Sarah Gartshore has had an outstanding career in Chicago and relocated to Sault Ste. Marie in 2014 to teach at the Conservatory and Algoma University. The Chicago Tribune describes her voice as “particularly impressive and possessing a rich, shining soprano”. Performances have included the Ravina Festival, Santa Fe Opera, American Opera Group, and Chamber Opera Chicago to name a few. Her portrayal of the desperate Magda, described by Opera Canada as “startlingly dramatic, was a highlight of Chamber Opera Chicago’s production of Menotti’s The Consul”. In addition she is in demand on the concert stage with an expansive repertoire including performances of Dvorak’s Mass with the International Choral Arts Festival of Jihlava in the Czech Republic, Messiah with the Richmond and Jacksonville Symphony Orchestras as well as Chicago’s Apollo Chorus, Haydn’s Heiligmesse, Pergolesi’s Stabat Mater and the Te Deum’s of Delalande and Charpentier with Music of the Baroque, Brahms’ Requiem and Mahler’s Fourth Symphony with the Richmond Symphony, and Mahler’s Second Symphony and Verdi’s Requiem with the Muncie Symphony (IN). As a nine year veteran of The Handel Week Festival of Oak Park (IL) she has performed several solo cantatas, Judas Maccabaeus, Esther, Fulvia in Ezio, and Galatea in Acis and Galatea.
Articles Written By: jenn
Karen Lindquist, Harp, is an avid chamber music player and has appeared at the Marlboro Music Festival,with the Chamber Music Society of Lincoln Center,White Mountains Festival, Music at Angel Fire, at the Bravo! Colorado Festival in Vail and the Manchester Music Festival. She has toured the United States as a member of Speculum Musicae and the Aurora trio and performed frequently with the Theatre Chamber Players of the Kennedy Center. She was a featured performer with the members of the Chicago Symphony in Symphony Hall where she performed the world premier of Michael TenzerÕs Sources of Current. She has also been heard as soloist with major orchestras across the United States and in Europe including : the National Symphony, St. Paul Chamber Orchestra, New York Philharmonic, Brooklyn Philharmonic and the Vienna Austria Symphony. Formerly a member of the Baltimore Symphony, she is principal harp of the Brooklyn Philharmonic and the Long Island Philharmonic orchestras. Ms . Lindquist began her harp studies at the age of 10. She was a student of Suzanne Balderston and Eileen Malone and later graduated from the Juilliard School earning both her Bachelor’s and Masters degrees under Marcel Grandjany. Miss Lindquist can be heard on Varese, Sarabande, Orion, Music Masters and Bridge records.
Jonathan Beyer has performed with the Metropolitan Opera, Munich Philharmonic, Dallas Opera, Netherlands Radio Orchestra, Philadelphia Orchestra, Teatro Petruzelli, Chicago Symphony, Oper Frankfurt, Opera Philadelphia, Pittsburgh Opera, Boston Lyric Opera, Pittsburgh Symphony, Austin Lyric Opera, Opera de Montreal, Chicago Opera Theater, Fort Worth Opera, and others. He performs a wide variety of roles including Figaro in Il Barbiere di Siviglia, Malatesta in Don Pasaquale, Papageno in Die Zauberflöte, Escamillo in Carmen, Marcello in La Boheme, and Richard Nixon in Nixon In China.
In the 2015-2016 season, engagements include Rossini’s Figaro in a return to the Pittsburgh Opera, Marcello in La Boheme with Boston Lyric Opera, covering the role of Danilo in the Merry Widow with the Lyric Opera of Chicago and Dr. Falke in Die Fledermaus with Florentine Opera.
In the 2014-2015 season he returned to Opera Philadelphia for the role of Figaro in Barbiere di Siviglia and reprised the role with Opera Theater of Saint Louis. He also returned to Dallas for Marcello in La Boheme and to Anchorage for Sharpless in Madama Butterfly. Jonathan made his Florida Grand Opera Debut as Guglielmo in Così fan tutte, and sang concerts with the Baton Rouge, Southwest Michigan and Lansing Symphonies. He also made his debut at Cincinnati Opera as Ping in Turandot and as the baritone soloist in Carmina Burana with the New Jersey Symphony.
