2020 BOVICELLI COMPETITION & COURSE

In 2020, the Schloss Weißenbrunn Stiftung (Weißenbrunn Castle Foundation) organised the first competition for singers on the diminution practices of the 16th and 17th centuries with 91 contributions from all over the world.
Selected participants were then granted a scholarship to continue working on their contribution together with overall six tutors. A second video presents the audible results of this four-week course. Compare and enjoy before and after!

 

2020 AWARD WINNERS

First Prize (3.000 Euro)
Jacob Lawrence
Second Prize (1.000 Euro)
Romain Bockler, Andrea Gavagnin, Monika Mauch
Bovicelli Special Award (3.000 Euro)
Ivo Haun de Oliveira
Bovicelli Young Talent Award (500 Euro)
Erika Tandiono

COMPETITION JURY

Jürgen Banholzer, Organ, harpsichord, singer, musicologist
Thomas Boysen, Lute, theorbo, Baroque guitar, Munich and Würzburg Music Academies Charles Daniels, Tenor
Josué Meléndez, Cornetto, recorder, diminution, Trossingen Music Academy
Catherine Motuz, Historic trombone, Schola Cantorum Basiliensis
Pia Praetorius, Conductor, music of the 15th to the 18th centuries, Head of the foundation Schloss Weißenbrunn Stiftung→ Evaluation Criteria Pdf

COURSE TUTORS

Ivo Haun, Basel
Ulrike Hofbauer, Schola Cantorum Basiliensis
Monika Mauch, Conservatoire de musique et de la danse, Strasbourg
Josué Meléndez, Hochschule für Musik Trossingen
Bettina Pahn, Hochschule für Künste Bremen
Pia Praetorius, Musikakademie der Schloss Weißenbrunn Stiftung
Sven Schwannberger, Schola Cantorum Basiliensis

Jacob Lawrence
C. de Rore, Angelus ad Pastores with diminutions by G. B. Bovicelli

Australia, *1992

Studies
Melbourne Conservatorium of Music
Schola Cantorum Basiliensis with Gerd Türk in his last year of a masters degree in voice, with a minor in historical improvisation

Website: www.jacob-lawrence.com (coming soon …)

Accompaniment: Elam Rotem, Organ

 

Ivo Haun de Oliveira
T. L. Victoria, Magi viderunt stellam with diminutions by I. Haun de Oliveira

Brazil, *1985

Studies
Schola Cantorum Basiliensis with Gerd Türk
Master classes with Andreas Scholl, Maria Cristina Kiehr, Margreet Honig, Richard Levitt, Adriana Fernandez, Dominique Visse und Nicolau de Figueiredo

Accompaniment: Christoph Anzböck, Organ

 

Erika Tandiono
O. di Lasso, Susanne un jour with diminutions by E. Tandiono

Indonesia, *1989

Studies
Melbourne Conservatorium of Music (Australia)
Since 2018 Hochschule für Künste Bremen, Alte Musik with Bettina Pahn

Website: www.erika-tandiono.de

Accompaniment: Maria Morózova-Meléndez, Organ

 

Romain Bockler
C. de Rore, Ancor che col partire with diminutions by G. Bassano

France

Studies
Conservatoire National Supérieur de Musique de Lyon

Website: www.romainbockler.com

Accompaniment: Marie-Domitille Murez, Triple Harp

 

Andrea Gavagnin
G. P. da Palestrina, Io son ferito with diminutions by G. B. Bovicelli

Italy, *1997

Studies
Conservatoire Royale in Brussels (currently)
Conservatorio Benedetto Marcello in Venice

Accompaniment: Maria Morózova-Meléndez, Organ

 

Monika Mauch
C. de Rore, Angelus ad Pastores with diminutions by G. B. Bovicelli

Germany, *1970

Studies
With Richard Wistreich in Trossingen, Jill Feldman in Paris, Rita Loving in München, Kai Wessel in Köln und Kimberley Brockman in St Gallen

Teaching
Conservatoire de musique et de la danse, Strasbourg

Website: www.monika-mauch.de

Accompaniment: Martin Ehrhardt, Organ

 

Tanja Obalski
C. de Rore, Ancor che col partire with diminutions by R. Rognoni

Germany, *1976

Studies
Hochschule für Musik und Theater in Hamburg (Flute)
Conservatorium van Amsterdam with Margreet Honig and Howard Crook
Master classes with Jill Feldman and Emma Kirkby

Website: www.tanjaobalski.nl

Accompaniment: Martin Ehrhardt, Organ

 

Tanja Obalski
C. de Rore, Ancor che col partire with diminutions by R. Rognoni

“For the new recording, I worked with a harpsicord player and not with the pre-recorded accompaniment, and, of course, this was almost the greatest change of all, since it gives you a lot more freedom.
Furthermore, I have tried to treat the written-out diminutions as ornaments and not to give them the character of a melody. I also sparingly added little ornaments. I made an effort to stay close to the text and the affect at all times, and to make sure the words could be clearly understood.
The course gave me valuable input and the impetus to literally add liveliness and colours to this sometimes very abstract musical practice.” Tanja Obalski

Accompaniment: Marijn Slappendel, Harpsichord

 

Agnes Coakley Cox
G. F. Sances, O bone Jesu

USA, *1986

Studies
Yale University, New Haven
Schola Cantorum Basiliensis, Hochschule für Musik, Basel with Frank Kelley, Nathalie Siebert, Evelyn Tubb, Richard Giarusso
Masterclasses with Emma Kirkby, Andreas Scholl, Margret Honig, Paul Triepels, Robert Toft
Coaches: Anthony Rooley, Bruce Dickey, Jesper Christensen

Website: www.agnescoakley.com

Accompaniment: Nathaniel Cox, Theorbo

 

Agnes Coakley Cox
G. F. Sances, O bone Jesu

“It was wonderful to have the opportunity to reconnect with Sven Schwannberger and work further on G. F. Sances’ piece “O bone Jesu.” While I did change and add to some of my ornamentation, in particular adding more trilli and a longer and more elaborate ornament in the final cadence, what we focused on most was creating interest by increasing the variety of dynamics, color, and tempo. Connecting with the text on a deeper level helped me to be more rhetorical, especially by varying the tactus more often. Through this process Nathaniel and I also improved our joint understanding of the piece and thus our ensemble.” Agnes Coakley Cox

Accompaniment: Nathaniel Cox, Theorbo

 

Silvia Bier
C. de Rore, Ancor che col partire with diminutions by G. B. Bovicelli

Germany, *1984

Studies
Musicology in in Saarbrücken and Paris
Teachers: David Todd (Musikhochschule Saarbrücken), Penelope Thorn (Germersheim) and Baroque singing with Isabelle Desrochers (Paris) and Nele Gramß (Hochschule für Kirchenmusik Bayreuth)

Accompaniment: Benno Elender, Theorbo

 

