Mary-Louise was a student at Chetham’s School of Music in Manchester, from where she was awarded a scholarship to study at the RNCM. As well as gaining a BMus RNCM(Hons) degree, she won many major awards. These included the John Ireland Song Competition, the Brigitte Fassbaender Lieder Prize, (presented by Frau Fassbaender herself) and was a Finalist in the 1995 Kathleen Ferrier Awards. Mary-Louise sang in several opera excerpts on a series for BBC2 called Opera Works with Sir Jonathan Miller . At twenty-one, she was the youngest ever singer to be invited to sing in the Glyndebourne Chorus and in that same year, Mary-Louise won the International Young Singer of the Year Award at The Llangollen Musical Eisteddfod . Only two years after leaving college, she was awarded the 1999 Promise Award at Glyndebourne.
Mary-Louise sang a number of roles for WNO and worked under conductors including Daniel Harding and Vladimir Jurowski. In 1999, Mary-Louise sang the role of Melisande for Glyndebourne Touring Opera and was invited to sing the role of Melisande again at the Teatro Comunale in Bologna.
Leaving the world of Opera behind, Mary-Louise designed and teaches a unique phonics program which draws on the science of Synaesthesia. The method combines singing with colour-associations and is currently under trial in association with Oxford University and the Dyslexia Research Trust.
Susanna Andersson has already established herself among the top of Sweden’s young singers. Equally at home on the concert and opera stage her flexible and bright toned lyric coloratura voice has received considerable praise.
Recently Susanna made a very successful debut as Oscar/Un Ballo in Maschera at Teatro Colon, Buenos Aires and as Susanna/Le Nozze di Figaro at New Turku Opera in Finland. Her Venus and Gepopo/Le Grand Macabre in La Fura del Baus production at English National Opera, Adelaide Festival and Teatro Colon had the critics raving as well as in her Vivaldi and Handel concert with Il pomo d’oro together with Topi Lehtipuu and writer Donna Leon at the Turku Music Festival.
Susanna has also recently premiered ‘Animal Songs’, written especially for her and Helsingborg Symphony Orchestra by Albert Schnelzer, appeared in Higglety Pigglety Pop! by Oliver Knussen at the Aldeburgh Festival and at the Barbican in London, Into The Little Hill by George Benjamin with the Birmingham Contemporary Music Group and as Blondchen/Die Entführung aus dem Serail at Garsington Opera.
Born in the Swedish city of Östersund her musical education began at Ljungskile College Institute before she began studies at the Guildhall School of Music and Drama in London. While at the Guildhall Susanna won the prestigious Gold Medal Competition, graduated with a First Class Honours degree and went on to win the coveted Song Prize at the annual Kathleen Ferrier Awards.
Susanna made her professional debut as Zerlina/Don Giovanni at Grange Park and soon after her German debut as Adina/L’elisir d’amore at Nürnberg Opera. Thereafter followed debuts at Opera North, Covent Garden’s Lindbury Theatre and English National Opera. During 2007-2009 Susanna was on a contract at Oper Leipzig where her roles included Blondchen/Die Entführung aus dem Serail, Valencienne/Merry Widow, Servilia/La Clemenza di Tito, Zerbinetta/Ariadne auf Naxos, Lisette/La Rondine and Gretel/Hänsel ind Gretel.
In concert Susanna has appeared with the Copenhagen and Swedish Royal Philharmonic Orchestras, Malmö and Helsingborg Symphony Orchestras, Stockholm Sinfonietta, Nordic Chamber Orchestra, Helsinki Philharmonic, Grazer Philharmonisches Orchester, English Chamber Orchestra, Queensland Symphony Orchestra and the BBC Scottish and BBC Symphony Orchestras. In 2008 she made her BBC Proms debut singing the world premiere of Stuart Macrae’s Gaudete written especially for her. Susanna has also given recitals with pianist Eugene Asti in London, New York, Athens, Amsterdam, Birmingham, Brussels, Stockholm, Cologne and Vienna as part of the ECHO Rising Stars series in 2006-2007.
Susanna was guest artist at the 2004 Nobel Prize Ceremony in Stockholm and the 2008 Polar Music Prize Ceremony. She has worked with conductors such as Christopher Hogwood, Lawrence Foster, Roy Goodman, Tecwyn Evans, Ira Levin, Andrew Manze, Edward Gardner, Baldur Brönnimann, George Benjamin, Alberto Hold-Garrido, John Storgårds, Sian Edwards and Leo Hussain.
Apsara is a professional choir formed by Ronald Corp in 2010 for the recording of Dhammapada. Members of the choir have included: Mary Bevan, Zoe Brown, Kirsty Hopkins, Elizabeth Weisberg (sopranos), Ruth Gibbins, Martha McClorinan, Kate Symonds-Joy, Clare Wilkinson (altos), Jeremy Budd, Peter Davoren, Tom Herford, George Pooley (tenors) & Neil Bellingham, Samuel Evans, Richard Latham, Philip Tebb (basses).
