Meet Our Fellows
Since its establishment in 2014, the Fellowship has been awarded to thirty-eight Juilliard Historical Performance graduates specializing in early music on period instruments.
TECA Fellows by Award Year
Jude Ziliak is a violinist specialized in historical performance practices. He is a member of Sonnambula, Ensemble in Residence at The Metropolitan Museum of Art in 2018-2019, and a principal player with the American Bach Soloists. He teaches violin and directs string ensembles at the Special Music School (P.S. 859), New York’s K-12 public school for musically gifted children.
Ziliak’s performances with Sonnambula have been featured on NPR’s Performance Today, and the ensemble recently completed the first recording of the complete works of Leonora Duarte, to be released on Centaur in fall 2018. Their 2018-2019 residency at the Metropolitan Museum will include four concert programs at the Cloisters and feature collaborations with Piffaro: The Renaissance Band, writer and photographer Teju Cole, and lutenist Esteban La Rotta. In previous seasons, the ensemble has performed at the Madison Early Music Festival, Princeton University, Strathmore Mansion, Baruch Performing Arts Center, and the Hispanic Society of America, for whom they have presented annual concerts of music from the Iberian peninsula to standing-room crowds.
With the American Bach Soloists, Ziliak has served as concertmaster for a recording of Bach’s Four Orchestral Suites, to be published in 2018, and was featured as soloist in Vivaldi’s Concerto per la Santissima Assonzione. He has also appeared on the ABS recordings of Handel’s Messiah and Bach’s Motets. Ziliak has also performed with The English Concert under the direction of Harry Bicket, Les Arts Florissants under William Christie, and many of North America’s period instrument orchestras, including the Clarion Society, Blue Hill Bach, Trinity Baroque Orchestra, New York Baroque Incorporated, and Musica Angelica. As a chamber musician, he has been a guest of Cantata Profana and the Four Nations Ensemble and has collaborated with Elizabeth Blumenstock, Florence Malgoire, and Jaap Schroder.
Ziliak studied Historical Performance at the Juilliard School as a pupil of Monica Huggett and Cynthia Roberts. While there, he encountered many leading figures in the field of early music, including Richard Egarr, Ton Koopman, Jordi Savall, and Masaaki Suzuki. Studies with Joshua Rifkin and David Schulenberg ground his approach to the study of performance practice.
Trained as a modern violinist at Rice University (Master of Music), Boston University (Bachelor of Music), and the Royal College of Music, London, his principal teachers were Bayla Keyes, Kenneth Goldsmith, and Dona Lee Croft. A former member of Lorin Maazel’s Castleton Festival Orchestra, he has been concertmaster at the National Orchestral Institute under Andrew Litton and led orchestras there as a New Lights Fellow. In 2018 Ziliak received the Jeffrey Thomas Award from the American Bach Soloists, awarded annually to recognize “exceptionally gifted emerging professionals in the field of early music who show extraordinary promise and accomplishment.” Raised in Sewanee, Tennessee, he now makes his home in New York with his wife, violist da gamba Elizabeth Weinfield, and their son, Walter.
Featuring Jude Ziliak
Beiliang Zhu
Cello
Beiliang Zhu won First Prize and Audience Award at the XVIII International Bach Competition in 2012, the first string player of a baroque instrument to receive this recognition. She earned a Bachelor of Music degree and Performer’s Certificate from the Eastman School of Music and a Master of Music from Juilliard’s Historical Performance program. She is currently pursuing a Doctor of Musical Arts at the Eastman School of Music under the guidance of Steven Doane.
Zhu has performed with internationally acclaimed artists and ensembles, including William Christie, Masaaki Suzuki, Monica Huggett, the Boston Early Music Festival, the Juilliard Baroque, the Philadelphia Orchestra, the Trinity Wall Street Orchestra, and many more. Interested in a wide range of repertoire and different roles as a modern cellist, baroque cellist, and violist da gamba, she won a section cellist position of the Rochester Philharmonic Orchestra during her undergraduate years, has held the principal cellist position of Mercury Houston, and received awards including the Eastman Cello Concerto Competition, Second Prize in the Holland America Music Society International Competition, and the 2010 Henry I. Goldberg Young Artist Prize at the American Bach Soloists Academy.
Praised for his “overwhelming elegance” (Scherzo Magazine), Ignacio Prego is considered one of the leading Spanish harpsichordists of his generation. First Prizewinner at the 2012 Westfield International Harpsichord Competition, he has performed in major cities in Europe, the United States, Canada, South America, and Asia. Performances have included solo recitals in New York, Washington, Chicago, Ithaca, Miami, and London, as well as concerts with Maurice Steger and cellist Phoebe Carrai in New York and Washington. He is the founder and artistic director of the ensemble Flores de Musica, recently heard at the Hispanic Society in New York.
Prego studied harpsichord with Elisabeth Wright at Indiana University and with Kenneth Weiss and Richard Egarr at Juilliard Historical Performance. His CD under the label Verso entitled “Chromatic Fantasy,” dedicated to the music of J.S. Bach, was hailed by Scherzo Magazine as “outstanding mastery of Bach’s complex counterpoint architecture”; El Cultural-El Mundo described it as an “outstanding performance,” and the Juilliard Journal, “heavenly harpsichord music.” Prego recently released a recording of Johann Sebastian Bach’s complete Goldberg Variations. He has continued to tour and perform around the world in small ensembles as a soloist. Prego, his wife, and young son currently live in Madrid.
Sought after as soloist, leader, collaborator and teacher across the US, Adriane Post formed her first string quartet at age eleven and was hooked.
A founding member of Diderot String Quartet and ACRONYM Ensemble, Adriane is leader of Indianapolis Baroque Orchestra and The Thirteen and dedicates her time to performing and teaching Baroque, Classical and Early Romantic repertoire on historical instruments. She has served as Concertmaster of the Washington National Cathedral Orchestra, tenured member of Handel + Haydn Society, member of Apollo’s Fire, frequent guest artist and soloist with Four Nations Ensemble and regular with Trinity Wall Street Baroque Orchestra. She has appeared with Harry Bicket and The English Concert, with William Christie and Les Arts Florissants in Thiré, France, as guest concertmaster with groups such as Seraphic Fire in Miami, New York Baroque Inc. and with many ensembles across the US. Recent tour and festival appearances include The Proms, Carnegie Hall, Caramoor, Tanglewood, Ravinia and Carmel Bach Festival. Teaching has brought her to Oberlin’s Baroque Performance Institute, The Smithsonian, De Paul University and Cincinnati Conservatory. Post completed a Bachelor of Music at Oberlin Conservatory and a Masters with the inaugural class of The Juilliard School’s Historical Performance program. Post was born and raised in Vermont.
