Paul An, bass

As a true basso whose voice has been described by The Examiner as "a deep, warm sound", Paul An enjoys a versatile career as an operatic and concert soloist and chamber musician.  From school gyms, to Carnegie Hall, as well as hundreds of venues in between, Paul An has enjoyed singing in four continents, and forty-nine states.

Paul has performed over sixty operatic and oratorio roles.  Highlights from recent and upcoming seasons include performances with Nashville Opera, Los Angeles Philharmonic, New York Philharmonic, Loft Opera, Tulsa Symphony, Prototype Festival, and LA Opera in such works as Meredith Monk's opera Atlas, Beethoven Missa Solemnis, Philip Glass Koyanisqaatsi, Mozart Requiem, and Haydn Creation.  

As an avid vocal chamber musician, Paul An works with notable groups such as Choir of Trinity Wall Street, Tenet, Western Wind, Santa Fe Desert Chorale, and Voices of Ascension.  

Julian Wachner, conductor

Multi-Grammy-nominated Julian Wachner’s 2017-18 season was punctuated by an extensive outburst of compositional creativity including “Gaudé: An LB Anniversary for Large Orchestra”, commissioned by the Colorado Music Festival; “TS Variations”, commissioned by the Royal College of Canadian Organists; “Psalm 90”, composed for The Tallis Scholars, Norwegian Soloists Choir, Netherlands Chamber Choir, and The Choir of Trinity Wall Street for Lincoln Center’s White Lights Festival; “Regina Coeli à 8” for the Ora Singer’s “ORA100” recording project with Harmonia Mundi; “Epistle Mass”, written in collaboration with librettist Royce Vavrek for Trinity Wall Street’s Mass Reimaginings project; and a festival setting of “I’ll Praise my Maker” which was premiered at the opening ceremony of the American Guild of Organists Regional Convention in Richmond, Virginia.

Crowning these works was the world premiere of Wachner’s second full length opera, REV 23, a farcical comedy imagining life after Armageddon for White Snake Projects, setting an original libretto by Pulitzer-Prize-winner Cerise Lim Jacobs. Multiple reviewers ranging from The Boston Globe to The Boston Musical Intelligencer lauded the new opera, describing it as “a magnificent beast of a score!”, and noting that “Wachner’s endlessly creative score moved with integrity and versatility” with other reviewers noting “an endlessly unfolding chain of highly controlled polystylism”, that was “novel and entertaining”, and suggesting that “amidst this entertaining gallimaufry, Wachner often reveals deep emotional intelligence.” REV 23 makes its New York City debut at the 2020 Prototype Festival at the Gerald Lynch Theater at John Jay College.

Wachner’s other compositional work has been variously described as “jazzy, energetic, and ingenious,” (Boston Globe), having “splendor, dignity, outstanding tone combinations, sophisticated chromatic exploration…a rich backdrop, wavering between a glimmer and a tingle...,” (La Scena Musicale) being “a compendium of surprises,” (Washington Post) and as “bold and atmospheric,” while having “an imaginative flair for allusive text setting,” and noted for “the silken complexities of his harmonies” (New York Times). The American Record Guide noted that, “Wachner is both an unapologetic modernist and an open-minded eclectic – his music has something to say.”

   As Director of Music at New York’s historic Trinity Church Wall Street, Wachner oversees an annual season of hundreds of events, with duties including conducting Trinity’s flagship weekly series, Bach-at-One, canvassing the entire choral-orchestral output of J. S. Bach, and leading Compline-by-Candlelight, Trinity’s innovative fully-improvised variation on an ancient monastic ritual. In addition, Wachner curates the long-standing and cherished series Concerts-at-One, presenting an eclectic program of weekly concerts for Lower Manhattan and beyond through its HD live webcasting. Also at Trinity Wall Street, Wachner serves as the Principal Conductor of NOVUS NY (Trinity’s resident contemporary music orchestra), the Trinity Baroque Orchestra, and the Choir of Trinity Wall Street. 

