This Season’s Musicians

Violinist David Sariti enjoys a multifaceted career, with performance and research interests that span four centuries, on both period and modern instruments.  He has recently appeared as recitalist at universities across the country, as soloist with orchestra, and in diverse chamber collaborations.  He has made a special study of the music collection of Thomas Jefferson, and has given numerous presentations at Jefferson’s Monticello.  Associate Professor at the University of Virginia, Dr. Sariti directs the Baroque Orchestra and currently serves as the Music Department’s Director of Performance.  He holds degrees from Ithaca College, the University of Akron, and the Hartt School.

American soprano Kathryn Mueller has made a mark with her “appealing stage presence of personal warmth and musicianship”, singing a wide range of repertoire from period baroque performances to world premieres of new works. She has appeared with the Cincinnati Symphony, Los Angeles Chamber Orchestra, American Bach Soloists, Pacific Symphony, Portland Baroque Orchestra, Santa Fe Pro Musica, and Eastern Music Festival. Honors include a GRAMMY nomination for True Concord’s Far in the Heavens, and prizes from the Oratorio Society of New York’s Solo Competition and Early Music America’s Baroque Performance Competition. She premiered Reena Esmail’s The History of Red for soprano and orchestra and was a soloist on Seraphic Fire’s best-selling album Monteverdi Vespers of 1610. Kathryn is based in Raleigh. As a member of Beyond Artists she supports the Poor People’s Campaign. www.kathrynmueller.com

Praised for its brilliant and expressive playing, The Vivaldi Project, 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 both to educate and delight audiences. The period instrument ensemble takes its name from the virtuoso violinist and innovative composer Antonio Vivaldi, recognizing his pivotal position between earlier Baroque and later Classical composers (those well known and beloved as well as those rarely heard). The Vivaldi Project’s educational arm, The Institute for Early Music on Modern Instruments (EMMI), offers professional string players and advanced students the opportunity to study historical performance practices using their own modern instruments. www.thevivaldiproject.org

Highly recommended . . . I look forward to future volumes in this important series.” —GRAMOPHONE

The repertoire is charming, and the playing, on original instruments, is superb.” —STRINGS MAGAZINE

“The group’s exquisite sense of ensemble, vibrant sound, and ardent cantabile represented period instrument playing at its best.”—FANFARE MAGAZINE

English mezzo-soprano Tamsin Simmill grew up singing the traditional Anglican church repertoire. As a student at Oxford, she toured in Denmark, Germany, Jakarta, and Hong Kong; sang and recorded with Emma Kirkby and the Consorte of Musicke; premiered works by Arvo Pärt in France with the Western Wind and Hilliard Ensembles; and, with the Finzi Singers premiered vocal works by modern British composers, recording on the Chandos label. She has sung with Duke Vespers Ensemble and Bach@Duke, Vocal Arts Ensemble of Durham, Raleigh Bach Soloists, and with other groups around North Carolina.

Allison Edberg Nyquist’s violin playing has been described by The Chicago Sun Times as “impeccable, with unerring intonation and an austere beauty.” Nyquist has performed throughout North America, collaborating with many of the top Baroque ensembles, including Chatham Baroque, The Washington Bach Consort, Haymarket Opera Company, Apollo’s Fire, Ensemble Voltaire, Third Coast Baroque (Chicago) and served as concertmaster of the Indianapolis Baroque Orchestra. Her discography includes recordings for the Eclectra, Delos, MSR Classics, and Centaur CD labels. Nyquist was Artistic Director of Music City Baroque (Nashville) and adjunct professor of Baroque violin at the Blair School of Music. She also taught violin at Lawrence University, Ohio State University, and Interlochen Arts Camp and served as professor of viola at Indiana State and DePauw Universities. She earned her degrees from the University of Michigan with Camilla Wicks and the Peabody Institute with Daniel Heifetz. She studied Baroque violin with Stanley Ritchie at Indiana University.

Artistic Director, Stephanie Vial, is a widely respected cellist, praised for her technical flair and expressive sense of phrasing. Vial is also Co-director of The Vivaldi Project and has given solo and chamber music concerts, lectures, and master classes at numerous universities and institutions throughout the US: 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, and the creator of DancingwithBach.com, a video project exploring performance practice and the solo Bach cello suites. She has recorded for the Dorian Label, Naxos, Hungaroton, and Centaur Records. Vial calls Durham, NC, home, where she is a lecturer at the University of North Carolina at Chapel Hill.

Violinist Elizabeth Field, distinguished for her passionate and stylistic playing on both period and modern instruments, is the founder of The Vivaldi Project. Field is concertmaster of The Bach Choir of Bethlehem and has performed with a wide variety of ensembles throughout the US: from Washington DC’s acclaimed Opera Lafayette to the Orpheus Chamber Orchestra, with whom she recorded regularly for Deutsche Grammophon. On period instruments she has recorded for Hungaroton, Naxos, and Dorian. She has held professorships at Sacramento State University and the University of California at Davis and has given master classes at universities across the country, including regular visits to The Curtis Institute. Field holds a DMA from Cornell University in 18th-century performance practice and is an adjunct professor at George Washington University. Her DVD with fortepianist Malcolm Bilson, Performing the Score, explores 18th-century violin/piano repertoire and has been hailed by Emanuel Ax as both “truly inspiring” and “authoritative.”

William Simms, lute, theorbo and guitar, holds degrees from Peabody Conservatory (MMus) and College of Wooster (BMus). He performs on guitar, baroque guitar, lute and theorbo. He appears regularly with such groups as Opera Lafayette, Modern Musick and Olde Friends Concert Artists. He is also a founding member of the Baroque ensemble La Rocinante. In demand as a continuo player, he has performed numerous operas and oratorios, including performances with the Cleveland Opera and New York State Baroque. He serves on the faculties of Mt. St. Mary’s College; Hood College, where he is founder and director of the Hood College Early Music Ensemble; and the Interlochen Center for the Arts. He has recorded for the Dorian, Centaur and Eclectra labels.

Violinist Leah Peroutka is known for her versatility as a performer of repertoire ranging from the 17th Century through music of today on both modern and baroque violin. She has performed with numerous ensembles across the country and in Europe, including the Atlanta Baroque Orchestra, New Music Raleigh, North Carolina Baroque Orchestra, Bertamo Trio, and Ensemble Collina. With the latter she has recorded 17th Century chamber music works for violin, trombone and continuo (“Confluences”) on the Acis label. Locally, she performs regularly with the North Carolina Symphony, North Carolina Opera, Carolina Ballet, Magnolia Baroque, Mallarme Chamber Players, Raleigh Camerata and with colleagues at UNC-Chapel Hill and Duke University. Ms. Peroutka has been on the music faculty at UNC-Chapel Hill, serves as the coordinator for the Chapel Hill Chamber Music Workshop, and is in high demand as a private teacher in the Triangle area. Her instruments include violins by Jan Hus Bursík and L. Prokop as well as bows by Ole Kanestrom, Willem Bouman, Michelle Speller, and Harry Grabenstein.