Silvia Bier
C. de Rore, Ancor che col partire with diminutions by G. B. Bovicelli

“During the two very instructive tutorials with Sven, we worked less on vocal or technical details, but rather on my approach to the work. Since I am a more technical singer, this was about finding a less “academic” approach. We talked a lot about the language of affect and about an attitude towards the paradox of a written-out improvisation. Using an approach which focused more on the affect content, I had a new look at the madrigal. The before/after difference – as Sven supposed right at the beginning – therefore is more a matter of nuances.” Silvia Bier

Accompaniment: Sven Schwannberger, Harp

 

Aija Veismane
G. F. Sances, O bone Jesu

Latvia, *1989

Studies
Jāzeps Vītols Latvian Academy of Music with Aira Rūrāne
Master classes with P. Esswood, L. U. Mortensen, G. Anders, K. Wessel

Website: www.aijaveismane.com

Accompaniment: Gerda Jerjomenko

 

Aija Veismane
G. F. Sances, O bone Jesu

“From the Bovicelli course, I personally got more ideas, how to ornament the cadences with the course materials from the tutors. What was unexpected for me, that the ornamentation was used much, much more in the past, than we do it today. Over all the lessons were very inspiring and I’m very thankful that I could be a part of this course!” Aija Veismane

Accompaniment: Gertruda Jerjomenko, Organ

 

Christina Kay
G. F. Sances, O bone Jesu

USA, *1989

Studies
University of Wisconsin-Madison
Gettysburg College/Sunderman Conservatory
American Bach Soloists Academy, San Francisco

Website: www.christinakaysoprano.com

Accompaniment: Christa Patton, Harp

 

Christina Kay
G. F. Sances, O bone Jesu

“Working with Ulrike Hofbauer was fantastic! She encouraged me to ornament twice as much as I had before. At her advice, I slowed down certain sections to focus more on the text, utilized a wider palette of vocal colors and effects, and tried to make repeated words pop with different layers of meaning (“miserere” and “salva” in particular). Transposing the piece up a half step from my first version also allowed for a slightly brighter, more pleading vocal tone throughout. I found this approach much more fun and interesting, both in practice and in performance. I also discovered that I needed to work harder to keep a consistent vocal technique, due in particular to all the vocal effects and nuances I was trying to apply (still a work in progress!). I’m excited to continue applying everything I learned over the past few weeks. Thank you to the Schloss-Weißenbrunn Stiftung, and to all the coaches and presenters for this amazing opportunity!” Christina Kay

Accompaniment: Christa Patton, Historical Harp

 

Hannah De Priest
A. Brunelli, O quam suavis

USA, *1991

Studies
McGill University (vocal performance, emphasis in early music)
Case Western Reserve University (historical performance practice)
William Jewell College

Coaches​: Michael Beattie, Jory Vinikour, Stephen Hargreaves, Suzy LeBlanc, Hank Knox
Teachers​: Joanne Kolomyjec, Ellen Hargis, Dean Southern, Sarah Tannehill

American Bach Soloists Academy – San Francisco, CA
Carmel Bach Festival – Virginia Adams Best Vocal Fellow
Boston Early Music Festival – Young Artist Training Program

Website: www.hannahdepriest.com

Accompaniment: Lucas Harris (Toronto, CA)

 

Hannah De Priest
A. Brunelli, O quam suavis

“I am so grateful to the Schloss Weißenbrunn Foundation for creating this opportunity for participants to continue to learn about 17th century singing and ornamentation following the Bovicelli Competition earlier this year. I’ve learned so much through the organized lectures and most of all through my sessions with Dr. Sven Schwannberger. The chief differences between my first video and this second version are: the addition of more “cut & paste” ornaments, more accenti and trillos throughout, different tempo for the 3/2 section, and a more nuanced and varied approach to the diminutions (both written-in and added.) I know I still have much to learn about this repertoire and attendant singing techniques and I look forward to continuing my education through study of treatises and listening to my fellow course participants’ new videos!” Hannah De Priest

Accompaniment: Brandon Acker, Theorbo

 

Rain Saran Senavinin
A. Brunelli, O quam suavis

Thailand, *1989

Studies
McGill University, Schulich School of Music, Montréal, QC, Canada Early music singing, currently)
Silpakorn University, Bangkok, Thailand
Teacher and Coaches: Dominique Labelle, Stephen Hargreaves, Suzie Leblanc, Daniel Taylor, Stefan Sanchez

Accompaniment: Thomas Boysen, Baroque Guitars

 

Rain Saran Senavinin
A. Brunelli, O quam suavis

“With the help of Sven Schwannberger, I could express the text more using dynamic contrast and I could sing with better phrasing with ease. He also helped me understand the importance of using small graces that could bring interesting elements into the piece without overcomplicating.” Rain Saran Senavinin

Accompaniment: Thomas Boysen, Baroque Guitar

 

Alina König Rannenberg
G. F. Sances, O bone Jesu

Germany, *1996

Studies
Hochschule für Musik Nürnberg with Prof. Elisabeth Kovacs
Yosemeh Adjei (Baroque singing)

Accompaniment: Jürgen Banholzer, Harpsichord

 

Alina König Rannenberg
G. F. Sances, O bone Jesu

“I looked much more intensively at the various treatises which we got to know during the course. This has helped me to improve and/or correct my ornamentation. I also understand a lot more of the meaning behind the diminutions and about the freedom you have as a singer of those works.
The tutorials in the course of the scholarship have greatly helped me, so that now I can deal with this type of work much better, and it motivated me to take an even closer look at the various treatises and composers.” Alina König Rannenberg

Accompaniment: Stefan Haas, Theorbo

 

Raphael Höhn
A. Brunelli, O quam suavis

Switzerland, *1984

Studies
Königlichen Konservatorium in Den Haag with Rita Dams, Peter Kooij, Michael Chance und Jill Feldman (early music)
Zürcher Hochschule der Künste with Scot Weir
Masterclasses with Andreas Scholl, Gerd Türk, Mariëtte Witteveen und Jean-Paul Fouchécourt.

