Tenor Philip Anderson is much in demand among New York's early music ensembles. He sings with Artek, My Lord Chamberlain's Consort and Tenet. He has has been a soloist with Chatham Baroque, Orchestra of St. Luke's, and Piffaro. In 2007 he appeared on Broadway in Coram Boy. His many recordings include the Grammy Award nominated O Magnum Mysterium with The Tiffany Consort. On weekends he can be heard at the Church of St. Ignatius Loyola where is the parish cantor. This coming season he will tour with the Philip Glass Ensemble in Einstein on the Beach. When not singing he can be found in his vegetable garden in North Salem, NY. Julie Andrijeski, full-time Lecturer at Case Western Reserve University, is among the leading baroque violinists and early music pedagogues in the U.S. In addition to many solo opportunities with various groups, she holds principal positions with diverse Baroque and Renaissance ensembles including Cleveland’s Apollo’s Fire, New York State Baroque (Concertmaster), the Atlanta Baroque Orchestra (Artistic Director), Quicksilver, Cecilia’s Circle, and The King’s Noyse.  Her unique performance style is greatly influenced by her knowledge and skilled performance of early dance.  In March 2011 she temporarily relinquished her concertmaster position with NYS Baroque to choreograph and dance the lead role in their production of Handel’s Terpsicore.  Ms. Andrijeski directs the CWRU/CIM Baroque Orchestra, Baroque Chamber Ensembles, and Baroque Dance Ensemble throughout the school year.  During the summer she teaches both violin and dance at summer festivals in Oberlin (BPI), Madison (MEMF), and Vancouver, BC (VEMF).   Bass Nathan Baer’s operatic roles have included Sandstrom's Jeppe, Rigoletto, La Boheme, Britten’s Midsummer Night’s Dream, Le Nozze di Figaro, Don Giovanni, Carmen, Eugene Onegin, Offenbach’s Les Contes d’Offmann, Benjamin Scheuer’s The Nightingale and the Rose and Eric Salzman’s The True Last Words of Dutch Schultz as well as two roles written for and premiered by Nathan Baer, Barabbas in Robert Samel’s Pilatus, and Cassander in Matthew Pittsinger’s Alexander.  Nathan’s musical theatre credits include: Sondheim's Into the Woods, the National Tour of Lloyd Weber’s Jesus Christ Superstar, and Gilbert and Sullivan’s Mikado.  He is equally at home in straight theatre and such a role of note was Death in Hugo Distler’s Toten Tanz. In concert, Nathan Baer has soloed in Haydn’s Lord Nelson Mass, Verdi's Requiem, Brahms’s Requiem, Beethoven’s Ninth, Haydn's Mass in Time of War, Rossini's Petite Messe Solonelle, and Dvořák's Te Deum. and Berlioz’s Romeo and Juliette.  Mr. Baer has worked with Antoine Cordahi, Martina Arroyo, Giorgio Tozzi, Bill Lewis, William Hicks, Susan Morton and Atarah Hazzan.  And, in masterclass settings, he has earned high regard from Paul Plishka and Nico Castel.  Baritone Jesse Blumberg  is equally at home on opera, concert, and recital stages. His operatic credits include roles at Boston Lyric Opera, Minnesota Opera, Utah Opera, Pittsburgh Opera, Annapolis Opera, Opera Delaware, and the Boston Early Music Festival. In concert, he has performed with American Bach Soloists, the Los Angeles Master Chorale, and at the Vail Valley Music Festival, where he gave the world premiere of Ricky Ian Gordon's Green Sneakers. He has toured with the Mark Morris Dance Group and the Waverly Consort, given recitals for the Marilyn Horne Foundation, and performed concerts in Paris with the Mirror Visions Ensemble. In 2008 he was awarded Third Prize at the International Robert Schumann Competition in Zwickau, becoming its first American prizewinner in over thirty years. Jesse is also the founder and artistic director of the Five Boroughs Music Festival, a new concert series in New York City. (www.jesseblumberg.com) Mezzo-soprano Hai-Ting Chinn grew up in Northern California and holds degrees from the Eastman and Yale Schools of Music. Operatic and musical theater credits include Aloès in Chabrier's L'Étoile with New York City Opera; the title role