In the 2013-2014 season he made his debut with Hawaii Opera Theater as Ping in Turandot and with Anchorage Opera as Enrico in Lucia di Lammermoor. He returned to the Fort Worth Symphony as the title role in Elijah. He also sang the title role with the Harrisburg Symphony. He made his debut with the Apollo Chorus of Chicago in Handel’s Messiah and with the Delaware Symphony for Carmina Burana. Additional debut’s included Opera de Montreal as Ping in their production of Turandot. He gave recitals through the Logan Chamber Music Series at the Chautauqua Institution and performed on Opera Galas with Lorin Maazel as well as with the Esterhazy Orchestra.
In the 2012-2013 season he made debuts with the Munich Philharmonic and the Royal Symphony of Oman singing Schaunard in La Boheme under the baton of Lorin Maazel. He returned to Austin Lyric Opera for the Count in Le Nozze di Figaro, to the Dallas Opera for Ping in Turandot, and to Oper Frankfurt for their new production of Les Vepres Siciliennes. He also made his recital debut with the Philadelphia Chamber Music Society. Mr. Beyer also returned to Lyrique-en-Mer to sing the roles of Escamillo in Carmen and Figaro in Il Barbiere di Siviglia
In the 2011-12 season he made his Metropolitan Opera debut as Wagner in a new production of Faust, debuted Italy in Bari as Figaro in Il Barbiere di Siviglia, the Count in Le Nozze di Figaro with the Ft. Worth Opera, Figaro in Il barbiere di Siviglia with Boston Lyric Opera, and Escamillo in Carmen with the Opera Company of Philadelphia. In concert he debuted Carnegie Hall with Stravinky’s Canticum Sacrum with American Symphony Orchestra and the Ft. Worth Symphony performing Copland’s Old American Songs. He also sang the roles of Figaro in Il Barbiere di Siviglia and Schaunard in La Boheme at the Castleton Festival and Dandini in La Cenerentola with Lyrique-en-Mer.
In the 2010-2011 season Mr. Beyer sang the role of Schaunard in La Bohème with Hong Kong Opera and in Castleton Festival with Lorin Maazel, L’Heure Espagnole with Opera Frankfurt, Lescaut in Manon with Knoxville Opera, and Jonathan Dove’s Flight with Austin Lyric Opera. In concert, he was heard as a soloist in Mahler’s Knaben Wunderhorn, Symphony in C and Vier Ernste Gesänge with the Philadelphia Brahms Festival, National Chorale’s Carmina Burana at Lincoln Center, Tosca with the Ravinia Festival, and performed a recital at Weill Hall with the Carnegie Hall Foundation. Last season, Mr. Beyer sang Beethoven’s Ninth Symphony with the Philadelphia Orchestra, Haydn’s Creation with Netherlands Radio Orchestra, Candide with the Chicago Symphony Orchestra, Billy in Carousel with the Southwest Michigan Symphony and a concert with the MSFO at the Chautauqua Institution. He has also appeared with the Chicago Symphony, Pittsburgh Symphony, Indianapolis Symphony, Lorin Maazel’s Châteauville Foundation, Chatam Baroque, Baton Rouge Symphony, Vermont Symphony, the Erie Philharmonic and the Festival at Aix-en-Provence.
Mr. Beyer has performed in recital with Craig Rutenberg, Mikael Eliasen, Kristin Okerlund, Martin Katz and Brian Zeger. He has given recitals through the Vocal Arts Society, Marilyn Horne Foundation, Chicago Cultural Center, Judith Raskin Foundation, Bertlesmann Foundation, Huntsville Chamber Music Guild, Pittsburgh Concert Society, Over the Rainbow Foundation, Astral Artists, the Marian Anderson Foundation, Lyrique-en-mer, and The Philadelphia Chamber Music Society. He has degrees from the Curtis Institute of Music and the Chicago College of Performing Arts at Roosevelt University.
