Katie Boardman, soprano, beginning voice
William Hudson, tenor
James Kennerley, tenor
Paul Rowe, baritone
Nell Snaidas, soprano
Brandi Berry, violin
Amy Domingues, viola da gamba
Julie Elhard, viola da gamba
Jude Ziliak, violin
Winds & Brass
Priscilla Herreid, recorder
Greg Ingles, sackbut
Erik Schmalz, sackbut
Joan Kimball, recorder, bagpipes, and shawms
Daphna Mor, winds
Robert Wiemken, loud band, dulcian and Advanced Loud Band Intensive
Charles Wines, beginning recorder
Grant Herreid, lute
James Kennerley, historical keyboard
Christa Patton, harp and Early Opera Workshop
John Chappell Stowe, harpsichord and organ
Charles Weaver, lute
Musicology, History & Culture
J. Michael Allsen, musicology
Grant Herreid, musicology
Yaron Klein, Middle Eastern languages
Samuel Milligan, musicology
Peggy Murray, historical dance
Cassidy Reis, literature and art
Peggy Murray, Renaissance dance
Grant Herreid, All-Festival Director and Conductor
Jerry (Chiwei) Hui, Assistant Choral Conductor
Katie Boardman, soprano, is from Madison, Wisconsin, and is currently based in Boston. She studied Vocal Performance and French at Augustana College in Illinois, and received her Master of Music degree in Historical Performance from Boston University in 2016. She regularly performs with Genesis Chamber Singers, a versatile chamber ensemble on Boston’s South Shore. A 2016 recipient of the Early Music America Summer Scholarship, she has a passionate interest in repertoires both early and new.
William Hudson, tenor, is an active performer and scholar. As director of LIBER: Ensemble for Early Music, he has performed on major concert series on four continents and recorded three critically-acclaimed CDs. As a scholar, Dr. Hudson has won the prestigious Noah Greenberg award and recently presented at the Colloque international franco-italien, Philologie et Musicologie II: Des sources à l'interprétation poético-musicale in Rome. He currently teaches voice at Illinois Wesleyan University.
Hailed as “a great organist” displaying “phenomenal technique and sheer musicality” (Bloomberg News) and an “excellent, true-toned tenor” by critic Alex Ross, James Kennerley is a multi-faceted musician, working as a conductor, keyboardist, singer, and composer. A recognized specialist in the realm of early music, performances this season include concerts at Alice Tully Hall, the Frick Collection, the Metropolitan Museum, and a recording of Handel’s Messiah with the choir of Trinity Wall Street.
Paul Rowe, baritone, is Professor of Voice at the University of Wisconsin-Madison and co-Artistic Director of the Madison Early Music Festival, an annual festival he helped found in 2000. He has performed in concert and opera for more than 30 years, including appearances with the Boston Symphony, Musica Sacra, American Ballet Theater, the Smithsonian Chamber Players and Madison Opera. He is a former member of the Waverly Consort and the New York Vocal Arts Ensemble.
American-Uruguayan soprano Nell Snaidas specializes in Spanish/Latin American Early Music. Credits include: Boston Early Music Festival, Tragicomedia, LA Phil, Teatro Massimo, Festival Vancouver, Caramoor, Ex Umbris, El Mundo (Grammy nomination), Apollo’sFire (Guest Co-Director), Bach Collegium San Diego (Guest Director), Faculty: Madison Early Music Festival, NY Continuo Collective, Co-Artistic Director GEMAS: Early Music of the Americas concert series (Americas Society & GEMS)
Violinist and 3Arts awardee Brandi Berry’s "four-string acrobatics" and "indispensable skill" (TimeOut Chicago) have been praised as “bright”, “lively”, “pleasing” (Hyde Park Herald) "alert [and] outstanding" (Chicago Classical Review) as her "'riffs' powered by a flashing blur of bow arm, [as they] rolled out with irresistible glee" (Washington Post). She has appeared throughout North America with Kings Noyse, Newberry Consort, Ars Lyrica, at the Library of Congress, and many others.
Amy Domingues (MM Peabody Conservatory) performs on baroque cello and viola da gamba with groups as varied as The Folger Consort, Hesperus, The Washington Bach Consort, Sonnambula, and Corda Nova Baroque. She maintains a private studio of cello and gamba students in her Washington DC home. Ms. Domingues appears on over 50 albums, spanning genres from indie rock to classical and experimental, and plays amplified gamba in the experimental/neo-classical duo Domingues & Kane.
