Seattle Baroque Orchestra Personnel Alexander Weimann, Music Director
Alexander Weimann, Music Director
Alexander Weimann has been Music Director of Seattle Baroque Orchestra since 2015 and is one of the most sought-after ensemble directors, soloists, and chamber music partners of his generation. After traveling the world with ensembles like Tragicomedia, Cantus Cölln, the Freiburger Barockorchester, the Gesualdo Consort and Tafelmusik, he now focuses on his activities as Artistic Director of the Pacific Baroque Orchestra in Vancouver, and as music director of Les Voix Baroques, Le Nouvel Opéra and Tempo Rubato.
Alexander Weimann can be heard on some 100 CDs. He made his North American recording debut with the ensemble Tragicomedia on the CD Capritio (Harmonia Mundi USA), and won worldwide acclaim from both the public and critics for his 2001 release of Handel’s Gloria (ATMA Classique). Volume 1 of his recordings of the complete keyboard works by Alessandro Scarlatti appeared in May 2005. Critics around the world unanimously praised it, and in the following year it was nominated for an Opus Prize as the best Canadian early music recording. He has also released an Opus Award-winning CD of Handel oratorio arias with superstar soprano Karina Gauvin and his new Montreal-based ensemble Tempo Rubato and a complete recording of Handel’s Orlando was released in the fall of 2013, with an exciting group of international star soloists and the Pacific Baroque Orchestra performing.
Alexander Weimann was born in 1965 in Munich, where he studied the organ, church music, musicology (with a summa cum laude thesis on Bach’s secco recitatives), theatre, medieval Latin, and jazz piano, supported by a variety of federal scholarships for the highly talented. In addition to his studies, he has attended numerous master classes in harpsichord and historical performance. To ground himself further in the roots of western music, he became intensely involved over the course of several years with Gregorian chant.
Alexander Weimann lives in Vancouver, BC, with his wife, 3 children and pets, and tries to spend as much time as possible in his garden and kitchen.
See Seattle Baroque Orchestra’s full discography here.
2016-17 Season Featured Soloists
MONICA HUGGETT (violin) serves as the first artistic director of the Juilliard School’s Historical Performance Program and artistic director of both the Irish Baroque Orchestra, and the Portland (Oregon) Baroque Orchestra. She co-founded the Amsterdam Baroque Orchestra with Ton Koopman; founded her own London-based ensemble Sonnerie; worked with Christopher Hogwood at the Academy of Ancient Music; with Trevor Pinnock and the English Concert; and toured the United States in concert with James Galway. She has served as guest director of the Seville Baroque Orchestra; the Kristiansand Symphony Norway; Arion Baroque Orchestra, Montreal; Tafelmusik, Toronto; the Los Angeles Chamber Orchestra; Philharmonia Baroque, San Francisco; the Norwegian Chamber Orchestra; and Concerto Copenhagen. She also performs frequently as a solo violinist all over the world.
Monica’s expertise in the musical and social history of the Baroque Era is unparalleled among performing musicians. This huge body of knowledge and understanding, coupled with her unique interpretation of Baroque music, has made her an invaluable resource to students of the baroque violin. Among her recent prizes are the 1997 Editor’s Choice award, Gramophone magazine, for J.S. Bach’s Sonatas and Partitas for Solo Violin; the Vantaa Baroque Energy Prize (Finland), 2005; and Gramophone’s Best Instrumental Recording Award, for Heinrich Biber’s Violin Sonatas, 2002. The latest CD release from Sonnerie “Music for a Young Prince” early versions of the J.S. Bach Four Orchestral Suites, won a Diapason d’Or in June 2009.
