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Marion VerbruggenAmsterdam native Marion Verbruggen has earned an international as a master of style on her instrument. Enamored of the recorder at an early age, she studied at the Amsterdam Conservatory and the Royal Conservatory in The Hague with recorder master Frans Brüggen. After completing her diplomas cum laude, she was invited to join the Royal Conservatory faculty. Marion Verbruggen teaches at the Royal Conservatory in The Hague and gives master classes and workshops internationally. As a soloist, Verbruggen plays with prestigious ensembles including Musica Antiqua Köln, The Amsterdam Baroque Orchestra, Tafelmusik, Philharmonia Baroque Orchestra, and The Orchestra of the Age of Enlightenment. Her diverse discography includes music ranging from seventeenth-century Spanish songs and theater music to her own transcriptions of the JS Bach cello suites. She has made numerous recordings for Harmonia Mundi, and recorded the complete cantatas of J.S. Bach with Ton Koopman and The Amsterdam Baroque Orchestra & Choir for the Erato label.
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Philadelphia Baroque Orchestra and Chamber Players, performs with what the Philadelphia City Paper calls “a zest and virtuosity that transcends style and instrumentation.” Led by co-directors Gwyn Roberts and Richard Stone with concertmaster Emlyn Ngai, Tempesta’s repertoire ranges from staged opera with full orchestra to chamber music. The ensemble, founded in 1996, is one of just three baroque orchestras nationwide to receive the 2007 Artistic Excellence award from the National Endowment for the Arts. Tempesta’s Greater Philadelphia Concert Series has enjoyed a rapid rise to prominence since its launch in 2002, with press endorsements from Philadelphia to Paris. Praise for Tempesta’s touring ranges from “the energy of a rock solo and the craft of a classical cadenza” (Washington Post) to “an experience of intimate dialogues” (Lidové Noviny, Prague). Tempesta di Mare records for the British label Chandos. Tempesta’s first Chandos CD, was the 2004 world premiere recording of the Weiss lute concerti. Tempesta di Mare’s 2007 Flaming Rose was chosen “Classical CD of the Week” in London’s Sunday Times. A third Chandos disc, a live recording of modern orchestral premieres by Fasch, is scheduled for release in April 2008. Concert performances are broadcast regularly on NPR. Visit www.tempestadimare.org for more information. |
J.
Michael Allsen (lecturer; concert program notes) is associate professor
of musicology and chair of the music department at University of Wisconsin-Whitewater. He is a trombonist with the Madison
Symphony Orchestra, and has authored the MSO program notes for 20 years.
Julie Andrijeski (violin and viola; historical dance; Quicksilver) has taught baroque violin at the Oberlin and Peabody Conservatories, and baroque dance at Case Western Reserve University, and maintains a faculty position at the Baroque Performance Institute. She is a member of Chatham Baroque, and maintains an active freelance career, appearing with groups across the country including the New York Collegium, The King’s Noyse, Boston Early Music Festival Orchestra, Apollo's Fire, Cecilia's Circle and the Seattle Baroque Orchestra, among others.
John W. Barker (lecturer; historian) is Professor Emeritus of History at the University of Wisconsin where, for almost forty years, he taught areas of Mediterranean Medieval history (Byzantium, Crusades, Venice), plus a multimedia course in relations between music and history. He has published widely on both history and music. A passionate record-collector, he has been a staff reviewer with The American Record Guide for over fifty years, he has been an active radio broadcaster in Madison (for WHA/WERN; now for WORT), and he is classical-music critic for Madison’s Isthmus.
Chelcy Bowles is Professor of Music and Director of Continuing Education in Music at the University of Wisconsin-Madison where she directs professional development programs for music teachers and performers and the community adult music education program. She holds a PhD in Music Education and a MM in Music Theory, and has taught music at the elementary, secondary, college, and continuing adult levels. An author and researcher, her work has been published in numerous professional journals and presented at major conferences. She is currently national chair of MENC's Adult and Community Music Education Research Group and serves on the editorial boards of American String Teacher and International Journal of Community Music. A harpist, she is editor and co-author of A Harp in the School: A Guide for School Ensemble Directors and Harpists (2006). She has special interests in historical harp and traditional Irish music, and currently serves as director of the Celtic Studies Program at UW-Madison.
