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Naxos en Español features Music Director Sebastián Zubieta in their new playlist
Nuestra Música, available on Spotify, Apple Music, Pandora, and YouTube.


Meridionalis during a performance of Viver's Kopernikus (NYC 2019)


Meridionalis and Bishop's Band at Trinity Wall Street's Twelfth Night Festival (2015).

"In horrore" by Francisco López Capillas at Hispanic Society of America (2015).

"Miserere" by José Maurício Nunes Garcia from Classics in the Tropics (2012).







Sebastián Zubieta


Elizabeth Baber

Sarah Brailey

Martha Cluver

Estelí Gomez

Jolle Greenleaf

Laura Heimes

Elaine Lachica

Molly Quinn

Melanie Russell

Amanda Sidebottom

Nell Snaidas


Luthien Brackett

Kirsten Sollek


Corey-James Crawford

Patrick Fennig

Timothy Parsons


Steven Caldicott-Wilson

Marc Day

Timothy Hodges

James Kennerley

Steven Soph


Jesse Blumberg

Avery Griffin

Thomas McCargar

John Taylor Ward


Steven Hrycelak


Luciane Beduschi

Bernardo Illari

Omar Morales Abril

Piotr Nawrot

Pablo Sotuyo Blanco



Jeffrey Grossman

Stephen Rapp

Collaborating ensembles

Ars Longa

The Bishop's Band

Clarion Society

Ensemble Lipzodes




Sebastián Zubieta has been Music Director at Americas Society since 2005. He has presented papers on baroque and contemporary music at congresses including the Latin American Studies Association (2015 and 2016), the Society for American Music (2011), the International Musicological Society (2002), and the IMS Regional Association for Latin America and the Caribbean (2014). He led a workshop on Latin American chamber music at Folkwang Universität der Künste (Essen) and the Composers’ Conference (Wellesley), and taught hearing and analysis as well as music appreciation at Yale, music history at the Universidad de Buenos Aires, and composition at the Universidad Nacional de La Plata in Argentina. He made his New York conducting debut to critical acclaim with Meridionalis, a group dedicated to Latin American early music, at the Look and Listen Festival in 2010 with music by Gutierre Fernández Hidalgo. He has appeared as a conductor at Music of the Americas, Symphony Space's Wall-to-Wall, the Raritan River Valley Festival, the Biblioteca Juan Ángel Arango in Bogotá, as well as at the Festival de Música Sacra de Quito, the Festival Esteban Salas in Havana, and the Centro de Experimentación del Teatro Colón. Sebastián was the conductor of the Yale International Singers from 1999 to 2005 and premiered a number of new works for chamber ensembles and orchestra with Yale Philharmonia, New Music New Haven, and NeitherMusic. His music has been performed in concerts and festivals in Europe, Korea, Latin America and the United States, by musicians including ICE, Continuum Ensemble, the New York Miniaturist Ensemble, the Momenta Quartet, violist Antoine Tamestit, and clarinetist Joshua Rubin. He has written music for ICE, the Centro Cultural General San Martín (Buenos Aires), the New York Miniaturist Ensemble, pianist Stephen Buck, the Bugallo Williams Piano Duo, and the Damocles Trio, commissioned by Look and Listen. He was in residence at Banff Centre and was a fellow at the Composers Conference at Wellesley College. He holds a doctorate in composition from Yale University and a licentiate in musicology from Universidad Católica Argentina in Buenos Aires.

Elizabeth Baber has been praised by the Washington Post for her "angelic brightness and dedication" and the "remarkable clarity" of her declamation, and The New York Times called her singing "truly lovely.” With her duo partner and husband, lutenist Charles Weaver, she has created recitals praised for their “impeccable performances” and “imagination in programming.” The duo is currently developing a program of private devotional music from English recusant culture, centered on the manuscripts of Edward Paston (1550–1630). Elizabeth serves as a vocal coach on the faculty of the New York Continuo Collective and is a member of the professional schola for the traditional Latin Mass at St. Mary’s Church, Norwalk, CT.