INGRID MATTHEWS (violin) has long been established as one of the leading baroque violinists of her generation. She founded the Seattle Baroque Orchestra with Byron Schenkman in 1992, and served as Music Director until stepping down from that position in 2013. Matthews won first prize in the 1989 Erwin Bodky International Competition for Early Music, and since that time has performed extensively around the world with numerous period-instrument ensembles. She has served as concertmaster for orchestras such as the New York Collegium, the Boston Early Music Festival Orchestra, and Musica Angelica (Los Angeles); and has appeared as a guest director and soloist with many others including the New York Collegium, the Australian Brandenburg Orchestra, the Magnolia Baroque Festival Orchestra (Winston-Salem, NC), New Trinity Baroque (Atlanta), the Bach Sinfonia (Washington DC), Les Idees Heureuses (Montreal), the Indianapolis Baroque Orchestra, and the Victoria Symphony. For close to a decade she was first violinist of the ensemble La Luna, which specialized in 17th-century music, touring and recording to great critical acclaim. Matthews’ career as a chamber musician has taken her to such venues as the Frick Collection (New York), the Boston Early Music Festival, the Berkeley Festival, Netwoork voor Oude Muziek (the Netherlands), the Getty Center (LA), the Pittsburgh Renaissance and Baroque Society, Early Music Vancouver, among many others.
Matthews has won international critical acclaim for a discography ranging from the earliest solo violin repertoire through the Sonatas and Partitas of J.S. Bach. The latter recording was named by Third Ear’s Classical Music Listening Companion as “the finest complete set of these works,” and the critic for American Record Guide writes “this superb recording is my top recommendation for this music… on either modern or period instruments.” She is currently on the faculty of Cornish College of the Arts in Seattle. Ingrid Matthews is a graduate of Indiana University, where she studied with Josef Gingold and Stanley Ritchie.
CHRISTINE WILKINSON BECKMAN (violin) enjoys performing throughout her native Northwest with early music ensembles large and small and appears regularly with such groups as the Seattle, Portland, and Pacific Baroque Orchestras and Early Music Underground. She is also the director of the New Baroque Orchestra, one of the Community Collegia of the Early Music Guild of Seattle. Christine began her studies on baroque violin with Ingrid Matthews, and she graduated in 2013 with an MA from the Historical Performance Practices program at Case Western Reserve University where she studied with Julie Andrijeski. She received her BM in Violin Performance from St. Olaf College. A passionate educator, Christine teaches Suzuki violin and viola to a growing studio of young musicians in Olympia. When not busy performing or teaching, she enjoys baking, reading, drinking tea, and listening to the rain with her husband at their home in Olympia, WA.
Joanna Blendulf (viola da gamba) has performed and recorded with leading early music ensembles throughout the United States and is a sought-after instructor and coach. She maintains an active performance schedule on viols and baroque cello, working with the Catacoustic Consort, Ensemble Electra, Nota Bene Viol Consort, Parthenia, the Portland Baroque Orchestra, Pacific MusicWorks and Wildcat Viols. Ms. Blendulf holds performance degrees with honors from the Cleveland Institute of Music and the Jacobs School of Music at Indiana University where she was awarded the prestigious Performer’s Certificate for her accomplishments in early music performance. Joanna’s summer engagements have included performances at Tage Alter Musik Regenburg, Musica Antigua en Villa de Lleyva in Colombia, the Bloomington, Boston and Berkeley Early Music Festivals, the Ojai Music Festivals as well as the Carmel and Oregon Bach Festivals. Ms. Blendulf has been on the faculties of the University of Oregon and Indiana University Historical Performance Institute as well as viol workshops across the country.
MEG BRENNAND (cello) is known for her work on both baroque and modern cello. She has been cellist with the critically-acclaimed Onyx Chamber Players since 2001, with performances throughout the Northwest and frequent live appearances on Classical KING-FM 98.1. Onyx received outstanding reviews for their complete cycles of Mozart, Beethoven, Mendelssohn and Brahms. Meg and Onyx pianist, David White, performed the complete works of Beethoven for cello and piano in the 2014-15 season. Meg performs on baroque cello with Seattle Baroque Orchestra and with Pacific Music Works. Past seasons have included performances on the Whidbey Island Music Festival, led by Tekla Cunningham, and with Pacific Baroque Orchestra in Vancouver, BC and the Portland Baroque Orchestra. In 2013 she performed two of the six Bach Suites for solo cello on Gallery Concerts. Meg has served on the cello faculty as adjunct professor at Seattle Pacific University and at DigiPen Institute of Technology in Redmond. She also maintains an active cello studio, where she teaches privately and coaches chamber music ensembles. Meg is cellist with the Pacific Northwest Ballet Orchestra in Seattle, including two recent tours to New York City. She is a graduate of the Eastman School of Music. Meg has recorded with the Seattle Baroque Orchestra, for NPR, and the Wild Boar and Centaur labels. A new Onyx Chamber Players CD will be released in 2017. Meg performs on a cello made by Daniel Stadlmann in 1730.