David Douglass (baroque violin; viola da gamba; Newberry Consort) is Musician-in-Residence and Director of the Newberry Consort. In addition to his work with the Newberry Consort, he is the founder and director of the King's Noyse, a Renaissance violin band, and frequently performs with such ensembles as the Musicians of Swanne Alley, the Harp Consort, the Parley of Instruments, the Toronto Consort, and the Folger Consort. His playing has been praised by the New York Times for its "eloquence" and "expressive virtuosity." He teaches at many summer early music institutes and workshops, and is a frequent lecturer on early violin technique and repertoire. He has recorded a number of CDs for the harmonia mundi usa, Virgin, Erato, Berlin Classics, and Auvidis/Astrée labels.
Paul Flight (conductor; countertenor) is Artistic Director of the California Bach Society, founder and Artistic Director of The Haydn Singers, director of Chora Nova (a Bay Area chamber choir), and former Director of Choral Activities at Smith College. An accomplished countertenor, he sings with many outstanding professional ensembles and performs opera and oratorio internationally. This will be his 7th season as the principal conductor at MEMF.
Gail Geiger (lecturer; culture) is a Professor and Chair fo the Art History Department at the University of Wisconsin-Madison
Soprano Ellen Hargis has built a remarkable career specializing in 17th- and 18th-century music. She appears with many renowned conductors, including Andrew Parrott, Gustav Leonhardt, Paul Goodwin, Jane Glover, and Simon Preston . She appears regularly with The King's Noyse and in recital with lutenist Paul O'Dette, and has performed with The Saint Paul Chamber Orchestra, Portland Baroque Orchestra, Freiburg Baroque Orchestra, the Seattle Baroque Orchestra, the Mark Morris Dance Group, Tragicomedia, The Mozartean Players, and Fretwork. She has performed at many of the world's leading festivals including the Adelaide Festival in Australia, Festival Vancouver, Utrecht Festival (Holland), Resonanzen Festival (Vienna), Tanglewood, and the Berkeley and Boston Early Music Festivals. Her discography of more than 50 recordings embraces repertoire from medieval to contemporary music and boasts the Grand Prix du Disque, the Choc du Monde, and two Grammy nominations for best opera recording.
Rebecca Humphrey (baroque cello; Tempesta di Mare), recently moved to Philadelphia from Switzerland where she was principle cellist with Kammerensemble Luzern and La Passione, a baroque orchestra in Basel. Ms. Humphrey has performed as principle cellist with the Lyra Concert, Ex Machina, with City Musick in Chicago, ArsMusica in Ann Arbor, and Genesee Baroque in Ithaca, New York. Current engagements include the Washington Bach Consort, The American Classical Symphony, Philomel Baroque Ensemble and Bimbetta.
Greg Ingles (sackbut) is in demand as a free-lance sackbut player performing with such period instrument ensembles as New York Collegium, Tafelmusik, Concerto Palatino, Early Music New York, the Orchestra of the Renaissance and American Bach Soloists. He is Music Director of Spiritus Collective, an ensemble devoted to rarely performed brass music of the 17th century. In addition to being a member of Piffaro, Greg is also a member of the early wind band, Ciaramella, set to record their debut CD with Naxos this summer. Greg received his Bachelor of Music degree in trombone performance from Oberlin Conservatory and is a doctoral candidate for a DMA at the State University of New York at Stony Brook. He is also professor of trombone at Hofstra University.
Kris Kwapis Ingles (baroque trumpet), acclaimed for her "sterling tone" in the New York Times, plays with several period instrument ensembles including New York Collegium, Tempesta di Mare, Foundling Baroque Orchestra, NY State Baroque, Clarion Music Society, American Opera Theater, Ensemble Rebel, Long Island Baroque and Tafelmusik. On cornetto, Kris has performed with New York Collegium, Piffaro, Santa Fe Pro Musica, Early Music NY, Arcadia Players and Brown University among others. Kris can be heard on the Kleos label with the New York Collegium under the direction of Andrew Parrott, on Naxos with early wind band Ciaramella, on Dorian with Piffaro and on Centaur with Aston Magna. Kris is Artistic Director of Spiritus Collective, dedicated to bringing life to the fascinating brass repertoire of the 17th century. She holds Bachelor and Master of Music degrees in trumpet performance from the University of Michigan and a doctorate in early music performance at the State University of New York at Stony Brook. She lectures on early brass performance practice and trumpet history, including recent appearances at the Metropolitan Museum of Art, University of Wyoming and Rutgers University. When not performing, Kris enjoys teaching dedicated students as professor of trumpet at Hofstra University.
