Bass MATTHEW ANCHEL (Christmas Oratorio, Messiah), called "a voice to watch" by the Wall Street Journal, was a Grand Finalist in the 2013 Metropolitan Opera National Council Auditions. The 2017-18 season will be his fourth on the Metropolitan Opera roster, covering in new productions of The Exterminating Angel and Cendrillon. He will also join Santa Fe Opera to cover Tsar Dodon in their production of The Golden Cockerel, debut with St. Petersberg Opera as Sarastro in The Magic Flute and sing the Bass Solo in Mahler 8 at Carnegie Hall. Last season included a debut with Anchorage Opera as Sparafucile (Rigoletto), a Carnegie Hall/Stern Auditorium debut in Haydn's Mass in Time of War with the New England Symphonic Ensemble, Dvorak's Stabat Mater with the St. George's Choral Society, and a return to the Metropolitan Operafor Idomeneo, The Magic Flute, and Der Rosenkavalier. Performances during the 2015-16 season included #8 in Conrad Susa's Transformations with the Merola Opera Program, Beethoven Mass in C with Spoleto Festival USA, and engagements with Annapolis Chorale, Savannah Voice Festival, Canterbury Choraleand American Lyric Theater. Engagements during the 2014-15 season included joining the Metropolitan Opera for a second season for their productions of Lady Macbeth of Mtsensk, Die Zauberflöte and Die Meistersinger von Nurnburg, and debuts with Opera San Antonio as First Soldier in Salome, with LOFTOpera as Don Alfonso in Lucrezia Borgia, and with the Annapolis Chorale for Bach's St. John Passion. In the 2013-14 season he first joined the roster of the Metropolitan Opera for its productions of The Nose and Die Zauberflöte, sang Ferrando in Il Trovatore with Opera in Williamsburg, the Bonze in Madama Butterfly in a return to Opera San Jose, the Bass solo in the Mozart Requiem with Allentown Symphony, and a return to Opera Theatre of Saint Louis for Sarastro in The Magic Flute, a production directed and designed by Isaac Mizrahi. Performances in the 2012-2013 season included Ferrando (Il Trovatore) with Opera San Jose, Alidoro (La Cenerentola) with Knoxville Opera, and Sarastro (Die Zauberflöte) with Music Academy of the West. For the 2011-12 season Mr. Anchel was a member of the Ensemble of Oper Leipzig, singing Zaretski (Eugene Onegin), Alaska Wolf Joe (The Rise and Fall of the City of Mahagonny), Marquis D'Obigny (La Traviata), and The Police Inspector (Der Rosenkavalier), among others. From 2010-2011, he sang with Los Angeles Opera as a member of the Domingo-Thornton Young Artist Program, performing the roles of Count Ceprano (Rigoletto) and Fourth Noble (Lohengrin), both under the baton of James Conlon. He also joined the Los Angeles Philharmonic as Dr. Chausable in the world premiere of The Importance of Being Earnest. Other performance highlights include Haraste (Troilus and Cressida) and First Soldier (Salome) with Opera Theatre of Saint Louis; Familiare (Maria di Rohan) with the Caramoor Festival; and the title role in Le nozze di Figaro in his international debut with the Intermezzo Festival in Brugge, Belgium. He has also performed Sparafucile (Rigoletto), Enrico VIII (Anna Bolena), Oroveso (Norma), the Verdi Requiem, and Handel's Messiah. In addition to his recognition from the Metropolitan Opera National Council Auditions, Matthew is a recipient of many awards. They include 3rd Place in the Palm Beach Opera Competition, the Judges Award from Opera Index, and Encouragement Award from the George London Foundation, and Finalist and Encouragement Award in the Loren L. Zachary Competition. Born and raised in New York City, Matthew graduated from the famed LaGuardia Performing Arts High School, and later attended the Manhattan School of Music, where he started studying with his current teacher, Patricia McCaffrey.
