October 2, 2009.Performance at Herbst Theatre for multidisciplinary Humanities West program Copernicus, Galileo, and Kepler: Redefining Our Place in the Universe. The Star Dances [Danse Lumiere]. Premier Performance: Choreography by Kathryn Roszak. A commissioned dance premiering at HW, with Hally Bellah-Guther, Rita Dantas Scott, Damon Mahoney, Lissa Resnick. The Star Dances take inspiration from Kepler’s “Music of the Spheres” and star/planet mapping by UC Berkeley astronomers. The elegant simplicity of Satie’s music creates an atmosphere for two and then three female dancers as the Three Graces, who echo the harmony of the spheres. Holst’s energetic two-piano version of “The Planets” provides a striking score for the more volatile activity of the stars. Computer models of colliding galaxies, unfolding anemones in space, provide inspiration for a duet.
May 2, 2010.Performance at Herbst Theatre for multidisciplinary Humanities West program The Florence of the Medici: Commerce, Power, and Art in Renaissance Italy. Susan Rode Morris (soprano), Michelle Levy (vielle) and Shira Kammen (vielle, medieval harp). Selections from the rich and florid secular music of the courts of the Italian trecento reveal astonishing and gorgeous musical styles. The songs concern love and politics, and the instrumental dances represent a spicy and highly ornamented repertoire.
I’ vo bene Gherardello da Firenze (c. 1320–1363)
Non avra Francesco Landini (c.1325–1397)/Faenza Codex
Cominciamento di Gioia Estampie, Anon. 14th c. Italian
Gloria Johannes Ciconia (c. 1335–1411)
Giunge’l bel tempo Jacopo da Bologna (fl. 1340–1360)
Ecco la Primavera Francesco Landini
Performances for Humanities West 2010-11 Season
October 22, 2010. Performance at Herbst Theatre for Humanities West multidisciplinary program Venice: Queen of the Adriatic. Venice, Splendor of the World, Introduced by Clifford (Kip) Cranna (SF Opera). Intimate Venetian musical styles—love songs, carnival songs, street sellers’ songs, as well as more formal celebratory compositions by some Renaissance master composers, are performed by Allison Zelles Lloyd (soprano); David Morris, (viola da gamba, gittern and voice); Gilbert Martinez (harpsichord); Shira Kammen (violin and voice); with Herb Myers.
Venecie mundi splendor Johannes Ciconia (c.1370–1412)
L’amor donna ch’io te porto Giacomo Fogliano (1458–1548)
Ancor che col partire Cipriano da Rore (c. 1515–1565)
Divisions on Ancor che col partire
from Il vero modo di diminuir (Venice, 1584) Girolamo dalla Casa (d. 1601)
Musica dulci sono Cipriano da Rore
Three settings of Fortuna d’un gran tempo from The Odhecaton
published by Ottaviano Petrucci (Venice, 1501) Anonymous
Toccata Giovanni Picchi (ca. 1571–1643)
Ballo alla Polacha Giovanni Picchi
La Romanesca Biagio Marini (1594–1663)
Si dolce tormento Claudio Monteverdi (1567–1643)
Dal lecto mi levava Michele Pesenti (c. 1470–1524)
October 23, 2010. Performance/Demonstration at Herbst Theatre. Herb Myers demonstrates Antique Venetian Musical Instruments. Venice is famous for its many significant contributions to the world of music in the 16th and 17th centuries, both as a center of music publishing and as a widely imitated leader in compositional styles. Not the least of its contributions was in the production of musical instruments, particularly woodwinds, string keyboards (virginals and harpsichords), and bowed strings. Herb Myers demonstrates copies and shows images of instruments by Venetian builders of the Renaissance and early Baroque—instruments clearly designed to appeal to the eye as well as the ear.
October 23, 2010. Performance at Herbst Theatre.Musica Serenissima, Introduced by Luciano Chessa. Alessandro Palmeri performs on the unique Bassetto Cimapane, the only existing copy of the cello’s grandfather; with Lutenist Richard Savino.
Sonata in sol maggiore per violoncello e basso continuo Benedetto Marcello (1687–1739)
Toccata seconda per tiorba sola Johannes H. Kapsperger (c. 1580–1651)
Sonata in sol minore per violoncello e basso continuo Antonio Vivaldi (1678–1741)
Sonata III per violoncello e basso continuo Giovanni Benedetto Platti (1697–1763) October 24, 2010. Venezia Serenissima Concert at SF Conservatory of Music. Alessandro Palmeri (Bassetto Cimapane), SF Conservatory of Music Faculty Richard Savino (lute), Corey Jamason (harpsichord), and Elisabeth Reed (cello).
February 4, 2011. Performance at Herbst Theatre for Humanities West interdisciplinary program Toledo: Multicultural Challenges of Medieval Spain. SpanishVillancicos, Sephardic Love Songs, and Moorish Muwashah of Medieval and Renaissance Spain. Shira Kammen (vielle/violin), Susan Rode Morris (soprano), David Morris (viola da gamba), and Peter Maund (percussion).
Cantiga de Santa Maria #212 from the Court of Alphonso X "El Sabio" (1221–1284)
Una Matica Anonymous, Sephardic
Salinas based on melodies by Francisco de Salinas (1513–1590)
Alta Alta Anonymous, Sephardic
Istihal NawaAthar and Lamma Bada Yatathanna Traditional Arabic Muwashshah
Amor con Fortuna Juan del Encina (1468–1529 or 1530)
Recercada Diego Ortiz (ca. 1510–ca. 1570)
Puer Natus Est Cristobal de Morales (ca. 1500– ca.1553)
Calata ala Spagnola Juan Ambrosio Dalza (fl. 1508)
Tres Morillas me enamoran en Jaen Villancico Anónimo
Jancu Janto Anonymous
February 5, 2011. Performance at Herbst Theatre for Humanities West multidisciplinary program Toledo: Multicultural Challenges of Medieval Spain.Orphenica Lyra (Orpheus’s Lyre in Spain). Virtuoso guitarist Richard Savino captures the spontaneity of Spanish period music on the guitar and vihuela, ‘el rey de los renacimiento instrumentos español’ (the king of Spanish renaissance instruments). Shaped in a manner more closely resembling that of a modern guitar, yet tuned in the manner of a lute, the vihuela was the defining musical instrument of late 15th- and 16th century Spain. With Jennifer Ellis Kampani (soprano). The performance features works by Juan del Enzina (c. 1468–1630), Luis Milan (c. 1500–1561), Alonso Mudarra (c. 1510–1580) and Luis de Narvaez (c. 1500–1550).
April 29, 2011. Performance at Herbst Theatre for Humanities West multidisciplinary program Minoan Crete: The Dawn of European Civilization. Enomenoi Dancersof the Church of the Holy Cross, Belmont, California.
April 30, 2011. Crete, continued. Second Performance at Herbst Theatre. Arianna’s Laments.Mezzo soprano Lauren Groff performs Monteverdi’s “Lamento d’Arianna,” the aria from the lost opera Arianna, and Haydn’s solo cantata “Arianna a Naxos,” with piano accompaniment by Allen Perriello. Introduced by Clifford (Kip) Cranna (SF Opera).