STEPHEN CRESWELL (violin and viola) performs across the Pacific Northwest and beyond in Baroque, standard repertoire, and new-music groups. In recent years, he has traveled to Dubai with the Seattle Baroque Orchestra, Saanich and Quadra Island in British Columbia for Early Music Vancouver, and to Washington, D.C. and Davenport, Iowa to appear with Concerts Spirituel director and flute virtuoso, Jeffrey Cohan. Creswell is a long-time member of the Northwest Sinfonietta, contributes to the educational outreach arm of Seattle Chamber Music Society, and has appeared as concertmaster with both Seattle Pro Musica and the Seattle Choral Company. Creswell also performs with SCRAPE (a local new-music string band founded by Jim Knapp of the Cornish School of the Arts), the Seattle Modern Orchestra, and teaches chamber music at Music Academy Northwest.
CURTIS DAILY (bass) has focused on the historical performance practice of Baroque and classical music for more than 25 years. He is the principal bassist with Portland Baroque Orchestra and a member of Seattle Baroque Orchestra since its inception, as well as a participant at the Vancouver Early Music Festival and Oregon Bach Festival. Daily also performs on occasion with Musica Angelica, Orchester Wiener Akademie, Pacific Baroque Orchestra, Philharmonia Baroque Orchestra, and Tafelmusik Baroque Orchestra, working with many of the most distinguished artists in the early music field. Daily’s upcoming season includes Pacific Northwest tours with the newly established Northwest Baroque Masterworks, Portland Baroque Orchestra, and performances in Miami, Florida with New York-based The Sebastians and Seraphic Fire. Daily was a member of the Oregon Bach Festival orchestra for the Grammy-winning recording of Credo by Krzysztof Penderecki on Hannsler Records, and is also heard on recordings for Virgin Classics, Koch, Centaur, and Sub-Pop Records. He lives in Portland, Oregon.
JASON FISHER (viola) is a native of Seattle who currently calls Boston his home. A Carnegie Hall Fellow and a Peabody Singapore Fellow, Jason is also a founding violist of A Far Cry, Boston’s self-directed chamber orchestra. As a passionate explorer of early music, he plays baroque viola with a bicoastal variety of ensembles including Gut Reaction, Antico/Moderno, Quince, Ignoti Dei, L’Academie, Aulos Ensemble, The Handel & Haydn Society, Boston Baroque, and the Seattle and Portland Baroque Orchestras. On modern viola, Jason has performed with members of the Florestan Trio, and the Æolus, Brentano, Cleveland, Emerson, Mendelssohn, and St. Lawrence String Quartets. He also appears regularly with the Rhode Island Philharmonic, and is on the faculty of the Caritas String Summer School in Edinburgh, Scotland.
CURTIS FOSTER (oboe) has appeared as a soloist and member of many distinguished groups, including Seattle Baroque Orchestra, Pacific Baroque Orchestra, Pacific MusicWorks, the Newberry Consort, Victoria Baroque Players, Indy Baroque, Chicago Opera Theater, and Baroque Band. Foster’s festival performances include the Vancouver, Bloomington, and Chicago Early Music Festivals, Ottawa International Chamber Music Festival, and the Phoenix Bach Festival. A ravenous chamber musician, Foster has performed with small ensembles from San Francisco to Dubai, including Byron Schenkman and Friends, MusicSources (Berkeley), SacroProfano, as well as his own Seattle-based group, the Blue Moon Ensemble. Foster is also a strong advocate for music of our time, and has commissioned and premiered many new works for old instruments. He has recorded for ATMA Classique, Cedille Records, and IU Press. A native of Wichita, KS, Foster studied at Indiana University’s Early Music Institute and now makes his home in Seattle.