Kevin Payne
Lute
Lutenist Kevin Payne is active as a recitalist, accompanist, and continuo player. Recent ensemble work includes performances with Philharmonia Baroque Orchestra, Seattle Symphony, Tempesta di Mare, Philharmonie Austin, and Bach Collegium San Diego. Festival appearances include Caramoor, Tanglewood, Spoleto, and Newport Classical.
Performance venues include Carnegie Hall, Alice Tully Hall, the Kennedy Center in Washington, D.C., the National Concert Hall in Taipei, Taiwan, the Concertgebouw in Amsterdam, and the Festspielhaus in Baden-Baden, Germany. His playing has been broadcast on a number of nationally syndicated radio programs including Sunday Baroque and Performance Today.
Kevin is a graduate of the Peabody Institute, the Juilliard School, and the Schola Cantorum Basiliensis in Basel, Switzerland. When not performing, Kevin enjoys cooking, reading, watching Star Trek (P’Tach!) and attempting to delay the inevitable (and often imminent) demise of the houseplants he shares with his wife, cellist Caroline Nicolas.
Featuring Kevin Payne
With an eclectic repertory that spans from the Middle Ages to the 21st century, acclaimed cellist/gambist Caroline Nicolas enjoys an active and multifaceted career as one of the outstanding performers in her field. Noted for her “eloquent artistry and rich, vibrant sound” (Gainesville Times), she has been praised for her unique ability to combine emotionally rich interpretations with a historically inquisitive spirit. She regularly appears with leading ensembles as soloist, chamber musician, and music director.
Ensembles she has worked with include the English Concert, Trinity Baroque Orchestra, Mercury Chamber Orchestra, Ars Lyrica Houston, Juilliard Baroque, Harmonia Stellarum, Philharmonia Baroque, Pacific MusicWorks, Kammerorchester Basel, New World Symphony, and Sinfonieorchester Liechtenstein. She recently completed her tenure as music director of New Baroque Orchestra. Festival appearances include the Boston Early Music Festival, Indianapolis Early Music Festival, Bach Festival Leipzig, and Styriarte Festival in Austria. Notable venues include the KKL Luzern, Berliner Philharmonie, Alice Tully Hall, and Benaroya Hall. Her performances have been broadcast on KING FM in Washington, KUHF in Texas, WDIY in Pennsylvania, and CCTV in China. Notable collaborations include such eminent musicians as Andrea Marcon, Amandine Beyer, Kristian Bezuidenhout, Jordi Savall, William Christie, Rachel Podger, Harry Bicket, and Stephen Stubbs.
This season, Caroline is looking forward to performances with Philharmonia Baroque, Tempeste di Mare, the Victoria Symphony, Victoria Baroque, Early Music Access Project, Andersen’s Nightingale, Emerald City Music, Sonnambula, Early Music Society of the Islands, Yale Voxtet, the Sebastians, Teatro Nuovo, Night Music, and Harmonia Stellarum. She will also be touring solo recital programs for the Gotham Early Music Scene, Church of the Holy Trinity, and the Salt Spring Early Music Society. Her recent performance with Emerald City Music was listed in the Seattle Times as a top pick for classical music concerts that season.
Notable distinctions include having been selected as a fellow of The English Concert in America, an award given to young musicians “who appear likely to make significant contributions to the field of early music.” As the winner of The Juilliard School’s Historical Performance concerto competition, she made her solo debut in Alice Tully Hall, New York City.
A passionate educator, Caroline is often invited by early music organizations to lecture on various topics in historical performance practice. She has been a guest teacher at Yale University, the Peabody Conservatory at Johns Hopkins University, the University of Victoria, and at the University of Washington School of Music. As a lecturer, Caroline has led workshops for Pacific Northwest Viols, Cascadia Viols, the Port Townsend Early Music Workshop, and Seattle Historical Arts for Kids. Caroline’s private students have been accepted as music majors to the Royal Academy of Music, the Oberlin Conservatory of Music, the Indiana Conservatory Jacobs School of Music, and the University of Washington, and have attended such summer festivals as the American Bach Soloists Academy and Oberlin’s Baroque Performance Institute. She has recently been featured in an Early Music America magazine article, discussing historical bowing techniques. Caroline is currently on faculty at the New York Conservatory of Music.
A native of Winnipeg, Canada, Caroline was first introduced to the cello as a young child. Too restless to stick with a single steel strung instrument, she pursued early music studies with Phoebe Carrai at The Juilliard School, and with Christophe Coin and Paolo Pandolfo at the Schola Cantorum Basiliensis in Basel, Switzerland. Caroline resides in New York City. When not performing, she can typically be found occupying herself with reading, chess, crosswords, or watching Star Trek with her husband, lutenist Kevin Payne.
Kyle Miller
Viola
Violist Kyle Miller made his concerto debut in 2005 with the Reading (Pennsylvania) Symphony Orchestra as ‘the dog’ in P.D.Q. Bach’s Canine Cantata, Wachet Arf! After that watershed performance, Kyle went on to study at the New England Conservatory, the Eastman School of Music, and The Juilliard School, where he received Master of Music degrees in both viola performance and historical performance. A member of ACRONYM and Diderot String Quartet, Kyle also has appeared onstage with A Far Cry, the American Classical Orchestra, Apollo’s Fire, the English Concert, Handel and Haydn Society, the Knights, New York Baroque Incorporated, Opera Lafayette, Orchestra of St. Luke’s, Ruckus, the Sebastians, Seraphic Fire, Tafelmusik Baroque Orchestra, Teatro Nuovo, TENET, The Thirteen, Trinity Baroque Orchestra, Upper Valley Baroque Orchestra, and the Washington National Cathedral Baroque Orchestra. Kyle performs regularly at the Carmel Bach Festival and the Staunton Music Festival; and as a member of Diderot String Quartet, he has served as a guest artist and coach at Oberlin College’s Baroque Performance Institute. In 2017 and 2018, Kyle wore a wig and frock coat on Broadway, where he performed in a run of Claire van Kampen’s play Farinelli and the King. In his spare time, Kyle enjoys playing card and board games and eating pizza by the slice.