Joan Kimball (historical winds, bagpipe) is artistic co-director and a founding member of Piffaro, The Renaissance Band, a world renowned early music ensemble that tours extensively throughout the U.S., has a yearly concert series in Philadelphia,, and performs frequently at early music festivals in Europe.
She gave full time to early music performance in 1980 after a number of years as an educator. She teaches recorder and early winds to children and adults, and is on the music faculty of The Philadelphia School, an elementary and middle school, where she has a full roster of private recorder students and recorder ensembles. Her teaching work also includes bagpipe, recorder and double reed classes at summer music workshops and festivals. Joan collaborates with instrument maker Joel Robinson of New York City on the construction of Medieval and Renaissance bagpipes. In addition to her recordings with Piffaro on Deutsche Grammophon, Dorian Recordings and Piffaro Records, she can also be heard on Vanguard Classical, Eudora and Vox Amadeus.
Robert Mealy (violin; Quicksilver) was described by the New Yorker as "New York's world- class early music violinist." He has recorded over 50 cds on most major labels, ranging from Hildegard of Bingen with Sequentia, to Renaissance consorts with the Boston Camerata, to Rameau operas with Les Arts Florissants. Mr. Mealy frequently performs at international music festivals; he has also toured with the Mark Morris Dance Group and accompanied Renée Fleming on the David Letterman Show. In New York he is a frequent leader and soloist with the New York Collegium, ARTEK, the Clarion Society, and Early Music New York. He also serves as concertmaster for the Boston Early Music Festival Orchestra. He is a director of the new ensemble Quicksilver, and a member of the medieval ensemble Fortune's Wheel, the Renaissance violin band the King's Noyse, and the 17c ensemble Spiritus. Mr. Mealy was recently appointed Lecturer at Yale University, where he directs the Yale Collegium and teaches courses on rhetoric and performance; previously, he directed the Harvard Baroque Orchestra. In 2004 he received Early Music America's Binkley Award for outstanding teaching at both Harvard and Yale.
David Morris (cello; Quicksilver) has performed with Tafelmusik, Philharmonia Baroque Orchestra, and American Bach Soloists, and the King's Noyse among others. He is a member of Musica Pacifica and the Sex Chordae Consort of Viols and founder and musical director of the Bay Area baroque opera ensemble Teatro Bacchino. Mr. Morris has been a guest instructor in early music performance-practice at UC Berkeley, UC Santa Cruz, the San Francisco Conservatory of Music and Mills College.
Debra Nagy (baroque oboe), praised for her “dazzling technique and soulful expressiveness,” (Rocky Mountain News), is in demand as a soloist and collaborative musician on both coasts, performing with baroque ensembles and orchestras in San Francisco, Los Angeles, Portland, Seattle, Denver, Cleveland, Philadelphia, and New York. She was the first-prize winner in the 2002 American Bach Soloists Young Artist Competition, is the founder of Les Délices, an ensemble dedicated to chamber music of the French Baroque, and performs fifteenth-century music on shawms and recorders as a member of Ciaramella. Debra received her doctorate in Early Music at Case Western Reserve University (where she directs the Collegium Musicum), and completed undergraduate and master’s degrees at the Oberlin Conservatory, where she studied with James Caldwell and Gonzalo Ruiz. Debra has recorded for the Capstone, Bright Angel, Naxos, Hanssler Classics, Chandos, and ATMA labels
Emlyn Ngai (violin; Tempesta di Mare) leads a broad and distinguished career as both a modern and historical violinist. He is currently on faculty at the Hartt School where he teaches violin and co-directs the Hartt School Collegium Musicum. He has performed with early music groups such as Apollo’s Fire, Boston Baroque, Smithsonian Chamber Players, Tafelmusik, and Washington Bach Consort. As a member of the Adaskin String Trio he has performed extensively throughout Canada and the U.S. and has been recorded for broadcast by CBC Radio, Radio-Canada, and NPR. He is Associate Concertmaster of the Carmel Bach Festival, where he is also a solo recitalist and first violin of the Festival Quartet. Mr. Ngai has recorded for such labels as Centaur, Chandos, Eclectra, Koch, Musica Omnia, New World Records, and Telarc.