in The Wooster Group's La Didone (music of Francesco Cavalli); Poppea in L'incoronazione di Poppea with Opera Omnia; Hansel in Hansel and Gretel; Dorabella in Così fan tutte; Nicklausse in Les Contes d'Hoffmann; Dido in Dido and Aeneas (Henry Purcell); and Lady Thiang in The King & I on London's West End. She has been heard in concert with the Israel Philharmonic, Orpheus Chamber Orchestra, the Waverly Consort, the New York Collegium, Rebel Baroque Orchestra, and P.D.Q. Bach/Peter Schickele. A lyric tenor described as a “clear-voiced and eloquent … vivid storyteller” (New York Times), with “easy grace” (Albuquerque Journal), “superb declamation and agility” (South Florida Classical Review), Dann Coakwell is equally at home performing Monteverdi, Rameau, and Bach as he is singing Mendelssohn, Rossini, and Britten. Dann made his solo debut at Carnegie Hall in New York in February 2010 as the lead role of Andrey in the world premiere of Prokofiev's newly discovered and reconstructed opera fragment, Dalyekie Morya (Distant Seas), and he is a featured soloist on the 2009 Grammy Award-nominated album Conspirare: A Company of Voices on the Harmonia Mundi record label. Other recent performances have included sharing the solo stage with internationally celebrated singers baritone Thomas Quasthoff and tenor James Taylor under the direction of Maestro Helmuth Rilling in Beethoven’s Fantasy in C minor for Piano, Chorus, and Orchestra, op. 80 in Eugene at the Oregon Bach Festival; serving as tenor Evangelist in J.S. Bach's St. John Passion in Dallas; tenor aria soloist in Bach’s St. John Passion with former King’s Singer Maestro Gabriel Crouch in New Jersey and with Seraphic Fire in Miami; solo tenor with 5-time Grammy-nominated Conspirare in their Period productions of G.F. Handel's Messiah and Bach’s Mass in B Minor in Austin; tenor aria soloist in J.S. Bach’s Christmas Oratorio with the New Mexico Symphony Orchestra in Albuquerque; and tenor Evangelist in Bach's St. Matthew Passion under Maestro Suzuki on tour in New York, New Haven, and throughout Italy. Originally from Austin, Texas, Dann currently resides in New Haven, Connecticut. Dann holds an Artist Diploma in Vocal Performance from Yale University, a Master of Music degree in Vocal Performance from Texas Tech University, and a Bachelor of Music degree from the University of Texas at Austin. Daniel Elyar is an active performer and recording artist and has specialized in baroque performance practice in Europe and North America for nearly twenty years. Mr. Elyar has performed and recorded with ensembles in North America and Europe such as Tafelmusik (Toronto), the Utrecht Baroque Consort, Concerto d’Amsterdam, Teatro Lirico, Concerto Palatino, the Boston Early Music Festival Orchestra, the New York Collegium, Ensemble REBEL (NYC), NYSEMA, Tempesta di Mare and Clarion Players and Choir (NYC). Mr. Elyar is contractor and manager of the Philadelphia Bach Collegium which presents a monthly cantata series in Philadelphia. Mr. Elyar has taught for the past six years at the Settlement Music School in Philadelphia. Mr. Elyar holds a Bachelor of Music from the Cleveland Institute of Music, and Artist’s Diploma from the Sweelinck Conservatory (Amsterdam) and a Master of Music from the Royal Conservatory (the Hague). Some of Mr. Elyar’s teachers are Heidi Castleman, Sigiwald Kuijken, Lucy van Dael and Monica Huggett. Mr. Elyar has performed under the baton of directors as Gustav Leonhardt, Ton Koopman & William Christie. Mr Elyar has recorded for Chandos, ELECTRA, ATMA and Hungarton labels. Mr. Elyar performed this Fall with the Boston Early Music Festival Orchestra at les Grandes Fetes Baroques in Versailles as principal violist. Hailed as a “golden soprano” by the New York Times, Jolle Greenleaf has established herself as a leading specialist in 17th and 18th vocal music. She has appeared in over 90 Bach cantata and motet performances, and was soloist in Bach’s Trauer Ode under Ton Koopman at Carnegie’s Zankel Hall.  