Seattle Baroque Orchestra

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


Music Director

Alexander Weimann

2019–20 Season Soloists

Vicki Boeckman, recorder

Curtis Foster, oboe

Kris Kwapis, trumpet

Ingrid Matthews, guest concert master

Linda Melsted, concert master

Carla Moore, guest concert master

Rachel Barton Pine, violin

Danielle Sampson, soprano

2019-20 Orchestra Musicians

Cecilia Archuleta, violin

Christine Wilkinson Beckman, violin

Josiah Boothby, horn

Stephen Creswell, viola

Curtis Daily, bass

Lot Demeyer, oboe

Curtis Foster, oboe and recorder

Darlene Franz, bassoon

Robert Gale, trumpet

Joanna Hood, viola

Tomà Iliev, violin

Courtney Kuroda, violin

Todd Larsen, bass

Henry Lebedinsky, organ

John Lenti, theorbo

Adaiha MacAdam-Somer, cello

Anna Marsh, bassoon

Caroline Nicolas, cello

Daniel Oie, timpani

Emi Ostrom, oboe

Elizabeth Phelps, violin

Joshua Romatowski, flute

Judson Jay Scott, trumpet

Janet See, flute

Annabeth Shirley, cello

Lindsey Strand-Polyak, violin

Gordon Ullmann, trumpet

Janet Worsley Strauss, violin

Laurel Wells, violin

Nathan Whittaker, cello

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, and as music director of Les Voix Baroques, Le Nouvel Opéra and Tempo Rubato.

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 2001 release of Handel’s Gloria (ATMA Classique). Volume 1 of his recordings of the complete keyboard works by Alessandro Scarlatti appeared in May 2005. Critics around the world unanimously praised it, and in the following year it was 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. In 2017 he was nominated for a Juno Award for his recording of J.S. Bach’s Magnificat with Arion Baroque Orchestra.

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 lives in Vancouver, BC, with his wife, three children and pets, and tries to spend as much time as possible in his garden and kitchen.

Byron Schenkman

Byron Schenkman has recorded more than 30 CDs of 17th- and 18th-century repertoire, including recordings on historical instruments from the National Music Museum, Vermillion, and the Museum of Fine Arts, Boston. A recipient of the Erwin Bodky Award from the Cambridge Society for Early Music “for outstanding achievement in the field of early music,” he was voted “Best Classical Instrumentalist” by the readers of Seattle Weekly in 2006, and his piano playing has been described in The New York Times as “sparkling,” “elegant,” and “insightful.”

He has been a featured guest with the Chameleon Arts Ensemble of Boston, the Daedalus Quartet, the Northwest Sinfonietta, Pacific Baroque Orchestra, Philharmonica Northwest, and the Portland Baroque Orchestra. He was also founding co-director of Seattle Baroque Orchestra with violinist Ingrid Matthews. In 2013 he launched “Byron Schenkman & Friends,” a Baroque and Classical chamber music series at Benaroya Hall in Seattle. Recently he has been studying Klezmer music with Shawn Weaver and has begun collaborating on performances of Russian Jewish art music with violinist Steven Greenman. Schenkman is a graduate of the New England Conservatory and received his master’s degree with honors in performance from the Indiana University School of Music. He currently teachers at Seattle University and Cornish College of the Arts. In 2012 he also served as guest lecturer in harpsichord and fortepiano at the Indiana University Jacobs School of Music.

Yulia van Doren

Recognized by Opera Magazine as “A star-to-be” following her Lincoln Center debut, young Russian-American soprano Yulia Van Doren’s debut with the Toronto Symphony Orchestra was acclaimed as a “revelation… a ravishing lyric voice and an ease with vocal ornamentation that turned her into an enchanted songbird” (Toronto Star). The Cleveland Plain Dealer praised Van Doren as an artist of “melting poignancy.” A dedicated interpreter of repertoire off the beaten path, career highlights include creating the lead female role in the world premiere of Shostakovich’s Orango with the Los Angeles Philharmonic, directed by Peter Sellars and released on Deutsche Grammophon; two Grammy-nominated opera recordings with the Boston Early Music Festival; the modern revival of Monsigny’s opera Le roi et le fermier at Opera de Versailles, Lincoln Center and the Kennedy Center (recorded for Naxos); and a tour of Handel’s Orlando with Philharmonia Baroque Orchestra to the Mostly Mozart, Ravinia and Tanglewood festivals.