Hailed by The New York Times for her “radiant, liquid tone,” “exquisitely phrased,” and “sweetly dazzling” singing, soprano Sarah Brailey is in growing demand as a concert and chamber music artist. Highlights of Sarah’s current and recent seasons include Handel’s Messiah with St. Paul Chamber Orchestra, Charlotte Symphony, and Albany’s Cathedral of All Saints, Constance in Haydn’s L’isola disabitata with the American Classical Orchestra, Steve Reich’s Drumming at Carnegie Hall (Zankel), Strauss’s Vier Letzte Lieder and the Villa-Lobos Bachianas Brasileiras No. 5 with the Brooklyn Symphony Orchestra, Alberto Ginastera’s Cantata para América Mágica and Stravinsky’s Les Noces with Julian Wachner at Trinity Wall Street, Handel’s Samson under the baton of Nicholas McGegan, and Britten’s Les Illuminations with NOVUS NY. Sarah is a core member of Boston’s Lorelei Ensemble, an all-female vocal chamber music ensemble dedicated to the performance of new music and a frequent guest artist with Roomful of Teeth.

Soprano Martha Cluver has been hailed by the New York Times for her “sweet, pure” and “soulful soprano” voice. Focusing on contemporary music, she has performed numerous works by composer Steve Reich under the direction of Brad Lubman, David Robertson and Alan Pierson. She premiered the new opera La Douce by Emmanuel Nunes with the Remix Ensemble in Porto, Portugal, and has performed many works by Morton Feldman, including his mono-opera Neither. As a chamber musician, Ms. Cluver has premiered works by John Zorn, Caleb Burhans, Nico Muhly, Caroline Shaw, Matthew Brown and Judd Greenstein, among many others. Along with Meridionalis, she sings regularly with the Vox Vocal Ensemble, Antioch, Voices of Ascension and the Choir of Trinity Wall Street, and has performed under choral directors such as Andrew Megill, Jane Glover, Stefan Parkman and Julian Wachner. Her discography includes Nonesuch, Sweet Spot DVD, NAXOS, Mode, Cantaloupe, and Tzadik. She holds a Bachelor’s degree from Eastman School of Music in viola performance. Ms. Cluver is a founding member of the Grammy award winning vocal ensemble Roomful of Teeth and is soprano soloist with the Albany Symphony’s new music ensemble Dogs of Desire.

Praised for her "clear, bright voice" (The New York Times) and "artistry that belies her young years" (Kansas City Metropolis), soprano Estelí Gomez is quickly gaining recognition as a stylish interpreter of early and contemporary repertoires. In January 2014 she was awarded a Grammy with contemporary octet Roomful of Teeth, for best chamber music/small ensemble performance; in November 2011 she received first prize in the Canticum Gaudium International Early Music Vocal Competition in Poznan, Poland. An avid performer of early and new music, Estelí can be heard on the Juno-nominated recording Salsa Baroque with Montréal-based Ensemble Caprice, as well as Roomful of Teeth's self-titled debut album, for which composer Caroline Shaw's Partita was awarded the 2013 Pulitzer Prize. Originally from Santa Cruz, California, Estelí received her Bachelor of Arts with honors in music from Yale College, and Master of Music from McGill University, studying with Sanford Sylvan.

Soprano Jolle Greenleaf is one of today’s foremost figures in the field of early music. Balancing a career as a leading soloist and an innovative impressaria, she is in great demand as a guest artist and is Artistic Director of the New York City-based early music ensemble TENET. Ms. Greenleaf has been hailed by The New York Times as a “golden soprano” and “a major force in the New York early music-scene.” She is a celebrated interpreter of the music of Bach, Buxtehude, Handel, Purcell and, most notably, Claudio Monteverdi. Her “crisp, sensuous voice” (The New Yorker) has been praised for its “purity and beguiling naturalness” (The Oregonian) and “intriguing beauty” (The Boston Globe).

