Artist Bios

John Armato earned the B.Mus. and M.Mus. degrees from Peabody Conservatory, where he studied guitar with Ray Chester and lute with Mark Cudek. John performs regularly with the Peabody Consort, including concerts at the Kennedy Center and throughout Taiwan and Japan, giving a solo concert at the Kaohsiung Museum of Fine Arts during his third tour of Taiwan. John has performed 17th-century opera scenes with the Seattle Academy of Opera, appeared on WYPR’s “Maryland in the Morning” series, recorded Francesco da Milano’s Recercar XXXIII for the short film Heloise: From Hell and Back for Love, and has recorded an album of English and Italian songs with soprano Nola Richardson, entitled “How Sweet the Torment.” The Washington Post states John’s theorbo playing “rounded out the ensemble weaving spare, delicately plucked accompaniments.” He is founder of Heaven’s Noyse and a principal player in Charm City Baroque. He teaches classical guitar and early music at Montgomery College in Rockville, Maryland, and classical and rock guitar at The International School of Music and Music and Arts.

New York-based violinist and violist Nadir Aslam has built a diverse musical career both domestically and internationally. Nadir was named one of “The Innovators” in 2016 by Musical America and was nominated by 21st Century Medicine as a 2017 POP Pick for his work as co-founder of Mount Sinai Concerts, the baroque and classical music series at Mount Sinai Hospital in Manhattan. Nadir has performed with many early music groups, including La Fiocco, Grande Harmonie, Early Music Alberta, and MusicSources. He has also performed as part of the Anchorage Symphony Orchestra, Marin Symphony, and the United Philharmonic Orchestra in Vienna, along with multiple chamber music groups around the world. Committed to educational outreach, Nadir was awarded a grant from the U.S. State Department to serve as the music director of Proyecto Arte Antigua in Antigua, Guatemala for three years. He also served as guest artist and lecturer for Early Music Alberta in Edmonton, Alberta. Nadir studied at the San Francisco Conservatory of Music and the Hochschule für Musik und Darstellende Kunst in Vienna, earning his B.Mus. and M.Mus. degrees.

Benjamin T. Berman is a versatile musician with many credits as a keyboardist, vocal recitalist, conductor, and teacher. Benjamin received the B.Mus. and M.Mus. from Mason Gross School of the Arts of Rutgers University. He studied organ with Mark Trautman, harpsichord with Lewis R. Baratz and Arthur Haas, and voice with Judith Nicosia and Frederick Urrey. He is music director of First Reformed Church of New Brunswick, music director and vice president of Hub City Opera and Dance Company, artistic director and conductor of the Highland Park Community Chorus, accompanist for the Rutgers University Queens Chorale, and co-director of the Joyful Noise Children’s Choir. Benjamin performs frequently with La Fiocco, the West Jersey Chamber Music Society, Makhelat HaMercaz (the Jewish Choir of Central Jersey), as a sub for the Opera Philadelphia Chorus, and in Vocala, a newly-formed professional choir in New Jersey. Visit benjamintberman.com to learn about his upcoming projects and performances.

Claire Smith Bermingham received the M.Mus. in violin performance at Boston University studying under David Kim and studied baroque violin with Judson Griffin. She has performed on baroque violin with Siren Baroque, Trinity Baroque Orchestra, Academy of Sacred Drama, Biber Baroque, Dorian Baroque, La Fiocco, Vilas Baroque, Big Apple Baroque, Vox Ama Deus, Voices Chorale, and Yale Schola Cantorum, and on modern violin with Astoria Symphony, Sinfonia Celestis, Greenwich Symphony, Northeastern Pennsylvania Philharmonic, Di Capo Opera, Bronx Opera, Staten Island Philharmonic, and Connecticut Grand Opera. On Broadway, Claire has performed with Sean “Puffy” Combs and “Father Misty Jones” on Saturday Night Live, David Letterman, and The View, in concerts with “Mana,” and as a regular sub for the Off-Broadway production of Sweeney Todd at the Barrow Street Theater, for over a year. As violinist for Ritchie Blackmore’s band Blackmore’s Night, she toured Europe several times. Claire can be heard on Shakira’s album “She Wolf” and on Blackmore’s Night’s “Dancer and the Moon,” “Winter Carols,” “All Our Yesterdays,” and on Candice Night’s “Starlight, Starbright.” Claire is also a founding member and co-director of The Queens Consort (queensconsort.com), currently in its fifth season.