Website: www.raphaelhoehn.ch

Accompaniment: Sam Chapman, Theorbo

 

Raphael Höhn
A. Brunelli, O quam suavis

“We had exciting discussions with Josué about the art of ornamentation in general. He showed us many ways and exercises how you can increase your own vocabulary of ornaments using sources such as Francesco Rognoni’s “Selva de varii passaggi“. An important hint by Josué was that the ornaments should always be sung with grace. To begin with, this for me as a singer was in stark contrast to singing with good articulation (particularly in reverberant spaces). By quite a lot of practicing I tried to come ever closer to singing controlled, but free and elegant ornaments, but did not succeed in all places yet. Josué also encouraged us to change printed music and to change cadences – in particular final cadences: to lengthen them and also to extend them in the continuo part. An attempt to do this can be heard at the end of our contribution. Beside this, we made some smaller changes, such as anticipatione della sillaba, correct intonatii and tirata.” Raphael Höhn

Accompaniment: Sam Chapman, Theorbo

 

Sarah M. Newman
G. F. Sances, O bone Jesu

USA, *1984

Studies
Juilliard School and the Manhattan School of Music in New York City

Website: www.sarahmnewman.com

Accompaniment: Jürgen Banholzer, Harpsichord

 

Sarah M. Newman
G. F. Sances, O bone Jesu

“There is a lot more flexibility that one has when singing with a live instrument versus a pre-recorded track! I tried to convey the text of the piece more and separate repeated words such as “Miserere” and “Jesu” as Monika Mauch discussed with me in our private lessons. I also added a proper tirata at the end and used a cadence diminution by Johann Andreas Herbst.
This course was a great introduction to the wonderful art of diminution. When it all comes down to it, it’s all about expression and I’m hoping that the more I get comfortable with the practice of diminution, the more fluid and natural it will come. I look forward to delving more into this topic and to using it more in my singing!” Sarah M. Newman

Accompaniment: Chris Hauser, Organ

 

Lucia Boisserée
H. Tarditi, Plaudite Cantate

Germany, *1992

Studies
Musikhochschule Nürnberg with Rebecca Martin
Stipendiatin der “Egidier Musikwerkstatt” with Pia Praetorius (2017)

Website: www.staatstheater-nuernberg.de/kuenstler/lucia-boisseree

Accompaniment: Wiebke Weidanz, Harpsichord

 

Lucia Boisserée
H. Tarditi, Plaudite Cantate

“What I learnt from Bettina and in the course, but have not always managed to implement in this version: to use my breath right from the beginning of the phrase in such a purposeful manner that the meaning of the text becomes clearer and the long ornaments may be sung in one breath. In addition, Bettina encouraged me to continue trying out things and experimenting with ornaments that might be possible. Here, again, unfortunately I was not courageous enough to do some of them in this recording.” Lucia Boisserée

Accompaniment: Diego Chacón, Theorbo

 

Julia Hinger
H. Tarditi, Plaudite Cantate

Germany, *1995

Studies
Staatlichen Hochschule für Musik Trossingen with Prof. Melanie Diener (singing)
Staatlichen Hochschule für Musik Trossingen (Jazz and popular music)

Website: www.juliahinger.com

Accompaniment: Eckhart Böhm

 

Julia Hinger
H. Tarditi, Plaudite Cantate

“In my new video, I have tried to create longer units/phrases and not to do my trills from the change note above. In addition, I included several new ornaments and worked on the expression of the work through different vocal colours and text articulation. The course scholarship and the tutorial with Josué Melendez allowed me to learn a lot of new things about diminutions and ornamentation, as well as historical performance practice and vocal lines in this type of music – which so far I had not been familiar with to this extent.” Julia Hinger

Accompaniment: Eckhart Böhm, Organ

 

Laia Blasco Lòpez
C. de Rore, Ancor che col partire with diminutions by G. B. Bovicelli

Italy, *1989

Studies
Scuola Civica Claudio Abbado in Mailand with Roberto Balconi und Sonia Tedla (Early music, currently)
Folkwang Universität der Künste in Essen with Maria Jona (Medieval music)
Musikhochschule in Münster(recorder)

Accompaniment: Martin Erhardt, Organ

 

Laia Blasco Lòpez
C. de Rore, Ancor che col partire with diminutions by G. B. Bovicelli

“In my new version, that I worked with Ivo, I tried to feel the relax from my body to connect this with the musical sentences. I worked too on the little details of the Grazie and I discovered a new world of colors and freedom. I think my new version has more freedom and peace than the first and I think I tell the text and words better. What I discovered about myself in this course is that I’m able to look for the freedom in this repertoire in the phrases and the Grazie and that I can have my own colors as a singer, but I discovered that I have a lot of things to learn and if I want to sing this repertoire I have to learn all the little details in this music and then adapt them to myself.” Laia Blasco Lòpez

Accompaniment: Priscila Gama (Brazil), Triple baroque Harp

 

Franziska Schumacher
H. Tarditi, Plaudite cantate

Germany, *1993

Studies
Staatliche Musikhochschule Trossingen with Gundula Anders and Jan Van Elsacker (currently)
Sibelius Academy in Helsinki
Felix Mendelssohn-Bartholdy Conservatory in Leipzig

Accompaniment: Jürgen Banholzer, Harpsichord

 

Franziska Schumacher
H. Tarditi, Plaudite Cantate

“As can be heard, this version is still in the rehearsal stage, since the wonderful suggestions made by Monika Mauch require longer-term practicing. But even in just two tutorials with her, I have been able to acquire a new ease in the diminutions and to experience a desirable mix of chest and head voice/falsetto.” Franziska Schumacher

Accompaniment: Dieter Weitz, Harpsichord

 

Gudula Kinzler
G. F. Sances, O bone Jesu

Germany, *1966

Studies
Hochschule für Musik und Theater, München

Accompaniment: Jürgen Banholzer, Harpsichord

 

Gudula Kinzler
G. F. Sances, O bone Jesu

“I found out about the existence of a large number of written sources from around 1600 which contain information about ornamentation, comprising also music examples. My tutor gave me concrete examples of how and where to find suitable ornaments and “fit them” into the work I want to sing. I also was given suggestions for vocal and musical implementation. After the first tutorial, I knew that I can/should still acquire a singing technique for this type of art of ornamentation, which would require regular practicing and – at least on my part – would take more than 4 weeks …” Gudula Kinzler

Accompaniment: Jürgen Banholzer, Harpsichord

 

Naoko Kamiyama
G. F. Sances, O bone Jesu

Japan, *1984

Studies
Staatliche Hochschule für Musik Trossingen (early music singing since 2018)
Tokyo College of Music
Kunitachi College of Music

Teaching
Yamaha Music School in Akiruno-center

Accompaniment: Barbara Adamczyk, Organ

 

Naoko Kamiyama
G. F. Sances, O bone Jesu

“Through this course I learnt that there are so many possibilities how and where you can add diminutions. This time I tried to ornament all cadences and places where you can add diminutions in a variety of ways.” Naoko Kamiyama

Accompaniment: Barbara Adamczyk, Organ

 

Mara Maria Möritz
G. G. Kapsberger, Parce mihi

Germany, *1996

Studies
Hochschule für Musik Nürnberg with Prof. Susanne Kelling and Prof. Marcelo Amaral
Masterclasses with Sibylla Rubens, Robert Gambill, Sarah Maria Sun, Dame Felicity Lott oder Christiane Iven

Website: www.maramaria-moeritz.com

Accompaniment: Thomas Boysen, Theorbo

 

