Grammy award winner Cheryl Bensman-Rowe, (soprano; MEMF artistic director) is known to both early and new music audiences in this country and abroad. A former member of the Waverly Consort and Western Wind Vocal Ensemble, she has also performed with King’s Noyse, the Folger Consort, The Smithsonian Chamber Ensemble and Pomerium Musices. Orchestral engagements include the New York Philharmonic, Chicago Symphony, Israel Phiharmonic, and the St. Louis Symphony. She has toured extensively in North and South America, Europe and Japan. Appearances include concerts at Lincoln Center, Carnegie Hall, Aspen Festival, Brooklyn Academy of Music, Ravinia, Casals, Mostly Mozart, Wiener Festwochen, and Holland Festival. She has recorded for Nonesuch, ECM, and CBS Masterworks.
Ellen Hargis (soprano) is one of America's premier early music singers, appearing with leading conductors and ensembles around the world, and performing at festivals throughout Europe, Asia, and North America. Included in her discography of more than 50 recordings, she has recorded the role of Aeglé in Lully's Thésée with the BEMF Orchestra and Chorus, as well as the premier recording of Conradi's opera Ariadne, both Grammy Nominees for Best Opera Recording, and has recently recorded Bach's St. Matthew Passion with the Smithsonian Players. As a stage director, Ms. Hargis has directed Purcell's Dido and Aeneas in Cleveland and Monteverdi's Orfeo for the Festival of Ideas in Edmonton, and is the Stage Director in Residence for Haymarket Opera Company in Chicago. She is Artist in Residence at Northwestern University and the University of Chicago, teaches voice for the Historical Performance Department at Case University, and is a visiting professor at the Eastman School of Music.
William Hudson (tenor) is a highly sought after as a specialist in historical performance, and has been described as "positively hypnotic" (Gramophone). He is the director and founding member of LIBER: Ensemble for Early Music, which has become the foremost interpreter of late medieval music in the United States. LIBER maintains an active schedule, performing at international music festivals on four continents. He also enjoys an active solo career, including the Evangelist in J.S. Bach's St. John Passion, Apollo in Monteverdi's Orfeo, Lucano in Monteverdi's L'incoronazione di Poppea. Mr. Hudson was the winner of the 2009 Noah Greenberg award and presented at the 2011 International Congress of Medieval Studies in Kalamazoo. He has recorded with Naxos, Passacaille, Titanic, Albany, and Dorian and can be heard on the Norton Recorded Anthology of Western Music. Mr. Hudson holds a M.M. from Longy School of Music and a D.Mus. in Historical Performance from Indiana University.
Chelsie Propst (beginning voice) is an active performer and teaches voice in the Madison area. She has performed with Madison-based ensembles Clocks in Motion, Isthmus Chamber Ensemble, Eliza’s Toyes, and Wisconsin Baroque Ensemble, and has performed several opera roles, including Donna Elvira in Mozart’s Don Giovanni and Belinda in Purcell’s Dido & Aeneas. She is a regular participant in the Madison Early Music Festival, and has taught beginning voice at MEMF for the three years. She was a finalist in Wisconsin Public Radio’s 2012 Neale-Silva Young Artists’ Competition and UW-Madison’s 2013 Concerto Competition. Her primary performance interests are early music and 20th-century American art song, and she attended SongFest in 2012. She is currently pursuing a PhD in Musicology at UW-Madison, and earned a Master of Music degree in Vocal Performance from UW-Madison and Bachelor of Arts degrees in Sacred Music and Voice Performance from Lenoir-Rhyne University in North Carolina.
Paul Rowe (baritone; MEMF Artistic Director) is Professor of Voice at the University of Wisconsin Madison. He has performed with many of the leading American musical organizations including the Boston Symphony Orchestra at Symphony Hall in Boston and Carnegie Hall in New York, American Ballet Theater at the Metropolitan Opera and Kennedy Center, and Musica Sacra at Carnegie Hall and Alice Tully Hall. He has appeared with the Baltimore Choral Arts Society, Smithsonian Chamber Players, the Alabama and Arkansas symphony orchestras, the Folger Consort, and the Ensemble for Early Music, among many other groups. As a member of the Waverly Consort, Mr. Rowe toured the United States, the Far East and South America and participated in the Consort's regular series at Alice Tully Hall and the Cloisters in New York. In addition, he performed for two years as a member of the New York Vocal Arts Ensemble, touring the U.S. and Yugoslavia.
