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After harpsichord studies at La Schola Cantorum in Paris with Huguette Dreyfus, and subsequently at the Conservatoire Royal in The Hague with Bob van Asperen (winning, at the age of 22, the prestigious First Prize in the 7th Bruges Harpsichord Competition), followed by the creation of his own ensemble, Les Talens Lyriques, in 1991, Christophe Rousset has a perfect grasp of the rich wealth and diversity of the baroque and classical repertoires.

Having initially attracted the notice of the international press and record companies with his extraordinary talent as a harpsichordist, he soon went on to make his mark as a young and gifted conductor, earning invitations to perform with his ensemble at venues throughout the world (among them De Nederlandse Opera, Théâtre des Champs-Élysées, Salle Pleyel, Opéra de Lausanne, Teatro Real, Theater an der Wien, Opéra Royal de Versailles, Théâtre Royal de la Monnaie, Barbican Centre, Carnegie Hall, Concertgebouw Amsterdam, the Aix-en-Provence and Beaune festivals).

Alongside this, he has continued to pursue an active career as harpsichordist and chamber musician, performing and recording on the most beautiful period instruments. His complete performances of the works for harpsichord of F. Couperin, Rameau, d’Anglebert and Forqueray and various recordings of pieces by J. S. Bach (Partitas, Variations Goldberg, Concertos for harpsichord, English Suites, French Suites, the Klavierbüchlein) are considered to be landmark references. Performing on the instruments of the Musée de la Musique, he has recorded three CDs dedicated to Royer, Rameau and Froberger. The albums Suites by L. Couperin, Fantasy by J. S. Bach (Aparté) and the CD devoted to Marchand and Rameau (Ambronay), have won him the acclaim of the press. His most recent record, devoted to works by Duphly (Aparté) was recently awarded the distinctions “Choc” from the review Classica and a “Diapason d’or” from Diapason.

Teaching is also an aspect with major importance for Christophe Rousset, who conducts and organises master classes and academies for young people (Accademia Musicale Chigiana in Siena, CNSMD Paris, Académie d’Ambronay, Orchestre Français des Jeunes Baroques, Jeune Orchestre Atlantique, Junge Deutsche Philharmonie, the Britten-Pears Orchestra) and he devotes himself with great energy, alongside the musicians of Les Talens Lyriques, to introducing young secondary school pupils in Paris to music.

Christophe Rousset also has a career as guest conductor (Liceu Barcelona, San Carlo Naples, Teatro alla Scala, Royal Opera of Wallonia, Orquesta Nacional de España, among other orchestras) as well as the active pursuit of musical research, producing critical editions and the publication by Actes Sud of a study on Rameau in 2007.

Christophe Rousset has been awarded the French honours of Commandeur in the Ordre des Arts et des Lettres and Chevalier in the Ordre national du Mérite.

As a conductor, debuting at age 13 leading his own compositions, he works in a repertoire span from Monteverdi till Gershwin, with a preference for opera and oratorio. Having grown up in a choral environment, he conducted the major works including the Requiems by Mozart, Fauré, Brahms, Duruflé and Verdi, Orff's Carmina Burana and Haydn's Schöpfung and Jahreszeiten. Between 2015 and 2018 he acted as assistant-conductor for Jos van Immerseel at Anima Eterna Brugge in symphonical repertoire by Beethoven, Schubert, Mendelssohn, Dvorak, Martinu, Enescu and Gershwin, ending with a highly praised livestreamed guest-conductorship in Beethoven's 9th Symphony and Choir Fantasy in Bruges and Frankfurt in collaboration with Collegium Vocale Ghent. Since 2014 he works closely together with Christophe Rousset as an assistant-conductor and harpsichordist in his orchestra Les Talens Lyriques. With this orchestra, he made his much applauded debut in 2022 as a guest conductor in Pergolesi's opera La conversione e morte di San Guglielmo at the famous summer Festival d'Aix-en-Provence. He also collaborates with Collegium Vocale Ghent and the Flemish Radio Choir as a regular chorus master and conductor, and with Philippe Herreweghe as pianoforte-continuo and assistant-conductor with either the Orchestre des Champs-Elysées, Antwerp Symphony Orchestra (where he also was assistant to Christophe Prégardien), Royal Concertgebouw Orchestra Amsterdam and Collegium Vocale Ghent. Earlier in his career he assisted at B'Rock, cantoLX and Vokalconsort Berlin. As a guest conductor he made his first appearances with Il Gardellino (Marcel Ponseele & Jan Dewinne) at the Tage Alter Musik in Herne in 2021 in an all-French programme with soprano Deborah Cachet. Earlier, he conducted the Bach Akademie Australia (as festival star of the 2019 Bach edition of the Canberra International Music Festival, conducting seven concerts in one festival, amongst which the first ever period-instrument Johannes-Passion by Bach in Australia's capital), Flanders Symphony Orchestra (in Rossini and Mozart opera scenes), Transparant Music Theater (Rameau's Les indes galantes), International Opera Academy Gent (Telemann Orpheus in 2017, Mozart's La finta giardiniera in 2019), Symphony Orchestra of the Royal Conservatoire Antwerp (yearly productions)... For these and other projects he was invited at Teatro alla Scala Milano, Vienna State Oper, Theater an der Wien, La Monnaie Brussels, Opéra National du Rhin Nancy, Rudolphinum Prague, Flemish Opera, Valenciana Temple Guanajuato Mexico, the Philharmonies of Paris, Cologne, Essen, the Alte Oper Frankfurt, all large concert halls in Belgium and will soon make his debut as assistant-conductor of Opera Lafayette (Washington DC and New York) and at the Théâtre du Châtelet (Paris) and as guest conductor at Brussels Philharmonic (Mozart and Haydn) and the Dutch baroque orchestra Consort of Voices (Handel).

