Due to the University of Wisconsin–Madison’s decision to suspend in-person courses, workshops, and conferences for summer term because of the ongoing COVID-19 pandemic, the Madison Early Music Festival Workshop and Concert Series has been postponed until July 10-17, 2021. This extraordinary situation has affected all of us and we will miss seeing you this summer. Updates will be posted on our website as they are available.
Katie Boardman, soprano, has recently performed with the Rose Ensemble, the Boston Camerata, Red Shift Choir, and the St. Tikhon’s Choir. She appears on the PaTRAM Institute Singers’ GRAMMY-nominated recording of Kurt Sander’s Divine Liturgy of St. John Chrysostom, and was a Voces8 US Scholar in 2019-20. Katie maintains an active voice teaching studio in Boston. A native of Wisconsin, she studied at Augustana College, and holds a Master of Music in Historical Performance from Boston University.
A highly sought after specialist in historical performance, William Hudson has workshopped baroque singing styles and ornamentation throughout the United States, most recently at the National Association of Teachers of Singing Convention. In 2017, Dr. Hudson was awarded a prestigious NEH grant to direct the seminar, Courtly Lyric in the Medieval French Tradition. Poetry as Performance. Dr. Hudson is the director of LIBER: Ensemble for Early Music and teaches voice at Illinois Wesleyan University.
Drew Minter has taught voice for the past ten years at Vassar College, where he also directs the Vassar Opera Workshop and conducts the Vassar Madrigal Singers. He has taught since 1989 at the Amherst Early Music Institute and at numerous workshops in the vocal and dramatic performance of baroque music. In addition to an active singing career of his own, he teaches frequent masterclasses in opera and oratorio; in recent years these have taken place at Indiana University, Boston University, the University of Massachusetts, West Chester University, and the Crittendon Opera Workshops in Boston.
Paul Rowe, MEMF Artistic Director and baritone, is Professor of Voice at UW–Madison. He has performed with many of the leading American musical organizations including the Boston Symphony Orchestra at Symphony Hall in Boston, and Carnegie Hall in New York, American Ballet Theater at the Metropolitan Opera, and Kennedy Center and Musica Sacra at Carnegie Hall, and Alice Tully Hall. He has appeared with the Baltimore Choral Arts Society, Smithsonian Chamber Players, the Alabama and Arkansas symphony orchestras, the Folger Consort, and the Ensemble for Early Music, among many other groups. As a member of the Waverly Consort, Mr. Rowe toured the United States, Asia, and South America, and participated in the Consort’s regular series at Alice Tully Hall and the Cloisters in New York. In addition, he performed for two years as a member of the New York Vocal Arts Ensemble, touring the United States and former Yugoslavia.
Violinist and 3Arts awardee Brandi Berry Benson, whose “four-string acrobatics” and “indispensable skill” (TimeOut Chicago) have been praised as “alert [and] outstanding” (Chicago Classical Review), as her “riffs.. powered by a flashing blur of bow arm, [as they] rolled out with irresistible glee” (Washington Post). She has appeared with Kings Noyse, Newberry Consort, Ars Lyrica Houston, and many others. Brandi is on faculty at DePaul University and Artistic Director of the Bach and Beethoven Experience.
An inexplicable affinity to polyphony drew Wendy Gillespie to the viola da gamba a very long time ago. After 32 years as faculty at the Jacobs School of Music, Indiana University, Bloomington, she graduated to Professor Emerita and resumed life on the road. Founder member of Fretwork and long-time member of Phantasm, Wendy’s name appears on more than 100 commercial recordings. She is Past President of the VdGSA and recipient of EMA’s Thomas Binkley Award.
Sarah Mead is a founding member of Nota Bene viol consort and the 2007 winner of the Thomas Binkley Award from Early Music America (EMA). Professor of the Practice of Music at Brandeis University, she has also taught 16th century theory and performance practice at the Longy School of Music. Her handbook on Renaissance Theory is used in historical music programs around the country. She has served on the Boards of the Viola da Gamba Society of America (VdGSA) and EMA, and was Conclave Music Director for the VdGSA for seven years.
