Featuring
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Clara Rottsolk
Soprano Soloist
A native of Seattle, soprano Clara Rottsolk earned her music degrees at Rice University and Westminster Choir College, and was recognized for musical excellence by the Metropolitan Opera National Council (Northwest Region). She is based in Philadelphia and teaches voice at Swarthmore, Haverford, and Bryn Mawr College. In a repertoire extending from the Renaissance to the contemporary, her solo appearances have taken her across the United States, the Middle East, Japan, and South America. She specializes in historically informed performance practice singing with orchestras and chamber ensembles including American Bach Soloists, Santa Fe Pro Musica, Les Délices, Pacific MusicWorks, the American Classical Orchestra, St. Thomas Church 5th Avenue, Bach Collegium San Diego, Atlanta Baroque, Trinity Wall Street, Seattle Baroque Orchestra, Folger Consort, and ARTEK among others.
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Dashon Burton
Bass-baritone Soloist
Dashon Burton returns to the Carmel Bach Festival for a fifth season as bass-baritone soloist. The Bronx, New York native was previously a member of the Chorale. Praised for his “nobility and rich tone,” Burton has established a world-wide career in opera, recital, and in many works with orchestra. He is a regular guest with the Cleveland Orchestra and Franz Welser-Möst. Dashon has won prizes from the ARD International Music Competition and the International Vocal Competition in ‘s-Hertogenbosch, and from the Oratorio Society of New York and the Bach Choir of Bethlehem’s Competition for Young American Singers. He graduated from the Oberlin College Conservatory of Music and received his Master of Music degree from Yale University’s Institute of Sacred Music.
Dashon Burton appears by arrangement with Colbert Artists Management, Inc., 307 Seventh Avenue, Suite 2006, New York NY 10001.
Forays into more varied repertoire have included his performances of Michael Tippet’s A Child of our Time at Harvard, Barber’s Dover Beach, and Hans Eisler’s Ernste Gesaenge with A Far Cry chamber orchestra in Boston, Copland’s Old American Songs with the Kansas City Symphony, Schubert’s Die Winterreise with string quartet, and performances and recording of Craig Hella Johnson’s Considering Matthew Shepard with the vocal group Conspirare. Last season, he premiered Paul Moravec’s new oratorio, Sanctuary Road, at Carnegie Hall and performed David Lang’s The Little Match Girl Passion at the Metropolitan Museum of Art in New York.
Dashon’s 2018/19 season begins with his debut at the Salzburg Festival in Salomé. He sings Beethoven’s Symphony No. 9 with the National Arts Centre Orchestra in Ottawa and with the Cincinnati Symphony, Dvoark’s Stabat Mater with the Houston Symphony, Mozart’s Coronation Mass et al. with Philharmonia Baroque, the C minor Mass with the Grand Rapids Symphony, and the Requiem with the Bethlehem Bach Festival and Los Angeles Chamber Orchestra. He sings also Haydn’s Creation and the role of Zebul in Handel’s Jeptha, the Verdi Requiem, Moussorgsky’s Songs and Dances of Death, and returns to the Cleveland Orchestra for a subscription week of Schubert’s Mass in E flat Major in May. December finds him performing with the contemporary vocal ensemble Roomful of Teeth, of which Dashon is an original member, at Paris’Théatre de la Ville in Peter Sellars’ production of Claude Vivier’s Kopernikus, un ritual de mort.
Burton returns to Trinity Wall St. for a Baroque recital this season. For his other recitals in Boston and San Francisco, the program is based on his recording Songs of Struggle and Redemption: We Shall Overcome, singled out by the New York Times as “profoundly moving…a beautiful and lovable disc” in its May 2016 Classical Play list.
Burton’s opera engagements include singing Sarastro in Die Zauberflöte in Dijon and Paris, and the role of Jupiter in Rameau’s Castor and Pollux with Christoph Rousset and Les Talens Lyriques. He has toured Europe in the St. John Passion with Christoph Prégardien’s Le Concert Lorraine, and in Italy with Maasaki Suzuki and the Yale Schola Cantorum in the St. Matthew Passion, a work he also sang on tour in the Netherlands with the NNSO.
Dashon has won prizes from the ARD international Music Competition and the International Vocal Competition in ‘s-Hertogenbosch, and from the Oratorio Society of New York and the Bach Choir of Bethlehem’s Competition for Young American Singers. He graduated from the Oberlin College Conservatory of Music and received his Master of Music degree from Yale University’s Institute of Sacred Music.
