Recently graduated from the Royal Academy of Music, Davina Clarke is fast establishing herself as a violinist of the highest calibre. She plays regularly with some of the UK’s most highly regarded period ensembles - the English Baroque Soloists, Orchestre Révolutionnaire et Romantique, Academy of Ancient Music, Orchestra of The Sixteen and the Orchestra of the Age of Enlightenment- but her performance repertoire encompasses anything from Bach to Birtwistle. Davina pursued a Masters specialising in historically informed performance at the Royal Academy of Music, where she studied under Simon Standage and Rachel Podger. Davina has explored a diverse range of baroque, classical and romantic repertoire under Sir John Eliot Gardiner, Sir Roger Norrington, William Christie, Richard Egarr and Laurence Cummings. She continues her long association with the Royal Academy of Music as a Guest Principal in the Kohn Bach Cantata Series. Last year, she accompanied Sir John Eliot Gardiner in a series of J.S Bach recitals to celebrate the launch of his new book, ‘Music in the Castle of Heaven." Davina plays on a 1685 Francesco Rugeri violin, generously loaned to her by the Stradivari Trust.
Guitarist William Coulter has been performing and recording traditional guitar music for over twenty years. His most recent solo recording, The Road Home (Gourd Music) was met with critical acclaim, and in 2005, he received a Grammy Award for his contribution to The Pink Guitar, a collection of solo guitar arrangements of Henry Mancini’s music. Musical collaborations have been a mainstay of William’s career and have included many tours and recordings including Song for Our Ancestors, with classical guitar virtuoso Benjamin Verdery, Time to Sail and One Sweet Kiss and Westward with Kerry-born Irish singer Eilis Kennedy, Simple Gifts – Music of the Shakers with cellist Barry Phillips, and Celtic Requiem with Irish vocalist Mary McLaughlin. His book of transcriptions, Celtic Crossing, published by Mel Bay, includes all of the music from his recording of the same name. William maintains a classical guitar studio at the University of California at Santa Cruz at teaches at many summer music camps.
Curtis Foster, Baroque oboe and recorder, whose playing has been praised for its "brilliantly introverted charm" (Seattle Times), has appeared as soloist and member of many outstanding groups, including the Seattle and Pacific Baroque Orchestras, American Bach Soloists, Pacific MusicWorks, Mercury Baroque, the Newberry Consort, Victoria Baroque Players, Indianapolis Baroque Orchestra, Chicago Opera Theater, and Baroque Band. Festival performances include the Vancouver, Chicago, Pacific and Bloomington Early Music Festivals. A ravenous chamber musician, Curtis has performed with small ensembles in concert from San Francisco to Dubai, including appearances with Byron Schenkman and Friends, Seattle Baroque, the Bach & Beethoven Ensemble (of which he was a founding member), as well as his own Seattle-based group, sound|counterpoint. Mr. Foster has recorded for ATMA Classique, Cedille Records, and IU Press. A native of Wichita, KS, Curtis now makes his home in Seattle. He is a graduate of Indiana University's Early Music Institute.
Canadian-born violinist Edwin Huizinga is quickly establishing a reputation as one of North America’s most versatile violinists. Performing both baroque and modern repertoire he enjoys performing with musicians from all kinds of genres worldwide. As a baroque violinist, Edwin has toured throughout North America, Europe, and Asia with the world-renowned baroque orchestra Tafelmusik, Opera Atelier, the Wallfisch Band, Aradia Ensemble, and Theater of Early Music. He is a founding member of the baroque ensembles Passamezzo Moderno and ACRONYM. Edwin has a passion for bringing chamber music to the people and is a founding member of the Classical Revolution which began in San Francisco in 2006. He currently serves as the Artistic Director of the Toronto Chapter of Classical Revolution, which he founded in 2010. Through Classical Revolution, he and his colleagues are shaping a future of concerts and jam sessions in alternative spaces around the world. Edwin’s dedication to music education led him to his current position as Artistic Director of the Big Sur Music Camp. He has coordinated outreach with the Banff arts Centre, Oberlin College, Panama City, Panama, the Carmel Bach Festival, and more. Edwin has a Bachelor of Music degree from Oberlin Conservatory and a Master of Music from the San Francisco Conservatory of Music.