Krisztina Szabó

Hungarian-Canadian mezzo-soprano Krisztina Szabó has become highly sought after in both North America and Europe as an artist of supreme musicianship and stagecraft. The Chicago Tribune exclaimed, “Krisztina Szabó stole her every scene with her powerful, mahogany voice and deeply poignant immersion in the empress’ plight” after her performance of Ottavia in L’incoronazione di Poppea. She made her Lincoln Center début as Dorabella in Così fan tutte at the Mostly Mozart Festival where she was praised in the New York Times for being “clear, strong, stately and an endearingly vulnerable Dorabella.” In her hometown of Toronto, Canada, she has been nominated twice for a Dora Award for Outstanding Female Performance.

Last season’s highlights include appearances with Canadian Stage as soloist/actor in All But Gone, featuring plays by Samuel Beckett and music by Kaija Saariaho; as soloist in Messiah with Tafelmusik Baroque Orchestra; as the title role in Rossini’s Cenerentola with Edmonton Opera; as soloist for the world première of “From the Diary of Virginia Woolf” by Gary Kulesha with the NAC Orchestra, Ottawa; as soloist in Mahler 2 with Ottawa Symphony Orchestra; as soloist in Telemann’s Der Tag des Gerichts with Music of the Baroque, Chicago; and as Sofiya in Tapestry New Opera’s world première of Aaron Gervais’ opera, Oksana G.

Ms. Szabó finished her postgraduate studies at the Guildhall School of Music and Drama in London, England, after completing her undergraduate degree at the University of Western Ontario studying with Darryl Edwards. She has been the recipient of the Emerging Artist grant from Canada Council and has been honoured by her home town of Mississauga with a star on the Music Walk of Fame in its inaugural year. Krisztina lives in Toronto with her husband, Kristian Clarke and their daughter, Phoibe Clarke. Ms. Szabó is a member of the voice faculty at the University of Toronto.

concert master
Linda Melsted

Linda Melsted has won the hearts of audiences across North America, Europe, and Japan with her passionate artistry. Currently concertmaster of Seattle Baroque Orchestra, she has appeared as soloist, member, and leader of many outstanding ensembles, including Tafelmusik, Portland Baroque Orchestra, Pacific Baroque Orchestra, Pacific MusicWorks, Philharmonia Baroque, and Freiburg Baroque Orchestra. Linda is the featured soloist in Tafelmusik’s documentary “Le Mozart Noir”, and has recorded for Sony, ATMA, Classique, CBC, and Harmonia Mundi. Linda’s true love is chamber music. She has performed with many ensembles in chamber music series from Toronto to Seattle including Early Music Vancouver, Gallery Concerts, Northwest Showcase, Camerata Musica, Folia, Discovery Island Music Festival, La Primavera, and Toronto Music Garden. She is a founding member of the chamber ensembles sound|counterpoint, the Cosi Quartet – a classical oboe quartet, La Modestine—a Baroque quartet based in Vancouver B.C., and Salish Sea Players—a group dedicated to bringing early music to retirement and nursing facilities in the greater Seattle area. Working with adult amateurs is one of Linda’s favorite activities and she happily coaches students at her home and at various chamber music festivals. She has worked with community baroque orchestras in Toronto and Calgary in workshop settings and is the director of the New Baroque Orchestra in Seattle. Linda performs on a Nicolo Amati violin.