Mara Maria Möritz
G. G. Kapsberger, Parce mihi

“What I have changed for my second Version of “Parce mihi, Domine” by G.G. Kapsberger is first of all the lower key for a clearer articulation of the vowels. Then, I have slowed down the tempo in fact that it is a piece composed for a (little) church. I have also tried to work on the meantone temperament. I have created several graces where they have to be, but also wanted to figure out my own variation of some graces. The right measurement and use of tirate and exclamatione was important as well. Furthermore, I tried to kind of let go the phrases and not lead them with force until the very end (like in opera).
One of the biggest topics with my mentor Josué had been the trilli (or however you want to call them). The mind-changing moment for me occurred during the second zoom conference: you can’t get this flexibility in old music with the same support you need to sing Verdi. And, of course, there’s another body feeling when you sing the coloraturas in Rossini or Bach. But in my actual stage of learning I’ll be thinking of a very different way to support the Kapsberger in comparison to e.g. Rossini. To be honest: until then it I had not even considered the possibility to decrease my support. Now it’s possible to let the trilli flow. But this other or decreased way of supporting made me lose so much control of my voice and intonation etc. So this recording is not satisfying for me, but it is a stage on my way to sing Kapsberger.

In addition, I didn’t have the possibility to sing in the Tetzel-Kapelle with the professional equipment twice, so the framework of the two recordings is very different.” Mara Maria Möritz

Accompaniment: Thomas Boysen, Theorbo

 

Baiba Urka
G. F. Sances, O bone Jesu

Latvia, *1988

Studies
Schola Cantorum Basiliensis, Basel (Advanced Vocal Ensemble Studies AVES since 2019)
Staatliche Hochschule für Musik Trossingen (Early music singing)
Latvian Academy of Music, Riga (Early music singing and choral conducting)
Porto Music, Arts and Theatre Academy (Early music singing)
Masterclasses with aquela Andueza, Deborah York, Fernando Guimaraes, Anna Simboli, Frank Woerner, Annika Ollinkari, Marek Rzepka, and Dirk Snellings

Website: www.baibaurka.com

Accompaniment: Jürgen Banholzer, Harpsichord

 

Baiba Urka
G. F. Sances, O bone Jesu

“In the new version of Sances’ ¨O bone Jesu¨ I was trying to integrate the ideas that were discussed in the lectures of the Bovicelli course as well as recommendations of my tutor Bettina Pahn. On the one hand, I was working on the technical side of the piece trying to emphasize the text clarity and the meaning of it integrating more graces, ornaments and diminutions; on the other hand, I was working on vocal sound quality so that both things can enrich each other. When I was recording this video, my aim was to reach a calmer interpretation, that would come closer to spoken language than to singing.” Baiba Urka

Accompaniment: Miguel Bellas, Theorbo

 

Romina De la Fuente
H. Tarditi, Plaudite Cantate

Chile, *1991

Studies
Universidad Católica de Valparaíso
Staatliche Hochschule für Musik Trossingen with Gundula Anders

 

Romina De la Fuente
H. Tarditi, Plaudite Cantate

“This time I enjoyed the luxury of recording in a good space and with a real keyboard player.
Thanks to Ivo Haun, I was able to find out that I could be even freer when singing, and this also means that I can change the rhythm of phrases and words, and that is what I did this time.
On the one hand I sang part A a little bit more slowly, but that permitted me to add more diminutions. On the other hand, I maybe sang part B a little faster, but it works much better this way. I had a lot of fun singing!” Romina De la Fuente Villarroel

Accompaniment: Dieter Weitz, Harpsichord

 

Birgit Stöckler
A. Brunelli, O quam suavis

Austria, *1988

Studies
At Grazer Kunstuniversität with Tom Sol, KS Joanna Borowska-Isser, Joseph Breinl and Robert Heimann
Exchange Semester at Royal Conservatoire of Music in Den Haag

Website: www.birgitstoeckler.com

Accompaniment: Thomas Boysen, Baroque Guitars

 

Birgit Stöckler
A. Brunelli, O quam suavis

“In this new version we looked especially at the text and tried to bring it across more clearly through our choice of tempo and character.” Birgit Stöckler

Accompaniment: Lisa Rebol, Harpsichord

 

Emily Yocum Black
H. Tarditi, Plaudite Cantate

USA, *1992

Studies
University of Louisville

Kentucky Opera; Apprentice Studio Artist, 2016–2017
Vocal Fellow, Fall Island Vocal Arts Seminar, 2020 (postponed to 2021 due to COVID-19)
Festival Artist with the Sherrill Milnes VOICE Programs
American Bach Soloists Academy
Tafelmusik Baroque Summer Institute
SongFest at the Colburn School; Professional Fellow and Schubert Fellow & Young Artist

Website: www.emilyyocumblack.com

Accompaniment: Jürgen Banholzer, Harpsichord

 

Emily Yocum Black
H. Tarditi, Plaudite Cantate

“One of the most interesting things I discovered through the Bovicelli course was the emphasis on ‘grace’ in this style of singing. I have a strong dramatic background so I’ve always felt somewhat confident in my ability to convey emotion through singing, but the challenge to convey all the correct emotion while maintaining the highest level of grace and subtlety through the diminutions was a wonderful challenge. I know that I have much more to discover in this style but I am so thankful to Ivo Haun, my instructor, and Pia Praetorius for allowing me this opportunity!” Emily Yocum Black

Accompaniment: Jürgen Banholzer, Harpsichord

 

Molly Netter
G. F. Sances, O bone Jesu

Canada / USA

Studies
Yale School of Music, Yale Institute of Sacred Music
Teachers: James Taylor, Ted Taylor, Sherezade Panthaki, Kendra Colton, Gerald Crawford

Website: www.mollynettervoice.com

Accompaniment: Jürgen Banholzer, Harpsichord

 

Molly Netter
G. F. Sances, O bone Jesu

“First of all, I must say that this competition and scholarship could not have come at a better time – in today’s uncertain and quarantined world, engaging with the Bovicelli competition community brought joy and creative inspiration into my musical life. It was an incredible opportunity to have access to these coaches at the top of this field, and by using zoom as a platform, the brilliant creators of the Bovicelli competition+scholarship generously made it possible for me to participate, even from across the Atlantic. Thank you very much!

Josué was an absolute delight to work with! He was very kind, informative, encouraging, and thorough in our coachings. He encouraged me to add many more diminutions, especially those that suit my voice comfortably. For example, he said that if I can execute a rapid trillo with ease, I should put them everywhere! In addition to sharing primary source materials from Bovicelli and Rognoni for me to consult for “copy-paste” opportunities, Josué also carefully went through my recording measure by measure and gave me instruction and guidance on the ornaments I had chosen, some of which he validated and others that he encouraged me to change. He also reminded me that I should always be able to credit and cite the historical precedence for ornaments that I chose.