Julie Andrijeski (violin; Dark Horse) enjoys both teaching and performing early music and dance. As a full-time Lecturer at Case Western Reserve University, Ms. Andrijeski leads classes in historical performance practices, teaches lessons in baroque violin, and directs the baroque orchestra, chamber, and dance ensembles. Her combined skills in music and dance often culminate in workshops and special teaching engagements at colleges and universities such as the Oberlin Conservatory, Indiana University, Juilliard, the University of Southern California, and the University of Colorado – Boulder. Ms. Andrijeski teaches at various summer festivals, including those in Oberlin (BPI), Madison (MEMF), and Vancouver, BC (BIP). Ms. Andrijeski maintains an active performance schedule, playing with many diverse early music groups across the nation. She regularly appears with the Atlanta Baroque Orchestra (Artistic Director), New York State Baroque (Concertmaster), Quicksilver (Co-Director with Robert Mealy), Apollo’s Fire, Les Délices, the Boston Early Music Festival Orchestra, and The King’s Noyse.
First trained as a modern violinist, David Douglass (violin and viola) has earned a reputation for his performances on medieval, Renaissance, and Baroque bowed string instruments. His playing has been praised by The New York Times for its "eloquence" and "expressive virtuosity". Through his groundbreaking work in the field of early violin performance, he was the first to develop a historical technique producing "a distinctively 'Renaissance' sound and style for the violin" (Fanfare). The King's Noyse, a Renaissance violin band, was the culmination of this work. A founding member of The Newberry Consort in 1988, Mr. Douglass was appointed the ensemble's Director and Musician-in-Residence at the Newberry Library in 2007. In great demand as a guest artist and director, Mr. Douglass has traveled extensively, performing with the world's foremost early music ensembles. Mr. Douglass is also a writer and lecturer on early violin history, technique and repertoire. He teaches at the University of Chicago and Northwestern University.
Grant Herreid (lute and renaissance guitar; Piffaro) performs frequently on early reeds, brass, strings and voice with Piffaro, Hesperus, and many other early music groups around the country. On the faculty at Yale University, he directs their Collegium Musicum and, as artistic and music director of the Yale Baroque Opera Project (YBOP), he was music director of recent productions of Cavalli's Giasone, Scipione Affricano, and La Calisto, Sacrati's La Finta Pazza, and Monteverdi's Ritorno d'Ulisse in Patria. He is a stage director for the Accademia d'Amore baroque opera workshop in Seattle, and he specializes in basso continuo on theorbo, lute and baroque guitar. Grant directs the New York Continuo Collective, and has created and directed several theatrical early music shows. He devotes much of his time to exploring the esoteric unwritten traditions of medieval, Renaissance, and baroque music with the early music ensembles Ex Umbris and Ensemble Viscera.
Eric Miller (beginning viol) plays viola da gamba, baroque cello, and cornetto with the Wisconsin Baroque Ensemble and Eliza's Toyes, and has appeared with the Madison Bach Musicians and Ensemble Musical Offering. During the 2010 and 2011 seasons, Eric performed with American Players Theater in the production of The Gift of the Magi. Also an accomplished trumpeter and able improvisor, Eric frequently collaborates with musicians from all walks of life in diverse musical settings. With degrees from Northern Illinois University and the University of Wisconsin-Madison, his primary cello studies have been with Marc Johnson of the Vermeer Quartet and Parry Karp of the Pro Arte Quartet. A passionate educator trained in the Suzuki approach, Eric maintains a large cello and trumpet studio in central Madison alongside his wife, Sue Ellen Dubbert, a dedicated piano teacher. Eric has also served as an orchestra teacher for the Madison Metropolitan School District since 2009.
David Morris (cello and viola da gamba; Parthenia) is a member of The King's Noyse, the Galax Quartet, Quicksilver, the Sex Chordae Consort of Viols and NYS Baroque. He has performed with Musica Pacifica, the Boston Early Music Festival Orchestra, Tragicomedia, Tafelmusik, the Boston Symphony Orchestra, Philharmonia Baroque Orchestra, American Bach Soloists, Musica Angelica, Seattle Baroque Orchestra, the Mark Morris Dance Company and Seattle's Pacific Musicworks. He was the founder and musical director of the Bay Area baroque opera ensemble Teatro Bacchino, and has produced operas for the Berkeley Early Music Festival and the San Francisco Early Music Society series. Mr. Morris received his B.A. and M.A. in Music from U.C. Berkeley, and has been a guest instructor in early music performance-practice at UC Berkeley, UC Santa Cruz, the San Francisco Conservatory of Music, Mills College, Oberlin College and Cornell University. He has recorded for Harmonia Mundi, New Albion, Dorian, New World Records, Drag City Records and New Line Cinema.
