Musica Pacifica has, since its founding in 1990, become widely recognized as one of America’s premier baroque ensembles, lauded for both the dazzling virtuosity and the warm expressiveness of its performances. They have been described by the press as “some of the finest baroque musicians in America” (American Record Guide) and “among the best in the world” (Alte Musik Aktuell). At home in the San Francisco Bay area, the artists perform with Philharmonia Baroque and American Bach Soloists, and appear with many other prominent early music ensembles nationally and abroad.

They have performed on some of the most prestigious concert series in the U.S., including Music Before 1800 and the Frick Collection (NY), the Getty Museum (Los Angeles), the Cleveland Art Museum, the Pittsburgh Renaissance and Baroque Society, the Seattle Early Music Guild, the Houston Early Music Society, and the Los Angeles County Museum, among many others. The ensemble has been featured at the Berkeley Early Music Festival four times, and their first appearance there was cited in Early Music (UK) as “perhaps the standout of the entire festival.” They have performed at festivals in Germany and Austria and have been featured on German National radio as well as on National Public Radio’s “Performance Today” and “Harmonia” and on Minnesota Public Radio. Musica Pacifica’s eight CD releases on the Virgin Classics, Dorian and Solimar labels have won national and international awards, including the highest ratings in several CD magazines and being chosen as “CD of the Month” by the early music journal Alte Musik Aktuell (Regensburg). The prestigious Gramophone Magazine (UK), called Dancing in the Isles “one of the zestiest recordings of recent vintage.” Fire Beneath My Fingers, was touted as “one of the most exciting Baroque recordings I’ve heard” on Audiophile Audition. Their Telemann CD won Chamber Music America and WQXR’s 2003 Record Award honoring the best chamber music recordings of the year, and their Mancini recording was cited as a “Noteworthy Disc” in the 2000 International Antonio Vivaldi Awards for Italian Early Music in Venice.

Online, Musica Pacifica may be heard on radio station 1.fm, Last.fm, Celtic Radio, and Recorder-radio.com; and seen at youtube.com/MusicaPacificaSF. Their recordings are also available on ITunes and other online sites. Please visit their website: www.musicapacifica.org.

Judith Linsenberg, recorder, is one of the leading exponents of the recorder in the US and has been acclaimed for her “virtuosity,” “expressivity,” and “fearless playing.” She has performed extensively throughout the United States and Europe, including solo appearances at the Hollywood Bowl, Lincoln Center, and the Montreal Recorder Festival; and has been featured with such leading American ensembles as the San Francisco Symphony, the San Francisco and Los Angeles Operas, the Oregon Symphony, LA Chamber Orchestra, Philharmonia Baroque, American Bach Soloists, the Portland and Seattle Baroque Orchestras, the Oregon and Carmel, Bach Festivals, Musica Angelica of Los Angeles, and others. She is the winner of national performance awards, and has premiered several new works for the recorder.

Linsenberg has recorded for Virgin Classics, Dorian, Solimar, harmonia mundi usa, Koch International, Reference Recordings, Musical Heritage Society, Drag City Records (with Joanna Newsom), and Hännsler Classics. A Fulbright scholar to Austria, she was
awarded the Soloist Diploma with Highest Honors from the Vienna Academy of Music. She is a summa cum laude graduate of Princeton University, holds a doctorate in early music from Stanford University, and has been a visiting professor at the Vienna Conservatory
and Indiana University’s Early Music Institute in Bloomington.

Baroque violinist Elizabeth Blumenstock is widely admired as a performer of interpretive eloquence and technical sparkle. A frequent soloist, concertmaster, and leader with Philharmonia Baroque Orchestra, American Bach Soloists, the Italian ensemble Il
Complesso Barocco, and the Goettingen Handel Festspielorchester, she is also a member of several of California’s finest period instrument ensembles, including Musica Pacifica, Live Oak Baroque, the Galax Quartet, the Arcadian Academy, and Trio Galanterie. She has appeared with period orchestras and chamber ensembles throughout the United States and abroad, and has performed at the Boston and Berkeley Early Music Festivals, Los Angeles Opera, the Carmel Bach Festival, the Oulunsalo Soi festival in Finland, and the San Luis
Obispo Mozart Festival, among many others.

Her numerous recordings for harmonia mundi, Deutsche Grammophon, Virgin Classics, Dorian, BMG, Reference Recordings, and Koch International have included prize-winning discs with several of the above-named ensembles. An active teacher, she is an adjunct faculty member at the San Francisco Conservatory of Music, teaches at the American Bach Soloists Academy, teaches often at the International Baroque Institute at Longy, and has taught at the University of Southern California, Oberlin’s Baroque Performance Institute and the Austrian Baroque Academy.

Cited for his “stylish and soulful playing,” Josh Lee performs on viols and double bass with some of the world’s leaders in early music. Josh is an alumnus of the Peabody Conservatory and the Longy School of Music where he studied double bass with Harold Hall Robinson and viol with Ann Marie Morgan and Jane Hershey.