Eric Miller, viola da gambist and cellist, is a member of ViolMedium, a viol consort co-founded with Phillip Serna, and is a member of the Wisconsin Baroque Ensemble. He also plays regularly with Indie Folk artist Katie Burns with whom he has recorded five albums. As an educator, Eric is the director of orchestras at Madison West High School, directs the Madison Youth Viol Consort, and maintains a large teaching studio of cello and gamba students of all ages.
Allison Monroe plays vielle, rebec, violin, and viola with the Newberry Consort, Boston Camerata, Apollo’s Fire, and Les Délices, among others. She directs the Collegium Musicum at Case Western Reserve University, from which she holds a DMA. Allison recently served as Artistic Director for an album of Jacobean music for soprano, lute, and violin band. She is also Director of Programming and co-founder of medieval ensemble Trobár, featured on EMA’s Emerging Artists Showcase 2020.
Winds & Brass
Sarah Huebsch Schilling, period reeds and recorders, is in demand as a performer and performance practice specialist. Sarah regularly performs with Washington Bach Consort, Chatham Baroque, Bourbon Baroque, Mallarme Chamber Players, and Montana Early Music Festival. She is the director of the Early Music Workshop at the Interlochen College of Creative Arts and Director of Outreach at Forgotten Clefs, Renaissance Band. Recently, Sarah presented lecture-recitals on early nineteenth-century improvised ornamentation at conferences at Oxford, Indiana University, and University of Oregon. sarahhuebsch.com
Priscilla Herreid, historic winds, performs with many of the finest groups in the US and abroad, including Piffaro, Hesperus, Trinity Baroque, Handel + Haydn, The Sebastians, Boston Baroque, and Tempesta di Mare. She was in the band for Twelfth Night and Richard III on Broadway, starring Mark Rylance. The Philadelphia Inquirer called her “downright amazing” and the New York Times has praised her “soaring recorder, gorgeously played…” Priscilla is a graduate of Temple University and The Juilliard School.
Greg Ingles attended the Interlochen Arts Academy, Oberlin Conservatory and SUNY Stony Brook. He is the music director of the Dark Horse Consort. Greg is a member of Piffaro and and made his Carnegie Hall debut with Quicksilver last season. He has played with the American Bach Soloists, Concerto Palatino, The Handel & Haydn Society of Boston and Tafelmusik. He played with the Globe Theater in their Broadway debut. Greg is currently the Lecturer in Sackbut at Boston University.
Joan Kimball, Piffaro’s artistic co-director and founding member, has concertized with the ensemble throughout the U.S., Europe, and South America, and has performed with leading early music artists and ensembles in this country. With Piffaro she has recorded for Deutsche Grammophon, Dorian Recordings and PARMA/Navona. She is widely known in the early music community as a teacher of recorder, early double reeds and bagpipes, and is on faculty at early music festivals and workshops nationwide.
Alexandra Opsahl, recorder, studied with Peter Holtslag and Daniel Bruggen at the Royal Academy of Music. While still a student, she won the 2003 Moeck Solo Recorder Competition. Alex has performed with the Amsterdam Baroque Orchestra under Ton Koopman, the Orchestra of the Age of Enlightenment, Glyndebourne Opera, BEMF, Green Mountain Project, Oslo Opera, Innsbrucker Festwoche, and Fagiolini. She recorded Vivaldi’s Concerto in C Minor, RV 441, with the Norwegian period orchestra Barokkanerne.
Robert Wiemken, Director, Advanced Loud Band intenstive and historical double reeds, is Artistic Co-Director of Piffaro, The Renaissance Band, with which has performed worldwide, recorded extensively, built over 130 programs of Renaissance and early Baroque music and commissioned new works for early winds and chorus. He has performed with many of the world’s leading early music ensembles, in festivals in North and South America and across Europe. He also teaches regularly at festivals and workshops throughout the country.
John Chappell Stowe, harpsichord and organ, is Professor of Organ and Harpsichord at UW-Madison’s Mead Witter School of Music. He is a graduate of Southern Methodist University and Eastman School of Music. Dr. Stowe presently is Associate Director/Director of Graduate Studies of Mead Witter School of Music. Besides teaching organ and harpsichord, his instructional activities include improvisation, basso continuo and figured bass, and the UW-Madison Collegium Musicum.