Christa Patton (harp; Piffaro) specializes in early wind instruments as well as historical harps and has toured the Americas, Europe and Japan with Early Music New York, Ex Umbris and Piffaro. As a Baroque harpist Christa has appeared with many of North America's premier early music groups, including Apollo's Fire, The King's Noyse, The Toronto Consort, Seattle Baroque Orchestra, La Nef, Parthenia and ARTEK, as well as in productions of Monteverdi operas with New York City Opera, Wolf Trap Opera, Tafelmusik, and Opera Atelier. She is co-director of the Baroque Opera Workshop at Queens College and has participated in the Yale Baroque Opera Project as coach and performer. In addition, she has led workshops at the Madison Early Music Festival, Pinewoods Early Music Camp, and the Medieval Summer Institute at the Longy School of Music. A former Fulbright scholar, Christa studied the Italian Baroque harp at the Civica Scuola di Musica in Milan, Italy, with historical harp specialist Mara Galassi. She is currently pursuing a doctorate at SUNY Stony Brook with early keyboard specialist Arthur Haas.
Lisa Terry (viola da gamba; Parthenia) practices, performs and teaches viola da gamba and violoncello in New York City, where she is a full-time member of Parthenia. Lisa is principal cellist and viol soloist with Tempesta di Mare, Philadelphia's baroque orchestra, and is also a member of the Dryden Ensemble in Princeton; she works regularly with the Lyra Consort (NYC) and Pegasus Early Music (Rochester). Lisa was a founding member of ARTEK. She earned her degree in cello performance from Memphis State University and continued her studies in New York with Richard Taruskin, viol, and Harry Wimmer, cello. Lisa appears to great acclaim as soloist in the Passions of J.S. Bach with noted orchestras across the country. She is the Vice-President of the Viola da Gamba Society of America.
Winds & brass
Greg Ingles (sackbut; Piffaro; Dark Horse) attended high school at the Interlochen Arts Academy and went on to graduate from the Oberlin Conservatory. After holding the position of Solo Trombone in the Hofer Symphoniker (Hof, Germany), he returned to the U.S. and completed master's and doctoral degrees in trombone performance at SUNY Stony Brook. During his graduate work Greg became acquainted with the sackbut and historical performance, and soon became a member of Piffaro, the Renaissance Band. He has since played with such ensembles as the American Bach Soloists, Chatham Baroque, Chiaroscuro, Concerto Palatino, Quicksilver and Tafelmusik. Greg is also a member of Ciaramella and is Music Director of the Dark Horse Consort, an ensemble devoted to rarely performed brass music of the 17th century. Mr. Ingles was the adjunct trombone professor at Hofstra University for over a decade. He teaches sackbut at the Madison Early Music Festival each summer.
Joan Kimball (historical winds; Piffaro), artistic co-director and a founding member of Piffaro, The Renaissance Band, gave full time to early music performance in 1980 after a number of years as an educator. She teaches recorder and early winds to children and adults and is on the music faculty of The Philadelphia School (elementary and middle school) where she has a full roster of private recorder students and ensembles. Joan organizes Piffaro's educational programs, including the biennial recorder competition for high school students. In addition, she collaborates with instrument maker Joel Robinson of New York City on the construction of Medieval and Renaissance bagpipes and is a maker of double reeds for Renaissance shawms, dulcians and capped winds. Joan teaches bagpipe, recorder and double reed classes at summer music workshops and festivals. In addition to her recordings with Piffaro she can also be heard on Vanguard Classical, Eudora and Vox Amadeus.
Theresa Koenig (beginning recorder) performs extensively on baroque and modern bassoon and Renaissance winds. Ms. Koenig is a member of the Lyra Baroque Orchestra, Eliza’s Toyes, Helios Woodwind Quintet and has recently performed with Piffaro Renaissance Band, Chicago's Baroque Band, Ensemble Musical Offering, Wisconsin Chamber Orchestra and others. Ms. Koenig received her Bachelor and Master's degrees from the Indiana University Jacob School of Music. While there she was awarded the illustrious performer's certificate. Ms. Koenig was the first bassoonist to receive the Paul Collins Distinguished Fellowship at UW-Madison, where she completed her Doctor of Musical Arts Degree.