guest concert master
Ingrid Matthews

Called “one of the lights on early music’s international circuit” by the San Francisco Chronicle, Ingrid Matthews won first prize in the prestigious Erwin Bodky International Competition for Early Music in 1989 before co-founding the Seattle Baroque Orchestra in 1994 with Byron Schenkman; she served as its Music Director until 2013 and was beloved by colleagues and audiences for the warmth and vibrancy of her leadership. She has performed around the world with many of today’s leading early music ensembles, appearing as a soloist with the New York Collegium, the Australian Brandenburg Orchestra, Tafelmusik Baroque Orchestra (Toronto), the Bach Sinfonia (Washington DC), Ars Lyrica (Houston), and many others. Matthews has won high critical acclaim for her extensive discography; her recording of the Sonatas and Partitas of J.S. Bach has been named top recommendation by both American Record Guide and Third Ear’s Classical Music Listening Companion. Her recording In Stil Moderno includes a sonata by Biagio Marini that is included in the Norton Anthology of Music used by virtually all conservatory and university music degree programs. She has taught at Indiana University, the University of Toronto, USC/LA, and the Cornish College of the Arts, and given masterclasses from Seattle and Boston to Beijing and Dubai. She also plays jazz and swing styles, and is active as a visual artist.

Henry Lebedinsky

Hailed by The Miami Herald for his “superb continuo… brilliantly improvised and ornamented,” Henry Lebedinsky performs on historical keyboards both as a soloist and with Pacific MusicWorks, The Seattle Symphony Orchestra, The Vivaldi Project, and Sonoma Bach. He has also played with Seattle Opera, The St. Paul Chamber Orchestra, The Charlotte Symphony, Seraphic Fire, and Boston Revels. He is co-director of the Bay Area band Agave Baroque, which has recorded two albums featuring countertenor Reginald L. Mobley on the VGo Recordings label. With Mr. Mobley, he has brought a unique program of 200 years of music by Black composers to audiences across the USA and recently in the UK, France, and Morocco. As an organist, has been featured on American Public Media’s Performance Today, and has performed live on APM’s Pipedreams. Mr. Lebedinsky is the founder and director of Pacific MusicWorks Underground (formerly Early Music Underground), dedicated to bringing Baroque and Classical music to places where people gather – from brewpubs to wineries and other fun, informal venues – creating experiences that appeal to both seasoned concertgoers and first-timers alike. Now in its fifth season, Underground offers over 40 boozy, high-spirited, multimedia-driven shows a season across the greater Seattle metro area. If you like stiff, stuffy performances, don’t come. You won’t like it.

An avid composer of sacred music for choir and organ, his works are published by Paraclete Press, Carus-Verlag Stuttgart, and CanticaNOVA. Mr. Lebedinsky is a former music critic for FANFARE Magazine and is in demand as an editor of historical music editions. He also blogs about single malt whisky at When not at a keyboard instrument, he plays guitar and bouzouki with the Celtic traditional music bands Earl’s Chair and The Beggar Boys, who were featured on National Public Radio’s syndicated holiday special A Celtic Christmas from Biltmore Estate with Kathy Mattea. Mr. Lebedinsky holds degrees from Bowdoin College and the Longy School of Music, where he earned a Master of Music in historical organ performance as a student of Peter Sykes. A church musician for the past 24 years, he currently serves as Organist and Choirmaster at Seattle’s historic Christ Episcopal Church. More information at

Cecilia Archuleta

Cecilia Archuleta, violinist, has performed internationally as a soloist, chamber, and orchestral musician. She has toured in North and South America with the Orquestra de la Juventud, Toluca Symphony Orchestra and Mexico Philharmonic. She was also Concertmaster and featured soloist for several concerts. By special request of the First Lady of Mexico, Cecilia has performed before the President of Mexico, José López Portillo.

Cecilia’s career in Los Angeles, her birthplace, brought numerous engagements, including a concert for Princess Grace of Monaco with American harpsichordist, Igor Kipnis, and a performance of the Bach Double Concerto with Jack Benny. She has also performed with San Diego Symphony Orchestra, Pacific Symphony Orchestra, and Pasadena Symphony.

