Caroline Copeland is an Associate Director of the New York Baroque Dance Company has performed with the troupe throughout the United States and Europe, most notably at the Drottningholm Theater, the International Händelfestspiele Göttingen, Danspace at St. Mark’s Theater, the Guggenheim Museum, and the Potsdam Sanssouci Music Festival. Ms. Copeland is also a member of Boston Early Music Festival Dance Company with whom she is a featured dancer and choreographer. Her credits for choreography include Steffani’s Niobe(2011) and Handel’s Almira(2013), and Campra’s Le Carnaval de Venise (1699). Ms. Copeland was also the choreographer and assistant director to Gilbert Blin for BEMF’s Monteverdi’s Il Ritorno d’Ulisse in Patria(2015). As a soloist, Caroline has collaborated with many early music groups around the US and Europe including Quicksilver, The Four Nations Ensemble, The New York Collegium, Brooklyn Baroque, The New Dutch Academy, Bourbon Baroque, Cantata Profana, The Knights, and the New York Consort of Viols. Her choreography has been presented at the historic Federal Hall in downtown Manhattan, The Metropolitan Museum of Art, The Public Theater, and the Philipszaal in the Hague. Caroline also directs opera and dance projects. Her credits include productions of Stravinsky's A Soldier's Tale at Hofstra University and Handel’s Alcina for Bourbon Baroque. Caroline has taught master classes in baroque dance and gesture at colleges and universities across the United States. She received a MFA in Dance from Sarah Lawrence College and teaches ballet and dance history at Hofstra University.
David Garland is an audio and radio producer, presenter, programmer, editor, and mixer; a composer, multi-instrumentalist, and singer; an illustrator, photographer, and graphic designer; and a music journalist.
He created and hosted the music and interview show Spinning On Air on WNYC in New York from 1987 to 2015. That radio program crossed stylistic boundaries, motivated by curiosity about the artistic process and unusual, original music.
From 2009 to 2015 Garland also presented classical music on WQXR, and originated and produced weekly programs on early music (Old School), and film scores (Movies on the Radio). Over the years Garland has interviewed hundreds of on-air guests, including musicians from John Cage to Emma Kirkby, Lang Lang, and Paul McCartney, as well as artists, writers, and other cultural figures. Garland has hosted many live broadcasts and events, from Carnegie Hall to CBGB’s Gallery.
As a composer his wide-ranging musical activities coalesced in 1980 with his "Control Songs," an on-going project that blends and bends songs and experimentalism. He has performed and recorded his music with Sufjan Stevens, Sean Lennon, Christian Marclay, Ikue Mori, John Zorn, Vashti Bunyan, Meredith Monk, and Iva Bittova, among others, and has released several albums. His long-form release "Verdancy" will be published during 2017.
Currently Garland is an independent audio producer based in upstate New York's Hudson Valley. www.davidgarland.com
Stage Director and Acting coach
Currently faculty at Long Island City Academy of Music, director of the opera acting workshop; at Yale University 2002-2016, Lecturer in Voice and Opera, head of the Acting and Movement Workshops. As stage director, Mr. Verzatt directs opera, operetta, and musical theater throughout the United States, South America, and Europe. He began his theatrical career as a dancer with the Metropolitan Opera after studying drama at Rutgers University and ballet with New Jersey’s Garden State Ballet. After several seasons as a soloist with the MET Ballet, he left to continue his education in production as a stage manager with the Cincinnati Opera and the Lyric Opera of Chicago.
He made his professional directing debut with a production of Offenbach’s Les Contes d’Hoffmann with Opera Columbus. He has since directed opera for the Teatro Colón, Buenos Aires, Lyric Opera of Chicago, Houston Grand Opera, Florida Grand Opera, and companies throughout the USA.
In 2005 he returned to the Metropolitan Opera stage for the role of the Major-Domo in Strauss’s Ariadne auf Naxos. In demand as an acting and movement teacher, in 2015 he was acting coach and stage director for the Napa Valley Music Festival. In 2016 after productions of "Aida" and "Elektra" in New York City, he returned as teacher and stage director to Sweden's Hänsoförd Voice Academy and to Dresden, Germany as acting coach and movement director for the Orfeo Vocal Academy.