Daniel Boring performs frequently as soloist, chamber musician, and founding member of Due Colori, a soprano/guitar-lute touring duo with soprano Megan Monaghan. As a continuo player, Daniel performs with several period instrument ensembles including the Philadelphia Bach Festival Orchestra, La Fiocco, American Society of Ancient Instruments, Dorian Baroque, and Vox Ama Deus. He also has performed as lutenist and guitarist with Pittsburgh Opera, Ithaca Opera, Teatro Grattacielo and Glimmerglass Opera. Daniel is a member of the string faculties of Rowan University, Muhlenberg College, and Montgomery County Community College. At Muhlenberg College, he directs the College Chamber Orchestra in addition to teaching historical plucked strings and classical guitars.

Sarah Davol’s solo playing has been called “Graceful and colorful” (Philadelphia Inquirer). She is a founding member of American Classical Orchestra in NYC, serves as principal oboist of Vox Ama Deus Orchestra in Philadelphia, and has been featured as concerto soloist with Amor Artis, Bachanalia, Big Apple Baroque, Concert Royal, REBEL, RYM Ensemble, Los Angeles Baroque Orchestra, Washington Bach Sinfonia, Connecticut Early Music Festival, and Victoria Bach Festival in Texas. She has toured Germany with Apollo Ensemble and Publick Musick, and South America and Mexico with Chanticleer and Wiener Akademie with actor John Malkovich. In New York, Sarah performs regularly on the Trinity Bach at One series, and The Metropolitan Museum features her demonstration of historical oboes on their Audioguide. She has also performed with the Sebastians, Handel & Haydn Society, Vermont Bach Ensemble, at Tanglewood, and more. She may be heard on 50+ CD’s including Vivaldi’s Oboe Concertos in C Major and D minor with Vox Ama Deus and on the recent Double Take: American Reed on Albany Records, which includes her composition “Gulf Migration” that Fanfare Magazine praised as “a wonderfully descriptive work.” Sarah is director of Englewinds, the award-winning Eco-music ensemble based in NJ. She attended Mount Holyoke College, is currently on the adjunct faculty of William Paterson University, and teaches period wind instruments at Rutgers University. Visit sarahdavol.com.

A graduate of the Curtis Institute of Music, Vivian Barton Dozor has performed with distinguished artists as Yehudi Menuhin, Alexander Schneider, Felix Galimir, and others. Her diverse musical activities have included concerts with the Philadelphia Orchestra, Brandenburg Ensemble, Marlboro Music Festival, Orpheus Chamber Orchestra, and Santa Fe Opera. She is a member of the Academy of Vocal Arts Opera Orchestra, Opera Philadelphia, Pennsylvania Ballet, and Vox Ama Deus, and has performed on baroque cello and viola da gamba with Vox Ama Deus, the Philomel Baroque Ensemble, Fuma Sacra, Brandywine Baroque, Tempesta di Mare, Pro Musica Rara, Tafelmusik, Apollo’s Fire, and the American Society of Ancient Instruments, of which she is music director. She has also attended the International Musicians’ Seminar in Prussia Cove, Cornwall, England. Vivian has performed in concerts throughout the United States, Europe, Asia, and South America. A faculty member of Princeton University, she has recorded on the RCA, Dorian and PolyGram labels, among others.