With his own project, the Apotheosis Orchestra on period instruments, he plays and conducts music from Baroque till the high Romantic era, including Purcell, Bach, Handel, Bernier, Rameau, Telemann, Mozart, Benda, Haydn, Mendelssohn, Brahms, Vaughan-Williams... The group produced several award-winning chamber music CDs since 2011 on the label Et'cetera, and in 2019 their orchestral opera début-CD (Pygmalion by Rameau and Benda for the label Ramée/Outhere) was internationally praised as a new reference: "Korneel Bernolet is our new Rameau champion" (Classique News). This project was continued in an exciting production at MAfestival Bruges 2019, staged by Femke Gyselinck. Other partners-in-crime for opera, ballet and music theatre include Guy Joosten (a touring production of Telemann Orpheus), Sigrid T'Hooft (Bernier Trois visages d'Hécate), Luigi de Angelis (Rameau Les indes galantes), Gemma Beltran (Mozart La finta giardiniera), Nathalie Van Parys (Rameau Les indes galantes)... 2024 will, amongst others, bring the CD recording and release of 20th-century repertoire for saxophone and orchestra, a world premiere on period instruments using historical performance practice techniques.

Korneel Bernolet is active world-wide as a recital soloist (throughout Europe, the United Kingdom, South-Korea and Australia, with solo appearances at a.o. Bach Academy Bruges, BOZAR Brussels, Musikfestspiele Potsdam Sanssouci, Wunderkammer Trieste, Cambridge University, Sydney University, Incheon National University, the Canberra International Music Festival...) and in livestream recitals on the internet and on international broadcast; and as an ensemble player: besides the above mentioned also as principal continuo player of Il Gardellino (Marcel Ponseele), Brussels Philharmonic/Flemish Radio Choir (Bart Van Reyn) and Transports Publics (Thomas Baeté). He made his international début at the age of 19 as a continuo player with Sigiswald Kuijken's La Petite Bande where he stayed on for four years, and served many projects in the past with BachPlus (Bart Naessens), B'Rock (Frank Agsteribbe), Mannheimer Hofkapelle, Antwerp Symphony Orchestra, Scherzi Musicali (Nicolas Achten), Utopia, several smaller ensembles and as a harpsichord duo partner of Christophe Rousset and Ewald Demeyere.