Praised in the media for her 'dark plush romantic violin sound' (New York Concert Review) and 'thrilling technique and bravura' (San Francisco Classical Voice) violinist TATIANA CHULOCHNIKOVA (Art of Fugue, Bach and the Violin, B Minor Mass, Musical Offering) is pursuing an active career as a soloist and chamber musician with performances spanning throughout the United States. Tatiana frequently appears as a guest soloist and concertmaster with the Washington Bach Consort in Washington, DC; Period Instrument Orchestra of St. Peter’s Church and the Four Nations Ensemble in New York City as well as American Bach Soloists in San Francisco,CA. In 2015 Tatiana has been named the winner of the Jeffrey Thomas Award 2016 which is given annually to one musician of unusual promise and precocious achievement. As the winner, Ms. Chulochnikova performed series of concerts as a concerto soloist in American Bach Soloists' 2016 season playing E major violin concerto by J.S. Bach as well as her own historical reconstruction of the famous organ Toccata and Fugue in D minor (BWV 565). Tatiana's playing received highly enthusiastic reviews: it was described as 'finely articulated and assertive' with 'impressive brilliance'. Born in Ukraine, Chulochnikova began playing violin at the age of 7 and made her professional debut at 14 playing Bruch’s violin concerto with the Kharkiv Philharmonic. Around the same time, her own Trio for violin, flute, and cello was awarded Second Prize at the International Young Composers Competition in Kiev. Chulochnikova received her professional training at the Tchaikovsky College of Music and Tchaikovsky Conservatory in Moscow. She also holds degrees from Oberlin Conservatory and the Juilliard School. Tatiana gave solo and chamber music recitals in the U.S, Canada, France, Germany, Switzerland, Ukraine and Russia. In the U.S. Tatiana performed in most major concert halls including Alice Tully Hall, Kennedy Center and Severance Hall. She also made her solo and chamber music debut at the Weill Hall at Carnegie Hall in 2013. Tatiana’s recent solo and chamber music performances took place at such venues as the Clark Museum, Kaufman Center’s Merkin Concert Hall and Wadsworth Atheneum Museum of Art; solo recitals in New York City, Washington, DC, Annapolis, MD and Minneapolis, MN. In the past Tatiana collaborated with such conductors as Masaaki Suzuki, Christopher Hogwood, Philippe Herreweghe and Pierre Boulez; and ensembles such as Tafelmusik Baroque Orchestra, Apollo’s Fire, Handel and Haydn Society Orchestra. Tatiana Chulochnikova is the founder of The Rubinstein Music Society - the organization which strives to promote classical music masterpieces of the Romantic Era from North America and Europe and to uncover the largely ignored romantic repertoire from Ukraine and Russia. Bringing this valuable and rich repertoire to the attention of both music lovers and professionals, the RMS is committed to conducting research, organizing live performances, staging lectures and sponsoring recording projects.
AMY COFIELD, soprano (Messiah), is a highly sought after performer and teacher. Praised by the New York Times for her “lovely, rich tone,” Ms. Co eld has performed to critical acclaim across the U.S. and in Italy, France, Croatia, Spain, Portugal, Switzerland, Austria, England, Santo Domingo, Guam, Taiwan and Japan. Highly regarded for her “technical facility,” her “beauty of interpretation” and an “arresting presence,” her operatic roles have included Violetta, a role that marked her debut at Houston Grand Opera where she covered Renee Fleming’s Traviata, Cleopatra, Micaela, and Lucia di Lammermoor with Opera Roanoke, Elcia(cover) in Rossini’s Moses in Egypt at New York City Opera, Donna Elvira in Don Giovanni with Nevada Opera, Rosalinda in Die Fledermaus with Greensboro Light Opera (Eastern Music Festival), Violetta with Annapolis Chamber Orchestra and Chorale, Mimi, with Pro Cantus Lyric Opera (TX), Cunegonde and Susannah with Fort Worth Opera, Musetta and Pamina with Knoxville Opera, Gilda, Norina and Violetta with Lyric Opera San Antonio, and Konstanze and Violetta with Teatro Lirico D’Europa. Amy’s