Upcoming in 2017: La Traviata in Albany, NY in April, New York Baroque Santa Rosalia at Trinity Wall Street in May; Madison Lyric Stage Otello in June.
In 2006 he was named Outstanding Stage Director of the Year by Classical Singer Magazine and since 2015 has won numerous first prizes as a competitive ballroom dancer.
Recognized by the New York Times for her “vibrant and colorful” singing, mezzo-soprano Kate Maroney is in demand on concert, oratorio and opera stages in works that span from the Renaissance to the 21st century.
Kate is a passionate believer in the deeply transformative, fully humanizing power of music and in its ability to foster empathy in the community of performers and listeners alike. She particularly values collaborations with kind and generous colleagues who share this conviction.
Kate has appeared in recent seasons as a soloist at Lincoln Center with the American Classical Orchestra and Sacred Music in a Sacred Space (Bach Mass in B-Minor), Carnegie Hall and Chicago’s Orchestra Hall (Handel Dixit Dominus), at LA Opera (Missy Mazzoli Song From the Uproar), Carmel Bach Festival (BWV 97 and 199), Oregon Bach Festival (Bach Weihnachts-Oratorium), New York City Ballet and Musica Sacra (Mendelssohn A Midsummer Night’s Dream), Fairfield County Chorale (Bach Magnificat), Princeton Pro Music (Bach Weihnachts-Oratorium) Clarion Music Society (Steinberg Passion Week), Bach Collegium San Diego (Handel Messiah), Mark Morris Dance Group (Vivaldi Gloria), “A Memorial to Allen Forte” at Yale University with Cantata Profana (Webern Op. 4 Fünf Lieder nach Gedichte von Stefan George), Bach Vespers at Holy Trinity, Bard Music Festival, with Anonymous 4 and The Bangor Symphony, Ekmeles Vocal Ensemble at the MATA Festival, Experiments in Opera, Yale Choral Artists, Vox Vocal Ensemble at The Guggenheim Museum, American Opera Projects, Berkshire Bach Society, Berkshire Choral International, Brooklyn Art Song Society, and the Rochester Philharmonic Orchestra. In 2012, Kate was a recipient of the William G. Blair award in the New York Oratorio Lyndon Woodside Soloist Competition. Kate is a founding member of New York’s Polydora Ensemble which specializes in Romantic repertoire for SATB quartet and piano and also commissions and premieres new works for these personnel.
A fervent champion of new music, Kate recently performed Dominick Argento’s Pulitzer-prize winning piece, From The Diary of Virginia Woolf, in a staged adaptation by Håkan Hagegård at the Ordway Theater in St. Paul, MN, as part of the Source Song Festival. She performed the U.S. premiere of Damon Albarn’s Monkey: Journey to the West at the David Koch Theatre during the Lincoln Center Festival in 2013 under Brad Lubman and the U.S. premiere of Here All Night with the Irish theater company Gare St. Lazare Ireland as part of Lincoln Center’s 2015 White Lights Festival. Kate worked closely with Missy Mazzoli to develop and premiere Song From The Uproar at The Kitchen in 2012 (and is heard on the premiere cast recording on New Amsterdam Records with the Now Ensemble under Steven Osgood.) Kate created the role of Brianna in Matthew Welch’s collaborative opera Sisyphus with Experiments in Opera and she recorded James Adler’s Reflections upon a September morn for Albany Records. Kate sings on the recording of Julia Wolfe’s 2015 Pulitzer Prize-winning and 2016 GRAMMY®-nominated work, Anthracite Fields, with the Bang On A Can All-Stars and The Choir of Trinity Wall Street under Julian Wachner. She has also worked closely with and premiered works by composers Philip Glass, Julia Wolfe, Daron Hagen, Dominick Argento, David Lang, Hannah Lash, Paola Prestini, Missy Mazzoli, Ted Hearne, Alex Weiser, Olga Bell, Lisa Bielawa, Harry Stafylakis, Christopher Cerrone, Jacob Cooper, Michael Rose, Marie Incontrera, Ola Gjeilo, and Scott Wheeler.