Julie Elhard, viola da gamba, performs as a soloist and chamber musician and has made several appearances with the St. Paul Chamber Orchestra. Ms. Elhard was awarded a 2016 and 2012 Artist’s Initiative Grant from the Minnesota State Arts Board. She received a Performing Artist Certificate from the Royal Conservatory of Music in The Netherlands. Ms. Elhard teaches at St. Olaf and Macalester Colleges and plays all sizes of viols as well as the violone and lirone.
Jude Ziliak, violin, specializes in historical performance practices. He is a member of Sonnambula and the American Bach Soloists, and was an inaugural recipient of the English Concert's American Fellowship. A graduate of the Juilliard School, he has recorded for Centaur, VIA, and Naxos. Ziliak teaches violin at the Special Music School in New York, where he directs the Baroque ensemble.
Priscilla Herreid, recorder and shawms, plays renaissance winds with Piffaro, The Waverly Consort, Hesperus, and the City Musick, and early oboes and recorder with Trinity Baroque Orchestra, Handel + Haydn, The Sebastians, Boston Baroque, and Tempesta di Mare. Priscilla was part of the onstage band for the Shakespeare on Broadway productions of Twelfth Night and Richard III, starring Mark Rylance. The New York Times has described her playing as “spirited,” and praised her “soaring recorder, gorgeously played...”
Greg Ingles, sackbut, graduated from the Interlochen, Oberlin and SUNY Stony Brook and was the Solo Trombone in the Hofer Symphoniker, Germany. Greg is a member of Quicksilver, Piffaro and Ciaramella. He is Music Director of the Dark Horse Consort, which was featured in the 2015 Boston Early Music Festival. He recently played with the Globe Theater in their Broadway debut. Greg is the Lecturer in Sackbut at Boston University.
Erik Schmalz, sackbut, received degrees in trombone performance from Oberlin Conservatory of Music and University of Cincinnati College-Conservatory of Music. Shortly thereafter, he was introduced to early music, and since then, has had the opportunity to perform and record with many of the top ensembles in North America. He specializes in period trombones ranging from renaissance slide trumpet to the romantic era. Erik is currently a freelance performer and private teacher residing in Collinsville, CT.
Joan Kimball, recorder, bagpipes and shawms, is artistic co-director and founding member of Piffaro. She has concertized with the ensemble throughout the U.S., Europe, and South America, and has performed with leading early music artists and ensembles in this country. With Piffaro she has recorded for Deutsche Grammophon, Dorian Recordings and PARMA/Navona. She is widely known in the early music community as a teacher of recorder, early double reeds and bagpipes, and is on faculty at early music festivals and workshops nationwide.
Daphna Mor, recorders, voice and ney, is a performer and teacher of European Early music, Traditional Jewish, North African and Middle Eastern Music, and Contemporary Music. She has performed as a soloist with the New York Collegium, the New York Early Music Ensemble, and Little Orchestra Society, and as a member with the New York Philharmonic, New York City Opera, Orchestra of St. Luke’s, Piffaro, and many more. She co-leads the Ensemble East of the River.
Robert Wiemken, Director, Loud Band and historical winds, is Artistic Co-Director of Piffaro, The Renaissance Band, with which has performed worldwide, recorded extensively, built over 130 programs of Renaissance and early Baroque music and commissioned new works for early winds and chorus. He has performed with many of the world’s leading early music ensembles, in festivals in North and South America and across Europe. He also teaches regularly at festivals and workshops throughout the country.
Charles Wines, beginning recorder, has performed extensively with the Philharmonia of Greater Kansas City, the Kansas City Baroque Consortium, St. Michaels Baroque Ensemble, and at multiple theaters in the Kansas City area. He studied bassoon at the Conservatory of University of Missouri Kansas City and oboe at University of Central Missouri. He is currently a masters student at the Early Music Institute at the Jacobs School of Music at Indiana University.
Grant Herreid, lute, performs frequently on early reeds, brass, strings and voice with Piffaro, Hesperus, My Lord Chamberlain's Consort, ARTEK, Elm City Consort, and many other early music groups. He directs the Yale Collegium Musicum and is music director of the Yale Baroque Opera Project (YBOP). He also directs the New York Continuo Collective and devotes much of his time to exploring the unwritten traditions of early music with the ensembles Ex Umbris and Ensemble Viscera.