Kamila Marcinkowska-Prasad
Bassoon
Kamila Marcinkowska-Prasad, a graduate of Juilliard’s Historical Performance program, performs historical music on period instruments including the dulzian and baroque and classical bassoons. She also performs occasionally on the recorder. She completed her Bachelors degree at the Royal Conservatory of the Hague in 2006 and has since enjoyed an active career performing in orchestras and chamber groups in Europe, including Warsaw Chamber Opera, Wroclaw Baroque Orchestra, Capella Cracoviensis, Ensemble Cristofori, and Enghave Barok in Copenhagen. She is featured on recordings for the groups Les Muffati, Arte Dei Suonatori, Collegium Marianum, Ensemble Inegal, Gabrielli Consort and Players, Collegium 1704, and the Copenhagen Soloists.
Throughout her career in Europe she has performed under such well-known conductors as Paul Mc Creesh, Peter Van Heyghen, Alfredo Bernadini, Jaap Ter Linden, and Vincent Dumestre. While at Juilliard she performed with William Christie, Jordi Savall, Masaki Suzuki, Richard Eggar, Robert Mealy, and Monica Hugget.
Featuring Kamila Marcinkowska-Prasad
Caroline Giassi was born and raised in New York City where she began her musical training at a very early age on a Cracker Jack box as a violin. She eventually graduated to a real, wooden instrument and later switched to the oboe. While pursuing her undergraduate degree in oboe performance at the University of Michigan, Caroline also earned a degree in comparative literature which fostered in her a love of approaching material in its original context and language. This naturally led her to the world of performance practice and historical oboes.
As a freelance musician, Caroline enjoys a variety of opportunities to both perform and teach across the country. This season’s highlights include Albinoni and Vivaldi concerto performances with Museum Concerts of Rhode Island (Providence, RI), Beethoven’s rarely heard opera Leonore with Opera Lafayette (Washington D.C), and a chamber concert with Chatham Baroque (Pittsburgh, PA). For the first time, Caroline is organizing her own concert in Elmira, NY and is very much looking forward to sharing her love of historical performance as well as her colleague’s musical talents with her local community. She is also thrilled to be joining New York State Baroque, The Sebastians, Pegasus Early Music, and Early Music New York again this season.
In addition to performing, Caroline is also a dedicated educator and works with students of all ages. As a teaching artist for S’Cool Sounds, a NYC based music education program, she teaches classroom recorder and ensemble skills to 2nd graders in Brooklyn, NY. She is also a continuing guest artist at the University of Michigan where she works with undergraduate through doctoral students to teach baroque oboe and coach performance practice. This year, Caroline also has residencies at Louisiana State University, University of Missouri – Kansas City, and the University of Kansas.
Caroline studied at the University of Michigan where she earned a B.A in comparative literature and a B.M in oboe performance. She pursued graduate studies in oboe at The Yale School of Music and subsequently was awarded a fellowship in baroque oboe as the first and only wind player to join the Yale Baroque Ensemble. Caroline continued her baroque studies at The Juilliard School for a second master’s degree in historical performance. Her principal teachers include Toyin Spellman-Diaz, Nancy Ambrose King, Stephen Taylor, and Gonzalo Ruiz.
When not playing the oboe or making reeds, Caroline spends her time powerlifting, cooking, knitting, and spending time at home or exploring the outdoors with her husband and cat (who, despite her interest in the outdoors, only observes from the safety of a windowsill). She resides in Corning, NY and New York City.
Featuring Caroline Giassi
David Dickey
Oboe
David Dickey earned a master’s degree from the Juilliard School, where he focused primarily on historical oboes. A native of Bowie, Maryland, he received his bachelor’s degree in both oboe and voice performance from the University of Maryland. He currently resides in New York City, where he performs with groups such as Bach Vespers at Holy Trinity, Trinity Baroque Orchestra, New York Baroque Incorporated, and Opera Mission.
Recent performances in Boston have brought him into the company of the Handel and Haydn Society and Boston Baroque. As a soloist, Dickey performed the Dittersdorf Concerto for Oboe d’amore with Juilliard415 under the leadership of Monica Huggett in the Music Before 1800 concert series. In summer 2017, Dickey was an artist-in-residence with Festival Daniou in Brittany, France.
Augusta McKay Lodge is a historically informed violinist enjoying a blossoming career as leader and
soloist. Currently based in Paris, she performs as concertmaster with Les Arts Florissants, Les Musiciens de Saint-Julien, Ensemble Zene, La Chapelle Harmonique, and has appeared as guest concertmaster for Opera Fuoco, The American Classical Orchestra and the Irish Baroque Orchestra. She has guest directed the Philharmonia Baroque Orchestra Chamber Players as a substitute for Richard Egarr. A regular violinist with Voices of Music, she solos in many of their 4k / 8k videos. Her solo discography includes Beyond Bach and Vivaldi and Corelli’s Band (Naxos), and a disc with her sister Georgina McKay Lodge, J.G. Graun: Chamber Music from the Court of Frederick the Great (Brilliant Classics).
An avid chamber musician, McKay Lodge is a founding member of the Spielerei Piano Trio (Amsterdam) and she performs regularly with Ensemble Jupiter and Le Consort. Highlights from her 2023 season include a feature at the festival Dans Les Jardins de William Christie as musical director of the Terrasses Concerts, and as concertmaster on tour with Purcell’s Fairy Queen directed by William Christie, Paul Agnew and choreographer Mourad Merzouki; she appeared as concerto soloist with Ensemble Jupiter in Vivaldi’s Summer at the Edinburgh International Festival; as soloist and concertmaster in all six Brandenburg Concertos with Les Musiciens de Saint-Julien; in concerto with Voices of Music (Mozart’s Violin Concerto No. 1), and soloist in Beethoven’s Romance No. 1 with The American Classical Orchestra. McKay Lodge holds degrees from Oberlin Conservatory of Music, Indiana University Jacobs School, and The Juilliard School (Kovner Fellow, English Concert American Fellow, Mercury-Juilliard Fellow). McKay Lodge performs on a Jean-Baptiste Vuillaume (1867) and a baroque-copy Jason Viseltear (2014). More information can be found at her website www.augustamckaylodge.com.
Oliver Weston
Cello
Beginning his musical journey in rural North Carolina, Oliver Weston has gone on to complete a master’s degree in the Historical Performance program at Juilliard, studying baroque cello with Phoebe Carrai and viola da gamba with Sarah Cunningham. As a member of Juilliard415, he has worked alongside such distinguished musicians as William Christie, Laurence Cummings, Jordi Savall, John Elliot Gardiner, Masaaki Suzuki, Robert Levin, Nicholas McGegan, Richard Egarr, Monica Huggett, Rachel Podger, and Robert Mealy, performing throughout North and South America and Western Europe.