CARRIE KRAUSE (violin) has performed with Clarion and Concert Royale in New York, Chatham Baroque in Pittsburgh, Portland Baroque Orchestra, Seattle Baroque Orchestra, and the Baroque Chamber Orchestra of Colorado. She was concertmaster of the Bozeman Symphony and New Trinity Baroque, and guest concertmaster of Pacific Baroque and the San Francisco Bach Choir. Krause has appeared as soloist with the Fairbanks Symphony, Casper Symphony, Bozeman Symphony, and Apollo’s Fire in Miller Theatre. Recent festival engagements include the Spoleto Festival, Belgrade Early Music Festival (Serbia), Utrecht Early Music Festival, Strings Festival (Steamboat Springs), and the Montana Baroque Festival with Monica Huggett. At her home in Bozeman, Montana, Krause founded the Second String Orchestra for adult amateurs, the Baroque ensemble I-90 Collective, and teaches a studio of 30 students. Krause earned degrees in violin performance from Carnegie Mellon and the Cleveland Institute of Music. She is currently a graduate student at the Juilliard School’s Historical Performance program.
COURTNEY KURODA (violin) is an active performer of early music in the Seattle area and has performed throughout the U.S. and Canada with period chamber ensembles and orchestras, including Portland Baroque Orchestra, Pacific Baroque Orchestra, Indianapolis Baroque Orchestra, Ars Antigua in Chicago, Ensemble Mirable, and Opera Lafayette in Washington D.C. Kuroda has played in the Bloomington and Boston Early Music Festivals. Her violin playing has been described as “plangent of tone and right on the mark technically” (Herald-Times). Kuroda received her Master’s degree in performance from the Early Music Institute at Indiana University where she studied Baroque violin with Stanley Ritchie. She has recorded for the Naxos and ATMA labels, and currently resides in the Seattle area.
KRIS KWAPIS (trumpet) appears regularly as soloist and principal trumpet with period-instrument ensembles across North America, including Portland Baroque Orchestra, Early Music Vancouver, Pacific MusicWorks, Bach Collegium San Diego, Oregon Bach Festival, Staunton Music Festival, Apollo’s Fire, Indianapolis Baroque Orchestra, Bourbon Baroque, and Lyra Baroque, making music with directors such as Andrew Parrott, Monica Huggett, Alexander Weimann, Barthold Kuijken, Matthew Halls, Jacques Ogg, and Masaaki Suzuki. Her playing is heard on Kleos, Naxos, ReZound, Lyrichord, Musica Omnia and Dorian labels, including the 2013 GRAMMY nominated recording of Handel’s Israel in Egypt, and broadcast on CBC, WNYC, WQED (Pittsburgh), Portland All-Classical (KQAC), Sunday Baroque, and Wisconsin Public Radio. A student of Armando Ghitalla on modern trumpet, with a BM and MM in trumpet performance from the University of Michigan, Dr. Kwapis holds a DMA in historical performance, and lectures on historical brass performance practice with recent appearances at the Metropolitan Museum of Art, University of Wyoming, University of Minnesota-Duluth, University of Louisville, Madison Early Music Festival, Pacific Lutheran University, and Rutgers University. Dr. Kwapis enjoys sharing her passion with the next generation of performers as a faculty member at Indiana University’s Jacobs School of Music Historical Performance Institute (teaching cornetto and baroque trumpet) in addition to teaching at her home in Seattle and online. www.kriskwapis.com
JOHN LENTI (theorbo, lute, archlute, and guitar) has been praised for playing with “nuanced beauty and character” (Gramophone), described as “a joy to behold” (The Seattle Times), and regularly deploys his “uncommonly big sound” (Third Coast Digest) in concert, over the air, and on record to considerable acclaim as a soloist and accompanist with groups like Seattle Baroque Orchestra, Portland Baroque Orchestra, American Bach Soloists, Apollo’s Fire, Haymarket Opera Company, Magnificat, the Newberry Consort, and Seraphic Fire, among many others. As a founding member of Wayward Sisters and Plaine & Easie, Lenti twice took top prizes in Early Music America competitions, and is now, predictably, rich and famous. Other ongoing, far-flung, ensemble projects include Ostraka (Florida), Sacro Profano (Seattle), the I-90 Collective (Montana), and Mr. Jones and the Engines of Destruction (New York City). Lenti studied lute with Nigel North, Jacob Heringman, and Elizabeth Kenny. Additional musical help and inspiration have come from Ricardo Cobo, Ronn McFarlane, Pat O’Brien, and Walter Gray.