She is frequently heard in baroque masterworks including all of J.S. Bach’s oratorios, John Blow’s Venus and Adonis, Handel’s Alexander’s Feast, Jephtha and Messiah, Monteverdi’s Vespers of 1610, Purcell’s King Arthur and Fairy Queen.  Known for her expressiveness on stage, she is often engaged as a recitalist and has performed a several roles including both Dido and Belinda in Purcell’s Dido and Aeneas, Amour and Céphise in Rameau’s Pygmalion, Licori in Vivaldi’s La Fida Ninfa, and in the title role in Cavalli’s La Calisto.  As the artistic director of TENET, she creates and performs virtuoso vocal programs (www.tenetnyc.com).  She can be heard on the Grammy nominated CD O Magnum Mysterium as well as Songs of Love and Loss – songs of Charpentier with AsproDolce.  She spearheaded the Green Mountain Project offering the first performance of 2010 celebrating the 400th anniversary of Monteverdi’s Vespers of 1610 (www.greenmountainvespers.com) as well as participating in several other performances of the masterwork. After completing degrees in computer science, classical guitar, and a Ph.D. in social sciences, Hank Heijink  studied lute and theorbo at the Royal Conservatory in The Hague. He was the first theorbo player chosen to tour with the European Union Baroque Orchestra. During that year he toured many of the major early music festivals and venues throughout Europe and Japan. Mr. Heijink has performed with leading European ensembles including the Amsterdam Baroque Orchestra, the Netherlands Bach Society, the Amphion Ensemble, Quintus, the Utrecht Baroque Consort, the Dutch Bach Ensemble, the French Orchestre d’Auvergne, and the Holland Symphonia. He made his American debut in the fall of 2005 at Carnegie’s Zankel Hall in a performance of three Bach cantatas including the Trauerode under Ton Koopman.   Mr. Heijink has performed under John Scott at St. Thomas Church Fifth Avenue with Concert Royal, and at Trinity Wall Street with REBEL. He has toured the United States with the Mark Morris Dance Group.  He is working with The Wooster Group on their production of La Didone (music by Francesco Cavalli) which has traveled Belgium, the Netherlands, the Edinburgh Festival, Luxembourg, Lisbon and New York. With his own ensemble AsproDolce, he gave performances and master classes in Costa Rica and Panama, and last summer AsproDolce returned to Costa Rica for their International Music Festival. Daniel S. Lee performs as a violinist, violist, and conductor in period and modern performances in repertoire ranging from the 12th to 21st centuries. As a Baroque violinist, he regularly appears with the Clarion Music Society, Sebastian Chamber Players, Trinity Baroque Orchestra, and Yale Collegium Players. He is currently a graduate assistant at University of Connecticut, where he is pursuing his doctoral studies, and a visiting fellow in early music at Yale School of Music. More information can be found at danielslee.com. One of America’s leading historical string players, Robert Mealy has been praised for his “imagination, taste, subtlety, and daring” (Boston Globe); the New Yorker called him “New York’s world-class early music violinist.” He has recorded over 50 CDs on most major labels, ranging from Hildegard of Bingen with Sequentia, to Renaissance consorts with the Boston Camerata, to Rameau operas with Les Arts Florissants. In New York he is a frequent leader and soloist with the New York Collegium, ARTEK, Early Music New York, and the Clarion Society. He also leads the distinguished Boston Early Music Festival Orchestra and has appeared as guest concertmaster and director with the Phoenix Symphony. A devoted chamber musician, he is a member of the medieval ensemble Fortune’s Wheel, the Renaissance violin band The King’s Noyse, and the seventeenth-century ensemble Spiritus Collective. He was recently appointed Professor (Adjunct) at Yale University, where he directs the Yale Collegium; in 2004 Mr. Mealy received Early Music America’s Binkley Award for outstanding teaching at Yale and Harvard, where he