Stephen Barlow was a boy chorister at Canterbury Cathedral and then studied at King’s School‚ Canterbury. He won the Organ Scholarship to Trinity College‚ Cambridge‚ where he was Musical Director of the University Chamber Orchestra and Chamber Choir and founder of the University Bach Choir. There followed a period at Guildhall School of Music and Drama‚ where he studied under Vilem Tausky.
In 1977 he began a long association with Glyndebourne conducting The Rake’s Progress for GTO. He co-founded Opera 80 where he was Music Director between 1988 and 1991. During this period he was resident conductor at the English National Opera‚ conducted with Scottish Opera‚ Dublin Grand Opera‚ Opera Northern Ireland‚ Opera North and made his Royal Opera debut at Covent Garden conducting Turandot‚ where he later returned for Die Zauberflöte. He was Artistic Director of Opera Northern Ireland from 1996 to 1999. Productions include The Cunning Little Vixen at ENO‚ La Bohème at Grange Park‚ Idomeneo‚ The Barber of Seville‚ Fidelio and Madama Butterfly in Belfast‚ Albert Herring‚ Falstaff‚ The Marriage of Figaro and Die Entführung aus dem Serail at Garsington and Madam Butterfly with Opera North.
Stephen Barlow made his international debut in 1989 conducting The Rake’s Progress for Vancouver Opera‚ since when he has returned for Madam Butterfly and Tosca. His US debut followed in 1990 when he conducted Capriccio with the San Francisco Opera and Dame Kiri Te Kanawa and then his Australian debut‚ in 1991‚ with Die Zauberflöte for Victoria State Opera. Subsequent foreign engagements include Elektra and Gounod’s Faust in Seville‚ The Cunning Little Vixen in Berlin‚ Capriccio and I Capuletti ed I Montecchi in Sicily‚ Rigoletto in Tirana‚ Il Barbiere di Siviglia in Riga‚ Madama Butterfly‚ Don Giovanni and Il Trovatore in Auckland‚ La Cenerentola and Turandot with Florida Grand Opera‚ Carmen in Melbourne‚ Turandot in Miami and Romeo et Juliette for the State Opera of South Australia.
In addition to his extensive operatic work‚ he has conducted most of the major UK orchestras and further afield‚ concert appearances have taken him to Aarhus‚ Adelaide‚ Amsterdam‚ Belgrade‚ Bilbao‚ Brisbane‚ Copenhagen‚ Detroit‚ Johannesburg‚ Lausanne‚ Lille and Perth. In 1997 he was appointed Music Director of the Queensland Philharmonic Orchestra. Recent recordings include Joseph James’ Requiem with Sumy Jo and his own new children’s composition Rainbow Bear in collaboration with his wife‚ Joanna Lumley‚ as narrator.
Most recent and current projects include The Rake’s Progress with Reisopera in Holland‚ Faust and Nabucco in Australia‚ Bluebeard’s Castle with the Auckland Philharmonia‚ the premiere of his own opera King in Canterbury Cathedral‚ Falstaff‚ Rusalka and Norma at Grange Park Opera‚ the Jette Parker Young Artists Programme Summer Concert at the Royal Opera House and Sweeney Todd with Bryn Terfel at the Royal Festival Hall.
Daniel Bates is principal oboe with the Irish Chamber Orchestra and the City of London Sinfonia and holds the oboe chair at Miss Saigon- the Cameron Mackintosh production at the Prince Edward Theatre in the West End. He has also held the principal oboe position with the Royal Northern Sinfonia at the Sage, Gateshead. He has played guest principal for all the major UK orchestras, including the London Symphony Orchestra, the Royal Philharmonic Orchestra, the John Wilson Orchestra, the London Philharmonic Orchestra, and the Academy of St Martin-in-the-Fields as well as various international orchestras such as the National Orchestra of Colombia and the West Australian Symphony Orchestra. As a session musician he has recorded for various pop acts and films, including the Harry Potter franchise and for Barbra Streisand, Mary J Blige, Rihanna and Stevie Wonder. He has also played principal oboe with the Gabrieli Consort and Players and, on classical and romantic oboe, as principal with the Orchestra of the Age of Enlightenment, under the conductors Sir Simon Rattle, Sir Roger Norrington and Sir Mark Elder.
Born in London, Daniel was offered music scholarships to every music college in the country but chose to study at the Royal Academy of Music. He was then also awarded a music scholarship to study at Pembroke College, Cambridge, where he read Music and the History of Art.
When he was eighteen years of age he became the youngest ever winner of the Royal Overseas League Competition. This competition is one of the most prestigious in the world (it launched the careers of Jacqueline du Pre and John Lill, amongst others) and is open to all commonwealth musicians of age 30 and under. A few years later he also won two major international competitions, in Italy and Romania.