Wachner has made numerous guest appearances with various organizations such as: the Los Angeles, San Francisco, New York City, Glimmerglass, and Mannes Opera; Hawaii and Juilliard Opera Theater; Opera America; Encompass Opera; the Philadelphia and The National Arts Centre Orchestra; the Montreal, Pacific, Calgary, and Pittsburgh Symphonies; the New York and Hong Kong Philharmonic; Carnegie Hall Presents; National Sawdust; Montréal Bach Festival; Lincoln Center Festival; Philharmonia Baroque; Salle Bourgie; Beth Morrison Projects; Berkeley Festival and Exhibition; Prototype Festival; Spoleto Festival USA; Handel and Haydn Society; Bang on a Can All-Stars; and the Boston Pops.  

Wachner’s performances inspire uncommon praise.  The New York Times pronounced his Trinity Wall Street debut “superbly performed” and noted that the ensemble’s annual Lincoln Center presentation of Handel’s Messiah was “led with both fearsome energy and delicate grace…a model of what is musically and emotionally possible with this venerable score.” Of his interpretation of Bach’s St. Matthew Passion, according to the Boston Globe, “there was genius here and no mistaking it.”  Anne Midgette, of the Washington Post, declared recent Wagner and Verdi performances “exhilarating,” commenting, “Julian Wachner knows how to draw maximum drama from a score,” and noted that he was “emphatic and theatrical and so at home in opera that he could bring out the requisite sense of drama.”

   An award-winning organist and improvisateur, Wachner’s solo recital at the Spoleto Festival USA featured an improvised finale that inspired one reviewer to conclude, “this stupefying wizardry was the hit of the recital, and it had to be heard to be believed,” (Post and Courier, South Carolina).  As a concert pianist, in his recent Kennedy Center Rachmaninoff performance, the Washington Post noted, “Wachner dazzled with some bravura keyboard work, both in the rhapsodic accompaniments to the songs and…in the highly virtuosic transcription of the Dances."

Wachner’s many recordings are with Chandos, Naxos, Atma Classique, Erato, Cantaloupe Music, Arsis, Dorian, and Musica Omnia. Having scored a Grammy nomination for his recording of Handel’s Israel in Egypt, Wachner and the Choir of Trinity Wall Street released, alongside the Bang on a Can All-Stars, the world premiere and Grammy- nominated recording of Julia Wolfe’s 2015 Pulitzer prize-winning Anthracite Fields, and, with NOVUS NY, released Du Yun and Royce Vavrek’s Angel’s Bone, winner of the 2017 Pulitzer Prize.

Melissa Attebury, alto

Praised by the New York Times as a “rich-toned alto who brought a measure of depth to her performance”, Melissa Attebury appears regularly as soloist in concert and oratorio.  She is in particular demand for her skill in music of the Baroque - recent appearances include Messiah, Christmas Oratorio, St. Matthew and St. John Passion, and as a regular soloist in the Bach at One series of complete cantatas with Julian Wachner and the Choir of Trinity Wall Street.  She played the role of the Witch in Trinity’s staged production of Handel’s Saul and  Rosalia (West Side Story Concert Suites) with Alan Gilbert and the New York Philharmonic at Carnegie Hall.  Other performances include Elijah at the Berkshire Choral Festival,  Israel in Egypt  with The Washington Chorus, Trinity Wall Street and Spire Chamber Ensemble, Beethoven 9th Symphony at Trinity Wall Street, and Messiah at Carnegie Hall with the New Jersey Masterworks Chorus, Alice Tully Hall and major venues across the US with Trinity Wall Street, and Mozart’s Requiem at Alice Tully Hall with the Dessoff Choirs, Monteverdi Vespers at Trinity Wall Street, and the Bach B Minor Mass at Trinity Wall Street and at Montreal Bach Festival.    She was a featured soloist in the Times Arrow: Webern Festival last fall at St. Paul’s Chapel, and will sing this spring in Trinity’s Total Embrace series of concerts featuring the works of Leonard Bernstein.