MARY MANNING (violin and viola) is a Tacoma native and a graduate of the Oberlin Conservatory in Ohio where she studied both modern and Baroque violin performance. Her work as a Baroque musician has included membership in the Seattle, Portland, and Pacific Baroque Orchestras. She has also appeared with the Smithsonian Chamber Orchestra, Carmel Bach Festival, and Philharmonia Baroque Orchestra. As a modern violinist, Manning is principal second with Northwest Sinfonietta and Tacoma Opera and has served as concertmaster for Northwest Sinfonietta and Seattle Pro Musica. As a chamber music player, she has appeared on many series throughout the Northwest including Governor’s Mansion, Second City Chamber, and Gallery Concerts. Manning is a lecturer in violin at Pacific Lutheran University, where she is a member of the Regency String Quartet. She has a private teaching studio at her home in Gig Harbor.
ANNA MARSH (bassoon) is a Baroque wind specialist, who is also fluent in Medieval, Renaissance, Classical and Modern instruments. Her interests lie principally in the double‐reed family, though she also performs on the Renaissance and Baroque recorder. Originally from Tacoma, WA, Anna appears regularly with Opera Lafayette (DC), Tempesta di Mare (Philadelphia), Ensemble Caprice (Montreal), Opera Atelier (Toronto), Tafelmusik (Toronto), Washington Bach Consort (DC), and Pacific MusicWorks (Seattle), among others. She has been the featured soloist with the Foundling Orchestra with Marion Verbruggen, Arion Orchestre Baroque, The Buxtehude Consort, The Dryden Ensemble, the Boulder Bach Festival, New York State Baroque, the Indiana University Baroque Orchestra and others. She co‐directs Ensemble Lipzodes and has taught both privately and at festivals and master classes at the Eastman School of Music, Los Angeles Music and Art School, the Amherst Early Music, and Hawaii Performing Arts Festivals and the Albuquerque, San Francisco Early Music Society, Rocky Ridge Music Center and Western Double Reed Workshop. She tours internationally, mostly to Europe and South America, and has also been heard on Performance Today, Harmonia and CBC radio and recorded for Chandos, Analekta, Centaur, Naxos, the Super Bowl, Avie, and Musica Omnia. Marsh studied music and German studies at Mt. Holyoke College, The Thornton School of Music at the University of Southern California and holds a Doctor of Music from the Jacobs School of Music at Indiana University.
LINDA MELSTED (violin) has won the hearts of audiences across North America, Europe, and Japan with her passionate artistry. Currently concertmaster of Seattle Baroque Orchestra, she has appeared as soloist, member, and leader of many outstanding ensembles, including Tafelmusik, Portland Baroque Orchestra, Pacific Baroque Orchestra, Pacific MusicWorks, Philharmonia Baroque, and Freiburg Baroque Orchestra. Linda is the featured soloist in Tafelmusik’s documentary “Le Mozart Noir”, and has recorded for Sony, ATMA, Classique, CBC, and Harmonia Mundi. Linda’s true love is chamber music. She has performed with many ensembles in chamber music series from Toronto to Seattle including Early Music Vancouver, Gallery Concerts, Northwest Showcase, Camerata Musica, Folia, Discovery Island Music Festival, La Primavera, and Toronto Music Garden. She is a founding member of the chamber ensembles sound|counterpoint (www.soundcounterpoint.org), the Cosi Quartet – a classical oboe quartet, La Modestine – a Baroque quartet based in Vancouver B.C., and Salish Sea Players (www.salishseaplayers.org)– a group dedicated to bringing early music to retirement and nursing facilities in the greater Seattle area. Working with adult amateurs is one of Linda’s favorite activities and she happily coaches students at her home and at various chamber music festivals. She has worked with community baroque orchestras in Toronto and Calgary in workshop settings and was the director of the New Baroque Orchestra in Seattle 2011-2015. Linda is a cat lover and shares her home with three cute, but crazy kitties ~ Gus, Gerome, and Kalli. Linda performs on a Nicolo Amati violin.
