Musicians
Guest Artists for 2003-2004 Season
The San Francisco Bach Choir also performs with many renowned vocal soloists and instrumentalists, as well as with its own orchestra and chamber consort (managed by John Thiessen) selected from internationally acclaimed instrumentalists. The 2002-2003 season included Steven Bailey, Louise Carslake, Richard Cheetham, Tekla Cunningham, Daria D’Andrea, Rob Diggins, John Dornenburg, Claire Garabedian, Dennis Godburn, Daniel Hutchings, Tim Krol, Carla Moore, Debra Nagy, Marianne Pfau, Heidi Powell, Ruth Rainero, Elizabeth Reed, Cynthia Roberts, Doron David Sherwin, John Thiessen, Kiri Tollakson, Kate van Orden, Kristin Zoernig and others.
Bass John Kendall Bailey is the Founder and Music Director of the Berkeley Lyric Opera, the Associate Conductor of the San Francisco Composers Chamber Orchestra, and the Chorus Master of the Festival Opera of Walnut Creek. He has also served as Music Director for Solo Opera and for Goat Hall Productions. As an assistant to Michael Morgan, he has been a guest conductor with the Oakland East Bay Symphony, Oakland Youth Orchestra, and Oakland Ballet. He is also a composer, and his work has been performed and commissioned in the Bay Area and abroad.
Mr. Bailey also maintains a busy performance schedule as a bass-baritone, oboist, and pianist, and has performed with the San Francisco, Santa Rosa, Oakland East Bay, Berkeley, Redding, Napa, Sacramento, and Prometheus symphonies, the Philharmonia Baroque Orchestra, the Midsummer Mozart and West Marin music festivals, the California Vocal Academy, American Classical Soloists, Pacific Mozart Ensemble, San Francisco Concerto Orchestra, Coro Hispano de San Francisco, Masterworks Chorale, Baroque Arts Ensemble, San Francisco Korean Master Chorale, the Master Sinfonia, the Mark Morris and Merce Cunningham dance companies, Goat Hall Productions, Opera Piccola, the Berkeley, Golden Gate, and Oakland Lyric Opera companies, and many other groups. He has recorded for the Harmonia Mundi, Koch International, Pro Musica, and Centaur labels. From 2000-2003 he was the personnel manager and librarian of the Sacramento Philharmonic Orchestra. He has been a pre-performance lecturer for the San Francisco Opera and the Oakland East Bay Symphony, and a critic for the San Francisco Classical Voice.
In recent years, lyric tenor Alan Bennett has emerged as one of the finest oratorio singers in the United States, noted for his performances of Bach, Handel, and Mozart. He has performed extensively throughout the US, Canada, Europe and South America, singing with prominent festivals and orchestras, as well as in recitals, concerts and operas. His performances have received critical acclaim, notably for his interpretations of the Evangelist in the Passions of J.S. Bach.
Mr. Bennett has performed with numerous symphony orchestras throughout North America and recently made debuts with the Cleveland Orchestra, Seattle Symphony, Kansas City Symphony and the Philharmonia Baroque Orchestra. He has performed with the Atlanta Symphony, Omaha Symphony, Colorado Symphony, Calgary Philharmonic, St. Paul Chamber Orchestra, Los Angeles Chamber Orchestra and Indianapolis Chamber Orchestra as well as with period instrument ensembles including the Handel & Haydn Society, Tafelmusik and Les Violons du Roy. He is likewise a frequent guest at music festivals. He has developed a longstanding relationship with the Carmel Bach Festival, where he performs each summer. He has appeared at the Tanglewood Festival, Oregon Bach Festival, Bethlehem Bach Festival, Baldwin-Wallace Bach Festival, Bay Chamber Festival, Plymouth Music Festival, Le Rendez-Vous Musical de Laterriere in Quebec, and the Grand Tetons Music Festival. He has sung for the Houston Masterworks Chorus, Oratorio Society of New York, Washington Choral Arts Society, Baltimore Choral Arts Society, Dartmouth Handel Society, Seattle Chamber Singers, and the Bloomington Chamber Singers. Mr. Bennett has worked under some of the worlds most prominent Baroque music conductors including Christopher Hogwood, Bruno Weil, Helmuth Rilling, Nicholas McGegan, Paul Hillier, Bernard Labadie, and the late Robert Shaw.
