Matthew Anderson has been praised for the warm tenor voice and polished musicality he brings to oratorio, opera, and musical theater. An accomplished interpreter of the music of Bach, Matthew sings regularly as a soloist in Boston’s renowned Emmanuel Music Bach Cantata Series. He appeared at the Aldeburgh Festival as a soloist in the Saint Matthew Passion and spent several summers at the Carmel Bach Festival, where he was featured as a Virginia Best Adams Fellow and aria soloist in the Saint John Passion. He has received particular acclaim for his portrayals of the Evangelists in Bach’s Passions, which he has performed throughout the United States. Matthew is a two-time prizewinner in the American Bach Society Competition and winner of the second prize in the Oratorio Society of New York Solo Competition, in which he also won the Westenberg Award for 18th Century Stylistic Interpretation. Recent performances from Matthew’s varied repertoire include Handel’s Acis and Galatea (Damon) with the Mark Morris Dance Group; Bach’s Coffee Cantata with Boston Baroque; Mozart’s Requiem with the National Chorale at Avery Fisher Hall; Stravinsky’s Renard at Tanglewood and the Mostly Mozart Festival with the Mark Morris Dance Group; and Handel’s Messiah with the Masterwork Chorus at Carnegie Hall Matthew spent two seasons as a vocal fellow at the Tanglewood Music Center and was a Lorraine Hunt Lieberson Fellow with Emmanuel Music. He also trained in the James Collier Apprentice Artist Program at Des Moines Metro Opera, the Britten-Pears Young Artist Programme, and the Cincinnati Opera Resident Ensemble. Matthew is a Kansas native and resides in Boston, where he studied Classics at Harvard and voice at the New England Conservatory.
Praised by the Boston Musical Intelligencer for her “radiant soprano,” Shannon Canavin has concertized throughout New England and the East Coast with ensembles including Apollo’s Fire, Newport Baroque, Arcadia Players, Amphion’s Lyre, the Choir of the Church of the Advent, the Henry Purcell Society of Boston, and the Connecticut Early Music Festival; in December 2016 she will perform as soloist with the Baroque Chamber Orchestra of Colorado. She holds a Bachelor’s degree from New England Conservatory in voice and theory and a Master’s degree from Case Western Reserve University in Early Music Performance Practices. Shannon has worked with such esteemed artists as Paul O’Dette, Kenneth Slowik, Ellen Hargis, Julianne Baird, Howard Crook, Judith Malafronte, Jennifer Lane, and Pamela Dellal. She has worked as General Manager, Marketing Coordinator, Development Associate, and Visa Specialist for the Boston Early Music Festival since 1998, and is director of Artist Visa Services LLC to prepare non-immigrant visa applications for foreign artists. Founded by Shannon in 2003, Exsultemus has presented over 50 unique programs spanning more than 10 centuries and gives an annual concert series at the First Lutheran Church of Boston.
Hailed as a “vivid countertenor” (The Wall Street Journal) with a voice that is “unusually sparkling” (The Kansas City Star), Douglas Dodson is making his mark on opera and concert stages throughout the United States in repertoire ranging from the Baroque to the contemporary. In 2014, Douglas created the role of Farinelli the Rooster in Guerilla Opera’s world premiere production of Ken Ueno’s opera Gallo. The Boston Globe called his aria “show-stopping” and Lloyd Schwartz (for New York Arts) praised his “impressive and uninhibited” countertenor. Douglas also made his role debut as Ottone in L’incoronazione di Poppea at the Aldeburgh Music Festival in Suffolk, England as a member of the prestigious Britten-Pears Young Artist Programme. He enjoyed a busy year on the concert platform, appearing as alto soloist with The Handel and Haydn Society in Bach’s Lutheran Mass in G Major and Schütz’s Musikalische Exequien, Cantata 78 with Music at Marsh Chapel (Boston), and as countertenor soloist in Purcell’s Te Deum and Jubilate in D with The Henry Purcell Society of Boston. He also sang Oberon in Britten’s A Midsummer Night’s Dream with Lowell House Opera in addition to several concert appearances. An experienced Handelian, Douglas performed the alto solos in Messiah at Music at Marsh Chapel, Kansas City Baroque Consortium, and Handel Choir of Baltimore, and appeared as Athamas in Semele with Handel Choir of Baltimore. He also performed as alto soloist in Bach’s St. Matthew Passion with Spire Chamber Ensemble (Kansas City) and as Isaac in Britten’s Canticle II—Abraham and Isaac with Music at Marsh Chapel.