Ms. Attebury is a featured soloist on the Grammy-nominated Israel in Egypt with the Choir of Trinity Wall Street, Ralf Yusuf Gawlick's Missa Gentis Humanae for 8 voices, Julian Wachner’s Symphony No. 1, and a new release of the choral works of Trevor Weston.  A skilled ensemble musician, she appears on Julia Wolfe’s 2015 Pulitzer Prize-winning work Anthracite Fields, recorded with Bang on a Can All-Stars as well as Trinity’s Bach Motets.

Ms. Attebury is the Associate Director of Music at Trinity Wall Street.  She directs the chorister program for young singers ages 5-18 at Trinity, as well as the music outreach program in the public schools.  She has conducted performances of the choristers with Josh Grobin, in the film Love is Strange, the US premiere of Seal Songs at the Herbst Theater in San Francisco, Britten’s War Requiem at Queens College, Vivaldi’s Gloria, Bach’s Tilge, Höchster, meine Sünden and many events at Trinity Wall Street.  

Brian Giebler, tenor

Garnering praise for his “most impressive… bright, clear tone and lively personality” (New York Times), American tenor Brian Giebler is a “faultless high tenor” (Seattle Times) with “lovely tone and deep expressivity” (New York Times). From Evangelist in Bach’s St. Matthew Passion with the GRAMMY®-nominated Choir of Trinity Wall Street under Julian Wachner to Stravinsky with The Cleveland Orchestra under Franz Welser-Möst, “the sweetness of Giebler's impressive high tenor” and his "expressive and elegant phrasing" (Cleveland Classical) has captivated audiences around the country. He has been a soloist with The Cleveland Orchestra (Severance Hall); Virginia Symphony Orchestra; Syracuse Symphoria; American Classical Orchestra (Lincoln Center); New York City Chamber Orchestra (Carnegie Hall); Handel & Hadyn Society (Jordan Hall); Mark Morris Dance Group (Lincoln Center's Mostly Mozart Festival); Clarion Music Society; Trinity Baroque Orchestra; and the Oregon, Baldwin Wallace, Carmel, and Victoria Bach Festivals. 

While his light lyric tenor lends itself best to the music of Bach, Handel, Mozart (and the like), he has found another niche fleshing out roles in new works by prominent modern-day composers such as Paola Prestini, Martin Bresnick, Julian Wachner, William Antoniou (Anathema: The Turing Opera – National Sawdust), and James Dashow. Mr. Giebler took 2nd Place (Stanley C. Meyerson Award) in the 2018 Lyndon Woodside Oratorio-Solo Competition at Carnegie Hall, won the Richard Chambless People’s Choice Award at the 2018 American Traditions Vocal Competition, and was a prize winner at the 2016 Biennial Bach Vocal Competition sponsored by the American Bach Society. Later this year, he will make his solo debuts with the Boston Early Music Festival, Musica Sacra (Carnegie Hall, Handel's Messiah), Grand Rapids Symphony, and The English Concert, touring Handel's Semele under Harry Bicket. www.briangiebler.com

Aisslinn Nosky, violin

Aisslinn Nosky, violin

Aisslinn Nosky was appointed Concertmaster of the Handel and Haydn Society in 2011 and is in demand internationally as a conductor, director and soloist. Recent collaborations include Orchestra of the Age of Enlightenment, the Charlotte Symphony, and the New Zealand Symphony Orchestra. In 2016 Aisslinn was appointed Principal Guest Conductor of the Niagara Symphony Orchestra. 

Aisslinn is a member of I FURIOSI Baroque Ensemble. This innovative Canadian ensemble presents its own edgy and inventive concert series in Toronto and has toured Europe and North America turning new audiences on to Baroque music. With the Eybler Quartet, Nosky explores repertoire from the first century of the string quartet literature on period instruments. From 2005 through 2016, Aisslinn was a member of Tafelmusik Baroque Orchestra. www.aisslinn.com.