He studied historical keyboards with Paul Clement, Ewald Demeyere, Piet Kuijken, Gustav Leonhardt and Christophe Rousset; conducting through studies with Geert Hendrix and Luc Anthonis and masterclasses with Georg Grün, Daan Admiraal and through many assistantships. He obtained with stellar marks the Master degrees in both harpsichord and conducting at the Royal Conservatoire of Antwerp, where he started teaching already during his final study year. Korneel was named 'Young Musician of the Year' in 2014 by the Belgian Music Press Association, and two years later was appointed the new Professor of Harpsichord at the Royal Conservatoire of Antwerp, where he prestigiously teaches on the famous Dulcken 1747 harpsichord at Museum Vleeshuis as 'harpsichordist in residence'. At this conservatoire he is chairing the Historically Informed Performance Practice programme and conducts projects with the many formations, in which he also teaches the conducting students. For many years he taught and conducted at the International Opera Academy Ghent, while also doing PhD research at Antwerp University. He has taught masterclasses and lectures at festivals, conservatories and universities of Manchester, Vilnius, Cambridge, Antwerp, Sydney and Aix-en-Provence. Yearly he gives a summer masterclass at Museum Vleeshuis in Antwerp, where he co-curates the Antwerp City of Harpsichords concert series. His discography, including solo works by Balbastre (for Aliud Records as laureate of SWUK Vlaanderen, where he also was artist in residence for one season), Rameau and Weckbacher (both on Et'cetera Records) and an internationally praised 'Grand Tour' disc on the Dulcken 1747 for Ramée/Outhere, now counts some forty recordings. Several solo recordings were added to the prestigeous online 'All of Bach' series by The Netherlands Bach Society. In 2024 a new solo recording on the Dulcken 1747 will be released. Starting in 2023, he is the new jury president for the world-famous International Harpsichord Competition of MAfestival Bruges.

Besides his concert career, he is a passionate and highly in-demand recording engineer and producer.

In 2018-19 she was a recipient of the Center for Ballet and the Arts Residency Fellowship in NYC for her work on Nijinsky’s Bach ballet (1913). In 2018 Turocy received the IZZY Award in San Francisco for her stage direction/choreography of  Le Temple de la Gloire by Rameau  which also received two first prizes in “Best of the Bay” under both stage direction and choreography. Other awards include the BESSIE Award in New York City for sustained achievement in choreography, the Natalie Skelton Award for Artistic Excellence and the Dance Film Association Award for “The Art of Dancing.” NEA International Exchange Fellowships supported research in London and Paris. 

A founding member of the Society for Dance History Scholars, Ms. Turocy has lectured on period performance practices around the world including the Royal Academies of Dance in London, Stockholm and Copenhagen; the Festival Estival in Paris and The Society for Early Music in Tokyo. She is also a founding member of Dance Studies Association (DSA) and belongs to  CORPS de Ballet International and the Dance Council. 

She has served as consultant to Clark Tippett of American Ballet Theater, Edward Villella of the Miami City Ballet and Yaniro Castro of acanarytorsi. She was a movement consultant to the famous master chef Thomas Keller, training his wait staff for Per Se in NYC. 

As a writer she has contributed chapters to dance history text books, articles to Opera News , Early Music America and Dance Magazine, many which have been translated into French, German, Japanese and Korean. A chapter in Janet Roseman’s book, Dance Masters: Interviews with Legends of Dance, published by Routledge is dedicated to her work.   Books in which Turocy has authored chapters include:   Moving History/Dancing Cultures: A Dance History Reader; Creating Dance: A Traveler’s Guide and “Dance on its Own Terms: Histories and Methodologies,” eds. Melanie Bales and Karen Eliot, published by Oxford. 

Ms. Turocy has worked with conductor James Richman and his Concert Royal Orchestra in NYC as well as his group in Texas, The Dallas Bach Society, collaborating on groundbreaking productions of period ballets and operas. She has also worked closely with Ryan Brown, Antoine Plante, Matthew Dirst and internationally with Nicholas McGegan (Festival Orchestra of Goettingen ), the late Sir Christopher Hogwood (Academy  of Ancient Music in London) ,  Sir John Eliot Gardiner (English Baroque Soloists in London), Philippe Herreweghe (La Chapelle Royale in Paris) and Wolfgang Katschner (Lautten Compagney in Berlin). 

Training professional artists is an important part of Ms. Turocy’s work with the NYBDC. Former members of the company include Ken Pierce, Thomas Baird, Paige Whitley Bauguess and Carlos Fittante, all who have gone on to start their own companies and/or careers as freelance historical choreographers. Current members of the company trained by Ms. Turocy and now active in the field as choreographers include Patricia Beaman, Caroline Copeland, Sarah Edgar, Rachel List, Alexis Silver, Ani Udovicki and Julia Bengtsson. 

In 2021 she was the first dance artist to be awarded a position in Early Music America's Emerging Professional Leadership Council. She has presented workshops at Temple University, NYU Steinhardt, University of Pittsburgh and Stanford University. 

Her career as a dancer includes six years with Connecticut Ballet, multiple tours with New York Baroque Dance Company and soloist roles performed at Carnegie Hall. She is a mentee of Bessie-awarded director/choreographer Catherine Turocy, a graduate of Royal Swedish Ballet School and was a scholarship student at Joffrey Ballet School. 