directed the Harvard Baroque Chamber Orchestra for ten years. Possessed of a rare high- tenor voice and a winning stage persona that comfortably embraces both comedic and dramatic roles, Marc Molomot enjoys a varied international career in opera and on the concert stage. Best known for his appearances with the world’s leading early music ensembles and conductors, including William Christie, John Eliot Gardiner, Nicholas McGegan and Andrew Parrott, in recent years he has also ventured far beyond the Baroque, performing repertoire from Mozart’s Le Nozze di Figaro and Auber’s 1830 opera Fra Diavolo to the title role in Benjamin Britten’s Albert Herring. His premiere performance as the protagonist in Evan Ziporyn’s 2009 opera A House in Bali was called “rapturously sung” by the Wall Street Journal and “powerful” by the San Francisco Chronicle. In the 2010-11 season he created another new role in Jean-Marc Singier’s Chat perché, premiered at Amphithéâtre Bastille in Paris. Marc’s recent recording of Lully’s Thésée with the Boston Early Music Festival was nominated for a Grammy award. He is also featured on recordings of Charpentier’s Judicium Salomonis with Les Arts Florissants; Handel’s Acis and Galatea with Les Boréades; and Monteverdi’s L’Orfeo with Apollo’s Fire. J. Tracy Mortimore  performs extensively on modern and historical double basses and violone. Early music ensembles he has appeared with include Santa Fe Pro Musica, Washington Bach Consort, Musica Pro Rara, Rebel, Tafelmusik, Opera Atelier, Toronto Consort, Wolftrap Opera, Chatham Baroque, Folger Consort and Aradia Ensemble with whom he has made over 18 recordings. As a touring musician, Mr. Mortimore has performed in New Zealand, Singapore, Switzerland, England, Japan, Italy and across the United States and Canada. Mr. Mortimore currently resides in Pittsburgh where in addition to his work in early music, he is actively involved with contemporary classical and jazz movements as an improviser and composer. Johanna Novom, violin, is Associate Concertmaster of Apollo's Fire, the Cleveland Baroque Orchestra. A first prize winner of the ABS’ Young Artists competition, Johanna performs with period ensembles throughout the country, including the American Bach Soloists, the Trinity Wall Street Baroque Orchestra, Chatham Baroque, the Dallas Bach Society, and NYS Baroque. Recent and upcoming festival appearances include the Boston Early Music Festival, the Carmel Bach Festival, the Shandalee Festival, Moscow’s Golden Mask Festival, and the Magnolia Baroque Festival.  Johanna holds a Master's in Historical Performance from Oberlin Conservatory, where she studied on both historical and modern instruments with Marilyn McDonald. This past year Johanna has been a fellowship member of the Yale Baroque Ensemble under the direction of Robert Mealy. Adriane Post completed her undergraduate studies at the Oberlin Conservatory, studying with Marilyn McDonald, and received a Master’s in Juilliard’s Historical Performance program as part of the inaugural class, studying with Monica Huggett and Cynthia Roberts. Appearing with baroque ensembles around the US including Apollo’s Fire Baroque Orchestra, the Handel and Haydn Society, Trinity Wall Street Baroque Orchestra, New Trinity Baroque, Passamezzo Moderno, Arcadia Players, Concert Royal, and L'Academie, Adriane also freelances on modern violin in New York. Festival engagements have included the Carmel Bach Festival, Magnolia Baroque Festival, and Piccolo Spoleto in the US, as well as Vammala Early Music Festival in Finland and the International Handel Festival in Göttingen, Germany. Adriane is originally from Burlington, Vermont. Molly Quinn is a native of Chapel Hill, North Carolina. She received both her bachelors and master's degrees in vocal performance from the Cincinnati Conservatory of Music, and has lived in New York since 2005. In 2010 Molly performed the Monteverdi Vespers of 1610 with the Green Mountain Project and with Clarion Music Society. Other recent engagements include