Recent performances include music of Purcell with the St. Paul Chamber Orchestra, Handel’s Messiah with the Calgary Philharmonic and Tafelmusik, and the Bach Christmas Oratorio with the Boulder Bach Festival. This spring he makes debuts with the Santa Rosa Symphony (Britten Spring Symphony) and Orchestra Seattle (Bach St. Matthew Passion, Evangelist). He also returns to the Baldwin-Wallace Bach Festival, Violons du Roy, and the Carmel Bach Festival.
At the other end of the music spectrum, he has worked regularly in contemporary music, performing and recording the music of Arvo Pärt and Steve Reich with Theatre of Voices.
Alan Bennett has recorded for Harmonia Mundi USA, Nonesuch, Telarc, and Focus Records. He is currently on the vocal faculty of Indiana University in Bloomington. Mr. Bennett last appeared with the San Francisco Bach Choir in our March, 2000, production of Handel’s Messiah.
Acclaimed for his “exemplary diction and rich baritone voice,” Aaron Engebreth maintains an active solo career in opera, oratorio, and recital, and has devoted considerable energy and time to the performance of new music, often collaborating with composers.
Mr. Engebreth has recently been featured with groups and venues such as the American Bach Soloists, Tanglewood Music Festival, Boston Baroque, Santa Fe Pro Musica, Miami Bach Society, the Boston Early Music Festival, Musicians of the Old Post Road, the Providence Singers, Boston Modern Orchestra Project, Opera Aperta, the Melrose Symphony, the Back Bay Chorale, the Orchestra of St. Peter’s, and Opera Unlimited (Opera Boston/Boston Modern Orchestra Project). He has received significant recognition for his interpretation of early music, most recently as a national finalist and place-winner in the 2002 American Bach Society/Bethlehem Bach Competition. As a 2000 fellow with the Pacific Music Festival in Sapporo, Japan, Mr. Engebreth was featured in their performances of Handel’s Alexander’s Feast and Bach’s Magnificat. He regularly appears with Emmanuel Music on their famed Bach Cantata series. Other notable solo engagements include Haydn’s Creation under the baton of the late Robert Shaw and, recently, the role of Lidio in Cavalli’s L’Egisto under the musical direction of Martin Pearlman.
A committed interpreter of contemporary music, Mr. Engebreth collaborates frequently with composers, most recently working in preparation with Ned Rorem on the Boston premiere of his evening-length song cycle, Evidence of Things Not Seen with the Florestan Recital Project. The critically acclaimed performance, noting Mr. Engebreth’s “beauty of voice and eloquence,” (Boston Globe) will be performed next in June, 2004 in Providence, Rhode Island as part of the Red House Festival. During 2002-03, Mr. Engebreth was featured in world premiere recordings of pieces by Daniel Pinkham, Lukas Foss, and Thomas Vignieri.
Mr. Engebreth has performed extensively as a recitalist on the concert series of the Longy School of Music, Marsh Chapel at Boston University, the Boston Public Library, King’s Chapel, the Old South Church of Boston where he took part in an acclaimed performance of the rarely heard AIDS Quilt Songbook, and recently with WCRB’s Concerts at Copley Square, at which he appeared with Keith Lockhart, conductor of the Boston Pops, performing works of Richard Rogers with Mr. Lockhart at the piano.
On the operatic stage, Mr. Engebreth has performed a variety of roles ranging from Count Almaviva in Le nozze di Figaro to Schaunard in La Bohème. His performance of Sid in the Red House Opera Group’s 2002 performances of Britten’s Albert Herring was described by the Boston Globe as “nearly perfect in voice, characterization and appearance,” and Opera News hailed his recent performance Masetto in Opera Aperta’s Don Giovanni as “consistently strong.”
In 2003-04 he will be appearing as a vocal fellow at the Ravinia Music Festival’s Steans Institute for Singers. In September of 2003, Mr. Engebreth will debut with the Handel and Haydn Society as a soloist in their production of Monteverdi’s Vespers of 1610 and will also perform Pavel Haas’s Four Czech Songs with the Terezin Chamber Music Society, which will culminate in the world-premiere recording of the work. Other solo appearances will be made with groups including Les Concerts de l’hotel Cail of Paris, France, Opera Boston, the Liederkranz Recital series of Manhattan, New Haven Symphony, Florestan Recital Project, San Francisco Bach Choir, and return engagements with American Bach Soloists, Miami Bach Society, and Providence Singers. 2004-05 will bring performances with the San Diego Symphony and Ned Rorem’s Santa Fe Songs with the composer at the piano and the Hawthorn String Quartet, which will culminate in the world-premiere recording of the work.