He has performed solo concertos with the London Symphony Orchestra, the City of London Sinfonia, the Irish Chamber Orchestra, the Brasov Filharmoica, the Turin Philharmonic Orchestra, the London Mozart Players and the English Chamber Orchestra. Extensive solo recitals include venues such as the Wigmore Hall (on numerous occasions but perhaps most notably giving the premiere of a new work by Louis Andriessen), the Queen Elizabeth Hall, the Usher Hall and the Purcell Room. Internationally, he has given solo recitals in venues such as the Pushkin Museum in Moscow and at various European festivals.
Best known as the concertmaster of the Canadian Opera Company Orchestra, Marie Bérard is also a sought-after chamber musician, soloist, recording artist and teacher. She is a former member of the Toronto Symphony Orchestra and has performed with a variety of smaller ensembles such as Amici, ArrayMusic and New Music Concerts. She is also a member of trio Arkel as well as the ARC Ensemble which has toured in Europe, China and the United States and was twice nominated for a Grammy Award for their Sony recordings.
Highly regarded as an interpreter of contemporary music, Ms. Bérard has released a recording of a concerto by Henry Kucharzyk for violin and brass ensemble on the Opening Day label and can be heard on numerous CBC recordings including the Meditation from Thais with the Canadian Opera Company Orchestra.
Ms. Bérard is a regular performer at chamber music festivals, notably the Domaine Forget International Festival, Ottawa’s Music&Beyond Festival, The Blair Atholl Festival in Scotland, Strings Music Festival in Colorado. She holds the position of associate concertmaster of the Mainly Mozart festival in San Diego. Marie was the featured soloist in Gubaidulina’s Offertorium and “Figures Hatives” by John Rea with the Esprit Orchestra. Ms. Bérard is a member of the faculty of the Glenn Gould School and the music faculty of the University of Toronto. She plays a 1767 Pietro Landolfi violin.
Bath Philharmonia is one of the leading professional orchestras in the South-West. Its players are some of the finest and most experienced orchestral musicians in Britain. After the Bournemouth Symphony Orchestra, Bath Phil is the largest professional organisation of its type in the region. Annually, the orchestra gives 25 to 30 performances, with a roster of international soloists at a range of prestigious venues. Bath Phil’s artistic team is led by Music Director Jason Thornton with Principal Guest Conductor Peter Donohoe and Associate Conductor Gavin Carr.
Primarily serving Bath & North East Somerset, Bath Phil presents a year-round programme of orchestral music, a highly active education and community portfolio and takes part in many collaborations with other arts organisations including Bath Festivals Trust, Bath Mozartfest, Bath Theatre Royal & Bath Spa University where the orchestra is Ensemble in Residence. Bath Phil embraces a regional remit touring to an eclectic range of venues and festivals throughout the south-west including Hall for Cornwall Truro, Roseland Festival, Seaton Music Society, Beaminster Festival, Colston Hall Bristol, Frome Festival, Fishguard Festival, Malmesbury Abbey and Cheltenham Town Hall.
Bath Phil’s performances with international soloists have included, Nicola Benedetti, Carlos Bonnell, Michael Collins, Sarah Connolly, Natalie Clein, Peter Donohoe, Tim Hugh, Sumi Jo, Tasmin Little, Joanna Macgregor, Ruth Palmer, Jennifer Pike, Sir Willard White, the young artists from the Jette Parker Programme at the Royal Opera House and the jazz singer Clare Teal.
Edward Batting studied with Richard Popplewell at the Royal College of Music. During his time at the RCM he was awarded the Haigh, Kistner and Canon Bark organ prizes and the Lofthouse prize for continuo, and at the age of 21, became a Fellow of the Royal College of Organists. He is currently Organist and Director of Music at S.Alban’s Holborn where he conducts and accompanies the professional choir in a wide and diverse repertoire comprising over 200 mass settings and over 500 other works. As an organist he is much in demand as both recitalist and accompanist having appeared at major venues including S.Paul’s Cathedral, Westminster Cathedral and Westminster Abbey and as soloist in the Poulenc and Leighton Concertos, and performed and recorded with leading choirs such as the Exmoor Singers, Chantage and the National Youth Choir of Great Britain. He recently gave the first ever organ recital in the Sala Nezahualcoyotl in Mexico City. Edward was also a Repetiteur at the RCM where he worked on several opera productions, his continuo playing drawing critical acclaim. Also highly in demand as a vocal coach, Edward has prepared singers for operatic roles at major houses around the world and also for companies including the International Arts Festival, Montepulciano, Italy, the Al Bustan Festival in Beirut, the Teatro Massimo, the Teatro Municipal, Santiago and for the Young Artists’ Programme at the Royal Opera House, Covent Garden.