Mark Rimple has been named “among the first rank of US Lutenists” (LSA), and has appeared as lutenist and vocalist with Trefoil, The Newberry Consort, The Folger Consort, Severall Friends, Piffaro, Tempesta di Mare, Les Délices, and Blue Heron, among others. He has recorded ars subtilior music with Trefoil and The Newberry Consort. Mark is Professor of Music Theory, History, and Composition at the Wells School of Music at West Chester University of Pennsylvania.
Charles Weaver is on the faculty of the Juilliard School, where he teaches historical plucked instruments and baroque music theory. He has served as assistant conductor for Juilliard Opera. He has performed with the New York Philharmonic, the Philadelphia Orchestra, the Boston Early Music Festival Chamber Ensemble, Chamber Music Society of Lincoln Center, Quicksilver, Piffaro, and Blue Heron. He is pursuing a doctoral degree in music theory at the City University of New York.
Marcia Young, voice and harp, has long been associated with the medieval trio Trefoil, My Lord Chamberlain’s Consort, and the Salisbury Four. She performs frequently with lutenists Andy Rutherford and Chris Morrongiello. She is Director of Performance Studies for the department of music at Stern College, Yeshiva University. Also a music journalist, she writes features for Playbill and Opera News, and serves as a classical radio host over WQXR, 105.9FM New York.
Musicology, History, Culture
A graduate of McGill University, the Royal Conservatoire in The Hague, and the Schola Cantorum Basiliensis, Maximilien Brisson freelances as a historical brass specialist in Europe and North America. He has performed with Collegium Vocale Gent, I Fedeli, Cornets Noirs, ¡Sacabuche!, and the Toronto Consort, among others. He is also active as an editor and scholar, with current research focused on the music of Lodovico Viadana and of František Ignác Tůma.
Dr. J. Michael Allsen is professor emeritus of music at the University of Wisconsin-Whitewater. A specialist in the sacred music the late Middle Ages and early Renaissance, he has published articles and reviews in several scholarly journals and standard reference works. An active program annotator, he has written for orchestras and festivals around the country since 1984. Allsen is also a performer, playing with the Madison Symphony Orchestra (bass trombone) from 1983-2018.
Chelsie Propst (soprano) is a performer of early and modern music. She is a member of the Rose Ensemble and has performed with Piffaro and the Madison Bach Musicians. In addition to her ensemble work, Chelsie regularly appears as a soloist throughout Wisconsin. She has appeared as L’Amour in Rameau’s Pygmalion, Donna Elvira in Mozart’s Don Giovanni, and Belinda in Purcell’s Dido & Aeneas. She is currently pursuing a PhD in Historical Musicology at UW-Madison.
Peggy Murray, historical dance, is a dancer, scholar, and instructor. She holds a Ph.D. in performance studies from Ohio University and works extensively with Renaissance and baroque dance. Murray choreographs university and professional operas, and has been a faculty member for the Amherst and Madison Early Music Festivals. She has performed and taught in the United States, Mexico, Colombia, Peru, and Argentina.
Grant Herreid performs regularly on early winds, strings, percussion, and voice. He was the recipient of Early Music America’s Laurette Goldberg award for excellence in early music outreach and education. He directs the Yale Collegium Musicum, and is artistic and music director of the Yale Baroque Opera Project (YBOP). Grant directs the New York Continuo Collective, devoting much of his time to exploring the unwritten traditions of early music with Ex Umbris and Ensemble Viscera.
Chiwei “Jerry” Hui, baritone, is active as a conductor and singer of both early and contemporary music, and is the assistant conductor at the Madison Early Music Festival. Based in Eau Claire, Wisconsin, he is currently directing the ensemble Schola Cantorum of Eau Claire and the Chippewa Valley Festival Choir, and teaching at the University of Wisconsin–Stout. A prize-winning composer, Dr. Hui’s music has been performed frequently and internationally.