John Andrew Bailey holds a BMus in organ and an MMus in harpsichord from the Eastman School of Music, where he studied organ with David Craighead, harpsichord with Arthur Haas, and church music with J. Melvin Butler. While at Eastman, he won first prize in the Sydney Case Organ Competition.

Mr. Bailey has appeared as a harpsichord concerto soloist with Philadelphia's Tempesta di Mare Baroque Orchestra and on the Philadelphia Bach Festival series, and has played in orchestras and as a chamber musician with various groups in the Philadelphia area. He teaches writing at Bryn Mawr College and tutors writers at the University of Pennsylvania; he has also taught music and writing at Swarthmore College and Montclair State University in New Jersey. He is currently completing his PhD dissertation in music history at Penn, where he was for five years a Benjamin Franklin Fellow. His research on the music and poetry of the fourteenth-century poet-composer Guillaume de Machaut, and on French music from 1350 to 1450 generally, focuses on the way religious and philosophical thought informs musical style. He has presented his work at national and international conferences, and he co-authored an essay on performing fifteenth-century rondeaux which appeared in Binchois Studies from Oxford University Press in 2000. He is a regular on the faculty and staff of the annual Amherst Early Music Summer Festival and Workshop, a two week program held at Connecticut College, and at Amherst Early Music's Winter Weekend Workshop, held each January in Philadelphia.

Julianne Baird, soprano, has been hailed as "one of the most extraordinary voices in the service of early music that this generation has produced. She possesses a natural musicianship which engenders singing of supreme expressive beauty." She maintains a busy concert schedule of solo recitals and performances of baroque opera and oratorio.

Ms. Baird has also appeared as soloist with many major symphony orchestras including the Cleveland Orchestra under Christoph von Dohnanyi, the Brooklyn Philharmonic under Lukas Foss, the New York Philharmonic under Zubin Mehta and, in the 2000-2001 season, the Philadelphia Orchestra. James R. Oestreich, in his comprehensive survey of New York's seasonal performances of Handel's Messiah for the N.Y. Times, recently concluded with special praise for Julianne Baird's interpretative skills: "in that respect, Ms. Baird remains the model".

Recent performances include appearances at the International Lufthansa Festival in London in solo cantatas of Johann Sebastian Bach and at Tanglewood's Ozawa Hall in the Mozart Requiem, Bach’s Magnificat in Bach’s own Thomaskirche in Leipzig, and at the International Wroclaw Festival of Song in Warsaw in September. In April, 2002 she is scheduled to appear in Symphony Hall, Chicago in Haydn’s Creation and in May in the Kennedy Center.

With over 100 recordings to her credit on Decca, Deutsche Gramophone, Newport Classics and Dorian, Julianne Baird is considered one of America’s most recorded women. In addition to her major roles in the acclaimed series of Handel operatic and oratorio premieres, she has a new solo album titled "Glorious Handel." The New York Philharmonic's recent commemorative box set to it’s century of recordings includes her recording of Reich’s "Tehillim". Other new recordings include "Dance on a Moonbeam", featuring Julianne Baird, Meryl Streep, and Frederica von Stade and “Passionate Pavanes.’ Deidamia--the last opera of George Frederic--with Julianne Baird in which she sings the title role.

Julianne Baird is an active teacher and scholar, with degrees from the Eastman School and a Diploma from the Salzburg Mozarteum in performance. She also earned a PhD in music history from Stanford University. Her publications include "Introduction to the Art of Singing", from Cambridge University Press. Recognized internationally as one of the few who can both demonstrate the full range of the singer's art and explain it - Dr. Baird is regularly asked to provide master classes at universities and music schools throughout North America. She also reaches large audiences through regional and national broadcasts including a recent featured interview on Terry Gross' internationally syndicated "Fresh Air". She is a distinguished professor at Rutgers University.