Elizabeth Field enjoys an active career as a chamber musician and soloist on period and modern violin. She is concertmaster for The Bethlehem Bach Orchestra and has served as guest concertmaster for numerous ensembles around the country including the Washington Bach Consort, Opera Philadelphia, The National Philharmonic, Opera Lafayette, and Charleston Bach Society. She performs regularly with her chamber ensembles, The Vivaldi Project and ArcoVoce, and is a frequent guest artist with the Mallarme Chamber Ensemble and Magnolia Baroque. Elizabeth holds a D.M.A in Historical Performance Practice from Cornell University. She has coached students at numerous universities and music schools including Curtis Institute of Music, Longy School of Music, Blair and Belmont Schools of Music, and Boston Conservatory of Music. The Vivaldi Project’s critically acclaimed recordings of unknown 18th-century string trios (“Discovering the Classical String Trio”) have been heralded by Fanfare Magazine, and her collaborative DVD with fortepianist Malcolm Bilson, “Performing the Score,” was lauded by Emanuel Ax as “truly inspiring.” For more information, visit www.thevivaldiproject.org.

Donna Fournier plays viola da gamba and baroque cello with Mélomanie, aMuse, Brandywine Baroque, and La Fiocco, and has been a guest artist with such groups as Opera Lafayette, Tempesta di Mare, The Chamber Orchestra of Philadelphia, and The Philadelphia Classical Symphony. The Philadelphia Inquirer acclaimed her solo work as “poised, soulful …[and] played with particular depth.” Donna has recorded Buxtehude cantatas for PGM, Telemann trio sonatas for the Lyrichord, Boismortier trio sonatas for A Casa Discos, Jacquet de La Guerre and Bousset cantatas for Plectra Music, and new music for baroque ensemble for Meyers Music and Furious Artisans.

Eve Friedman has performed on historical flutes with Tempesta di Mare, American Bach Soloists, and Tafelmusik, and on modern flute with the Chamber Orchestra of Philadelphia, Philly Pops, Opera Philadelphia, the Delaware Symphony, and the world music ensemble EZUZ. Her performances have been broadcast on NPR and the BBC, and her solo playing has been called “particularly fine” by the Washington Post. About her first book, Tone Development on the Baroque Flute, the Early Music America wrote, “This carefully researched, imaginative book should be on every baroque flutist’s bookshelf.” She serves on the National Flute Association’s Historical Flutes Committee, and has recently been a judge/guest artist for the American Musicological Society, San Francisco Conservatory, and the Flute Society of Greater Philadelphia. Eve received her M.Mus. from Boston University (as a student of Doriot Anthony Dwyer), and holds a D.Mus. from Indiana University. She performs and teaches at the Summerkeys Festival in Maine with her husband, composer/pianist Roberto Pace, as the Halcyon Duo, and is on the faculties of Drexel, Rowan, and Temple Universities. Photo by GVR Photography.

Allen is in high demand as a performer on historical bassoons and recorder. He earned degrees at Indiana University, the University of North Carolina School of the Arts, and in 2014 received the M.Mus. degree in Historical Performance from the Juilliard School where he studied baroque and classical eras bassoons, dulcian, and recorder. He has performed around the globe, including throughout North America, Europe, and Asia, under the direction of esteemed artists William Christie, Monica Huggett, and Leonard Slatkin, among others. He feels highly fortunate to count among his teachers renowned artists Arthur Weisberg, William Ludwig, Kathleen McLean, Saxton Rose, Michael McCraw, and Dominic Teresi.

Linda Louise Kistler maintains a busy concert schedule on both modern and baroque violin. She is concertmaster of the Savoy Company of Philadelphia, has appeared as soloist and concertmaster with the Bethlehem Bach Festival Orchestra and the Pennsylvania Sinfonia Orchestra, and plays with the Allentown Symphony Orchestra. As a baroque violinist, she is a founding member of Bethlehem Baroque and has performed with Le Triomphe de l’amour, Vox Ama Deus, Mélomanie, La Fiocco, and Voices Chorale. Linda has served on the faculty of Lehigh University, Cedar Crest College, Kutztown University, and Lehigh Valley Charter School for the Performing Arts. She maintains a private studio, is an artist-lecturer at Moravian College, and is on the faculty at Allentown’s Community Music School. Linda holds a B.Mus. from Oberlin College Conservatory and a M.Mus. from The Juilliard School. Her principal modern violin teachers were Andor Toth and Ivan Galamian, and she studied baroque violin with Nancy Wilson, Stanley Ritchie, and Robert Mealy.