Puerto Rican tenor Javier Abreu has been described as a commanding force on stage, incorporating a rich, sweet and agile voice, with ample dramatic skills. Opera News described him as “…a natural Rossini singer,” and The Washington Times stated that “his high, supple lyric voice possesses great conviction.”
Javier’s 2015-16 season started with returns to Virginia Opera as the title role in Orpheus in the Underworld, and Florida Grand Opera as Almaviva in Il barbiere di Siviglia. He also performed El pozolero in a concert version of La Reina with Prototype, and American Lyric Theater. He will perform Carmina Burana with South Bend Symphony, and will make a house, and role debut as Fenton in Falstaff with Arizona Opera.
Mr. Abreu has garnered critical acclaim in the bel canto repertoire. He has portrayed Ramiro in La cenerentola for Nashville Opera, Lismore Music Festival, Lyrique en Mer, Wolf Trap Opera and New Jersey Opera, Lindoro in L’italiana in Algeri for Theater Basel, Opera de Oviedo, Teatro Municipal de Chile, Opera Santa Barbara, and Austin Opera, Count Libenskof in Il viaggio a Reims for New York City Opera and The New Israeli Opera, the title role in Le comte Ory for Wolf Trap Opera and Tacoma Opera, and Count Almaviva in Il barbiere di Siviglia for Atlanta Opera, Florida Grand Opera, The New Israeli Opera, Lismore Music Festival, Central City Opera, Knoxville Opera, Syracuse Opera, Opera on the James, and the Stuttgart Staatsoper. In addition, he debuted with Minnesota Opera as The Cat in the North American premier of Jonathan Dove’s The Adventures of Pinocchio, Pepe in the world premier of Jorge Martín’s Before Night Falls at Fort Worth Opera, Padre Ruffiano in the world premier of John Musto’s The Inspector with Wolf Trap Opera, Castleman in The Long Walk with Opera Saratoga, and as El Enano de Salnés in the world premier of Enric Palomar’s La cabeza del bautista at the Gran Teatro del Liceu in Barcelona.
In recent seasons, he also performed Arcadio in Florencia en el Amazonas for Nashville Opera, Don Ottavio in Don Giovanni with Opera de Oviedo, Valletto in L’incoronazione di Poppea with Opera de Oviedo, Teatro Valladolid, and Teatro Arriaga in Bilbao, Ernesto in Don Pasquale for Opera Santa Barbara, and Anchorage Opera, Tonio in La fille du régiment with Madison Opera, and Sugar Creek Music Festival, Nemorino in L’elisir d’amore with Opera on the James, Telemaco in Il ritorno d’Ulisse in patria for the Greenwich Music Festival, Tobias in Sweeney Todd for Wolf Trap Opera, Pirelli in Sweeney Todd for Virigina Opera, Alexis in Gilbert and Sullivan’s The Sorcerer for the Bard Summerscape, and Pedrillo in Die Entfhürung aus dem Serail for Opera Omaha and, Florida Grand Opera
Also an accomplished concert singer, Javier has performed in Carmina Burana with the National Symphony, Phoenix Symphony, Louisville Symphony, Britt Music Festival, and Pennsylvania Ballet, Messiah with the Pennsylvania Ballet, Jacksonville Symphony, Phoenix Symphony, and Lexington Philharmonic, and Mozart’s Requiem with the Jacksonville Symphony. He has been a featured soloist with the Pittsburgh Symphony, the Naples Philharmonic Orchestra and the Brazos Valley Symphony. Mr. Abreu made his Alice Tully Hall debut as the tenor soloist in Rossini’s Petite Messe Solennelle with the Juilliard Choral Union.
Mr. Abreu has received many notable awards, including a 2003 Richard F. Gold Career Grant given by the Shoshana Foundation of New York, Third Prize in the 2005 Liederkranz Foundation Competition, awards from the Metropolitan Opera National Council Auditions, the Macallister Awards, and the Olsen Artist Debut Award by Florida Grand Opera. He was a young artist at Seagle Music Colony, and Music Academy of the West, and an apprentice with Central City Opera. He holds a Bachelor of Arts degree from the University of Miami. After finishing a Master of Music degree at the University of Houston, he worked as a Young Artists with the Pittsburgh Opera Center for two seasons. Mr. Abreu is also an alumnus of the Juilliard Opera Center.