Praised for her “sparkle and humor, radiance and magnetism” and hailed for "a voice equally velvety up and down the registers", soprano Laura Heimes is widely regarded as an artist of great versatility, with repertoire ranging from the Renaissance to the 21st century. She has collaborated with many of the leading figures in early music, including Andrew Lawrence King, Julianne Baird, Tempeste di Mare, The King’s Noyse, Paul O’Dette, Chatham Baroque, Apollo’s Fire, The New York Collegium, The Publick Musick, Brandywine Baroque, Trinity Consort, and Piffaro – The Renaissance Band, a group with whom she has toured the United States. She has been heard at the Boston, Connecticut and Indianapolis Early Music Festivals, at the Oregon and Philadelphia Bach Festivals under the baton of Helmuth Rilling, at the Carmel Bach Festival under Bruno Weil, and in Brazil in concerts of Bach and Handel.

Soprano Elaine Lachica has performed as a soloist with New York Collegium, Rebel Baroque Orchestra, Lex Voix Humaines, L’Harmonie des Saisons, Ensemble Caprice, The Waverly Consort, Rose Ensemble, and Opera Omni, and has performed as such festivals as Tage Alter Musik (Regensburg, Germany), Montreal Baroque, and the Mostly Mozart with Mark Morris Dance Company at Lincoln Center. In 2014, Lachica was a winner of the first Bruce Haynes International Competition for the rhetorical singing of the music of Johann Sebastian Bach and was featured in a program of sacred cantatas broadcast throughout Europe and Canada. In addition, a studio recording will be released as part of Montreal Baroque’s Bach Cantata series on ATMA Classique. Lachica holds degrees from Peabody Conservatory and the Royal College of Music in London and teaches voice at Fordham University.

Soprano Molly Quinn has captivated audiences with her “radiant” soprano, possessing an “arresting sweetness and simplicity” (New York Times) in diverse repertoire ranging from Monteverdi to the Rolling Stones. In addition to her work with TENET, this season she goes on tour with The Bang on a Can All-Stars performing Julia Wolfe's Steel Hammer, makes debut appearances with The Helicon Society, The Catacoustic Consort and El Fuego Ensemble, and return appearances with Apollo's Fire, and at Saint Thomas Fifth Avenue. Molly has been a soloist with many noted orchestras and ensembles including  The Knights NYC, The Clarion Music Society, The Choir of Trinity Wall Street, The Carmel Bach Festival, The Folger Consort, and Quicksilver. Quinn holds both the Bachelor of Music and Master of Music in Vocal Performance from University of Cincinnati-College Conservatory of Music and currently resides in Chapel Hill, NC.

Soprano Melanie Russell has performed and recorded with premier ensembles in the U.S., including the Grammy-nominated choirs Trinity Wall Street and Seraphic Fire, and Grammy-winners Conspirare and The Rolling Stones. Solo engagements in opera, musical theater, and concert repertoire have taken her from her hometown of New Orleans to New York City, and all over the world with Philip Glass and Robert Wilson’s Einstein on the Beach. Recent solo highlights include Buxtehude’s Membra Jesu Nostri (Monmouth, NJ), Monteverdi's Vespers (Bach Collegium San Diego), new works with the Dogs of Desire (Albany Symphony), scenes from Lisa Bielawa's Vireo (The Stone NYC), and an abridged version of The Magic Flute (Queen of the Night/ Papagena) with ACO’s "Classical Music for Kids" outreach program (NYC). She is a graduate of Yale University, Loyola University New Orleans, and Centenary College of Louisiana.

Soprano Amanda Sidebottom is known for her “luminous,"clear tone and versatile musicianship. Based in New York City, she is an active soloist, choral singer, and chamber musician, performing music from Renaissance polyphony to newly-commissioned works. Amanda has performed solos with the Mark Morris Dance Group under Mark Morris (Vivaldi Gloria, Bach Jesu meine Freude), the American Classical Orchestra (Handel Messiah), and the Cathedral of St. John the Divine under Kent Tritle (Scarlatti Stabat Mater, Charpentier Te Deum). Her lute duo Well-Tuned Words with Erik Ryding has traveled to Europe for recitals in Basel and Berlin. She has continued her collaborations with early music chamber ensembles The Soul's Delight and Brooklyn Baroque. A founding member of Etherea Vocal Ensemble, she has performed in upstate New York, Connecticut and at Carnegie Hall for the group's debut. She can also be heard on the group's debut album Ceremony of Carols, which charted on both iTunes and Billboard Classical, and their latest release Hymn to the Dawn. Amanda holds degrees in early music and vocal performance from Indiana University and DePauw University.