Mr. Engebreth is on the music faculty of Brown and Tufts Universities and is a founding member and co-artistic director of the Florestan Recital Project. He is an alumnus of Viterbo College and received a Master’s Degree from Boston University. He can be heard on the recent releases of Conrad Susa’s Carols and Lullabies and Daniel Pinkham’s Cask of Amantillado and Garden Party on Arsis Records and on Lukas Foss’s Griffelkin with the Boston Modern Orchestra Project on the Chandos label.
This season marks Mr. Engebreth’s first appearance with the SFBC.
British-born Elspeth Franks, alto, is one of the West Coast’s busiest young singers. This season, she made her debut with Sacramento Opera in the role of Stephano in their production of Romeo and Juliet, and makes her debut with the San Francisco Bach Choir in these performances. In 2003, she made her debut with Virginia Opera’s production of Die Fledermaus in the role of Orlofsky. She was invited back to the Carmel Bach Festival and named the Virginia Best Adams Fellow for the second year, an honor not usually given for more than one season. She made her New York debut in the role of Commère (Four Saints in Three Acts) with the Mark Morris Dance Group.
On the West coast, Ms Franks has appeared with such companies as Philharmonia Baroque Orchestra and Chorale; the Berkeley Symphony; Carmel Bach Festival; Bear Valley Music Festival; the San Luis Obispo Mozart Festival; the West Marin Music Festival; Rogue Opera (OR); Rimrock Opera (MT); West Bay Opera and Pocket Opera. As a Young Artist with Florida Grand Opera, she was heard as Bianca (The Rape of Lucretia), the Aunt (Madama Butterfly), and Mrs. Nolan (The Medium). Upcoming performances include the title role of Handel’s Rinaldo with Pocket Opera; Haydn’s Harmoniemesse in Sacramento, CA, and in Munich, Prague, Budapest and Vienna; a return to Sacramento Opera as Berta in Rossini’s Il barbiere di Siviglia; and the role of Sesto in Mozart’s La clemenza di Tito at the Carmel Bach Festival in 2005.
An active performer on the concert stage, both in recital and oratorio work, Ms. Franks has also given recitals throughout the U.K. and the U.S.A. featuring the music of contemporary English, French and American composers.
Tenor Daniel Hutchings is a graduate of Oberlin Conservatory under the instruction of Richard Miller. Mr. Hutchings performs extensively with early music ensembles throughout the Bay Area. He is a featured soloist and regular member of the American Bach Soloists; a member of the Philharmonia Baroque Chorale; and a member of the acclaimed Schola Cantorum of the National Shrine of St. Francis, a 12-voice ensemble specializing in a repertory of Gregorian chant and Renaissance style liturgies. He frequently performs solos with the San Francisco Bach Choir, including Bach’s Magnificat, B minor Mass, and various cantatas. He also appeared with the Bach Choir as the Evangelist in Schütz’s Christmas Oratorio. The San Francisco Classical Voice says, “tenor Dan Hutchings...performed with great sensitivity. Hutchings’ high clarion tenor is perfect for Bach’s music.”
Other recent appearances include: featured tenor in Haydn’s Paukenmesse, Mendelssohn’s Elijah, Laud to the Nativity by Respighi, and works by Charpentier with the early music ensemble Magnificat. He performs yearly at the Carmel Bach Festival, and was one of its four 2003 Virginia Best Adams Fellows.
A native of Long Island, New York, baritone Tim Krol performed and toured with Chanticleer, America’s premiere a cappella vocal ensemble, from 1991 to 2000. He can be heard on thirteen of that group’s recordings, including the Grammy Award-winning Colors of Love. Mr. Krol is a featured soloist on the world premiere recording (Dorian label) of Sir John Tavener’s Ikon of Eros, with the Minnesota Orchestra. He also sings the lead role of Jim on the critically acclaimed recording of David Conte’s chamber opera, The Gift of the Magi, on the Arsis label. Opera credits include The Ferryman in Benjamin Britten’s Curlew River; Harry or Larry in Elliot Carter’s What Next?; Jim Easton in David Conte’s The Dreamers; and Schaunard in Puccini’s La Bohème.