CHAUNCEY PATTERSON began his professional career at the age of 23 as Assistant Principal Viola of the Denver Symphony. He was eventually appointed Principal Viola by Music Director Phillipe Entremont. His next post was Principal Viola of the Buffalo Philharmonic under the direction of Seymon Bychkov. During his stay in Buffalo, Mr. Patterson was offered and accepted the viola position in the award winning Miami String Quartet. During his 15 year tenure, the MSQ garnered awards in the quartet competitions of London and Evian in addition to being the first string quartet to win the Concert Artist Guild New York Competition. The quartet recorded a number of CD’s most notable The Ginastera Quartets, The Quartets of Petris Vasks and the Saint-Saens and Faure String Quartets for the BMG Conifer label. The Quartet toured the U.S. extensively playing virtually every high profile venue including performances at Lincoln Center, Kennedy Center, Carnegie Hall, and the Hollywood Bowl. Foreign travels (both with and without the MSQ) have taken Mr. Patterson to Mexico, Canada, Puerto Rico, Barbados, Panama, Brazil, Hong Kong, Taiwan, Turkey, Spain, Italy, Germany, France, Switzerland, England, and the Netherlands. He has shared the chamber music stage with such distinguished artists as: Gil Shaham, Garrick Ohlsson, Cho liang Lin, Robert Chen, Jamie Laredo, Sharon Robinson, Paul Neubauer, Cindy Phelps, Nadja Solerno Sonennberg, the Orion String Quartet, Franco Gulli, Aaron Rosand, Menachem Presseler, Peter Wiley, Andre Michel Schub, Bill Prucell, Ida Kavafian, Ida Kavafian, Lynn Harrell, Arto Noras, Mark Johnson, Gene Druckman, and Robert Vernon. Following his tenure with the MSQ, Mr. Patterson served as interim violist of the world renowned Fine Arts Quartet. He currently resides in Miami, Florida where he serves as Solo Viola of the Florida Grand Opera. Educaton has been a major component of Chauncey’s career. His faculty affiliations include: The Cleveland Institute of Music, Blossom School of Music, Kent State University, Hartt School of Music, Encore School for Strings, Eastern Music Festival, University of Charleston (W.V.), University of Denver, New World School of the Arts, Florida International University, and The University of Wisconsin at Milwaukee. Chauncey started playing the viola at the age of 8 in the Burlington, North Carolina Public School System. He attended The University of North Carolina at Chapel Hill, The Cleveland Institute of Music and holds a Certificate from The Curtis Institute of Music. His major teachers were Ann Woodward, Robert Vernon, Karen Tuttle and Michael Tree.
Juan Carlos Peña was born in Honduras where he began his musical studies at the Victoriano López Music School. He holds a BM in double bass performance from the Curtis Institute of Music, a MM in double bass performance from Rice University, and a MM in Orchestral Conducting from the University of Maryland.
In Honduras he was Artistic/Technical Director of the Victoriano López School, and Music Director of the San Pedro Sula Orchestra and the Youth Chamber Orchestra of Tegucigalpa. In Cali, Colombia he was director of the Chamber Orchestra of the Antonio Valencia Conservatory, and in La Coruña, Spain he was Music Director of the Madrigalia Chamber Choir.
Peña served as Principal Bass with the Honduras National Symphony, the Orquesta Sinfónica del Valle (Colombia), and was Co-principal Bass with the Galicia Symphony Orchestra (Spain). Between 2003 and 2005 he held the position of Visiting Assistant Professor of Double Bass at the University of Southern Mississippi.
Juan Carlos has been Principal Bass with the Florida Grand Opera Orchestra since 2008 and with the Palm Beach Symphony since 2012, and performs regularly in the bass section of the Naples Philharmonic Orchestra since 2006.
Seraph is a concertino for trumpet and strings, containing three short movements. The first movement is fast, and based on two main ideas. Firstly we hear brusque, angular chords accompanying a jaunty trumpet melody which contains dotted rhythms, running semiquavers and fast repeated notes. The second idea is more lyrical, incorporating rising 4ths and falling 3rds.