American-Uruguayan soprano Nell Snaidas has been praised by the New York Times for her “beautiful soprano voice, melting passion" and “vocally ravishing" performances. Snaidas began her career singing leading roles in zarzuelas at New York City's Repertorio Español. Specialization in Latin American and Spanish Baroque music has taken her all over Europe, North and Latin America. She has been invited to join many leading early music ensembles in the capacity of soloist, guitarist, and Iberian/New World language and repertoire consultant. These groups include Apollo’s Fire, The Seattle Baroque Orchestra, Ex Umbris, Ensemble Viscera, El Mundo, Chatham Baroque and at Music Festivals from the U.S., Canada, Mexico, and Italy, to Germany, Austria and Switzerland. She has recorded for Sony Classical, Koch, Naxos and Dorian (for whom she served as language coach and soloist on 3 Spanish/New World Baroque recordings). Her latest CD as a featured soloist with El Mundo in this same repertoire was nominated for a Grammy in the Best Small Ensemble category.

Born in California to parents who loved to read, Luthien Brackett was named after a character in J.R.R. Tolkien's legendarium. Praised by the press for her “easy, appealing alto” and “silky tone among all registers,” she specializes in music of the Renaissance and Baroque periods. Luthien appears regularly with distinguished professional vocal ensembles including The Choir of Trinity Wall Street, TENET, The Clarion Society, and Seraphic Fire. Recent solo appearances include Bach’s St. Matthew Passion with the Baldwin-Wallace Bach Festival and Handel’s Messiah with the Charlotte Symphony Orchestra. Among her numerous commercial recordings are two GRAMMY-nominated albums: Handel’s Israel in Egypt (Musica Omnia) and Julia Wolfe’s Anthracite Fields (Cantaloupe). She lives in Brooklyn with her incorrigible cats, Bella and Bartok.

Alto Kirsten Sollek has been hailed as “ …an appealingly rich alto…” and “…a true contralto…” by The New York Times, and a singer with “elemental tone quality” by The Philadelphia Inquirer. She has been featured with Boston Baroque, Bach Collegium Japan, Tafelmusik, Seattle Baroque, Minnesota Orchestra, Kansas City Symphony, Rochester Philharmonic, Virginia Symphony and San Antonio Symphony. Opera roles include: Rosmira in Handel’s Partenope (Boston Baroque); Rinaldo in Handel’s Rinaldo (Glyndebourne); Bradamante in Handel’s Alcina (Teatro Municipal de Santiago) and Lucretia in Britten’s Rape of Lucretia (Eastman Opera Theatre). Active in new music, Ms. Sollek appears regularly with new music groups Ensemble Signal and Alarm Will Sound. She has worked extensively with composer John Zorn, premiering his music in the US, Europe, Australia, and Israel. 

Countertenor Corey-James Crawford performs as a professional choral singer and soloist in New York City. Corey is a member of the Choir of Men and Boys of St. Thomas Church 5th Avenue under the direction of John Scott, as well as a member of Fred Renz’s Early Music New York. He performs in art song recitals across the country and abroad with collaborative pianist Dr. Martin Neron. A CD entitled "Lovliest of Trees" featuring English art songs by Butterworth, Howells, Quilter and Vaughan Williams was recently recorded by Dr. Neron and Mr. Crawford.