Richard Kolb has performed throughout North America and Europe as a soloist and with a wide range of ensembles and opera companies, including Opera Atelier, New York City Opera, Les Musiciens du Louvre, Chicago Opera Theater, Waverly Consort, Handel & Haydn Society, Pegasus, and Concert Royal. His solo CD of lute music by Robert Ballard was recently released on the Centaur label (CRC 3747), and a CD of music from Barbara Strozzi’s Opus 8, with soprano Elissa Edwards, is scheduled to be released on the Acis label in 2020. In 2019 he completed the first modern edition of the complete works of Barbara Strozzi, in eight volumes, published by Cor Donato Editions. Richard has held teaching positions at Case-Western Reserve University, the University of Toronto, and the Royal Conservatory of Music (Toronto), and currently teaches and serves as Scholar in Residence for the New York Continuo Collective.

Dan McCarthy’s playing has been described as “virtuosic” by Seen and Heard International. He was in the first class of baroque violists to graduate from the historical performance program at The Juilliard School and he earned the DMA in viola performance from the University of Maryland. A highly versatile musician, Dan has served as section violist with the Trinity Baroque Orchestra, principal violinist and concertmaster of the Austin Baroque Orchestra, and tenor gambist with Parthenia. He has toured North America, Europe, and East Asia, performed under Jordi Savall and Masaaki Suzuki, and several times with London’s Orchestra of the Age of Enlightenment, Toronto’s Tafelmusik Baroque Orchestra, and San Francisco’s American Bach Soloists. On the east coast, Dan has played with the Academy of Sacred Drama, Brooklyn Baroque, Big Apple Baroque, Yale Schola Cantorum, Dorian Baroque Ensemble, and New Vintage Baroque. He performs frequently with the New York Classical Quartet, Bach Vespers at Holy Trinity, La Fiocco, and The Queens Consort.

Benjamin is a freelance historical bass specialist, violist da gamba, and church organist who resides in Cambridge, MA. He has appeared with ensembles such as Grand Harmonie, Eudaimonia, and Harvard Baroque, is co-director of the Rare Byrds Ensemble, and is a frequent collaborator at First Lutheran Church in Boston. Benjamin also serves as music director at Church of Our Savior Episcopal in Middleborough, MA. When not playing bass lines, he explores historical dance, recipes, and his passion for model trains.

Noted for playing “virtuosically but with fluid grace” by the New York Times, Jeremy performs on baroque violin with ensembles such as Trinity Baroque Orchestra, the Handel and Haydn Society, and the American Classical Orchestra. He is a specialist in 17th-century oratorio and is exploring ways to extend historical performance practices to performance contexts. Jeremy is the founder and artistic director of the Academy of Sacred Drama, an organization that explores history, music, and culture through the philosophical and storytelling lens of the sacred dramatic music of the 17th and 18th centuries. He has recently led Baroque oratorios by Stradella, Pasquini, and Scarlatti through the Academy and for the Festival of Sacred Arts in Sweden. Jeremy holds degrees from the Eastman School of Music of the University of Rochester and The Juilliard School.

