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Guido's Musicians:


Aaron Brown studied violin at the Juilliard School, Mannes College and Hunter College, and has performed with some of the finest early music groups in the United States, including the New York Collegium, Rebel Baroque Orchestra, Opera Lafayette, the Mark Morris Dance Group, Opera Omnia, The American Classical Orchestra, ARTEK early music and the Clarion Music Society.  He has appeared as a leader or soloist with the New Bach Players, Sinfonia New York and the Australian Brandenburg Orchestra, with whom he has toured extensively with such international artists as Christina Pluhar and Philippe Jaroussky, and was a featured soloist in the orchestra’s 17th century Tapas program which recently won the 2010 ARIA award for best classical CD. Aaron is the recipient of several Emerging Artist and Professional Development grants from the Australia Council, working with acclaimed Canadian violinist Marc Destrube and the Orchestra of the 18th Century in Amsterdam, and David Douglass and the Newberry Consort. He has appeared at many of the world’s major venues, including Carnegie Hall, Alice Tully Hall, Avery Fisher Hall, the Kennedy Center, BAM, the BOZAR Brussels, Grand Teatre Luxembourg, the Arsenal in Metz and the Sydney City Recital Hall, and has recorded for Naxos, Lyrichord, ABC Classics, CD Accord, InFocus and EAR records.


As a baroque violin student of Stanley Ritchie at Indiana University, Dongmyung Ahn  performed with the New York Collegium, Apollo's Fire, and the Bach Ensemble under Joshua Rifkin. Since moving to New York, she has also performed with Concert Royal, Early Music New York, St. Matthew Passion at BAM, the Clarion Music Society, and Sinfonia New York. She has served as concertmaster for the Greenwich Music Festival’s Greenwich Music Festival’s productions of Purcell’s Dido and Aeneas, Handel’s Ode for the Birthday of Queen Anne, and Monteverdi’s Il Ritorno d’Ullise, and was heard playing rebec for The Play of Daniel at the Cloisters. Currently, Dongmyung is pursuing a PhD in musicology at the Graduate Center, CUNY.


Harpsichordist Gabriel Shuford has performed with a diverse range of ensembles including the Chamber Music Society of Lincoln Center, the Orchestra of St. Luke’s, L’Opéra Français de New York, and the St. Petersburg Chamber Philharmonic. In 2009 he appeared in recital with recorder player Paul Leenhouts at Jordan Hall, as part of the Boston Early Music Festival. An accomplished soloist, he was awarded top-prize at the 6th International Mae and Irving Jurow Harpsichord Competition in 2007 and has performed J.S. Bach's Brandenburg Concerto No. 5 with New Jersey’s Colonial Symphony. The New York Times has called his performances “assured, polished and beautifully nuanced.” Gabriel holds a Doctorate in harpsichord from Stony Brook University and was Visiting Assistant Professor of Music at Luther College in Decorah, Iowa during 2009-2010. He currently resides in New York City.

Guest Artists:


Consistently singled out by critics for her “perfect baroque voice” (Seattle Times), young Russian-American soprano Yulia Van Doren has established herself as a rising star of the new generation of Baroque specialists. The only singer to win top prizes in all four North American Bach vocal competitions, a major highlight of her 2010-2011 season includes being a featured artist at the Cartagena International Music Festival, Colombia, where she will appear in nationally televised performances of Bach’s B minor Mass with soprano Dawn Upshaw and the Orchestra Sinfonia of London, as well as Bach’s Coffee Cantata with the Brentano String Quartet. She debuts with the Colorado Symphony Orchestra (Messiah), and sings multiple return engagements: Portland Baroque Orchestra (Messiah under Rinaldo Alessandrini), Seattle Baroque Orchestra (Pergolesi Stabat Mater), American Bach Soloists (BWV 202/211), St. Thomas Choir of Men and Boys (Bach B minor Mass), Pacific Musicworks (Monteverdi Vespers), Clarion Music Society (Haydn and Handel arias), Ottawa Chamber Music and Vancouver Early Music Festivals (Monteverdi with ensemble Les Voix Baroques), and two major roles with the Boston Early Music Festival: Belinda in Dido and Aeneas, and the role of Manto in the North American premiere of Steffani’s Niobe, BEMF’s centerpiece opera starring French countertenor Philippe Jaroussky.

Elizabeth Baber, soprano, has been passionately interested in early music since her training began in the demanding choral program at Christ Church Cathedral, Lexington, Kentucky. She explored early repertoire extensively at the Peabody Conservatory in Baltimore (BM 2001), where she studied with Phyllis Bryn-Julson and Marianna Busching. She was a member of the Peabody Renaissance Ensemble under Mark Cudek, and a frequent performer in Peabody Baroque Ensembles directed by Webb Wiggins. She appeared in eight early operas presented by Peabody, including Hildegard von Bingen's Ordo Virtutum (as Victory) and Marc-Antoine Charpentier's Les Arts Florissants (as La Paix). Her oratorio performances have ranged from Monteverdi's Vespro della Beata Vergine to Mozart's Coronation Mass. She now lives in New York City and is an avid participant in its ever-growing early-music community. She is a member of the New York Continuo Collective, a group dedicated to the study and performance of music from the late Renaissance and early Baroque. In a recent performance with them as part of the New York Early Music Celebration, the New York Times described her singing as "truly lovely."