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Daniel Swenberg
Theorbo/Archlute
Daniel plays a wide variety of lutes and guitars: baroque, renaissance, classical/romantic – small, medium, and large. Chief among these is the theorbo – the long lute that you are either wondering about or overhearing your neighbor discuss. While based in New York, Daniel schleps instruments throughout North America and Europe to play with a wide range of ensembles: ARTEK, REBEL, The Metropolitan Opera, Mr. Jones & the Engines of Destruction, Ensemble Viscera, New York City Opera, Opera Atelier/Tafelmusik, The New York Philharmonic, the Philadelphia Orchestra, Catacoustic Ensemble, the Four Nations Ensemble, Apollo’s Fire, Handel & Hayden, The Green Mountain Project, Tenet, Skid Rococo, the Newberry Consort, with soprano Nell Snaidas, Lizzy & the Theorboys, Music of the Baroque, the Aspen Music festival opera, Staatstheatre Stuttgart, the Orchestra of St Lukes, and more. He has accompanied Renee Fleming and Kathleen Battle at Carnegie Hall. He is on faculty at Juilliard’s Historical Performance program. Daniel received awards from the Belgian American Educational Foundation (2000) for a study of 18th century chamber music for the lute, and a Fulbright Scholarship (1997) to study in Bremen, Germany at the Hochschule für Künste (studying with Stephen Stubbs and Andrew Lawrence King). He studied previously with Pat O’Brien at Mannes College of Music, receiving a Masters degree in Historical Performance (Lute). Prior to this life’s incarnation as a Lutenist, he studied classical guitar at the North Carolina School of the Arts, and musicology at Washington University (St. Louis). His programing integrates and emphasizes music with the history, sciences, economics, politics, and broader culture of its time.
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Eva Lymenstull
Cello
Los Angeles-based baroque cellist and violist da gamba Eva Lymenstull enjoys a diverse career that has taken her across North America and Europe as a soloist, chamber musician, continuo player and orchestral musician. She has performed recently as concerto soloist and principal cellist with the Lyra Baroque Orchestra, guest principal cellist of the Atlanta Baroque Orchestra, Apollo’s Fire, and Musica Angelica, and has also appeared with Tafelmusik Baroque Orchestra, Voices of Music, Tesserae, the Orchestra of the Age of Enlightenment, and Holland Baroque Society. She has performed at the Carmel Bach Festival, the Utrecht, Boston, and Berkeley Fringe Festivals, and on the Gotham Early Music and Academy of Early Music series.
As winner of the 2017 Voices of Music Bach Competition, Ms. Lymenstull recorded Bach’s D minor cello suite for their online video archive. With performance and research interests ranging from the early Renaissance to the twentieth century, she particularly enjoys playing Classical and Romantic chamber music on historical instruments. Recent recordings can be heard on the Brilliant Classics and Violet Ear labels.
In addition to performing, Ms. Lymenstull teaches baroque cello and viola da gamba as a regular guest artist at the University of Michigan. She holds degrees from the Royal Conservatory of The Hague (Jaap ter Linden), Rice University (Desmond Hoebig) and University of Michigan (Richard Aaron), and a doctorate in historical performance practice from Case Western Reserve University.
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Cynthia Keiko Black
Viola
Born in Dallas, Texas, Cynthia Keiko Black enjoys performing as a violinist and violist playing music from several centuries at home in the Bay Area and across the United States. She is a core member of INCANTARE, an ensemble of violins and sackbuts, and a founding member of the Costanoan Trio, a period instrument piano trio. She is looking forward to upcoming season appearances with the American Bach Soloists, the Carmel Bach Festival, Chatham Baroque, the Atlanta Baroque Orchestra, Ars Minerva, and the Washington Cathedral Baroque Orchestra.
She can be heard on recordings with Apollo’s Fire, the American Bach Soloists, and the Queen’s Rebels, and will be releasing an album of rarely heard duos for violin and viola from the late eighteenth century later this year.
Amidst an active performing career, Cynthia teaches a studio of young people at the Crowden School’s Community Program in Berkeley. She holds modern viola degrees from the Cleveland Institute of Music and completed a doctorate in Historical Performance Practice from Case Western Reserve University.