Guest artist, October 26-27, 2019

Alexander Bonus maintains a varied career as multi-instrumentalist, composer, conductor, educator, and researcher. He holds two degrees from the Eastman School of Music and a Ph.D. in Musicology from Case Western Reserve University. His scholarship on historical performance practices appears in sources including Oxford Handbooks Online, the new Cambridge Encyclopedia of Historical Performance in Music and the revised Grove Dictionary of Musical Instruments. As an early-brass specialist, Alexander has performed with Tafelmusik, Chicago Opera Theater, Folger Consort, Tragicomedia, Indianapolis Baroque Orchestra, San Francisco Bach Chorale, Musica Angelica, and Apollo’s Fire, et al. His natural-trumpet playing is heard on the Boston Early Music Festival’s Grammy-nominated recording of Psyché by J. B. Lully. Alexander is also an avid keyboard improviser and has played harpsichord and organ continuo with the American Symphony Orchestra, the Bard Festival Chorale, and The Orchestra Now. As an early music ensemble director, Alexander founded the Bard Baroque Ensemble and led the Duke University Collegium Musicum from the keyboard. He currently serves as a professor in the Music Department at Vassar College.

Robin Gilbert Campos is a professional dancer of remarkable diversity. A graduate of the North Carolina School of the Arts, she is a principle dancer with BALAM Dance Theatre in New York City, where she is featured in BALAM’s Baroque repertoire and has also defined the company’s Balinese/point fusion repertoire. Robin’s other period dance credits include performances with Teatro Lirico in Washington, DC, The Haymarket Opera Company in Chicago, IL, Apollo’s Fire Baroque Orchestra in Cleveland, OH, The Kingsbury Ensemble in St Louis, MO, and Voices of Music in San Francisco, CA. As a contemporary dancer, Robin’s affiliations include Christopher Caines Dance, Michele Brangwen Dance Ensemble, Periapsis Music and Dance, Connecticut Ballet Theatre, Dallas Ballet, Ballet Santa Barbara, Peter Pucci Plus Dancers, Felice Lesser Dance Theatre, and Ballet Verite. Robin has also performed in musical theatre, film and television, and in her non-dance life is a professional drummer and vocalist for the rock band The Generators led by her husband Manny Campos.

Brian Ming Chu is ”an impressive performer of wide range, agility, and expressive storytelling ability” (Monterey Herald). The Washington Post praised him for his “sterling performances.” Brian has performed on stage with opera companies throughout the United States in signature roles including Marcello in La Bohème, Figaro in Il barbiere di Siviglia, the Count in Le Nozze di Figaro, Silvio in Pagliacci, and most recently, the title role of Rubinstein’s The Demon at Philadelphia’s Academy of Vocal Arts. As a concert artist, his has been a soloist with The King’s Noyse, Brandywine Baroque, La Fiocco, Piffaro, The Dryden Ensemble, Choral Arts Society of Philadelphia, the Bach Choir of Bethlehem, Portland Baroque Orchestra, and the Caramoor and Carmel Bach Festivals. He has sung the title role of Mendelssohn’s Elijah, the Bach Passions, Haydn’s Die Schöpfung and Die Jahreszeiten, the Brahms, Mozart, and Verdi Requiems, and Handel’s Messiah, on three continents. Brian made his Kennedy Center début in Monteverdi’s Vespers of 1610 with the Choral Arts Society of Washington, and sang the role of Martin Luther in Ludwig Meinardus’ 1876 Luther in Worms with the Bach Choir Eisenach and Dresden Singakademie for the 500th anniversary of the Protestant Reformation. He holds a B.F.A. in architecture from Cornell University and M.Mus. from the Peabody Conservatory of Music. He has taught voice at Muhlenberg College for the past 15 years.

Guest Artist on March 30-31, 2019.

Carlos Fittante specializes in Baroque, Balinese, and Spanish escuela bolero dance. A graduate of the School of American Ballet, he has a M.F.A. degree in dance from the University of Wisconsin-Milwaukee. He is a renowned choreographer and specialist in the dance of the Baroque era, and has worked with several prominent Baroque ensembles including Apollo’s Fire and Juilliard 415. Carlos is artistic director of BALAM Dance Theatre (BALAM), a contemporary world dance company inspired by Balinese theater. Highlights from his diverse performing career include the Metropolitan Opera, New York Theatre Ballet, Semara Ratih Gamelan, Joan Miller and Dance Players, Danzas Españolas, and the Boston Early Music Festival. Carlos’ choreography and performances in period dance, fusion, and Balinese dance have received critical praise and have been presented throughout the United States and internationally at venues including Lincoln Center Out-of-Doors, Jacob’s Pillow Dance Festival, Metropolitan Museum of Art, Princeton University, and the Bali International Dance Festival. He has taught Mask and Gesture at the Lee Strasberg Theatre and Film Institute, NY, and currently teaches dance at Queens College, in New York City.