Praised by the Albuquerque Journal for his, “heartfelt intensity of smooth, effortless, bittersweet tones,” Patrick Fennig, countertenor, made his solo debut in 2009 with the American Classical Orchestra in a period performance of Handel’s Messiah. He has appeared as a soloist in Bach’s St. Matthew Passion, Bernstein’s Chichester Psalms, Vivaldi’s Gloria, Schütz’s Sei Gegrüßet, Maria and Buxtehude’s Jesu Membra Nostri. Patrick is also an active choral singer in New York City, a member of the Choir of Men and Boys at St. Thomas, Fifth Avenue, Musica Sacra, Early Music New York, Big Apple Baroque, and Ekmeles Vocal Ensemble. Patrick holds a degree in Religion with a Concentration in Music from Northwestern University, where he studied and coached with Ellen Hargis, Mary Springfels and Grant Herreid. He currently lives in New York City, where he studies with Drew Minter. 

Countertenor Timothy Parsons is a member of the Grammy-nominated Choir of Trinity Wall Street and performers regularly with New York’s finest choral ensembles, including the Saint Thomas Fifth Avenue Choir of Men and Boys, The Clarion Music Society, and Musica Sacra. His interpretations have been lauded for their “authority, ease, and elegant exuberance” and he has been praised by the New York Times as “particularly expressive, singing with pure, free tone.” This season’s highlights have included a national tour of Monteverdi’s 1610 Vespers with Apollo’s Fire, Victoria’s 1605 Requiem with Clarion, and solo appearances at Trinity’s Bach at One series. Timothy holds degrees in Voice and Conducting from the Manhattan School of Music.

Tenor Marc Day began his music education at the Cathedral of the Madeleine Choir School in Salt Lake City. While studying at the Choir School, he performed two roles with the San Francisco Opera beside Frederica von Stade and David Daniels. He earned a Bachelor of Music degree from the University of Illinois in Champaign-Urbana. While at Illinois, he performed the title role in Bernstein’s Candide with the late Jerry Hadley performing the role of Pangloss. Marc earned a Master of Music degree from Manhattan School of Music. He currently serves in the professional choir at the Cathedral of St. John the Divine, under the direction of Kent Tritle. He enjoys performing regularly with Musica Sacra, Clarion Society, Voices of Ascension, St. Ignatius Loyola, American Classical Orchestra, and other prominent choral ensembles within the greater New York City Metropolitan area. Most recently, Marc premiered the role of Wilbur Wright in Aaron Siegel’s Brother Brother (Experiments in Opera). Marc serves as assistant to the president and liaison to the board of trustees at Manhattan School of Music.

Tenor Timothy Hodges, whose singing has been described in the New York Daily News as having “both purity and depth,” has an active career performing as a soloist and ensemble singer throughout the United States. A graduate of Westminster Choir College, he has performed in many ensembles, including Vox Vocal Ensemble, Clarion Choir, Fuma Sacra, Seraphic Fire, and Antioch Chamber Ensemble. Mr. Hodges is currently a member of the Trinity Choir at Trinity Wall Street Church in New York City. He has participated in many festivals including The Carmel Bach Festival, Connecticut Early Music Festival, Spoleto Festival USA, and the Golden Mask Festival in Moscow, Russia. As a soloist, Mr. Hodges has performed with the Trinity Baroque Orchestra, REBEL Baroque Orchestra, Carmel Bach Festival Orchestra, Garden State Philharmonic, Spoleto Festival Orchestra, and Princeton University Glee Club, and has made numerous appearances in Handel’s Messiah in New York, New Jersey, and Florida.

Lauded as an “excellent, true-toned tenor” by New Yorker critic Alex Ross, James Kennerley was a prizewinner in the 2015 New York Oratorio Society competition. He has performed as a soloist with many groups, including New York Polyphony, the Choir of Trinity Church, Wall Street, Saint Thomas, Fifth Avenue, the American Classical Orchestra, TENET, and the Clarion Music Society. As a member of Sonnambula, Mr. Kennerley has performed at the Metropolitan Museum, The Frick Collection, Princeton University, and the Hispanic Society. Plans are afoot for the participation in a recording of the complete works of Leonora Duarte. He has studied with David Lowe, Robert Rice, Braeden Harris, and Maureen O’Flynn. Mr. Kennerley had his BAM/Mark Morris Dance Company soloist début in 2010 with Beethoven’s Choral Fantasy and his Alice Tully Hall solo début in Handel's Messiah in 2015.