James Kennerly, historical keyboard, see Voice.
Christa Patton, Director, Early Opera and harp, is a historical harpist and early wind specialist. She has performed with many of today's premier early music ensembles including Piffaro, the Renaissance Band, The King's Noyse, Folger Consort, Newberry Consort, Apollo's Fire, Parthenia and ARTEK. As a baroque harpist, Christa has performed with New York City Opera, Wolf Trap Opera and Tafelmusik. Presently faculty at Rutgers University and the Graduate Center at CUNY, she is musical director of the Baroque Opera Workshop at Queens College, specializing in 17th-century opera.
John Chappell Stowe, harpsichord and organ, is Professor of Organ and Harpsichord at UW-Madison’s Mead Witter School of Music. He is a graduate of Southern Methodist University and Eastman School of Music. Dr. Stowe presently is Associate Director/Director of Graduate Studies of Mead Witter School of Music. Besides teaching organ and harpsichord, his instructional activities include improvisation, basso continuo and figured bass, and the UW-Madison Collegium Musicum.
Charles Weaver, lute, has performed with Quicksilver, Piffaro, Tenet, the Folger Consort, Blue Heron, and Musica Pacifica. He is on the faculty of the Juilliard School, where he teaches lute. He also teaches seventeenth-century vocal style with the New York Continuo Collective and has taught at the Lute Society of America Summer seminar and the Western Wind Workshop in ensemble singing. He is associate director of music at St Mary Church in Norwalk, Connecticut.
Four-time Grammy Award-winner Glen Velez is an acclaimed soloist, member of the Percussive Arts Society Hall of Fame, and seminal figure in the modern history of the Frame Drum. He has brought a new genre of drumming to the Western world, inspired by years of studying world frame drumming techniques. Velez teaches at the Mannes College of Music and the Juilliard School in New York and enthusiastically adapts Tambourine playing to all forms of ancient music.
As a musicologist, J. Michael Allsen has worked primarily on Renaissance sacred music, and has several journal articles, reviews, a critical edition in print, as well as contributions to several reference works. Dr. Allsen has played bass trombone with the Madison Symphony Orchestra since 1990, and has written programs notes for the MSO, and dozens of other orchestras and festivals, since the 1980s. He is Professor of Music at the University of Wisconsin – Whitewater.
Grant Herreid, musicology, see Continuo.
Yaron Klein, Associate Professor of Arabic and Lecturer in Oud, is Chair of Middle Eastern Languages at Carleton College. Research interests include classical Arabic literature (adab), music in the medieval Arab world, contemporary Arab music. B.A. Tel Aviv University; A.M. & Ph.D Harvard University.
Since the 1950's, Samuel Milligan has been investigating the place of the harp in early Spanish music, mainly the Medieval and Colonial New World periods. To this end, he has commissioned luthiers to build appropriate reproductions of harps proper to each period. His last publication was a collection of Sephardic songs. His latest work in progress is a collection of Medieval songs for small harp and voice with optional instruments, mainly small percussions.
Peggy Murray, historical dance, see Dance.
Originally from Tucson, AZ, Cassidy Reis completed a Masters in Spanish Literature at the University of Wisconsin-Madison, where she is now a doctoral candidate. She specializes in ekphrasis, the role of visual language in the picaresque novel, the representation of poverty and marginalized figures, and visual art of early modern Spain. This year, she published “Painted Dreams and Cervantes’ Critique of Representation in the Persiles” in the journal, eHumanista/Cervantes.
Peggy Murray, Renaissance dance, is a dancer, scholar and instructor and holds a Ph.D. in performance studies from Ohio University’s School of Interdisciplinary Arts. A former ballet and jazz dancer, Murray is now dedicated to historical dance. She works extensively with Renaissance and Baroque dance, and studies the role and development of dancing in Europe and the Americas during the colonial period. She has performed and taught in the United States, Mexico, Colombia, Peru and Argentina.Continuo.
Jerry (Chiwei) Hui is active as a conductor and singer of both early and contemporary music and is the assistant conductor at the Madison Early Music Festival. Based in Eau Claire, WI, he is currently directing ensembles Eliza's Toyes, Schola Cantorum of Eau Claire, the Menomonie Singers and teaching at the University of Wisconsin - Stout. A prize-winning composer, Dr. Hui's music has been performed frequently and internationally.