While still at Hofstra, he joined New York Theatre Ballet for their production of Cinderella in the spring of 2019 and joined the Company for the 2019-2020 season. At NYTB, Julian has performed work by Richard Alston, Merce Cunningham, Sonia Dawkins, Nicolo Fonte, Antonia Fransceschi, Robert La Fosse, José Limón, Bridgman|Packer, Margo Sappington, Amanda Treiber, and Pam Tanowitz . He danced and developed an improv score with two other NYTB dancers at Manhattan West, in “Body/Light” in conjunction with Super Blue Art, Random International, and acclaimed cellist Lester St. Louis.

As a student, Julian performed works by Adam Barruch, Robin Becker, Sean Curran, David Parker, Frederick Earl Mosley, Eleo Pomare, and Larry Keigwin. Julian also performs with the New York Baroque Dance Company and Boston Early Music Festival in historical baroque dance productions.

Julian taught dance to adults with disabilities for two years at Hofstra in partnership with AHRC Nassau. Continuing his commitment to dance education, Julian is currently assisting Robin Becker Dance Company develop a DOE curriculum based on Becker’s acclaimed work on the Vietnam War Into Sunlight.

She is a recipient of the Master/Apprentice grant from the Maryland State Arts Council and a “Teacher Recognition Certificate” from the National Foundation for Advancement in the Arts. In 2016, Anuradha received the Montgomery County Executive’s Outstanding Artist Award for Excellence in the Arts and Humanities and in June 2020, received the Pola Nirenska award for Outstanding Achievements in Dance. Her ability to transcend artistic genres is best exemplified in her collaboration with Opera LaFayette in three different operatic works. The first, in 2013, was “Lalla Roukh”,a 19th century French opera situated in India, which was praised for bringing beauty, grace, and the flavor of India to the production. The second, ‘Les Fetes de L’Hymen et de L’Amour‘ in 2014 and the most recent, ‘The Enchanted Forest’, in 2017, were also received by critical acclaim. Her other major productions include, ‘Rasa’,‘Transcending Traditions’, the historical ballet ‘Bhagmati’, ‘Why We Dance’, ‘Poetry of Love’ and “Bhoomi”. Anuradha is one of the founding members of the Indian Dance Educators’ Association (IDEA), a non-profit umbrella organization of Indian dance professionals established to serve classical dancers and dance lovers, and served as the organization’s Chairperson for two terms.

Pragnya represents Kalanidhi Dance at prestigious dance festivals and performances across the United States. Pragnya has also demonstrated promise as a budding choreographer and has choreographed dances for Kalanidhi’s shows. A deeply committed artist, Pragnya joined Kalanidhi staff in January 2022 and is currently the Assistant Artistic Director. Her responsibilities include teaching, directing Company rehearsals, choreographing and supporting production logistics. 

Ms. Copeland is an Associate Director of The New York Baroque Dance Company where her most notable appearances include performances at the Drottningholm Theater in Sweden, the International Händelfestspiele Göttingen, Danspace at St. Mark’s Theater, the Guggenheim Museum, and at Potsdam Sanssouci. Caroline has also appeared as a featured artist in nine productions with the Boston Early Music Festival and has performed with the Metropolitan Opera, The Bronx Opera, and with the Nordic Baroque Dancers at the Innsbruck Early Music Festival in Austria.

As a choreographer, Caroline's work has been presented at the historic Federal Hall in downtown Manhattan, The Metropolitan Museum of Art, The Public Theater, Dixon Place, Alice Tully Hall, and the Philipszaal in Den Hague. Productions include Rousseau’s The Cunning Man and Stravinsky’s A Soldier’s Tale (Cornell University), The Empress of Pleasure (The New Dutch Academy), and four BEMF productions: Steffani’s Niobe, Regina di Tebe, Handel’s Almira, Monteverdi's Il Ritorno d'Ulysse in patria, and Campra's Le Carnaval de Venise.

Ms. Copeland also directs opera and writes, directs, and choreographs dance/plays. Her direction credits include: Handel’s Alcina (Bourbon Baroque), Stravinsky’s A Soldier’s Tale (Hofstra University), Attowell’s Frauncis New Jigge (Yale University). Assistant Direction credits are: Il Ritorno d'Ulysse in patria (BEMF) Handel's Atalanta (International Händelfestspiele Göttingen), Rousseau's Le Devin du Village (Mercury Baroque) And her new creations include: C'est petits riens (Hillwood Museum and Gardens) and Anticipating Lafayette (The French Embassy and Hillwood Museum and Garden, Washington D.C.).