Tenor Steven Soph performs as a soloist and chamber musician throughout the United States. 2013 marked his Cleveland Symphony solo debut under Ton Koopman in an all-Handel program in Severance Hall. Recent highlights include: Evangelist in Bach’s St. John Passion with Chicago Chorale, arias in Bach’s St. Matthew Passion with Voices of Ascension, NYC, as well as with the Colorado Bach Ensemble, and Young American Artist performances with the City Choir of Washington D.C. Steven performs with Seraphic Fire, Conspirare, Yale Choral Artists, Musica Sacra, Tuscon Chamber Artists, Cut Circle, Spire, and Sounding Light. He is a graduate of the University of North Texas and Yale School of Music.

Avery Griffin is a baritone, sound engineer, music educator and composer from Weehawken, New Jersey. He has worked with a wide variety of musicians and other artists including conductors Simon Carrington, Jane Glover, Andrew Megill and Andrew Parrot, composers Martin Amlin, Jon Deak, Jon Magnussen and Joseph Maneri, and choreographer Mark Morris. He has participated in several distinguished concert series including the Spoleto USA and Mostly Mozart Festivals in the United States and the Golden Mask Festival in Moscow; he is currently a member of the Festival Chorale at the Carmel Bach Festival in Carmel, CA. Avery is also a Teaching Artist with New York Philharmonic’s Very Young Composer Program and serves as sound engineer and website manager for Saint Thomas Church Fifth Avenue in midtown Manhattan.

Baritone Thomas McCargar has been called “gripping” by The New York Times, while establishing himself as one of New York City’s most sought-after collaborative vocalists. After launching his career with GRAMMY® Award-winning Chanticleer, he moved to NYC, where he began his current tenure as a member of the acclaimed Choir of Trinity Wall Street. Additional ensemble engagements include Seraphic Fire, Pomerium, Early Music New York, Musica Sacra, Voices of Ascension, VOX Vocal Ensemble, New York Virtuoso Singers, Meridionalis, and Manhattan Concert Chorale. Recent work includes chorus for Gotham Chamber Opera (Mozart’s Il sogno di Scipione) and Mark Morris Dance Company (Purcell’s Dido & Aeneas); Ann Hamilton’s The Event of a Thread; and conducting over 1,000 people on 12/21/12 in the singing of John Lennon’s “Imagine” in Times Square, for Yoko Ono’s Imagine Peace.

Baritone John Taylor Ward’s performances have been praised for their “stylish abandon” (Alex Ross, The New Yorker) and their “finely calibrated precision and heart-rending expressivity” (Washington Post). This season, he appears as a principal artist with Paul O’Dette, Stephen Stubbs, and the Boston Early Music Festival; William Christie and Les Arts Florissants; The Seattle Symphony; and the Englsh Baroque Soloists under Sir John Elliott Gardiner. Recent credits include the US premier of Claude Vivier’s Kopernikus under the direction of Peter Sellars, Caronte in Monteverdi’s Orfeo with the ensemble L’arpeggiata, and Aeneas in Dido & Aeneas with the Folger Consort the Kennedy Center. Taylor is a graduate of Eastman and Yale and is a founding core member of New York-based Cantata Profana and the Founding Associate Artistic Director of the Lakes Area Music Festival in Brainerd, MN.

Steven Hrycelak, a bass from Rochester, NY, is equally at home performing early and very new music. He appears regularly with Blue Heron, Pegasus, NYS State Baroque, Publick Musick, Meridionalis, and the Yale Choral Artists, in addition to being a member of the Grammy-nominated Choir of Trinity Wall Street. As for new music, he performs with Ekmeles, Toby Twining Music, the New York Virtuoso Singers, and the SEM Ensemble, among others. As an opera singer, he has performed with Bard Summerscape, Opera Omnia, Musica Nuova, and Union Avenue Opera. He studied at Yale University and Indiana University, and is also a vocal coach/accompanist.