Weston currently resides in New York City, fixated on exploring J.S. Bach’s obbligato cantatas and the early classical string quartet repertoire. During summer 2017, he traveled to China to perform with Shanghai Camerata and join Juilliard415 for a three-week tour of New Zealand.
Jeffrey Girton
Violin
Juilliard graduate Jeffrey Girton is a baroque, classical, and romantic violinist from the greater New York City area. He has served as concertmaster for the New York Youth Symphony, Oberlin Chamber Orchestra, Oberlin Sinfonietta, Oberlin Baroque Orchestra, and Juilliard’s Historical Performance ensemble Juilliard415, with which he has been a featured concertino violinist and concerto soloist. He has also performed as soloist with Oberlin Baroque Orchestra, Quito Baroque Festival Orchestra, and National Repertory Orchestra.
Girton is a winner of the New York Youth Symphony chamber music competition, National Repertory Orchestra concerto competition, Oberlin Conservatory Kennedy Center competition, and Juilliard’s Historical Performance concerto competition. He has performed in venues including the Palais Garnier, Vienna Staatsoper, Koussevitsky Music Shed, Ozawa Hall, Carnegie Hall, the Metropolitan Opera, Alice Tully Hall, Severance Hall, the Kennedy Center, and the Smithsonian. An active performer in the U.S., Girton is also a member of Les Arts Florissants and regularly plays with the ensemble overseas.
Featuring Jeffrey Girton
After achieving a Bachelor of Music Performance with first class Honours from the Sydney Conservatorium of Music, Annie knew that she had to explore broader horizons and auditioned for The Juilliard School. Two years later she found herself standing in the Lincoln Center with a Masters degree in one hand and a ticket to Europe in the other. The summer that followed found Annie performing in Leipzig’s Gewandhaus under the baton of Masaaki Suzuki, at William Christie’s Dans les Jardins, Pinchgut Opera’s production of Athalia, and Teatro Nuovo, a festival in New York working to rediscover classic Italian opera in line with current research in performing practice. Currently residing in Germany and delighting in its rich musical fabric, this year will see Annie tour Europe and America with The English Concert, record with Boston Early Music Festival, and once again return to Australia to join Pinchgut Opera.
Keiran Campbell was drawn to the cello after he stumbled across one in his grandmother’s basement and was baffled by its size. Once he turned 8, he began taking lessons -on a much smaller cello- in his native Greensboro, North Carolina. After studying extensively with Leonid Zilper, former solo cellist of the Bolshoi Ballet, he received his Bachelors and Masters at the Juilliard School in New York, working with Darrett Adkins, Timothy Eddy, and Phoebe Carrai. Keiran also spent several springs in Cornwall, England, studying with Steven Isserlis and Ralph Kirshbaum at the International Musicians Seminar in Prussia Cove. Now based in Toronto, ON, Keiran is a core member of Tafelmusik Baroque Orchestra.
Described as “spectacular” and “an active, sparkling participant in the musical conversation” (Toronto Star), Keiran has performed with orchestras including The English Concert, Violons du Roy, Arion Orchestre Baroque, Le Concert Des Nations, NY Baroque Incorporated, Philharmonia Baroque, The Boston Early Music Festival Orchestra, Trinity Wall Street Baroque Orchestra, and Mercury Chamber Orchestra. He has performed as a soloist with Tafelmusik Baroque Orchestra, Philharmonia Baroque Orchestra, Mercury Chamber Orchestra, and Trinity Wall Street. During the summers, he has performed at Lakes Area Music Festival in Minnesota, Teatro Nuovo in New York, Carmel Bach Festival in California, and Staunton Music Festival in Virginia.
As a teacher, Keiran has recently given masterclasses at University of Western Ontario, UNC Chapel Hill, Royal Northern College of Music in Manchester, The Royal Conservatoire of Scotland, Bucknell University, Duke University, Penn State, and at Tafelmusik Winter Institute. He is on faculty at Chamber Music Collective, a summer festival focusing on classical and romantic period performance.
Keiran is also fascinated by instrument making, which he studies with the maker of his cello, Timothy Johnson.
Violinist Alana Youssefian has quickly forged a reputation as a sought-after soloist known for her engaging performances, fierce virtuosity, passionate interpretations of works spanning the baroque era to the music of today. Alana has enjoyed an active solo and collaborative career with the world’s leading period instrument orchestras, in addition to holding engagements at venues such as the John F. Kennedy Center for the Performing Arts, Kimmel Center, Carnegie Hall, and Alice Tully Hall. In April 2020 her debut album Brillance Indéniable was released on the Avie label to rave reviews. Her video recordings on the Voices of Music YouTube channel have garnered over five million views. An avid pedagogue, Alana teaches violin privately and at the Music Conservatory of Westchester. She has served as a guest lecturer at NYU Steinhardt School and San Francisco Community College, and as a guest instructor for Ars Lyrica Houston and Oberlin Baroque Performance Institute. In her free time, Alana enjoys spending time with her husband and son.
Born and raised in New Rochelle, New York, violinist Sarah Jane Kenner is currently based in New York City. Kenner has performed with a number of ensembles, including Aspen Opera Theater Center, Trinity Baroque Orchestra, Sacred Music in a Sacred Space, and Juilliard415, the school’s primary period- instrument ensemble. As a winner of Juilliard’s Historical Performance concerto competition in 2018, she was a featured soloist with Juilliard415 at Lincoln Center. She has also appeared as concertmaster and principal second violinist of the ensemble and joined it on tours throughout the U.S., in Europe, India, and New Zealand. Kenner has served as concertmaster of the Manhattan School of Music Chamber Sinfonia and the Texas Music Festival Orchestra, and she has held principal positions in Temple University Symphony Orchestra. Engagements in the summer of 2018 include a tour to Leipzig with Juilliard415 and Masaaki Suzuki and performances at the festival Dans les Jardins de William Christie in Thiré, France.
In spring 2018 Kenner will complete her graduate studies in baroque violin in the Historical Performance program at Juilliard, where she currently studies with Cynthia Roberts and Elizabeth Blumenstock. She holds a Bachelor of Music from Temple University’s Boyer College of Music and a Masters of Music from the Manhattan School of Music, where she studied respectively with Hirono Oka and Lucie Robert.