Adam Pearl (harpsichord; Tempesta di Mare), harpsichordist, performs extensively in the Baltimore, Washington, and Philadelphia areas, as well as around the U.S., with ensembles such as Tempesta di Mare, Opera Lafayette, the Richmond Symphony, and American Bach Soloists. As Music Director for American Opera Theater, he has directed performances of Venus and Adonis, Dido and Aeneas, Cavalli's La Calisto and La Didone, Charpentier's David et Jonathas, and Handel’s Acis and Galatea. His recording of Handel with Tempesta di Mare and Julianne Baird on the Chandos label was released in 2007. Mr. Pearl was one of five harpsichordists invited to perform and record the complete Bach harpsichord concertos on antique instruments for Plectra Music, and in August 2004 he won third prize at the prestigious international harpsichord competition in Brugge, Belgium.
Gwyn Roberts (traverse; recorder; Tempesta di Mare), flutist, recorder soloist and co-artistic director of Tempesta di Mare, is Director of Early Music at the University of Pennsylvania and is on faculty at Peabody Conservatory. She studied recorder with Marion Verbruggen and Leo Meilink and baroque flute with Marten Root at Utrecht Conservatory. She has been a featured soloist with the Chamber Orchestra of Philadelphia, the Portland Baroque Orchestra, the Oregon Bach Festival Orchestra, Recitar Cantando of Tokyo, and at the Prague Spring Festival of New York. American Record Guide has called her “a world-class virtuoso,” and the Washington Post remarked, “with her sparkling technique and sensitive attention to musicality, she infused the music with operatic drama.” Recordings include Deutsche Grammophon, Dorian, Sony Classics, Vox, PolyGram, PGM, Newport Classics, and Radio France.
Grammy award winner Cheryl Bensman Rowe, (soprano; MEMF Artistic Director) is known to both early and new music audiences in this country and abroad. A former member of the Waverly Consort and Western Wind Vocal Ensemble, she has also performed with King’s Noyse, the Folger Consort, The Smithsonian Chamber Ensemble and Pomerium Musices. Orchestral engagements include the New York Philharmonic, Chicago Symphony, Israel Phiharmonic, and the St. Louis Symphony. She has toured extensively in North and South America, Europe and Japan. Appearances include concerts at Lincoln Center, Carnegie Hall, Aspen Festival, Brooklyn Academy of Music, Ravinia, Casals, Mostly Mozart, Wiener Festwochen, and Holland Festival. She has recorded for Nonesuch, ECM, and CBS Masterworks.
Paul Rowe (baritone; MEMF Artistic Director) is Professor of Voice at the University of Wisconsin Madison. He has performed with many of the leading American musical organizations including the Boston Symphony Orchestra conducted by Seiji Ozawa at Symphony Hall in Boston and Carnegie Hall in New York, American Ballet Theater at the Metropolitan Opera and Kennedy Center, and Musica Sacra at Carnegie Hall and Alice Tully Hall. He has appeared as well with the Baltimore Choral Arts Society, Smithsonian Chamber Players, the Alabama and Arkansas symphony orchestras, the Folger Consort, and the Ensemble for Early Music, among many other groups. As a member of the Waverly Consort, Mr. Rowe toured the United States, the Far East and South America and participated in the Consort's regular series at Alice Tully Hall and the Cloisters in New York. In addition, he performed for two years as a member of the New York Vocal Arts Ensemble, touring the U. S. and Yugoslavia and recording two discs: the Quartets of Haydn and Trios of Mozart, and a disc entitled Listen to the Mockingbird, featuring songs of Stephen Foster and other American music.
Aaron Sheehan (voice; Quicksilver) has recorded and toured with the Theater of Voices, and has frequently been engaged as a soloist with ensembles like the Handel and Haydn Society and the Boston Early Music Festival. Aaron teaches voice at Wellesley College and Brown University.
Priscilla Smith (recorder) is an active freelancer on both early winds and modern oboe. She has appeared with Piffaro, Early Music New York, and The Waverly Consort, and can be heard on Piffaro's newest CD, "Recordari: The Art of the Renaissance Recorder." Priscilla is pursuing a degree in oboe at Temple University, where she is a student of Louis Rosenblatt.