Overall, working with Josué refreshed my love for the beauty of this music, my curiosity to research primary source documents again, to try my hand at executing all of Bovicelli’s challenging diminutions at various speeds, and to stretch my own mental and vocal limitations of what I conceive of as im/possible. And from the masterclasses, I learned about the holistic concept of “Grace” in the 16th and 17th centuries, and to seek it in everything from architecture to physical posture and of course, singing.” Molly Netter

Accompaniment: Jürgen Banholzer, Harpsichord

 

Adriàna Kalafszky
C. de Rore, Ancor che col partire with diminutions by G. B. Bovicelli

Hungary, *1987

Studies
Classical singing at the Liszt Academy in Budapest
Historical singing at the early music department of the Hochschule für Musik und Theater Felix Mendelssohn Bartholdy, Leipzig and historical improvisation with Martin Erhardt and Jostein Gundersen
One term in Canada, British Columbia with Nancy Argenta
Diminution master class of Robert de Bree at the Liszt Academy, Budapest

Website: www.adriana-kalafszky.com

Accompaniment: N. N.

 

Adriàna Kalafszky
C. de Rore, Ancor che col partire with diminutions by G. B. Bovicelli

“Even that I have a master degree in early music performance, diminutions were not in the main focus of my training. During the Bovicelli course I learned more about the aesthetics of the time in which the genre of diminution was born, and the extreme importance of the deliverance and declamation of the text both musically and through the facial expressions and movements – this knowledge helped me a lot in the interpretation of diminutions. I also learned some technical tricks to practice the ornamented lines. Besides, in the new video I tried to sing the diminution by heart and added the special “Bovicelli figure” with the trillo to my performance.” Adriàna Kalafszky

Accompaniment: István Kónya, Arciliuto

 

Tim Braithwaite
G. P. da Palestrina, Io son ferito with diminutions by G. B. Bovicelli

Netherlands, *1992

Studies: Master in Early Music Theory Het Koninklijk Conservatorium, Den Haag

 

Tim Braithwaite
G. P. da Palestrina, Io son ferito with diminutions by G. B. Bovicelli

“This second recording demonstrates some noticeable differences from my first submission, perhaps the most immediate of which being my inclusion of a greater variety of vocal inflections or ‘graces’ documented in contemporaneous sources. My choice to omit these from the first recording was due to a, perhaps unwarranted, sense of caution when submitting a video to be preserved for posterity on a public platform. If I were to be more bold in subsequent performances, I might engage in some practical speculation as to the nature of the less clearly described ornamental figures hinted at by authors such as the virtuoso cornettist, Luigi Zenobi. In addition to a more colourful approach to ornamentation, I attempted to engage with the declamatory nature of the verse itself, including a wider variety of changes in vocal timbre, several instances of deliberately ‘non-vocal’ effects, as well as a generally less ethereal vocal sound. Besides this, I continued my efforts to engage with some of the comments on vocal aesthetics hinted at in sixteenth and early seventeenth-century sources such as those described by Giovanni Camillo Maffei or Ludovico Zacconi, and indeed made every effort to become aware of those elements of my ‘usual’ vocal practice, as a falsettist ‘countertenor,’ which I consider most likely to have been derived from later innovations in vocal sound and style.” Tim Braithwaite

 

Matthias Dähling
G. A. Rigatti, O magnum sacramentum

Germany, *1995

Studies:                                                                                                                                                                               Classical singing at the Hochschule für Musik und Theater Hamburg, Teachers: Mark Tucker (current, HfMT Hamburg), Ulla Groenewold (current)

Masterclasses: Michael Chance, Daniel Taylor, Deborah York, Lynne Dawson, Ian Partridge, Philippe Jaroussky

Website: www.matthiasdaehling.com

Accompaniment: Martin Ehrhardt, Organ

 

Jole De Baerdemaeker
C. de Rore, Ancor che col partire with diminutions by G. B. Bovicelli

Belgium, *1994

Studies
Conservatorium Maastricht
The Royal Concervatoire of The Hague
Mozarteum University in Salzburg with Prof. Ulrike Hofbauer (Baroque singing)
Other teachers: Evelyn Tubb, Dorothee Mields, Sibylla Rubens, Peter Kooij, Lenie van den Heuvel, Frans Kokkelmans, Jill Feldman, Pascal Bertin and Peter Van Heyghe

Website: www.joledebaerdemaeker.eu

Accompaniment: Martin Erhardt, Organ

 

Lara Morger
H. Tarditi, Plaudite cantate

Schweiz, *1992

Studies
Hochschule für Musik Freiburg (singing) with Prof. Dorothea Wirtz
Hochschule für Musik und Theater „Felix Mendelssohn Bartholdy“ (Baroque Bassoon)
Singing with Prof. Marek Rzepka and Prof. Jeanette Favaro-Reuter

Accompaniment: David Erzberger

Location of receipton: Museum Bruder Klaus Sachseln

 

Marina Szudra
G. F. Sances, O bone Jesu

Germany, *1983

Studies
Hochschule für Musik Detmold
Hochschule für Künste Bremen with Prof. Gabriele Schreckenbach and Prof. Dr. Katharina Rössner-Stütz
Masterclasses with Krisztina Laki, Gemma Bertagnolli, Franz Lukasovsky, Thomas Hampson and Robert Hollingworth (I Fagiolini), Peter Phillips (Tallis Scholar Singers) und den King’s Singers

Teaching
Lectureship for Early music singing at Hochschule für Künste Bremen (2013–2014)
Akademie für Darstellende Kunst Bayern (2017–2020)
Universität Regensburg in der Fakultät Musikpädagogik (2020)

Website: www.marina-szudra.de

Accompaniment: Jürgen Banholzer, Harpsichord

 

Hannah Ely
H. Tarditi, Plaudite Cantate

“The biggest difference between my two versions is the tempo. Although it is an upbeat piece, slowing down the tempo (a lot!) allowed for more diminutions and clearer text as well as many more trillos and gruppos which suited the style. The course gave me more confidence to pull the tempo around in different sections and even for small phrases so that the composed diminutions had a more natural shape.” Hannah Ely

Accompaniment: Stefan Steinemann, Organ

 

Florencia Menconi
C. de Rore, Ancor che col partire with diminutions by G. dalla Casa

Argentina, *1987

Studies
Schola Cantorum Basiliensis, with Rosa Domínguez
Conservatory of Music Manuel de Falla in Buenos Aires
Important impulses from Margreet Honig, Camila Toro and Ulrich Messthaler

Website: www.florenciamenconi.com

Accompaniment: Guilherme Barroso, Lute

 

Carlotta Colombo
C. de Rore, Ancor che col partire with diminutions by G. B. Bovicelli

Italy, *1992

Studies
Conservatorio Giuseppe Verdi in Como (Opera singing)
Università degli Studi di Milano (Philosophy)
Masterclasses with Emma Kirkby, Evelyn Tubb, Claudio Cavina, Paolo Beschi and Michael Fields

