Seattle Baroque Orchestra Personnel
Musicians for the 2013-2014 season
CHRISTINE WILKINSON BECKMAN (violin) recently graduated with a M.A. in Early Music Performance from Case Western Reserve University in Cleveland, OH, where she studied with Julie Andrijeski. While at CWRU she served as co-concertmaster of the CWRU/CIM Baroque Orchestra and was a member of the CWRU/CIM Baroque Chamber Ensembles, Classical Quartet, and Renaissance Violin Band. With the CWRU ensembles Beckman performed in the Young Performers Festival at the Boston and Berkeley Early Music Festivals in 2011 and 2012 respectively. Prior to her studies in Cleveland, Beckman studied with Ingrid Matthews (She has also studied with Marc Destrubé). As a period music specialist Beckman has enjoyed playing with Seattle Baroque Orchestra, NYS Baroque, Pacific Baroque Orchestra, Pacific MusicWorks, the Salish Sea Early Music Festival, and as an apprentice with Apollo’s Fire.
MEG BRENNAND (cello) is known for her work on both modern and Baroque cello. As a Baroque cellist, she performs with Seattle Baroque Orchestra and Pacific MusicWorks led by Stephen Stubbs. In the fall of 2013, Brennand will be appearing on the Gallery Concerts series performing two of the six Bach Suites for solo cello. She has also performed with Portland Baroque Orchestra, Pacific Baroque Orchestra in Vancouver, BC, and the Whidbey Island Music Festival, led by Tekla Cunningham. An avid chamber musician, Brennand is the cellist with the acclaimed Onyx Chamber Players. Onyx will be ensemble-in-residence at the new First Church at 2nd and Denny in Seattle beginning in the fall of 2013. Brennand serves on the cello faculty at Seattle Pacific University, maintains an active teaching studio in the Seattle area, and is a member of the Pacific Northwest Ballet Orchestra. She is a graduate of the Eastman School of Music.
STEPHEN CRESWELL (viola and violin) performs across the Pacific Northwest and has combined a standard free-lance career with membership in Northwest Sinfonietta and many diverse forays into early and contemporary music. Creswell has played as concertmaster for Seattle Choral Company and the annual Sing-Along Messiah, performed in the modern chamber operas of Garrett Fisher at the Chapel Performance Space, and appeared with flutist Jeffrey Cohan on his Concerts Spirituel series. Last season he performed the music of Benny Carter with Seattle Jazz Repertory Orchestra, and traveled to Indianapolis and Dubai with Seattle Baroque Orchestra. With the alternative-fusion-classical string band, SCRAPE, Creswell appears onstage monthly at the Royal Room in Columbia City. He is featured on their self-titled debut album, released November 2013. Creswell coaches at Academy of Music Northwest and has worked with the educational outreach arm of Seattle Chamber Music Society.
CURTIS DAILY (bass) has performed with Seattle Baroque Orchestra since its inaugural concert and has been the principal bassist with Portland Baroque Orchestra since 1989. Daily also performs with Pacific Baroque Orchestra, Musica Angelica Baroque Orchestra, Wiener Akademie Orchestra and others, in addition to participating in festivals across North America. Over the past 25 years he has worked with many of the most well known practitioners of historical performance. In modern orchestras Daily has served as principal bassist with Portland Chamber Orchestra (15 years), and performed with Oregon Symphony, Hawaii Symphony, and Portland Opera Orchestra along with many others. Daily is heard on a number of recordings, including the Grammy winning performance of “Credo” with Oregon Bach Festival Orchestra and Chorus, composed by Krzysztof Penderecki.
JILLON STOPPELS DUPREE (harpsichord) has been described as a “lively and colorful” (Chicago Tribune) and “superb” musician (New York Times). Her collaborations include performances with Seattle Symphony, Magnificat Ensemble, Seattle Baroque Orchestra, Portland Baroque Orchestra, violinists Ingrid Matthews and Jaap Schröder, sopranos Ellen Hargis and Julianna Baird, and recorder virtuosi Marion Verbruggen and Vicki Boeckman. Dupree’s world premiere recording of Philip Glass’ Concerto for Harpsichord and Chamber Orchestra was released to high acclaim in the fall of 2006. A recipient of a Fulbright Fellowship and National Endowment for the Arts Solo Recitalists grant, Dupree has taught at the Oberlin College Conservatory of Music, University of Washington, and University of Michigan. She is currently on the early music faculty at Cornish College of the Arts. Recent activities include a residency at Stanford University, performance at the Bloomington Early Music Festival, participation in the Gustav Leonhardt Tribute recital at the 2012 Berkeley Early Music Festival, and a solo Bach recording project.
