KVE
 

Kaleidoscope Vocal Ensemble

 

#successcomesinallshades

 
 
kaleidoscope collage

 The Kaleidoscope Vocal Ensemble, is a new professional, racially-diverse vocal octet, featuring world-class performances that focus primarily on Early Music and New Music. The eight singers and their Artistic Director are professional classical musicians at the top of their fields, hailing from a vast array of ethnic and racial backgrounds, having African American, Lebanese, Filipino, and biracial roots, as well having been born and raised in India, Mexico, and the Philippines. Members of the Ensemble have earned degrees from some of the finest graduate music programs including but not limited to Yale University, The Eastman School of Music, University of Michigan, McGill University, University of Illinois, and the Mannes College of Music. We aim to collaborate with students and institutions to encourage and inspire a more integrated and inclusive classical music scene. #successcomesinallshades

 

SPECTRUM

with the Amherst College Concert Choir

Buckley Recital Hall
September 18, 2019 7:00pm
FREE

Bach, Monteverdi, Caroline Shaw, Reena Esmail, Jonathan Woody, Gesualdo

Schütz Musikalische Exequien featuring the Elm City Consort

With support from Early Music America, Amherst College, and Arts at Amherst

Workshop with Morse Chorale

Workshop and demonstration with members of New Haven’s Morse Chorale

Free and open to the public

Adams Center for Music, Yale University
September 19, 2019 7:45-9:00pm

With support from the Yale Glee Club and the Institute of Sacred Music

 
 

Ensemble

Sherezade Panthaki, Soprano   Soprano  Sherezade Panthaki ’s international success in music of the Baroque and beyond has been fueled by superbly honed musicianship, “astonishing coloratura with radiant top notes” (Calgary Herald), and passionately informed interpretations, “mining deep emotion from the subtle shaping of the lines” (The New York Times). Ms. Panthaki enjoys ongoing collaborations with many of the world’s leading interpreters including Nicholas McGegan, Masaaki Suzuki, Mark Morris, and Matthew Halls.This season marks return appearances with Philharmonia Baroque Orchestra, Tafelmusik Baroque Orchestra, The Boston Early Music Festival, Orchestra of St. Luke’s, as well as debuts with NDR Radiophilharmonie (Hannover, Germany), Minnesota Orchestra, Detroit Symphony Orchestra, Musica Angelica (Los Angeles), The Caramoor Music Room Concert series, and several others. Past seasons have included performances with the Los Angeles Philharmonic at the Hollywood Bowl, the St. Louis Symphony Orchestra, international tours with Bach Collegium Japan, Boston Baroque, the National Arts Orchestra at the Kennedy Center, Calgary Philharmonic, the Mark Morris Dance Group, the Oregon Bach Festival, the Metropolitan Museum of Art, Spoleto Festival, and Radio Kamer Filharmonie (Holland). An active and passionate music educator, she has served as the Christoph Wolff Visiting Performer at Harvard University, and is currently on staff as a Vocal instructor at Yale University. Born and raised in India, Ms. Panthaki began her musical education at an early age. Earning national distinction as a young pianist, she then turned to singing and found a more personal and expressive means to connect with audiences. She holds an Artist Diploma with top honors from the Yale School of Music/ Institute of Sacred Music, where she was the winner of multiple awards of distinction. She earned a Master’s degree from the University of Illinois, and a Bachelor’s degree from West Virginia Wesleyan College.  www.sherezadepanthaki.com

Sherezade Panthaki, Soprano

Soprano Sherezade Panthaki’s international success in music of the Baroque and beyond has been fueled by superbly honed musicianship, “astonishing coloratura with radiant top notes” (Calgary Herald), and passionately informed interpretations, “mining deep emotion from the subtle shaping of the lines” (The New York Times). Ms. Panthaki enjoys ongoing collaborations with many of the world’s leading interpreters including Nicholas McGegan, Masaaki Suzuki, Mark Morris, and Matthew Halls.This season marks return appearances with Philharmonia Baroque Orchestra, Tafelmusik Baroque Orchestra, The Boston Early Music Festival, Orchestra of St. Luke’s, as well as debuts with NDR Radiophilharmonie (Hannover, Germany), Minnesota Orchestra, Detroit Symphony Orchestra, Musica Angelica (Los Angeles), The Caramoor Music Room Concert series, and several others. Past seasons have included performances with the Los Angeles Philharmonic at the Hollywood Bowl, the St. Louis Symphony Orchestra, international tours with Bach Collegium Japan, Boston Baroque, the National Arts Orchestra at the Kennedy Center, Calgary Philharmonic, the Mark Morris Dance Group, the Oregon Bach Festival, the Metropolitan Museum of Art, Spoleto Festival, and Radio Kamer Filharmonie (Holland). An active and passionate music educator, she has served as the Christoph Wolff Visiting Performer at Harvard University, and is currently on staff as a Vocal instructor at Yale University. Born and raised in India, Ms. Panthaki began her musical education at an early age. Earning national distinction as a young pianist, she then turned to singing and found a more personal and expressive means to connect with audiences. She holds an Artist Diploma with top honors from the Yale School of Music/ Institute of Sacred Music, where she was the winner of multiple awards of distinction. She earned a Master’s degree from the University of Illinois, and a Bachelor’s degree from West Virginia Wesleyan College. www.sherezadepanthaki.com

Michele Kennedy, Soprano   Soprano  Michele Kennedy  is a versatile specialist in early classical and contemporary music. Lauded by  The Washington Post  as “a fine young soprano with a lovely voice," and by  The San Francisco Chronicle  as "a wonder to hear," Michele has appeared in concert recently at the Bard Summer Festival, Boston Early Music Festival, Carnegie Hall, Davies Symphony Hall, Getty Museum, Library of Congress, Lincoln Center, and Washington National Cathedral. This past season, she made her solo debuts with American Classical Orchestra, The Folger Consort, and with Dark Horse Consort and Voices of Ascension in Monteverdi’s  Vespers of 1610 . Other Baroque highlights include Cupid in Purcell’s  King Arthur  at the American Bach Soloists Festival, Handel and Vivaldi’s  Dixit Dominus  with Crescendo Ensemble, Handel’s  Messiah  with Baroque in the Fields and Fort Street Chorale, and Bach’s  Saint John Passion  with Voices of Music and the SF Symphony Chorus at Davies Hall. Among her new music projects are Karchin’s  Jane Eyre  with Center for Contemporary Opera,  Brother, Brother  with Experiments in Opera,  A Long Way From Home  recital program with Mimesis Ensemble, and Julia Wolfe’s  Fire In My Mouth  world premiere with The Crossing and The New York Philharmonic. Michele recently made her debut at Carnegie Hall as a featured soloist with Joe Hisaishi and the Hollywood Film Music Orchestra in selections from Studio Ghibli films.  An avid ensemble singer, Michele has performed regularly with Cappella San Francisco, Cathedral Choir of Saint John the Divine, Musica Sacra, Pomerium, Trinity Wall Street Choir, Trio Eos, Voices of Ascension, and Vox Vocal Ensemble.  A native of Oakland, CA, Michele completed her studies at Yale University, Yale School of Music, and NYU. She can be heard on the Naxos, Old Hall, and Pro Organo recording labels. Please find more at  www.michele-kennedy.com .