Website: juliannebaird.camden.rutgers.edu

Rainer Beckmann is a graduate of the Utrecht School of the Arts, Netherlands, where he studied recorder with Heiko ter Schegget, Baldrick Deerenberg, and Marion Verbruggen. He is a first prize winner at the Holland Open Recorder Festival Competition and the Performance Contest of the Dutch Concert Agency. As a founding member of Il Flauto Giocoso and the Landini Consort, he has performed in Germany, the Netherlands, France, Belgium, Italy, and Israel. In Brazil, he has taught recorder and music history at the State University of Ceará and collaborated with the ensembles Ad Libitum and Syntagma that specialize in Early Music, as well as Brazilian popular and traditional music. Recent engagements include performances and recordings with Ensemble La Bernardinia, Tempesta di Mare, the Ridotto Ensemble, the New Amsterdam Recorder Trio, Early Music New York, and Fuma Sacra. Mr. Beckmann is the director of the Greater Philadelphia Area Recorder Academy and has recently joined the performing faculty at the Pennsylvania Academy of Music.

Marilyn Boenau, Baroque bassoon, has performed and recorded with most of the leading Baroque orchestras in North America, including Philharmonia Baroque Orchestra, the Handel & Haydn Society, Portland Baroque Orchestra, Apollo's Fire, Tafelmusik, and Opera Lafayette. In Europe she has worked with The Harp Consort, Collegium Vocale, and Freiburg Baroque. In May 2005 she performed at the Handel Festspiele in Göttingen, Germany. She is the bassoon soloist with Music Pacifica on the Dorian CD La Notte, which includes several Vivaldi chamber concertos. Her playing has been called "breathtaking" by the Portland Oregonian. Marilyn holds a Soloist's Diploma from the Schola Cantorum in Basel, Switzerland, where she studied recorder, shawm, curtal, and bassoon with Michel Piguet and Walter Stiftner. She has performed Renaissance music with the Boston Shawm and Sackbut Ensemble, Blue Heron Renaissance Choir, and the Folger Consort. In addition to her performing career, Marilyn is the executive director of Amherst Early Music, Inc.

Sarah Cunningham began her viol studies in 1969 in Boston where as a young player she was described as "one of the most satisfying players of anything in the area." She then went on to work with Wieland Kuijken at the Royal Conservatory in The Hague. In 1981 she moved to London where she was active as a soloist and chamber musician and won world-wide recognition for her eloquent, expressive and communicative playing. She was a founder-member, with baroque violinist Monica Huggett, of the acclaimed Trio Sonnerie, with which she has made many recordings and toured on three continents.

In 1992 she was invited by flautist James Galway to collaborate on his recordings of Bach's chamber music for flute. Since then, in addition to two recordings for BMG Classics, she has performed with him in several highly successful American and European tours. As a soloist she has appeared at Festivals from Helsinki to London to Boston to Vancouver. Her CD of solo viol music, entitled Play this Passionate, was released in 1992 by Virgin Classics, coinciding with the re-release of her CD of music by Marin Marais on ASV. A second unaccompanied CD, Spirit of Gambo, was released in 1997 on the Swedish label, Seagull Records. These two solo recordings will be released this year as a double CD by Virgin/EMI.

Sarah is Artistic Director of the East Cork Early Music Festival and she has been the motivating force behind its organisation since the begining even though she herself is living in West Cork!

Since moving to West Cork, Ireland, in 1999, Sarah Cunningham has been in demand as a soloist and chamber musician throughout Ireland, appearing in Belfast, Sligo, Cork, Waterford, and Dublin, and on Lyric FM as artist of the week. In 2000-01 she toured in South America, Spain, Turkey, and Japan.

She held the professorship in viola da gamba at the Hochschule fuer Kuenste, Bremen from 1990-2000. She now teaches privately in London and Ireland, and gives courses and masterclasses in Sweden, Germany, Spain, Ireland, and the USA.

Sarah has a special interest in free improvisation: her five-year collaboration with dancer Tara Brandel has led to performances in West Cork and at the Model Arts Centre in Sligo. She has also worked with vocalist Nicole Sumner and with story-teller Laura Simms. Currently she is writing an historical novel set in 6th century Ireland.

Joan Kimball, co-director and a founding member of the Renaissance wind ensemble Piffaro, turned to early music performance full time after a number of years as an educator. She is on the music faculty of The Philadelphia School, an elementary and middle school, where she has a full roster of private students and coaches recorder ensembles as well as a newly formed Renaissance bagpipe band. She has also performed with New York's Ensemble for Early Music, The Philadelphia Classical Symphony, The Brandywine Baroque Orchestra and with numerous instrumental and vocal ensembles in the Philadelphia area. In addition to her recordings with Piffaro on Newport Classics, Deutsche Grammophon Archiv Produktion, and Dorian, she can also be heard on Vanguard Classical and Vox Amadeus.