Violinist Carrie Krause’s “elegant, sparkling performance brought audience cheers,” Seattle Post Intelligencer. Raised in Fairbanks, Alaska, Carrie Krause performs as baroque violinist with ensembles across the country and on numerous international series. Carrie was recently guest artistic director and concerto soloist with Seattle Baroque. She has performed as concertmaster of New Trinity Baroque in Atlanta, as guest concertmaster of Pacific Baroque in Vancouver and the San Francisco Bach Choir, and as associate concertmaster of Apollo’s Fire in Cleveland. Festival engagements include the Leipzig Bach Festival as soloist, the Utrecht Early Music Festival, Festival Dan les Jardins de William Christie, and the BBC Proms. Carrie has worked under such conductors as Jordi Savall, Ton Koopman, Richard Egarr, Nic McGegan, and Masaaki Suzuki. She founded the I‐90 Collective, a baroque ensemble, which performs on series from Seattle to Syracuse. She also founded Baroque Music Montana, which presents community concerts and the Period Performance Workshop.
John Lenti is a specialist in music of the seventeenth century and has made bassocontinuo improvisation on lute, theorbo, andbaroque guitar the cornerstone of a career that encompasses work with baroque and modern orchestras, chamber music, recitals, and opera.Recent highlights include performances with theSeattle Symphony, the Cincinatti Symphony, andPhilharmonia Baroque Orchestra, recitals with violinists Carrie Krause, Ingrid Matthews, and Monica Huggett, and chamber music with the I-90 Collective, the Dark Horse Consort, and Acronym. John is principal lute of Portland Baroque Orchestra, Seattle Baroque Orchestra, and Pacific Baroque Orchestra(Vancouver, BC). Other groups he has played for include the Los Angeles Philharmonic Orchestra,American Bach Soloists, Apollo’s Fire, New York Baroque, Inc., the Sebastians, Seraphic Fire, Musica Pacifica, Seattle Opera, and Bach Collegium San Diego. He has played at early and modern music festivals in Boston, Berkeley, Indianapolis, Bloomington, Vancouver, Carmel, the Proms, Aldeburgh, Valletta (Malta), and the San Juan Islands (Washington state). John holds degrees from North Carolina School of the Arts and Indiana University and studied lute with Nigel North, Jacob Heringman, and Elizabeth Kenny. Crucial help and inspiration have come from Pat O’Brien and Ricardo Cobo. He lives in Seattle.
Ingrid Matthews is well established as one of the premier baroque violinists of her generation. She won first prize in the Erwin Bodky International Competition for Early Music in 1989, and was a member of Toronto's Tafelmusik Baroque Orchestra before founding the Seattle Baroque Orchestra with Byron Schenkman; she served as its Music Director from 1994 to 2013. Matthews has performed extensively around the world, appearing as a soloist and/or guest director including the Australian Brandenburg Orchestra, the Bach Sinfonia (Washington DC), Ars Lyrica (Houston), Musica Angelica (Los Angeles), New Trinity Baroque (Atlanta). Matthews has won high critical acclaim for a discography ranging from the earliest Italian violin music through the Sonatas and Partitas of J.S. Bach. She has taught at Indiana University, the University of Toronto, Oberlin College, the University of Washington, the University of Southern California/Los Angeles, and the Cornish College of the Arts. She also plays jazz and swing styles and is active as a visual artist.
Praised for her “crystalline tone and delicate passagework” (San Francisco Chronicle), soprano Arwen Myers captivates audiences with her timeless artistry and exquisite interpretations. Transmitting a warmth and “deep poignancy” (Palm Beach Arts Paper) onstage, Arwen shines in solo performance across the US and beyond. With outstanding technique and mastery of a wide range of vocal colors, Arwen’s dazzling oratorio and solo appearances feature repertoire from the baroque to modern day, and everything in between. Her history includes appearances with Portland Baroque Orchestra, Early Music Vancouver, Pacific MusicWorks, Indianapolis Symphony Orchestra & Philharmonia Baroque Orchestra, working with such notable conductors as Nicholas McGegan, Monica Huggett, David Fallis, John Butt, David Hill, Scott Allen Jarrett, Erick Lichte & Matthew Dirst.
Recent solo highlights include Handel with Philharmonia Baroque Orchestra; Bach & Purcell with Portland Baroque Orchestra; Vivaldi, Monteverdi & Gabrieli with Early Music Vancouver; Handel with Oregon Bach Festival; Fauré with Indianapolis Symphony Orchestra; and in the world premiere of Zachary Wadsworth’s When There is Peace with Chor Leoni, which received national broadcast across Canada. Of her title role in Handel’s Semele with American Bach Soloists Academy in 2018, San Francisco Classical Voice noted, “some of these star turns were shiny indeed, with soprano Arwen Myers leading the way... her musicality and demure demeanor remained a renewable pleasure.”