Michele Kennedy, Soprano

Soprano Michele Kennedy is a versatile specialist in early classical and contemporary music. Lauded by The Washington Post as “a fine young soprano with a lovely voice," and by The San Francisco Chronicle as "a wonder to hear," Michele has appeared in concert recently at the Bard Summer Festival, Boston Early Music Festival, Carnegie Hall, Davies Symphony Hall, Getty Museum, Library of Congress, Lincoln Center, and Washington National Cathedral. This past season, she made her solo debuts with American Classical Orchestra, The Folger Consort, and with Dark Horse Consort and Voices of Ascension in Monteverdi’s Vespers of 1610. Other Baroque highlights include Cupid in Purcell’s King Arthur at the American Bach Soloists Festival, Handel and Vivaldi’s Dixit Dominus with Crescendo Ensemble, Handel’s Messiah with Baroque in the Fields and Fort Street Chorale, and Bach’s Saint John Passion with Voices of Music and the SF Symphony Chorus at Davies Hall. Among her new music projects are Karchin’s Jane Eyre with Center for Contemporary Opera, Brother, Brother with Experiments in Opera, A Long Way From Home recital program with Mimesis Ensemble, and Julia Wolfe’s Fire In My Mouth world premiere with The Crossing and The New York Philharmonic. Michele recently made her debut at Carnegie Hall as a featured soloist with Joe Hisaishi and the Hollywood Film Music Orchestra in selections from Studio Ghibli films.

An avid ensemble singer, Michele has performed regularly with Cappella San Francisco, Cathedral Choir of Saint John the Divine, Musica Sacra, Pomerium, Trinity Wall Street Choir, Trio Eos, Voices of Ascension, and Vox Vocal Ensemble.

A native of Oakland, CA, Michele completed her studies at Yale University, Yale School of Music, and NYU. She can be heard on the Naxos, Old Hall, and Pro Organo recording labels. Please find more at www.michele-kennedy.com.

 
Cecilia Duarte, Mezzo-Soprano   Praised by The New York Times as "A creamy voiced mezzo-soprano," Mexican born, Cecilia is a versatile singer that has performed around the world singing different music styles, from jazz, to classical and contemporary music. Cecilia has been greatly recognized for creating the role of Renata in the first Mariachi Opera Cruzar la Cara de la Luna with the famous Mariachi Vargas de Tecalitlán, and commissioned by Houston Grand Opera in 2010. Cecilia has taken this opera to stages such as the Houston Grand Opera, Châtelet Theatre in Paris, France; Chicago Lyric Opera, San Diego Opera, Arizona Opera, The Fort Worth Opera, Teatro Nacional Sucre, in Quito, Ecuador, New York City Opera, and El Paso Opera. Since then, Cecilia has created other roles for world premieres of chamber operas and new works, such as Jessie Lydell in A Coffin in Egypt, (HGO and the Wallis Annenberg Center in L.A.); Gracie in A Way Home (HGO and Opera Southwest); Harriet/First Responder in After the Storm (HGO); Alicia in Some Light Emerges (HGO); and Alma in Houston Grand Opera’s first web opera series Star-cross’d. Operatic roles include Zerlina in Don Giovanni, Loma Williams in Cold Sassy Tree, Isabella in Rapaccini’s Daughter, Sarelda in The Inspector, and Tituba in The Crucible, among others. Cecilia is also active in the world of early music, having performed constantly with Ars Lyrica Houston, Mercury Houston, The Bach Society Houston, the Fesitvalensemble in Stuttgart, Germany, and the Festival de Música Barroca de San Miguel de Allende, México. Recordings include Cruzar la Cara de la Luna, with Albany Records, NY; Soloist in Duruflé: The Complete Choral Works with Signum Records, and a special appearance in Encantamiento, an album with music of Daniel Catán. Because of her background singing popular music, her versatility has opened the doors of jazz singing, often performing with composer and Jazz musician, Paul English, and having premiered several of his chamber works in the Houston area, her homebase. Future performances include Maria in Maria de Buenos Aires at the Staunton Music Festival, Renata in Houston Grand Opera’s World Premiere El Milagro del Recuerdo, Featured Soloist in Goya: Reflexión y Revolución with Ars Lyrica Houston, and soloist in the song cycle Los Sueños no tienen Fronteras, a world premiere with Anima Mundi Productions.  www.ceciliaduartemezzosoprano.com

Cecilia Duarte, Mezzo-Soprano

Praised by The New York Times as "A creamy voiced mezzo-soprano," Mexican born, Cecilia is a versatile singer that has performed around the world singing different music styles, from jazz, to classical and contemporary music. Cecilia has been greatly recognized for creating the role of Renata in the first Mariachi Opera Cruzar la Cara de la Luna with the famous Mariachi Vargas de Tecalitlán, and commissioned by Houston Grand Opera in 2010. Cecilia has taken this opera to stages such as the Houston Grand Opera, Châtelet Theatre in Paris, France; Chicago Lyric Opera, San Diego Opera, Arizona Opera, The Fort Worth Opera, Teatro Nacional Sucre, in Quito, Ecuador, New York City Opera, and El Paso Opera. Since then, Cecilia has created other roles for world premieres of chamber operas and new works, such as Jessie Lydell in A Coffin in Egypt, (HGO and the Wallis Annenberg Center in L.A.); Gracie in A Way Home (HGO and Opera Southwest); Harriet/First Responder in After the Storm (HGO); Alicia in Some Light Emerges (HGO); and Alma in Houston Grand Opera’s first web opera series Star-cross’d. Operatic roles include Zerlina in Don Giovanni, Loma Williams in Cold Sassy Tree, Isabella in Rapaccini’s Daughter, Sarelda in The Inspector, and Tituba in The Crucible, among others. Cecilia is also active in the world of early music, having performed constantly with Ars Lyrica Houston, Mercury Houston, The Bach Society Houston, the Fesitvalensemble in Stuttgart, Germany, and the Festival de Música Barroca de San Miguel de Allende, México. Recordings include Cruzar la Cara de la Luna, with Albany Records, NY; Soloist in Duruflé: The Complete Choral Works with Signum Records, and a special appearance in Encantamiento, an album with music of Daniel Catán. Because of her background singing popular music, her versatility has opened the doors of jazz singing, often performing with composer and Jazz musician, Paul English, and having premiered several of his chamber works in the Houston area, her homebase. Future performances include Maria in Maria de Buenos Aires at the Staunton Music Festival, Renata in Houston Grand Opera’s World Premiere El Milagro del Recuerdo, Featured Soloist in Goya: Reflexión y Revolución with Ars Lyrica Houston, and soloist in the song cycle Los Sueños no tienen Fronteras, a world premiere with Anima Mundi Productions.