Kiri Tollaksen (cornetto) enjoys a varied career as a performer and teacher. Praised for her "stunning technique, and extreme musicality"(Journal of the International Trumpet Guild), she has performed extensively throughout North America and Europe with such groups as Apollo's Fire, The Folger Consort, Tenet, Green Mountain Project, Piffaro, Philharmonia Baroque Orchestra, New York Collegium, Concerto Palatino, La Fenice, the Huelgas Ensemble, the Catacoustic Consort and Seattle Baroque Orchestra. She is a founding member of the early brass ensemble, Dark Horse Consort, and has taught at Indiana University (Bloomington) and the Amherst Early Music Festival. Kiri holds performing degrees in trumpet from Eastman, Yale, and a Doctorate in Musical Arts from the University of Michigan. As a professional trumpet player, Kiri performs with the River Raisin Ragtime Revue, freelances throughout Michigan and maintains a teaching studio. She lives in Ann Arbor with her husband Ron and four cats. For upcoming concerts, please visit http://www.KiriTollaksen.com.
Bob Wiemken (historical winds; Piffaro) began his musical life as a French hornist but began playing early reeds while a graduate student in Classics at the University of Pennsylvania. His love of early double-reed instruments has only increased as he has studied and explored shawms, dulcians, bassoons, krumhorns and more. As Artistic Co-Director of Piffaro, The Renaissance Band, he has performed worldwide, recorded extensively, built over 100 programs of Renaissance and early Baroque music and commissioned new works for early winds and chorus. He has performed with numerous of the world’s leading early music ensembles, in festivals in North and South America and throughout Europe, and in performance spaces contemporary with the music. He teaches and lectures in college and university settings and at festivals and workshops throughout the country, bringing the world of early reeds to modern players and amateurs alike. In addition to these responsibilities, he continues to attempt to plumb the depths of early reed technique in an effort to understand the mysteries of these glorious instruments.
Tom Zajac (recorder, historical winds; Piffaro; lecturer – musicology) is a multi-instrumentalist praised for his versatility and stylish playing of music from the medieval and Renaissance periods. As a member of Piffaro and Ex Umbris, he has toured extensively, appearing in concert series and festivals on five continents. As a guest artist Tom appears frequently with the Folger Consort, King’s Noyse, Newberry Consort, Hesperus, and other leading U.S. ensembles. His playing has been heard in the East Wing of the White House, on A Prairie Home Companion, and on a 2001 space shuttle mission. Recent performance projects include a 13th-century music-theater piece, the Tournoi de Chauvency,with Ensemble Aziman and playing percussion for BEMF opera productions. Tom has an abiding interest in the confluence of historical and socio-cultural approaches to music making and has directed research and performance projects on the music of Colonial Latin America, pre-expulsion Spain, and Eastern Europe. Tom teaches at several other workshops throughout the U.S. and directs the early music ensembles at Wellesley College near his home in Boston.
Ian Pritchard (harpsichord and organ; Dark Horse) earned his BMus at the Oberlin Conservatory, where he studied with Lisa Crawford, and the DipRAM at the Royal Academy of Music in London, studying with John Toll, and continued studies with James Johnstone. Ian has performed with many ensembles, including the Academy of Ancient Music, the Orchestra of the Age of Enlightenment, the Irish Baroque Orchestra, and Florilegium, with which he has toured in Cyprus, South America, and throughout Europe. As a chamber musician he has performed with Monica Huggett and Rachel Podger, among others. Ian won 1st Prize in the 2001 Broadwood Harpsichord Competition and was a prizewinner in the 2003 International Harpsichord Competition in Bologna. In the same year, he was awarded a Fulbright Scholarship to Italy to research early Italian keyboard music and to study with Andrea Marcon and Liuwe Tamminga. He is currently a candidate for the PhD in musicology at USC.