In the Pacific Northwest, Cecilia is one of the most sought-after violinist for chamber music. She was the founding member of the Onyx Chamber Players, soloist with Octava Chamber Orchestra, and has performed with the Philadelphia String Quartet for 12 seasons at the Olympic Music Festival, and will be performing her third season this summer with the Friday Harbor Chamber Music Festival. Cecilia is a member of Northwest Sinfonietta, and Concertmaster with Philharmonia Northwest. She has also performed with Seattle Symphony, Auburn Symphony, and the Pacific Northwest Ballet. On period violin, Cecilia performs with Seattle Baroque, Gallery Concerts, Intimate Baroque Series, The Obbligato Players and is a member of the Opus 20 String Quartet. She has recorded with Seattle Symphony and SEATTLEMUSIC for soundtracks and commercials.

She has a loving, supportive husband and two talented and successful sons. She enjoys tennis, knitting and gardening.

Christine Wilkinson Beckman

Christine Wilkinson Beckman enjoys performing throughout her native Northwest with early music ensembles large and small and appears regularly with such groups as the Seattle, Portland, and Pacific Baroque Orchestras and Early Music Underground. She is also the director of 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 received her BM in Violin Performance from St. Olaf College. A passionate educator, Christine teaches Suzuki violin and viola to a growing studio of young musicians in Olympia. When not busy performing or teaching, she enjoys baking, reading, drinking tea, and listening to the rain with her husband at their home in Olympia, WA.

Curtis Daily

Curtis Daily has focused on the historical performance practice of Baroque and classical music for more than 25 years. He is the principal bassist with Portland Baroque Orchestra and a member of Seattle Baroque Orchestra since its inception, as well as a participant at the Vancouver Early Music Festival and Oregon Bach Festival. Daily also performs on occasion with Musica Angelica, Orchester Wiener Akademie, Pacific Baroque Orchestra, Philharmonia Baroque Orchestra, and Tafelmusik Baroque Orchestra, working with many of the most distinguished artists in the early music field. Daily’s upcoming season includes Pacific Northwest tours with the newly established Northwest Baroque Masterworks, Portland Baroque Orchestra, and performances in Miami, Florida with New York-based The Sebastians and Seraphic Fire. Daily was a member of the Oregon Bach Festival orchestra for the Grammy-winning recording of Credo by Krzysztof Penderecki on Hannsler Records, and is also heard on recordings for Virgin Classics, Koch, Centaur, and Sub-Pop Records. He lives in Portland, Oregon.

Lot Demeyer

Lot Demeyer is one of the West Coast’s leading Baroque oboists. Her performances have been hailed as “brilliantly translucent,” “perfection,” “virtuoso” and “with beautiful expression” in the Oregon Artwatch, LA Opus, Gazettes and San Francisco Classical Voice. Lot Demeyer performs on historical and modern oboes, as well as recorder, for world-class organizations like Musica Angelica, Bach Collegium San Diego, Philharmonia Baroque Orchestra, LA Chamber Orchestra, LA Opera, California Bach Society, Bach Society Houston, Mercury Houston, Bach Society of Minnesota, Oregon Bach Festival, Berkeley Early Music Festival, Corona Del Mar Baroque Festival and Musica Antiqua Festival (Belgium). She holds a Master’s Degree in Oboe Performance from the Royal Conservatory of Brussels (Belgium) and a Doctorate of Musical Arts in Oboe Performance from the University of Southern California (USC). Awards and recognitions include fellowships from the Fulbright Foundation and the Belgian American Educational Foundation. Since 2014 Lot Demeyer has been Lecturer in Baroque Oboe at the USC Thornton School of Music.

Curtis Foster

Curtis Foster, Baroque oboe and recorder, whose playing has been praised for its “brilliantly introverted charm” (The Seattle Times), has appeared with some of North America’s most respected early music ensembles, including Pacific MusicWorks, Les Boréades de Montréal, the Seattle and Pacific Baroque Orchestras, Mercury Baroque Orchestra, American Bach Soloists, Musica Angelica, the Newberry Consort, Victoria Baroque Players, Indy Baroque, and Chicago Opera Theater. His many festival performances have included the Vancouver, Chicago, and Bloomington Early Music Festivals, Oregon Bach Festival, Ottawa International Chamber Music Festival, and the Phoenix Bach Festival.