CURTIS FOSTER (oboe) has appeared as principle oboe with Seattle Baroque Orchestra, Pacific Baroque Orchestra, Newberry Consort, Victoria Baroque Players, American Opera Theater, Pacific Collegium, Toronto’s Classical Music Consort, and been praised for his “brilliantly introverted charm” (Seattle Times). Foster has also been heard with Pacific MusicWorks, Indianapolis Baroque Orchestra, Chicago Opera Theater, Baroque Band, and the Jeune Orchestre Atlantique. Festival performances include the Vancouver, Bloomington, and Chicago Early Music Festivals and Phoenix Bach Festival. He has recorded for ATMA, Cedille Records, and Indiana University Press. Originally from Wichita, Kansas, Foster is a graduate of Indiana University’s Early Music Institute and now makes his home in Seattle.
OLGA HAUPTMAN (violin and viola) moved to Seattle in 1999 and has since performed with Seattle Baroque Orchestra, Portland Baroque Orchestra, the Versailles Ensemble (with husband Fred Hauptman), and in the all-day Bach and Schubert concerts at Town Hall Seattle. While in New York City, Hauptman performed regularly with the Ensemble for Early Music’s Grande Bande, ARTEK, Concert Royal, Brandywine Baroque, and many other groups. She has also appeared at the Hong Kong, Berkeley, and Connecticut Early Music Festivals. Hauptman, along with husband Fred (harpsichord) and Linda Melsted (violin), recently formed the Salish Sea Players, an ensemble which performs at retirement and long-term care facilities in the Northwest. Her other activities include consort music (on treble viol); ethnic and contra dance fiddling; photography; needlework; and walking with binoculars, and Fred, in bird sanctuaries.
NATE HELGESON (bassoon) performs frequently throughout the United States on modern and historical bassoons. A native of Eugene, Oregon, he is a founding member of period instrument ensembles on both coasts, including SacroProfano, Grand Harmonie, and New York Baroque Incorporated. Helgeson also appears regularly with many of North America’s premier period ensembles, such as Tafelmusik Baroque Orchestra, Portland Baroque Orchestra, Pacific MusicWorks, Mercury Baroque, and Trinity Baroque Orchestra. In 2012 he was chosen to perform at the Dans les Jardins de William Christie, an outdoor summer festival of 18th-century music in the west of France, hosted and directed by eminent French music specialist William Christie. Helgeson is a graduate of the Historical Performance program at the Juilliard School, and holds degrees in modern bassoon performance from the University of Oregon and New England Conservatory of Music.
CARRIE KRAUSE (violin) serves as concertmaster of the Bozeman Symphony. She has appeared as concertmaster of New Trinity Baroque, Pacific Baroque, and San Francisco Bach Choir; associate concertmaster of Apollo’s Fire (Cleveland); and performed with Seattle Baroque Orchestra, Chatham Baroque (Pittsburgh), NYS Baroque (Ithaca), Portland Baroque Orchestra, Baroque Chamber Orchestra of Colorado, and as a founding member of the I-90 Collective. Krause was soloist with Apollo’s Fire in Miller Theatre, the Fairbanks Symphony, National Repertory Orchestra, Casper Symphony, and Bozeman Symphony. Recent festival engagements include the Spoleto Festival, Strings Music Festival in Steamboat Springs, Montana Baroque Festival, Big Sky Festival (concertmaster), Belgrade Early Music Festival (Serbia), and Sastamalla Gregoriana (Finland). Krause studied music performance at Carnegie Mellon University with Andres Cardenes and at the Cleveland Institute of Music. She is currently a graduate student in the Juilliard School’s historical performance program. Krause plays a Baroque violin from the workshop of Antonius and Hieronymus Amati, Cremona 1625 (generously loaned by Makris Foundation and New Trinity Baroque).
