Seattle Baroque Orchestra Personnel
Musicians for the 2014-2015 season
CHRISTINE WILKINSON BECKMAN (violin) enjoys performing throughout the Northwest with ensembles large and small, most frequently with the Pacific Baroque Orchestra, the Salish Sea Early Music Festival, and the Seattle Baroque Orchestra. She has also performed as an apprentice with Apollo’s Fire and with New York State Baroque, Pacific MusicWorks, and the Portland Baroque Orchestra. Beckman is a 2013 graduate of the Early Music Performance Practices program at Case Western Reserve University (CWRU) in Cleveland, OH where she studied with Julie Andrijeski and served as co-concertmaster of the CWRU/Cleveland Institute of Music (CIM) Baroque Orchestra. Beckman was also an active member of the CWRU/CIM Baroque Chamber Ensembles and Renaissance Violin Band, and with the CWRU ensembles she performed in the Young Performers Festival at the Boston and Berkeley Early Music Festivals in 2011 and 2012 respectively. Beckman has also studied with Ingrid Matthews and Marc Destrubé.
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 (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. Live performances have been broadcast on NPR and CBC radio. He lives in Portland, Oregon.
SAND DALTON (oboe) began playing in 1975 after graduating from the California Institute of the Arts. He has been manufacturing historical oboes since 1976. Concurrently, Dalton has pursued an active career as a performer and teacher. Over the years he has performed and recorded with Philharmonia Baroque Orchestra, Boston Baroque, the Handel and Haydn Society, Magnificat, Portland Baroque Orchestra, Seattle Baroque Orchestra, and Pacific Baroque Orchestra. Dalton has been of the faculties of the New England Conservatory, University of British Columbia, and Longy School of Music; and taught at the summer workshops for the San Francisco Early Music Society, Vancouver Early Music Program, Amherst Early Music Workshop, and International Baroque Institute at Longy.
JILLON STOPPELS DUPREE (harpsichord) has performed throughout the U.S. and Europe, and been described as “one of the most outstanding early musicians in North America” (IONARTS) and “a baroque star” (Seattle Times). Her collaborations include performances with the Seattle Symphony, the Bay Area’s Magnificat Ensemble, Portland and Seattle Baroque Orchestras, sopranos Ellen Hargis and Julianna Baird, gambist Wieland Kuijken, and recorder virtuosi Marion Verbruggen and Vicki Boeckman. Dupree’s world premiere recording of Philip Glass’s Concerto for Harpsichord and Chamber Orchestra has received highest acclaim, and is one of several contemporary works in her repertoire. A recipient of Fulbright and National Endowment for the Arts grants, Dupree has taught at the Oberlin Conservatory of Music and the University of Michigan; she currently teaches at the Cornish College of the Arts. Recent activities include a residency at Stanford University, a concert at the Bloomington Early Music Festival, a Monteverdi performance at the 2014 Berkeley Early Music Festival, and a solo Bach recording.
CURTIS FOSTER (oboe) has been praised for playing with “brilliantly introverted charm” (Seattle Times), and 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.
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.
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. As described by the Seattle Post-Intelligencer, Krause’s, “elegant, sparkling performance brought audience cheers.” 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 under Andres Cardenes 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.
JOHN LENTI (theorbo, lute, archlute, and guitar) has been praised for playing with “nuanced beauty and character” (Gramophone), described as “a joy to behold” (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 (NYC). 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 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 Baroque wind specialist, who is also fluent in Renaissance, Classical and Modern instruments. Originally from Tacoma, she appears regularly with Opera Lafayette, Tempesta di Mare, Ensemble Caprice, Tafelmusik, Opera Atelier, Seattle Baroque Orchestra, and Washington Bach Consort, among others. Marsh has been the featured soloist with the Foundling Orchestra with Marion Verbruggen, Arion Orchestre Baroque with Jaap Ter Linden, The Buxtehude Consort, The Dryden Ensemble, Boulder Bach Festival, New York State Baroque, Indiana University Baroque Orchestra, and others. She co‐directs Ensemble Lipzodes and has taught across the nation, both privately and at festivals and master classes. Marsh has also been heard on Performance Today, Harmonia, and CBC radio and recorded for Chandos, Analekta, Centaur, Naxos, the Super Bowl, Avie, and on Trinity Wall Street’s GRAMMY nominated album on Musica Omnia. Marsh has studied music and German studies at Mt. Holyoke College, the University of Southern California, and holds a Doctorate of Music from Indiana University.
LINDA MELSTED (violin) has won the hearts of audiences across North America, Europe, and Japan with her passionate artistry. She has appeared as soloist, member, and leader of many outstanding ensembles including Tafelmusik Baroque Orchestra, Freiburg Baroque Orchestra, Portland Baroque Orchestra, Seattle Baroque Orchestra, Pacific Baroque Orchestra, and Pacific MusicWorks. Melsted is the featured soloist in Tafelmusik’s TV documentary, DVD and CD Le Mozart Noir. An active chamber musician, Melsted has appeared with Early Music Vancouver, Gallery Concerts, Primavera Concerts, Bloomington Early Music Festival, Calgary Symphony’s Italian Music Festival, Folia, Toronto Music Garden, Quadra Island Discovery Chamber Music Festival, and Tactus. Melsted was a member of Tafelmusik (1992-2004), Music Director of Nota Bene Baroque Orchestra (2005-2009), a regular guest leader and soloist of the Kitchener-Waterloo Symphony Orchestra’s Baroque and Beyond series, and taught violin at the University of Waterloo. Happily back in Seattle since 2010, she formed the Salish Sea Players, a group dedicated to performing chamber music in retirement and nursing facilities, and directs the New Baroque Orchestra. Melsted performs on a Nicolo Amati violin from 1670.
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).
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.
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 twenty years she played violin with the Lyric Opera of Chicago, between seasons 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. Wells has recorded with Seattle Baroque, for NPR, and the Wild Boar and Centaur labels.
COURTNEY WESTCOTT (flute) is known as “a fluent and mellifluous artist” (Toronto Star) for playing described as “a conversation, with each phrase and detail shaped” (Seattle Post-Intelligencer). She has been Soloist and Principal Flutist for Tafelmusik Baroque Orchestra (Toronto) and NYS Baroque (Ithaca), and has frequently appeared as a soloist with Seattle Baroque Orchestra since its founding. Westcott was recently honored to be invited to give a solo recital for the Seattle Flute Society. For two summers she has taught Baroque Style to Suzuki teachers at The Great Lakes Suzuki Institute. Westcott has recorded for Loft, Focus, Atma and Wildboar. Her CD of J.C. Bach Sonatas on the Loft label was praised for the “joy in these performances” by Gramophone magazine.
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 Baroque Orchestra, Pacific Baroque Orchestra, Portland Baroque Orchestra, 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 (Victoria, B.C.), 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. Whittaker can be heard on recordings by ATMA Musique and Harmonia and broadcasts by NPR, CBC, and KING FM. 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 Doctorate of Musical Arts from the University of Washington in 2012. He also holds degrees from Indiana University.