www.ceciliaduartemezzosoprano.com

Reginald Mobley   “It must be said from the beginning that one of the joys of seeing Mobley is hearing his beautiful alto coming out of a big, tall man who looks more like a linebacker for the Miami Dolphins than the P.G. Wodehouse party guest his name might suggest.”  Countertenor Reginald L. Mobley fully intended to speak his art through watercolors and oil pastels until circumstance demanded that his own voice should speak for itself. Since reducing his visual color palette to the black and white of a score, he’s endeavored to open up a wider spectrum onstage.  After starting his classical music career as a member of twice GRAMMY® nominated ensemble Seraphic Fire, Reggie has since appeared with Academy of Ancient Music, Agave Baroque, Bach Collegium San Diego, Calgary Symphony, Monteverdi Choir & English Baroque Soloists, Pacific Music Works, the Royal Scottish National Orchestra, Seattle Symphony, TENET, and The Handel + Haydn Society. With the latter, he had the honor of becoming the first Black person to lead H+H in its Bicentennial year. Recent festival appearances include Bachfest Leipzig, Festival Berlioz, Early Music Vancouver, Thüringer Bachwoche, Portland Bach Experience, and the Boston Early Music Festival. This coming season will see debut appearances with St. Paul Chamber Orchestra, Philharmonia Baroque, Musica Angelica, Bach Akademie Stuttgart, Gaechinger Cantorey, Chicago’s Music of the Baroque, and a recital of the music of Black American composers with keyboardist Henry Lebedinsky at the Musée d'Orsay in Paris . Reggie has also participated this fall in two new recording projects. An all Handel disc featuring the Ode to the Birthday of Queen Anne, and the Utrecht Te Deum & Jubilate with Bach Akademie Stuttgart led by Hans Christoph Rademann, and Italian Chamber Duets of Agostino Steffani led by harpsichordist, Jory Vinikour.  Never bound by conventional countertenor repertoire, Reggie has a fair bit of non-classical work in tow. His first professional work was in Musical Theatre, and while working in Japan (as a Singer/Actor for Tokyo Disney), he performed cabaret shows of gospel, jazz, and torch songs in jazz clubs around Tokyo. Since moving in Boston, a strong devotion to social and political activism has awoken and become a part of everyday life. As a member of NoBoston2024 and allied with No Boston Olympics, Reggie (one of the #tenpeopleontwitter) was able to lend his strength to the effort to reject the 2024 Olympic Games bid that was “awarded” to Boston. That, and time volunteering in local political campaigns, has only helped focus a desire to make a difference within the Arts. Particularly with the massive inequality regarding race, gender, and sexuality within the classical music industry.

Reginald Mobley

“It must be said from the beginning that one of the joys of seeing Mobley is hearing his beautiful alto coming out of a big, tall man who looks more like a linebacker for the Miami Dolphins than the P.G. Wodehouse party guest his name might suggest.”

Countertenor Reginald L. Mobley fully intended to speak his art through watercolors and oil pastels until circumstance demanded that his own voice should speak for itself. Since reducing his visual color palette to the black and white of a score, he’s endeavored to open up a wider spectrum onstage.

After starting his classical music career as a member of twice GRAMMY® nominated ensemble Seraphic Fire, Reggie has since appeared with Academy of Ancient Music, Agave Baroque, Bach Collegium San Diego, Calgary Symphony, Monteverdi Choir & English Baroque Soloists, Pacific Music Works, the Royal Scottish National Orchestra, Seattle Symphony, TENET, and The Handel + Haydn Society. With the latter, he had the honor of becoming the first Black person to lead H+H in its Bicentennial year. Recent festival appearances include Bachfest Leipzig, Festival Berlioz, Early Music Vancouver, Thüringer Bachwoche, Portland Bach Experience, and the Boston Early Music Festival. This coming season will see debut appearances with St. Paul Chamber Orchestra, Philharmonia Baroque, Musica Angelica, Bach Akademie Stuttgart, Gaechinger Cantorey, Chicago’s Music of the Baroque, and a recital of the music of Black American composers with keyboardist Henry Lebedinsky at the Musée d'Orsay in Paris . Reggie has also participated this fall in two new recording projects. An all Handel disc featuring the Ode to the Birthday of Queen Anne, and the Utrecht Te Deum & Jubilate with Bach Akademie Stuttgart led by Hans Christoph Rademann, and Italian Chamber Duets of Agostino Steffani led by harpsichordist, Jory Vinikour.

Never bound by conventional countertenor repertoire, Reggie has a fair bit of non-classical work in tow. His first professional work was in Musical Theatre, and while working in Japan (as a Singer/Actor for Tokyo Disney), he performed cabaret shows of gospel, jazz, and torch songs in jazz clubs around Tokyo. Since moving in Boston, a strong devotion to social and political activism has awoken and become a part of everyday life. As a member of NoBoston2024 and allied with No Boston Olympics, Reggie (one of the #tenpeopleontwitter) was able to lend his strength to the effort to reject the 2024 Olympic Games bid that was “awarded” to Boston. That, and time volunteering in local political campaigns, has only helped focus a desire to make a difference within the Arts. Particularly with the massive inequality regarding race, gender, and sexuality within the classical music industry.

Noah Horn, Tenor   As the conductor of choirs praised as "superb" ( The New York Times ), "well-prepared and joyful" ( Detroit Free Press ), and "excellent" ( Opera News ), Dr.  Noah Horn  presently serves as chorus master for the Detroit Symphony Orchestra, artistic director and founder of the professional vocal ensemble Audivi , and in 2019-20 will teach at Oberlin College as interim Director of Vocal Ensembles. With Audivi he has conducted historically-informed landmark performances of Bach's Mass in B minor and Monteverdi's Vespers, as well as premiering dozens of new compositions and launching several tours around the US. He has worked with ensembles in Austria, Italy, Switzerland, Germany, Sweden, Estonia, Latvia, Lithuania, Bosnia and Herzegovina, Croatia, Turkey, Greece, Canada, and the Philippines.  For several years, Dr. Horn served as director of choral activities at Wayne State University, where he directed three choirs and led the graduate program in choral conducting. Also a passionate orchestral conductor, he has served as interim director of orchestral activities at Wesleyan University and worked with orchestras around the country. Other teaching assignments have included posts at Western Michigan University, Yale University, and University of Michigan. His former graduate students hold choral artistic director positions across the country.  As a tenor specializing in oratorio, Dr. Horn has sung solo roles in much of the standard repertoire from the Baroque, Classical, and Romantic eras. As a choral tenor, he regularly sings with Grammy award-winning professional ensembles across the country, such as Conspirare (Austin, TX). An avid organist, Dr. Horn has given recitals in several countries, and has served as music director at a number of churches. Recently he won several competitive national prizes from the American Guild of Organists. Dr. Horn also works freelance as a pianist, harpsichordist, and composer. He appears in numerous commercial recordings, including five albums released on Naxos Records.  Dr. Horn holds the D.M.A., M.M.A., and M.M. degrees from Yale University in choral conducting, and the M.M. and B.Mus. degrees from Yale and Oberlin College in organ performance. He lives in western Massachusetts.