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.
JOHN LENTI (theorbo, lute, archlute, and guitar) is active as a soloist and chamber musician with the Seattle Baroque Orchestra and Soloists, Portland Baroque Orchestra, American Bach Soloists, Bach Collegium San Diego, Magnificat, Mercury Baroque, Newberry Consort, New World Symphony, and Seraphic Fire, among many others. His playing has been described as “a joy to behold” (Seattle Times) and praised for its “nuanced beauty and character” (Gramophone), and he regularly deploys his “uncommonly big sound” (Third Coast Digest) in concert, over the air, and on record to considerable acclaim. His recording credits include CDs with Portland Baroque Orchestra and Seattle Baroque, Division with Ostraka, and forthcoming releases with Musica Pacifica and his Baroque quartet, Wayward Sisters, winners of the Early Music America/Naxos recording competition. He studied lute with Nigel North, Jacob Heringman, and Elizabeth Kenny, and is a graduate of the North Carolina School of the Arts and Indiana University. Additional musical help and inspiration have come from Ricardo Cobo, Ronn McFarlane, 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 orchestra musician has included membership in Seattle Baroque Orchestra, Portland Baroque Orchestra, and Pacific Baroque Orchestra. 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 native of Tacoma and appears regularly with Tempesta di Mare, Opera Atelier, Tafelmusik, Arion Baroque Orchestra, Atlanta Baroque, Seattle Baroque Orchestra, Opera Lafayette, Ensemble Caprice, Washington Bach Consort, and Clarion Music Society. She has been a featured concerto soloist with the Arion Baroque Orchestra, Foundling Orchestra, Buxtehude Consort, Americantiga Orchestra, USC Early Music Ensemble, and Indiana University Baroque Orchestra. Marsh has taught at the Amherst Early Music Festival, San Francisco Early Music Society Baroque Workshop, Eastman School, Hawaii Performing Arts Festival, Los Angeles Music and Art School, Western Baroque Festival, and Rocky Ridge Early Music Festival. She co-directs Ensemble Lipzodes and has worked in administration for Los Angeles Philharmonic, Washington National Gallery of Art, Museum of the City of New York, and Weyerhauser Technology Center. Marsh is ABD for her Doctorate at Indiana University and has recorded for Analekta, ATMA, CBC Radio, NPR, Centaur, Avie, Naxos, the Super Bowl, and Musica Omnia Record Labels.
LINDA MELSTED (violin) has performed across North America, Europe, and Japan and appeared as soloist, member, and leader of many outstanding ensembles including Tafelmusik Baroque Orchestra, Freiburg Baroque Orchestra, Seattle Baroque Orchestra, Portland Baroque Orchestra, Pacific Baroque Orchestra, Pacific Music Works, and the Kitchener-Waterloo Symphony Orchestra’s “Baroque and Beyond” series. Melsted is the featured soloist in Tafelmusik’s documentary “Le Mozart Noir.” She is co-artistic director of Folia (Ontario), and has appeared with Early Music Vancouver, Gallery Concerts, Primavera Concerts, the Bloomington Early Music Festival, and Tactus. Melsted served as Music Director of Nota Bene Baroque Orchestra and taught violin at the University of Waterloo. In Seattle, Melsted has formed the Salish Sea Players, a group dedicated to performing chamber music in retirement and nursing facilities, and directs Early Music Guild’s New Baroque Orchestra. This year Melsted performed in the first Baroque chamber music concert in Hamilton, Montana and with the Discovery Chamber Music Festival.
DEBRA NAGY (oboe) has been praised for her “dazzling technique and soulful expressiveness,” (Rocky Mountain News) and deemed “a Baroque oboist of uncommon elegance” (Cleveland Plain Dealer). In addition to directing the Cleveland-based Les Délices (whose debut CD was named “One of the Top Ten Early Music Discoveries of 2009″ by NPR’s Harmonia), Nagy performs frequently with Baroque ensembles and orchestras across the United States. A graduate of the Oberlin Conservatory and CWRU, Nagy has received many awards for her creative and scholarly pursuits, including a 2010 Creative Workforce Fellowship from Cuyahoga Arts and Culture. Nagy has recorded for the Avie, Capstone, Bright Angel, Naxos, Chandos, Delos, Yarlung, CPO, and ATMA labels, and has had live performances featured on CBC Radio Canada, Klara (Belgium), NPR’s Performance Today, WQXR (New York City) and WGBH (Boston).