Performances for Humanities West 2011-12 Season
November 4, 2011. Performance at Herbst Theatre for multidisciplinary Humanities West program Notre Dame: The Soul of Medieval Paris. The Cathedral and the Lady. Clerestory: A Capella. Jesse Antin, Kevin Baum, John Bischoff, Dan Cromeenes, Chris Fritzsche, Tom Hart, David Kurtenbach, Clifton Massey, Jim Monios, Justin Montigne. Introduced by Clifford (Kip) Cranna (SF Opera)
Beata Viscera Pérotin (fl. c. 1200)
Agnus Dei from Messe de Nostre Dame Guillaume de Machaut (c. 1300 – 1377)
Ave Regina Coelorum Guillaume Dufay (1397 – 1474)
Riches d’Amour Guillaume de Machaut
D’un Autre Amer Johannes Ockeghem (c. 1410 – 1497)
Virgo Rosa Gilles Binchois (c. 1400 – 1460)
Rose, Liz, Printemps, Verdure Guillaume de Machaut
Viderunt Omnes Pérotin
Ave Maria, Virgo Serena Jean Mouton (1459 – 1522)
Agnus Dei from Missa de Beata Virgine Josquin Des Prez (c. 1450 – 1521)
Salut, Dame Sainte Francis Poulenc (1899 – 1963)
from Quatre Petit Prières de Saint François d’Assise
Tota Pulchra Es Maurice Duruflé (1902 – 1986)
Hymne à la Vierge Pierre Villette (1926 – 1998)
November 5, 2011. Performance and Lecture at Herbst Theatre: Apocalypse and Debauchery: Anti-clericalism in Medieval French Music and Literature. Multi-instrumentalist and Singer Tim Rayborn (Berkeley) explores the rise of secular culture in mid-thirteenth-century Paris and the conflicts with religious organizations that followed from it. He focuses on the arguments between the secular masters and the mendicant orders at the University of Paris, and how this debate found its way into the secular music and poetry of the time. He will present examples of this poetry and music, performed with medieval instruments, and show how anti-clericalism became an important part of medieval French artistic culture, despite the inherent dangers of angering Church authorities.
February 10, 2012. Performance at Herbst Theatre for Humanities West multidisciplinary program China: The Power and the Glory of Ming China. Yangqin Zhao and Gangqin Zhao of Melody of China, San Francisco, performing on the Yangqin and Guzheng. The Yangqin is a Chinesehammered dulcimer with a near-squared soundboard. The instrument is very similar to Santur, played with two bamboo sticks. The Guzheng is a Chinese zither with movable bridges and 16 - 25 strings. In the same family there are the Japanese koto, the Vietnamese dan tranh, the Korean kayagum, and the Mongolian Yagtaof.
April 27, 2012. Double Performance at Herbst Theatre for Humanities West multidisciplinary program Pompeii and Herculaneum: Rediscovering Roman Art and Culture. Music of the Neapolitan School: The Scarlattis. Anne-Kathryn Olsen (soprano), Danielle Reutter-Harrah (Mezzo-Soprano), Susie Fong (Harpsichord), Hallie Pridham (violoncello). Cantatas of Alessandro Scarlatti, Founder of Neapolitan School of Opera (Naples, 1660-1725). Introduced by Clifford (Kip) Cranna (SF Opera). Sonatas of Domenico Scarlatti (Giuseppe Domenico Scarlatti) (Naples, 1685 – Madrid, 1757). Arranged by the Italian Cultural Institute and introduced by Luciano Chessa (San Francisco Conservatory of Music).
Lisa, del foco mio (Cantata for Two Voices and Continuo) Alessandro Scarlatti (1660–1725)
Keyboard Sonata in G Minor, K. 8 (“Bucolic”) Domenico Scarlatti (1685–1757)
Keyboard Sonata in D Minor, K.9 (“Pastorale”)Domenico Scarlatti
Performances for Humanities West 2012-13 Season
October 19, 2012. Lecture and Performance at Marines’ Memorial Theatre for Humanities West multidisciplinary program Paris: American Expatriate Genius in the 1920s and 1930s. Virgil Thomson’s Portraits and Influences. Luciano Chessa (SF Conservatory of Music) introduces us to Virgil Thomson and Chessa’s experience with Chessa’s new opera, A Heavenly Act, presented with a new production of Four Saints in Three Acts: An Opera Installation, A Virgil Thomson Opera with Gertrude Stein libretto, presented by SF MOMA with Ensemble Parallele at Yerba Buena Center in August 2011. Performance of Thomson’s Portraits with Heidi Moss (soprano), Chessa on piano, and Benjamin Kreith (violin).
October 20, 2012. Second Performance at Marines’ Memorial Theatre. A Salon Performance: Paris Portraits. Actress Laura Sheppard brings to life the voice of Harriet Lane Levy, one of the California ex-pats living in Paris who became part of Gertrude Stein’s extended entourage of family, friends, and artists and recounted her experiences inParis Portraits: Stories of Picasso, Matisse, Gertrude Stein, and Their Circle. The 40-minute salon performance in period costume is directed and designed by Suzanne Stassevich. Pianist Karen Rosenak provides accompaniment, playing the music of Erik Satie and other composers of the era.
February 22, 2013. Performance at Marines’ Memorial Theatre near Union Square, San Francisco for Humanities West multidisciplinary program Charles II: Phoenix of Restoration London. Music of Seventeenth-Century London. Gilbert Martinez, Artistic Director, MusicSources, (harpsichord), with Rita Lilly (soprano) and Joshua Lee (viola da gamba). Introduced by Clifford (Kip) Cranna (SF Opera).
Rondeau, from Abdelazar, or the Moor’s Revenge (1676) Henry Purcell (c. 1659-1695)
The Lord Monck's March Anonymous (17th century)
Sweeter than Roses Purcell
The Fatal Hour Purcell
Suite No. 6 in D Major, Z.660 Purcell
Since From My Dear Astrea’s Sight, from Dioclesian (1690) Purcell
A Polish Villanelle Tobias Hume (c.1579-1645)
Touch Me Lightly Hume
I Am Falling Hume
Evening Hymn Purcell
April 26, 2013 Performance at Marines’ Memorial Theatre near Union Square, San Francisco for Humanities West multidisciplinary program Bernini’s Rome: Art and Architecture of the Baroque. Italian Baroque Music, with Corey Jamason (harpsichord), SF Conservatory of Music; Richard Savino (guitar, theorbo) and Céline Ricci (soprano). Introduced by Kip Cranna (SF Opera).
Toccata Giovanni Girolamo Kapsberger (1580–1651)
Amanti io vi so dire Benedetto Ferrari (1603–1681)
Sinfonie Francesco Corbetta (c. 1615–1681)
Se l’aura spira Giovanni Frescobaldi (1583–1643)
Cento partite sopra passacagli Giovanni Frescobaldi
Tocatta Allessandro Piccinini (1566–1638)
Cosi mi disprezzate Giovanni Frescobaldi
Tocatta & Ciaconna Domenico Pelligrini (fl. 1650)
Chi desia Francesca Caccini (1587–1641)
Performances for Humanities West 2013-14 Season
November 1 and 2, 2013. Performances at Marines’ Memorial Theatre near Union Square, San Francisco for Humanities West multidisciplinary program Verdi’s Masterwork: Opera and the Birth of Modern Italy.
