Ingrid Matthews is well established as one of the premier baroque violinists of her generation. She won first prize in the Erwin Bodky International Competition for Early Music in 1989, and was a member of Toronto’s Tafelmusik Baroque Orchestra before founding the Seattle Baroque Orchestra with Byron Schenkman; she served as its Music Director from 1994 to 2013. Matthews has performed extensively around the world with many of today’s leading early music ensembles, appearing as a soloist and/or guest director with groups including the New York Collegium, the Australian Brandenburg Orchestra, the Bach Sinfonia (Washington DC), Ars Lyrica (Houston), Musica Angelica (Los Angeles), New Trinity Baroque (Atlanta), and numerous others, and is currently a member of the esteemed Bay Area ensemble Musica Pacifica. Matthews has won high critical acclaim for a discography ranging from the earliest Italian violin music through the Sonatas and Partitas of J.S. Bach (“the finest complete set of these works,” according to Third Ear’s Classical Music Listening Companion). She has taught at Indiana University, the University of Toronto, Oberlin College, the University of Washington, the University of Southern California/Los Angeles, and the Cornish College of the Arts in Seattle. She also plays jazz and swing styles and is active as a visual artist. https://www.ingridmatthews.com

Soprano Molly Quinn has garnered praise for her thought provoking and delightful interpretation of music from the medieval to the modern. Miss Quinn maintains an adventurous life as a performer, bringing her unique and sensitive approach to music making to audiences around the globe. She was a soloist on Trinity Wall Street’s Grammy-nominated recording of Handel’s Israel in Egypt. She has collaborated with notable musicians and arts organizations around the globe including Vancouver Early Music, Trinity Wall Street, The Knights NYC, Portland Baroque Orchestra, Apollo’s Fire, The Bang on a Can All-Stars, TENET, Seraphic Fire, Baldwin Wallace Bach Festival, Ascension Music, Clarion Music Society, Pacific Baroque Orchestra, Quicksilver Ensemble, Seraphic Fire and Acronym. She has appeared as soloist under the baton of Joshua Rifkin, Andrew Parrott, Jane Glover, Julian Wachner, Dan Hyde, John Rutter, John Scott,and Lorenzo Muti.She has been featured in numerous large-scale projects by legendary presenters including The Lincoln Center White Lights Festival, Moscow’s Gold Mask Festival, BAM Next Wave Festival, Bang on a Can marathon, San Francisco Early Music Series, and Carnegie Hall’s Venetian Festival. She is a festival soloist at The Staunton Music Festival, and staff musician and featured soloist at The Carmel Bach Festival. She has performed as a soloist in such noted international venues as Shostakovich Hall in St Petersburg, Russia, Teatro National de Costa Rica, Vancouver’s Chan Centre for the performing arts, and San Cristobal Cathedral in Havana, Cuba. Miss Quinn received a master’s degree from Cincinnati Conservatory of Music and was awarded the prestigious Virginia Best Adam Fellowship. She is known as a specialist in early 17th century Italian and German repertoire as well as music of the High Baroque. She is also an avid proponent of small ensemble vocal music, singing with America’s brightest and best ensembles and has served as Artistic Representative to the Board of Seraphic Fire from 2019-2023. Miss Quinn served as professor of voice at Sarah Lawrence College from 2019-2022. She also has served as a voice teacher and coach to the Trinity Wall Street Choristers program. http://www.mollyquinn.com/#home

Baroque & Beyond’s artistic director, Stephanie Vial, is a widely respected cellist, praised for her technical flair and expressive sense of phrasing. She is a co-director of The Vivaldi Project (based in Washington, DC) with whom she developed the recording series Discovering The Classical String Trio (MSR Classics) hailed by Gramophone as “captivating” and “highly recommended.” Additional recording can be found on the Dorian Label, Naxos, Hungaroton, and Centaur Records. She has traveled widely, giving solo and chamber music concerts, lectures, and master classes at numerous universities and institutions: The Shrine to Music Museum in South Dakota, The University of Virginia, Boston Conservatory, McGill University, and The Curtis Institute of Music. Vial holds a DMA in 18th-century performance practice from Cornell University where she studied with John Hsu. She is the author of The Art of Musical Phrasing in the Eighteenth Century: Punctuating the Classical “Period,”published by the University of Rochester Press. She currently teaches at the University of North Carolina at Chapel Hill and Duke University.

Jennifer Streeter has performed throughout the United States and Europe with acclaimed ensembles such as the North Carolina, Indianapolis, and Seattle Baroque Orchestras, Three Notch’d Road: the Charlottesville Baroque Ensemble, Raleigh Camerata, and as concerto soloist with the Monte Carlo Philharmonic and Indiana University Baroque Orchestras. In addition she has been a featured artist at the Bloomington, Magnolia Baroque and Amherst Early Music Festivals. She holds masters’ degrees in harpsichord and recorder from the Early Music Institute at Indiana University, studying with Elisabeth Wright and Eva Legêne. She teaches privately and at workshops such as the Amherst Early Music Festival, the Shenandoah Recorder Society, and the Triangle Recorder Society (NC). Originally from Europe, she now calls Cary, NC home where she is a freelance musician and massage therapist.