Described by critics as “a gifted young tenor with wonderful comedic talents” and as having an “alluring tenor voice,” the Grammy-winning tenor Jason McStoots garnered critical accolades for his recent performances with Les Délices. The Cleveland Plain Dealer describing his singing as “exquisite” and saying that he “easily filled the room with a sound both rich and dulcet…beyond that, he was a fine actor, rounding out heartfelt performances with meaningful gestures and facial expressions.” For the role of Eumete in BEMF’s production of Monteverdi’s Il ritorno d’ulisse in patria he was described by critics as “sweet-toned” and “excellent” and his Act II aria acclaimed as “one of the highlights of the evening.” He has appeared with such groups as Pacific MusicWorks, Pablo Casals Festival, TENET, and the Tanglewood Music Center. He is a core member of the Renaissance music ensemble Blue Heron and a founding member of Exsultemus.
Alessandro Quarta, conductor and composer, specializes in the vocal repertoire of the Renaissance and Baroque. As a singer he worked with prestigious esembles from 1993 to 2000. From 2001 to 2007 he was chapel master at the Pantheon. At present he holds the same position at the Roman church of Santa Lucia del Gonfalone. He teaches stage singing at the Scuola di Recitazione Fondamenta in Rome, madrigal and oratorio singing at the International Early Music Festival of Urbino (FIMA) and held masterclasses at Conservatorio Licinio Refice in Frosinone (2013) und Hochschule für Musik und Tanz in Cologne (2014). Since 2014 he is guest-conductor of the vocal ensemble Ars nova in Salamanca. Alessandro conducts musicological research, focusing on the unpublished repertoire of the Rome School (for German Historical Institute of Rome, and of the Rome Istituto Bibliografico Musicale) and leads the award-winning ensemble Concerto Romano.
Margot Rood, hailed for her “luminosity and grace” by The New York Times, performs a wide range of repertoire. Recent and upcoming appearances include those with Cleveland Orchestra, New World Symphony, Seraphic Fire, A Far Cry, Boston Modern Orchestra Project, Rhode Island Philharmonic, Blue Heron, Cape Symphony, Handel and Haydn Society, Bach Collegium San Diego, The Sebastians, Grand Harmonie, Back Bay Chorale, Brookline Symphony, and Exsultemus, as well as onstage with Monadnock Music, St. Petersburg Opera, Helios Opera, and Green Mountain Opera. Margot was named a 2015-2016 Lorraine Hunt Lieberson Fellow at Emmanuel Music, where she is often featured on Emmanuel’s nationally-known Bach cantata series. She has performed as soloist with some of the United States’ premiere new music ensembles, and was a 2015 recipient of the St. Botolph Club Foundation’s Emerging Artist Award for her work in new music. Notable engagements include her Carnegie Hall debut in the world premiere of Shawn Jaeger’s Letters Made with Gold and Arvo Pärt’s Passio with the Boston Modern Orchestra Project. Margot is a core member of Lorelei Ensemble, an all-female vocal ensemble dedicated to the performance of new music. Also sought after as a collaborator, she has been invited by composers at Columbia University, University of Pennsylvania, McGill University, University of Louisville and Keene State College for performances and masterclasses.