busy concert schedule has included performances of Beethoven’s 9th Symphony and Brahms’ Requiem with the U.S. Naval Academy, Orff’s Carmi- na Burana with Virginia Symphony, Handel’s Messiah with Roanoke Symphony Orchestra, Einhorn’s Voices of Light, Haydn’s Creation and Handel’s Messiah with Annapolis Chamber Orchestra and Chorale, Ravel’s Sheherazade with Norfolk Chamber Consort, Mozart’s Requiem with Trinity Ecumenical Parish (VA), Ralph Vaughan Williams’ Hodie with Symphonicity (Va Beach Symphony), Mendels- sohn’s Elijah and St. Paul Oratorio, Haydn’s The Seasons, Bach’s St. John Passion, Handel’s Judas Maccabaeus, Mozart’s Grand Mass in C minor and Beethoven’s Mass in C with Southern Nevada Musical Arts Society and in works from Mozart’s Requiem and Mass in C Minor, to Handel’s Messiah and Brahms’ Requiem with Garden State Philharmonic and Fort Wayne Philharmonic. In addition, Amy has appeared with Opera Camerata of Washington, Norfolk Chamber Consort, Virginia Arts Festival, Festival Chamber Music in recital at Carnegie’s Weill Recital Hall and with The Masterwork Chorus (NJ) in Handel’s Messiah at Carnegie Hall. Recent engagements included the role of Violetta in Opera Roanoke’s production of Verdi’s La Traviata, and a world premiere in NY, performing the role of Belinda in the opera/oratorio, The Rape of the Lock (Alexander Pope), by NY composer Deborah Mason, a return to SNMAS for Mendelssohn’s Elijah and to Roanoke Symphony Orchestra for Handel’s Messiah, Mozart’s Requiem at Washington and Lee University (VA) and a debut with Tulsa Symphony performing Brahms’ Requiem. Upcoming engagements include recitals in Maine and Virginia, Mozart’s Grand Mass in C minor at St. John’s Episcopal Church, Roanoke (VA) and Haydn’s Creation with Roanoke Symphony Orchestra.
Soprano LINDSAY ESPINOSA (Ein Feste Burg, Christmas Oratorio, B Minor Mass) has been praised for “[handling] difficult coloratura passages with the ease of a true professional, and all the high notes too.” (Opera Pronto). This emerging performer is a recent graduate of Colorado State University, where she earned a Master's Degree in Vocal Performance and was inducted into Pi Kappa Lambda, a national music honor society. During her studies in Colorado, she was an apprentice artist with Opera Fort Collins and performed Adina, Young Heidi and Laurie in their abridged productions of Elixir of Love, Follies, and The Tender Land. She also competed in the Denver Lyric Opera Guild's voice competition where she was awarded an honorable mention. In 2016, she was advanced to the second round of the Classical Singer Competition in Boston. She also performed the role of Lily in Colonial Player's production of The Secret Garden. Ms. Espinosa traveled to Florida to participate in the Miami Music Festival, where she performed in their Broadway and Opera Aria Night performances as well as singing the role of Le Feu in its production of L'enfant et les sortilèges. After this festival, Ms. Espinosa traveled to Mezzano, Italy, where sang the role of Adele in the Music Academy International's production of Die Fledermaus. In winter 2017, Ms. Espinosa performed in the ensemble and covered the role of First Lady in Mozart's Die Zauberflöte with Opera AACC in Maryland. Immediately following this production, she revived her role of Musetta in Puccini’s La Bohème for the annual Opera Night at the Osteria 510 in Front Royal, Virginia. Ms. Espinosa has also had the pleasure of singing in the Annapolis Chorale for their 2016-2017 season and was a featured performer in their performance of Oklahoma! as well as a soloist for their concert Music for a New World II. In addition to performing, Ms. Espinosa is also a voice and beginning-piano teacher. After receiving her Bachelo's Degree from Baldwin-Wallace College, she taught for a year at Ohio’s Royalton Music Center. She also received her teaching certificate in working with children aged 0-5 from Music Together, an early childhood music education program. As a teacher, she offers in-home lessons on reading music, matching pitch, singing in foreign languages, and performance techniques to her students in the Annapolis area.