A ravenous chamber musician, Curtis has performed with small ensembles in concert from San Francisco to Dubai, including regular appearances with his Seattle-based chamber groups, sound|counterpoint and the Così Quartet. Mr. Foster is also an enthusiastic advocate for music of our own time, and regularly commissions and premiers new works by contemporary composers for old instruments. A dedicated pedagogue, Curtis has taught Baroque oboe as part of the Baroque Orchestra Mentorship Programme at the University of British Columbia, and is regularly invited to teach workshops and masterclasses around the US and Canada. His recordings can be heard on ATMA Classique, Cedille Records, and IU Press.
Originally hailing from Wichita, Kansas, Curtis now makes his home in beautiful Bellingham, Washington. In his rare downtime, he enjoys exploring the many hidden corners of his adopted Pacific Northwest with husband, composer Adam Haws, and cuddling with their spunky cats, Tamino and Lobo. He is a graduate of Wichita State University and Indiana University’s Early Music Institute.

Toma Iliev

Currently based in New York City, Toma Iliev is a well-rounded musician, focused on Historical Performance Practice on period string instruments, including violin, viola d’amore and viola da gamba. He has performed at prominent concert venues in New York including Carnegie Hall, Alice Tully Hall, Peter J. Sharp Theater, Merkin Hall, The Kosciuszko Foundation, as well as venues across North America and Europe. Toma is a graduate from The Juilliard School’s highly prestigious and selective Historical Performance Program; he holds the Christa Bach-Marschall Foundation Prize from the International Bach Competition in Leipzig 2014, and Competition Winner at the Indianapolis Baroque Orchestra Concerto Competition 2013.

Toma Iliev, a native of Sofia, Bulgaria, discovered his passion for music at an early age. Beginning his violin studies at the National Music School in Sofia, he later on received his post-secondary music education at Indiana University and the Juilliard School. Toma’s early music career began in 2013 when he soloed with the Indianapolis Baroque Orchestra, after winning the Concerto Competition given by the same institution. The next year – 2014, marked his first major international competition award as a Historically informed performer – the “Christa Bach-Marschall Foundation Prize” at the “International Bach Competition” in Leipzig, Germany. Between 2014 and 2016 Toma appeared regularly with Juilliard’s period ensemble Juilliard 415, at venues in North America and Europe including Alice Tully Hall, Jordan Hall, St. John Smith Square and others. Toma has performed at renown music festivals including Valley of the Moon Music Festival, Berkeley Festival & Exhibition, Oregon Bach Festival, and Dans les Jardins de William Christie. He appears regularly with the Portland Baroque Orchestra, Clarion Music Society and Sonnambula. Future engagements include appearances with Philharmonia Baroque Orchestra and American Bach Soloists.

Courtney Kuroda

Courtney Kuroda is an active performer of early music in the Seattle area and has performed throughout the U.S. and Canada with period chamber ensembles and orchestras, including Portland Baroque Orchestra, Pacific Baroque Orchestra, Indianapolis Baroque Orchestra, Ars Antigua in Chicago, Ensemble Mirable, and Opera Lafayette in Washington D.C. Kuroda has played in the Bloomington and Boston Early Music Festivals. Her violin playing has been described as “plangent of tone and right on the mark technically” (Herald-Times). Kuroda received her Master’s degree in performance from the Early Music Institute at Indiana University where she studied Baroque violin with Stanley Ritchie. She has recorded for the Naxos and ATMA labels, and currently resides in the Seattle area.

Adaiha MacAdam-Somer

Multi-instrumentalist 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, the Archetti Baroque String Ensemble, Musica Pacifica, Ensemble Galilei, and Voice of the Viol, which she is Artistic Director of. As an educator she maintains a studio of private students, coaches the Big Mouth Society Baroque Orchestra, substitute teaches for youth orchestras and chamber ensembles across the Pacific Northwest, and is a regular guest instructor of workshops nationwide.

Adaiha was a participant in the prestigious American Bach Soloists Academy in 2011 and returned the following summer after winning the 2012 Voices of Music International Young Artists Bach Competition.

Miss MacAdam-Somer 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. In the summer you can find her performing with the Astoria Oregon Music Festival, Oregon Bach Festival, and teaching chamber music and cello at Kinhaven Music School, her home away from home. Adaiha is forever grateful to Indre Viskontas and Adam Bristol for facilitating the acquisition of her bass viol, made by master luthier Francis Beaulieu.