Hugo Abraham
Double Bass/Violone
Hugo Abraham began his involvement with music as a child, playing the violin and the viola da gamba. His passion for jazz led him to switch to the double bass. After completing his undergraduate studies in Paris, he moved to the United States in 2014 to undertake a master’s degree in double bass performance at the New England Conservatory, Boston. He is currently finishing his masters in Historical Performance at the Juilliard school. In Europe, Abraham has performed with Ensemble Ictus, Orchestre de Paris, Orchestre National de l’Opéra de Paris, and Orchestre Philharmonique de Radio France, among others, working with leading conductors in major festivals and concert halls. He has also been a member of the Gustav Mahler Jugendorchester, the Verbier Festival Orchestra, and the Orchestre Français des Jeunes.
At Juilliard, Abraham has worked with esteemed figures in the historical performance field, including Masaaki Suzuki, Rachel Podger, and William Christie. He has toured with Juilliard415 and other U.S. baroque ensembles, such as ACRONYM and Ruckus, meanwhile exploring his ever-expanding curiosity for contemporary and yet-to-come practices.
Joseph Jones began studying the bassoon at age 12 when his piano teacher suggested: “Joey, you might be good at the bassoon.” Some years and many concerts later, Joe works as a bassoonist specializing in early music and he performs throughout the country and occasionally around the world, with ensembles like The Sebastians, The English Concert, ACRONYM, Brecon Baroque Festival, Early Music New York, Boston Early Music Festival, Lyra Baroque Orchestra, and more. His playing has been praised for its “warm singing tone,” and once while performing a Vivaldi concerto he “proved he could easily break the four-minute mile without missing a note” (Star Tribune). Joe is a graduate of The Juilliard School’s historical performance program, as well as the University of Minnesota and Utah State University.
Featuring Joseph Jones
Violinist Rachell Ellen Wong made history in 2020 when she was awarded the prestigious Avery Fisher Career Grant, becoming the only baroque artist in the program’s history to receive the honor. Her exceptional blend of technical virtuosity on gut strings, expressive musicianship, and understanding of period performance practices has garnered international critical acclaim and a dedicated following. With performances across five continents, she has established herself as one of the leading historical performers of her generation, collaborating with esteemed ensembles such as the Academy of Ancient Music, Jupiter Ensemble, Bach Collegium Japan, and Les Arts Florissants, among others. Equally accomplished on the modern violin, Rachell made her first public appearance with Philharmonia Northwest at age 11 and has since performed as a soloist with orchestras such as Orquesta Sinfónica Nacional de Panamá, Orquesta Sinfónica de Costa Rica, and the Seattle Symphony. Currently, she serves as concertmaster of the Seattle Baroque Orchestra, and is on faculty at the Valley of the Moon Music Festival in Sonoma, California.
Notable appearances from Rachell’s 2023-2024 season include performances with the Milwaukee Symphony Orchestra, New World Symphony, Reno Chamber Orchestra, Northwest Sinfonietta, and at Ilumina Music Festival in Sau Paulo, and The Rome Chamber Music Festival. Alongside the exceptional conductor and keyboardist David Belkovski, Rachell is co-founder of Twelfth Night. Founded in 2021, Twelfth Night will be making its Carnegie Hall debut in May 2024.
Among her many awards, Rachell was the Grand Prize winner of the inaugural Lillian and Maurice Barbash J.S. Bach Competition. Rachell holds degrees from The Juilliard School, Indiana University, and the University of Texas at Austin. Originally from the Pacific Northwest, she lives in New York City with her husband and two bunnies. For more information about Rachell, please visit her website at www.rachellwong.com.
Featuring Rachell Ellen Wong
Chiara Stauffer
Violin
Swiss violinist Chiara Fasani Stauffer enjoys playing music ranging from the Baroque to the twenty-first century and has had the privilege of performing across three continents. Since relocating to the United States in 2012, Stauffer co-founded Time Canvas, a chamber music group committed to bringing innovative music to people across a broad section of society. In addition to her duties as a violinist, she serves as the artistic director of the ensemble.
As a baroque violinist Stauffer performs with groups such as Apollo’s Fire, The Washington Bach Consort, and The Sebastians. Other performance highlights have included appearing on a Prairie Home Companion as part of the East 4th Street Quartet, recording a critically acclaimed jazz album with saxophonist Bobby Selvaggio’s Transcendental Orchestra, and performing live on radio station WCLV as part of the new music group FiveOne Experimental Orchestra.
Stauffer hold degrees from the Juilliard School and the Basel Hochschule für Musik, as well as a minor from the Schola Cantorum Basiliensis.
Featuring Chiara Stauffer
Born in China, violinist Ruiqi Ren has appeared on stage regularly as a soloist throughout Europe, the United States, and Asia. In 2022, Ruiqi made her debut as a soloist at the Edinburgh international festival with Richard Egarr and Palacio Euskalduna with La Risonanza led by Fabio Bonizzoni in Bilbao. Ren has been a regular guest performing with renowned ensembles such as The English Concert, Ensemble Jupiter, Il Pomo d’Oro , The Nederlandse Bachvereniging, La Risonanza, Bach Collegium Japan, Arcangelo, and Poland Baroque, with which she appeared worldwide on stage at the Wigmore hall, Carnegie hall, Alice Tully hall, the Concertgebouw, and Palau de la music, to name but a few. During her years at the Juilliard School, Ren made her debut as concertmaster of the ‘Juilliard 415 orchestra’ conducted by Paul Agnew at Alice Tully hall. The great experience of the concert taught her a great lesson in collaborative work. “In the end, it is not about me, it is about us” -a totem she always carries when performing on stage. As concertmaster of China’s first early music ensemble-Shanghai Camerata, Ren has been an important force in the development of historical performance in China. Her teachers include Cynthia Roberts, Shunske Sato, Rachel Podger, Ryo Terakado, Robert Mealy, Stanley Ritchie, and Marilyn McDonald. Ren also serves as the Editor-In-Chief of the bilingual musician magazine Along-Imparted, which aims to build a cross-cultural platform through music and art. Ren holds degrees from the Juilliard School, Indiana University, Oberlin Conservatory, and Royal Conservatory of The Hague.
Praised for her “total involvement with the inner life of the lowest voice” (New York Concert Review Inc.), cellist Madeleine Bouissou has a vision to influence the attitude of performing on classical instruments among her peers and pupils. When she first heard a historical piano, Madeleine was struck by the variety of colors in sound and the unpredictability of the instrument itself. It inspired her to explore baroque cello where the gut strings, various temperaments, and ornamental improvisations awakened an attitude of openness to explore, react in the moment, and savor her ideas.