Caroline continues to keep both feet in the worlds of early and contemporary dance practice. As such she creates choreographies that blend contemporary and baroque dance styles with her research of period treatises, scholarly articles, and memoirs, integrating spoken text and period acting techniques into the performances. Those works include two solos, An Analysis of Beauty and Marais, trois danses; both are virtuosic displays of baroque and contemporary dance seamlessly intertwined, and three group pieces, An Elegy for Rose, Figure Dances, and Convention/Invention: Explorations of Early Ballet.

Ms. Copeland teaches master classes in baroque dance and gesture to all populations: musicians, professional dancers, and the general public. Notable appearances include NYU Gallatin, Rutgers, Cornell, Yale, Ensemble ACJW, Juilliard, Parson's School of Design, BEMF, University of Delaware, Carnegie Hall and Vassar College. She has also created special classes for children that share a bit of the history and joy of social dancing in the 17th and 18th centuries. These presentations were presented at the Family Day at Carnegie Hall in Manhattan and in public schools throughout the USA.

Caroline earned a MFA in Dance from Sarah Lawrence College and is an Assistant Adjunct Professor at Hofstra University where she enjoys teaching classical ballet, contemporary dance, and historical dance practice. She also teaches dance histories at Hofstra and the Joffrey Trainee Program in NYC.

Additional credits include Confederates, Monumental Travesties, Bars and Measures, The Till Trilogy, Birds of North America, and Eureka Day at Mosaic Theater Company; and The Tale of The Allergist’s Wife and Freud’s Last Session at Theater J. Upcoming project at Folger Shakespeare Theatre, Metamorphoses. She worked as the Props Master Carpenter for the Washington Opera. She was a sculptor and sculpture consultant for TLC’s DC Cupcakes, a set designer for the Washington Bureau of TV Tokyo, and did the original set design for Discovery Channel’s Puppy Bowl. In addition to working for all national networks, her work includes production design for Dolley Madison, art direction for Alexander Hamilton (both PBS American Experience), and set design for Discovery Channel’s Moments in History, “Jamestown: Against All Odds.”

Internationally, she has costumed operas and ballets in Spain, Germany, England, Cuba, France and Japan. She is the recipient of the Kevin Kline Award for her costume designs for the musical ACE. Her set and costume designs for I AM MY OWN WIFE won the Kevin Kline Award for Outstanding Production and the designs were nominated for the Helen Hayes Award for Outstanding Design. Her designs were exhibited at Lincoln Center’s CURTAIN CALL: CELEBRATING A CENTURY OF WOMEN DESIGNING FOR LIVE PERFORMANCE and her costume designs were featured in the exhibit COSTUME DESIGN AT THE TURN OF THE CENTURY: 1990-2015 at the Bakhrushin Museum in Moscow, Russia. In 2017 Marie designed the costumes for Le Temple de la Gloire, a Baroque opera co-produced by Philharmonia Baroque Orchestra, the New York Baroque Dance Company and Le Centre de Musique Baroque de Versailles. This opera has won four awards: The San Francisco Classical Voice’s #1 Opera Production, #1 Dance Production, top production for 2017 and the Isadora Duncan Dance award. 

Design Credits include: Off-Broadway: Grand Hotel and Little Rock. She has also designed for Paper Mill Playhouse, Walnut Street Theatre, The Old Globe, A.R.T., McCarter Theatre Center, Hartford Stage, Lookingglass Theatre Company, Two River Theatre, Bay Street Theater, Delaware Theatre Company, Hudson Stage Company, Temple University, Olney Theatre Center, the University of Delaware Resident Ensemble Players, The Princeton Festival, the Philadelphia Ballet, and American Repertory Ballet. She has served as a wig and makeup artist at Santa Fe Opera, Sarasota Opera, The Kennedy Center, Shakespeare Theatre Company, Signature Theatre, and Round House Theatre.

Theater Credits include: Annapolis Opera (Resident Designer), Tri-Cities Opera, Syracuse Opera, EMERGE125 (Resident Designer), BANDPoteir (DC/NYC), Lyric Stage Company of Boston, Company One (Boston), The Cherry Arts Space (Ithaca), New Repertory Theatre (Boston), Wolftrap Opera/NOI, Manhattan School of Music, NYU Steinhardt, Boston Conservatory, Opera Omaha (Assistant Designer), Opera Saratoga (Assistant Designer) and Lyric Opera of KC (Assistant Designer). In addition to his design work, Chris spent eight summers overseeing the production of 32 operas as the Director of Production for Des Moines Metro Opera, where he launched the Design and Production Internship Program in 2010. Christopher holds an MFA from the University of Maryland, studying under Brian MacDevitt, and is a proud member of USA829. 