Website: www.carlottacolombo.com

Accompaniment: Martin Ehrhardt, Organ

 

Alice Borciani
G. F. Sances, O bone Jesu

Switzerland

Studies
Schola Cantorum Basiliensis with Gerd Türk
“Institut A. Peri” in Reggio Emilia (Trumpet and Singing)

Website: www.aliceborciani.it

Accompaniment: Elam Rotem, Harpsichord

 

Elijah S. McCormack
A. Brunelli, O quam suavis

USA, *1994

Studies
Indiana University (Early Music Voice)
with Steven Rickards, Sylvia Stoner-Hawkins

Website: www.elijahmccormacksoprano.com

Accompaniment: Thomas Boysen, Baroque Guitars

 

Sybilla Elsing
H. Tarditi, Plaudite cantate

Germany, *1996

Studies
Folkwang Universität der Künste Essen

Informations: www.kammeroper-koeln.de

Accompaniment: Alexander von Heißen, Hapsichord

 

Ivo Haun de Oliveira
C. de Rore, Angelus ad Pastores with diminutions by G. B. Bovicelli

Brazil, *1985

Studies
Schola Cantorum Basiliensis with Gerd Türk
Master classes with Andreas Scholl, Maria Cristina Kiehr, Margreet Honig, Richard Levitt, Adriana Fernandez, Dominique Visse und Nicolau de Figueiredo

Accompaniment: Christoph Anzböck, Organ

 

Franziska Fait
G. F. Sances, O bone Jesu

Germany, *1997

Studies
Robert Schumann Hochschule Düsseldorf with Prof. Michail Lanskoi
Folkwang Universität der Künste in Essen with Frau Prof. Rachel Robins
Hochschule für Musik Karlsruhe with Prof. Hanno Müller-Brachmann (from SS 2020)

Website: franziska-fait.com

 

Sarah Coffman
G. P. da Palestrina, Io son ferito with diminutions by G. B. Bovicelli

USA, *1994

Studies
Lawrence Universityin Appleton, Wisconsin with Steven Spears
Case Western Reserve University with Peter Bennet (Historical Performance Practice)

Teaching
Teaching Assistant, MUEN 395: Medieval and Renaissance Ensembles
Lecture Recital: “Petrucci’s ‘Justiniane’ as Intabulation: Elaborate Vocalism at the Birth of Music Printing”
Guest Lecture Engagement: “Fun with Historical Notation: The Neumes of St. Gall and the Ars Subtilior”

Accompaniment: Maria Morózova-Meléndez, Organ

 

Yohan Kim
A. Brunelli, O quam suavis

South Korea, *1994

Studies
College of Music, Seoul National University with Yonghoon Lee
Hochschule für Musik und Theater Hamburg with Mark Tucker

Accompaniment: Thomas Boysen, Baroque Guitars

 

Jesùs Rodil
C. de Rore, Ancor che col partire with diminutions by R. Rognoni

Spain, *1986

Studies
Piano, Trumpet, Composition, Choral Conducting (A Coruña)
Harpsichord (Bologna)
Singing (Paris)

Accompaniment: Martin Ehrhardt, Organ

 

Valeria Mignaco
G. P. da Palestrina, Io son ferito with diminutions by G. B. Bovicelli

Argentina / Netherlands, *1975

Studies
Royal Conservatory in The Hague
Masterclasses with Jill Feldman, Margreet Honig, Max van Egmont, Carolyn Watkinson and Elly Ameling

Teaching
Guest teacher Baroque Singing at the Conservatorium van Amsterdam

Website: www.valeriamignaco.com

Accompaniment: Maria Morózova-Meléndez, Organ

 

Erika Tandiono
C. de Rore, Angelus ad Pastores with diminutions by G. B. Bovicelli

Indonesia, *1989

Studies
Melbourne Conservatorium of Music (Australia)
Since 2018 Hochschule für Künste Bremen, Alte Musik with Bettina Pahn

Website: www.erika-tandiono.de

Accompaniment: Lisa Bork, Organ

 

Tobie Miller
G. P. da Palestrina, Io son ferito with diminutions by G. B. Bovicelli

Canada, *1981

Studies
McGill University Montréal (recorder)
Schola Cantorum Basiliensis (recorder and singing)
Teachers: Dominik Vellard, Sharon Weller, Monika Mauch

Teaching:
Schola Cantorum Basiliensis (recorder)

Website: www.tobiemiller.net

Accompaniment: Maria Morózova-Meléndez, Organ

 

Maria Candela Scalabrini
C. de Rore, Ancor che col partire with diminutions by G. B. Bovicelli

Argentina, *1979

Studies
“Alberto Ginastera” Conservatoire Buenos Aires (Singing and Traverse Flute)
Ancient Musik Institute of the International Accademy of Musik in Milan with M° Cristina Miatello and M° Roberto Balconi (“Marco Fodella” scholarship)
Master classes with Gabriel Garrido, Kees Boeke, Pedro Memelsdorff, Monique Zanetti, Eduardo Egüez, Joseph Cabré, Roberta Invernizzi, Sergio Foresti, Rosa Dominguez, Deda Cristina Colonna, Leonardo Garcia Alarcón

Accompaniment: Martin Erhardt, Organ

 

Irina Firouzi
G. F. Sances, O bone Jesu

Germany, *1983

Studies
Hochschule für Musik in Nürnberg with Prof. Arno Leicht
Mozarteum in Salzburg with Prof. Norbert Prasser
Masterclasses with Francisco Araiza, Jochen Kowalski, Ingrid Kremling

Website: www.irina-firouzi.de

Accompaniment: Jürgen Banholzer, Harpsichord

 

Emily Kugel
B. Barbarino, In te domine speravi

France, *1999

Studies
Conservatoire de Strasbourg with Marie-Madeleine Koebele and Monika Mauch
Masterclasses with Ulrike Hofbauer

Accompaniment: Jürgen Banholzer, Harpsichord

 

Emily Kugel
B. Barbarino, Sancta Maria

France, *1999

Studies
Conservatoire de Strasbourg with Marie-Madeleine Koebele and Monika Mauch
Masterclasses with Ulrike Hofbauer

Accompaniment: Jürgen Banholzer, Harpsichord

 

Veronika Mair
G. F. Sances, O bone Jesu

Austria, *1996

Studies
Schola Cantorum Basiliensis with Ulrike Hofbauer (from 2020)
Mozarteum Innsbruck with Maria Erlacher-Forster
Masterclasses with Konrad Jarnot, Eva Lind, Karlheinz Hanser, Gabriele Lechner, Vesselina Kasarova und Kurt Widmer

Accompaniment: Jürgen Banholzer, Harpsichord

 

