallace Bach Festival, Bang on a Can marathon, San Francisco Early Music Series, Montreal Baroque Festival, Carnegie Hall’s Venetian Festival, The Staunton Music Festival, and The Carmel Bach Festival.
Recordings include Biber’s O Dulcis Jesu with Acronym. Cleveland Classical Review describes Molly’s vocal tone as blossoming “like ink in clear water.” She was a featured soloist on Trinity Wall Street’s Grammy-nominated recording of Handel’s Israel in Egypt. She has performed as a soloist in such noted international venues as Shostakovich Hall in St. Petersburg, Teatro National de Costa Rica, The Arts Center of NYU, Abu Dhabi in the United Arab Emirates, Vancouver’s Chan Centre, and San Cristobal Cathedral in Havana, Cuba.
PAUL MAX TIPTON
Described by the Atlanta Journal-Constitution as “a dignified and beautiful singer,” Paul Max Tipton, Bass-Baritone, enjoys an active career in opera, oratorio, and chamber music. He solos under such notable figures as Masaaki Suzuki, Matthias Pintscher, Nicholas McGegan, Leonard Slatkin, Ton Koopman, Helmuth Rilling and Martin Katz, and with such organizations as the Bach Collegium Japan, New York Philharmonic, Apollo’s Fire, Seraphic Fire, Conspirare (Austin) and the Orchestra of St. Luke’s. His repertoire ranges from Schütz and Monteverdi to Britten and Bolcom, and recent engagements include Handel’s Dettingen Te Deum, Rameau’s La Lyre Enchantée, and a recording of Brahms’ Ein Deutsches Requiem, Op. 45 which earned a 2012 Grammy nomination. His singing of the Bach Passions are noted in particular for their strength and sensitivity. Mr. Tipton studied at the University of Michigan at Ann Arbor and Yale University, and is a Lorraine Hunt Lieberson Fellow at Emmanuel Music in Boston.
With a voice described as “fresh,” “ethereal,” “captivating,” “radiant”, and “angelic,” soprano Brenna Wells is garnering attention for her varied operatic and concert performances. Ms. Wells has sung and recorded with such acclaimed ensembles as the Boston Early Music Festival Orchestra, Blue Heron Choir, Britten-Pears Baroque Orchestra, Boston Baroque, Opera Boston, Lorelei Ensemble, Boston Modern Orchestra Project, L’Académie, Yale Choral Artists, Ensemble VIII, Seraphic Fire, Pacific MusicWorks Underground, Collage New Music and the Handel and Haydn Society, among others. She has appeared in many festivals and programs worldwide including the London Handel Festival, Aldeburgh Festival, Connecticut Early Music Festival, Amherst Early Music Festival, BBC Proms, and the Early Music Seminars at the Fondazione Giorgio Cini in Venice, Italy. She also had the unexpected dream debut of singing back up vocals on “You Can’t Always Get What You Want” with the Rolling Stones and their 50th Anniversary Tour. In 2014-2015, she was chosen as the the Lorraine Hunt Lieberson Fellow at Emmanuel Music in Boston where she performed as soloist in Bach’s St. John Passion. Ms. Wells recently became a resident of Seattle, WA and held the post of Interim Program Director and Professor of Music at Trinity Lutheran College. Highlights from recent seasons include appearances with Seraphic Fire, Ensemble VIII, Lorelei Ensemble, Boston Modern Orchestra Project, the Handel and Haydn Society, New World Symphony, Vermont Symphony Orchestra, Sammamish Symphony Orchestra, the Brookings Harbor Friends of Music series, Cleveland Orchestra Miami, Vancouver Early Music Festival, Pacific MusicWorks Underground, Early Music Guild of Seattle, Emerald Ensemble, Blue Heron Choir and Pacific Musicworks’ production of Purcell’s Dido and Aeneas and the Beethoven Festival in Warsaw, Poland.
Highlights from the 2018-2019 season included her soloist debut with the Aspen Symphony Orchestra in Mozart’s Requiem as a Participating Artist with the Professional Choral Institute at the Aspen Music Festival and School with Seraphic Fire. She also debuted with Capella Romana in Seattle and Portland and performed with Ensemble VIII in Austin, Texas, Blue Heron Choir in Boston and New York, Seraphic Fire in Miami, Pacific MusicWorks’ performances of Monteverdi’s Selve Morale, and recorded John Luther Adams’ Becoming Desert with the Seattle Symphony Chorale and Orchestra. She also made her debut with Emerald City Music performing Steve Reich’s rarely staged Music for Eighteen Musicians. During the 2019-2020 season, Brenna will return as a Participating Artist with Seraphic Fire at the Professional Choral Institute at the Aspen Music Festival and School, and she can also be seen singing with Blue Heron Choir in Boston for the 20th Anniversary Season and Ensemble VIII in Austin, Texas and Portland’s Capella Romana, among other ensembles.