American mezzo-soprano KATHRYN LEEMHUIS (Christmas Oratorio, Messiah) has been praised for having “a large, beautiful, dark instrument, intelligently used, and spot-on dramatic timing” (St. Louis Today), and her voice has been described as “stunning in its combination of musical and dramatic nuance” (Living at the Opera). Most recently, she made her company debuts with Dallas Opera as Javotte in Massenet’s Manon, with Annapolis Opera as Suzuki in Puccini’s Madama Butterfly, with Cincinnati Opera as Inez in Verdi’s Il Trovatore, and as the Mother in Menotti’s Amahl and the Night Visitors with the Cincinnati Chamber Orchestra. Ms. Leemhuis returned to DuPage Opera to perform Dorabella in Mozart’s Cosi fan tutte and to the Tanglewood Music Festival as Paquette in Bernstein’s Candide with the Boston Symphony Orchestra, both following a triumphant run as Dorabella with Fort Worth Opera. The Dallas Morning News hailed her performance as “ravishing,” adding that, “her sheer vocal beauty allied to nimbleness and an astonishing range of dynamic and coloristic nuance.” Ms. Leemhuis has appeared as Carrie in Ash Lawn Opera’s recent production of Rodger & Hammerstein’s Carousel, Florence Pike in Britten’s Albert Herring with Florentine Opera, Suzuki in DuPage Opera’s production of Puccini’s Mad- ama Butterfly, and Hänsel in Humperdinck’s Hänsel und Gretel with the Macon Symphony Orchestra. She has performed with Chicago’s Music of the Baroque in both Haydn’s Missa in Angustiis and Haydn’s Mass in the Time of War, and as the mezzo soloist with the Apollo Chorus of Chicago in Handel’s Messiah. Ms. Leem- huis has performed multiple times with the Richmond Symphony, most recently to present Berlioz’s Les nuits d’été. The performance was graciously embraced: “Her dark lower register tones seemed to ll the considerable space of the Carpen- ter Theatre and impose a profound quiet on both the accompanying musicians and the audience. It was a remarkable display of artistry exercising spell-binding authority” (Virginia Classical Music). She previously performed the mezzo solo in Mendelssohn’s Die erste Walpurgisnacht with the Richmond Symphony Orchestra. Following her years as a Gerdine Young Artist, Ms. Leemhuis made a thrilling return to Opera Theatre St. Louis as Dorabella in Cosi fan tutte. Opera News Magazine praised her rendition, asserting, “As Dorabella, mezzo-soprano Kathryn Leemhuis matched Willis-Sorensen in vocal beauty and musical sophistication, and showed a wonderful comic side, drowning her grief in macaroons and render- ing ‘Smanie implacabili’ as a petulant rant.” She performed Amaltea in Rossini’s Mosè in Egitto with Chicago Opera Theater, Paquette in Bernstein’s Candide with both the esteemed Ravinia Festival and the Los Angeles Philharmonic at the Hol- lywood Bowl, and understudied the role of Giulietta in Offenbach’s Les contes d’Hoffmann with the Lyric Opera of Chicago. In her DuPage Opera debut, Ms. Leemhuis portrayed Zita in Puccini’s Gianni Schicchi, and culminated that season as Zerlina in Opera Theatre St. Louis’ production of Mozart’s Don Giovanni. While a young artist in the Lyric Opera of Chicago’s Ryan Opera Center, Ms. Leemhuis portrayed the roles of Giovanna in Verdi’s Ernani, Glasa in Janácek’s Kát’a Kabanová, Javotte in Massenet’s Manon, and Kunstgewerblerin in Berg’s Lulu. She understudied Marguerite in Berlioz’s La damnation de Faust, Siebel in Gounod’s Faust, Varvara in Janácek’s Kát’a Kabanová, Kate Pinkerton in Puccini’s Madama Butter y and Lola in Mascagni’s Cavalleria Rusticana. Ms. Leemhuis made two sig- ni cant role debuts: Donna Elvira in Mozart’s Don Giovanni and Rosina in Rossini’s Il barbiere di Siviglia, both in Ryan Opera Center productions. She also performed Dorabella at the Tanglewood Music Center under the baton of Maestro James Levine, Flora in Verdi’s La traviata at Opera Colorado under Maestro Stephen Lord, and Tulip in the collegiate premiere of Bolcom’s A Wedding at Indiana University. Ms. Leemhuis has been young artist with esteemed programs such as Opera The- atre St. Louis’ Gerdine Young Artist Program, the Tanglewood Music Center, the Carmel Bach Festival, and Ravinia’s Steans Institute. Ms. Leemhuis is the first-place winner of the 2015 Shreveport Opera Singer of the Year Competition, the 2013 New York Lyric Opera Vocal Competition, the 2013 Opera at Florham Vocal Competition, the 2012 Bel Canto Competition, and the 2012 Heida Hermanns Competition. She is the second-place winner of the 2015 National Opera Association Competition, the 2013 Opera Birmingham Vocal Competition, the 2013 Florida Grand Opera Competition, the 2011 Gerda Lissner Foundation Vocal Competition, and the 2010 Fort Worth McCammon Competition. She is the third-place winner of the 2010 Licia Albanese-Puccini Competition, and a National Semi-Finalist in the 2012 Metropolitan Opera Na- tional Council Auditions. Ms. Leemhuis has also received prizes from the Sullivan Foundation, the George London Foundation, the Giulio Gari Foundation, the Orpheus Vocal Competition, and the Opera Columbus Vocal Competition.