He has worked with Opera Theater St. Louis, Opera Studio Netherlands, Opera NEO San Diego, and Scherzi Musicali (BE) playing lirone. As a teacher, Josh has contributed to workshops for the viola da gamba societies of America and Australia, teaches private cello lessons, and has pursued a certification in Pilates instruction. Joshua also maintains an active local music life playing in chamber ensembles, orchestras, and recording at local studios. He has recorded with Josh Lee, Masaaki Suzuki, and Música Ficta. Beyond music, Josh loves roller-skating, practicing Pilates and his two boxers, Margot and Hiram.  

In the 2021-2022 season, he served as Artistic Advisor for the Portland Baroque Orchestra, curating a program of 17th century German music for voices and orchestra. An accomplished chamber musician, Woody often performs as a member of the GRAMMY®-nominated Choir of Trinity Wall Street, where he has earned praise from the New York Times for his "charismatic" and "riveting" solos. He has also recently performed in collaboration with Kaleidoscope Ensemble, Les Délices, Seraphic Fire, Byron Schenkman and Friends, and TENET Vocal Artists. Woody’s compositional voice blends 17th and 18th-century inspiration with the minimalism and socially conscious subject matter of today. Since 2020, he has received commissions from Apollo’s Fire, the Choir of Trinity Wall Street, Chanticleer, the Handel and Haydn Society, the Cathedral Choral Society of Washington, D.C., and the Five Boroughs Music Festival, among others. As a sought-after new music proponent, Jonathan has participated in premiere performances of several leading composers' works, including Ted Hearne's The Source (2014), Ellen Reid's prism (2019 Pulitzer Prize-winner), Missy Mazzoli's Breaking the Waves (NYC premiere, 2018), and Du Yun's Angel's Bone (2017 Pulitzer Prizewinner). Jonathan is committed to racial equity in the field of the performing arts, and currently serves on Early Music America’s Task Force for Inclusion, Diversity, Equity and Access. 

Additional season highlights include a the role of Esther in Opera Lafayette’s “From Saint-Cyr to Cannons: Moreau and Handel’s Esther”, singing the title role in the North American premiere of John Eccles’ Semele with the American Baroque Opera Company, and curating a program of chamber music by women composers for the Washington Bach Consort. Paulina has performed as a soloist and chamber musicians with ensembles throughout North America, including TENET Vocal Artists, Bach Akademie Charlotte, Washington Bach Consort, Studio de musique ancienne de Montréal, La Chapelle de Québec, and the Indianapolis Baroque Orchestra. Paulina has been a finalist in international competitions including the Aria Borealis Bodø Chamber Music Competition in Bodø, Norway, and the Handel Aria Competition.

Paulina is passionate about building stronger connections between research and performance. She has presented interdisciplinary research on the 17th-century trillo at the Spheres of Singing, International MedRen, IU Historical Performance Conferences, and has performed new research presentations for Robert Ketterer (University of Iowa), Donald Burrows (The Open University), and Ayana Smith (Indiana University). Paulina’s research interests include 17th century monody and chamber music, early voice training, and the education and music making of early modern women. Her Master’s thesis “The Virtuosi of Ferrara: The Concerto delle Donne 1580-1601,” including a modern edition of Luzzasco Luzzaschi’s Madrigali (1601), and DM dissertation, “The 17th Century Trillo: Historical Practice for the 21st Century Singer,” are available on ProQuest.

Paulina holds advanced degrees in voice and historical performance from Indiana University, the University of Southern California, and Carroll University.

Further productions include Gerhilde in Detroit Opera’s The Valkyries, dell'Arte Opera Ensemble, St. Petersburg Opera, and Gulf Shore Opera’s Donna Anna in Don Giovanni, and her Mimì in Mobile Opera's La bohème. She recently made her Opera Steamboat debut as Nella (Gianni Schicchi) and her Opera Ithaca debut as Foreign Princess (Rusalka). Upcoming performances include Turandot at St. Pete Opera. 

Jean Bernard performs extensively as a baritone with leading early music ensembles across the United States including Philadelphi based Choral Arts, Piffaro Renaissance Wind Ensemble, Tempesta di Mare Baroque Orchestra, Night Music, Philadelphia Chamber Music Society’s Gamut Bach Ensemble, Les Delices in Cleveland, Louisville’s Bourbon Baroque, Classical Uncorked in Seattle, and American Bach Soloists in San Francisco. 

