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Harpsichordist Jillon Stoppels Dupree and lutenist John Lenti – both long-time Seattle residents are joined by members of Seattle Baroque Orchestra for an intimate performance of solo concertos. The lute and harpsichord often serve an accompanying role in our baroque orchestra. Hear them as they take center stage in solo works by J.S. Bach, C.P.E. Bach, Antonio Vivaldi, and others.
Jillon Stoppels Dupree has been described as “one of the country’s top Baroque musicians, a superior soloist 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 partnerships include such acclaimed artists as Ellen Hargis, Vicki Boeckman, Ingrid Matthews, Janet See, Wieland Kuijken and Marion Verbruggen. She received both Fulbright and Beebe Fund awards for study abroad, and her teachers included Gustav Leonhardt, Kenneth Gilbert 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 was an artist in residence at Stanford University and the University of Washington. She received the National Endowment for the Arts Solo Recitalist award for performances 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 performed the harpsichord music for the 2017 film, Early Music, by Patrick Penta. Her new solo Bach recording, J.S. Bach: Fantasy and Caprice, will be released in November 2020 on Centaur Records; she can also be heard on the Meridian, Decca, Orange Mountain, and Delos labels.
John Lenti, described by the Seattle Times as “a joy to behold” is regularly beheld playing lute, theorbo, and baroque guitar with lots of orchestras, choirs, and opera companies on both coasts of the United States, as well as in the interior, non-coastal part, and a few, coastal or otherwise, in other countries. While orchestral work as an accompanist and concerto soloist comprises most of his career, chamber music is John’s primary interest and he enjoys touring with his groups Wayward Sisters, the I-90 Collective, and Ostraka, while appearing as a guest with many other notable ensembles. With various groups he is frequently heard on most early music concert series and at lots of festivals. His recording credits include several well-received albums with some of the aforementioned bands, and his liner notes, program notes, and lectures have drawn praise. While his time is spent doing a great many things on a great many historical plucked instruments and teaching a bit, his most intense musical love is the English golden-age lute song repertoire, and his sincere desire is to become the Gerald Moore of the lute (currently accepting applications for a quiet Fischer-Dieskau with no vibrato), once that becomes remunerative. His repertoire extends from the early 16th century to the present day, but other than something really neat like an electric theorbo concerto, his commitment to the music of our own time is negligible if not actually averse. A native of South Carolina, John attended the North Carolina School of the Arts and Indiana University, and he studied lute with Jacob Heringman, Elizabeth Kenny, and Nigel North, also receiving valuable guidance from Pat O’Brien, Walter Gray, and Ricardo Cobo.