From 2012 to 2015, Kate was featured worldwide in over 75 performances of Einstein on the Beach with the Philip Glass Ensemble. With her Einstein on the Beach family, Kate performed this iconic piece for audiences in Montpellier, Paris, London, Brooklyn, Toronto, Reggio Emilia, Amsterdam, Hong Kong, Melbourne, Berkeley, Mexico City, Los Angeles, Berlin and, most recently, in Gwangju, South Korea. Being part of this historic tour and piece of living art was a profound and transformative experience for which Kate is incredibly grateful. She also learned how to sing numbers really fast.
Kate holds a a D.M.A. from Eastman in Voice Performance and Literature with a Minor in Voice Pedagogy, as well as degrees in music from SUNY Purchase and Yale. She has written articles published in The Journal of The New York Singing Teachers' Association ("Reflections from the Beach: Einstein on the Voice") and a blog entry on singing Webern for the Society of Music Theory Performance and Analysis Interest Group (http://societymusictheory.org/societies/interest/performanceanalysis).
In addition to performing, Kate is an avid teacher and she recently joined voice faculty at Mannes (The New School) where she teaches a voice pedagogy course and private students within the Voice and Opera department. When not singing (or teaching) her heart out, Kate loves being home in Fort Greene, Brooklyn with jazz-musician and composer husband Red Wierenga and their two cats.
The 2015-16 season for Bass-Baritone Dashon Burton includes performances of the title role in Elijah, two subscription weeks of Belshazzar's Feast with the Charleston Symphony, Mozart's Requiem in a return to Boson's Handel and Haydn Society, Bach's Mass in B Minor with the Baltimore Symphony and the Bach Society of St. Louis, and the role of Jesus in Bach's St. Matthew Passion at the Baldwin Wallace Bach Festival in Berea, Ohio. In December, he sings Handel's Messiah with the New Jersey Symphony, Boston Baroque, and the Kansa City Symphony, where he will return in June 2016 for performances of Beethoven's Ninth Symphony under the baton of Music Director Michael Stern. Burton capped off last season singing Bach's Mass in B Minor ant the Bethlehem Bach Festival, Messiah with I Solisti in Italy, Bach cantatas at the Cincinnati May Festival, and the bass arias in the St. Matthew Passion at the Spoleto USA Festival. This past summer, he appeared with the Cleveland Orchestra to open the Blossom Music Festival in a performance of Beethoven's Ninth Symphony conducted by Franz Welser-Möst. Burton also spent several weeks at the Carmel Bach Festival singing the role of Jesus in the St. John Passion and Sarastro in Mozart's Magic Flute.
In recent seasons, Burton debuted with the Cleveland Orchestra in Janacek's The Cunning Little Vixen led by Franz Welser-Möst; also with Boston's Handel and Haydn Society in their production of Handel's Samson. He has toured Europe in Bach's St. John Passion with Christoph Pregardien's Le Concert Lorrain, and he sang the role of Jupiter in Les Talents Lyrique's production of Castor and Pollux with Christophe Rousset in Toulouse, France.
Burton is also an avid performer of new music, and has premiered works of Christopher Cerrone, Caroline Shaw, William Brittelle, and Judd Greenstein. He is a founding member of the internationally touring chamber ensemble Roomful of Teeth. Devoted To performing new compositions using the fullest possible range of vocal techniques, the group received a Grammy Award for "Best Chamber Music/Small Ensemble Performance" in 2014.
Burton earned his bachelor's degree from Oberlin College Conservatory of Music, and his master's degree from Yale University.