He was the winner of the 24th International Concours de Chant in Clermont-Ferrand, France, making his European debut in opera houses throughout France in Handel’s Acis and Galatea with Damien Guillon and Le Banquet Céleste (Rennes, Clermont-Ferrand, Chaise-Dieu, Avignon). He has sung roles with Festival Aix-en-Provence in Cavalli’s Erismena with Leonardo García Alarcón and Cappella Mediterranea in the opera houses of Paris, Saint-Denis, Luxembourg, and Versailles, and with the Britten-Pears Aldeburgh Festival at Snape Maltings Concert Hall in Handel’s Theodora with Christian Curnyn and Sarah Connolly. In the United States Patrick has performed roles with the Boston Early Music Festival, Annapolis Opera, Heartbeat Opera and frequently with Opera Lafayette, debuting at the Kennedy Center, Brooklyn Academy of Music and El Museo del Barrio in productions of Handel’s Esther, Rameau’s Io, Pergolesi’s La Servante Maîtresse, Blow’s Venus and Adonis, Stradella’s La Susanna, Jommelli’s Cerere Placata and Monteverdi’s Il Combattimento di Tancredi e Clorinda. As a concert soloist he has appeared with the Washington Bach Consort, Cathedral Choral Society, Seraphic Fire and New World Symphony. Recent appearances include triumphs in Strasbourg, France, where he made his debut with Opéra National du Rhin in a new touring production of Monteverdi’s L’Incoronazione di Poppea with Ensemble Pygmalion, conducted by Raphaël Pichon and directed by Evgeny Titov, which will receive future performances with Opera Graz in Austria.  He is a Lecturer for the University of Maryland Opera Studio and is a member the American Guild of Musical Artists. Alongside his performing and teaching, Patrick enjoys his role overseeing Artistic Services Management on the staff of Opera Lafayette. 

Taylor’s “lithe, louche, and admirably game” approach to the repertoire (Opera News) has yielded recent acclaimed debuts at Spoleto USA in the premiere of Unholy Wars; Mexico’s Compañía Nacional de Teatro, staring in Iannis Xenakis’ Oresteia; Vienna’s Musikverein as Jesus in Bach’s St. Matthew Passion; and Opéra Rouen in Thierry Pécou’s Nahadzáán, an operatic adaptation of the Navajo creation story. Notable DVD releases include the role of Nick Shadow in The Rake’s Progress with Barbara Hannigan, Proteo in Orfeo Chaman with Christina Pluhar and L’Arpeggiata, and an upcoming documentary series on the life and works of Claudio Monteverdi with the English Baroque Soloists. Taylor is also featured on recordings with Les Arts Florissants, the Seattle Symphony, and the Boston Early Music Festival and is a member of the Grammy Award-winning chamber ensemble, Roomful of Teeth. 

Ms. Wehr debuted the roles of Girlfriend #1/Nurse/Congregant in Blue at The 2019 Glimmerglass Festival to great critical acclaim, and will reprise the roles at Washington National Opera in 2020. In the 2017-2018 season, Ariana was seen as Amy March in Mark Adamo’s Little Women with Annapolis Opera, and Konstanze in Mozart’s The Abudction from the Seraglio with Brava! Opera Theater, and she advanced to the Semi-Finals of the Metropolitan Opera National Council Auditions. In the 2016-2017 season, the soprano was Barbarina in Mozart’s Le Nozze di Figaro for Washington National Opera, as well as Susanna in the Domingo-Cafritz performance of Le Nozze di Figaro. Additional performances for Washington National Opera included Ms. Holy in the world premiere of Mohammed Fairouz's The Dictator's Wife, and Zerlina in Mozart’s Don Giovanni directed by Francesca Zambello. In the 2015-2016 season, Ariana was Abigail Williams in Francesca Zambello's production of The Crucible at The Glimmerglass Festival, Kahua in the world premiere of Better Gods at Washington National Opera, and Gretel in Washington National Opera's Holiday Opera production of Hansel and Gretel. She appeared as Frasquita in Washington National Opera's 60th Anniversary season opening production of Bizet’s Carmen.