a trip to Moscow with the Mark Morris Dance Group; the St. John Passion, directed by Andrew Parrott and the world premiere of Bruce Adolphes dell'arte e delle cipolle at the Metropolitan Museum of Art. She has also appeared as a soloist at the Spoleto Festival, with The Wordless Music Orchestra in Gavin Breyer’s Sinking of the Titanic; and in the role “Drusilla” in Opera Omnia's production of The Coronation of Poppea. Katie Rietman has performed as a baroque cellist on over 35 CD recordings and numerous concerts and radio broadcasts with notable baroque and classical period instrument ensembles. Her performing career has taken her to most of Western Europe and North America.  Currently residing in New York City, she performs regularly with ensembles such as the Clarion Society, New York Collegium, Rebel, the Grand Tour Orchestra, Concert Royal, the Trinity Choir and St. Thomas’s Boys Choir. Other American groups that she regularly works with are the Boston Early Music Festival Orchestra, Musica Angelica, Philadelphia’s Bach Festival and Tempesta di Mare, Apollo’s Fire, and Santa Fe Pro Musica. In Canada, she is principal cellist of the Toronto-based groups Aradia and the Toronto Chamber Orchestra.  Ms. Rietman lived in Germany and Holland for the last 13 years, where she performed regularly with groups such as Concerto Köln.  Active in the chamber music realm, Ms. Rietman is a member of the Portuguese baroque group Ensemble Barroco do Chiado (Lisbon) and the Neptune Trio, the only prizewinner at the 1999 Bonporti competition in Italy.   She has coached baroque and modern string players at Yale University, Bard College, Boston University, and University of Alabama. Katie Rietman received her musical education at the Cleveland Institute of Music, the Cincinnati College-Conservatory of Music, and at the Sweelinck Conservatory in Amsterdam. Noted for his “beauty of tone and keenness of musicianship” (Opera Brittania), cellist Ezra Seltzer received a master’s degree as a student of Phoebe Carrai at the Juilliard Historical Performance Program. Mr. Seltzer attended Yale University, where he received his Bachelor of Arts in history and Master of Music in cello performance, studying with Aldo Parisot and Ole Akahoshi, and was also a post-graduate fellow in early music as a student of Robert Mealy and a member of the Yale Baroque Ensemble. Avi Stein teaches harpsichord, vocal repertoire and chamber music at Yale University and is the music director at St. Matthew & St. Timothy Episcopal Church in Manhattan. The New York Times described him as "a brilliant organ soloist" in his Carnegie Hall debut and he was recently featured in Early Music America magazine in an article on the new generation of leaders in the field.  Avi has performed throughout the United States, in Europe, Canada, and Central America. He is an active continuo accompanist who plays regularly with the Boston Early Music Festival, the Trinity Church Wall Street Choir and Baroque Orchestra, the Clarion Music Society and Bach Vespers NYC.  This past summer, Avi directed the young artists’ program at the Carmel Bach Festival.  Avi has also conducted a variety of ensembles including the Opera Français de New York, the recent debut of the OperaOmnia company in a production of Monteverdi’s Coronation of Poppea and a critically acclaimed annual series called the 4x4 Festival.  Avi is currently finishing his doctoral studies in organ and harpsichord at Indiana University and holds degrees from the Eastman School of Music, the University of Southern California as well as being a recipient of a Fulbright scholarship for study in Toulouse. Charles Weaver has performed on early stringed instruments with Early Music New York, Hesperus, Piffaro, Parthenia, the Folger Consort, ARTEK, Repast, the Dryden Ensemble, Musica Pacifica, and Mercury Baroque. With his duo partner, soprano Elizabeth Baber, he has created programs of Renaissance song praised for their “imagination in programming.” The Washington Post has described his performances as “captivating” and “splendid.” He is on the faculty of the New York Continuo Collective, a semi- professional workshop that explores the courtly tradition of reciting Italian poetry to the lute and its relation to early opera. He has also taught at the Western Wind choral workshop and the Amherst Early Music Festival. He has been involved in opera productions with Juilliard Opera, the University of Maryland, Peabody Conservatory, the Wooster Group, and at Yale University. .::. 