ALLISON MONROE (violin) is a DMA student in Historical Performance Practice at Case Western Reserve University where she studies violin with Julie Andrijeski and also plays viola, treble viol, rebec, and vielle. She holds a B.A. in violin performance from the University of Maryland and an M.M. in viola performance from the Royal Welsh College of Music and Drama. Her performing credits include concerts with Sequentia as part of the Early Music Vancouver Festival, the Oregon Bach Festival’s Berwick Academy, the Washington Bach Consort, and the Brecon Baroque Festival Orchestra.
DEBRA NAGY (oboe) has been praised for her “dazzling technique and soulful expressiveness,” (Rocky Mountain News), and a musical approach that’s “distinctly sensual…pliant, warm, and sweet,” (New York Times), Debra Nagy is one of North America’s leading performers on the baroque oboe. She plays principal oboe with the American Bach Soloists, Seattle Baroque Orchestra, and Apollo’s Fire, and is a regular guest with the Handel & Haydn Society and Boston Early Music Festival, among other ensembles. A dedicated chamber musician, Debra is the founder of Les Délices (whose debut recording was named “One of the Top Ten Early Music Discoveries of 2009”) and performs late-medieval music as a regular guest with Boston’s acclaimed Blue Heron and the Newberry Consort. Debra has received many awards for her creative and scholarly pursuits and is an unabashed foodie who loves commuting by bike from her home in Cleveland’s historic Ohio City neighborhood.
CYRUS ROAT (bassoon) has appeared regularly on both modern and baroque bassoons since relocating to Seattle from the Midwest in 2014. He performs with the North Corner Chamber Orchestra, Seattle Rock Orchestra, Seattle Modern Orchestra, and the Seattle Metropolitan Chamber Orchestra, among others. Last season, historical performances included the Montana Early Music Festival and chamber recitals with Queen City Musicians and Ensemble Audax. Cyrus completed his Master of Music at Indiana University with Kathleen McLean and Michael McCraw on modern and baroque bassoons. Other major teachers include Martin Kuuskmann, Bill Ludwig, Marc Vallon, and Ted Soluri.
JULIANA SOLTIS (cello) performs across the globe as both soloist and chamber musician. She has appeared as soloist with the Oberlin Baroque Orchestra and the Harvard Baroque Orchestra—with the latter ensemble receiving the Erwin A. Bodky Award for Early Music—and her European debut in Venice, Italy was met with critical acclaim. As a chamber musician, Juliana has performed at the historic Brick Church in New York and the Early Music America Young Performers Festival at the Boston Early Music Festival, and has concertized with the members of the Venice Baroque Orchestra. With her ensemble Die Liebhaberin (“The Enthusiasts”), she has appeared on the Millennium Stage Concert Series at the John F. Kennedy Center for the Performing Arts in Washington, DC, receiving praise for her “thought-provoking” and “beautifully articulated” interpretation. Ms. Soltis has participated in masterclasses with Jaap ter Linden, Bart Kuijken, Giuseppe Barutti, and Yo-Yo Ma, and holds degrees from the New England Conservatory, Ball State University, the Longy School of Music, and Oberlin Conservatory. Currently residing in Seattle, WA, Juliana can be heard performing with some of the Pacific Northwest’s premiere Early Music ensembles. She is privileged to play on an antique instrument, dated Salzburg 1677 by Andreas Ferdinand Mayr and restored by Warren Ellison of Jericho, VT and Curtis Bryant of Watertown, MA.