Richard Stone (lute; Tempesta di Mare), Tempesta di Mare Co-artistic Director and founder, is on the faculty at the Peabody Conservatory. He is one of the most highly regarded baroque vocal accompanists in the United States and is in constant demand as a continuo player on lute, archlute and theorbo. He has performed in solo recitals, music series and festivals worldwide. The New York Times called his playing “lustrously melancholy,” while the Washington Post described it as having “the energy of a rock solo and the craft of a classical cadenza.” Solo recordings include lute suites of Silvius Leopold Weiss, theorbo music by David Loeb, and the complete lute concerti of Weiss. Recording and broadcast credits include Chandos, Deutsche Grammophon, PolyGram, Lyrichord, Musical Heritage, NPR, the BBC and Czech Radio.
John Chappell Stowe (harpsichord) is Professor of Organ and Harpsichord at the University of Wisconsin-Madison School of Music. Before moving to Wisconsin, he was Professor of Organ and Church Music at Houghton College, Houghton, NY and also served as Visiting Associate Professor of Organ at the University of Iowa for the 1993-94 academic year. He graduated from Southern Methodist University and Eastman School of Music, studying organ with Robert Anderson and Russell Saunders. Dr. Stowe holds the Doctor of Musical Arts degree and Performer's Certificate from the Eastman School and was the first-place winner in 1978 of the National Open Organ Playing Competition of the American Guild of Organists. Since joining the faculty at UW-Madison, Dr. Stowe has held the posts of Associate Director of the School of Music (1990-93) and Director of Graduate Studies (1996-99, 2005-06). From 1998 to 2004, he served the American Guild of Organists as National Vice President. In addition to organ and harpsichord, his instructional activities currently include improvisation, continuo playing, organ design and literature, and coaching the UW-Madison Early Music Ensemble.
Barbara Weiss (harpsichord; Quicksilver), has performed at the Boston, San Antonio and Berkeley Early Music Festivals, and at Winnipeg Folk Festival. She has taught at the Oberlin Baroque Performance Institute, the Madison Early Music Festival, the Indiana University Recorder Performers Seminar, and the Indiana University Recorder Academy. She has served on the faculties of the University of Minnesota, Concordia College, and as visiting professor of harpsichord at Oberlin Conservatory. She served as music director of the opera company Ex-Machina, and as staff at the Chicago Opera Theater. Ms. Weiss has performed with the Newberry Consort, the New International Trio, King's Noyse, Apollo's Fire, The Washington Bach Consort, Piffaro and Tempesta di Mare. She has recorded on Dorian, Flying Fish and Harmonia Mundi USA.
Margaret Wendt (mezzo soprano) is currently finishing a M.M. in vocal performance at the University of Wisconsin-Madison where she frequently performs as a recitalist and with the Early Music Ensemble, and studies with soprano Julia Faulkner. She holds a B.M. in vocal performance from Illinois Wesleyan University in Bloomington, IL. A former Chicago resident, Ms. Wendt won Honorable Mention at the 2006 Chicago Regional NATS Competition and was a member of the Chicago Symphony Chorus and the Grammy Award winning Grant Park Summer Music Festival Chorus.
Robert Wiemken (historical winds), a French hornist for many years before turning to early music and period instrument performance, is now a multi-instrumentalist, focusing on the recorders and double reed instruments of the late Medieval through the Baroque periods, most notably the Renaissance shawm and dulcian, or curtal, and the Baroque bassoon. He is currently co-director of Piffaro, and also directs the early music ensembles at Temple University’s Esther Boyer College of Music in Philadelphia. He has performed with numerous ensembles, including New York’s Ensemble for Early Music, the Grande Band, the Boston Early Music Festival Orchestra, the Philadelphia Classical Symphony, Brandywine Baroque Orchestra and others. He has recorded on the Newport Classics, Deutsche Grammophon Archiv Produktion, Dorian Records, Vanguard Classics, Windham Hill, Pasacaille and Eufoda labels. He is also a noted reed maker, specializing in the double reeds of the medieval through Baroque periods.
| Liberal Studies & the Arts | UW-Madison Continuing Studies |
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Last updated:
April 2008
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2008 Artists-in-Residence:
