Seattle Baroque Orchestra Musicians

Meet the talented musicians you see on stage and learn about their education and performance experience.

 

Music Director

Alexander Weimann

2021-22 Season Concertmaster

Rachell Ellen Wong, violin

2021-22 Orchestra Musicians

Elisabeth Axtell, horn

Christine Wilkinson Beckman, Principal second violin

Vicki Boeckman, recorder

Stephanie Corwin , bassoon

Jillon Stoppels Dupree, harpsichord

Curtis Foster, Principal oboe and recorder

Deborah Fox , theorbo

Caroline Giassi , oboe

Sadie Glass , horn

Danielle Reutter-Harrah, soprano

Nate Helgeson, bassoon and recorder

Kris Kwapis, Kris Kwapis

Todd Larsen, contrabass

Morgan Little , cello

Anna Marsh , bassoon

Hillary Oseas , viola

Elizabeth Phelps, violin

Lindsey Strand-Polyak , Principal viola

Janet See , flute

Annabeth Shirley , Principal cello and viola da gamba

MaryAnn Shore , oboe and recorder

Adaiha MacAdam-Somer , cello and viola da gamba

Laurel Wells , violin and viola

Special Guests

Jennifer Bullis , librettist

Aaron Grad , Composer

Reginald Mobley , countertenor

Markdavin Obenza , Music Director, Byrd Ensemble

 
Music Director
Alexander Weimann

Alexander Weimann has been Music Director of Seattle Baroque Orchestra since 2015 and is one of the most sought-after ensemble directors, soloists, and chamber music partners of his generation. After traveling the world with ensembles like Tragicomedia, Cantus Cölln, the Freiburger Barockorchester, the Gesualdo Consort and Tafelmusik, he now focuses on his activities as Artistic Director of the Pacific Baroque Orchestra in Vancouver, as frequent guest conductor with Victoria Symphony, Symphony Nova Scotia, Manitoba Chamber Orchestra, Les Violons du Roi etc., and as teacher at the University of British Columbia, for harpsichord, accompaniment, and performance practice.

Weimann can be heard on some 100 CDs. He made his North American recording debut with the ensemble Tragicomedia on the CD Capritio (Harmonia Mundi USA), and won worldwide acclaim from both the public and critics for his 2005 release of  Volume 1 of his recordings of the complete keyboard works by Alessandro Scarlatti, nominated for an Opus Prize as the best Canadian early music recording. He has also released an Opus Award-winning CD of Handel oratorio arias with superstar soprano Karina Gauvin and his new Montreal-based ensemble Tempo Rubato. He received several Juno nominations and one Juno award for his album with Arion baroque Orchestra and Karina Gauvin.

Weimann was born in 1965 in Munich, where he studied the organ, church music, musicology (with a summa cum laude thesis on Bach’s secco recitatives), theatre, medieval Latin, and jazz piano, supported by a variety of federal scholarships for the highly talented. To ground himself further in the roots of western music, he became intensely involved over the course of several years with Gregorian chant. He was teaching music theory and improvisation at the Munich Hochschule für Musik from 1990-95, has given countless masterclasses around the globe, and also taught harpsichord at the McGill University, and worked as a vocal coach at the Université de Montréal.

Concertmaster and violin
Rachell Ellen Wong

Recipient of a prestigious 2020 Avery Fisher Career Grant – the first baroque artist in the respected program’s history – and Grand Prize winner of the inaugural Lillian and Maurice Barbash J.S. Bach Competition, violinist Rachell Ellen Wong is a rising star on both the historical performance and modern violin stages. She has performed throughout the United States and Canada, as well as Europe, South America, Asia, and New Zealand. Her growing reputation as one of the top historical performers of her generation has resulted in appearances with renowned early music ensembles such as the American Bach Soloists and The Academy of Ancient Music, and tours with Bach Collegium Japan, Les Arts Florissants, among others. Equally accomplished on the modern violin, Ms. Wong made her first public appearance with the Philharmonia Northwest at age 11 and has since performed as a soloist with such orchestras as Orquesta Sinfónica Nacional de Panamá and the Seattle Symphony. Rachell made her conductorial debut with the Seattle Symphony last fall when she directed Vivaldi’s ​Four Seasons​ from the violin.

Her passion for chamber music led Rachell, along with acclaimed keyboardist David Belkovski, to co-found Dioscuri in 2021, based in New York City. Their versatile ensemble performs music spanning four centuries, and is already becoming known for their fresh and electric interpretations.

A recent graduate, Rachell holds a Masters in Music in Historical Performance from The Juilliard School and a M.M. from Indiana University. Residing in Seattle, Washington, among her awards and honors are a 2019 Benzaquen Career Advancement Grant and a 2017 Kovner Fellowship from The Juilliard School and grand prizes in the 52nd Sorantin International String Competition, the Heida Hermanns International Competition and the International Crescendo Music Awards. She performs on a baroque violin from the school of Joachim Tielke, and on a modern violin by Carlo de March. When not performing, you can find Rachell hiking around the Pacific Northwest, zooming around on her OneWheel hoverboard, or playing with her two rabbits, Shoozie and Bobe.

horn
Elisabeth Axtell

Elisabeth Axtell is a nationally recognized natural horn specialist who delights in sharing the period instrument ethos with audiences across the country.

 

Elisabeth is second horn of Handel & Haydn Society, the oldest continually operating performing arts organization in the United States. Recent engagements include Boston Baroque, Opera Lafayette, American Bach Soloists, Opera Neo, Musica Angelica, Pacific MusicWorks, North Carolina Baroque Orchestra, Mercury Orchestra, La Speranza, Ars Lyrica, Baroque Chamber Orchestra of Colorado, Boston Early Music Festival, Montana Early Music Festival, Connecticut Early Music Festival, Blue Hill Bach Festival, and more. Her playing can also be heard on commercially available releases from the CORO and Collegium labels.

 

Off stage, Elisabeth is an entrepreneur of unconventional ensembles: Grand Harmonie, a wind-led period orchestra, Conica, a natural horn quartet, and Emergere, a contemporary wind band. As a dedicated advocate for community music organizations, Elisabeth has served on boards for the Metropolitan Wind Symphony and the New England Brass Band.

 

A Pacific Northwest native, she holds a B.A. in English and music from Gustavus Adolphus College and an M.Mus. from Boston University.

violin
Christine Wilkinson-Beckman

Christine Wilkinson Beckman is a baroque violin specialist based in Olympia, WA.  She enjoys performing throughout her native Northwest with early music ensembles large and small, and she appears regularly with such groups as the Seattle, Portland, and Pacific Baroque Orchestras and Pacific MusicWorks.  From 2015 to 2017 she directed the New Baroque Orchestra, one of the Community Collegia of the Early Music Guild of Seattle.

Christine began her studies on baroque violin with Ingrid Matthews, and she graduated in 2013 with an MA from the Historical Performance Practices program at Case Western Reserve University where she studied with Julie Andrijeski.  She has also participated in masterclasses with Marc Destrubé, Monica Huggett, and Cynthia Roberts.  Christine’s modern performance studies began with Barbara Riley, and she received a BM in Violin Performance from St. Olaf College where she studied with Charles Gray. She has also studied with Walter Schwede and Grant Donnellan.

In addition to performing, Christine maintains a busy Suzuki violin and viola studio in Olympia where she enjoys fostering compassionate hearts and a love of music and diligent work in her young students.  Her Suzuki teacher training has been with Elizabeth Stuen-Walker and Dr. Susan Baer.

When not busy performing or teaching, Christine enjoys baking, reading about linguistics and the natural sciences, drinking tea with lots of milk and sugar, and listening to the rain with her husband and young children.

Christine Wilkinson-Beckman website

recorder
Vicki Boeckman

Vicki Boeckman has been performing and teaching since the 1980s. Pre pandemic she was an internationally acclaimed performing and recording artist who traveled all over the US and to many other countries to perform and teach. When the world went virtual she adapted to the challenges hesitantly, but now embraces the virtual platform with enthusiasm and awe, discovering formerly inconceivable possibilities reaching students all across the globe.

Before settling in Seattle, Vicki resided in Denmark from 1981-2004 and had the opportunity to collaborate with some of the finest musicians and composers of the day. Jaap ter Linden, John Holloway, René Jacobs, Lars Ulrik Mortensen, Pedro Memelsdorf, Per Nørgård, Hans Abrahamsen, Ole Buck, and Markus Zahnhausen to name a few. Her Danish recorder trio Wood’N’Flutes had a fantastic 15-year run performing all over Europe and working with contemporary composers in addition to doing children’s theater. She was an adjunct professor at the Royal Danish Academy of Music in Copenhagen for 12 years and taught at the Ishøj Municipal School of Music for 23 years. Many of those students are now professionals, performing and teaching in conservatories in Denmark and around Europe.

Locally Vicki has been a featured soloist with the Seattle Symphony, Seattle Baroque Orchestra, Portland Baroque Orchestra, The Oregon Symphony, Portland Opera, Medieval Women’s Choir, Gallery Concerts, Boise Philharmonic, Philharmonia Northwest Orchestra, and the Skagit Symphony. She is currently music director for the Seattle Recorder Society, co-director for the Recorder Orchestra of Puget Sound (ROPS), and Artistic Director for the Port Townsend Early Music Workshop. She is overjoyed to be returning to the concert stage and to be performing with Seattle Baroque Orchestra.

 

bassoon
Stephanie Corwin

Based in New York City, Stephanie Corwin enjoys an active career performing and teaching music of the past four centuries on modern and historical bassoons. Her vocation has taken her throughout the US and abroad, simultaneously satisfying her love for travel and her desire for connecting with people on and off the stage. Highlights include solo appearances at Lincoln Center and Carnegie Hall, chamber music performances at the Yellow Barn and Staunton music festivals, and concerts with Philharmonia, Tafelmusik, Trinity Wall Street, and Handel and Haydn Society. Stephanie is honored to have been the inaugural winner of the Meg Quigley Vivaldi Bassoon Competition, which creates opportunities for young female bassoonists from the Americas. She values the intimate collaborations encouraged through chamber music and is a core member of Kleine Kammermusik and Repast. When not making music (or making reeds), Stephanie can be found out on a run, lost in a book, or working on her next knitting or sewing project.

Harpsichord
Jillon Stoppels Dupree

Jillon Stoppels Dupree has been described as “one of the country’s top baroque musicians, a superior soloist and top-ranked ensemble player; and a baroque star” (Seattle Times). She performs with the Seattle Symphony, Seattle Baroque Orchestra, San Francisco Bach Choir, San Francisco Choral Artists, and Ensemble Electra; her chamber music collaborations include such artists as Wieland Kuijken, Julianne Baird, Ellen Hargis, Ingrid Matthews, Janet See, and Marion Verbruggen. Her recent activities include concerts and master classes at both Stanford University and the University of Michigan’s School of Music.

Jillon received both Fulbright and Beebe Fund grants for study abroad, and her teachers included Gustav Leonhardt, Kenneth Gilbert, Edward Parmentier and Lisa Goode Crawford. An honors graduate of the Oberlin College Conservatory of Music and Masters recipient at the University of Michigan, Ms. Dupree has taught at both her alma maters, at Seattle’s Cornish College of the Arts, and at the University of Washington. She received the National Endowment for the Arts Solo Recitalist award, for performance of contemporary harpsichord music, and her world-premiere recording of Philip Glass’s Concerto for Harpsichord was heralded as “Superb!” by the New York Times. Ms. Dupree was the Co-Founder of Gallery Concerts, an early music concert series in Seattle. She can be heard on the Meridian, Decca, Orange Mountain, Wildboar and Delos labels, and her new solo Bach recording from Centaur Records has been described as “harpsichord musicianship at its best . . .expressive . . . passionate . . . and inspiring.” (American Record Guide).

Principal oboe and recorder
Curtis Foster

Curtis Foster, Baroque oboe and recorder, whose playing has been praised for its “brilliantly introverted charm” (Seattle Times), has appeared with many of North America’s most respected early music ensembles, including Handel & Haydn Society, Portland Baroque Orchestra, Les Boréades de Montréal, the Seattle and Pacific Baroque Orchestras, and Victoria Baroque Players. He has also performed with American Bach Soloists, Arion, and Mercury. In the summer, he can typically be found performing or teaching at various festivals, including the Oregon Bach Festival, Vancouver Bach Festival, Victoria Baroque Instrumental Academy, Ottawa International Chamber Music Festival, and the Whidbey Island Music Festival.

An enthusiastic advocate for music of our own time, Curtis regularly commissions and presents new works by contemporary composers for old instruments. An equally dedicated pedagogue, Mr. Foster teaches Baroque oboe as part of the Baroque Orchestra Mentorship Programme at the University of British Columbia, and is regularly invited to present workshops and masterclasses around the US and Canada. He can be heard on recordings from ATMA Classique, Naxos, Cedille Records, and IU Press.

Originally hailing from Wichita, Kansas, Curtis now makes his home in Seattle, Washington. He is a graduate of Wichita State University and Indiana University’s Early Music Institute.

lute
Deborah Fox

Deborah Fox is a lutenist with a span of repertoire ranging from medieval to baroque music, as a soloist, chamber music player, and baroque opera continuo. She has performed with the major early music ensembles and festivals from Newfoundland to Australia, including the Carmel Bach Festival, Glimmerglass Opera, Les Violons du Roy (Montreal), Spoleto Festival, Opera Atelier (Toronto), Pinchgut Opera (Sydney), Concert Royal (NY), Haymarket Opera and Third Coast Baroque (Chicago), and others. She graduated from Smith College, and received the Certificate of Advanced Studies in Early Music at London’s Guildhall School, specializing in the improvised accompaniment practices of the baroque. Her teachers have included Paul O’Dette, Pat O’Brien, and Nigel North. She has been a Teaching Artist for the Aesthetic Education Institute. She is the founder and director of Pegasus Early Music in Rochester, NY, and the director of NYS Baroque in Ithaca and Syracuse, NY.

Bassoon
Nate Helgeson

Nate Helgeson is one of the West Coast’s leading specialists in historical bassoons. Born into a musical family in Eugene, Oregon (his brother, Aaron Helgeson, and uncle Stephen Gryc are both accomplished composers), Nate studied modern bassoon with Steve Vacchi and Richard Svoboda before taking up the baroque instrument, continuing his studies with Dominic Teresi at the Juilliard School.

Now based in Portland, he performs on stages large and small throughout North America. In addition to solo and orchestral appearances with premier period ensembles across the country, he can be heard on recordings by Apollo’s Fire, Tafelmusik Baroque Orchestra, and the Trinity Baroque Orchestra. Beginning in 2018, Nate has performed works of Rossini and Bellini on period instruments as part of Teatro Nuovo, a newly formed festival in New York exploring 19th century ‘bel canto’ sounds and performance practices on the opera stage.

trumpet
Kris Kwapis

Acclaimed for her ‘sterling tone’ in the New York TimesKris Kwapis appears regularly as soloist and principal trumpet with period-instrument ensembles across North America, including Portland Baroque Orchestra, Early Music Vancouver, Pacific MusicWorks, Bach Collegium San Diego, Staunton Music Festival, Indianapolis Baroque Orchestra, Chicago’s Haymarket Opera Company, Tafelmusik, Bach Society of Minnesota, Oregon Bach Festival, Callipygian Players, Bourbon Baroque, and Lyra Baroque, making music with directors such as Andrew Parrott, Monica Huggett, Alexander Weimann, Barthold Kuijken, Matthew Halls, Jacques Ogg, and Masaaki Suzuki.  Her playing is heard on Kleos, Naxos, ReZound, Lyrichord, Musica Omnia and Dorian labels, including the 2013 GRAMMY nominated recording of Handel’s Israel in Egypt, and broadcast on CBC, WNYC, WQED (Pittsburgh), Portland All-Classical (KQAC), Sunday Baroque and Wisconsin Public Radio.

A student of Armando Ghitalla on modern trumpet, with a BM and MM in trumpet performance from the University of Michigan, Dr. Kwapis holds a DMA in historical performance from Long Island’s Stony Brook University. She often lectures on historical brass performance practice with appearances at the Metropolitan Museum of Art, University of Wyoming, University of Minnesota-Duluth, University of Louisville, Madison Early Music Festival, Pacific Lutheran University, Seattle Recorder Society, and Rutgers University, in addition to writing program notes and delivering pre-concert lectures. On modern trumpet, Kris was adjunct professor of trumpet at Hofstra University in Hempstead, NY from 2000-2010 and taught as a sabbatical replacement at Pacific Lutheran University in Tacoma, WA for the fall semester of 2019.

Dr. Kwapis enjoys sharing her passion with the next generation of performers as a faculty member at Indiana University’s Jacobs School of Music Historical Performance Institute (baroque trumpet and cornetto) since 2010 in addition to teaching at her home in Seattle and online. When not making music, Kris explores the visual art medium of encaustic painting, cooking and gardening.

Kris Kwapis website

contrabass
Todd Larsen

Todd Larsen is a long time member of the NW music scene.  Performing with numerous ensembles including Portland Baroque Orchestra, Seattle Baroque, Pacific Baroque Orchestra, Oregon Bach Festival, Pacific Baroque Festival, NW Bach Festival and Whidbey Island Music Festival, Mr. Larsen is also the principal bass of the Pacific NW Ballet and NW Sinfonietta and has a lengthy history with modern groups throughout the region, such as Seattle Symphony, Spokane Symphony, Portland Opera, and many others.

cello
Morgan Little

As the child of two working classical musicians, Morgan Little has been attending rehearsals from a very young age. Born in Los Angeles, Morgan started his training exclusively as a modern cellist. Morgan caught the bug of historical performance while studying at DePaul University in Chicago, and has not recovered since. After a short stint in Boston, he continued his studies as a full-tuition scholarship student at the Juilliard School, where he maintained an active role as a chamber and orchestral musician, recently playing principal cellist with Juilliard 415 on tour in Scandinavia under the direction of David Hill, and playing continuo for the Juilliard production of Dido and Aeneas in New York, London, and Versailles under the direction of Avi Stein.

During 2020 Morgan discovered he had a passion for teaching as well as performing and is now the co-director of the Stevenson High School Baroque program in Chicago as well as the leader of the Stevenson Viola da gamba consort. As of now Morgan is splitting his time between Chicago and on the West coast.

bassoon
Anna Marsh

Anna Marsh is a Baroque wind specialist, who is also fluent in Medieval, Renaissance, Classical and Modern instruments. Her interests lie principally in the double‐reed family, though she also performs on the Renaissance and Baroque recorder.

Originally from Tacoma, WA, Anna appears regularly with Opera Lafayette (DC), Tempesta di Mare (Philadelphia), Ensemble Caprice (Montreal), Opera Atelier (Toronto), Tafelmusik (Toronto),  Washington Bach Consort (DC), and Pacific MusicWorks (Seattle), among others.  She has been the featured soloist with the Foundling Orchestra with Marion Verbruggen, Arion Orchestre Baroque, The Buxtehude Consort, The Dryden Ensemble, the Boulder Bach Festival, New York State Baroque, the Indiana University Baroque Orchestra and others.  She co‐directs Ensemble Lipzodes and has taught both privately and at festivals and master classes at the Eastman School of Music, Los Angeles Music and Art School, the Amherst Early Music, and Hawaii Performing Arts Festivals and the Albuquerque, San Francisco Early Music Society, Rocky Ridge Music Center and Western Double Reed Workshop.  She tours internationally, mostly to Europe and South America, and has also been heard on Performance Today, Harmonia and CBC radio and recorded for Chandos, Analekta, Centaur, Naxos, the Super Bowl, Avie, and Musica Omnia. Marsh studied music and German studies at Mt. Holyoke College, The Thornton School of Music at the University of Southern California and holds a Doctor of Music from the Jacobs School of Music at Indiana University.

viola
Hillary Oseas

Hailing from Portland, Oregon, violist Hillary Oseas is known for her versatility. She received her Master’s Degree from Rice University, where she studied both historically informed performance and modern viola with the highly esteemed violist James Dunham. Ms. Oseas has been the Portland Opera Orchestra’s principal violist since 2012, and has played with the Portland Baroque Orchestra since 2014. She is also highly sought after as a chamber musician, and has worked with many diverse ensembles, including the 45th Parallel String Quartet and Cassatt Quartet.

violin
Elizabeth Phelps

Violinist Elizabeth Phelps, whose playing has been described as “vigorous and vivacious” with “impressive technique and interpretive sensibility” (CVNC), leads a diverse musical career. Her repertoire spans across centuries and genres, from period-instrument performances of the early baroque to contemporary works and collaborations with singer-songwriters. Growing up in New Haven, Connecticut, Elizabeth began violin just shy of her fourth birthday at the Bethwood Suzuki School in Bethany, CT with Lisa Barca-Hall.

Elizabeth was a fellow in the New World Symphony from 2009 to 2013, working with a myriad of conductors and musicians. Among the highlights of her fellowship include playing in masterclasses for Jorja Fleezanis, Jordi Savall, and joining Paula Robison for a performance Schoenberg’s Pierrot Lunaire as well as Christian Tetzlaff for Brahms’ Viola Quintet in G Major. In the summer of 2010, Ms. Phelps attended the Lucerne Festival Academy in Switzerland where she worked with members of Ensemble Intercontemperain and the late Pierre Boulez.

Following her fellowship with New World, Ms. Phelps spent four years as Principal Second Violin of the North Carolina Symphony in Raleigh. She soloed frequently with the orchestra (including, notably, a performance of Bach’s Brandenburg Concerto No. 2 she performed on a piccolo violino) and performed numerous recitals and chamber music throughout the state. In the summer of 2014, she joined the faculty of the Eastern Music Festival in Greensboro, NC where she loves to teach, coach chamber music, and play in the first violin section of the faculty orchestra. Other highlights from her time in North Carolina include performing with composer and singer-songwriter Gabriel Kahane at Cat’s Cradle in Carrboro, collaborating with dancers from Black Irish for a performance of Caroline Shaw’s quartet “Entr’acte” at Kings Barcade in Raleigh, as well as both recording and performing with Kaira Ba, a North Carolina based band featuring renowned kora player Diali Cissokho.

Baroque music was always such a keen interest for Elizabeth that she decided to immerse herself in historical performance, attending workshops held by the Tafelmusik Baroque Orchestra in Toronto, the American Bach Soloists in San Francisco, and the San Francisco Early Music Festival. Most recently, she attended Enrico Onofri’s annual masterclass at the San Leo Festival in Italy. In August of 2017, she joined harpsichordist Jeannette Sorrell for a recital at the Grand Teton Music Festival in Jackson Hole, Wyoming and now regularly performs with Apollo’s Fire in Cleveland, the Seattle Baroque Orchestra, and Pacific Musicworks in Seattle.

Ms. Phelps received her bachelor and master degrees from the Cleveland Institute of Music. While there, she was actively involved with the school’s New Music Ensemble, working closely with the composition students. In 2008 at the end of her studies, she joined forces with those composers along with other like-minded musicians to form the FiveOne Experimental Orchestra, a collective dedicated to performing works that connect contemporary chamber music with popular culture. They performed in a new, unique space for each performance, which inspired Elizabeth to seek out more accessible venues for performance when she moved to Miami Beach. With her colleagues in the New World Symphony, she started “Impromptu:”, a free, monthly chamber series at Art Center South Florida on the Lincoln Road pedestrian mall in Miami Beach.

From 2005-2010, Elizabeth played in the Canton Symphony, serving as Acting Principal Second Violin for the last season. Other ensembles she has played with include the Seattle Symphony, Grand Teton Music Festival Orchestra, Grant Park Symphony Orchestra, Verbier Festival Orchestra, Des Moines Metro Opera Orchestra, and the Artosphere Festival Orchestra.

Elizabeth is fortunate to have studied with Professor Paul Kantor, Stephen Rose of the Cleveland Orchestra, Amy Goodman, and Wendy Sharp. She is also grateful to Elizabeth Blumenstock, Elizabeth Field, Jeannette Sorrell, Julia Wedman, and David Wilson for aiding and abetting her baroque journey. Her modern violin is an Italian instrument by Pietro Gallinotti finished in 1949 and her baroque violin is by Seattle-based violin maker David van Zandt from 1991.

Ms. Phelps resides in Seattle with her partner, Matthew Decker, percussionist and timpanist with the Seattle Symphony. In addition to her historical and musical interests, she loves to learn about educational philosophy and brain development. She also enjoys cartoons, eating new food, and tending to her houseplants.

Elizabeth Phelps website

Principal viola
Lindsey Strand-Polyak

Lindsey Strand-Polyak has loved Early Music ever since her first music history teacher, the late George Shangrow, introduced her to Leonin and Perotin— so much so that she earned a PhD//MM in musicology and violin performance from UCLA. Since then, she has traveled widely as a performer and educator. Dr. Strand-Polyak is Artistic Director of Los Angeles Baroque and was Assistant Director of the UCLA Early Music Ensemble from 2011-2015. Artist residencies include Michigan State University, University of Richmond, Northwestern State University of Louisiana, and University of Northern Colorado. A few of her favorite music festivals have included the Oregon Bach Festival, Baroque Festival Corona del Mar, Twin Cities Early Music Festival, and the Fringe of Boston and Berkeley Early Music Festivals; and some of her favorite musicking moments have been playing with groups like Bach Collegium San Diego, Pacific MusicWorks, Musikanten Montana, American Bach Soloists and of course, Seattle Baroque. She is currently Adjunct Professor of Violin and Viola at Claremont Graduate University. You’ll see her on stage performing on a 1776 Richard Duke violin and a mid-18th century viola by Master Anonymous, but on her days off you might catch her playing tenor viol in a consort.

Flute
Janet See

Janet See is one of today’s outstanding performers on baroque and multi-keyed classical flute.  For over three decades she has performed as a soloist, in chamber music, and in orchestras throughout North America and Europe.

In London, where she lived for 12 years, Ms See played principal flute for Sir John Eliot Gardiner’s two orchestras, and with those groups recorded the complete Mozart Operas and Beethoven Symphonies, as well as numerous other discs.  While in London she also played principal flute for ‘The Taverner Players, conducted by Andrew Parrott.  In North America Janet was a founding member and principal flutist with Philharmonia Baroque, with whom she recorded Vivaldi and Mozart Concertos.  She is currently principal flutist with Portland Baroque Orchestra, Seattle Baroque Orchestra, and Pacific MusicWorks.  Janet is looking forward to post-pandemic orchestral and chamber music performances in Seattle, Portland, San Francisco, and Victoria, B.C.

Janet has recorded for DG Archive, EMI, Erato, Hyperion and Phantom Partner.  Her highly acclaimed recordings include Vivaldi Concertos and the complete Bach Flute Sonatas, both recorded on the Harmonia Mundi label.  Her latest recording with The New Iris Quartet features works by Mozart and Haydn.

oboe and recorder
MaryAnn Shore

MaryAnn Shore holds a Performer’s Diploma in Baroque oboe from Indiana University as well as degrees on modern oboe from the University of New Mexico and the Oberlin Conservatory of Music. She is a founding member of Albuquerque Baroque Players and was a woodwind specialist with Musica Antigua de Albuquerque for many years. She is currently a member of Santa Fe Pro Musica and has performed extensively in New Mexico with groups such as New Mexico Symphony Orchestra, the New Mexico Woodwind Quintet, Santa Fe Symphony, Santa Fe Opera and Santa Fe Chamber Music Festival. As a Baroque oboist and recorder player, MaryAnn has performed around the country with such groups as Madison Bach Musicians, the Baroque Chamber Orchestra of Colorado, Musica Angelica, Baroque Band, Houston Bach and Ars Lyrica as well as Toronto’s Classical Music Consort and in Mexico with the Festival de Música Barroca.

cello and viola da gamba
Adaiha MacAdam-Somer

Adaiha MacAdam-Somer is highly sought after as a chamber and orchestral musician across the United States and Europe. She splits her time and passion equally between cello, baroque cello, and all branches of the viola da gamba family. From her home base in Portland, Adaiha performs with a variety of ensembles including Portland Baroque Orchestra, Seattle Baroque Orchestra, Voices of Music, Philharmonia Baroque Orchestra, and Voice of the Viol, which she is Artistic Director of. As an educator she maintains a studio of private students, coaches the Bridgetown Baroque Ensemble, substitute teaches for youth orchestras and chamber ensembles, and is a regular guest instructor of workshops. Adaiha holds degrees from the San Francisco Conservatory of Music and the University of Wisconsin-Madison. Her principal teachers include Jean-Michel Fonteneau, Elisabeth Reed, Uri Vardi, and Laszlo Varga.

violin and viola
Laurel Wells

Laurel Wells is known for her work on both baroque and modern viola and violin. She has enjoyed an extensive and eclectic musical life, performing in Hong Kong, Norway, Canada, and throughout the United States. For twenty years she played violin with the Lyric Opera of Chicago, between seasons earning Master’s degrees in violin and viola from Indiana University. She studied chamber music at the Banff Centre in Canada and performed extensively under the guidance of the Vermeer Quartet. Laurel was a member of the Northwest Chamber Orchestra, holding the position of principal viola. She is currently a member of the Pacific Northwest Ballet orchestra and has performed often with the Seattle Symphony, Seattle Opera, and at the 5th Avenue Theater.

In the early music world, Laurel plays with the Seattle Baroque Orchestra, Pacific MusicWorks, and in the Gallery Concert Series, and Musique du Jour. She has also participated in the Whidbey Island Music Festival, and the EMG’s Early Music Fridays. Laurel has recorded with Seattle Baroque, for NPR, and the Wild Boar and Centaur labels.

 

SBO’s Discography

Handel’s Harp

Seattle Baroque Orchestra

Ingrid Matthews, Music Director; Maxine Eilander, Harpist; Stephen Stubbs, Conductor

Label: ATMA Classique

Recorded: October 2008

The Pachelbel Canon and other Baroque favorites

Seattle Baroque Orchestra

Ingrid Matthews, Music Director; Byron Schenkman, Artistic Director

Label: Loft Recordings

Recorded: January 2003

Agar et Ismaele Esiliati (The Exile of Hagar and Ishmael)

Seattle Baroque Orchestra

Ingrid Matthews, Music Director; Byron Schenkman, Artistic Director with Karina Gauvin, Nathaniel Watson, Melissa Fogarty, Jennifer Lane

Label: CENTAUR

Recorded: November 2001

Heinrich Biber: Sonatas for Strings

Seattle Baroque Orchestra

Ingrid Matthews, Music Director; Byron Schenkman, Artistic Director

Ingrid Matthews, violin

David Greenberg, violin

Label: CENTAUR

Recorded: March 2001

Vivaldi: Bassoon Concertos

Seattle Baroque Orchestra

Ingrid Matthews, Music Director; Byron Schenkman, Artistic Director

Michael McCraw, bassoon

Label: CENTAUR

Recorded: May 1999

J.S. Bach: Concertos for Harpsichord

Seattle Baroque Orchestra

Ingrid Matthews, Music Director; Byron Schenkman, Artistic Director

Byron Schenkman, harpsichord

Label: CENTAUR

Recorded: March 1998

Handel: Tra Le Fiamme

Seattle Baroque Orchestra [Ingrid Matthews, Music Director, Byron Schenkman, Artistic Director]

Ellen Hargis, soprano

Label: WILDBOAR

Recorded: May 1996