Noah Horn, Tenor

As the conductor of choirs praised as "superb" (The New York Times), "well-prepared and joyful" (Detroit Free Press), and "excellent" (Opera News), Dr. Noah Horn presently serves as chorus master for the Detroit Symphony Orchestra, artistic director and founder of the professional vocal ensembleAudivi, and in 2019-20 will teach at Oberlin College as interim Director of Vocal Ensembles. With Audivi he has conducted historically-informed landmark performances of Bach's Mass in B minor and Monteverdi's Vespers, as well as premiering dozens of new compositions and launching several tours around the US. He has worked with ensembles in Austria, Italy, Switzerland, Germany, Sweden, Estonia, Latvia, Lithuania, Bosnia and Herzegovina, Croatia, Turkey, Greece, Canada, and the Philippines.

For several years, Dr. Horn served as director of choral activities at Wayne State University, where he directed three choirs and led the graduate program in choral conducting. Also a passionate orchestral conductor, he has served as interim director of orchestral activities at Wesleyan University and worked with orchestras around the country. Other teaching assignments have included posts at Western Michigan University, Yale University, and University of Michigan. His former graduate students hold choral artistic director positions across the country.

As a tenor specializing in oratorio, Dr. Horn has sung solo roles in much of the standard repertoire from the Baroque, Classical, and Romantic eras. As a choral tenor, he regularly sings with Grammy award-winning professional ensembles across the country, such as Conspirare (Austin, TX). An avid organist, Dr. Horn has given recitals in several countries, and has served as music director at a number of churches. Recently he won several competitive national prizes from the American Guild of Organists. Dr. Horn also works freelance as a pianist, harpsichordist, and composer. He appears in numerous commercial recordings, including five albums released on Naxos Records.

Dr. Horn holds the D.M.A., M.M.A., and M.M. degrees from Yale University in choral conducting, and the M.M. and B.Mus. degrees from Yale and Oberlin College in organ performance. He lives in western Massachusetts.

Krim Sulayman, Tenor    Lebanese-American tenor  KARIM SULAYMAN  has garnered international attention as a sophisticated and versatile artist, consistently praised for his sensitive and intelligent musicianship, riveting stage presence, and beautiful voice. A 2019 GRAMMY® Award winner, he regularly performs on the world’s stages in orchestral concerts and opera, as well as in recital and chamber music, while forging a standout path in the music of the Italian Baroque.   A native of Chicago, Karim’s musical education began with violin studies at age 3. He spent years as a boy alto the Chicago Children’s Choir and was hand selected by Sir Georg Solti and Leonard Slatkin as a soloist with the Chicago Symphony Orchestra and the St. Louis Symphony. He graduated with highest honors from the Eastman School of Music where he worked in the Collegium Musicum under the tutelage of Paul O’Dette, and earned a Masters degree from Rice University. He later moved to Paris, France where he studied with renowned tenor/haute-contre, Howard Crook. He also studied improvisation at the Second City Training Center in Chicago.  Highlights this season include his debut at Stockholm’s Drottningholms Slottsteater as Claudio Monteverdi in the world premiere of  Syskonen i Mantua , his role debut as Nerone in Monteverdi’s  L’incoronazione di Poppea  with Florentine Opera, and concerts of Frank London’s “Ghetto Songs” at Hamburg’s Elbphilharmonie and at Teatro Goldoni in Venice. Last season, he made his Australian debut as Testo in Monteverdi’s  Il Combattimento di Tancredi e Clorinda  with the Australian Brandenburg Orchestra, his debut with the National Symphony at the Kennedy Center in  Messiah , his title role debut in Monteverdi’s  L’Orfeo  with Apollo’s Fire on a US national tour, and his Chicago Symphony Orchestra debut (this time as a tenor!) in Bernstein’s  Mass . In 2017, he created the role of Albert in the world premiere of Laura Kaminsky’s  Some Light Emerges  for Houston Grand Opera. He has also appeared with Boston Lyric Opera, Chicago Opera Theater and New York City Opera. Other highlights include appearances at Lincoln Center, the Kennedy Center, the International Bach Festival, and the Aldeburgh Festival, and collaborations with such conductors as Harry Bicket, Marin Alsop, Jane Glover, Helmuth Rilling, Yves Abel and Robert Spano. As a passionate advocate of new music, he has performed world premieres at Carnegie Hall, the Casals Festival and the Aspen Music Festival. A dedicated chamber musician, Sulayman was a frequent participant at the Marlboro Music Festival under the direction of and in collaboration with pianists Mitsuko Uchida and Richard Goode. He has since been presented by many leading chamber music festivals and in 2017, he appeared in concerts of French chamber works at the Roman River Festival in the UK which were recorded and aired by BBC Radio 3. His growing discography includes his debut solo album,  Songs of Orpheus , which was released in April 2018 to international acclaim on the AVIE label. Named “Critic’s Choice” by Opera News, and praised for his “lucid, velvety tenor and pop-star charisma” by BBC Music Magazine, the album debuted at #5 on the Billboard Traditional Classical Chart and #3 on the iTunes Classical Chart, and was recently honored with the GRAMMY® Award for Best Classical Solo Vocal Album. He has also recorded the title role in Handel’s  Acis and Galatea  with Mercury Baroque, two releases for NAXOS in works of Grétry and Philidor, Apollo’s Fire’s  Sephardic Journey  on AVIE, and an album of 21st-century chamber works,  Piercing are the Darts , on the Furious Artisans label. He is also featured in the ARTE documentary  Leonard Bernstein – A Genius Divided , which premiered throughout Europe in the summer of 2018 and will subsequently be released on DVD.

Krim Sulayman, Tenor

Lebanese-American tenor KARIM SULAYMAN has garnered international attention as a sophisticated and versatile artist, consistently praised for his sensitive and intelligent musicianship, riveting stage presence, and beautiful voice. A 2019 GRAMMY® Award winner, he regularly performs on the world’s stages in orchestral concerts and opera, as well as in recital and chamber music, while forging a standout path in the music of the Italian Baroque.


A native of Chicago, Karim’s musical education began with violin studies at age 3. He spent years as a boy alto the Chicago Children’s Choir and was hand selected by Sir Georg Solti and Leonard Slatkin as a soloist with the Chicago Symphony Orchestra and the St. Louis Symphony. He graduated with highest honors from the Eastman School of Music where he worked in the Collegium Musicum under the tutelage of Paul O’Dette, and earned a Masters degree from Rice University. He later moved to Paris, France where he studied with renowned tenor/haute-contre, Howard Crook. He also studied improvisation at the Second City Training Center in Chicago.