November 1: O PATRIA MIA: Bringing Patriotism to Life on the Stage, with Clifford (Kip) Cranna (SF Opera). What does patriotism sound like? What does it look like? Opera producers confront this problem often when they stage Verdi's operas, with their veiled, and sometimes overt, expressions of patriotic longing, rebellion against oppression, and nationalistic aspiration. In this lecture-demonstration, video examples will explore the ways in which opera companies of our era have made these scenes unfold for modern audiences, while live performances by talented young singers help will bring us into Verdi's emotional world of personal devotion to homeland. Accompanied by Ron Valentino on the piano, soprano Hope Briggs performs "Ritorna vincitor" and "O patria mia" from Verdi’s Aida.
November 2: Second Performance/Demonstration, How to Listen to Verdi. Clifford (Kip) Cranna. The music of Verdi’s operas is compelling, uplifting, dramatic, and full of melody. But what’s behind the structure and the shape of the music? Verdi’s innovative and imaginative approach to opera broke new ground, but was nonetheless based on established operatic practice. Can understanding the musical and dramatic construction of a Verdian scene help the listener to appreciate and enjoy it even more? Kip Cranna explores this question with an analysis of how Verdi scenes are put together, using video and live musical examples to help us to a new perspective on a great musical genius at work. Cheryl Cain (soprano) performs “Ah, fors’è lui . . . Sempre libera” from Verdi’s La Traviata, accompanied by Ron Valentino. With Chris Coyne (tenor).
February 28, 2014. Performance at Marines’ Memorial Theatre near Union Square, San Francisco for Humanities West multidisciplinary program Constantinople and the Byzantine Millennium. Enomenoi Dancers of Belmont. February 28.Second Performance: Anthology of Byzantine Melodies. Reverends Apostolos Koufallakis, Nikos Bekris, John Kololas, Dimosthenis Paraskevaidis, Nebojsa Pantic, Michael Prevas, Alex Leong, Peter Salmas, Jon Magoulias, and Aris Metrakos; and George Haris and Basil Crow perform under the direction of Costas Haralambopoulos, Annunciation Cathedral, San Francisco.
March 1, 2014. Constantinople program, continued: Performance: Holy Trinity Youth Choir, directed by Anysia Dumont.
April 25, 2014. Performance at Marines’ Memorial Theatre near Union Square, San Francisco for Humanities West multidisciplinary program Baghdad in its Golden Age. Featuring Cançonièr, a Bay Area-based early music group devoted to medieval repertoire from the 12th to the 15th centuries, and some traditional music from related regions (Scandinavia, the Balkans, and the Middle East). With Tim Rayborn, Shira Kammen.
Performances for Humanities West 2014-15 Season
October 24, 2014. Performance at Marines’ Memorial Theatre near Union Square, San Francisco for Humanities West multidisciplinary program The Roman Republic.Stanford Classics in Theatre(Stanford Graduate Students)Premier Performance. Adapting Roman Classic Plays, either Terrence or Plautus.
October 25, 2014. The Roman Republic, continued. Lecture/Performance: Cicero: Eloquence Personified Then and Now. Christopher Krebs (Associate Professor of Classics, Stanford). Also Our Virgilian Age: Latin Literature and Its Reception in the Modern Era.Susanna Braund (Professor of Classics, U BC, formerly at Stanford), a recitation of Virgil’s First Eclogue.
February 27, 2015. Performance at Marines’ Memorial Theatre near Union Square, San Francisco for Humanities West multidisciplinary program Charlemagne: The Father of Western Europe. Carolingian Music.Premier Performance. With Clerestory: A Capella. Jesse Antin, Kevin Baum, John Bischoff, Dan Cromeenes, Chris Fritzsche, Tom Hart, David Kurtenbach, Clifton Massey, Jim Monios, Justin Montigne. Introduced by Clifford (Kip) Cranna (SF Opera).
February 28, 2015. Charlemagne, continued. Performance:Haydn’s Orlando Paladin, based on Ariosto’s Orlando Furioso and La Chanson de Roland; countertenor and pianist TBD; introduced by Kip Cranna (SF Opera).
May 1, 2015. Performance at Marines’ Memorial Theatre near Union Square, San Francisco for Humanities West multidisciplinary program The Great War: Cultural Reverberations. Performance: Postwar Parisian Mélodie. Céline Ricci (soprano), and Daniel Lockert and Eliane Lust (piano). In 1917 Paris, Jean Cocteau, Erik Satie, Pablo Picasso, Diaghilev and Les Ballets Russes created the ballet Parade, a work of derision and a great scandal. Men were dying at the front and, in Paris, it had become the practice to mock established values. The contrast between the brutality of the modern world and the poetic universe of the ballet is a bias of lightness in the middle of The Great War. Following this, a tremendous creative output emerged, starting with the collaboration of Satie, Cocteau and a group of new musicians known as le groupe des Six. They wanted to break with the past and with impressionism, they wanted to create an everyday music. Georges Auric’s Huit Poèmes and Francis Poulenc’s Cocardes are a perfect illustration of this style close to popular life and to the streets. They also illustrate the “patriotisme parisien” that had been intensified by the War.
Parade: Piano for Four Hands Erik Satie (1866-1925)
Huit Poèmes de Jean Cocteau Georges Auric (1889-1982) (1920)
CocardesFrancis Poulenc (1899-1963) – Jean Cocteau, poet (1920)
Humanities West Performers 2009-15 Annunciation Cathedral (San Francisco) Performers for Humanities West Special Performance: Reverends Apostolos Koufallakis, Nikos Bekris, John Kololas, Dimosthenis Paraskevaidis, Nebojsa Pantic, Michael Prevas, Alex Leong, Peter Salmas, Jon Magoulias, and Aris Metrakos; and George Haris and Basil Crowperform under the direction of Costas Haralambopoulos,
Hope Briggs (soprano) made her SF Opera debut as the Duchess of Parma in Busoni's Doktor Faust. Other operatic roles have included Die Zauberflöte at Frankfurt Opera, Le nozze di Figaro and Carmen at Opera Company of Brooklyn, Don Giovanni and Die Zauberflöte at Opera San Jose, Suor Angelica at Pacific Repertory Opera, Il Trovatore and Don Giovanni at Operesque Classical Concerts, and Houston Grand Opera's National Tour of Porgy and Bess. She created the role of Paula in Hector Armienta's River of Women. Her concerts include Verdi's Requiem, Mozart's Coronation Mass and Requiem, Vivaldi's Gloria, Villa-Lobos' Bachianas Brasileiras, Rachmaninoff's Vocalise and Lailstork's I Will Lift Up Mine Eyes. She was featured soloist in SF Symphony's Wondrous Sounds of Christmas; Marion J. Caffey's Three Mo' Divas and the Rev. Billy Graham Crusade. Her awards include National Finalist in the Metropolitan Opera National Council Auditions, Metropolitan Opera International Vocal Competition Award, and the Encouragement Award of Licia Albanese Puccini Foundation.