The second movement, an Adagio, has its leading cantabile melodic material on solo violin or tutti strings, while the solo trumpet seems to ruminate introspectively with oppositional and contrary lines. The movement subsides in a quasi-improvisatory duet between solo trumpet and violin.
The last movement, marcato e ritmico, is based on a closely worked canonic idea, which first appears on low strings, giving a somewhat ‘ungainly’ sensation at the outset, and a more fulsome arching melody marked cantabile e sonore. The trumpet part is peppered with little military fanfares. Eventually the music settles down to a cadenza-like passage, where the soloist is accompanied by tremolando strings, before the principal canonic theme is recapitulated on the violins and violas.
A seraph is a celestial being or angel, usually and traditionally associated with trumpets. This work is dedicated to Alison Balsom.
James MacMillan, 2011
Dina Kostic, violinist, an established chamber and orchestral musician, currently performs with various groups including the Minnesota Orchestra, Naples Philharmonic, Sarasota Orchestra, Palm Beach Opera, the Symphonia Boca Raton, and Atlantic Classical Orchestra. She previously held positions with the Florida Philharmonic, the New World Symphony and the Civic Orchestra of Chicago. As chamber musician, Ms. Kostic performs with several ensembles, primarily Chamber Music Palm Beach and Cameo Chamber Players. A native of Belgrade, Serbia, she moved to the States at the age of fifteen to start her Undergraduate studies at Southern Methodist University, and earned her Master’s Degree from Northwestern University at age 21. Ms. Kostic has maintained a violin studio and ensemble classes at Barry University in Miami Shores since 2003, along with a private studio.
Glenn Basham has been a member of the artist facultyat the Frost School of Music at the University of Miamisince 1992 and the concertmaster of the Naples Philharmonic Orchestra since 1994. He also serves as the first violinist in the Bergonzi String Quartet, which is the quartet-in-residence at the Frost School of Music.
Glenn Basham is a native of Washington D.C., has a B.M. degree from the North Carolina School of the Arts and an M.M. degree from Indiana University. Previously, he played with the Detroit Symphony under Antal Dorati and was a member of the Chester String Quartet.
He has served as Concertmaster at music festivals nationwide, including the Grand Teton Music Festival in Wyoming, the Colorado Music Festival, the Hot Springs Music Festival, and the Pine Mountain Music Festival. He has appeared as soloist with the Ft. Wayne Philharmonic, the Lansing Symphony, the Plymouth Symphony, the Oak Park Symphony, the North Carolina School of the Arts Festival Orchestra, the Blue Lake Festival Orchestra, the Manchester Symphony, the Marion Philharmonic, the Palm Beach Symphony, the Miami City Ballet, the Pine Mountain Music Festival Symphony orchestra and the Naples Philharmonic Orchestra.
As a jazz musician, Glenn has performed with Ira Sullivan, Simon Salz, and John Blake, and is featured on the Miami Saxophone Quartet’s recordings,“Four More Giant Steps” and on Skitch Henderson’s “Swinging with Strings” on the Arbors jazz label. He has produced two jazz CDs, “Blue Moon” and “Blue Bossa,” from a live concert given back in 2005 with Guitarist Simon Salz.
Mezzo-Soprano Eliza Bonet is a graduate of Florida State University and has been described as having a “full, bright sound” which she delivers with “gusto, crispness, and dispatch.” Ms. Bonet is currently a Mezzo-Soprano singing with Florida Grand Opera. She appeared in FGO’s production of Rossini’s Il barbiere di Siviglia this past fall, and she will be seen again in the company’s upcoming production of The Passenger. Ms. Bonet has been recognized in several vocal competitions such as the Metropolitan Opera National Council Auditions, Opera Birmingham Competition, and the Mary Jacobs Smith Singer of the Year Competition. Along with FGO, Ms. Bonet has also worked with opera companies all over the country such as Opera Theatre of St. Louis, Kentucky Opera, and the Merola Opera program in San Francisco. Ms. Bonet is excited to be joining Musimelange for the first time and sharing this experience with all of you.