Paul Schleuse, Associate Professor of Musicology at Binghamton University, holds a PhD in Musicology from City University of New York; an MM in Composition from Manhattan School of Music; and a BA cum laude and BM cum laude from Rice University. His research specialties are in music of the sixteenth and seventeenth centuries, including the Italian madrigal and related genres, early opera, music in print culture, and theories of genre. He teaches classes in the undergraduate music-history survey, graduate courses in music history and research, and courses on the music of Monteverdi, the history of opera, and minimalism in music. Publications include the critical edition of Orazio Vecchi's Selva di varia ricreatione (1590) (A-R Editions, 2012), Singing Games: The Music Books of Orazio Vecchi (Indiana University, 2015), and articles in The Journal of Musicology and in the books Teatro dell'udito, Teatro del mondo (Mucchi Editore, 2010); Playing with Boundaries: Sexualities, Textualities, Art and Music in Renaissance Italy (Ashgate, 2013), and a collection of essays to accompany a new edition of Thomas Morley's A Plaine and Easie Introduction to Practicall Musicke (forthcoming). His papers have been read at national and chapter meetings of the American Musicological Society, the Society for Seventeenth-Century Music (awarded the Irene Alm Prize), The Renaissance Society of America, The Medieval & Renaissance Music Conference (UK), and by invitation to the International Conference for the Quatercentenary of the Death of Orazio Vecchi, Modena.
Hailed as “compelling to watch” (Tufts Daily) and praised for his “rich bass-baritone voice and eloquent projection” (Lawrence Budmen), Ulysses Thomas made his professional debut with Opera Boston/Boston Baroque in Handel’s Semele as the High Priest, followed by his company debut with Boston Lyric Opera as Luther and Crespel in Les contes d’Hoffmann and Il Commendatore in Don Giovanni. Most recently, Ulysses appeared as Antinoo in Boston Baroque’s acclaimed production of Monteverdi’s Il ritorno d’Ulisse in patria, of which the audio recording received two Grammy nominations. Other stage highlights include Pergolesi’s La serva padrona, Il barbiere di Siviglia, The Magic Flute, in La bohème, Massenet’s La Navarraise, Lee Hoiby’s A Month in the Country, Gianni Schicchi, and Britten’s The Rape of Lucretia. Apart from the operatic stage, Ulysses has appeared with a number of Boston-area ensembles including The Spectrum Singers, Masterworks Chorale, Musica Sacra, Andover Choral Society, Exsultemus, Blue Heron Renaissance Choir, The Concord Chorus, Cambridge Concentus, Newburyport Choral Society, Boston Choral Ensemble, The Fifth Floor Collective, Marsh Chapel Choir and Collegium, and Emmanuel Music. Ulysses spent two summers as a vocal fellow at Tanglewood Music Center was a finalist in the 2001 Orpheus National Competition for Vocalists, where he received the Richard Strauss Award.
About the Veglie
Inspired by the 16th-century Sienese Academy of the Intronati, where aristocratic members of society gathered
to challenge each other through lively intellectual games, Vecchi's Le veglie di Siena offers listeners a
unique insight into the Renaissance art of recreational singing and gaming.
The Veglie begins with a spirited game of imitations, where the singers compete to provide the best impression of
various personalities, often to riotous effect. When that game is finished, they take off on a Hunt for Cupid, whose
pernicious behavior is both painful and delightful, and end up playing a game of tongue twisters. The games close with
a competition to best capture the modern humors through music, which also serves as a testament to Vecchi's standing
as an innovative contributor to the burgeoning musical revolution of the Baroque era.
Learn more about the Veglie by watching our promotional video below.
Watch the Veglie
Recorded at the Elijah Kellogg Church in Harpswell, Maine on June 18, 2016.
The Hunt for Cupid Imitation of a German
Saturday, June 18, 2016 at 2:30pm
Elijah Kellogg Church
917 Harpswell Neck Road, Harpswell, Maine
Suggested donation: $20
Thursday, August 4, 2016 at 7:30pm
Sullivan Congregational Church
4 Church Street, Sullivan, New Hampshire
Admission by voluntary donation
Presented by Monadnock Music
Shannon Canavin & Margot Rood, soprano
Douglas Dodson, countertenor
Matthew Anderson & Jason McStoots, tenor
Ulysses Thomas, bass-baritone
Paul Schleuse, Associate Professor of Musicology at Binghamton University, editor of the new Veglie edition
Alessandro Quarta, music & language coach and producer
Angus Lansing, recording engineer
Orazio Vecchi's Le veglie di Siena (1604)
During the summer of 2016, Exsultemus will devote itself to the
first full-length recording of Vecchi's extraordinary "Musical Game Nights."
Contribute today to bring this work to music lovers everywhere!