DAVID MURRAY’s (B Minor Mass) rich baritone voice, dramatic presence, and versatility as a performer has brought him acclaim from critics and audiences throughout the world. David began his professional operatic career in 1986 singing the role of Fiorello in Rossini’s Il Barbieri di Sivilia with Boston Lyric Opera. He has since gone on to sing the title role of Figaro (in the same opera) more than 25 times in the US, Canada and Europe. Other notable and often performed roles include Germont in Verdi’s La Traviata, Count Almaviva in Mozart’s Le Nozze di Figaro, and Eisenstein and Dr. Falke in J. Strauss’ Die Fledermaus. Equally at home on the concert stage, David has performed with the Boston Pops, Keith Lockhart and John Williams conducting, The Handel & Haydn Society, The Tokyo Philharmonic, The Telemann Orchestra of Japan, The New Japan Philharmonic, The Boston Academy of Music (Opera Boston), Theatre Lyrique d’Europe, Chorus proMusica, Boston Lyric Opera, Back Bay Chorale, as well as leading roles with Lake George Opera, Central City Opera, Eugene Opera, and Connecticut Concert Opera. Recent engagements include Soloist in Orff’s Carmina Burana, and Bach’s B minor Mass with the Annapolis Chorale, as well as Michele in Puccini’s Il Tabarro, Gianni in Gianni Schicchi, Don Alfonzo in Mozart’s Cosi fan tutte with the Baltimore Concert Opera, and Scarpia in Puccini’s Tosca with the Cambridge Symphony Orchestra at MIT. David has recorded for the Koch, New Albion, Titanic and CRI record labels.
Tenor JOSEPH REGAN (Messiah, B Minor Mass) is thrilled to return to Live Arts Maryland for the 2017-2018 seaons. As a highly sought after performer, Mr. Regan’s singing has taken him all over the Eastern Seaboard and parts of Europe. Mr. Regan is regularly engaged as a soloist with orchestras, in recital, and opera productions. Recent highlights from the opera stage include a turn as Azaël from Debussy’s L’Enfant Prodigue for Lyric Opera of Bal- timore, Don José in Opus Concert Theater’s production of Carmen, and an upcoming portrayal of Pinkerton from Madame Butterly with Loudon Lyric Opera. Dr. Regan is frequently engaged as a tenor soloist for var- ious oratorios. He is particularly well known for his singing of Bach and Handel with more than two dozen performances of Handel’s Messiah and Bach’s Passions and Cantatas to his credit. This season, Mr. Regan will again sing Bach’s great B Minor Mass as well as multiple performances of Messiah this holiday season. Mr. Regan also deeply enjoys singing art song, in particular French Mélodies. This intimate and personal form allows him to more deeply explore the connection between text, music, emotional intent, and its impact on the listener. Mr. Regan is a long time member of the eight person vocal ensemble The District Eight, with whom he has toured the East Coast and appeared on multiple recordings. He has also recently joined the vocal group Words and Music, whose popular and classical performances have been a favorite for those living in the D.C. and northern VA areas for years. Mr. Regan is an Assistant Professor of Music at Bowie State University where he teaches voice and assorted classes. He earned his BM and MM from the Peabody Institute of the John’s Hopkins University and his DMA from University of Maryland, College Park.
Mezzo-Soprano, MELANIE ZAYAS REGAN (B Minor Mass), is a well known teacher and singer based in Maryland. Ms. Regan earned her Bachelor of Music and Master of Music degrees in Voice Performance from the Peabody Institute of the Johns Hopkins University. She maintains a robust studio and directs the Opera Workshop at Shepherd University. A number of her students have gone on the great success at nationally recognized graduate programs and can be found performing all along the East Coast. In addition, Ms. Regan maintains a full voice studio at Saint James School in Hagerstown, Maryland. There, she is stage director for the school’s annual Spring Musical, runs the Saint James Girl’s A Capella group, and provides assistance for a wide range of activities within the department. In addition to her teaching, Ms. Regan has been privileged to have an active performance presence in the area. Highly regarded as a soloist in recital and with orchestra, she has had particular success with the Oratorio repertoire. She has performed as the mezzo-soprano soloist in the Ros- sini Stabat Mater, the Mozart Mass in C, the Bach Magni cat, the Vivaldi Gloria, and Mozart’s Requiem among others. Ms. Regan has studied and sung with such prestigious teachers as Frederica Von Stade, Steven Rainbolt, Ruth Drucker, and John Shirley-Quirk.