Charles Weaver, lute, theorbo, baroque guitar, and voice, performs as a member of New York based ensembles ARTEK, Repast, and Ensemble Viscera. He has also appeared in concert with Hesperus, Piffaro, the Orchestra of St. Lukes, and the Yale Schola Cantorum. With his duo partner, soprano Elizabeth Baber, he has created programs of Renaissance song praised for their imagination in programming. The Washington Post has described his performances as captivating and splendid. He is on the faculty of the New York Continuo Collective, a semi-professional workshop that explores the courtly tradition of reciting Italian poetry to the lute and its relation to early opera. Last summer, he taught at the Western Wind choral workshop and was assistant music director of the Amherst Early Music Festival's Theater Project. This season will include recordings with Early Music New York and the Dryden Ensemble, concerts with Parthenia and the Yale Early Opera Initiative, and a medieval mystery play with the Folger Consort.

Christa Patton has served as baroque harpist most recently with the Seattle Baroque Orchestra, ARTEK, the  New York City Opera's production of Monteverdi's Ulisse at Lincoln Center and The Wolf Trap Opera Company's production of  Monteverdi's  L'Incoronazione di Poppea in Washington DC.  As a multi-instrumentalist Christa has performed in the US, Europe and Japan with New York's Ensemble for Early Music since 1993 and has recorded Istampitta on the Lyrichord label.  She has been a regular guest with Piffaro and appears on their latest compact disc, Trionfo d'Amore e della Morte, on Dorian Records.  Ms. Patton has also performed and recorded with Ex Umbris and can be heard on their compact disk entitled Chacona. In Milan, Italy Christa has performed with with the Laboratorio permanente sulla Musica vocale del XVII secolo at the Palazzo Reale in Milan, the Barbarini Palace in Rome and at the Tempio dell'Incoronata in Lodi under the direction of Roberto Gini.  A recipient of the prestigious Fulbright scholarship, Christa studied the Italian baroque harp at the Civica Scuola di Musica in Milan with historical harp specialist Mara Galassi.

Grant Herreid is a versatile musician/director/teacher on the early music scene. As a multi-instrumentalist and singer he performs frequently with Hesperus, Piffaro, My Lord Chamberland's Consort and the Folger Consort, and New York City Opera, and this year he will make his debut with Tafelmusik and the Newbury Consort. A noted early music educator, Grant conducts classes in Renaissance music and 17th century song at Mannes College of Music in New York, and directs the New York Continuo Collective. He has created and directed several theatrical early music shows, but mostly he devotes his time to exploring the esoteric unwritten traditions of early music with the groups Ex Umbris and Visceral Reaction. He has recorded for Archiv, Dorian, Lyrichord, Musical Heritage Society, Newport Classics and others.

Theresa Salomon received her musical education in her native Germany, the Netherlands and in Austria. Her teachers have included Philip Hirshorn, Wolfram Konig and Todd Philips. She played her solo debut concert in New York at Weill Recital Hall presented by Artists International. Since 1991 she has been a member of the Goldberg Ensemble of Vienna and has toured with the string quartet of the Ensemble in Austria, Germany, France and Italy. She has performed as a soloist with the Jupiter Symphony, the Metamorphoses Orchestra in New York, the Orchestra of the Chambermusic Society in Vienna, Wiesbaden Orchestra in Germany and at the Ostrava Days Festival in the Czech Republic. Ms. Salomon has appeared in many European festivals including the Gulbenkian Festival in Portugal, the Festival Presence in Paris, the Prague Spring Festival and the Takemitsu Memorial Festival. As a performer of contemporary chamber music she has worked with many ensembles including the STX Ensemble Xenakis in the USA, S.E.M. Ensemble and the Orchestra of the S.E.M. Ensemble. She has recorded for Vandenburg and Tzadik Labels.

DONGSOK SHIN was born in Boston and played the piano from the age of four. Since the early 1980's, he has specialized exclusively on early keyboard instruments. Much in demand as a soloist and continuo player, Mr. Shin, who has been a member of REBEL since 1997, has appeared with ARTEK, Concert Royal, Early Music New York, Carmel Bach Festival, Mark Morris Dance Group, the New York Philharmonic, the Orchestra of St. Luke’s and the Orpheus Chamber Orchestra. He has toured throughout North America, Europe, and Mexico, has been heard on numerous radio broadcasts and has recorded for Lyrichord, Newport Classic, Helicon, ATMA Classique, Hänssler Classic, Dorian Recordings and Bridge Records.




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