Molly Netter, soprano, enlivens complex and beautiful music with a voice described as “crisp and clear, white yet warm” (Seen and Heard International). As a soprano soloist, Ms. Netter has performed with Julliard415 at Lincoln Center and toured internationally in Japan, Singapore and Burma under Masaaki Suzuki. Hailed for her “command of the stage with a full range of Baroque stage conventions” (Early Music America), Ms. Netter has performed at the Boston Early Music Festival, Trinity Wall Street, and with the Yale Schola Cantorum under Nicholas McGegan, David Hill and Simon Carrington. Ms. Netter has premiered numerous works by David Lang, Simon Emmerson, Ran Duan, and Sven-David Sandström at The Kennedy Center, Yale School of Music, Oberlin Conservatory, and the Stuttgart Festival under Helmuth Rilling. With a wide range of repertoire, Ms. Netter has performed as soloist with Yale Opera and Cantata Profana based in New Haven, the Clarion Music Society, Heartbeat Opera, and Experiments in Opera in New York City, and recently toured Northern Germany as vocalist with the Triple Point jazz trio. Ms. Netter holds an ad hoc Bachelor of Music degree in composition and contemporary voice from Oberlin Conservatory and a Master’s degree in early music voice from the Yale Institute of Sacred Music where she studied with James Taylor. Between degrees, she taught English in Kyoto, Japan.
Eric S. Brenner, countertenor, has been hailed for his “penetrating eloquence,” “astonishing solo singing” (NY Times), and “auto-tuned Mr. Roboto majesty” (Stage Mage). A fervent proponent of very old and very new music, Eric’s current engagements include: Doodle in Stefan Weisman’s & David Cote’s Scarlet Ibis with Prototype; Didymus (cover for David Daniels) in Handel’s Theodora with English Concert; Tolomeo in Handel’s Giulio Cesare with Opera Roanoke; Riccardo in Scarlatti’s Il Trionfo dell’Onore at Symphony Space; Giuliano (cover) in Cavalli’s Eliogabalo with Gotham Chamber Opera; The Poet in Virko Baley’s Holodomor (NYC and Ukraine); Beast in Hannah Lash’s Blood Rose; Countertenor soloist in Orff’s Carmina Burana & Bernstein’s The Lark at Avery Fisher Hall; soprano & alto soloist in Handel’s Messiah at a number of venues including Alice Tully Hall; soprano soloist with Alarm Will Sound; soloist/ensemble with Toby Twining Music. Eric is also co-composer with Matt Shloss of music for Rob Reese’s Yahweh’s Follies, writes fiction (currently hard at work on his second novel, his first play, a screenplay, and possibly a libretto!), & persists in being an incorrigible Mets fan. Eric is represented domestically by Wade Artist Management.
Hailed as “a Ferrier in waiting” (The Rehearsal Studio), alto Robin Bier has been praised for her “robust, shapely contralto,” (San Francisco Chronicle) and “mysterious, dark hue and sauntering presence” (San Francisco Classical Voice). Recent solo appearances include Bach Mass in B Minor and the role of Clori in Handel’s Parnasso in Festa at the American Bach Soloists Academy, and she has also appeared as a soloist with the the English Symphony Orchestra, the Brook Street Band, the Baroque Collective and Compagnia d’Istrumenti in the UK, and the Bach Festival of Philadelphia, Brandywine Baroque, and the Oberlin Orchestra in the USA. As an ensemble singer she works regularly with Apollo’s Fire, Voices of Ascension and The Thirteen, and in 2013 she became the first female alto to sing with the lay clerks of Ripon Cathedral. She has recorded Striggio Mass in 40 Parts with I Fagiolini (Decca) and Bach St. John Passion with the Yorkshire Baroque Soloists (Signum Classics), and her voice can also be heard on recent releases by The Thirteen. Robin holds her bachelor’s degree in voice from the Oberlin Conservatory of Music, and a masters degree in solo voice ensemble singing and a PhD in historical vocal performance practice from the University of York, and she is artistic co-director of solo-voice early music ensemble Les Canards Chantants. She is a current student of Christian Immler, and is based in Philadelphia, PA, where she is a staff singer at St. Clements Church and directs the choristers of Bryn Athyn Cathedral.
Acclaimed as a “lovely, tender high tenor” by the New York Times, tenor Owen McIntosh has enjoyed a diverse career of chamber music and solo performance ranging from bluegrass to reggae, heavy metal to art song, and opera to oratorio. A native of remote Northern California, Mr. McIntosh has shared the stage with the country’s finest ensembles including Apollo’s Fire, Blue Heron, Boston Baroque, Carmel Bach Festival, Les Canards Chantants, New Vintage Baroque, Staunton Music Festival, TENET, Trident Ensemble, True Concord, Bach Collegium San Diego and the GRAMMY®-nominated Choir of Trinity Wall Street. Recent solo engagements include; Mozart’s Die Zauberflöte with Boston Baroque, Haydn’s chamber opera L’isola Disabitata with the American Classical Orchestra, Monteverdi’s Vespers of 1610 with Apollo’s Fire and Green Mountain Project, Bach’s St. Matthew Passion with Grand Rapids Symphony, il Ritorno d’Ulisse in Patria with Opera Omnia and Boston Baroque, and Evangelist in Bach’s St. John Passion with Tucson Chamber Artists.
Jacob Perry, tenor, is a soloist and ensemble vocalist based in the Washington metropolitan area. He has been engaged with such groups as The Handel Choir of Baltimore, District 8, hexaCollective, Third Practice Ensemble, New Consort, Great Noise Ensemble, Chantry, The Thirteen, Les Canards Chantants, and Apollo’s Fire. A chorister and cantor at the Basilica of the National Shrine of the Immaculate Conception, Jacob sings regularly for masses and concerts broadcast internationally and for the Knights of Columbus annual conference. Born and raised in Silver Spring, Maryland, Jacob has cultivated a passion for a wide variety of music ranging from medieval folk music to the tight harmonies of vocal jazz. He earned his B.A. in Vocal Performance from University of Maryland, Baltimore County.
Graham Bier, bass, has sung professionally with Stile Antico, I Fagiolini, The Crossing, and the choir of York Minster. Highlights as a soloist include Haydn Creation with the Wheldrake Orchestra, Monteverdi 1610 Vespers in Corfu, Purcell anthems with the Yorkshire Baroque Soloists, and Handel Orlando in the National Centre for Early Music alongside Robin Blaze. Recording credits include solo work on New Horizons (2009) and Music for the Blessed Virgin (2011) with the Ebor Singers, and choral singing on the Yorkshire Baroque Soloists’ Bach St. John Passion (2010) and Stile Antico’s The Phoenix Rising (2013). Also an established conductor, Graham has led the choral ensemble The 24 in concerts in England, Scotland, Serbia and China, and has served as Choral Conducting Scholar with the Huddersfield Choral Society and as a deputy director with The Ebor Singers and the Manchester Chamber Choir, among others. In August 2013, Graham took up the post of Director of Music at Bryn Athyn Cathedral in Philadelphia, USA, and is Music Director of the Reading Choral Society. He holds a PhD in musicology and an M.A. in ensemble singing (distinction) from the University of York, and a B.A. from Oberlin College.