Highlights this season include his debut at Stockholm’s Drottningholms Slottsteater as Claudio Monteverdi in the world premiere of Syskonen i Mantua, his role debut as Nerone in Monteverdi’s L’incoronazione di Poppea with Florentine Opera, and concerts of Frank London’s “Ghetto Songs” at Hamburg’s Elbphilharmonie and at Teatro Goldoni in Venice. Last season, he made his Australian debut as Testo in Monteverdi’s Il Combattimento di Tancredi e Clorinda with the Australian Brandenburg Orchestra, his debut with the National Symphony at the Kennedy Center in Messiah, his title role debut in Monteverdi’s L’Orfeo with Apollo’s Fire on a US national tour, and his Chicago Symphony Orchestra debut (this time as a tenor!) in Bernstein’s Mass.
In 2017, he created the role of Albert in the world premiere of Laura Kaminsky’s Some Light Emerges for Houston Grand Opera. He has also appeared with Boston Lyric Opera, Chicago Opera Theater and New York City Opera. Other highlights include appearances at Lincoln Center, the Kennedy Center, the International Bach Festival, and the Aldeburgh Festival, and collaborations with such conductors as Harry Bicket, Marin Alsop, Jane Glover, Helmuth Rilling, Yves Abel and Robert Spano. As a passionate advocate of new music, he has performed world premieres at Carnegie Hall, the Casals Festival and the Aspen Music Festival.
A dedicated chamber musician, Sulayman was a frequent participant at the Marlboro Music Festival under the direction of and in collaboration with pianists Mitsuko Uchida and Richard Goode. He has since been presented by many leading chamber music festivals and in 2017, he appeared in concerts of French chamber works at the Roman River Festival in the UK which were recorded and aired by BBC Radio 3.
His growing discography includes his debut solo album, Songs of Orpheus, which was released in April 2018 to international acclaim on the AVIE label. Named “Critic’s Choice” by Opera News, and praised for his “lucid, velvety tenor and pop-star charisma” by BBC Music Magazine, the album debuted at #5 on the Billboard Traditional Classical Chart and #3 on the iTunes Classical Chart, and was recently honored with the GRAMMY® Award for Best Classical Solo Vocal Album. He has also recorded the title role in Handel’s Acis and Galatea with Mercury Baroque, two releases for NAXOS in works of Grétry and Philidor, Apollo’s Fire’s Sephardic Journey on AVIE, and an album of 21st-century chamber works, Piercing are the Darts, on the Furious Artisans label. He is also featured in the ARTE documentary Leonard Bernstein – A Genius Divided, which premiered throughout Europe in the summer of 2018 and will subsequently be released on DVD.

 
Jonathan Woody, Bass-Baritone   The American bass-baritone, Jonathan Woody, obtained his Bachelor of Music degree in Vocal Performance from the University of Maryland, College Park and completed his Master of Music degree in Early Music at McGill University in 2010 as a student of  Sanford Sylvan .  Jonathan Woody maintains an active performing schedule as a concert and operatic singer. He is a sought-after performer of early and new music in New York and nationwide. An early-music specialist, he is equally comfortable as soloist and ensemble member. Called an "artist worth keeping an eye on" by the  Washington Post  and noted for "clarity and fire" by the  New York Times  and called “charismatic” and “riveting” by the  New York Times , he is a member of the Grammy-nominated  Trinity Wall Street Choir , where he is consistently featured, often in performances of works by  George Frideric Handel  and  J.S. Bach . He performs regularly with ensembles across the USA; recent engagements include performances with the Green Mountain Project, the Clarion Music Society, Musica Sacra,  Antioch Chamber Ensemble ,  TENET , Signal Ensemble, Prototype Festival, Spire Chamber Ensemble, Santa Fe Desert Chorale, Brooklyn Baroque and Gotham Chamber Opera.  In recent seasons Jonathan Woody has performed on the stages of Carnegie Hall, Alice Tully Hall & Avery Fischer Hall at Lincoln Center, Barbican, Théâtre des Champs-Elysées, John F. Kennedy Center, Brooklyn Academy of Music (BAM), Walt Disney Concert Hall, Madison Square Garden, and the Barclays Center. the and the Walt Disney Concert Hall. He has performed with such groups as the  New York Philharmonic Orchestra , Studio de Musique Ancienne de Montréal,  Les Violons du Roy  (Director:  Bernard Labadie ) and La Chapelle de Québec, Montreal's  Theatre of Early Music  (Director:  Daniel Taylor ),  Washington Bach Consort  (Director:  J. Reilly Lewis ),  National Symphony Orchestra , Cathedral Choral Society, Gentlemen of St. Thomas, Fifth Avenue, and Washington's  Bach Sinfonia  (Director:  Daniel E. Abraham ).  During the 2012-2013 concert season Jonathan Woody collaborated with the Denver Early Music Consort, New York's  TENET ,  Brooklyn Baroque , Mark Morris Dance Group, Austin's Ensemble VIII and the Rolling Stones. In recent seasons, he has been seen on the operatic stage as Un Ami in Milhaud's  Le Pauvre Matelot , as the Sorceress in Purcell's  Dido & Aeneas , as Claudio in  G.F. Handel 's  Agrippina  and as Escamillo in Peter Brook’s  La Tragédie de Carmen . He has performed in productions with the Santa Fe Opera, Gotham Chamber Opera, Pocket Opera of New York, Opera McGill, Washington National Opera, Washington Concert Opera, Opera Lafayette and the Wolf Trap Opera Company. In 2012, he was awarded Honorable Mention in the Seventh Biennial Bach Vocal Competition for American Singers in Bethehem, Pennsylvania, in 2013 he was selected as the Virginia Best Adams Fellow at the  Carmel Bach Festival  in Carmel, California, and in 2014 he joined the  Oregon Bach Festival  as the OBF Vocal Fellow.   Upcoming engagements include performances with BAM's Next Wave Festival,  Bach Collegium San Diego  (Director:  Ruben Valenzuela ),  Handel and Haydn Society  and Nashville Symphony, and touring with  Apollo's Fire  (Director:  Jeannette Sorrell ) and Pegasus Early Music.  Jonathan Woody has recorded with the  Trinity Wall Street Choir  under the Musica Omnia label, most recently being featured on the premiere recording of Ralf Yusuf Gawlick's  Missa Gentis Humanae  for 8 voices. In May 2014 Quill Classics featured him as soloist for a concert of German and French music by Brooklyn Baroque and Friends at the Church of St. Luke in the Fields in New York City. He currently resides in Brooklyn, New York.

Jonathan Woody, Bass-Baritone

The American bass-baritone, Jonathan Woody, obtained his Bachelor of Music degree in Vocal Performance from the University of Maryland, College Park and completed his Master of Music degree in Early Music at McGill University in 2010 as a student of Sanford Sylvan.

Jonathan Woody maintains an active performing schedule as a concert and operatic singer. He is a sought-after performer of early and new music in New York and nationwide. An early-music specialist, he is equally comfortable as soloist and ensemble member. Called an "artist worth keeping an eye on" by the Washington Post and noted for "clarity and fire" by the New York Times and called “charismatic” and “riveting” by the New York Times, he is a member of the Grammy-nominated Trinity Wall Street Choir, where he is consistently featured, often in performances of works by George Frideric Handel and J.S. Bach. He performs regularly with ensembles across the USA; recent engagements include performances with the Green Mountain Project, the Clarion Music Society, Musica Sacra, Antioch Chamber Ensemble, TENET, Signal Ensemble, Prototype Festival, Spire Chamber Ensemble, Santa Fe Desert Chorale, Brooklyn Baroque and Gotham Chamber Opera.

In recent seasons Jonathan Woody has performed on the stages of Carnegie Hall, Alice Tully Hall & Avery Fischer Hall at Lincoln Center, Barbican, Théâtre des Champs-Elysées, John F. Kennedy Center, Brooklyn Academy of Music (BAM), Walt Disney Concert Hall, Madison Square Garden, and the Barclays Center. the and the Walt Disney Concert Hall. He has performed with such groups as the New York Philharmonic Orchestra, Studio de Musique Ancienne de Montréal, Les Violons du Roy (Director: Bernard Labadie) and La Chapelle de Québec, Montreal's Theatre of Early Music (Director: Daniel Taylor), Washington Bach Consort (Director: J. Reilly Lewis), National Symphony Orchestra, Cathedral Choral Society, Gentlemen of St. Thomas, Fifth Avenue, and Washington's Bach Sinfonia (Director: Daniel E. Abraham).