STEPHEN SWANSON (bass) is a Seattle native and active in a broad range of musical genres. He has performed in diverse musical roles spanning the centuries as founding viola da gambist with Chicago Early Music Consort, jazz bassist in collaboration with artists such as Norah Jones and Diana Krall, as well as electric bassist for the punk band Medicine Hat. He studied double bass with Jeff Bradetich at the University of North Texas and viola da gamba with Mary Springfels at Northwestern University. Currently a member of the Spokane Symphony Orchestra, Swanson has performed with the Seattle Symphony Orchestra, and is a fixture in Seattle’s recording scene. He has also performed on the violone with the San Francisco Early Music Society and North Texas Baroque Orchestra.
MARGRIET TINDEMANS (viola and viola da gamba) has performed, recorded, and taught early music on four continents. She has been called a rare combination of charismatic performing and inspiring teaching, a scholar with a profound knowledge of music, poetry and art of the Middle Ages – “a national treasure”. As a student of Wieland Kuyken in Brussels she was awarded the Prix d’Excellence with honor. Tindemans was a founding member of the German ensemble Sequentia and the Huelgas Ensemble of Belgium, and has performed with Folger Consort and Newberry Consort. She directs the Medieval Women’s Choir of Seattle and works closely with Northwest Puppet Center, for whom she has arranged and directed many operas, including The Magic Flute and Don Giovanni.
KAREN VINCENT (viola) has played with Portland Baroque Orchestra for many years, and divides her time between Salem, Oregon and Bellingham, Washington. Vincent is principal violist for the Bach Cantata Choir Orchestra in Portland and Willamette Master Chorus in Salem, and violinist with Trio St. Cecilia in the Willamette Valley. In Bellingham Vincent plays chamber music, coaches youth symphonies, and is exploring new Baroque opportunities in Western Washington. Vincent’s previous endeavors include playing principal viola for Salem Chamber Orchestra, Linfield Chamber Orchestra, Portland Opera, and festivals in Alaska, California, Washington and Oregon. She has performed both solos and chamber music concerts with Linfield Chamber Orchestra, Salem Chamber Orchestra, Bach Cantata Choir Orchestra, Haydn Festival, Soundwaves Festival, Anchorage Music Festival, Peter Britt Festival and many local churches. Vincent has taught at Linfield College and Western Oregon University for 12 years, and managed an active home studio for several decades. She is a graduate of the University of Washington.
LAUREL WELLS (violin and viola) has enjoyed an eclectic musical career. She played violin in the Lyric Opera of Chicago for 20 years, and between opera seasons, earned Master’s degrees in both violin and viola from Indiana University. After settling in Seattle in 1995, Wells became principal violist of the Northwest Chamber Orchestra, and a member of the Pacific Northwest Ballet Orchestra. She has performed with many groups in Seattle, including Seattle Symphony, Seattle Opera, and 5th Avenue Theater. Wells has played regularly with Seattle Baroque Orchestra since her move here, and recently participated in the Indianapolis Early Music Festival with them. Other historical instrument engagements include Gallery Concerts, Pacific MusicWorks, Whidbey Island Music Festival, Portland Baroque Orchestra, and the Pacific Baroque Orchestra in Vancouver B.C.
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 Seattle Baroque Orchestra, Pacific Baroque Orchestra, Portland Baroque Orchestra, and is a founding member of the Op. 20 String Quartet. Whittaker’s 2012-2013 concert season included appearances at 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 composed and recorded an original score for the Emmy nominated documentary “When Seattle Invented the Future” and can be heard on recordings by the ATMA and Harmonia labels, and broadcasts by NPR, CBC, and KING FM. An active pedagogue, Whittaker maintains a dynamic private studio and is faculty at the Academy of Music Northwest and Cornish College of the Arts. He completed a Doctorate of Musical Arts from the University of Washington in 2012, and holds degrees from Indiana University.