Laura Heimes is widely regarded as an artist of great versatility, with repertoire ranging from the Renaissance to the present. She has collaborated with many of the leading figures in early music, including Voices of Music, Andrew Lawrence King, ARTEK, Four Nations Ensemble, Tempesta di Mare, The King’s Noyse, Paul O’Dette, Chatham Baroque, Apollo’s Fire, Pegasus Early Music, New York State Baroque, Brandywine Baroque, and Piffaro. Laura has been heard at the Miami, Boston, Berkeley, Connecticut and Indianapolis Early Music Festivals, at the Oregon, Philadelphia, and Carmel Bach Festivals, and in Rio de Janeiro and São Paulo, in concerts of Bach and Handel. With the Philadelphia Orchestra she appeared as Mrs. Nordstrom in Stephen Sondheim’s A Little Night Music and made her Carnegie Hall debut in Handel’s Messiah with the Masterwork Chorus and has appeared with the Pittsburgh Symphony. With Brandywine Baroque she recorded music of René Drouard de Bousset, Jacquet de La Guerre, Clérambault, Purcell, Handel, and the Jane Austen Songbook, together with Julianne Baird. Laura’s additional recordings include Monteverdi Madrigals Books 5 and 7 with ARTEK, “On The Just Treatment of Licentious Men” (modern art songs by Peter Flint), Caldara’s “Il Giuoco del Quadriglio” with Julianne Baird, and The Queen’s Chamber Band conducted by Stephen Altop.

Guest artist, October 26-27, 2019

Michael Holmes earned the B.Mus. in Music Theory/Composition from James Madison University, the M.Mus. in Orchestral Conducting from Virginia Commonwealth University, and completed his doctoral coursework in musicology at the University of Maryland. A highly versatile brass player, he played French horn with the Richmond Symphony, Virginia Symphony, and West Virginia Symphony, classical horn with numerous period orchestras and opera companies, and sackbutt and cornetto with Renaissance and baroque ensembles throughout the United States including Piffaro, Boston Shawm and Sackbut Ensemble, Artek, Tempesta di Mare, Teatro Nuovo, Stylus Luxurians, the Washington Bach Consort, and Ensemble Croesus. Michael was music director of the Orchestra of the 17th Century and is co-founder and artistic director of the Washington Cornett and Sackbutt Ensemble since 2000. Michael also has a specialty in Nordic music and was a Fulbright Scholar to Finland, where he researched the life and music of Jean Sibelius. He has taught at the University of Maryland, Towson University, and American University, and has been music director of the Unitarian Universalist Church of Silver Spring since 2004.

Daniel Moody has garnered widespread acclaim for his ability to “pierce hearts” and “utterly silence a room” ( The Boston Musical Intelligencer).  He has performed as soloist with the Atlanta Symphony, Les Violons du Roy (Québec City), Apollo’s Fire (Cleveland), in a duet concert with mezzo-soprano Anne Sofie von Otter and the Philharmonia Baroque Orchestra, and made his Carnegie Hall Stern Auditorium debut with Oratorio Society of New York.  Daniel’s opera appearances include the title roles in Handel’s  Giulio Cesare and  Rinaldo, Oberon in Britten’s  A Midsummer Night’s Dream, Nerone in Monteverdi’s  L’incoronazione di Poppea at Cincinnati Opera, and most recently the “eerie yet forceful” (Broadway World) leading role of Man #1 in the world premiere of  Desire by composer Hannah Lash. He has also appeared with numerous early music and festivals including Boston Music Early Festival,  Acronym at the Isabella Stewart Gardner Museum in Boston, Mountainside Baroque, and La Fiocco.  He has won several awards in competitions which include Metropolitan National Council Auditions, George London Competition, Handel Aria Competition, New York Oratorio Society Competition, and Russell Wonderlic Competition. He earned his degrees at the Peabody Conservatory and Yale School of Music and Institute of Sacred Music.  For his upcoming concerts, visit DanielMoodyCountertenor.com.