Mary Manning

Mary Manning, violinist and violist, is a Tacoma native and a graduate of the Oberlin Conservatory in Ohio where she studied both modern and baroque violin performance with Marilyn McDonald. She is the longtime principal second violinist of the Northwest Sinfonietta and performs often with the Vashon and Tacoma Operas. As a chamber music player she has been a member of the Regency, Tomasini, and Bravura String Quartets, the Chinook Trio, and the Puget Sound Consort. Her extensive work as a baroque orchestral musician has included being a member of the Seattle, Portland, and Pacific Baroque Orchestras, Smithsonian Chamber Orchestra, and the Carmel Bach Festival Orchestra. She freelances throughout the region and has a private teaching studio at her home in Gig Harbor.



Judson Jay Scott

Judson Scott holds degrees from Baldwin-Wallace College (BM ’82, cum laude), New England Conservatory (MM ’85) and the University of Washington (DMA ’03).
Formerly a member of L’Orchesta Filharmonica de la Ciudad de Mexico, he currently holds positions in the Northwest Sinfonietta and the Tacoma Symphony Orchestra. He is trumpet instructor at the University of Puget Sound and artistic director of Brass Band Northwest. Of his performance with the Northwest Sinfonietta, Jen Graves of the News Tribune wrote simply, “Judson Scott, trumpet, performed brilliantly throughout.” At home with a wide variety of styles, Dr. Scott’s experience ranges from playing lead in West Side Story to performing Bach’s Magnificat on a valveless natural trumpet. He has performed with numerous ensembles including the Seattle Symphony Orchestra, the Seattle Opera Company, the Pacific Northwest Ballet, the 5th Avenue Theater, the Opera Company of Boston, and the symphony orchestras of Spokane, Springfield (MA), New Hampshire, Portland (ME), Rhode Island and Virginia, and has backed artists as diverse as Lynn Harell, Nadja Salerno-Sonnenberg, Richard Stolzman, Ray Charles, Doc Severenson and the rock groups Cheap Trick and the Moody Blues.

Annabeth Shirley

Cellist Annabeth Shirley has performed across the US and Europe in concerts with the Orchestra of the Age of Enlightenment, the Nederlandse Bachvereniging, Cantata Profana, the Nederlands Kamerkoor, Bourbon Baroque, and as a fringe artist in the Utrecht Oudemuziek Festival. She has worked with directors Robert Levin, Rachel Podger, Jos van Veldhoven, Leonardo García Alarcón, Marc Destrubé, Marin Alsop, Vladimir Jurowski, and Kati Debretzeni, among others, in concerts including Verdi’s Requiem and Mahler’s Resurrection Symphony with the OAE, J.S. Bach’s Matthew Passion with the Nederlandse Bachvereniging, and as a member of the 2015 Baroque Orchestre Français des Jeunes and the 2016 Berwick Academy at the Oregon Bach Festival. Annabeth holds bachelors degrees in Cello Performance and Biology from the University of Michigan, where she studied with Anthony Elliott and Enid Sutherland, and a bachelors and masters degree in Baroque Cello from the Royal Conservatory of the Hague, where she studied with Lucia Swarts. She plays a cello of unknown, most likely French, origin from approximately 1830.

violin and viola
Lindsey Strand-Polyak

Lindsey Strand-Polyak is a Seattle native now based in Santa Monica, CA. She received her PhD/MM in Musicology and Violin Performance from UCLA, studying historical performance and modern violin. She performs with Pacific MusicWorks, Musica Angelica, American Bach Soloists, Bach Collegium San Diego and Austin Baroque Orchestra, among others. While at UCLA, she worked to re-establish the UCLA Early Music Ensemble in 2009 after a 20-year hiatus, and has served in alternating roles as Managing Director and Director since 2011. She is an alumna of Baroque academies such as Tafelmusik Summer and Winter Institutes, American Bach Soloists Academy, and Oregon Bach Festival’s Berwick Academy. Masterclasses include Elizabeth Blumenstock, Marc Destrubé, Stanley Ritchie, Jeanne Lamon, Robert Mealy and Kenneth Slowik. Dr. Strand-Polyak has also presented papers and lecture-recitals at numerous musicology conferences in both the US and Canada.