Acclaimed as a “lovely, tender high tenor” by the New York Times, Owen McIntosh has enjoyed a diverse career of chamber music and solo performance ranging from bluegrass to reggae, heavy metal to art song, and opera to oratorio. A native of remote Northern California, Mr. McIntosh has shared the stage with the country’s finest ensembles including Apollo’s Fire, Blue Heron, Boston Baroque, Carmel Bach Festival, Les Canards Chantants, New Vintage Baroque, Staunton Music Festival, TENET, Trident Ensemble, True Concord, San Diego Bach Collegium and the GRAMMY® nominated Choir of Trinity Wall Street. Recent solo engagements include; Mozart's Die Zauberflöte with Boston Baroque, Haydn's Chamber opera L'isola Disabitata with the American Classical Orchestra, the Monteverdi Vespers of 1610 with Apollo's Fire and Green Mountain Project, Bach's' St. Matthew passion with Grand Rapids Symphony, il Ritorno d'Ulisse in Patria with Opera Omnia and Boston Baroque, and evangelist in Bach's St. John passion with Tucson Chamber Artists.
"Canadian-American soprano Molly Netter enlivens complex and beautiful music, both old and new, with a voice described as “crisp and clear, white yet warm” (Seen and Heard International).
Described as having “exquisite poise” (NY Times) and “[embuing] every word of the text with signification” (The Examiner), she has performed as a soloist with the GRAMMY-nominated Choir of Trinity Wall Street, the Clarion Music Society, the Smithsonian Chamber Orchestra, the Albany Symphony, Heartbeat Opera, Yale Opera, and Experiments in Opera, as well as with Juilliard415 at Lincoln Center, touring internationally in Japan, Singapore and Burma under Masaaki Suzuki and with the Triplepoint contemporary/jazz ensemble. This season includes solo debuts with Apollo's Fire, the Boston Early Music Festival, and New York Baroque Incorporated.
Ms. Netter holds an ad hoc Bachelor of Music degree in composition and contemporary voice from Oberlin Conservatory and a Master’s degree in early music voice and oratorio from the Yale Institute of Sacred Music where she studied with James Taylor. Between degrees, she taught English in Kyoto, Japan.”
The Dutch soprano Johannette Zomer began her studies at the Sweelinck Conservatorium Amsterdam in 1990 with Charles van Tassel, after having worked as a microbiology analyst for several years. In June 1997 she was awarded her Performance Diploma. Since then she has received coaching by Diane Forlano (London), Claudia Visca (Wuppertal) and Marlena Malas (New York).
Her repertoire ranges from medieval music through all music of the baroque and classical eras, including opera, but also Lieder, French Romanticism and Contemporary music.
Johannette’s concert appearances are also many and various. She has worked with Baroque specialists such as Philippe Herreweghe, Ton Koopman, Frans Brüggen, Gustav Leonhardt, René Jacobs, Reinard Goebel, Ivor Bolton, Thomas Hengelbrock and Paul McCreesh, but has also worked with conductors including Kent Nagano, Daniel Harding, Ivan Fisher, Marcus Creed, and Valery Gergiev. She regularly gives recitals accompanied by theorbo player Fred Jacobs or fortepiano specialist Arthur Schoonderwoerd.
Johannette made her opera debut as Tebaldo in Verdi’s Don Carlo with the Nationale Reisopera in October 1996. Since then she has made regular appearances in roles including Belinda, Pamina, La Musica, Euridice, Dalinda and Ilia, and also as Amanda in Ligeti’s Le Grand Macabre and Mélisande in Debussy’s Pelléas et Mélisande.
Regularly she contributes to CD-recording projects. A few of her most recent releases – all very well received in both press and radio – are the Bach Cantatas disc with the English ensemble Florilegium for which she won an Edison Award the cd With Endless Teares with theorbist Fred Jacobs, showing the development of English 17th Century Song –one of the top choices of 2009 on CD Review BBC-, and the cd Love & Madness, a disc with Händel aria’s together with Bart Schneemann, oboe (all on Channel Classics).
In 2013 she founded her own ensemble the Tulipa Consort. She has performed with this new ensemble at the Göttinger Handel Festspiele, and in Amsterdam with Dutch oboist Bart Schneemann.