In 2020, Madeleine began training to become an Alexander Technique teacher because she wanted to learn to embody that attitude through the use of her whole self. After three years of intensive daily training, Madeleine will be qualifying this July and has already begun to use and share the process of the Alexander Technique in both her cello teaching and her collaboration with various ensembles as a cello player. She aspires to use the Alexander Technique to inspire her colleagues to explore new ways to play and hear music and experience their everyday lives.
Madeleine is a New Ensemblist in the period performance ensemble Arcangelo led by Jonathan Cohen. This engagement projects her into the vibrant HIP scene in London and throughout Europe with frequent international performances as well as ongoing mentoring and professional profile and career development. This enriches her personal musical development and allows her to begin to shape the early music scene with her own unique playing and ideas.
Madeleine is a fellow of the English Concert in America and she performs regularly with Combattimento in the Netherlands and The Boston Early Music Festival in the US and Germany. She began her professional cello studies at the age of 14 at Juilliard Pre-College and then continued at The Juilliard School where she completed her bachelor’s degree and master’s degree as a full scholarship student in Historical Performance. After her ten year tenure at Juilliard, she moved to the Netherlands to gain a broader perspective of HIP and further refine and develop her baroque cello playing in a new musical environment. This journey led her to pursue an Artist Certificate at the Koninklijk Conservatorium in 2020. She currently resides in Den Haag where she has an active career as a freelance cellist and privately teaches cello and the Alexander Technique.
Featuring Madeleine Bouissou
New York-based oboist Emily Ostrom has performed with orchestras on four continents, and has been commended for “melting our hearts with a poignant oboe solo” (New Zealand Herald). At the Juilliard School, where she focused on historical oboes and recorders, she performed under such illustrious conductors as Masaaki Suzuki, Richard Egarr, Nic McGegan, William Christie, Pablo Heras-Casado, and Paul Agnew. In 2022 she performed in France with Les Arts Florissants, at Lincoln Center with American Classical Orchestra, and in New Hampshire for the inaugural season of Upper Valley Baroque. Emily holds a mezzo-soprano position in the Compostela Choir at St. James Church, and also works as an active composer, having written chamber works for Juilliard Double Visions and commissions for the Walden School.
Passionate about sharing her knowledge with the next generation of musicians, she has served as oboe fellow for Juilliard’s Music Advancement Program, theory tutor for Juilliard Extension, and faculty at the Walden School, where she teaches seminars in musicianship, composition, and early music-related topics.
Emily holds a master’s degree in Baroque oboe from Juilliard, a master’s in voice from the University of York and double bachelor degrees in oboe performance and neuroscience from Oberlin College and Conservatory.
Featuring Emily Ostrom
New York born Manami Mizumoto started her lifelong relationship with music at age 3 on the violin. Early exposure to chamber music sparked in her a devoted love of collaboration. This led to a fascination with performing contemporary music and working with living composers. In recent years, this has manifested in being a founding member of the group Nuova Pratica, a collective of composer-performers working with centuries-old practices of improvisation in the modern day.
In addition, Manami is passionate about exploring different approaches to music making in history and how that can transform the way modern audiences relate to music of the past. Her driving curiosity is in exploring the dialogue between ancient and contemporary thoughts, and she is equally at home on the baroque violin, modern violin, and electro-acoustic setups with Ableton Live.
Manami is a graduate of the Juilliard School where she earned a Bachelor’s with Catherine Cho and Joel Smirnoff, a Masters in Historical Performance, and graduated with the Norman Benzaquen Career Advancement Grant. Manami is a Fellow of The English Concert in America, elected in 2021. Supported by The English Concert in America (TECA), the Fellowship provides performance and professional development opportunities to emerging artists in the field of historical performance.
Featuring Manami Mizumoto
Kako Miura
Violin
Originally from Tokyo, Japan and now based in New York, NY, Kako Miura is a violinist who
performs on both historical and modern instruments. She is the recipient of numerous awards, including first prize in the Nagano International Music Festival Violin Competition, Bergen Philharmonic Orchestra’s Young Artists Competition, and Sound Symphony Orchestra’s Solo Competition, as well as a National YoungArts Foundation Award.
Kako has appeared internationally as a soloist, performing alongside orchestras in Asia, Australia, and the United States, and her solo and chamber music performances have taken her to such distinguished venues as Alice Tully Hall of Lincoln Center, Weill and Zankel Halls at Carnegie Hall, and the Sydney Opera House.
Deeply committed to community engagement and music education, Kako has worked extensively with the Music Advancement Program, a department of The Juilliard School’s Preparatory Division, offering instruction on violin and chamber music as well as courses on historical performance and curricular studies. While a student at Juilliard, Kako conceived, directed, and performed an original interactive concert centered around Baroque music for local elementary school students in New York City, titled A Day in the Life of a King, as part of The Juilliard School’s Young People’s Concerts series.
Kako is currently pursuing a graduate degree in Historical Performance at The Juilliard School under the guidance of Cynthia Roberts, Elizabeth Blumenstock, and Robert Mealy. She holds a Bachelor of Music degree from The Juilliard School, where she also attended the Pre-College program, as well as a Master of Music from The Colburn School. Her principal teachers have included Robert Lipsett and Masao Kawasaki.
Kako plays a Kloz Baroque violin and several period bows from the Juilliard Instrument Collection, as well as a Vuillaume workshop “St. Cecile des Thernes” violin and Sartory bow, generously on loan from the Nippon Violin Company. In addition to music, Kako loves food, tea, and naps.
Featuring Kako Miura
Natalie Rose Kress
Violin
Praised by the New York Times for her “splendid playing,” Natalie Rose Kress is a violinist, concertmaster, entrepreneur, and director based in Washington, D.C.. Following three summers as a Tanglewood Fellow, she was awarded the Jules C. Reiner Violin Prize from the Tanglewood Music Center and performed with Yo-Yo Ma at the 2015 Kennedy Center Honors, honoring Seiji Ozawa.
As a winner of the 2021 Mercury Chamber Orchestra Fellowship and the 2022 English Concert in America Fellowship, Natalie is sought after all over the world as a Baroque violinist and concertmaster. As a modern violinist, she performed the world premiere of Leonard Bernstein’s “Music for String Quartet” (written in 1936) at the Linde Center at Tanglewood, with members of the Boston Symphony Orchestra in November 2021. She can be heard on the first commercial recording of Bernstein’s Music for String Quartet, recorded by Parma Recordings, released in September 2023.