In her free time, Cynthia enjoys cooking and baking, watercoloring, and growing vegetables. She is a proud resident of Richmond, California where she lives with her trumpet-playing and harpsichord-building husband, Dominic Favia.
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Andrew Arthur
Principal Keyboard
A native of the UK, Andrew Arthur enjoys a fine reputation as a conductor, keyboard soloist, ensemble player, and teacher of exceptional versatility. He combines these disciplines within his principal position as Fellow and Director of Music at Trinity Hall, Cambridge where he is also an Affiliated Lecturer in the University’s world-renowned Faculty of Music.
An acknowledged specialist in the music of the Baroque and Classical periods, Andrew is in great demand as a conductor, keyboard soloist, and consort player and has appeared at many prestigious international festivals. He currently holds the positions of Associate Director of The Hanover Band and Musical Director of his own period-instrument ensemble and vocal consort, Orpheus Britannicus. Andrew’s solo and directorial recordings encompass repertory spanning over 400 years.
Alongside his busy concert schedule, he works throughout the year training the Organ Scholars and conducting the Chapel Choir at Trinity Hall with whom, in addition to their regular schedule of services in the College Chapel, he undertakes a number of concerts, recordings, and international tours.
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Marika Holmqvist
Violin
During her quarter-century career as baroque violinist, Marika Holmqvist has appeared as a concertmaster for orchestras and opera companies on three continents, directed ensembles on both sides of the Atlantic, and served as artistic co-director for groups in the USA such as Sinfonia New York and the Boston-based ensemble, Cambridge Concentus. Currently her leadership positions include Zenith Ensemble (New England), Washington Bach Consort (DC) and Reykjavik International Baroque Orchestra (Iceland), among others.
Marika is also a dedicated and passionate educator. She has served as coach and guest leader for baroque operas at Cornell, Harvard and Rutgers Universities, and given master-classes and lectures at institutions across Europe. Alongside her master’s degree in baroque violin performance from the Royal Conservatoire of The Hague in the Netherlands, she also graduated with a master’s in baroque violin pedagogy—the first such degree ever granted in Europe.
Her 20-odd recordings include the Grammy-nominated Handel’s Israel in Egypt with the Trinity Wall Street Choir and Baroque Orchestra. Marika has a Finn’s love for the outdoors and when she is not performing or teaching, you will most likely find her cross country skiing, hiking, kayaking, or gravel or mountain biking.
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Stephen Bard
Oboe
Oboist Stephen Bard performs regularly with many of the preeminent period instrument ensembles throughout North America including Portland Baroque, Tafelmusik, Philharmonia Baroque, the Carmel Bach Festival Orchestra, American Bach Soloists, Handel & Haydn Society, Boston Baroque, Bach Collegium San Diego, and Haymarket Opera.
His playing has been praised for “supple tone and incisive technique … at times sounding truly acrobatic in florid passagework” (Chicago Classical Review), “long, amber-tinted lines and pertly articulated phrases” (San Francisco Classical Voice), and being “especially noteworthy for its sensuous lyricism” (Philadelphia Inquirer).
He can be heard on recordings with many of these fine ensembles with the Chandos, Naxos, CBC, and ATMA Classique labels. Stephen has also made appearances at the Oregon Bach Festival and at the Mostly Mozart Festival at Lincoln Center. He holds degrees in Music and in Computer Science from Oberlin College and Conservatory of Music and is currently based in Philadelphia.
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Cristina Zacharias
Associate Principal Second Violin
Canadian violinist Cristina Zacharias has been a core member of the Tafelmusik Baroque Orchestra since 2004. Frequently featured in solo and chamber music repertoire, she has performed extensively across North America, Europe, Asia and Australia. Cristina has been part of the Carmel Bach Festival since 2006, and can be heard on over 25 recordings for the ATMA, Analekta, CBC, BIS, Naxos and Tafelmusik Media labels. As an educator, Cristina is active in Tafelmusik’s training institutes as well as at the University of Toronto.
Equally passionate about baroque, classical and modern repertoire, Cristina is a frequent collaborator, guest soloist and director with a diverse group of ensembles, including the Toronto Bach Festival, Theatre of Early Music, Manitoba Chamber Orchestra, Pacific Baroque Orchestra, the Brandon Chamber Players. Cristina holds a Master’s degree in music from McGill University.
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Abigail Nims
Mezzo-soprano Soloist
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Sarah Stone
Viola de gamba
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