Created by multi-instrumentalist Tim Rayborn and recorder virtuoso Annette Bauer, the group Cançonièr appears both as a duo, and in an expanded form, featuring the talents of Bay Area favorite Shira Kammen on bowed strings, and the remarkable voice of Phoebe Jevtovic. Founded in the summer of 2008, the group has quickly gained the attention of the early music community, and received acclaim for its musicianship, unusual and exciting concert programs, and its debut CD. Utilizing voices and instruments, including a range of historical recorders, medieval harp, lute, citole, psaltery, percussion, symphonie, vielle, and others, Cançonièr brings to life the vibrant musical cultures of medieval Europe, through a combination of scholarly research, improvisational techniques, and impeccable musicianship. Cançonièr is an Occitan word (medieval southern French), meaning “songbook.” Its equivalent in northern France was the chansonnier. These books were medieval collections of songs, with both secular and sacred works being included. Thus, the group is a kind of modern “medieval songbook,” bringing to life the medieval musical treasures of Europe in fresh ways that nevertheless respect their traditions and historical context. Cançonièr seeks to inform as well as entertain, and the group’s concerts are spiced with fascinating historical anecdotes, and a healthy dash of humor! The group has performed in the Bay Area, Davis, the Oregon coast, and Portland. Phoebe and Tim performed at the Giornate Medioevale in the medieval hill town of Poggio in Umbria, Italy.
Cheryl Cain is a professional singer, violinist and teacher in San Francisco. She performs with the San Francisco Opera, the San Francisco Symphony, American Bach Soloists, and San Francisco Renaissance Voices. She has her Bachelor of Music degree from the San Francisco Conservatory of Music and her Master of Music degree from the Manhattan School of Music, and she continued her studies in opera in Florence, Italy. She is a member of the American Guild of Musical Artists and the National Association of Teachers of Singing. She has performed in operas in both San Francisco and New York City and as a soloist throughout North America and Europe. She is a regular soloist at the San Francisco Swedenborgian Church and teaches voice, violin and more.
As a composer, conductor, pianist, and musical saw/Vietnamese dan bau soloists, Luciano Chessa has been active in Europe, the US, and Australia. Recent compositions include A Heavenly Act, an opera with video by Kalup Linzy commissioned by the SFMOMA and premiered by the Ensemble Paralléle. As a music historian Chessa completed Luigi Russolo Futurist. Noise, Visual Arts, and the Occult, the first monograph on the Futurist Russolo's Art of Noise, out on UC Press in March 2012. Chessa's Futurist expertise resulted in an invitation from New York's PERFORMA to direct/conduct the first reconstruction of Russolo's earliest intonarumori orchestra. The production was hailed by The New York Times as one of the best events in the arts of 2009; in March 2011 Chessa presented it in a sold out concert for Berliner Festspiele-Maerzmusik Festival; in December 2011 Chessa conducted it with the New World Symphony as part of Art Basel|Miami Beach.
Clerestory features vocalists Jesse Antin, Kevin Baum, John Bischoff, Dan Cromeenes, Chris Fritzsche, Tom Hart, David Kurtenbach, Clifton Massey, Jim Monios, and Justin Montigne. Clerestory is the Bay Area's acclaimed ten-man classical a cappella ensemble. Veterans of SF’s finest professional vocal groups, Clerestory's singers, from countertenor to bass, remain members of the Bay Area choral community and pride themselves on providing unparalleled performances to local audiences. Clerestory is named for cathedral architecture whereby upper windows let in daylight. The ensemble tells the "clear story" of the music it performs through sophisticated performances grounded in decades of experience singing together. Clerestory has been described as “distinctive voices blending in a gorgeous sound” by San Francisco Classical Voice, and “a model of what a great choral concert should be” by BBC Magazine columnist Chloe Veltman. Clerestory’s website, www.clerestory.org, features free archived concert recordings and a private e-mail list sign-up. Clerestory is a tax-exempt non-profit that relies on the generosity of its community to sustain its progressive mission.
Clifford (Kip) Cranna (PhD, Musicology, Stanford) is Director of Musical Administration at SF Opera. He has served as vocal adjudicator for numerous groups including the Metropolitan Opera National Council. For many years he was Program Editor and Lecturer for the Carmel Bach Festival. He lectures and writes frequently on music and teaches at the SF Conservatory of Music. He hosts the Opera Guild’s “Insight” panels and intermission features for the SF Opera radio broadcasts, and has been a Music Study Leader for Smithsonian Tours. In 2008 he was awarded the SF Opera Medal, the company’s highest honor.
The Enomenoi Dancers, from the Church of the Holy Cross in Belmont, are directed by Peter Kalafatis. Peter has been involved with Greek dancing for over 35 years—performing with several Greek folk dance groups. For the last several years, he has been able to pass on his love of Greek dancing by directing the Enomenoi Dancers. In addition to numerous performances across California and Nevada, the Enomenoi Dancers have participated in the annual Greek Folk Dance Festival and have won multiple awards.
Susie Fong (harpsichord) is active both as a harpsichord soloist and continuo player and has participated in such festivals and workshops as the Tafelmusik Baroque Summer Institute, American Bach Soloists Summer Academy, Vancouver Early Music Festival, and SFEMS. She has performed regularly as part of the SFCM Baroque Ensemble, including its concert version of Handel’s Alcina. Susie has an M.M. in Harpsichord Performance from the San Francisco Conservatory of Music, where she studied with Corey Jamason, and received her BA in Music at UC Berkeley, where she studied harpsichord with Laurette Goldberg and played in the Collegium Musicum. Susie is also an accomplished solo and chamber pianist, having studied with Audrey Grigsby and Robert Rios in Southern California. She currently performs in the bay area as part of Liaison as well as The Vinacessi Ensemble, and teaches harpsichord both privately and in the SFCM Preparatory and Adult Extension Division.
Lauren Groff (mezzo-soprano) completed her master’s in Vocal Performance at the SF Conservatory of Music, portraying Hänsel (Hänsel and Gretel), Hippolyta (A Midsummer Night’s Dream), Lidio (L’Egisto-Cavalli), and Meg (Little Women). Other Bay Area roles have included Claudio (Silla-Handel), Cherubino (Le nozze di Figaro), Dorabella (Così fan tutte), and the title role in Carmen. Her concert credits include Respighi’s Laud to the Nativity, Vivaldi’s Gloria, Andrew Lloyd Webber’s Requiem, Handel’sMessiah, Mozart’s Grand Mass in C-minor, Saint-Saëns Christmas Oratorio, Rossini’s Petite Messe Solonnelle, and Mozart’s Requiem. Ms. Groff made her Herbst Theatre debut singing “13 Words” by NicoMuhly in conjunction with City Arts & Lectures featuring Lemony Snicket and Maira Kalman.
Holy Trinity Youth Choir performs under the direction of Anysia Dumont, in a premier performance for Humanities West.
Corey Jamason (harpsichord) is an active international soloist and chamber music collaborator. The Los Angeles Times recently stated, “Jamason’s clear-headed performance of the Italian Concerto rang in our ears. . . . navigated easily through the work’s contrapuntal maze and gave it the careful, due balance of objective detachment and lofty passion.” He has collaborated with Jean-Pierre Rampal, Wieland Kuijken, Eva Legêne, Joseph Silverstein, Marion Verbruggen and other artists, and he appears frequently on National Public Radio’s Performance Today. He has performed with the San Francisco Symphony, Los Angeles Opera, American Bach Soloists, Musica Angelica, Philharmonia Baroque Orchestra, El Mundo, San Francisco Bach Choir and Camerata Pacifica. Festival appearances include the Berkeley, Bloomington, Bach Aria, San Luis Obispo Mozart and Norfolk festivals. He received degrees from Yale University, where he was a student of Richard Rephann; SUNY–Purchase; and Indiana University, where he received a D.M. degree. Recent recordings include performances with the violinist Gilles Apap, El Mundo and American Bach Soloists. In spring 2007 he was named director of the San Francisco Bach Choir.