Lisa Orthuber
A. Brunelli, O quam suavis

Germany, *1996

Studies
Musikhochschule Nürnberg with Iride Martinez and Prof. Siegfried Jerusalem (currently)
Masterclasses with Deborah York, Sarah Maria Sun und Christoph Prégardien

Accompaniment: Diego Chacon

 

Julia Sophie Hagenmüller
A. Brunelli, O quam suavis

Germany, *1990

Studies
Robert Schumann Hochschule Düsseldorf
Hochschule für Musik und Darstellende Kunst Frankfurt
Masterclasses with Dorothee Mields, Jörg Dürmüller, Simone Kermes

Accompaniment: Thomas Boysen, Baroque Guitars

 

Maria Altadill
H. Tarditi, Plaudite cantate

Spain

Studies
Schola Cantorum Basiliensis with Richard Levitt
Conservatorio de Tarragona
Masterclasses with A. Marcon, J. A. Bötticher, C. Banchini, O. Ghiglia, S. Azzolini

Accompaniment: Jürgen Banholzer, Harpsichord

 

Roberta Szklenàr
A. Brunelli, O quam suavis

Hungaria

Studies
Schola Cantorium Basiliensis (Renaissance-Romantic Music-Voice since 2019)
Liszt Ferenc Academy of Music (Teacher, Musicology)

Accompaniment: Thomas Boysen, Baroque Guitars

 

Ellen Torrie
H. Tarditi, Plaudite cantate

Canada, *1996

Studies
Early Music performance at McGill University (from September 2020)
Studied voice under the direction of Paula Rockwell and Jason Davis
Lunenburg Academy of Music Performance participant

Accompaniment: Jürgen Banholzer, Harpsichord

 

Anne Schneider
C. de Rore, Angelus ad Pastores with diminutions by G. B. Bovicelli

Germany, *1982

Studies
Musikhochschule Weimar with Barbara Ebel and Siegfried Gohritz
Additional studies in early music with Dr. Rebecca Stewart und Prof. Maurice van Lieshout
Masterclasses with Jessica Cash, Peter van Heyghen, Stephan Mai und Sigiswald Kuijken.

Website: www.anneschneider.org

Accompaniment: Peter Kranefoed, Organ

 

Eric Brenner
B. Barbarino, Sancta Maria

USA

Website: www.ericsbrenner.com

Accompaniment: Jürgen Banholzer, Harpsichord

 

Eric Brenner
B. Barbarino, In te Domine speravi

USA

Website: www.ericsbrenner.com

Accompaniment: Jürgen Banholzer, Harpsichord

 

Eliza Jane Cassey
H. Tarditi, Plaudite cantate

Canada, *1989

Studies
University of Huddersfield, UK
University of Toronto, Canada
Research Assistant and Editor Toronto, Ontario
Teaching Assistant, University of Toronto

Accompaniment: Jürgen Banholzer, Harpsichord

 

Sreten Manojlovic
G.F. Sances, Jesu dulcis memoria

Serbia, *1989

Studies
University of Music and Performing Arts in Vienna with Sebastian Vittucci
Additional guidance from Carol Blaickner-Mayo
Belgrade Baroque Academy and the New Belgrade Opera with Marijana Mijanović and Predrag Gosta

Website: www.sretenmanojlovic.com

Accompaniment: Thomas Boysen, Theorbo, Lute, Baroque Guitar

 

Andrey Akhmetov
G. F. Sances, Jesu dulcis memoria

Russia, *1986

Studies
Saint Petersburg with Nikolai Dumtzev
Kölner Musikhochschule with Kai Wessel
Masterclasses with Jelena Obraszowa, Matti Palm, Dame Emma Kirkby, Peter Kooij, Marie Leonhardt, Bob van Asperen, Hermann Max, Václav Luks, Xenia Mejer, Andrew Lawrence-King, Marco Beasley
Baroque gestures with Sigrid T’Hooft, Soetkin Elbers and Danila Vedernikov

Website: www.famb.ch

Accompaniment: Thomas Boysen, Theorbo, Lute, Baroque Guitar

 

Salina Alexandrova
G. A. Rigatti, O magnum sacramentum

Bulgaria, *1993

Accompaniment: Martin Erhardt, Organ

 

Iason Marmaras
C. de Rore, Ancor che col partire with diminutions by G. B. Bovicelli

Greece, *1987

Studies
The Hague (harpsichord with Fabio Bonizzoni, Ton Koopman; early music singing with Michael Chance, Jill Feldman, Peter Kooij)
Basel (early music theory and composition with Florian Vogt and Johannes Menke)

Teaching
Centre for Early Music of the Athens Conservatoire (harpsichord, basso continuo and vocal ensemble coaching)

Website: www.scholacantorum.gr

 

Sarah Richards
H. Tarditi, Plaudite Cantate

USA

Studies
Indiana University Jacobs School of Music with Steven Rickards
West Virginia Universitywith Robert Chafin, Nicholas Perna

 

Margarete Huber
A. Brunelli, O quam suavis

Germany*

Studies
Universität der Künste Berlin with Prof. Bormann
Master classes with Barbara Schlick, György Kurtag and Nigel Rogers

Website: www.margaretehuber.wordpress.com

Accompaniement:Margarete Huber, Organ

 

Jacob Lawrence
O. di Lasso, Susanne un jour with diminutions by J. Lawrence

Jacob Lawrence | Australien: O. di Lasso, Susanne un jour with diminutions by J. Lawrence

Australia, *1992

Studies
Melbourne Conservatorium of Music
Schola Cantorum Basiliensis with Gerd Türk in his last year of a masters degree in voice, with a minor in historical improvisation

Website: www.jacob-lawrence.com (coming soon …)

Accompaniment: Elam Rotem, Hapsichord

 

Tanja Obalski
O. di Lasso, Susanne un jour with diminutions by T. Obalski

Germany, *1976

Studies
Hochschule für Musik und Theater in Hamburg (Flute)
Conservatorium van Amsterdam with Margreet Honig and Howard Crook
Master classes with Jill Feldman and Emma Kirkby

Website: www.tanjaobalski.nl

Accompaniment: Maria Morózova-Meléndez, Organ

 

Sarah Coffman
T. L. Victoria, Magi viderunt stellam with diminutions by S. Coffmann

USA, *1994

Studies
Lawrence Universityin Appleton, Wisconsin with Steven Spears
Case Western Reserve University with Peter Bennet (Historical Performance Practice)

Teaching
Teaching Assistant, MUEN 395: Medieval and Renaissance Ensembles
Lecture Recital: “Petrucci’s ‘Justiniane’ as Intabulation: Elaborate Vocalism at the Birth of Music Printing”
Guest Lecture Engagement: “Fun with Historical Notation: The Neumes of St. Gall and the Ars Subtilior”

Accompaniment: Martin Ehrhardt, Organ

 

Jole De Baerdemaeker
O. di Lasso, Susanne un jour with diminutions by J. De Baerdemaeker