She performs regularly as a founding member of the period string quartet Quartet Salonnières (NYC), Relic Baroque Orchestra, and Musicivic Baroque (PA), as a core member of Repast Baroque Ensemble (NYC), and as concertmaster of La Grande Bande (MN). She performs frequently with groups such as the Handel and Haydn Society (MA), the Washington Bach Consort (D.C.), the Washington National Cathedral Baroque Orchestra (D.C.), The English Concert (U.K.), Opera Lafayette (D.C.), the Mercury Chamber Orchestra (TX), Seraphic Fire (FL), TENET Vocal Artists (NY), Early Music NY, Shanghai Camerata (China), Les Arts Florissants (Paris), and the Staunton Music Festival (VA).
Natalie is currently a doctoral student at the University of Maryland with a focus on historical performance pedagogy where she directs and leads the UMD Baroque Project. She has held teaching residencies at Williams College (Williamstown, MA), Western Michigan University (Kalamazoo, MI), and the Fiorello H. LaGuardia High School of Music & Art and Performing Arts (NYC). As a member of Quartet Salonnières, she was awarded the 2022 U.S. Embassy Dar es Salaam, Tanzania Public Diplomacy Grant to tour Tanzania in January 2023 performing concerts at various venues, and presenting educational workshops at schools, orphanages, and universities throughout the country. The quartet was awarded the 2023 Chamber Music America “Ensemble Forward” Grant to record a CD this year.
Natalie received a BA in Music and Psychology, and an MM in Violin Performance from SUNY Stony Brook University. She attended The Juilliard School’s coveted Historical Performance Graduate Program in 2019 on a full scholarship. She studied with Soovin Kim, Philip Setzer, Jennifer Frautschi, Robert Mealy, Cynthia Roberts, Elizabeth Blumenstock, and Rachel Podger. As a Doctoral student at the University of Maryland, she studies with David Salness and Kenneth Slowik.
Originally from Philadelphia, Natalie currently resides in Greenbelt, MD with her husband Jonathan Davies, and Yorkie, Henry.
Featuring Natalie Rose Kress
Chloe Kim
Violin
Canadian violinist Chloe Kim has performed at prominent concert venues around the world, sharing the stage in both principal and soloist capacities with international figures such as Rachel Podger, Pablo Heras-Casado, Richard Egarr, and Nicholas McGegan. The recipient of numerous awards including the 2020 Mercury-Juilliard Fellowship, Juilliard Historical Performance Fellowship, and the 2016 Early Music America Scholarship, Chloe was most recently nominated for the prestigious Sylva Gelber Music Foundation Award.
Chloe’s most memorable engagements include an all-women Vivaldi tour led by inspirational violinist, Monica Huggett, as well as two recent trips to France for collaborations with William Christie and Les Arts Florissants. Last summer, Chloe served as concertmaster of Juilliard415 for several sold-out productions of Purcell’s Dido and Aeneas, led by Avi Stein in London and the Versailles Royal Opera.
Before the COVID-19 pandemic, season highlights would have included touring as concertmaster with Juilliard415 and Nic McGegan for performances of Handel’s Rinaldo in New York, Germany, and the Netherlands as well as a UK tour with Richard Egarr and Philharmonia. Instead, Chloe is excited to present Music for the Pause, an online chamber music series cosponsored by multiple organizations and produced in beautiful Victoria, BC. She is deeply grateful for the beloved West Coast colleagues that she considers family, and is especially indebted to her mentors, Elizabeth Blumenstock, Robert Mealy, and Heilwig von Königslöw.
Cullen O’Neil is a New York City-based cellist originally from Kalamazoo, MI. Active in the early music scene, Cullen is a founding member of Relic, a conductorless period chamber orchestra; Quartet Salonnières, a historical quartet; and Nuova Pratica, an ensemble of historically-inspired composer/performers. Cullen is also a member of Boston Baroque, a Fellow of The English Concert in America, and a frequent performer with numerous other early music groups. Past performances have brought her across North America, Europe, Asia and Africa to venues such as Lincoln Center, Palais Garnier, Shanghai Concert Hall, Incheon Arts Center, Kennedy Center, Mariinsky Hall in St. Petersburg, The Great Hall of the Moscow Conservatory, Royal Albert Hall, the Helsinki Musiikkitalo, Tumaini Cultural Arts Centre and the Philharmonie de Paris. Cullen graduated from The Juilliard School in 2021 with a master’s degree in historical performance. Previously, she earned degrees in cello and music theory from the University of Michigan, where she studied with Richard Aaron. She spent the 2017-2018 school year at the Sibelius Academy in Helsinki studying with Raimo Sariola.
Flute and Recorder specialist Kelsey Burnham is a South Baltimore native based in New York City with a passion for performing, teaching, and community outreach. A graduate from Oberlin Conservatory (BM ’19) and The Juilliard School (MM ’21), Burnham enjoys all aspects of making and sharing music with others. Her performance career has most recently included public performances with Juilliard 415 and Les Arts Florrisants, touring in the US, New Zealand, and France, as well as recording for an upcoming album release of original cantatas by Doug Balliett. Burnham is an active teacher and currently holds two teaching positions as Preparatory Flute Faculty at Johns Hopkins’ Peabody Conservatory and as Founding Flute Professor of Virtu.Academy. Burnham’s teaching experience includes private lessons, guest lectures, masterclasses, and ensemble coachings, teaching on both early and modern flutes.
Featuring Kelsey Burnham
Born in Skopje, Macedonia, David Belkovski’s journey as a musician has taken him from early ventures into Balkan folk music to the vibrant beginnings of a career, performing regularly on harpsichord, fortepiano, and modern piano. First prize winner of several international and national competitions, including the 2019 Sfzp International Fortepiano Competition, David has been recognized for his artistry on both historical and modern keyboards.
David made his Lincoln Center debut in 2019 as fortepiano concerto soloist with the American Classical Orchestra/Tom Crawford as well as with Juilliard415/Monica Huggett. Along with international prize-winning violinist Rachell Ellen Wong, David founded Twelfth Night, a dynamic period-instrument ensemble based in New York City. Among David’s engagements in 2022 are concerto performances with Los Angeles-based ensemble Musica Angelica as well as play-direction of a salon concert featuring early German lieder for Juilliard’s Vocal Arts program.