Juliette Bausor, widely recognised as one of Britain’s leading flute players, began her studies with Anna Pope at the junior department of the Royal Academy of Music and Purcell School of Music, before going on to study with Philippa Davies, Paul Edmund Davies and Samuel Coles at the Guildhall School of Music and Drama. She continued her tuition at the Conservatoire Nationale Supérieur de Musique et de Danse in Paris, with Sophie Cherrier and Vincent Lucas.
Following international success in competitions, including early recognition in reaching the televised Concerto Final of the BBC Young Musician of the Year and winning the Gold Medal in both the Shell LSO Competition and the Royal Over-Seas League Competition, Juliette has appeared as a concerto soloist with orchestras such as the London Symphony Orchestra, Ulster Orchestra, Academy of St Martins in the Fields, European Union Chamber Orchestra, Royal Northern Sinfonia and London Mozart Players, with conductors including Yannick Nézet-Séguin, Thomas Zehetmair, Mario Venzago and Sir Neville Marriner. Success on an international scale is reflected in tours around Europe and beyond, to Japan, Thailand, Vietnam, the United Arab Emirates, Namibia, Zimbabwe, Australia and New Zealand.
In 2014 Juliette Bausor was selected by the European Concert Hall Organisation as an ECHO Rising Star. Juliette has since been invited to perform as a soloist in some of Europe’s most prestigious concert venues, including Laeiszhalle Hamburg, Het Concertgebouw in Amsterdam, the Bozar in Brussels, Town Hall Birmingham, Palace of Arts in Budapest, Vienna Musikverein, Stockholm Konserthus, L’Auditori in Barcelona, Konzerthaus Dortmund, Philharmonie Luxembourg, Sage Gateshead and the Barbican Centre in London.
Also highly regarded as a chamber musician, Juliette is a member of the celebrated chamber group Ensemble 360, resident at the Crucible in Sheffield. In addition to the Ensemble’s busy concert schedule, Juliette is regularly invited to give recitals at major venues and festivals throughout the UK, including frequent Wigmore Hall and South Bank appearances, and performances at the Edinburgh, Cheltenham and Aldeburgh International Festivals and BBC Proms. Juliette has collaborated with many other leading chamber musicians, including Thomas Zehetmair (violin), Alasdair Beatson and Llyr Williams (piano), Kate Royal (soprano), Anneleen Lenaerts and Catrin Finch (harp), as well as the Coull, Elias, Badke, Carducci and Edinburgh String Quartets amongst others. Recent chamber recital highlights include a concert with the wind principals of Royal Northern Sinfonia and Christian Blackshaw (piano) as part of the BBC Proms 2015, as well as performances at the Presteigne Festival, with Sally Pryce (harp), and at the West Cork Chamber Music Festival alongside Katharine Dain (soprano), Lise Berthaud (viola) and Cliona Doris (harp).
Juliette is principal flute with both Royal Northern Sinfonia and London Mozart Players, and frequently appears as guest principal flute with orchestras all over Britain, notably with the London Philharmonic Orchestra, Philharmonia, Royal Philharmonic Orchestra, City of Birmingham Symphony Orchestra, BBC National Orchestra of Wales, Scottish Chamber Orchestra, London Sinfonietta and Britten Sinfonia.
Hailed by Gramophone Magazine as “one of the best of our younger baritones”, William Berger is distinguished by his rich vocal timbre and charismatic stage presence. A compelling interpreter of song, Berger is equally at home on the operatic stage and has performed at renowned festivals, opera houses and concert halls including the English National Opera, Liceu Barcelona, Opera Vlaanderen, Opéra de Toulon, and the Lucerne, Aix-en-Provence and Edinburgh International Festivals. Engagements in the 2015/16 season include Berger’s return to Opera Vlaanderen both as Marcello in Puccini’s La Boheme, and Bill in Weill’s Rise and Fall of the City of Mahagonny. He will perform as Oreste in Gluck’s Iphigenie en Tauride with Teatro Nacional de São Carlos in Lisbon and the title role in Handel’s Imeneo at Gottingen International Handel Festival. In concert Berger will perform at the FestspielOrchester Gottingen’s tenth anniversary Gala Concert. In Spring 2016 Berger will release his third album: Duet with soprano Lucy Crowe. The disc features works by Mendelssohn, Schumann and Cornelius and showcases the richness and spirit of the duet genre, which reached its zenith in the Victorian age but has since become increasingly overlooked in the concert hall. Berger’s skill as a musical interpreter and his imaginative approach to programming has led to critical acclaim for both his previous solo albums. Insomnia: A Nocturnal Voyage In Song, released on Delphian Records in 2012, describes in a sequence of seventeen songs the restless night experienced by a man as he reflects on the absence of his unnamed love. It was included in The Guardian’s Top Ten Classical CDs of the Year and was described as “pure gold” by The Arts Desk and “magnetic” by The Scotsman. This was followed by the release of Hommage à Trois on Linn Records in November 2013, which features arias and duets by three of the finest composers of the 18th century: Mozart, Haydn and Cimarosa. The disc, recorded with the Scottish Chamber Orchestra and conductor Nicolas McGegan, was awarded five stars by Opera Now, and described as “one of the most delightful recital discs of the past year” by International Record Review. In addition to his two solo releases, Berger’s discography includes Handel’s Alexander’s Feast and The Triumph of Time and Truth with Ludus Baroque for Delphian, Samson and Dettingen Te Deum for Carus, Poulenc’s Carmelites for Chandos and on DVD, Admeto for C Major and L’incoronazione de Poppea for Opus Arte. Other recent engagements include a German recital tour with Julius Drake in Berlin, Munich, Hamburg and Bonn, Duruflé’s Requiem with the Pacific Symphony Orchestra in California, Finzi’s Requiem de Camera with the London Mozart Players, Don Alfonso in Cosí fan Tutte at the Liceu in Barcelona, Escamillo in the Luzerner Theater’s production of Carmen, Papageno for Opéra de Toulon, Messiah with the Ulster Orchestra, Mozart Requiem with the Philharmonie Zuidnederland and Carpentier’s La descente d’Orphée aux Enfers with conductor Christian Curnyn and the Classical Opera Company at the Wigmore Hall. William Berger has collected a multitude of prizes and awards, including the 2010 Ernst Haefliger Competition in Switzerland, the Kathleen Ferrier Society Bursary for Young Singers, the Countess of Munster Trust Scholarship, the Musicians Benevolent Fund Grant and the Ernest Oppenheimer Memorial Trust Award. William is a graduate and Associate of the Royal Academy of Music and a former member of the Young Singers Programme at English National Opera.
Mary Bevan studied at Trinity College Cambridge and the Royal Academy of Music (with Lillian Watson and Audrey Hyland) where she was a member of Song Circle, was the soloist for the Kohn Bach Cantatas and won the Richard Lewis and Isabel Jay Awards. She is an ENO Harewood Young Artist, an Associate Artist of the Classical Opera Company and is a past recipient of awards from the Wingate Trust, Countess of Munster Trust, MBF and the Royal Academy of Music. Operatic roles include Rebecca Two Boys, Barbarina Figaro (ENO); Barbarina Figaro (Garsington); Tamiri Il Re Pastore (Classical Opera Company); Despina Cosi (Vignette Productions and RAO). Recent concerts include Messiah, Carmina Burana and Rutter Requiem (RAH), Arne Alfred, Handel Apollo e Daphne (COC), Les Illuminations and Messiah (ECO). She has sung as a soloist under conductors such as John Eliot Gardiner, Laurence Cummings, Paul Daniel, Vladimir Ashkenazy and Raymond Leppard. She has recently recorded three broadcasts for BBC Radio 3 with the BBC Philharmonic, an Oxford Lieder Festival Wolf disc, a Mendelssohn disc with Malcolm Martineau and Handel disc with Ludus Baroque. Forthcoming projects include: Zerlina Don Giovanni (Garsington), Pamina Magic Flute (West Green Opera) and Yum Yum Mikado (ENO).
Sophie Bevan recently graduated from the Benjamin Britten International Opera School where she studied as a Karaviotis Scholar with Lillian Watson. During her time there she performed the title role in Monteverdi’s ‘L’Incoronazione di Poppea’ and Susanna in Mozart’s ‘Le Nozze di Figaro’. She was also awarded the Queen Mother Rose Bowl for excelling in music.
Her concert repertoire ranges from Handel’s ‘Samson’ to James Macmillan’s ‘Parthenogenesis’ and she has worked with conductors including Nicholas Cleobury, Martin Andre and Sir Charles Mackerras. Already highly accomplished on the operatic stage, her recent engagements include ‘Boris Godonov’ and ‘Cosi fan Tutte’ for English National Opera, ‘Il Nozze di Figaro’ for Welsh National Opera, Alinda in Vivaldi’s ‘L’Incoronazione di Dario’ and her first Susanna for Garsington Opera, the first London performance of Royer’s ‘Zaide, Reine De Grenade’ at St John’s Smith Square, Costanza (Handel’s ‘Riccardo I’) and Zerlina (‘Don Giovanni’) for Opera de Bauge in France and Amor in English National’s new production of Monteverdi’s ‘L’Incoronazione di Poppea’. She is an Associate Artist of the Classical Opera Company, for whom she has sung Publio in the UK premiere of Gluck’s ‘La clemenza di Tito’ and Worldly Spirit in Mozart’s ‘Die Schuldigkeit des ersten Gebots’. Future engagements include Polissena in Handel’s ‘Radamisto’ and Yum-Yum in ‘The Mikado’ for English National Opera and Pamina ‘Die Zauberfloete’ for Garsington Opera.