Tim is delighted to once again be singing with The San Francisco Bach Choir. As a concert and oratorio soloist, he has performed throughout the United States, including many of Bach’s Cantatas, St. John Passion (Jesus); Handel’s Messiah, Judas Maccabeus, Aci, Galatea e Polifemo; Haydn’s Theresienne Messe, Paukenmesse, Creation; Vivaldi’s Magnificat; Ralph Vaughan Williams’ Dona Nobis Pacem, Five Mystical Songs; Mozart and Fauré Requiems, Monteverdi’s Vespers of 1610, Samuel Barber’s Dover Beach, and the title role in Mendelssohn’s Elijah.
Soprano Marguerite Krull began her 2003-2004 season with a critically acclaimed Lyric Opera of Chicago debut as Cherubino. She continued her season with a National Symphony Orchestra debut in the title role in a semi-staged version of Ravel’s L’enfant et les sortilèges, under the direction of Leonard Slatkin. Her 2002-03 season included debuts in Lausanne, Bordeaux, Madrid, and Vienna in the title role of Martin y Soler’s La Capricciosa Corretta, with Christophe Rousset and Les Talens Lyriques, a role she then recorded for the Naïve record label to be released in January, 2004. Last season also included a German debut in Leipzig, in the title role of Melani’s L’Empio Punito, the first operatic treatment of the story of Don Juan. Her 2001-2002 season saw returns to Washington Opera as Despina in Così fan tutte and Baltimore Opera as Pamina in Die Zauberflöte. In the summer of that season, she returned to the Caramoor International Musical Festival to sing Desdemona in Rossini’s Otello, her Willow Song being hailed by Opera News as “the most finely shaded and shaped singing of the evening, for which the audience rewarded her with the highest compliment: awed silence.”
Miss Krull has sung leading roles with numerous opera companies including New York City Opera, Glimmerglass Opera , Austin Lyric Opera, Orlando Opera, Teatro Colòn in Bogotá, Opéra de Québec, and Berkshire Opera, in a wide variety of repertoire ranging from the Baroque to the 20th Century. Equally varied on the concert and oratorio stage, Miss Krull has sung works including Harbison’s Mirabei Songs with the New York Philharmonic, Barber’s Knoxville, Summer of 1915 with Richmond Symphony (IN), Bach’s St. Matthew Passion at the Brooklyn Academy of Music (staged by Jonathan Miller), Bach’s Magnificat and B Minor Mass with the Bethlehem Bach Choir, Mozart’s Mass in C Minor with the Buffalo Philharmonic, the Mozart Requiem with the Orlando Philharmonic, Mozart’s Exultate, jubilate and Mahler’s Fourth Symphony with Peoria Symphony, La Morte di San Giuseppe (Pergolesi) with the New York Collegium, and the Mozart Requiem with the Mid-America productions at Carnegie Hall. A native of Ann Arbor, Michigan, Miss Krull received her Bachelor of Music degree in Piano Performance from Peabody Conservatory and her Masters degree in Voice Performance from the State University of New York at Stony Brook. This season marks her first appearance with the SFBC.
The San Francisco Boys Chorus, founded in 1948 by Gaetano Merola and Madi Bacon as a resource for the San Francisco Opera, has grown into one of the Bay Area’s foremost musical organizations. Conductor Ian Robertson, well-known for his direction of the highly regarded San Francisco Opera Chorus, has directed the group since 1996, steadily building its membership to more than 165 participants in the San Francisco Division as well as in the newly opened East Bay Division. The Chorus has provided choristers for the San Francisco Opera, the San Francisco Symphony, the San Francisco Ballet, and other Bay Area orchestras and choruses. The Chorus also holds its own concerts twice a year including recent performances at Grace Cathedral, San Francisco. In addition, this Grammy Award Winning Chorus has been heard at a variety of civic events, churches, schools, and conventions, as well as on radio, television and other recordings. The Chorus’s two current CDs We’re On Our Way and Moving On have been released in the last three years. The Chorus’s talent has also been internationally acclaimed during its many national and international tours. In 1975, the Chorus made its premier appearance in Romania and has since performed in Alaska, Australia, Israel, England, Scotland, Wales, Russia, and the Far East.