Luciane Beduschi completed her undergraduate studies in Harpsichord at the Universidade Estadual de Campinas in 1998 and her doctorate in Music History and Musicology at Université Paris IV (La Sorbonne) in 2008. In 2009 her doctoral thesis received top prize from the Richelieu Chancellerie des Universités de Paris. She taught in Paris, Montpellier, and Plaisir Grignon before relocating to Saratoga Springs in 2012, where she is currently Assistant Professor of Music Theory and Music History. She completed research at the Centre de Recherche des Langages Musicaux (Paris), and was a member of the scientific council of the Caravelas (Núcleo de Estudos da História da Música Luso-Brasileira, Lisbon) the Société Française d’Analyse Musicale, and the Dutch-Flemish society for Music Theory.

Bernardo Illari is a specialist in Latin American music from the colonial and early national periods. He received his PhD in music history from the University of Chicago in 2002, with a dissertation entitled "Polychoral Culture: Cathedral Music in La Plata (Bolivia), 1680–1730." Illari's second book-size project, Domenico Zipoli: Para una genealogía de la música clásica latinoamericana (Domenico Zipoli: Towards a Genealogy of Latin American Classical Music) was awarded the 2003 Premio de Musicología Casa de las Américas. Prior to his appointment at University of North Texas, Illari held academic positions at the Universidad Nacional de Córdoba (Argentina) and the University of Hong Kong. He has also taught classes at the Universidad de Valladolid, Universidad Complutense de Madrid, and Conservatorio de Salamanca (Spain). Since 1992, he has contributed scores, advice, and notes to several European-based early music soloists and ensembles, including Ensemble Elyma, The Rare Fruit Council, Grupo Vocal Gregor, Cuarteto Jacarandá, and others, which resulted in 15 CDs of colonial music from Peru and Bolivia. These projects include the edition of the operas La púrpura de la rosa (by Tomás de Torrejón y Velasco, 1701) and San Ignacio de Loyola (as compiled by Martin Schmid, Santa Ana de Chiquitos, c. 1762), monographic CDs dedicated to works by Domenico Zipoli, Tomás de Torrejón y Velasco, and Juan de Araujo, along with thematic projects such as villancico settings of Sor Juana Inés de la Cruz's poetry and Fiesta Criolla, the musical representation of a colonial festival in Chuquisaca, Bolivia.

Guatemalan musicologist Omar Morales Abril directs La Capilla del Valle de la Asunción, a group dedicated to the preservation of sixteenth and seventeenth century Guatemalan and Latin American musical heritage. He has conducted numerous research projects, from cataloging to notation and analysis of Latin American music. As a professor, he has taught harmony, counterpoint, chamber music, notation, and musicology in Guatemala, Mexico, and Spain. He has authored numerous publications, including the introduction to Los villancicos de Tomás de Torrejón y Velasco; Estudio y transcription, the first volume of the collection El repertorio de la Catedral de Guatemala; and coauthor of the book Humor, pericia y devoción: Villancicos en la Nueva España, with Aurelio Tello and Bárbara Pérez. He has given workshops, lectures, and conferences throughout Latin America and Europe, and is currently a researcher at Centro Nacional de Investigación, Documentación e Información Musical Carlos Chávez at the Instituto Nacional de Bellas Artes de México.

Father Piotr Nawrot was born in Poznań, Poland. From age eight to nineteen he sang alto and tenor in the Poznań Boys Choir and studied clarinet. In 1974 he joined the missionaries of the Divine Word. He completed his studies in theology and sociology, earning a Master of Arts degree from the Catholic University in Lublin, Poland, in 1981. After being ordained he left Poland for Paraguay, where he worked as missionary in Encarnación. He received a doctorate in liturgical music from Catholic University of America in Washington, DC in 1993. Since May of 1994 he has been music director of the Catedral de Nuestra Señora de la Paz in La Paz, and taught liturgy at the Seminario de San Gerónimo and Gregorian chant at the Conservatorio Nacional de Música. He is artistic director of the Festival Internacional de Música Renacentista y Barroca Americana “Misiones de Chiquitos” (FIMRBA). He was awarded a John Simon Guggenheim scholarship to conduct research on the indigenous influence on the establishment and development of the baroque music in the Bolivian reductions. Nawrot is also member of the Anthropos Institut in Germany and of the Academia Boliviana de Historia Eclesiástica. In 2001 Nawrot joined the faculty of the Pastoral Theology School of the Adam Mickiewicz University in Poznań. In 2011 he received Spain’s Premio Reina Sofía, for his studies on music from the Jesuit missions in Bolivia. He has published extensively on Bolivian Baroque music.