SHEREZADE PANTHAKI
soprano

Soprano Sherezade Panthaki’s international success has been fueled by superbly honed musicianship; “astonishing coloratura with radiant top notes” (Calgary Herald); “a full, luxuriously toned upper range” (The Los Angeles Times), a vocal color “combining brilliance with a dark, plumlike tone” (The Wall Street Journal), and passionately informed interpretations, “mining deep emotion from the subtle shaping of the lines” (The New York Times). An acknowledged star in the early-music field, Ms. Panthaki enjoys ongoing collaborations with many of the world’s leading interpreters including Nicholas McGegan, Mark Morris, Matthew Halls, Nicholas Kraemer, Paul Agnew, Lawrence Cummings, and Masaaki Suzuki, with whom she made her New York Philharmonic debut in a program of Bach and Mendelssohn. Her recent performance with Philharmonia Baroque Orchestra was named one of the Top 10 Classical Music Events of the year and described as “a breathtaking combination of expressive ardor, tonal clarity, technical mastery and dramatic vividness” by The San Francisco Chronicle.

Ms. Panthaki’s current season includes performances with the Los Angeles Philharmonic at the Hollywood Bowl, Philharmonia Baroque Orchestra, a US tour with Bach Collegium Japan, the St. Louis Symphony Orchestra, Music of the Baroque (Chicago), the Spoleto Festival Orchestra, The American Classical Orchestra, New York Baroque Incorporated, the Mark Morris Dance Group, Opera Lafayette, Pasadena and Milwaukee Symphonies, Orlando Philharmonic Orchestra, University of Chicago Early Music series, and the Portland Bach Festival. A specialist in Baroque repertoire, particularly in the music of J.S. Bach, Ms. Panthaki is equally at home with twentieth century and contemporary repertoire; notable among her recent performances was the premiere of Martin Bresnick’s brand new oratorio at Yale University and the the Norfolk Chamber Music Festival.

Highlights of her recent seasons include Handel’s Messiah with Bach Collegium Japan, the National Symphony Orchestra, Boston Baroque, National Arts Orchestra at the Kennedy Center, Calgary Philharmonic, Nashville, Kansas City, Colorado and San Antonio Symphonies; Handel’s Saul with the Tafelmusik Baroque Orchestra in Toronto; Bach’s Mass in B Minor and Magnificat at the Oregon Bach Festival; a fully staged production of Rameau’s Les Indes Galantes at the Metropolitan Museum of Art; Mozart’s Grand Mass in C minor with the Spoleto Festival Orchestra, Brahms’ Requiem with the Calgary Philharmonic Orchestra; Handel’s La Resurrezione at the Morgan Library in New York City; Bach cantatas and oratorios and works by Handel and Purcell with Philharmonia Baroque Orchestra; the role of Belinda in Purcell’s Dido and Aeneas, Handel’s L’allegro, il Penseroso ed il Moderato and the title role of Galatea in the Mark Morris Dance Group’s premiere performances of Handel’s Acis and Galatea; Mozart’s Requiem, Pergolesi’s Stabat mater, and Bach cantatas with Music of the Baroque; Beethoven’s Symphony no. 9, Mozart’s Coronation Mass ,and Haydn’s L’isola disabitata with the American Classical Orchestra; Brahms’ Requiem, Bach’s St. Matthew Passion and St. John Passion with John Scott and the St. Thomas Choir of Men and Boys; Handel’s Solomon with the Radio Kamer Filharmonie (Holland); Handel at Carnegie Hall with William Christie and the Yale Philharmonia; Christmas Oratorio with Bach Collegium Japan and the Orchestra of St. Luke’s; Bach, Handel, Scarlatti and Hasse cantatas with Ars Lyrica Houston, and Mozart’s Exsultate jubilate and Requiem with the Washington Bach Consort. Ms. Panthaki is an invited guest artist with the most accomplished early music ensembles in New York city, and has been featured as a guest soloist in multiple performances in Trinity Wall Street’s live-streamed “Bach at One Cantatas” series in New York City. No stranger to modern repertoire, she has performed Orff’s Carmina Buranawith the Houston Symphony, John Tavener’s The Last Discourse with Orchestra of St. Luke’s, Rachmaninoff’s Vocalise and Strauss lieder at the Bari International Music Festival, Britten’s War Requiem with the Louisville Choral Arts Society, as well as numerous performances of Stravinsky’s Les Noces, Poulenc’s Stabat Mater and Gloria. 