John Chappell Stowe (organ, harpsichord) is Professor of Organ and Harpsichord at the University of Wisconsin-Madison School of Music. Before moving to Wisconsin, he was Professor of Organ and Church Music at Houghton College, Houghton, NY and also served as Visiting Associate Professor of Organ at the University of Iowa for the 1993-94 academic year. He graduated from Southern Methodist University and Eastman School of Music, studying organ with Robert Anderson and Russell Saunders. Dr. Stowe holds the Doctor of Musical Arts degree and Performer's Certificate from the Eastman School and was the first-place winner in 1978 of the National Open Organ Playing Competition of the American Guild of Organists. Since joining the faculty at UW-Madison, Dr. Stowe has held the posts of Associate Director of the School of Music (1990-93) and Director of Graduate Studies (1996-99, 2005-06). From 1998 to 2004, he served the American Guild of Organists as National Vice President. In addition to organ and harpsichord, his instructional activities currently include improvisation, continuo playing, organ design and literature, and coaching the UW-Madison Early Music Ensemble.
Musicology, history, culture
Musicologist J. Michael Allsen has been associated with MEMF since 2001. He is currently Professor of Music at the University of Wisconsin-Whitewater, where he teaches Music History, World Music, and Humanities courses. Allsen holds a Ph.D. in Musicology from UW-Madison, and has worked principally on the music of the 15th century. He has contributed articles and reviews to the New Grove Dictionary of Music and Musicians, Die Musik in Geschichte und Gegenwart, and several other reference works and journals. Allsen has written program notes for the Madison Symphony Orchestra since 1984, and also writes for several orchestras and festivals around the country. As a performer, he has played primarily with the Madison Symphony Orchestra (bass trombone). Allsen was cofounder of Madison’s Glenwood Moravian Trombone Choir and directed the group for nearly 25 years. In 2006, he was awarded the Moravian Music Foundation’s Moramus Award.
John W. Barker (lecturer, historian) is Professor Emeritus of History at the University of Wisconsin–Madison where, for almost forty years, he taught areas of Mediterranean Medieval history (Byzantium, Crusades, Venice), plus a multimedia course in relations between music and history. He has published widely on both history and music. A passionate record-collector, he has been a staff reviewer with The American Record Guide for over fifty years, he has been an active radio broadcaster in Madison (for WHA/WERN; now for WORT), and he is classical-music critic for Madison’s Isthmus.
David Crook (lecturer, musicology) has taught music history and musicology at the University of Wisconsin-Madison since 1990. His work as a writer and editor has focused on European music of the late 16th and early 17th centuries and the religious and political institutions that shaped its production and reception. The recipient of research grants from the National Endowment for the Humanities, the Deutscher Akademischer Austauschdienst, and the Wisconsin Institute for Research in the Humanities, Professor Crook is author of Orlando di Lasso's Magnificats for Counter-Reformation Munich (Princeton University Press, 1994) and co-editor of Orlando di Lasso: The Complete Motets (A-R Editions, 1995–2006). Professor Crook received his PhD from Princeton University, his M.A. from the University of California at Riverside, and his BM from the University of Redlands.
Violinist Edith Hines (lecturer, musicology) performs with Ensemble Musical Offering, the Madison Bach Musicians, and the Wisconsin Chamber Orchestra, and together with John Chappell Stowe she is a founding member of Ensemble SDG. She works as an assistant editor at A-R Editions and offers an early music ensemble class through the UW-Madison Division of Continuing Studies. Edith has studied modern violin with David Updegraff, Donald Weilerstein, and David Perry and has had coaching in historical performance from Julie Andrijeski, David Douglass, Robert Mealy, and others.
Anna Mansbridge (see Dance)
Catherine Sawinski (lecturer – art history) is Assistant Curator of Earlier European Art at the Milwaukee Art Museum, a position which she has held since 2008. She joined the staff of the Museum in 2001 as a Curatorial Intern, and was promoted to Curatorial Assistant in 2003. While at the Museum, she has assisted with the organization of 13 exhibitions, including the fall 2013 show Rembrandt, Van Dyck, Gainsborough: The Treasures of Kenwood House, London. In 2010, Sawinski curated the exhibition Intimate Images of Love and Loss: Portrait Miniatures. Her current responsibilities include researching the collection of Ancient and European artwork before 1900, including over 3,000 works on paper. She holds a B.A.in Art History and Classics from Lawrence University and an M.A. in Art History and Museum Studies from the University of Wisconsin-Milwaukee.