LINDSEY STRAND-POLYAK (violin and viola) is a Seattle native now based in Santa Monica, CA. She received her PhD/MM in Musicology and Violin Performance from UCLA, studying historical performance and modern violin. She performs with Pacific MusicWorks, Musica Angelica, American Bach Soloists, Bach Collegium San Diego and Austin Baroque Orchestra, among others. While at UCLA, she worked to re-establish the UCLA Early Music Ensemble in 2009 after a 20-year hiatus, and has served in alternating roles as Managing Director and Director since 2011. She is an alumna of Baroque academies such as Tafelmusik Summer and Winter Institutes, American Bach Soloists Academy, and Oregon Bach Festival’s Berwick Academy. Masterclasses include Elizabeth Blumenstock, Marc Destrubé, Stanley Ritchie, Jeanne Lamon, Robert Mealy and Kenneth Slowik. Dr. Strand-Polyak has also presented papers and lecture-recitals at numerous musicology conferences in both the US and Canada.
JANET WORSLEY STRAUSS (violin) enjoys an active career as a Baroque violinist. As a leading violinist in Los Angeles, she has appeared with the Los Angeles Opera, and Los Angeles Master Chorale; and is a principal member of Los Angeles-based Musica Angelica Baroque Orchestra. She often appears with Seattle Baroque Orchestra, Portland Baroque Orchestra, and Trinity Consort (Portland, OR) where she has worked with Monica Huggett, Eric Milnes, Reinhard Goebel, Paul Goodwin, and Richard Egarr. Strauss has performed with American Bach Soloists, Musica Pacifica, San Francisco Bach Choir, Magnificat, Camerata Pacifica, and Galanterie. She has performed at the Indianapolis Early Music Festival, Tage Alte Musik Regensberg, Brighton Early Music Festival, Renaissance and Baroque Society Pittsburgh, and Corona del Mar Bach Festival. She holds a Bachelor of Music degree in performance from the University of Southern California, is co-founder of the Los Angeles-based chamber ensemble Angeles Consort, and teaches privately in the Los Angeles area.
LAUREL WELLS (violin and viola) is known for her work on both Baroque and modern instruments. She has enjoyed an extensive and eclectic musical life, performing in Hong Kong, Norway, Canada, and throughout the United States. For 20 years she played violin with the Lyric Opera of Chicago, also earning Master’s degrees in violin and viola from Indiana University. She studied chamber music at the Banff Centre in Canada and performed extensively under the guidance of the Vermeer Quartet. Wells was a member of the Northwest Chamber Orchestra, holding the position of principal viola. She is currently a member of the Pacific Northwest Ballet Orchestra and performs often with the Seattle Symphony, Seattle Opera, and at the 5th Avenue Theater. In the early music world, Wells plays with Seattle Baroque Orchestra, Pacific MusicWorks, and with her quartet, Opus 20, in the Gallery Concert Series. She has also participated in the Whidbey Island Music Festival, and EMG’s Early Music Fridays.
NATHAN WHITTAKER (cello) enjoys a unique and diverse career as a concert soloist, chamber musician, recitalist, teacher, and historical cello specialist. He plays regularly with the Seattle, Portland, and Pacific Baroque Orchestras, and is a founding member of the Op. 20 String Quartet. Recent concert appearances have included the Indianapolis Early Music Festival, Vancouver Early Music Festival, and Pacific Baroque Festival, as well as other concert stops ranging from Seattle to New York to Dubai. He also composed and recorded an original score for the Emmy-nominated documentary When Seattle Invented the Future. An active pedagogue, he maintains a dynamic private studio and is on the faculty at the Cornish College of the Arts and the founder and director of the Seattle Chamber Music Coaching Sessions (SCMCS). Along with his busy performance and teaching schedule, Whittaker completed a DMA from the University of Washington in 2012 and also holds degrees from Indiana University.