David is fast building a reputation as a director from behind historical keyboards, engaged in 2021 as Assistant Conductor to Gary Wedow for Handel’s Teseo, a Juilliard production. David has directed and composed for Juilliard’s renowned period ensemble, Juilliard415. More recently, he has served as Assistant Conductor for a production of Luigi Rossi’s Orfeo and a production of Handel’s Radamisto by the Philharmonia Baroque Orchestra, working with music directors Avi Stein and Richard Egarr, respectively.
David’s recent collaborations include performances with tenor Nicholas Phan, soprano Mireille Asselin, and countertenor Reggie Mobley. In addition to ensemble playing, David has performed solo works on harpsichord across Italy and at the Marquês de Pombal Palace in Oeiras, Portugal.
David is the recipient of the Robert A. and Patricia S. Levinson Award, becoming the first to receive the fellowship in the field of early music.
Featuring David Belkovski
Violinist Ravenna Lipchik began her violin studies in her hometown of Milwaukee, WI.
Now a Grammy Award-winning artist for her work with the Experiential Orchestra on Ethel Smyth’s ‘The Prison,’ her chamber music career has taken her around the world. She has performed and toured with the New Zealand String Quartet, the American Contemporary Music Ensemble (ACME ) and Shattered Glass ensemble.
Ravenna received her modern violin training at the San Francisco Conservatory and the Juilliard School, where she is a graduate of both their modern and Historical Performance programs.
Highlights this coming year include the release of a period recording of Schumann’s piano trios on Deux-Elles label as well as the George Enescu Festival in Bucarest, Romania with Les Arts Florissants.
Featuring Ravenna Lipchik
William Drancsak, known by his friends and colleagues as Jimmy, is a violinist and violist living in the New York City area. In May of 2023, Jimmy completed a Master of Historical Performance degree from The Juilliard School, and prior to that he received a Bachelor of Violin Performance and Music Education from The State University of New York at Fredonia. Jimmy has performed with various groups across Europe and the United States including Juilliard415, Les Arts Florissants, New York Baroque Incorporated, Trinity Baroque Orchestra, and Teatro Nuovo. He is also proud to be the violist in the Arrow Quartet and violinist with In Nomine Ensemble, two newly-formed ensembles from The Juilliard School.
Having grown up in the North American fiddle tradition, Jimmy is particularly comfortable with American fiddle styles and improvisation. The crossover between various fiddle styles and 17-18th century repertoire serves as an inspiration towards Jimmy’s approach to historically informed performance. In addition to being a performer, Jimmy is also an enthusiastic teacher, ranging from private lessons to full orchestral ensembles. In his free time, Jimmy runs with Front Runners New York, fiddles at open sessions across NYC, and makes frequent trips back to his hometown in Skaneateles, New York, to visit his friends and family. He is extremely grateful to have been offered The English Concert in America Fellowship, and is thrilled to participate in future projects with such an incredible ensemble.
Featuring William (Jimmy) Drancsak
Baroque violinist Eleanor Legault is a versatile performer and interpreter of early music, currently residing in New York City. She is a co-founder of the ensemble Duo Moda, a historical violin/cello duo; their first CD is expected to release in 2024. Previous and upcoming performances include appearances with Juilliard415 as concertmaster, ARTEK, MAFestival Bruges, Holland Baroque, and the Carmel Bach Festival.
An avid researcher, Eleanor has presented at conferences across the country, most recently at the American Musicological Society and Early Music America Summit. Eleanor currently studies historical performance at The Juilliard School, and previously studied at the Royal Conservatoire in The Hague, Indiana University Jacobs School of Music, and Lawrence University, where she holds a dual degree in Violin Performance and English Literature.
Featuring Eleanor Legault
French-American violinist Lydia Becker unites historical performance practices with creativity and curiosity, engaging diverse audiences through explorative music-making. Lydia currently serves as concertmaster for La Forza delle Stelle, and has held concertmaster positions for Juilliard415, the Boston Early Music Festival Young Artists program, and the Eastman Collegium Musicum. As a core member of Juilliard415, Lydia toured the Netherlands and Germany, and has performed with Rachel Podger, Reggie Mobley, William Christie, and Lionel Meunier, among others. She has appeared as a soloist with Juilliard415 (under the direction of Masaaki Suzuki), Publick Musick, and the Eastman Collegium Musicum (with Christel Thielmann and Paul O’Dette). She is a founding member of the Berwick Fiddle Consort, an ensemble that explores historical fiddling traditions of the British Isles.
Lydia is a Benzaquen Career Advancement Grant recipient, a Mercury-Juilliard Fellow, and fellow with The English Concert in America. She is also a former Presser Scholar, Morse Teaching Artist fellow, and a member of Pi Kappa Lambda. Lydia holds degrees from the Juilliard School, the Eastman School of Music, and the Conservatoire de Bordeaux.
Praised for her “gorgeous tone and fine solo playing” (Nordjske), cellist Clara Abel has captivated audiences throughout the US and Europe on both baroque and modern instruments. She holds three degrees from The Juilliard School, where she specialized in chamber music and historical performance, and was a proud recipient of the Kovner Fellowship.
Clara is a vibrant and flexible chamber musician noted for her sensitive ensemble skills and vivid stage presence. Chamber music lies at the heart of her musical experience, and she has trained extensively under the Juilliard, Brentano, Guarneri, and Orion Quartets and held quartet residencies at Kneisel Hall and Norfolk Chamber Music Festivals. She is currently a member of the Tempest String Quartet.
As the baroque concerto competition winner at Juilliard, she performed CPE Bach’s A Major Cello Concerto with Juilliard415 in Alice Tully Hall and at the Boston Early Music Festival. Other solo highlights include Elgar’s Cello Concerto with NYO-USA, and her Lincoln Center solo debut conducted by Masaaki Suzuki.
Clara performs with leading early music ensembles such as Philharmonia Baroque Orchestra, Les Arts Florissants, Teatro Nuovo and Twelfth Night Ensemble, and has toured throughout the US, Germany, France and the Netherlands working under directors such as Masaaki Suzuki, Richard Egarr, William Christie, Paul Agnew, Nic McGegan, Jacob Lehmann, Robert Mealy, Rachel Podger, and Pablo Heras-Casado. She looks forward to upcoming projects with Philharmonia Baroque, Voices of Music, Twelfth Night, and The English Concert as a TECA Fellowship recipient.