During the 2012-2013 concert season Jonathan Woody collaborated with the Denver Early Music Consort, New York's TENET, Brooklyn Baroque, Mark Morris Dance Group, Austin's Ensemble VIII and the Rolling Stones. In recent seasons, he has been seen on the operatic stage as Un Ami in Milhaud's Le Pauvre Matelot, as the Sorceress in Purcell's Dido & Aeneas, as Claudio in G.F. Handel's Agrippina and as Escamillo in Peter Brook’s La Tragédie de Carmen. He has performed in productions with the Santa Fe Opera, Gotham Chamber Opera, Pocket Opera of New York, Opera McGill, Washington National Opera, Washington Concert Opera, Opera Lafayette and the Wolf Trap Opera Company. In 2012, he was awarded Honorable Mention in the Seventh Biennial Bach Vocal Competition for American Singers in Bethehem, Pennsylvania, in 2013 he was selected as the Virginia Best Adams Fellow at the Carmel Bach Festival in Carmel, California, and in 2014 he joined the Oregon Bach Festival as the OBF Vocal Fellow.

Upcoming engagements include performances with BAM's Next Wave Festival, Bach Collegium San Diego (Director: Ruben Valenzuela), Handel and Haydn Society and Nashville Symphony, and touring with Apollo's Fire (Director: Jeannette Sorrell) and Pegasus Early Music.

Jonathan Woody has recorded with the Trinity Wall Street Choir under the Musica Omnia label, most recently being featured on the premiere recording of Ralf Yusuf Gawlick's Missa Gentis Humanae for 8 voices. In May 2014 Quill Classics featured him as soloist for a concert of German and French music by Brooklyn Baroque and Friends at the Church of St. Luke in the Fields in New York City. He currently resides in Brooklyn, New York.

Dashon Burton, Bass-Baritone   Praised for his “nobility and rich tone,” ( The New York Times ) and his “enormous, thrilling voice seemingly capable … [of] raising the dead;” ( Wall Street Journal ), bass-baritone  Dashon Burton  has established a world-wide career in opera, recital, and in many works with orchestra. In key elements of his repertoire — Bach’s St. John and St. Matthew Passions and the B minor Mass, Mendelssohn’s  Elijah , Beethoven 9, the Brahms Requiem, Handel’s Messiah, and Mozart’s Requiem – Dashon is a frequent guest with ensembles such as Philharmonia Baroque, the Handel and Haydn Society, and Boston Baroque; the Carmel and Bethlehem Bach Choir Festivals, and the symphony orchestras of Baltimore, Cincinnati, Cleveland, Indianapolis, Kansas City, New Jersey, Oregon, the Royal Stockholm Philharmonic, and the St. Paul Chamber Orchestra. He is a regular guest with the Cleveland orchestra and Franz Welser-Möst, appearing there in the Brahms and Mozart Requiems, the groundbreaking animated production of Janacek’s  Cunning Little Vixen  and, most recently, at home and on tour in Europe and Japan in Beethoven’s Symphony No. 9. In June, he opened the Grant Park Music Festival in Chicago’s Millenium Park singing Walton’s Belshazzar’s Feast.  Forays into more varied repertoire have included his performances of Michael Tippet’s  A Child of our Time  at Harvard, Barber’s  Dover Beach  and Hans Eisler’s  Ernste Gesaenge  with A Far Cry chamber orchestra in Boston, Copland’s  Old American Songs  with the Kansas City Symphony, Schubert’s Die Winterreise with string quartet, and performances and recording of Craig Hella Johnson’s  Considering Matthew Shepard  with the vocal group Conspirare. Last season, he premiered Paul Moravec’s new oratorio,  Sanctuary Road, at Carnegie Hall and performed David Lang’s  The Little Match Girl Passion  at the Metropolitan Museum of Art in New York.  Dashon’s 2018/19 season begins with his debut at the Salzburg Festival in Salomé. He sings Beethoven 9 with the National Arts Centre Orchestra in Ottawa and with the Cincinnati Symphony, Dvoark’s Stabat Mater with the Houston Symphony, Mozart’s “Coronation Mass” et al. with Philharmonia Baroque, the c minor Mass with the Grand Rapids Symphony, and the Requiem with the Bethlehem Bach Festival and Los Angeles Chamber Orchestra. He sings also Haydn’s “Creation” and the role of Zebul in Handel’s Jeptha”, the Verdi Requiem, Moussorgsky’s “Songs and Dances of Death,” and returns to the Cleveland Orchestra for a subscription week of Schubert’s Mass in E flat Major in May. December finds him performing with the contemporary vocal ensemble Roomful of Teeth, of which Dashon is an original member, at Paris’Théatre de la Ville in Peter Sellars’ production of Claude Vivier’s  Kopernikus, un ritual de mort.   Burton returns to Trinity Wall St. for a Baroque recital this season. For his other recitals in Boston and San Francisco, the program is based on his recording  Songs of Struggle and Redemption: We Shall Overcome,  singled out by the New York Times as “profoundly moving…a beautiful and lovable disc” in its May 2016 Classical Play list.  Burton’s opera engagements include singing Sarastro in  Die Zauberflöte  in Dijon and Paris, and the role of Jupiter in Rameau’s  Castor and Pollux  with Christoph Rousset and Les Talens Lyriques. He has toured Europe in the  St. John Passion  with Christoph Prégardien’s Le Concert Lorraine, and in Italy with Maasaki Suzuki and the Yale Schola Cantorum in the  St. Matthew Passion , a work he also sang on tour in the Netherlands with the NNSO.  Dashon has won prizes from the ARD international Music Competition and the International Vocal Competition in ‘s-Hertogenbosch, and from the Oratorio Society of New York and the Bach Choir of Bethlehem’s Competition for Young American Singers. He graduated from the Oberlin College Conservatory of Music, and received his Master of Music degree from Yale University’s Institute of Sacred Music.

Dashon Burton, Bass-Baritone

Praised for his “nobility and rich tone,” (The New York Times) and his “enormous, thrilling voice seemingly capable … [of] raising the dead;” (Wall Street Journal), bass-baritone Dashon Burton has established a world-wide career in opera, recital, and in many works with orchestra. In key elements of his repertoire — Bach’s St. John and St. Matthew Passions and the B minor Mass, Mendelssohn’s Elijah, Beethoven 9, the Brahms Requiem, Handel’s Messiah, and Mozart’s Requiem – Dashon is a frequent guest with ensembles such as Philharmonia Baroque, the Handel and Haydn Society, and Boston Baroque; the Carmel and Bethlehem Bach Choir Festivals, and the symphony orchestras of Baltimore, Cincinnati, Cleveland, Indianapolis, Kansas City, New Jersey, Oregon, the Royal Stockholm Philharmonic, and the St. Paul Chamber Orchestra. He is a regular guest with the Cleveland orchestra and Franz Welser-Möst, appearing there in the Brahms and Mozart Requiems, the groundbreaking animated production of Janacek’s Cunning Little Vixen and, most recently, at home and on tour in Europe and Japan in Beethoven’s Symphony No. 9. In June, he opened the Grant Park Music Festival in Chicago’s Millenium Park singing Walton’s Belshazzar’s Feast.