JESSICA SATAVA, soprano (B Minor Mass), "lent great beauty and intensity of feeling to her performance.” (The Baltimore Sun, 2015) Ms. Satava has appeared as Lauretta in Gianni Schicchi, La Contessa in Le nozze di Figaro, Musetta in La Bohème, Donna Elvira in Don Giovanni, Inez in Il Trovatore, Voce dal Cielo in Don Carlo, Julie in Carousel, Laurey in Oklahoma!, and as Mimí and Micaëla in concert performances of La bohème and Carmen. While at Peabody Conservatory, she per- formed the roles of Nella in Gianni Schicchi, and Polly in The Threepenny Opera. Ms. Satava has appeared with orchestra as the soprano soloist in Górecki’s Symphony No. 3, Rutter’s Requiem, Vaughan Williams’ Dona nobis pacem, Brahms’ Ein Deutches Requiem, Schubert’s Mass in G, Bruckner’s Te Deum, Handel’s Messiah, Saint-Saëns’ Oratorio de Noël, Dvořák’s Stabat Mater, Mozart’s Requiem and Bach’s St. John Passion, Mass in B minor and Wie schön leuchtet der Morgenstern, BWV 1, and Meine Seel erhebt den Herren, BWV 10. As an interpreter of new music, she has been fortunate to premier many new song cycles and operas, and her long-running membership in the experimental opera troupe The Figaro Project. Upcoming, Ms. Satava can be heard on a new recording, Ask the Moon, to be released this year on Parma Records, a song cycle written for her by Garth Baxter featuring poems of Linda Pastan, entitled Skywriting. The 2017-18 season will include a return to the sopra- no solos in much-loved works including as Brahms’ Ein Deutches Requiem for both LiveArts MD and the Maryland Choral Society, and Bach’s Mass in B minor, in addition to her rst appearance as soloist in Bee- thoven’s rich work Choral Fantasy, sharing the stage with her husband Joseph Satava as piano soloist with The Annapolis Chorale and Chamber Orchestra. For dates and more information, please visit www.jessica- satava.com.
Pianist JOSEPH SATAVA (Art of Fugue) has a diverse repertoire with performances spanning the standard solo literature, chamber music, and works just composed. Dr. Satava has collaborated with orchestras and conductors and performed at festivals across Europe, Canada and the U.S. His performances have included appearances with the South Bend Symphony Orchestra, the Jefferson Symphony Orchestra, the Millennium Orchestra, the Susque- hanna Symphony Orchestra, and at the Aspen Summer Music Festival, the Kneisel Hall Chamber Music Festival, Steinway Gallery in Tuscon, AZ, the Music Academy of the West, The Kosciuszko Foundation, the French Em- bassy in Washington D.C., the American Conservatory of Fontainbleau, France, Iglesia San Felix de Candás, The Banff Centre, and the International Piano Festival in Gijon, Spain. Dr. Satava has appeared in Alice Tully Hall as part of the Focus! Festival for Contemporary Music and at Merkin Hall in New York City. In Baltimore, he has appeared as a frequent collaborator with the artists of Baltimore Musicales. He has performed with the New Prism Ensemble, culminating in a recording of works by Robert Baker, the album Sharp Edges. His playing is featured on the Navona label, in solo and chamber works by composer Keith Kramer. Notable recent regional performances include a recital tour featuring works of Franck, Duparc and Faure with tenor Joseph Regan, the piano obligati in Ola Gielo’s Luminous Night of the Soul and Dark Night of the Soul with the Annapolis Chorale and Chamber Orchestra, as well as Bartok’s Sonata for Two Pianos and Percussion at York College, Pennsylvania. In 2011, he received the Maryland State Arts Council Individual Artist Award in Classical Music Solo Performance, and was named a nalist in The American Prize for Piano. He has taken prizes in the Bradshaw and Buono International Piano Competition, the Miecyslaw Munz Piano Competition, the Jefferson Symphony Orchestra Concerto Competition, the Peggy and Yale Gordon Piano competition, and was named a Promising Young Artist by the National Society of Arts and Letters.Dr. Satava is a committed teacher. In the spring of 2013, Dr. Satava was appointed Distinguished Artist in Residence at Baldwin Wallace Conservatory, and currently holds faculty positions at Harford Community College, St. James School and maintains a large private studio. He served as vocal collaborator for four years at Shepherd University, for ten years he was on the piano faculty of the Bryn Mawr School, and has acted as program coordinator for the Gijón International Piano Festival in Gijón, Spain. Primary teachers and mentors have included Julian Martin, Jerome Lowenthal, Olga Radosavljevich, Ann Schein, Marc Durand and Boris Slutsky. Dr. Satava received his DMA from the Peabody Conservatory of the Johns Hopkins University, where he was awarded the Turner Memorial Prize in Piano and a Peabody Career Development Grant to complete a residency at the Banff Centre for Performing Arts in Alberta, Canada. He completed a bachelor’s degree at the Peabody Conservatory and master’s degree at the Juilliard School.
