Born on St Cecilia’s day, the Grammy-nominated British counter-tenor 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, GavinBryars’s Doctor Ox’s Experiment (English National Opera), Fairy Queen (Barcelona), Gluck’s Orfeo (Koblenz), Amadi
This season’s highlights include recordings of “Le Petit Prince” by Georgia Shreve, “La Sposa” (Solo Luminus records), Monteverdi madrigal book VIII (Artek), “Gemini Man” (film soundtrack with Will Smith/Clive Owen), “Bleed for the Throne” (SXSW recording based on ‘Game of Thrones’), A new recording with El Mundo, another with Ensemble Origo, and a recital at the National Gallery (Washington) with Parthenia Viol consort, ‘Messiah’ at Carnegie hall and Mechanics Hall, the creation/recording of “Fatini Futuro” with Ben Neill, the Creation of “The Call” (co-written with Nels Cline, Michael Dennis Browne and others) and the creation/recording of “Including Words” – new music/directed improvisation utilizing the love letters from John Cage to Merce Cunningham as text.
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.
Hailed as a “golden soprano” and “a major force in the New York early music-scene” (The New York Times), soprano Jolle Greenleaf is one of today’s foremost figures in the field of early music. Balancing a career as a leading soloist and an innovative impresario, she is in great demand both as a guest artist and as the artistic director of TENET Vocal Artists, a premier New York-based ensemble specializing in early music. She is a celebrated interpreter of the music of Bach Buxtehude, Handel, Purcell, and most notably, Monteverdi. She has performed as a soloist in venues throughout the U.S., Scandinavia, Europe, and Central America for important 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, enjoys performing a variety of musical styles ranging from medieval chant to newly composed works. Praised by San Francisco Classical Voice for “gloriously rounded tone and a measure of heft often missing in proponents of his voice type”, his singing has taken him to many festivals and venues including Tanglewood, the Concertgebouw of Amsterdam, Metropolitan Museum of NY, Tokyo Opera City, and the Early Music festivals of Berkeley, Bloomington and Boston. Highly valued as an ensemble singer as well as a soloist, Clifton performs frequently with American Bach Soloists, Philharmonia Baroque Orchestra, Bach Collegium San Diego, the American Classical Orchestra, Clarion Choir, and has been frequently featured on the Bach Vespers series at Holy Trinity Lutheran and Trinity Church Wall Street in New York City. He is an alumnus of the GRAMMY award winning group Chanticleer, with whom he performed over 200 concerts in a variety of the world’s finest concert halls. Notable recent performances include solo Bach Cantatas with Publick Musick of Rochester, NY, the title role of Handel’s Orlando with the Corona del Mar Baroque Festival, and a performance at the Met Gala with pop music icon Madonna. Clifton currently resides in NYC and is a member of the GRAMMY®-nominated professional choir at Trinity Church Wall St.
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 notable musicians and arts organizations around the globe including 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 and Concert Royale, Pacific Baroque Orchestra, North Carolina Baroque Orchestra, Ensemble VIII, The Helicon Society, Quicksilver Ensemble, and Acronym. Molly has also garnered acclaim for her work crossing genres in classical, folk, and contemporary music. Molly was dubbed “pure radiance” by the Los Angeles Times for her work with The Bang on a Can All-Stars in Steel Hammer. The production traveled to Abu Dhabi in 2017. Other highlights of the past season include her Kennedy Center Debut as the title role in Dido and Aeneas, and the role of Papagena in Die Zauberflöte with Clarion Music Society, where Opera News dubbed her “A lovely and feisty companion.”
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, Bang on a Can marathon, San Francisco Early Music Series, and Carnegie Hall’s Venetian Festival. She is a festival soloist at The Staunton Music Festival, and staff musician and featured soloist at The Carmel Bach Festival. 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 for the Performing Arts, 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.