An active and passionate music educator, Ms. Panthaki is frequently called upon to present vocal masterclasses at Universities and Arts Schools across the United States; most recently to students from Houston Grand Opera, Rice University’s Moore School of Music, and the University of Texas School of Music. During her 2016-17 season, she served as the Christoph Wolff Visiting Performer at the Harvard University Department of Music where she gave masterclasses and performances in collaboration with Nicholas McGegan and the Philharmonia Baroque Orchestra. Ms. Panthaki has served as Vocal Coach for the Yale Baroque Opera Project, and currently teaches voice lessons to scholarship winners of the top undergraduate and graduate choral ensembles at Yale University.

Born and raised in India, Ms. Panthaki began her musical education at an early age. Following intensive study and earning top distinction as a young pianist, she turned to singing and found a more personal and expressive means to connect with audiences. She holds an Artist Diploma with top honors from the Yale School of Music and the Yale Institute of Sacred Music, where she was the winner of multiple awards including the prestigious Phyllis Curtin Career Entry Prize. She earned a Masters degree from the University of Illinois, and a Bachelors degree from West Virginia Wesleyan College.

Christopher Ainslie
Countertenor

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Christopher Ainslie started his singing career as a chorister at St George’s Cathedral in Cape Town, his home city. While qualifying as a Chartered Accountant, Christopher studied singing part time with Sarita Stern at the University of Cape Town College of Music, and viola with Jürgen Schwietering and Hermina de Groote.  After moving to London in 2005, he completed his postgraduate studies at the Royal College of Music with distinction, and is now performing at leading venues around the world. He has sung in master classes with Michael Chance, Peter Harvey, Ashley Stafford and Sarah Walker and now studies privately with Mark Tucker, Paul Farrington and Audrey Hyland. 

Christopher was the first counter-tenor to win the Richard Tauber Prize at the Wigmore Hall (2008) and won the Michael Oliver Prize in the 2007 Handel Singing Competition. He was a 2010 Classical Opera Company Associate Artist, and is grateful for the significant support of Independent Opera in the formative years of his career. In September 2011 he was the winner of the Gianni Bergamo Classic Music Award for Countertenors. 

Christopher is rapidly establishing himself as a leading interpreter of repertoire within and outside the traditional confines of the countertenor voice-type. His performance in the title role of Handel's Poro under Laurence Cummings at the London Handel Festival was highly acclaimed. Other opera roles include his US opera debut in the title role in Handel's Amadigi at Central City Opera with Matthew Halls, Ottone Poppea for Glyndebourne on Tour, with Opera North, and in Drottningholms Slottsteater, Sweden, Antonio The Merchant of Venice for Bregenzer Festspiele, Innocent 4 in the world premiere of Birtwistle's The Minotaur at the Royal Opera House, Covent Garden (directed by Stephen Langridge, conducted by Antonio Pappano), the title role in Tamerlano in the Göttingen Handel Festival (conducted by Nicholas McGegan), the title role in Arne's Artaxerxes at the Royal Opera House, Medoro Orlando with Independent Opera at Sadler's Wells, Arsace Partenope at the Les Azuriales Festival, France, Oberon A Midsummer Night’s Dream and Voice of Apollo Death in Venice for Opera North (the latter also with Opéra de Lyon), the title role in Cavalli’s Eliogablo with Gotham Chamber Orchestra, the title role in Rinaldo in Sigulda, Latvia, Alessandro Tolomeo in the London Handel Festival, Arsamenes Xerxes at the Edinburgh Festival Fringe, and Unulfo Rodelinda, Messenger Thebans, and Helicon in the UK premiere of Glanert’s Caligula, all for English National Opera. He has created roles in several world premieres.