Arwen features with some of the nation’s leading ensembles, including Seraphic Fire, Bach Akademie Charlotte, Spire Chamber Ensemble, Bach Collegium San Diego, & Fear No Music. Her performances of new music include the world premieres of two title roles written specifically for her by celebrated composer Robert Kyr. Additional solo roles in world premiere performances and recordings include pieces by Michel Petrossian with Sacred Music at Notre Dame; by Don Freund at Indiana University; and by GRAMMY-award winning J.J. Wright on his Billboard chart-topping commercial release O Emmanuel.
New Zealand-born harpsichordist Jonathan Oddie enjoys a varied career as a soloist, chamber musician, orchestral player and teacher. Since moving to Seattle in 2014, he has appeared as a featured soloist with the Northwest Sinfonietta, Saratoga Orchestra, Whidbey Island Music Festival, and Salish Sea Early Music Festival, and performed with orchestras and ensembles including the Seattle Symphony, Pacific MusicWorks, Philharmonia Northwest, and the North Corner Chamber Orchestra. Jonathan studied piano and harpsichord performance at Indiana University, where his teachers included Elisabeth Wright, Jean-Louis Haguenauer and Edmund Battersby. He holds a doctorate in musicology from the University of Oxford, where he researched the instrumental music of Orlando Gibbons and its relationship to seventeenth-century theories of composition. He has published articles and reviews in the journals Early Music and Historical Performance, and is the recipient of numerous awards including a Performer's Certificate from Indiana University and a Frank Huntington Beebe Fellowship
Canadian violist Tawnya Popoff enjoys an exciting and versatile international career. In addition to being principal violist with the Vancouver Opera (BC) since 2007, she is a member of ROCO, the Walden School Players (NH) and a founding member of Microcosmos string quartet (BC). Valuing education immensely, she has served on the faculties of the Perlman Music Program, University of Pennsylvania, Syracuse University, SUNY Buffalo, Brandeis and Dobbs Ferry High Schools, the Bowdoin International Music Festival, The Walden School, and Artes no Camiño (Spain). She has recorded for the Koch, Albany, Nonsuch, CRI, SHSK’H (web label), Columbia Composers, and other independent labels as have been heard on air on WNYC, CBC, WGBH (Boston) and KUHF (Houston). She studied with Gerald Stanick (Fine Arts Quartet) and Martha Katz (Cleveland Quaret) at Rice University in Houston, TX. Aside from musical pursuits, Ms. Popoff has a cycling tour company offering guided, private, and personalized cycling adventures, and passionately enjoys the great outdoors in all seasons!
A curiosity in the cultural background behind the music she plays led Sarah Stone to baroque cello. This season, Sarah is performing around the country with Apollo’s Fire, Washington National Cathedral, House of Time, NYBI, Seraphic Fire, and Trinity Baroque Orchestra. This past summer, she joined Teatro Nuovo in performing unconducted bel canto opera, and traveled to Portland, Maine, making music in unconventional venues as a part of The Portland Bach Experience. This coming season includes travel to Montana, performing Christmas Oratorio with Musikanten Montana across the state, as well as co-leading Bitterroot Baroque's Montana Cantata Project. Highlights of recent seasons have included performances of Bach cantatas with Trinity Wall Street in Montreal and a northeast tour with Apollo’s Fire including her Carnegie Hall debut. Sarah holds a Masters in Historical Performance from the Juilliard School, a Masters from San Francisco Conservatory of Music, and a Bachelors of Music from Rice University.
cello and viola da gamba
Benedict Williams began his training as a chorister at King’s College Cambridge and graduated from the University of York with a First Class Degree. He is currently studying harpsichord and continuo at the Royal Academy of Music. He regularly works with some of the leading performers in Historical Performance including Ton Koopman, Rachel Podger, Margaret Faultless, Laurence Cummings and Jane Glover. A major interest of his is continuo playing and accompanying. He has accompanied the recorder player Tabea Debus for the International Telemann Competition in Magdeburg, finalists in the London Bach Society Singer’s Prize and played in performances ranging from Monteverdi’s 1610 Vespers to Handel’s Acis & Galatea, and Mozart’s Don Giovanni, and Die Zauberflöte. Benedict is equally at home singing. He has played the title role of Le Nozze di Figaro, was a member of Genesis Sixteen run by Harry Christophers and has recorded with I Fagiolini.