Sarah-Jane Brandon, winner of the 2009 Kathleen Ferrier Competition, studied at the Royal College of Music where she was awarded the Queen Elizabeth Rose Bowl for Exceptional Talent. She is also the winner of the Maggie Teyte Prize, a Samling Scholar and recipient of a Miriam Licette Scholarship. Sarah-Jane was a participant in the 2011 Salzburg Festival’s Young Singers Project.
Recent concert engagements have included appearances with the Royal Scottish National Orchestra and Sir Andrew Davis at the Edinburgh Festival; the London Symphony Orchestra with Bernard Haitink; the London Philharmonic Orchestra with Kurt Masur; the City of Birmingham Symphony Orchestra with Andris Nelsons and the Royal Liverpool Philharmonic Orchestra with Vasily Petrenko.
Her engagements this season include Berg’s Sieben frühe Lieder with the City of Birmingham Symphony Orchestra and Edward Gardner; Mahler’s Symphony no. 4 with the BBC Symphony Orchestra and Sylvain Cambreling and Mozart concert arias at the Wigmore Hall with Ian Page and the Classical Opera Company (of which she is an Associate Artist) and her forthcoming appearances also include Haydn’s Nelson Mass with the London Philharmonic Orchestra and Yannick Nézet-Séguin; Viennese Gala Concerts with the Scottish Chamber Orchestra and Thomas Rösner and Mozart’s Requiem with the Hallé Orchestra and Nikolaj Znaider.
On the opera stage she has sung Micäela Carmen for the Deutsche Oper, Berlin and Erste Dame Die Zauberflöte for the Rome Opera and and her future engagements include Pamina in a new production of Die Zauberflöte for the Opera de Nice; Desdemona in a new production of Otello for the Cape Town Opera and Contessa Le nozze di Figaro for Glyndebourne on Tour.
Her recital appearances include the Musée d’Orsay and Birmingham’s Barber Institute with Simon Lepper, the Wigmore Hall and the Buxton and Oxford Lieder Festivals with Gary Matthewman, the Meads Music Festival with James Baillieu and Trinity College Cambridge and the Leeds Lieder Festival with Malcolm Martineau.
Katie Bray is a British mezzo-soprano who is fast establishing a colourful international career, recently engaged as Rosina Il Barbiere di Siviglia at Opera North. She made her solo début with Opera Holland Park as Mallika Lakmé in 2015 and with English National Opera in Joanna Lee’s The Way Back Home at the Young Vic Theatre in 2014. This season saw her return to ENO in Philip Glass’ Akhnaten. Other recent operatic roles include Charlotte Werther at the 2014 Grimeborn Festival, cover Cherubino Le Nozze di Figaro in McVicar’s production at ROH, and Nancy Albert Herring with Opera North. She is equally at home in the concert hall, and has performed in prestigious venues such as the Wigmore Hall, Cadogan Hall, and the Holywell Music Room. She appears regularly in the London English Song Festival and the Oxford Lieder Festival.
Katherine Broderick was the winner of the 2007 Kathleen Ferrier Award. She studied at the National Opera Studio, London, having previously studied at the Guildhall School of Music and Drama where she won the Gold Medal and took the undergraduate course at the Royal Northern College of Music, during which time she spent a year at the Mendelssohn Hochschule in Leipzig. She studies with Susan McCulloch and is currently an ENO Harwood Artist.
Plans this season and beyond include returning to Opéra National de Lorraine, Nancy to sing Mrs Coyle in Britten Owen Wingrave; Mendelssohn A Midsummer Night’s Dream with the BBC Scottish Symphony Orchestra; Mahler Symphony No 2 in Kuala Lumpur with the Malaysian Philharmonic Orchestra; Zemlinsky Waldgespräch with the Scottish Chamber Orchestra and John Storgårds and recitals including a programme of arias from Schubert Alfonso und Estrella and Fierrabras for the Oxford Lieder Festival and an appearance at Bath Mozartfest with the Myrthen Ensemble.
Past opera appearances include Ortlinde Die Walküre for the Royal Opera, Covent Garden; Donna Anna Don Giovanni and Berta Barber of Seville for ENO; First Lady Die Zauberflöte for Glyndebourne on Tour; Helmwige and Woglinde in The Ring Cycle and Weinberg The Portrait for Opera North; Helmwige for Oper Leipzig and in concert with the Hallé and Philharmonia Orchestras. Katherine has also recently given a concert of Gluck arias with Opéra National de Lorraine, Nancy. Of her performance as Miss Jessel in Britten The Turn of the Screw with the London Symphony Orchestra, Erica Jeal wrote in The Guardian: “Katherine Broderick’s gleaming Miss Jessel was excellent.”