Oratorio performances include Bach's Weihnachtsoratorium in the Moscow Conservatory (with Vladimir Jurowski), Purcell's Ode to St Cecilia and Handel's Te Deum in D (Innsbruck, Utrecht and Antwerp Festivals) with B'Rock, the title role in Handel’s Solomon, Messiah with the Philadelphia Orchestra, the Bournemouth and St Louis Symphony Orchestras, Belshazzar in the Dresden Frauenkirche, Saul in St John's, Smith Square, London, Judas Maccabeaus in Vilnius; Blow's Venus & Adonis (with Gary Cooper and B'Rock) in Brugge and Ghent, Bach's Matthäus-Passion in Worcester Cathedral and with the London Handel Players in St George's, Hanover Square, Bach's Johannes-Passion and Vivaldi’s Gloria with the Bournemouth Symphony Orchestra. 

He also enjoys giving recitals, and has performed at the Wigmore Hall (including works ranging from Dowland to Schubert and Mahler), as well as in concert with Classical Opera, in the London Handel Festival with Ensemble Chocolat, with Laurence Cummings and the Croatian Baroque Ensemble, with Harry Bicket and players from The English Concert, and with Les Arts Florissants in performances of music by Handel and Scarlatti.

Recent engagements include Orfeo Orfeo ed Euridice for Opéra de Lyon and for Opéra National de Lorraine, Ottone Agrippina for the Göttingen Handel Festival, David Saul for Glyndebourne, Bach’s B Minor Mass with the Baltimore Symphony Orchestra as well as Oregon Bach Festival, where he also sang Bach’s Magnificat and the world premiere of James MacMillan’s A European Requiem; Handel’s Messiah with the Ulster Orchestra and with the Choir of Clare College, Cambridge, and Orff’s Carmina Burana with the Choir and Orchestra of Radio France.

Last season included Unulfo Rodelinda for the Teatro Real in Madrid with Ivor Bolton, Athamas Semele at Garsington with Jonathan Cohen, the title role Joseph And His Brethren at the London Handel Festival and concerts with The English Concert, the National Symphony Orchestra, Washington, D.C., and at Carnegie Hall.

In 2017/18, he sings Giulio Cesare for English Touring Opera, Oberon at English National Opera, and appears with Les Musiciens du Louvre and Mark Minkowski, with Philharmonie Zuidnederland and at the Grange Festival. .

 

CARLOR FITTANTE
baroque dance

Carlos Fittante, artistic director of the contemporary world dance company BALAM Dance Theatre, specializes in Baroque, Balinese, and Spanish escuela bolera dances and works as a choreographer, dancer, and teacher.  Known for spirited, elegant performances, Fittante’s choreographies received praise from The New York Times, The Wall Street Journal, The Village Voice, and Dance Magazine.  He performed his work with the Boston Early Music Festival, Blue Hill Bach Festival, Apollo’s Fire, Gotham Early Music Scene, Lincoln Center Out-of-Doors, Downtown Dance Festival, Jacob’s Pillow Dance Festival, 2nd Encuentro de Baile Contemporáneo in Mexico, and the International Arts Festival in Bali. 

As a guest artist and masterclass teacher, Fittante's repertoire features these eclectic dance solos: the masked Baroque dance, Chaconne de Phaeton, by Louis Pecour (circa 1704); Terunajaya, a Balinese fan dance, and El Vito, a Spanish dance performed with castanets.  Dance critic Deborah Jowitt described Amantes, his fusion choreography combining a Balinese mask and Latin pop-music as, “a haunting solo of indeterminate gender”.  His choreography ranges from the Baroque operas Dido and Aeneas, Versailles-Portrait of a Royal Domain, and the Prologue to Il Pastor Fido to the Balinese fusion ballet Sita Lost in the Forest, inspired by the Hindu epic Ramayana. He is a movement and gesture coach for independent films and creates customized choreographies.  A graduate of the School of American Ballet, he holds a Master of Fine Arts in Dance from the University of Wisconsin.  He teaches ballet and world dance at Queens College: City University of New York.