Praised for its brilliant and expressive playing, THE VIVALDI PROJECT ("For the Love of All Things Italian"), co-directed by Elizabeth Field and Stephanie Vial, is dedicated to presenting innovative programs of Baroque and Classical string repertoire that combine scholarship and performance to both educate and delight audiences. The period instrument ensemble takes its name from the virtuoso violinist and innovative composer Antonio Vivaldi in recognition of his pivotal position between earlier Baroque and later Classical composers (those well known and beloved as well as those rarely heard). It is the central belief of the Vivaldi Project that musical performances are Events. Music from the 17th and 18th century was conceived at a time when its very existence depended on the personal and spontaneous expressions of live performers for live audiences. Highly rhetorical in nature, music was viewed as a language in its own right―just as capable of communicating ideas and emotions, only through melody and harmony rather than words. The Vivaldi Project strives to create this sense of immediacy and communication to its audiences, which is reflected in reviews such as "The Vivaldi Project has helped to reinsert our sense of wonder and surprise at music that will never sound old." (Classical Voice of North Carolina). Since it was founded by Field in 2006, the Vivaldi Project has performed in the DC area and throughout the country, including live performances and interviews for Washington's WETA, North Carolina's WCPE and WUNC, WBAA's Acoustic blend, and Minnesota Public Radio. In 2010, the ensemble toured the Piedmont region of North Carolina with an unprecedented performance of all six of C.P.E. Bach's String Sinfonias, W. 182, under guest conductor John Hsu. https://www.thevivaldiproject.org/
Hailing from Rochester, New York, cellist BENJAMIN WENSEL (Musical Offering) earned degrees from the Cleveland Institute of Music and Eastman School of Music. While at Eastman, Ben served as assistant to renowned pedagogue Alan Harris. Equally important to his musical education were performances in seminars and master classes for members of the Cleveland, Guarneri, Juilliard, Miami, and Ying quartets, chamber music studies with Peter Salaff and members of the Audubon and Cavani Quartets, and solo master classes with Clemens Michael Hagen, Steven Isserlis, David Soyer, and Michel Strauss. Ben has performed with the National Symphony Orchestra, Baltimore Symphony, Pro Musica Chamber Orchestra, Rochester Philharmonic, Syracuse Symphony, and has been a member of The U.S. Army Orchestra, Strolling Strings, and String Quartet since 2003. Dedicated to the creation and promotion of new music, Ben performed the world premieres of more than twenty works written by established and emerging American composers as a member of the Tarab Cello Ensemble. He also participated in the ensemble’s residencies at Princeton University, Stetson University, and the University of South Florida. Prior to his military service, Ben taught chamber music and maintained a private studio at the Hochstein School of Music and Dance in Rochester, where he was also cellist of the Hochstein String Quartet. Fortunate to have many avenues to pursue chamber music in the artistically rich National Capital area, Ben performs with the Mellifera Quartet, LeDroit Chamber Players, and is the cellist of the Piano Trio-in-Residence of the National Gallery of Art. His cello was built in 1885 by the Neapolitan luthier Vincenzo Postiglione. Ben lives in Northern Virginia with his wife, Christina, and their children, Juniper, Ellis, and Willa.