Founder of the ensemble Ostraka, he has performed with the LA Philharmonic, Carmel Bach Festival, Musica Pacifica, Boston Early Music Festival Orchestra, Seattle Baroque Orchestra, Les Délices, and Philharmonia Baroque Orchestra. Josh’s performances have been heard on National Public Radio’s Performance Today and Harmonia, and he has recorded for Dorian, Koch International and Reference Recordings. Praised as “a master of the score’s wandering and acrobatic itinerary” by the Cleveland Plain Dealer, Josh is director of the Viola da Gamba Society of America Young Players’ Weekend.

Charles Sherman, harpsichord, is recognized as one of the leading harpsichord soloists and continuo players in the country and has been called a “fluent virtuoso” by the Los Angeles Times. Since 1997, he has been a member of Philharmonia Baroque Orchestra and Musica Pacifica. Previously, as a member of the Aulos Ensemble (NY) for many years, he toured regularly throughout North America and overseas and recorded extensively. He has also performed with such acclaimed ensembles as the Philadelphia Orchestra, American Baroque (SF), Musica Angelica (LA), Handel & Haydn Society and Emmanuel Music (Boston), St. Luke’s Chamber Ensemble and Concert Royal (NY), and at well-known music festivals, including Marlboro, Saratoga, the New England Bach Festival, the Boston and Berkeley Early Music Festivals, and Aston Magna.

Mr. Sherman holds degrees in History and Musicology from The University of Chicago and in Harpsichord Performance from the Juilliard School, where he studied with Albert Fuller. He is one of today’s leading exponents of the art of basso continuo realization and frequently teaches master classes on Baroque accompaniment. His recordings appear on the Dorian, Musical Heritage Society, Koch International, Reference Recordings, and BMG labels.

Washington McClain, a specialist on Baroque and Classical oboes, has performed with many groups in the United States, including The City Musik (Chicago), Seattle Baroque Orchestra, Philharmonia Baroque Orchestra (San Francisco), Apollo’s Fire (Cleveland), Opera Lafayette (Washington, D.C.), and Washington Bach Consort. In Canada and Europe, he has performed with Tafelmusik Baroque Orchestra, serving as core oboist for seven years, Pacific Baroque Orchestra (Vancouver), The Netherlands Bach Society, and is currently principal oboist of l’Ensemble Arion in Montréal, Québec. Washington’s extensive teaching and performing experience in workshops and festivals in North America include The Amherst Early Music Festival, Western Baroque Double Reeds Festival (Seattle), the Madison Early Music Festival, The International Baroque Institute at Longy (Boston), Festival International de Musique Baroque de Lamèque (New Brunswick, Canada), The Staunton Music Festival (Virginia), and the Boston Early Music Festival. He is also the first period instrument performer to be featured in an article of Windplayer Magazine. Washington has recorded for the Sony Classical, ATMA, Analekta, Naxos, Centaur, and CBC Records labels, and currently teaches at The Early Music Institute at Indiana University in Bloomington. He makes his home in Windsor, Ontario (Canada).

“Pure and shining” (Cleveland Plain Dealer) soprano Clara Rottsolk has been lauded by The New York Times for her “clear, appealing voice and expressive conviction” and by The Philadelphia Inquirer for the “opulent tone [with which] every phrase has such a communicative emotional presence.” In a repertoire extending from the Renaissance to the contemporary, her solo appearances with orchestras and chamber ensembles have taken her across the United States, Japan and South America. She specializes in historically informed performance practice, singing with ensembles such as American Bach Soloists, Tempesta di Mare, Les Délices, St. Thomas Church Fifth Avenue, Magnificat Baroque, Baltimore Chamber Orchestra, Bach Sinfonia, Piffaro—The Renaissance Wind Band, Trinity Wall Street Choir, Handel Choir of Baltimore, Buxtehude Consort, and the Masterwork Chorus under the direction of conductors including Joshua Rifkin, Bruno Weil, Paul Goodwin, Jeffrey Thomas, John Scott, David Effron, and Andrew Megill.

She has performed at the Carmel Bach Festival, Indianapolis Early Music Festival, Berkeley Early Music Festival, Philadelphia Bach Festival, Whidbey Island Music Festival, Boston Early Music Festival, and the Festival de Música Barroca de Barichara (Colombia). In collaboration with fortepianist Sylvia Berry, pianists Holly Chatham and Byron Schenkman, and guitarist‐lutenist Daniel Swenberg, Ms. Rottsolk has given recitals of song from the 17th to 21st centuries in venues including the Goethe-Institut Boston, St. Mark’s Church Philadelphia and Swarthmore College.

Among her stage roles are Micaëla (Carmen), Semele (Semele), Dido (Dido and Aeneas), Arminda (La finta giardiniera) and Laetitia (The Old Maid and the Thief). Her “supple and stylish… and unflaggingly attractive” (Gramophone Magazine) recording of Scarlatti Cantatas with Tempesta di Mare is available on the Chandos-Chaconne label. Highlights of her current season include performances
with Seattle Baroque Orchestra, American Bach Soloists, New Mexico Symphonic Chorus, Seraphic Fire, Magnificat Baroque, Les Délices, and Musica Pacifica.

A Seattle native, Ms. Rottsolk earned music degrees at Rice University and Westminster Choir College and was honored for musical
excellence by the Metropolitan Opera National Council (Northwest Region). Currently she is based in Philadelphia and teaches voice at Swarthmore, Haverford and Bryn Mawr Colleges.

 

 

Advertisements