Multi-instrumentalist and vocalist Shira Kammen received her music degree from UC Berkeley and studied vielle with Margriet Tindemans. Shira has performed with Alcatraz, Project Ars Nova, Medieval Strings, Sequentia, Hesperion XX, Boston Camerata, Balkan group Kitka, and the Oregon, California and SF Shakespeare Festivals; with John Fleagle, Fortune’s Wheel, Ephemeros, Panacea, Patrick Ball, Anne Azema, Susan Rode Morris, Margriet Tindemans, and in theatrical and dance productions. She founded Class V Music, an ensemble performing on river rafting trips. She has performed and taught in the US, Canada, Mexico, Europe, Israel, Morocco, and Japan, and on the Colorado, Rogue and Klamath Rivers. She has played on soundtracks, including ‘O,’ a modern high school-setting of Othello. Her original music can be heard in a film about fans of JRR Tolkien. The strangest place Shira played is the Jerusalem Zoo elephant pit.
A graduate of University of Michigan and the Guildhall School of Music in London, Jennifer Ellis Kampani (soprano) is a specialist in the music of Spain and Latin America. She has toured villancicos and zarzuelas extensively with Richard Savino and El Mundo. She has been heard in many concert series and festivals including Aston Magna, Houston Early Music, Music Before 1800, Miami Tropical Baroque, Connecticut Early Music, Carmel Bach, and Berkeley and Boston Early Music Festivals. Ms. Kampani has recorded Villancicos y Cantadas and The Essential Giuliani for Koch, the works of Cozzolani (Gramophone editors pick, August 2002) for Musica Omnia, and Carissimi Motets and Cantatas for Hungaroton. Ms. Kampani was awarded finalist in the 2004 Early Music America Medieval/Renaissance Competition, first runner up at the 2000 Bethlehem Bach Vocal Competition, the Adam's Fellowship at the Carmel Bach Festival, and performed at the Pacific Music Festival in Sapporo, Japan with Nicholas McGegan.
Violinist Benjamin Kreith recently spent several years in Montana playing and teaching as a member of the Cascade Quartet and concertmaster of the Great Falls Symphony. He has performed as a guest artist with the Ying and Muir Quartets and premiered solo works at the festivals in Strasbourg and Marseille. Kreith helped to found the Ensemble CGAC in Santiago de Compostela, which worked with distinguished composers including Francisco Guerrero and Magnus Lindberg. His live recording of Christian Lauba’s Kwintus for violin solo is available on the Accord/Universal CD Morphing.
Praised by the Cleveland Plain Dealer as a “master of the scoreʼs wandering and acrobatic itinerary," Joshua Lee (viola da gamba) performs with some of the world's leaders in early music. A graduate of the Peabody Conservatory and the Longy School of Music, Josh is the founder of Ostraka, and he has performed with the Los Angeles Philharmonic, Carmel Bach Festival, Musica Angelica, Boston Early Music Festival Orchestra, Seattle Baroque Orchestra, Les Délices, and Philharmonia Baroque Orchestra. Josh's performances have been heard on National Public Radio's Performance Today and Harmonia, and he has recorded for Dorian, Koch International and Reference Recordings. In 2011 Josh toured the US and South America for The Infernal Comedy starring acclaimed actor John Malkovich, and in 2012 Josh directed the fourth Viola da Gamba Society’s Young Playersʼ Weekend.
Michelle Levy (viola) studied classical viola with Consuelo Sherba and David Rubenstein, and Old Timey fiddle/banjo with Jeff Titon at Brown University. After receiving the McKasson scholarship to Valley of the Moon Scottish Fiddling School, she fell in love with the spontaneity of folk music. She toured nationwide with improvisational world music ensemble Cantiga. She continues to study vielle with Shira Kammen, while performing with an eclectic variety of ensembles and vocalists, including Celtic singer Abby Green and Maia Archote. She teaches at Music Sources Center for Historically Informed Performances and at Bay Area Academy of Music and Art & Soul Music Studios.
Rita Lilly (soprano) has appeared as featured soloist with American Boychoir, American Classical and American Symphony Orchestras, Artek, Bachworks, Bach Aria Group, Clarion Music Society, Collegium Antiquum, Concert Royal, Rebel, and the NY Consort of Viols. In the Bay area, Ms. Lilly has been a soloist with AVE, Albany Consort, American Bach Soloists, Bay Choral Guild, Berkeley Early Music Festival, California Bach Society, Chora Nova, City Concert Opera, Magnificat Baroque Ensemble, Musicsources, New Music Works, SF Concert Chorale, SF Renaissance Voices, and Sacramento Baroque. She toured the US and abroad with Waverly Consort. She was featured on WNYC, WNCN, NPR, and Radio-Canada live broadcasts. She made her NY Weill Recital Hall debut in Pergolesi’s Stabat Mater with Collegium Antiquum. Her recordings include three on EMI; Handel and Vivaldi’s Dixit Dominus on Musical Heritage; Scarlatti’s St. Cecilia Mass on Newport Classic; Sowerby’s Medieval Poem on Naxos; a German Baroque Christmas on Musicmasters and Orff’s Carmina Burana
Daniel Lockert is a multi-talented pianist/collaborator. He was honored as the only A,erican finalist at the first International Accompanying Competition held in Den Hague, the Netherlands. His wide-ranging career has taken him around the globe, playing through the United States, Europe, Japan, Australia, and New Zealand. He has been praised for exhibiting a strong sense of rhythm, lovely variety of touches, and a convincing sense of historical style. Mr. Lockert has partnered with many notable singers including Deborah Voight, Enrico di Giuseppe, Brenda Boozer, Janice Taylor and Christopheren Nomura. His chamber music performances have included appearances with the Alexander String Quartet among others. Lockert began his piano studies at the age of five. He received his Bachelor of Music in Piano Performance with a minor in organ from Loma Linda University. Following were studies for an advanced degree at USC in the accompanying, studying with the renowned Gwendolyn Koldofsky. He is professor of Collaborative Piano at Notre Dame de Namur University in Belmont, CA. He has also taught at Julliard School, the San Francisco Conservatory of Music, and Chapman University and served on the coaching staffs at the San Francisco Opera, Opera San Jose, and the Aspen Music Festival.
Internationally acclaimed concert pianist Eliane Lust (El-yaan Loost) is an American classical pianist who was raised in Belgium. Her principle teachers, legendary concert pianists Leonard Shure and György Sebök mark her education directly to the great classical German and Hungarian musical traditions of both Ludwig van Beethoven and Franz Liszt. Lust is devoted to a tremendous repertoire range from Bach, Beethoven, Chopin, Schumann, Brahms, Ravel, Debussy and Liszt to such modernists as Frederic Rzewski, Charles Shere, Leon Kirchner, Horaţiu Rădulescu, Ron McFarland, Darius Milhaud and John Cage, most of whom she has worked with closely.