Carol Marsh, Professor of Music, UNCG (Ret.). PhD in Musicology, City University of New York. Research grants from American Philosophical Society, Fulbright Foundation. Co-author (with Rebecca Harris-Warrick), Musical Theatre at the Court of Louis XIV: Le mariage de la Grosse Cathos. Internationally recognized authority on 17th- and 18th-century dance. Contributor, Dance Chronicle, Dance Research Journal, the International Encyclopedia of Dance, the revised Musik in Geschichte und Gegenwart and the revised New Grove Dictionary of Music and Musicians.

Emlyn Ngai leads a broad and distinguished career as both a modern and historical violinist. As a member of the Adaskin String Trio, he has concertized extensively throughout Canada and the United States, including performances at Merkin Concert Hall, the Corcoran Gallery, Pittsburgh’s Frick Art and Historical Center, and the Ottawa International Chamber Music Festival. The Trio’s concerts have been recorded for broadcast by CBC Radio, Radio-Canada, and National Public Radio. With a repertoire that spans classical masterpieces to present-day commissions, the trio collaborates with a variety of artists, including guitarist Eliot Fisk, pianists Jaime Parker and Sally Pinkas, and concert accordion virtuoso Joseph Petric.

As a historical violinist, Ngai has been a longtime member of Apollo’s Fire, the Cleveland Baroque Orchestra. He is Concertmaster of Philadelphia baroque orchestra Tempesta di Mare, which, under his leadership, the Philadelphia Inquirer has hailed “a major addition to the local cultural landscape.” He is also first violin of the Tempesta di Mare Chamber Players, with which he performs and tours regularly. As well, he is Associate Concertmaster for the Carmel Bach Festival Orchestra where he his is also first violin of the Festival Quartet. His historical violin skills have kept him in demand with various notable groups in North America, including, Boston Baroque, the Smithsonian Chamber Players, Tafelmusik and the Washington Bach Consort. His involvement with Joshua Rifkin’s Bach Ensemble has taken him to Bermuda, Germany, Spain and the UK.

As first prize winner at the 1995 Locatelli Concours Amsterdam, Mr. Ngai recorded a solo CD of Corelli, Locatelli, and Tartini for Vanguard Classics. Together with harpsichordist Peter Watchorn, Ngai has recorded J.S.Bach’s Sonatas for Violin and Harpsichord on Musica Omnia, receiving acclaim in BBC Music Magazine, Gramophone, and The Strad. His trio’s recording of the complete Beethoven string trios on Musica Omnia was warmly reviewed in America Record Guide and Gramophone.

Mr. Ngai has degrees from McGill University, Oberlin College Conservatory, and the Hartt School, University of Hartford, where he pursued advanced chamber music studies with the Emerson String Quartet. His teachers include Sydney Humphreys, Thomas Williams, Marilyn McDonald, Eugene Drucker and Philip Setzer. He has taught at Boston University and McGill University and has given masterclasses in Canada and the United States. Currently he is on faculty at the Hartt School where he teaches violin and co-directs the Hartt School Collegium Musicum.

Dorothy Olsson has had training in both music and dance; she received her Masters of Music of Musicology from Manhattan School of Music and her Ph.D. in Performance Studies at New York University, with a dissertation on early 20th-century dance. She has presented numerous workshops, choreographies and performances of historical dance, and written books and articles about historical dance. Dr. Olsson was an Assistant Professor of Dance Education at New York University for ten years. She is the director of New York Historical Dance Company.

Patricia Petersen holds an MFA in Early Music Performance from Sarah Lawrence College. A Director Emerita of Amherst Early Music, she is a regular faculty member at Amherst's and many other workshops. She performs on recorder and other early winds, and has appeared with the Charleston Symphony Orchestra. She has coached early music ensembles at Wake Forest University and the University of North Carolina at Greensboro. She founded and directed the small vocal ensemble Fortuna, recorded on the Titanic label, and conducted the Amherst Festival Choir on a CD of the music of Heinrich Isaac. An ARS certified teacher, she teaches recorder, early music, and English country dance in North Carolina and at workshops around the country. She currently serves on the board of the Country Dance and Song Society. Her passions range from playing from facsimiles of early 15th-century music to English country dancing to playing old-timey music on banjo-uke.