Forays into more varied repertoire have included his performances of Michael Tippet’s A Child of our Time at Harvard, Barber’s Dover Beach and Hans Eisler’s Ernste Gesaenge with A Far Cry chamber orchestra in Boston, Copland’s Old American Songs with the Kansas City Symphony, Schubert’s Die Winterreise with string quartet, and performances and recording of Craig Hella Johnson’s Considering Matthew Shepard with the vocal group Conspirare. Last season, he premiered Paul Moravec’s new oratorio, Sanctuary Road,at Carnegie Hall and performed David Lang’s The Little Match Girl Passion at the Metropolitan Museum of Art in New York.

Dashon’s 2018/19 season begins with his debut at the Salzburg Festival in Salomé. He sings Beethoven 9 with the National Arts Centre Orchestra in Ottawa and with the Cincinnati Symphony, Dvoark’s Stabat Mater with the Houston Symphony, Mozart’s “Coronation Mass” et al. with Philharmonia Baroque, the c minor Mass with the Grand Rapids Symphony, and the Requiem with the Bethlehem Bach Festival and Los Angeles Chamber Orchestra. He sings also Haydn’s “Creation” and the role of Zebul in Handel’s Jeptha”, the Verdi Requiem, Moussorgsky’s “Songs and Dances of Death,” and returns to the Cleveland Orchestra for a subscription week of Schubert’s Mass in E flat Major in May. December finds him performing with the contemporary vocal ensemble Roomful of Teeth, of which Dashon is an original member, at Paris’Théatre de la Ville in Peter Sellars’ production of Claude Vivier’s Kopernikus, un ritual de mort.

Burton returns to Trinity Wall St. for a Baroque recital this season. For his other recitals in Boston and San Francisco, the program is based on his recording Songs of Struggle and Redemption: We Shall Overcome, singled out by the New York Times as “profoundly moving…a beautiful and lovable disc” in its May 2016 Classical Play list.

Burton’s opera engagements include singing Sarastro in Die Zauberflöte in Dijon and Paris, and the role of Jupiter in Rameau’s Castor and Pollux with Christoph Rousset and Les Talens Lyriques. He has toured Europe in the St. John Passion with Christoph Prégardien’s Le Concert Lorraine, and in Italy with Maasaki Suzuki and the Yale Schola Cantorum in the St. Matthew Passion, a work he also sang on tour in the Netherlands with the NNSO.

Dashon has won prizes from the ARD international Music Competition and the International Vocal Competition in ‘s-Hertogenbosch, and from the Oratorio Society of New York and the Bach Choir of Bethlehem’s Competition for Young American Singers. He graduated from the Oberlin College Conservatory of Music, and received his Master of Music degree from Yale University’s Institute of Sacred Music.

 
 
 
Enrico Lagasca, Bass-Baritone   Filipino-American bass-baritone Enrico Lagasca is enjoying a career in Oratorio, Opera, Chamber Music, and Recitals with repertoire from Early to Contemporary Music both as Soloist and Chorister across America. In New York, his regular season include performances with the Metropolitan Opera Chorus, Choir of St. Ignatius Loyola, Bach Choir of Holy Trinity Lutheran Church, St. Thomas Choir of Men and Boys, Musica Sacra, Cathedral Choir of St. John the Divine, Bard Festival Chorus, New York Choral Artists, TENET Vocal Artists, and Choir of Trinity Wall Street. Across America, Enrico performs with the Santa Fe Desert Chorale in New Mexico, Conspirare and Ensemble VIII in Austin, Texas, Skylark Vocal Ensemble in Massachusetts, Bach Collegium San Diego in California, Spire Vocal Ensemble in Kansas City, and Seraphic Fire in Miami, Florida.  Enrico has appeared with several notable orchestras including the New York Philharmonic Orchestra, American Symphony Orchestra, Orchestra of St. Luke's, American Classical Orchestra, Pacific Symphony, Atlanta Symphony Orchestra, the Israel Philharmonic Orchestra, to name a few, and had a pleasure to have worked with distinguished Conductors and Stage Directors such Riccardo Muti, Zubin Mehta, Pablo Heras-Casado, Joann Falletta, Alan Gilbert, Christoph von Donyanhi, Carl St. Clair, Joseph Colaneri, Craig Hella-Johnson, Matthew Halls, Anthony Laciura, Thaddeus Strassberger, Laura Alley Dietrich, Kevin Newbury, RB Schlather, among others. An advocate of New Music, Enrico has premiered works by Gerald Cohen, Denise Hofmann, Stanislav Fridman, Jonathan Newman, Joseph Rubinstein, Nilo Alcala II, Joshua Cerdenia, Luna Pearl Woolfe, Richard Danielpour. Some Festival appearances include the Salzburg Festival, Oregon Bach Festival, Virginia Arts Festival, Mostly Mozart Festival, Twelfth Night Festival, Webern Festival, Time’s Arrow Festival, and the Bard Summerscape Festival. Solo Concert work include Beethoven Symphony no. 9, Haydn The Creation, Charpentier Le reniement de Saint Pierre, Bach Mass in B Minor, Haydn Lord Nelson Mass, Mozart Requiem, Rossini Stabat Mater, Purcell Odes, Handel Dixit Dominus, and many others. Enrico has performed a handful of Operatic roles such as L’arbre/Fauteuil (Ravel’s L’Enfant et les sortilèges), Collatinus (Britten’s Rape of Lucretia), Lorenzo (Bellini’s I Capuleti e I Montecchi).  Enrico has also been a guest vocalist for the Mark Morris Dance Company, Idan Cohen Dance Company, Baltimore Choral Arts, Choral Society of the Hamptons, Ars Musica New Jersey, Fairfield County Chorale, Westchester Choral Society, Danbury Orchestra and Chorus, Bedford Chamber Orchestra, Crescendo Early Music Ensemble. He has recorded discs with the Philippine Madrigal Singers, ACRONYM, Bach Choir of Holy Trinity, Choir of Trinity Wall Street, American Symphony Orchestra, and Santa Fe Desert Chorale. In 2013, he was a finalist in the Das Lied International Song Competition in Berlin Germany and in 2015 in the 24th International Vocal Arts Competition Le Centre Lyrique in Clermont-Ferrand, France. In 2019, Enrico is one of the select participants in the inaugural year of Carnegie Hall and Renee Fleming's program, Song Studio.  Enrico studied at the University of the Philippines with Cecilia Valeña and at Mannes College of Music with Arthur Levy. Vocal coaches include Daniel Beckwith, Ted Taylor, Susan Versage. He currently resides in Queens, New York.