Gilbert Martinez (harpsichord) is the Artistic Director of Music-Sources, the Bay Area’s center for early music. He studied harpsichord at the SF Conservatory of Music with Laurette Goldberg, who was the founder of Philharmonia Baroque Orchestra and Music-Sources. Subsequently he was invited to Italy to study with Alan Curtis. In addition to revitalizing Music-Sources’ concerts and programs, Mr. Martinez has had the pleasure of appearing with many soloist and ensembles, including Anne Akiko Meyers, Les Idées Heureses of Montreal, The New Century Chamber Orchestra, and Musica Angelica, to name only a few. Find out more about his recent activity at www.musicsouces.org.
Peter Maund (percussion), a native of San Francisco, studied percussion at the San Francisco Conservatory of Music; tabla with Swapan Chauduri at the Ali Akbar College of Music; and music, folklore, and ethnomusicology at UC Berkeley (AB, MA). As a PhD candidate at Berkeley, he specialized in the music of north India. He specializes in hand percussion from the Middle East and North Africa. He has performed and recorded with various early music, contemporary music, and world music ensembles throughout North American, the UK, and Europe, including Chanticleer, Ensemble Project Ars Nova, Paul Hillier, Quaternaria, and Philharmonia Baroque Orchestra. He has toured with Jordi Savall’s Hesperion XX in a program of medieval Spanish music, and performs and records regularly as a member of Ensemble Alcatraz, Davka and Alasdair Fraser’s Skyedance. He has played on film and television soundtracks and has appeared on dozens of recordings. He also enjoys teaching and presenting lectures, workshops and classes.
David Morris (violoncello) received his BA (Magna cum laude) and MA in Music from UC Berkeley and was awarded the University’s Eisner Prize for excellence in the performing arts. He has performed with Philharmonia Baroque Orchestra and been a guest of the LA and Portland Baroque Orchestras and the Mark Morris Dance Company. He is a member of Musica Pacifica and is the musical director of the Bay Area baroque opera collective Teatro Bacchino. He is Dean of Students at the Crowden School in Berkeley and has conducted the Crowden School Orchestra on festival tours in the UK and Europe. He has recorded for Harmonia Mundi, Dorian, New Albion, and New World.
Céline Ricci studied in Paris with Ana Maria Miranda and at the prestigious London Guildhall School of Music and Drama. Selected by conductor William Christie for Les Jardin des Voix, she was named one of opera’s promising new talents in 2005 by Opernwelt. Opernwelt singled out her performance as Arbace in Terradellas’ Artaserse as a “tour de force,” her coloratura abilities “equal to those of Cecilia Bartoli.” She appears frequently for the prestigious Les Arts Florissants. Her discography includes Cirque (2011) and a CD of French melodies (2012). Recent operas include Angelica in Handel’s Orlando (Sacramento Opera), Clitia in Handel’s Teseo (Göttingen-Handel Festival), Handel’s Athalia (Philharmonia Baroque Orchestra), Purcell’s Dido and Aeneas (numerous companies). Collaborating conductors include Nicolas McGegan, Hugo Reyne, Friedmann Layer, P. Cohen-Akenine, Enrique Mazzola, Jean-Christophe Spinosi, Martin Haselbock, Martin Gester, Timm Rolek. Ricci has toured in Berlin, London, Brussels, Israel, and Barcelona, Paris, Vienna, Amsterdam, Moscow, and St. Petersburg.
Susan Rode Morris (soprano), a native of the SF Bay Area, is a founding member of Ensemble Alcatraz and has sung with Philharmonia Baroque Orchestra, American Bach Soloists, Sequentia Koln, Sex Chordae Consort of Viols, Foolia!, Magnificat!, Women’s Philharmonic and others in North America and Europe. She has premiered numerous works of Bay Area composers, including opera and theatre pieces, and has performed at Kennedy Center in Washington DC, Metropolitan Art Museum in New York, the Cloisters Bellas Artes in Mexico City, in Boston, Seattle, Phoenix, New Orleans, Portland, Pittsburgh, London, Regensberg, Vancouver, and at Stanford, UC Berkeley, and UC Davis, Oberlin College, and Washington State University. Ms. Morris has collaborated with Shira Kammen, Phebe Craig, Judith Nelson, Alasdair Fraser, Paul Hillier, John Dornenburg, and others. In 1992 she founded Donsuemor, which has released CDs of the songs of Henry Purcell and of Robert Burns. For many years she has studied voice with the legendary Lilian Loran. A special love is teaching children the joy of singing. Heidi Moss (soprano) relocated to the Bay area from NYC in 2003 and has performed with area companies such as West Bay Opera, Pocket Opera, Livermore Opera, Fremont Symphony, Oakland Symphony, Sacramento Choral Society, and the San Francisco Lyric Opera. She also has been a part of the San Francisco Opera family as Rosina in their outreach production of The Barber of Seville and with the Adler Fellows in a premiere of Gang Situs opera The Grand Seducers. This past year, she also worked with composer/benefactor Gordon Getty to record his new opera Usher House with both the San Francisco Opera Orchestra and the Russian National Orchestra. She was also thrilled to be a part of Ensemble Paralelle and SF MoMA's groundbreaking production of 4 Saints in 3 Acts in August of 2011. Herb Myers (DMA, Stanford) is Lecturer of Renaissance Winds at Stanford University. He is also Curator, Harry R. Lange Historical Collection of Musical Instruments and Bows, and a Member of The Whole Noyse. Formerly he was a member of the New York Pro Musica Antiqua. He has recorded for Columbia, Orion, Intrada, and Musical Heritage Society. His articles and reviews have appeared in Early Music, American Recorder, Journal of the American Musical Instrument Society, Galpin Society Journal, and Journal of the Viola da Gamba Society of America; EMA Performance Guides.
Anne-Kathryn Olsen (soprano) has performed in Austria, Germany, Czech Republic, and in Hungary as a soloist with the Desert Spring Chorale, performing Mozart’s Credo Mass. She performed as a soloist at the 2011 Toronto Summer Baroque Institute in Charpentier’s Messe des Morts and also at Phoenix Symphony, Arizona Ballet, American Bach Phoenix, Phoenix Early Music Society, Arizona State Baroque Ensemble, and Academy of Baroque Opera in Seattle. Locally she has appeared with Voices of Music (as a winner of the Young Artist Competition,) San Francisco Choral Artists, Oakland Civic Orchestra, Opera San Jose, and Starlite Vineyard Chamber Music Series. Her operatic credits include Cleopatrain Giulio Cesare and Oberto in Alcina with the San Francisco Conservatory of Music Baroque Ensemble, as well as Lucy in Telephone and The Dew Fairy in Hansel and Gretel. She is a member of Liaison, a chamber group specializing in French baroque repertoire. Her Bachelor’s is from the Herberger School of Fine Arts at Arizona State University and Master’s from San Francisco Conservatory of Music.