Wendy Powers is a historical musicologist specializing in music of the late 15th and early 16th centuries, particularly in Italy and France. She received her Ph.D. from Columbia University in 1994, submitting a dissertation on The Music Manuscript Fondo Magliabechi XIX.178 of the Biblioteca Nazionale Centrale, Florence: A Study in the Changing Role of the Chanson in Late Fifteenth-Century Florence, and is currently working on an edition of the complete works of the French composer Hesdin (d. 1538) for Broude Brothers. Prof. Powers has played and taught recorder in New York City for many years, and is co-director and faculty member of the Amherst Early Music Festival at Connecticut College. She is the former book review editor of American Recorder magazine, to which she has contributed articles and reviews. She has written about musical instruments for the Metropolitan Museum of Art Timeline of Art History (www.metmuseum.org). With Patricia Ann Neely, she co-directed Sag Harbor Early Music, a small spring concert series on Long Island, and she has sat for more than a decade on the Board of Directors of the New York City series Music Before 1800. Prof. Powers is the former Director of Development and Program Officer at the New York Council for the Humanities. She is teaching as an adjunct and co-directing the Collegium Musicum (with Susan Hellauer) at Queens College of the City University of New York.

Mark Rimple has appeared as a countertenor and lutenist with The Newberry Consort, Ex Umbris, Piffaro, Voice of Orpheus, The New York Collegium, New York's Ensemble for Early Music, Brandywine Baroque, and The Philadelphia Classical Symphony. He is also a composer: his works have been performed by Parnassus and Network for New Music, and often include countertenor, lute, and Renaissance instruments. Recently his Portrait of a Dying Empire for Soprano Saxophone and Harpsichord was given its New York premiere by Marshall Taylor and Joyce Lindorff in the International Stephan Wolpe Festival at Symphony Space. He is a specialist in the theory and notation of medieval through baroque music and has taught these subjects in workshops at the Amherst Early Music Festival and Winter Weekends, the Madison Early Music Festival, and the Early Music Program at Interlochen Summer Arts Camp. He holds a DMA in composition from Temple University, and is an Assistant Professor of Music Theory and Composition in the West Chester University School of Music.

Flutist, recorder player and Artistic Director and founder of Tempesta di Mare Gwyn Roberts has been a featured soloist with the Chamber Orchestra of Philadelphia, the Portland Baroque Orchestra, Recitar Cantando of Tokyo, and at the Kennedy Center in Washington DC. American Record Guide has called her "a world-class virtuoso", and the Washington Post remarked, "with her sparkling technique and sensitive attention to musicality, she infused the music with operatic drama." Her recording of Veracini Recorder Sonatas earned a five star rating from BBC Music Magazine. As co-director of Philadelphia Baroque Orchestra Tempesta di Mare, she leads the ensemble in frequent performances from Oregon to Prague, records for Chandos (UK), and appears frequently on NPR's Performance Today. Recordings include, Deutsche Grammaphon, Dorian, Sony Classics, Vox, PolyGram, PGM, Newport Classics, and Radio France. Ms. Roberts is Director of Early Music at the University of Pennsylvania and is on faculty at Peabody Conservatory. She studied recorder with Marion Verbruggen and Leo Meilink and baroque flute with Marten Root at Utrecht Conservatory in the Netherlands.

Lutenist Richard Stone has performed as soloist and accompanist worldwide. The New York Times called his playing as "beautiful" and "lustrously melancholy," while the Washington Post described it as having "the energy of a rock solo and the craft of a classical cadenza." He recently completed a two-season nationwide solo tour of the Bach lute suites. Stone founded and co-directs Philadelphia baroque orchestra Tempesta di Mare. He has accompanied many of today's best-known vocal artists and appeared with major ensembles. Stone also conducts, leading from the theorbo in such repertoire as Monteverdi's Poppea, Steffani's Stabat Mater and Handel’s Judas Maccabeus. Solo recordings include the world-premiere with Tempesta di Mare of the lute concerti by Silvius Leopold Weiss on Chandos, and Weiss solo suites on Titanic. Other recording and broadcast credits include Deutsche Grammophon, Lyrichord, PGM, Musical Heritage, Polygram, Vienna Modern Masters, ATMA, Eklecta, Centaur, Bis, Chesky, NPR, Czech Radio 3-Vltava and the BBC. Stone studied lute with Patrick O'Brien at SUNY Purchase, and with Nigel North as a Fulbright Scholar at London's Guildhall School.