Rochelle has been a soloist with Princeton Opera, Piccola Opera of Philadelphia, Amato Opera of New York, Opera North of Vermont, La Fiocco, Princeton Pro Musica, Princeton Chamber Orchestra, Palisades Symphony, Philomel, the Choir of Saint Paul’s Church, and the Chamber Arts Guild. Solo engagements include Bach’s Magnificat, Cantatas 140 & 161, and Easter Oratorio, Mozart’s Requiem, Solemn Vespers, and Coronation Mass, Handel’s Messiah, Haydn’s Lord Nelson Mass, Nicolai Mass, and Organ Solo Mass, Beethoven’s Mass in C Major and Missa Solemnis, Faure’s Requiem, Williams Walton’s Façade, and Ravel’s Scheherazade. Musical theater work includes Saint Paul’s Theatre Group Oliver!, The Sound Of Music, It’s a Grand Night for Singing, and directing productions of Joseph and the Amazing Technicolor Dreamcoat, The Music Man, and The Sound of Music. Rochelle is a full-time faculty member at Bucks County Community College where teaches applied voice and conducts the Concert Choir and Madrigal Singers, which, under Rochelle’s direction, collaborated with La Fiocco for Stravaganza in Eco. Rochelle holds the B.Mus. in Vocal Performance and B.A. in Music from the University of Washington in Seattle and M.Mus. in Vocal Performance from the New England Conservatory of Music.

Jordan Rutter enjoys a career embracing opera, concert repertoire, and contemporary work. Dedicated to the creation and performance of new music, Jordan has worked with American Opera Projects to develop and create the roles of Lola (Legendary, Rubinstein/Kim), Kyle (Three Way, Paterson/Coté), and the title role of Ashima (Jing Jing Luo). Last season, Jordan made his joint company and role debut with Chicago Opera Theater as Doodle in Stefan Weisman and David Coté’s The Scarlet Ibis, and rejoined American Opera Projects and NYU performing the roles of Rubes in The Community (Cummines/Greenberg) and Kenny in Outside (Blaskie/Christenfeld). Jordan’s roles also include Oberon in Britten’s A Midsummer Night’s Dream, the Sorceress in Purcell’s Dido & Aeneas, and Le fils de Macduff in Bloch’s Macbeth. His oratorio credits include Pergolesi’s Stabat Mater, Handel’s Messiah, Mozart’s Requiem, and Bernstein’s Chichester Psalms. As an early music singer, he has recently performed with La Fiocco and the Academy of Sacred Drama.

Guest artist, October 26-27, 2019

Tennessee native David Searle earned the B.Mus. in trombone at New England Conservatory and earned his M.Mus. degree in conducting at Northwestern University as a student of Victor Yampolsky, and his Diploma in Conducting from the Sibelius Academy in Helsinki. David has appeared as conductor with the Puerto Rico Symphony, the Helsinki Philharmonic, and the Oulu Symphony, among others, and recently served as Principal Guest Conductor of the Fjord Cadenza Festival in Skodje, Norway and Artistic Director of the Ålesund Orkesterskole in Ålesund, Norway. He was Director of Orchestras at Catholic University in Washington, DC for seven years. David studied sackbutt with Linda Pearse and Wim Becu and has performed on historical trombones with such early music ensembles as the Washington Bach Consort, Orchestra of the 17th Century, the Duke Vespers Ensemble, Three Notch’d Road, Tempesta di Mare, and the North Carolina Baroque Orchestra. He is also a member of the Teatro Nuovo opera orchestra. When he is not performing, David is an avid mountain biker.