Alessandro Palmeri (cello)studied cello at the Conservatory of Music, Palermo. He has performed as
1° cello and soloist in Europe, Russia, Canada, US, Argentina, Uruguay, Chile, and Japan for prestigious musical institutions and international festivals. He recorded for Symphonia, Tactus, Florentia Musicae, Stradivarius, Amadeus, Hyperion, Opus 111, Naive, and ZigZag. He has attended the course at Fondazione Cini of Venice and collaborated with ensembles of ancient music “Il Ruggiero,” “Auser musici,” “Antonio Il Verso,” “L’Astrée,” “Cantica Simphonia,” “La Venexiana,” “AcademiaMontis Regalis,” collaborating with Savall, Kuiyken, Coin, De Marchi. He is member of Imaginarium by Enrico Onofri. He founded the chamber ensemble Il Ricercar Continuo. He has taught baroque cello and given master classes throughout Italy and Europe. He plays a rare cello, almost a ‘bassetto’ or bass violin, by Simone Cimapane (Rome 1685).Mr. Palmeri found and restored this unique violoncello, which was played in the Arcangelo Corelli Orchestra in Rome.
Pianist and coach Allen Perriello is a recent graduate of the Adler fellowship at SF Opera. He is on the music staff at Boston Lyric Opera, Seattle Opera, Opera Santa Barbara, and Des Moines Metro Opera. During his Adler fellowship, Perriello worked on the company’s productions of Porgy and Bess, Il Trovatore, Die Entführung aus dem Serail, Faust, Le nozze di Figaro, and Madama Butterfly. He is an alumnus of the 2008 Merola Opera Program. Other professional engagements include Opera Cleveland, Rising Star Opera Theater, and Ash Lawn Opera. Perriello was awarded the Best Collaborative Pianist Prize in the 2008 Lotte Lehmann Foundation Competition. The Gibsonia, PA native holds a master’s degree in collaborative piano from the University of Cincinnati College-Conservatory of Music and a bachelor’s degree in piano performance and music education from Ithaca College.
Hallie Pridham (violoncello) graduated from Idyllwild Arts Academy in 2005 where she was principal cellist and won their 2005 concerto competition. At the San Francisco Conservatory of Music she studied modern cello with Jean-Michel Fonteaneau and baroque cello and viola da gamba with Elisabeth Reed. In 2007, Hallie performed with other members of the SFCM Baroque Ensemble at Kennedy Center in Washington DC for a broadcasted concert. In 2010, she won the SFCM Baroque Ensemble Concerto Competition and received the outstanding achievement award. Hallie received a scholarship to attend the American Bach Soloists Academy for the second year in summer 2011 and performed at the Boston Early Music Festival in 2011 with Early Music America’s Young Performers Ensemble. Hallie performs with Liaison and The Vinacessi Ensemble, the San Francisco Bach Choir and is house concert manager for San Francisco Early Music Society.
Tim Rayborn, an acclaimed multi-instrumentalist, plays dozens of musical instruments from medieval Europe, the Middle East, and the Balkans, including lutes, plucked strings, flutes, and percussion. He has recorded on more than 30 CDs for a number of labels, including Gaudeamus, Wild Boar, Harmonia Mundi, EMP, and Magnatune. Tim lived in the UK for seven years, taking his MA and PhD in medieval studies at the University of Leeds, and working as a musician. He has toured the US and Europe extensively from Ireland to Turkey, including concerts at the York and Beverley Early Music Festivals, Alden Biesen Castle in Belgium, Bunyloa in Majorca, and Spitalfields Festival in London. He has performed for BBC in the UK and Channel Islands, toured in Canada and Australia, and worked with folk musicians in Marrakech and Istanbul. He has taught at the SFEMS Medieval/Renaissance summer workshop and Pinewoods Early Music week in MA, and has appeared with many early music performers, including Ensemble Alcatraz, Anne Azema, Margriet Tindemans, Susan Rode Morris, Tom Zajac, and Sinfonye. In addition to solo work, he currently performs with Patrick Ball and collaborates regularly with Shira Kammen. www.timrayborn.com
Elisabeth Reed (viola da gamba & violoncello) was born and raised in Chapel Hill, North Carolina, and now lives in Oakland, California. She teaches viola da gamba, baroque cello, and ensembles at the San Francisco Conservatory of Music and at UC Berkeley. She performs with many local and national early music ensembles including the Seattle Baroque Orchestra, the Portland Baroque Orchestra, American Bach Soloists, the Novello String Quartet, Wildcat Viols, and the improvisational group, MOTOR. Recent highlights include solo and concerto appearances in 2011 at the Magnolia Baroque Festival and the Indianapolis Early Music Festival. A graduate of the North Carolina School of the Arts, the Oberlin Conservatory, the Eastman School of Music, and Indiana University's Early Music Institute, she can be heard on the Virgin Classics, Focus, and Magnatune recording labels. She is a Guild certified practitioner of the Feldenkrais Method of Awareness Through Movement and Functional Integration with a particular interest in the issues facing musicians and performers.
Danielle Reutter-Harrah (mezzo-soprano) hails from Portland, Oregon, and is an avid performer of baroque and early music. Recent performances include Lotti’s Mass for Three Choirs and Bach's Magnificat for American Bach Soloists and Bach’s Mass in B Minor with San Francisco Bach Choir. Danielle has been featured in Handel’s Messiah, Duruflé’s Requiem, Fux’ Requiem, Saint-Saëns’ Christmas Oratorio, Bruckner’s Requiem and other works. Recently she performed the role of Ruggiero in Handel’s Alcina at the San Francisco Conservatory of Music, and she performed the lead role in Purcell’s Dido and Aeneas with the Baroque Chamber Orchestra of Colorado. She has sung with Musica Sacra, St. Martin’s Chamber Choir, and Opera San Jose and is currently a member of the San Francisco Symphony Chorus. She holds a bachelor’s degree from the Lamont School of Music at the University of Denver and a master’s degree from the San Francisco Conservatory of Music.
Céline Ricci studied in Paris with Ana Maria Miranda and at the prestigious London Guildhall School of Music and Drama. Selected by conductor William Christie for Les Jardin des Voix, she was named one of opera’s promising new talents in 2005 by Opernwelt, which singled out her performance as Arbace in Terradellas’ Artaserse as a “tour de force,” and her coloratura abilities “equal to those of Cecilia Bartoli.” She appears frequently for the prestigious Les Arts Florissants. Her discography includes Cirque (2011) and a CD of French melodies (2012). Recent operas include Angelica in Handel’s Orlando (Sacramento Opera), Clitia in Handel’s Teseo (Göttingen-Handel Festival), Handel’s Athalia (Philharmonia Baroque Orchestra), Purcell’s Dido and Aeneas (numerous companies). Collaborating conductors include Nicolas McGegan, Hugo Reyne, Friedmann Layer, P. Cohen-Akenine, Enrique Mazzola, Jean-Christophe Spinosi, Martin Haselbock, Martin Gester, Timm Rolek. She has toured in Berlin, London, Brussels, Israel, and Barcelona, Paris, Vienna, Amsterdam, Moscow, and St. Petersburg.
Karen Rosenak (pianist) is an almost-native of the Bay Area. She was a founding member of Empyrean Ensemble and the new music ensemble EARPLAY, where she is also a pianist. She studied modern piano with Carlo Bussotti and Nate Schwartz, and fortepiano with Margaret Fabrizio. She is a full-time senior lecturer at UC Berkeley, where she has taught since 1990. She brought to the Humanities West stage dancers Hally Bellah-Gunther, Damon Mahoney, Lissa Resnick and Rita Dantas Scott.