Peter Sykes has appeared in recital at conventions of the American Guild of Organists, the Southeastern Historical Keyboard Society, the Organ Historical Society, American Institute of Organbuilders, International Society of Organbuilders, at the Library of Congress, Boston Early Music Festival, Aston Magna Festival, New England Bach Festival, Portland Chamber Music Festival, New Hampshire Music Festival, and with Ensemble Project Ars Nova, The King’s Noyse, Musica Antiqua Köln, and throughout the United States, including an appearance in Boston’s Jordan Hall as a featured soloist (Bach's Fifth Brandenburg Concerto) in the Bank of Boston Emerging Artists Celebrity Series. He is frequently heard on the nationally syndicated radio program “Pipedreams.” Recent appearances include an all-Bach inaugural recital on a new organ built by Fritz Noack for the Langholtskirkja in Reykjavik, Iceland, Bach’s Goldberg Variations for the Renaissance and Baroque Society in Pittsburgh, Manuel de Falla's Harpsichord Concerto with the Chameleon Arts Ensemble, and the Schumann Piano Quintet on original instruments with the Van Swieten Quartet. In March 2004 he was given the honor of performing the dedication recital on the newly restored 1800 Tannenberg two-manual organ in Old Salem, North Carolina, featured on the nationally broadcast televsion show “CBS Sunday Morning.” He was a member of the continuo team for the Boston Early Music Festival opera productions of Cavalli's Ercole Amante, Lully's Thésée, and Conradi’s Ariadne, and appears regularly in concert and on recordings with Boston Baroque. With Christa Rakich he created "Tuesdays With Sebastian," an independent two-year benefit concert series in which he and Ms. Rakich performed the entire keyboard works of Johann Sebastian Bach for the organ and harpsichord in thirty-four recitals in five Boston area locations in the 2003-04 and 2004-05 concert seasons. He has premiered new works by Dan Locklair, James Woodman, and Joel Martinson, and has performed well over twenty dedication recitals for new or rebuilt organs.

His solo recordings include J.S. Bach’s complete Leipzig Chorales recorded on the Noack organ of the Langholtskirkja in Reykjavik, From The Heartland - Two Nordlie Organs in South Dakota, Harpsichord Music of Couperin and Rameau, A Nantucket Organ Tour, MAXimum Reger: Favorite Organ Works, and Modern Organ Music, a disc of music by Hindemith, Heiller, Pinkham, Woodman, and Icelandic composers on the Noack organ in the Neskirkja in Reykjavik. His bestselling recording of his organ transcription of Holst’s orchestral suite The Planets was named Best of 1996 by Audio Review, a “Super CD” by Absolute Sound in 1999, and garnered accolades in every review. He appears on the Cambridge Bach Ensemble recording The Muses of Zion, performing organ works of Tunder and Buxtehude on the Fisk meantone organ of Wellesley College, the Music from Aston Magna recording of the oratorio The Triumph of Time and Truth, in which he performs the first known organ concerto movement of Handel, a recording of the organ concerto Cymbale of Julian Wachner, and the Grammy-nominated Boston Baroque recordings of Handel’s Messiah, Bach's B-Minor Mass, and Monteverdi’s Vespers. His most recent solo recording, now available on the Raven label, is the dedication recital on the Tannenberg organ in Old Salem.

He holds degrees from the New England Conservatory, where he studied with Gabriel Chodos, Blanche Winogron, Mireille Lagacé, Robert Schuneman, and Yuko Hayashi, and Concordia University in Montreal, where he studied with Bernard Lagacé. In 1978 he was winner of the Chadwick Medal from the New England Conservatory for outstanding undergraduate achievement; in the same year, he was a winner of the school’s annual concerto competition, playing the Harpsichord Concerto of Frank Martin. In 1983 he was the winner of the Boston Chapter American Guild of Organists Young Artists Competition; in 1986, winner of the Second International Harpsichord Competition sponsored by the Southeastern Historical Keyboard Society. He was the 1993 laureate of the Erwin Bodky Award for excellence in early music performance. In May 2005 he received the Outstanding Alumni award from the New England Conservatory for career achievement since graduation.