Janet Worsley Strauss

Janet Worsley Strauss enjoys an active career as a Baroque violinist. As a leading violinist in Los Angeles, she has appeared with the Los Angeles Opera, and Los Angeles Master Chorale; and is a principal member of Los Angeles-based Musica Angelica Baroque Orchestra. She often appears with Seattle Baroque Orchestra, Portland Baroque Orchestra, and Trinity Consort (Portland, OR) where she has worked with Monica Huggett, Eric Milnes, Reinhard Goebel, Paul Goodwin, and Richard Egarr. Strauss has performed with American Bach Soloists, Musica Pacifica, San Francisco Bach Choir, Magnificat, Camerata Pacifica, and Galanterie. She has performed at the Indianapolis Early Music Festival, Tage Alte Musik Regensberg, Brighton Early Music Festival, Renaissance and Baroque Society Pittsburgh, and Corona del Mar Bach Festival. She holds a Bachelor of Music degree in performance from the University of Southern California, is co-founder of the Los Angeles-based chamber ensemble Angeles Consort, and teaches privately in the Los Angeles area.

violin and viola
Laurel Wells

Laurel Wells is known for her work on both Baroque and modern instruments. She has enjoyed an extensive and eclectic musical life, performing in Hong Kong, Norway, Canada, and throughout the United States. For 20 years she played violin with the Lyric Opera of Chicago, also 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. Wells 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 performs often with the Seattle Symphony, Seattle Opera, and at the 5th Avenue Theater. In the early music world, Wells plays with Seattle Baroque Orchestra, Pacific MusicWorks, and with her quartet, Opus 20, in the Gallery Concert Series. She has also participated in the Whidbey Island Music Festival, and EMG’s Early Music Fridays.

Nathan Whittaker

Nathan Whittaker, violoncello, enjoys a unique and diverse career as a concert soloist, chamber musician, recitalist, teacher, and historical cello specialist with concert stops ranging from Seattle to New York to Dubai. He is the Artistic Director of Gallery Concerts (Seattle), a concert series of chamber music on period instruments, and regularly performs with the Seattle Baroque Orchestra, Pacific Baroque Orchestra, Portland Baroque Orchestra, Rosa Barocca, Byron Schenkman and Friends, and the Pacific Northwest Ballet. Recent appearances include the Oregon Bach Festival, Indianapolis Early Music Festival, Vancouver Bach Festival, Pacific Baroque Festival, American Handel Festival, Pacific MusicWorks, 45th Parallel, Hawaii Performing Arts Festival, and the Berkeley Early Music Festival. An active pedagogue, he has served on the faculty of Cornish College of the Arts and runs a dynamic private studio. He can be heard on recordings by ATMA Musique, Harmonia, and Centaur, as well as live broadcasts by NPR, CBC, and KING FM. Dr. Whittaker holds a Doctorate of Musical Arts from the University of Washington and Bachelors and Masters degrees from Indiana University. He performs on a cello of Mario Gadda from 1957, and a baroque cello of Johann Christian Ficker II from c. 1770.


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

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

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


Recorded: November 2001

Heinrich Biber: Sonatas for Strings

Seattle Baroque

Ingrid Matthews, Music Director; Byron Schenkman, Artistic Director

Ingrid Matthews, violin

David Greenberg, violin


Recorded: March 2001

Vivaldi: Bassoon Concertos

Seattle Baroque

Ingrid Matthews, Music Director; Byron Schenkman, Artistic Director

Michael McCraw, bassoon


Recorded: May 1999

J.S. Bach: Concertos for Harpsichord

Seattle Baroque

Ingrid Matthews, Music Director; Byron Schenkman, Artistic Director

Byron Schenkman, harpsichord


Recorded: March 1998

Handel: Tra Le Fiamme

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

Ellen Hargis, soprano


Recorded: May 1996