John Chappell Stowe (see Keyboard)
Robert Wiemken (see Winds)
Anna Mansbridge (historical dance) is originally from the UK, and now resides in Seattle, WA. She has a Bachelor of Education Honors Degree (First Class) from Bedford College, UK, and an MFA in Modern Dance from Mills College, CA. She is the founder (in 2000) and Artistic Director of Seattle Early Dance, a company dedicated to recreating dances from the Renaissance and Baroque periods. Her directing/choreographing credits include Rappresentatione di Anima et di Corpo by Emilio De’ Cavalieri (1600), The Indian Queen by Henry Purcell (1695), and La liberazione di Ruggiero dall’isola d’Alcina (1625) for Cornish Opera Theater. In addition, Anna has directed a DVD titled Baroque Basics: An introduction to the dance and the music of the Baroque Period. Anna is an adjunct instructor at Cornish College of the Arts, and she has been a faculty member on a number of prestigious early music courses, including the Accademia d’Amore, directed by Stephen Stubbs.
Kristina Boerger (conductor; soprano) received her formative musical training from pianist Annie Sherter and holds the doctorate in Choral Conducting and Literature from the University of Illinois. She is currently in her fourth year as Carroll University's Director of Choral Activities. A New Yorker during most of the last decade, Dr. Boerger served nine seasons as Artistic Director of the Cerddorion Vocal Ensemble, three seasons as Music Director of AMUSE, and two seasons as Associate Conductor of the Collegiate Chorale. As a guest director she has served the Syracuse Schola Cantorum, the Kalamazoo Bach Festival, the Five Colleges Consortium, and Chanticleer. Boerger's credits as an ensemble singer include many years with Western Wind, Vox Vocal Ensemble, and Pomerium. Other credits include projects with Early Music New York, the choir at Trinity Church Wall Street, Bobby McFerrin, and the Rose Ensemble. For complete information, please visit www.kristinaboerger.com.
Jerry (Chiwei) Hui (assistant conductor) is the founder, director and conductor of many ensembles throughout the years. Recent affiliations in Madison include early music ensemble Eliza's Toyes, contemporary performance arts ensemble New Music Everywhere (New Muse), and the Compline services at Luther Memorial Church. He will be joining the faculty of University of Wisconsin-Stout as the Choral Director in Fall of 2013. Besides being an active vocalist and conductor, Dr. Hui is also an award-winning composer of chamber music, choral works and opera, whose music has been performed in the United States, Germany, France, Scotland, Indonesia, Taiwan and Hong Kong. Learn more on Dr. Hui’s website.
Grammy award winner Cheryl Bensman-Rowe, (MEMF artistic director) is known to both early and new music audiences in this country and abroad. A former member of the Waverly Consort and Western Wind Vocal Ensemble, she has also performed with King’s Noyse, the Folger Consort, The Smithsonian Chamber Ensemble and Pomerium Musices. Orchestral engagements include the New York Philharmonic, Chicago Symphony, Israel Phiharmonic, and the St. Louis Symphony. She has toured extensively in North and South America, Europe and Japan. Appearances include concerts at Lincoln Center, Carnegie Hall, Aspen Festival, Brooklyn Academy of Music, Ravinia, Casals, Mostly Mozart, Wiener Festwochen, and Holland Festival. She has recorded for Nonesuch, ECM, and CBS Masterworks. Ms. Bensman-Rowe is also a member of the MEMF voice faculty.
Chelcy Bowles (MEMF program director) is Professor of Music and Director of Continuing Education in Music at the University of Wisconsin-Madison, where she directs professional development programs for music teachers and performers, the community adult music education program, and the Madison Early Music Festival. She holds a Ph.D. in Music Education, has taught music and music education at the elementary, secondary, college and continuing adult levels, and has presented and published research in major forums and journals. She has taught and performed as a professional harpist, including historical harp and traditional Irish music.
Paul Rowe (MEMF Artistic Director) is Professor of Voice at UW-Madison. He has performed with many of the leading American musical organizations including the Boston Symphony Orchestra at Symphony Hall in Boston and Carnegie Hall in New York, American Ballet Theater at the Metropolitan Opera and Kennedy Center, and Musica Sacra at Carnegie Hall and Alice Tully Hall. He has appeared with the Baltimore Choral Arts Society, Smithsonian Chamber Players, the Alabama and Arkansas symphony orchestras, the Folger Consort, and the Ensemble for Early Music, among many other groups. As a member of the Waverly Consort, Mr. Rowe toured the United States, the Far East and South America and participated in the Consort’s regular series at Alice Tully Hall and the Cloisters in New York. In addition, he performed for two years as a member of the New York Vocal Arts Ensemble, touring the U.S. and Yugoslavia. Mr. Rowe is also a member of the MEMF voice faculty.