Katherine made her BBC Proms debut in 2007 singing Woglinde with the BBC SO and Donald Runnicles, returning the following year to sing Young Lover in Puccini Il Tabarro with the BBC Philharmonic Orchestra. Other concerts have included appearances with the Hallé, Royal Liverpool Philharmonic, Bournemouth Symphony, London Symphony, Ulster and BBC Philharmonic, Symphony and Scottish Symphony Orchestras, in repertoire including Mahler Symphonies 2 & 4, Britten War Requiem, Vaughan Williams Sea Symphony and Sinfonia Antartica, Honegger Joan of Arc, Verdi Requiem, Brahms Requiem, Dvořák Stabat Mater, Te Deum and Requiem, Bruckner Mass No 3, Rossini Stabat Mater and Berlioz Les nuits d’été.
Outside of the UK she has appeared with the Polish National Radio SO; National Orchestra of Spain; sung Mahler Symphony No 4 and Poulenc Gloria with the Singapore SO; Strauss Vier letzte Lieder with the Queensland SO; Beethoven Symphony No 9 with the Philharmonia, RTÉ National Symphony and Salzburg Mozarteum Orchestras and Britten Spring Symphony in Ekaterinburg, Russia.
In recital, Katherine has recently appeared at Opéra de Lille with Simon Lepper, Wigmore Hall with Martin Martineau and Eugene Asti and on BBC Radio 3 with James Bailleau.
Katherine was one of the first recipients of the Susan Chilcott Award in 2005 and the following year won the Maggie Teyte Prize. She has also been awarded successive Maidment Scholarships from the Musicians’ Benevolent Fund, the Claire Francis award from the Ogden Trust, the Sybill Tutton award, and is a Samling scholar.
Cantoribus is a chamber choir formed by composer Timothy Hamilton. His inspiration came from a desire to introduce an exciting and contemporary dimension to choral music. From his early days as a chorister at Portsmouth Cathedral, he felt a real affinity with singing and the wonderful choral tradition of this country. He later graduated to the world of the opera singer and so was drawn to this style of singing, with the power of the human voice, both physically and emotionally, utilised to its fullest extent. His vision, therefore, was to create an ensemble of hand-picked professional operatic voices – a ‘dream team’ of first-rate musicians – who also had choral experience. All members of Cantoribus regularly perform with the major UK opera companies as well as working on the London church circuit.
Aaron Larget-Caplan, hailed by the Washington Post as “a riveting artist”, and noted in Fanfare for his “enthusiasm and virtuosity”, was born in Oklahoma, raised in Colorado, and gave his debut at the Tabor Opera House at the age of sixteen. Since then he has premiered over 60 compositions, and performed throughout the United States and Europe. A gifted performer and speaker, he is a sought-after soloist and chamber musician regularly performing new and standard repertoire and connecting with audiences with a Bernstein-esque ease. His recordings have received critical acclaim from Audiophile, Fanfare, American Record Guide, Guitar Magazine and many more. As a chamber musician he has performed works for small and large ensemble including with choir, string quartet, duos of all types and mixed ensembles. Collaborators include the Rimsky-Korsakov and New England String Quartets, Boston Lyric Opera, and Schola Cantorum of Boston. He is the founder of the New Lullaby Project, a 21st-century commissioning endeavour that invites composers to write classical miniatures in the genre of the lullaby. He released the debut CD “New Lullaby”, featuring 14 new lullabies by 13 American composers in 2010 to critical and public acclaim. He has since premiered over 45 new lullabies coming to him from Japan, Norway, Australia, and the USA by such composers as Scott Wheeler, Ken Ueno, Carson Cooman, Francine Trester and Alan Fletcher. He regularly collaborates with dancers and is the founder of the ensemble ¡Con Fuego!, which juxtaposes classical Spanish music and flamenco dance and song. He performs many of his own arrangements of Bach, Scarlatti and Spanish composers. His recent arrangements of John Cage and Reynaldo Hahn are to be published by Editions Peters and International Music Company (IMC). He is also the director and founder of Greater Boston House Concerts. He is a graduate of Boston’s New England Conservatory of Music, where he studied with David Leisner. His principal guitar teacher was Dmitry Goryachev and he received additional coaching from Eliot Fisk, Juanito Pascual, and pianist Seymour Bernstein. He is on faculty at the University of Massachusetts Boston. He plays a 2012 guitar by Franco Marino of Sicily, gifted to him by the luthier, and is endorsed by Hannabach Classical Guitar Strings. He lives in Boston with his wife, healer and muse, Catherine.
Gavin Carr was born in London and studied music and art history at King’s College, Cambridge, where he was a Choral Scholar in the celebrated Chapel Choir. He then emigrated for five years to Australia, where he began his singing career working with leading ensembles including the Victoria State Opera and Elision Ensemble. Returning to Europe via study in the US, Gavin made his name as a baritone, appearing at many festivals and with major orchestras and choruses worldwide in concert and recital, and recording for BBC and German radio.