Kathryn Roszak (choreography) (Artistic Director, Danse Lumiere) previously created choreography to music based on star maps at Grace Cathedral in SF. Danse Lumiere creates dance theater linking arts, environment, and humanity. Recent productions included writers Maxine Hong Kingston, Michael McClure, and Gary Snyder. The company has performed nationally and internationally. Roszak trained at Balanchine’s School of American Ballet in New York, SF Ballet School, London Academy of Music and Dramatic Art, and with the American Conservatory Theater’s MFA Program. She danced with SF Opera Ballet and has choreographed and taught for SF Opera Center, ACT, Dominican University and Osher Lifelong Learning Institute, UC Berkeley. Her choreography won awards from the Carlisle Choreography Project and the Djerassi Resident Artists’ Program. She writes for Theater Bay Area Magazine. She gave, with Bethany Cobb, an HW lecture at Mechanics’ Institute, Creating Star Dances: Choreography and Astronomy Collaboration for the International Year of Astronomy. www.dlkdance.com
Richard Savino (lutenist) (Doctorate, SUNY) lectures at the SF Conservatory of Music, directs ensemble El Mundo, and is Professor of Music at CSU Sacramento. His instructors included Andres Segovia, Oscar Ghiglia, Albert Fuller, and Jerry Willard. Mr. Savino’s recordings include the guitar music of Johann Kaspar Mertz, Santiago de Murcia, and Ludovico Roncalli; sonatas by Paganini and Giuliani; Venice Before Vivaldi; music by Barbara Strozzi, Biagio Marini, and Giovanni Buonamente; the Boccherini Guitar Symphonia and Op. 30 Concerto for Guitar by Mauro Giuliani; Essential Giuliani Volume 1; and Music Fit for a King. Mr. Savino received a Diapason d’Or from Compact (Paris) and a 10 du Rèpertoire (Paris). He is a principal performer for the NY Collegium, Portland Baroque Orchestra, SF Symphony; and with the Operas of Houston, Santa Fe, San Diego, Colorado, Dallas, and Glimmerglass Opera. He has also served as Visiting Artistic Director of Rutgers’ Aston Magna Academy and Music Festival.
Laura Sheppard (actor)is trained professionally in theater and dance and received her BFA in acting from Boston University’s School of Fine Arts. She has extensive background in experimental theater and had her own company, Gestural Theatre, in Boston for many years. Her solo show, Still Life with Stein, based on the writings of Gertrude Stein, toured to festivals in the US and Europe. She has worked as an events producer for over twenty-five years and produced the Earth Day Celebration and Ceremonies in Times Square (1990, New York) and the Jewish Music Festival (JCCEB and Bay Area locations 1998, 1999). She is currently director of events at the Mechanics’ Institute Library, San Francisco, where she presents author events and cultural programs. She continues to create and perform dramatic readings inspired by writers and great literature.
Suzanne Stassevitch (designer, director) developed an interest in theatrical productions based on literature and poetry while studying at the University of Missouri–Kansas City. She later received her MA in theater and directing from San Francisco State College. She worked with the San Francisco Opera for twenty-two years as head of wardrobe and was costume supervisor for many productions abroad. Suzanne collaborated with Laura Sheppard in 2007 as a directing consultant and as set and costume designer for the remounted production of Still Life with Stein. In 2008 she directed a staged reading of stories by William Saroyan for A Salute to Saroyan at the Mechanics’ Institute Library. Suzanne continues to pursue a lifelong passion for costumes and textiles with her own work. She is a member of the board of the Textile Arts Council at San Francisco Fine Arts Museum.
Stanford Classics in Theatre (SCIT). The purpose of Stanford Classics in Theater (SCIT) is to promote understanding of and engagement with classical theater through original research, rehearsal and production. SCIT aims to bring together students from various academic backgrounds and interests, primarily among the graduate students of the Department of Classics, but also including undergraduates, faculty and others from the broader Stanford community. During the 2012-13 academic year, SCIT put on an original and modernized translation of Euripides' Cyclops, featuring a faded starlet, a frat-boy and sorority-girl chorus and and a band of indie musicians from Ithaca, NY. Publication of an edition featuring their first four translations, Aristophanes' Acharnians, Wasps, Cyclops and Ecclesiazusae, is in process.
Pianist Ron Valentino has performed with many of today's best-known classical artists, including Ruth Ann Swenson, Nathan Gunn and Deborah Voigt. In addition to concert work Mr. Valentino has been on the music staff of the San Francisco Opera and Opera Center, Los Angeles Opera and the New National Theatre in Tokyo. Ron has also performed with the San Francisco Symphony, California Symphony and the Sacramento Symphony. Additional credits include the American Conservatory Theatre and the record breaking San Francisco production of Phantom of the Opera. He is a resident of San Francisco.
Allison Zelles Lloyd (multi-instrumentalist) has toured and recorded in the US and Europe with Bimbetta [d’Note label], the Medieval ensemble Altramar [Dorian Discovery], Paul Hillier’s Theatre of Voices [Harmonia Mundi], and minimalist, Steve Reich [Nonesuch]. She has performed locally with the chamber ensemble, American Baroque, and the chorus of the American Bach Soloists as well as AVE. She holds a Masters of Music degree from the Early Music Institute of Indiana University. She uses her vocal, keyboard, percussion, recorder, and medieval harp skills in the music education of young children and their parents as a registered Music Together® teacher and as an Orff Schulwerk certified music educator in the Mt. Diablo school district.
Yangqin Zhao (yangqin)(Artistic Director, Melody of China).A member of Chinese Musicians’ Association and the Chinese Nationalities Orchestra Society, Ms. Zhao graduated with Honors from the Music Department of the Nanjing Normal University and became the head of the faculty of Instrumental Music of the university. She won the highest award by the Ministry of Cultural Affairs of the People’s Republic of China in 1982. Ms. Zhao also won first prize at the Jiangsu Provincial Arts Festival in 1987 and 1991. Her profile appeared in the "Who's Who in Young Chinese" and "The Chinese Musicians Yearbook” in 1990. Ms. Zhao has been invited to perform internationally in Australia, the Netherlands, Belgium, Singapore, Hong Kong, Mexico and Germany. In June of 1996, she was invited as one of seven greatest musicians hailed as masters on the yangqin for the Tanz & Folk Fest Rudolstadt (Folk Instruments Festival) in Germany. Ms. Zhao also represented China and the United States playing the Chinese hammered dulcimer at the International Santur Festival in Iran in 2003. She has performed at Lincoln Center, with the Shanghai Chinese Orchestra, Berlin Philharmonic Orchestra, The Woman Philharmonic, and the San Francisco Symphony.
Gangqin Zhao (guzheng). A member of Chinese Musicians’ Association, Gangqin finished her study in the Music Department of Nanjing Normal University in 1987. She was named one of Ten Best Musicians by the university in 1990. She was an instructor of guzheng in the Nanjing Children Music and Dance School for years before she immigrated to U.S. in late 1990s. She has performed internationally in Singapore, Demark and Germany. Currently, she is the director of Chinese Arts & Music Center in San Francisco. She is the Director of the Chinese Arts and Music Center in San Francisco. Her students competed in the 2010 International World Cup Chinese Instruments Competition where they won Gold Medals.