Other operatic engagements have included several engagements at Chicago Opera Theater including Purcell’s The Fairy Queen, the world premiere of Stewart Copeland’s The Invention of Morel, and Mozart’s Der Zauberflöte. He performed at the Caramoor Bel Canto Festival in Poulenc’s Dialogues des Carmélites and Donizetti’s La Favorite. With Madison Opera, he was seen in Puccini’s Tosca and Mozart’s Der Zauberflöte. Other highlights include Purcell’s The Fairy Queen at Long Beach Opera, Rossini’s La Cenerentola with Lyric Opera of Chicago’s Lyric Unlimited, and Britten’s The Turn of the Screw and The Rape of Lucretia with Chicago Fringe Opera. Outside of his work in opera, Scott can be heard on a Musica Omnia album of Agostino Steffani duets. He has also been the tenor soloist for Haydn’s The Creation, Buxtehude and Bach canatas, Orff’s Carmina Burana, Handel's The Messiah and Judas Maccabaeus, Pergolesi’s Magnificat, Bach's Magnificat, Resphigi's Lauda per la Nativita, Donizetti's Miserere, Mendelssohn's Elijah, and Britten's Serenade and Canticles. Scott was a finalist and prize winner in the Oratorio Society of New York, Handel Aria Competition, and the Grand Rapids Keller Bach Award. He currently lives in Minneapolis, MN with his husband and their dog. 

The Acadian soprano has been a soloist with Chatham Baroque, the Orchestre Métropolitain, the Orchestre Symphonique de Québec, the Lanaudière Festival, Vancouver Early Music, the Lamèque Early Music Festival, and the Orford Festival. She has created roles for the Ensemble Contemporain de Montréal and toured Belgium with Hockey Noir, a contemporary opera that marries hockey and organized crime in a film noir atmosphere. Pascale is a member of the Four Nations Ensemble, based in New York, and specializing in Baroque chamber music. After years of living in Montreal, she’s happily made a home in Pittsburgh with her husband Scott and their dog Ruby. She’s delighted to return to Opera Lafayette after Così fan tutte (2013), Les Femmes vengées (2014), L’Épreuve villageoise (2015), Léonore ou l’amour congugal (2017), Leonore (2020), and The Blacksmith (2020). 

The NYBDC repertoire includes over 80 operas as well as reconstructed dances and ballets choreographed in period style. Through residencies at educational institutions serving grades K-12 and at the university level, NYBDC instructs professionals and the general public, thus preserving our cultural heritage. NYBDC has toured North America, Europe and Japan with conductors James Richman, John Eliot Gardiner, Christopher Hogwood, Nicholas McGegan and Wolfgang Katschner. The company also performs with Opera Lafayette Orchestra and Chorus, The Dallas Bach Society, Philharmonia Baroque Orchestra and Chorale and Ars Lyrica Houston. Groundbreaking productions over the past three decades include the original premiere of Jean Philippe Rameau’s Les Boreades (not performed in the 18th century because of Rameau’s death) and Hippolyte et Aricie, both at the Festival d’Aix-en-Provence and the Opera de Lyon; Henry Purcell’s Indian Queen at the Barbican in London; the award winning Scylla et Glaucus by Jean Marie Leclair at the Opera de Lyon (1986) as well as over 100 performances of a double bill with Rameau’s Pygmalion and George Frederick Handel’s Terpsicore. The company is proud to have performed in operas directed by Ms. Turocy such as Handel’s Terpsicore, Ariodante, Arianna, Alcina, Atalanta, Orlando, and Teseo at the International Handel Festival in Goettingen, Germany, under the leadership of Nicholas McGegan. In 2017, the company joined Nic and PBO in the award-winning production of Rameau’s Le Temple de la Gloire. Read more about the NYBDC on our website: www.nybaroquedance.org. 

Central to the company's artistic philosophy is the belief that creativity is nourished through dialogue and interaction with other artists. Kalanidhi regularly collaborates with local and international partners of Indian classical dance and other genres of the performing arts as a way to extend the reach of the company, enrich the experience of the students and dancers, and push the boundaries of the art form. A highlight was Kalanidhi's partnership with Opera Lafayette in the productions Lalla Roukh (2013) and Gods of Egypt (2014), both performed at the Kennedy Center in Washington and the Lincoln Center in New York.

Kalanidhi Dance has presented its work in the U.S, and around the world, including at the Kennedy Center for the Performing Arts, Wolf Trap Performing Arts Center, National Theatre Smithsonian Institution, National Geographic Society, and many more in the Washington metropolitan area.

The company regularly offers interactive workshops and performances at schools and community organizations, engaging audiences of all ages and spreading an appreciation for Indian arts and culture.