He is Associate Professor of Music and Chair of the Historical Performance Department at Boston University, Director of Music at First Church in Cambridge, Congregational, and a member of the faculties of the Longy School of Music and the New England Conservatory. He has served as adjudicator for competitions sponsored by the American Guild of Organists, the Royal Canadian College of Organists, and the Bach International Harpsichord Festival, is a member of the board of the Cambridge Society for Early Music, and is a founding board member and current president of the Boston Clavichord Society.

Website: www.petersykes.com

Lisa Terry, violoncello and viola da gamba, practices, performs and teaches in New York City, where she is a long-time member of ARTEK and Parthenia. She also has been a member of New Jersey’s Dryden Ensemble since 1989. She has performed with New York City Opera, Juilliard Opera Orchestra, Opera Lafayette, Orchestra of St. Luke’s, Concert Royal, New York Collegium, American Classical Orchestra, Four Nations Ensemble and Chicago Opera Theatre. She earned her degree in cello performance from Memphis State University and continued her studies in New York with Richard Taruskin, viol, and Harry Wimmer, cello. Ms. Terry appears to great acclaim as soloist in the Passions of J.S. Bach, notably under the batons of Robert Shaw, Richard Westenburg and Lyndon Woodside in Carnegie Hall, in the Jonathan Miller staged performances at the Brooklyn Academy of Music, and with the New York Collegium under the direction of Andrew Parrot. Ms. Terry teaches at the French-American School of Music in New York. In November 2008, she will appear with the New York Philharmonic in performances of Bach’s Brandenburg Concerto 6.

Tricia van Oers was born in Rotterdam, The Netherlands. In 1998 she graduated from the Rotterdam Conservatory (teacher and soloist degrees), where she studied recorder with Thera de Clerck and Han Tol. Upon recommendation of the conservatory she was awarded a scholarship, enabling her to do graduate study at Indiana University's Early Music Institute, where she received a Performer Diploma with high achievement in Early Music-Instrumental performance, while being an Associate Instructor. Until the summer of 2000 Ms. van Oers was employed by the Von Huene Workshop, Inc. in Boston, making, repairing and testing recorders. She regularly lends her skills to the Workshop still, and has represented the shop at Early Music Festivals in the United States and Europe. She was Director of the '99 North American Recorder Teacher's Conference at Indiana University's School of Music, and was on the faculty of the Amherst Early Music Festival, I.U.'s Summer Academy, and the '00 North American Recorder Teacher's Seminar. Ms. van Oers taught for the Boston Recorder Society and teaches frequently as a guest coach for Recorder Societies. She has performed in solo and ensemble recitals in the Netherlands, Portugal and the United States. As a founding member of the Rotterdam (NL) based ensemble Scarabee she recorded at the Great Hall of Mirrors at the Palace of Versailles (France). She now lives in New York. Her activities include performances with the New York Ensemble for Early Music, Long Island Baroque Ensemble, Concert Royal (NYC), a cantata and oratorio performance with Bard College, the Saratoga Chamber Singers, Vernon Chorale, The Cantata Singers (Boston), and The Choral Festival Orchestra, Musica Sacra, and the Philadelphia-based baroque orchestra Tempesta di Mare. She frequently serves on the faculties of Early Music workshops and is a founding member of the New Amsterdam Recorder Trio (NewART), which has performed concerts in collaboration with the Flanders Recorder Quartet and the viol consort Parthenia.

Reine–Marie Verhagen studied recorder with Walter van Hauwe at the then "Amsterdamsch Conservatorium". She finished her studies in 1976 and almost immediately began her teaching career at a diverse number of music colleges (including Enschede and Utrecht). Since 1988 she has been principal recorder teacher and teacher of verbon ADden technique at the royal conservatoire in The Hague. She is also active abroad (Europe, Japan and the USA) both as a teacher and performer (with the harpsichordist Tini Mathot she forms the basis of the Corelli-ensemble), has been jury member during the open Dutch recorder days in Utrecht (SONBU) and for the "Stichting Jong Muziektalent Nederland" (Dutch foundation for young musical talent). Since 1983, she has also taken part in many recordings and concerts with "The Amsterdam Baroque Orchestra" directed by Ton Koopman (Bach’s cantatas, Brandenburg concertos, as well as works by Händel, Purcell and Charpentier). Modern music is always part of her repertoire, from Japanese composers to Steve Reich.