Belgium, *1994

Studies
Conservatorium Maastricht
The Royal Concervatoire of The Hague
Mozarteum University in Salzburg with Prof. Ulrike Hofbauer (Baroque singing)
Other teachers: Evelyn Tubb, Dorothee Mields, Sibylla Rubens, Peter Kooij, Lenie van den Heuvel, Frans Kokkelmans, Jill Feldman, Pascal Bertin and Peter Van Heyghe

Website: www.joledebaerdemaeker.eu

Accompaniment: Maria Morózova-Meléndez, Organ

 

Andrea Gavagnin
T. L. Victoria, Magi viderunt stellam with diminutions by Andrea Gavagnin

Italy, *1997

Studies
Conservatoire Royale in Brussels (currently)
Conservatorio Benedetto Marcello in Venice

Accompaniment: Martin Erhardt, Organ

 

Raphael Höhn
T. L. Victoria, Magi viderunt stellam with diminutions by Raphael Höhn

Switzerland, *1984

Studies
Königlichen Konservatorium in Den Haag with Rita Dams, Peter Kooij, Michael Chance und Jill Feldman (early music)
Zürcher Hochschule der Künste with Scot Weir
Masterclasses with Andreas Scholl, Gerd Türk, Mariëtte Witteveen und Jean-Paul Fouchécourt.

Website: www.raphaelhoehn.ch

Accompaniment: Sam Chapman, Theorbo

 

Romain Bockler
O. di Lasso, Susanne un jour with diminutions by R. Bockler

France

Studies
Conservatoire National Supérieur de Musique de Lyon

Website: www.romainbockler.com

Accompaniment: Mathieu Valfré, Hapsichord

 

Laia Blasco Lòpez
O. di Lasso, Susanne un jour with diminutions by Laia Blasco Lòpez

Italy, *1989

Studies
Scuola Civica Claudio Abbado in Mailand with Roberto Balconi und Sonia Tedla (Early music, currently)
Folkwang Universität der Künste in Essen with Maria Jona (Medieval music)
Musikhochschule in Münster(recorder)

Accompaniment: Maria Morózova-Meléndez, Organ

 

Franziska Schumacher
T. L. Victoria, Magi viderunt stellam with diminutions by F. Schumacher

Germany, *1993

Studies
Staatliche Musikhochschule Trossingen with Gundula Anders and Jan Van Elsacker (currently)
Sibelius Academy in Helsinki
Felix Mendelssohn-Bartholdy Conservatory in Leipzig

Accompaniment: Martin Erhardt, Orgel

 

Baiba Urka
T. L. Victoria, Magi viderunt stellam with diminutions by Baiba Urka

Latvia, *1988

Studies
Schola Cantorum Basiliensis, Basel (Advanced Vocal Ensemble Studies AVES since 2019)
Staatliche Hochschule für Musik Trossingen (Early music singing)
Latvian Academy of Music, Riga (Early music singing and choral conducting)
Porto Music, Arts and Theatre Academy (Early music singing)
Masterclasses with aquela Andueza, Deborah York, Fernando Guimaraes, Anna Simboli, Frank Woerner, Annika Ollinkari, Marek Rzepka, and Dirk Snellings

Website: www.baibaurka.com

 

Molly Netter
T. L. Victoria, Magi viderunt stellam with diminutions by Molly Netter

Canada / USA

Studies
Yale School of Music, Yale Institute of Sacred Music
Teachers: James Taylor, Ted Taylor, Sherezade Panthaki, Kendra Colton, Gerald Crawford

Website: www.mollynettervoice.com

Accompaniment: Martin Erhardt, Organ

 

Birgit Stöckler
T. L. Victoria, Magi viderunt stellam with diminutions by B. Stöckler

Austria, *1988

Studies At Grazer Kunstuniversität with Tom Sol, KS Joanna Borowska-Isser, Joseph Breinl and Robert Heimann
Exchange Semester at Royal Conservatoire of Music in Den Haag

Website: www.birgitstoeckler.com

Accompaniment: Martin Erhardt, organ

 

Monika Mauch
T. L. Victoria, Magi viderunt stellam with diminutions by M. Mauch

Germany, *1970

Studies
With Richard Wistreich in Trossingen, Jill Feldman in Paris, Rita Loving in München, Kai Wessel in Köln und Kimberley Brockman in St Gallen

Teaching
Conservatoire de musique et de la danse, Strasbourg

Website: www.monika-mauch.de

Accompaniment: Hugh Sandilands, Lute

 

Jesùs Rodil
T. L. Victoria, Magi viderunt stellam with diminutions by Jesùs Rodil

Spain, *1986

Studies
Piano, Trumpet, Composition, Choral Conducting (A Coruña)
Harpsichord (Bologna)
Singing (Paris)

Accompaniment: Martin Ehrhardt, Organ

 

Anne Schneider
O. di Lasso, Susanne un jour with diminutions by Anne Schneider

Germany, *1982

Studies
Musikhochschule Weimar with Barbara Ebel and Siegfried Gohritz
Additional studies in early music with Dr. Rebecca Stewart und Prof. Maurice van Lieshout
Masterclasses with Jessica Cash, Peter van Heyghen, Stephan Mai und Sigiswald Kuijken.

Website: www.anneschneider.org

Accompaniment: Peter Kranefoed, Organ

 

Christina Kay
T. L. Victoria, Magi viderunt stellam with diminutions by C. Kay

USA, *1989

Studies
University of Wisconsin-Madison
Gettysburg College/Sunderman Conservatory
American Bach Soloists Academy, San Francisco

Website: www.christinakaysoprano.com
Accompaniment: Martin Erhardt, Organ

 

Valeria Mignaco
O. di Lasso, Susanne un jour with diminutions by V. Mignaco

Argentina / Netherlands, *1975

Studies
Royal Conservatory in The Hague
Masterclasses with Jill Feldman, Margreet Honig, Max van Egmont, Carolyn Watkinson and Elly Ameling

Teaching
Guest teacher Baroque Singing at the Conservatorium van Amsterdam

Website: www.valeriamignaco.com

Accompaniment: Maria Morózova-Meléndez, Organ

 

Paulina Francisco
T. L. Victoria, Magi viderunt stellam with diminutions by P. Francisco

USA, *1992

Studies
Indiana University  (Historical Performance, current)
University of Southern California (Early Music – Voice)
Carrol University (Vocal Performance)

American Bach Soloist Academy
The Mystery of Carlo G, Lunenburg, LAMPS
Roman de Fauvel Workshop, Amherst Early Music Festival

Accompaniment: Martin Erhardt, Organ

 

Sarah M. Newman
T. L. Victoria, Magi viderunt stellam with diminutions by Sarah M. Newman

USA, *1984

Studies
Juilliard School and the Manhattan School of Music in New York City

Website: www.sarahmnewman.com

Accompaniment: Martin Erhardt, Organ