Enrico Lagasca, Bass-Baritone

Filipino-American bass-baritone Enrico Lagasca is enjoying a career in Oratorio, Opera, Chamber Music, and Recitals with repertoire from Early to Contemporary Music both as Soloist and Chorister across America. In New York, his regular season include performances with the Metropolitan Opera Chorus, Choir of St. Ignatius Loyola, Bach Choir of Holy Trinity Lutheran Church, St. Thomas Choir of Men and Boys, Musica Sacra, Cathedral Choir of St. John the Divine, Bard Festival Chorus, New York Choral Artists, TENET Vocal Artists, and Choir of Trinity Wall Street. Across America, Enrico performs with the Santa Fe Desert Chorale in New Mexico, Conspirare and Ensemble VIII in Austin, Texas, Skylark Vocal Ensemble in Massachusetts, Bach Collegium San Diego in California, Spire Vocal Ensemble in Kansas City, and Seraphic Fire in Miami, Florida.

Enrico has appeared with several notable orchestras including the New York Philharmonic Orchestra, American Symphony Orchestra, Orchestra of St. Luke's, American Classical Orchestra, Pacific Symphony, Atlanta Symphony Orchestra, the Israel Philharmonic Orchestra, to name a few, and had a pleasure to have worked with distinguished Conductors and Stage Directors such Riccardo Muti, Zubin Mehta, Pablo Heras-Casado, Joann Falletta, Alan Gilbert, Christoph von Donyanhi, Carl St. Clair, Joseph Colaneri, Craig Hella-Johnson, Matthew Halls, Anthony Laciura, Thaddeus Strassberger, Laura Alley Dietrich, Kevin Newbury, RB Schlather, among others. An advocate of New Music, Enrico has premiered works by Gerald Cohen, Denise Hofmann, Stanislav Fridman, Jonathan Newman, Joseph Rubinstein, Nilo Alcala II, Joshua Cerdenia, Luna Pearl Woolfe, Richard Danielpour. Some Festival appearances include the Salzburg Festival, Oregon Bach Festival, Virginia Arts Festival, Mostly Mozart Festival, Twelfth Night Festival, Webern Festival, Time’s Arrow Festival, and the Bard Summerscape Festival.
Solo Concert work include Beethoven Symphony no. 9, Haydn The Creation, Charpentier Le reniement de Saint Pierre, Bach Mass in B Minor, Haydn Lord Nelson Mass, Mozart Requiem, Rossini Stabat Mater, Purcell Odes, Handel Dixit Dominus, and many others. Enrico has performed a handful of Operatic roles such as L’arbre/Fauteuil (Ravel’s L’Enfant et les sortilèges), Collatinus (Britten’s Rape of Lucretia), Lorenzo (Bellini’s I Capuleti e I Montecchi).

Enrico has also been a guest vocalist for the Mark Morris Dance Company, Idan Cohen Dance Company, Baltimore Choral Arts, Choral Society of the Hamptons, Ars Musica New Jersey, Fairfield County Chorale, Westchester Choral Society, Danbury Orchestra and Chorus, Bedford Chamber Orchestra, Crescendo Early Music Ensemble. He has recorded discs with the Philippine Madrigal Singers, ACRONYM, Bach Choir of Holy Trinity, Choir of Trinity Wall Street, American Symphony Orchestra, and Santa Fe Desert Chorale. In 2013, he was a finalist in the Das Lied International Song Competition in Berlin Germany and in 2015 in the 24th International Vocal Arts Competition Le Centre Lyrique in Clermont-Ferrand, France. In 2019, Enrico is one of the select participants in the inaugural year of Carnegie Hall and Renee Fleming's program, Song Studio.

Enrico studied at the University of the Philippines with Cecilia Valeña and at Mannes College of Music with Arthur Levy. Vocal coaches include Daniel Beckwith, Ted Taylor, Susan Versage. He currently resides in Queens, New York.


Arianne Abela, Artistic Director   Arianne Abela is Director of the Choral Program at Amherst College. Abela recently served on conducting faculty at Wayne State University in Detroit, MI, and is founder and director of the Detroit Women's Chorus and Detroit Justice Choir, ensembles dedicated to social-justice and community empowerment. She directed Detroit's historic Fort Street Chorale, conducted choirs at University of Michigan, and the UMS Choral Union. Focusing her efforts on community building through song, Abela founded The House of Clouds and has worked closely with Musicians Take a Stand to organize over a dozen benefit concerts for charities and various causes across the country.  In the realm of opera, has guest conducted opera productions with various Michigan-based opera companies including Detroit's OperaMODO, and serves as music director for Vancouver-based opera company, Re:Naissance. Prior to her time in Detroit, Abela lived in Connecticut where she served on faculty at Wesleyan University, Greater Hartford Academy of the Arts, The Westover School and Notre Dame High School in West Haven. In 2012, Abela was featured conducting on NBC's Today Show and was a semi-finalist in Season 8 of America's Got Talent as director of Connecticut-based 3 Penny Chorus and Orchestra. The ensemble later recorded for the soundtrack of Hollywood film  Walk of Shame  starring Elizabeth Banks.  Abela received her doctorate in conducting from the University of Michigan with Jerry Blackstone and Eugene Rogers, holds a master’s degree in choral conducting from Yale University with Marguerite Brooks, Jeffrey Douma, and Simon Carrington, and bachelor of arts from Smith College. Abela sings professionally in ensembles across the United States and Canada such as Yale Choral Artists,  sounding light , Etherea Vocal Ensemble, Arkora, and Audivi. Originally from the San Francisco bay area, she sang with the San Francisco Girls Chorus for many years.

Arianne Abela, Artistic Director

Arianne Abela is Director of the Choral Program at Amherst College. Abela recently served on conducting faculty at Wayne State University in Detroit, MI, and is founder and director of the Detroit Women's Chorus and Detroit Justice Choir, ensembles dedicated to social-justice and community empowerment. She directed Detroit's historic Fort Street Chorale, conducted choirs at University of Michigan, and the UMS Choral Union. Focusing her efforts on community building through song, Abela founded The House of Clouds and has worked closely with Musicians Take a Stand to organize over a dozen benefit concerts for charities and various causes across the country.

In the realm of opera, has guest conducted opera productions with various Michigan-based opera companies including Detroit's OperaMODO, and serves as music director for Vancouver-based opera company, Re:Naissance. Prior to her time in Detroit, Abela lived in Connecticut where she served on faculty at Wesleyan University, Greater Hartford Academy of the Arts, The Westover School and Notre Dame High School in West Haven. In 2012, Abela was featured conducting on NBC's Today Show and was a semi-finalist in Season 8 of America's Got Talent as director of Connecticut-based 3 Penny Chorus and Orchestra. The ensemble later recorded for the soundtrack of Hollywood film Walk of Shame starring Elizabeth Banks.

Abela received her doctorate in conducting from the University of Michigan with Jerry Blackstone and Eugene Rogers, holds a master’s degree in choral conducting from Yale University with Marguerite Brooks, Jeffrey Douma, and Simon Carrington, and bachelor of arts from Smith College. Abela sings professionally in ensembles across the United States and Canada such as Yale Choral Artists, sounding light, Etherea Vocal Ensemble, Arkora, and Audivi. Originally from the San Francisco bay area, she sang with the San Francisco Girls Chorus for many years.