Numerous opera appearances in the UK, France, Ireland, Australia and Italy followed, but in 2003 Gavin accepted the post of Music Director of The Athenaeum Singers in Warminster, swiftly following this with Assistant Conductor at the Wexford Festival and at the Cantiere d’Arte di Montepulciano. At Wexford he was subsequently appointed Chorus Master in 2006, and he returned there in 2007 to make his operatic conducting debut with the Peter Brook version of Bizet’s Carmen, which was nominated for ‘Best Opera Production of 2007’ in the Irish Times National Arts Awards. An affiliation with the Bath Philharmonic began in 2006 when he was appointed Associate Principal Conductor.
In April 2007 Gavin made his debut with the English Chamber Orchestra, conducting an all-star cast including Emma Kirkby, Sarah Connolly and James Gilchrist in the St Matthew Passion in Bath Abbey. This event saw the inauguration of a new professional choir, Chorus Angelorum, which Gavin has formed to take advantage of the wealth of expert choral talent in the South West region. In January 2008 he took up the Music Directorship of the Bath Minerva Choir. In 2009 he took the Frome Festival Chorus on a tour to China of The Dream of Gerontius.
Paul Carr was born in Cornwall, England to Anglo-Australian nationality and has been writing music since the age of 15. From 1984 – 1998 his main career was in opera stage management and he has worked with some of the world’s leading companies including English National Opera, The Australian Opera, The New Israeli Opera, Glyndebourne Festival Opera and Garsington Opera, as well as various free-lance contracts including the annual Raymond Gubbay Opera at The Royal Albert Hall. In 2004 he retired from stage management, and in April of that year moved to Mallorca to concentrate more fully on composition as well as developing his interest in abstract painting. He has exhibited work in three exhibitions in Mallorca, and in April 2007 Galleria Ca’n Pinos in Palma presented his first solo show.
Paul has written scores for several British films including ‘Janice Beard 4wpm’, ‘Being Considered’, and ‘Lady Audley’s Secret’. TV work includes the popular Children’s series ‘Girls in Love’ for Granada.
Paul’s concert work is varied, and over the past few years performances include a Viola Concerto, a Piano Concerto, a Sonatina for Flute & Piano, a 2nd Flute Concerto, Chasing Aunt Sally (a concert overture premiered by the Worthing Symphony Orchestra conducted by John Gibbons), a wind quintet Diverting Sundays (premiered at the 2003 Brighton Festival by The Galliard Ensemble), and Jazz Cardigans (a suite of 5 guitar pieces premiered by Craig Ogden at the 2006 Brighton Festival).
Most recent works include A Very English Music for string orchestra, an Oboe Concerto (for Nicholas Daniel), a Bassoon Concerto, a Piano Quartet, a Sinfonietta for Orchestra, Concertos for Trombone, and for Trumpet, and three versions of the same work: Air for Strings, Air for Orchestra, and Viola Air. His Requiem For An Angel, for 2 soloists, choir & orchestra, was premiered in June 2006 in Warminster and received its 2nd performance in Brighton in November 2007 given by the East Sussex Bach Choir and the Sussex Symphony Orchestra.
Jeremy Carpenter studied at the Guildhall School of Music and Drama in London under the tutelage of Ellis Keeler, Rudolf Piernay and David Pollard. During the spring of 2013 he appeared as Sharpless in Madama Butterfly at Grand Théâtre de Genève and Sir Robert Cecil in Britten’s Gloriana at the ROH Covent Garden. During the current season he returns to Covent Garden for the role of Guglielmo Cecil in Donizetti’s Maria Stuarda.
Jeremy Carpenter began the 2010/2011 season singing the role of Gérard in Andrea Chénier at the Royal Swedish Opera in Stockholm with tremendous critical acclaim, followed by Belcore in L’elisir d’amore with the Angers Nantes Opéra. The last seasons have included Escamillo in Carmen at the Royal Swedish Opera as well as the Malmö Opera and Talpa in concert performances of Puccini’s Il tabarro with the Swedish Radio Symphony Orchestra under the baton of Daniel Harding.
Jeremy Carpenter’s repertoire includes Count and Figaro in Le nozze di Figaro, Guglielmo in Così fan tutte, Marcello in La Bohème, Lescaut in Manon Lescaut, Demetrius in A Midsummer Night’s Dream, Sid in Albert Herring, Falke in Die Fledermaus, Dancairo and Morales in Carmen, and the title roles of Don Giovanni and Gianni Schicchi. He has appeared at Glyndebourne Festival Opera, Opéra de Lille, Grange Park Opera, Theater S:t Gallen, the Royal Swedish Opera and elsewhere. During the autumn of 2009 Jeremy Carpenter sang Zurga in Bizet’s Les Pêcheurs de Perles at the Folkoperan, Stockholm, followed by Marullo in Rigoletto in Dijon.
Equally at home on the concert platform, Jeremy Carpenter has appeared in Orff’s Carmina Burana, Brahms’ Liebesliederwaltzer and Ein deutsches Requiem, Haydn’s Die Schöpfung, Charles Villiers Stanford’s Songs of the Sea and Maxwell-Davies The Martyrdom of St Magnus.