4x4 Baroque Music Festival .::. July 29-30 - August 2-3 .::. Saint Peter's Lutheran Church, 619 Lexington Avenue, NY, NY .::. Grant Herreid plays early reeds, brass, strings and voice with Hesperus, Piffaro, ARTEK, and My Lord Chamberlain’s Consort, and has appeared with the Newberry Consort, the Folger Consort, King’s Noyse, Apollo’s Fire, Brandywine Baroque, and the New York Consort of Viols. He teaches at Mannes College of Music and directs the New York Continuo Collective. He is a lecturer in the performance of early opera at Yale University, where he directed Cavalli’s Giasone recently. He is a stage director for the Accademia d’Amore baroque opera workshop with Stephen Stubbs, and has played continuo theorbo, lute and baroque guitar for the Chicago Opera Theater, Aspen Music Festival, Portland Opera, and New York City Opera, as well as for the opera programs at Julliard, Curtis, and Mannes conservatories. Grant has created and directed theatrical early music shows, and explores traditions of medieval, Renaissance, and baroque music with Ex Umbris and Ensemble Viscera. Priscilla Smith has been heard throughout the United States, Europe, and in South America performing music from the 11th century to today. As an early oboist and recorder player, she has appeared with the Portland Baroque Orchestra, Trinity (Wall Street) Baroque Orchestra, The Handel & Haydn Society, Musica Angelica, Orchester Wiener Akademie, the Sebastian Chamber Players, Juilliard Baroque, the San Francisco Bach Choir, Concert Royal, the Clarion Society, and others. A renaissance wind specialist, she is a core member of Piffaro, the Renaissance Band, and has also appeared with the Waverly Consort, Early Music New York, Ex Umbris, and Istanpitta. As a member of Piffaro, she has collaborated with Capilla Flamenca, Psallentes, The Newberry Consort, The Crossing, ARTEK, Parthenia, and the Concord Ensemble. Smith received her master's degree from The Juilliard School, where she was a member of the inaugural class of Juilliard Historical Performance and a baroque oboe student of Gonzalo Ruiz. She received her bachelor's degree from Temple University, where she was a modern oboe student of the late Louis Rosenblatt, former English hornist of The Philadelphia Orchestra. Also a member of the new music community, Priscilla has premiered vocal works of Mario Davidovsky, Matthew Greenbaum, Frank Brickle and Mena Hanna with the Momenta Quartet and Cygnus Ensemble. Other premieres include playing recorder with the Second Instrumental Unit (Jonathan Dawe's Cracked Orlando and Prometeo Redux), shawms and crummhorns in Paul Richards' The Loathly Lady, and the premiere and recording of Kile Smith's Vespers with Piffaro and The Crossing (released by Navona, given four stars by Gramophone). Praised by Opera News for her "seductive, easy alto," mezzo-soprano Luthien Brackett's recent solo engagements include performances for Trinity Wall Street's Bach at One series, the Gotham Early Music Scene Showcase, and the 4 x 4 Festival of Baroque Music.  She is a featured soloist on the Choir of Trinity Wall Street's acclaimed recording of the Complete Haydn Masses (Naxos). In great demand as an ensemble performer, she is a member of the Choir of Trinity Wall Street, and appears regularly with acclaimed New York ensembles including TENET, Vox, Voices of Ascension, Pomerium, and Clarion Music Society. She is also a founding member of The Antioch Chamber Ensemble, first place winners of the prestigious annual Tolosa International Choral Competition.