Born in Montevideo, Uruguay, Pablo Sotuyo Blanco is a professor and in the postgraduate Musicology program at the Universidade Federal da Bahia (UFBA), where he obtained his doctorate in 2003 ("Models of pre-composition of the Lamentations of Jeremiah in Brazil”). He completed a post-doctoral internship at the Universidade Nova de Lisboa (2010-2011). As an active researcher of Brazilian music, Sotuyo Blanco has initiated a diverse range of projects, including the cataloging and research of documentary sources: he established RIdIM-Brazil, which is focused on the musical iconography in Brazil surrounding the presidency, and contributed a chapter in the northeastern Brazil RISM project, which uses numerous graphic sources. He also has organized the Acervo de Documentação Histórica Musical (ADoHM) at UFBA and chairs the Câmara Técnica de Documentação Audiovisual, Iconográfica, Sonora e Musical (CTDAIS) of the Conselho Nacional de Arquivos (CONARQ) in Rio.

Jeffrey Grossman’s extensive musical activities include frequent performances as a harpsichordist, pianist, and conductor. Acclaimed for his musicality, he has been praised as a “sensitive and fluent accompanist” of “flair and conviction” in Fanfare magazine. As co-leader of the acclaimed baroque ensemble the Sebastians, Jeffrey has music directed Monteverdi’s L’incoronazione di Poppea and led Purcell’s The Fairy Queen in collaboration with dell’Arte Opera Ensemble and Purcell’s Dido & Aeneas with the Connecticut Early Music Festival. In addition to frequent performances with the Sebastians, Jeffrey performs with numerous groups in the New York metropolitan area, including PHOENIXtail, the Bach Players of Holy Trinity, and Fire & Folly. He also tours parts of the rural United States with artists of the Piatigorsky Foundation. He can be heard on the Gothic, Naxos, Albany, Métier, and MSR Classics record labels. A native of Detroit, Michigan, he holds degrees from Harvard College, the Juilliard School, and Carnegie Mellon University. He currently resides in New York City.

Stephen Rapp is the Director of Music at the Church of Our Lady of Mount Carmel (Bronx) and Assistant Organist of St. Patrick’s Cathedral (NYC). Stephen holds a Bachelor of Music degree and Performer’s Certificate from the Eastman School of Music and the Master of Music and Doctor of Musical Arts degrees from the Yale University School of Music with certificates from the Institute of Sacred Music. He has done further study at the Hochschule fűr Musik in Cologne, Germany and at the North German Organ Academy. Recent solo appearances include Bach harpsichord concertos and Handel organ concertos, as well as continuo performances with the American Classical Orchestra, Early Music New York, Parthenia Viol Consort and the New Haven Symphony Orchestra. Stephen is also a member of baroque period instrument chamber groups Ensemble BREVE and Uhrovska. Among his international appearances Stephen has performed as harpsichord and organ soloist at the Chiquitos Early Music Festival in Bolivia.

The Clarion Orchestra is one of the oldest and most highly regarded period-instrument orchestras in America, founded in 1957 by conductor and musicologist Newell Jenkins. Revived in 2006 under the directorship of Steven Fox, the Orchestra has since risen to prominence as a fresh and innovative force on the international period performance scene.

Ensemble Lipzodes is a unique group that combines voice, shawms, dulcians, recorders, and percussion to bring to life the rarely performed music of 16th century Guatemala. In addition to this singular repertoire, the ensemble also explores new directions in early music utilizing voices and winds.