Connecticut native Scott Perkins enjoys a multifaceted career as an international prize-winning composer, a versatile performer, an award-winning scholar, and a music professor at California State University, Sacramento. Praised by critics from publications including the Washington Post (“dramatic,” “colorful”) and the Washington Times (“perfectly orchestrated,” “haunting,” “a remarkable and welcome musical surprise”), his work has been commissioned by organizations ranging from the Washington National Opera to the American Guild of Organists and has been performed throughout North America and Europe. He has collaborated with musical and non-musical artists, including Tony Award-winning playwrights, Emmy-winning filmmakers, and celebrated poets. His music has been released by Navona Records, and he is published by E. C. Schirmer, Augsburg Fortress, and Paraclete Press.

 

Scott earned his PhD in composition at the Eastman School of Music, where his primary teacher was Ricardo Zohn-Muldoon. He holds master’s degrees in both music theory and music theory pedagogy from Eastman, and he has a bachelor’s degree, summa cum laude, in music theory and composition from Boston University. PHOTO: Karissa Van Tassel

 

 

 

 

Praised for his “nobility and rich tone,” (The New York Times) and his “enormous, thrilling voice seemingly capable … [of] raising the dead;” (Wall Street Journal), bass-baritone Dashon Burton has established a world-wide career in opera, recital, and in many works with orchestra. In key elements of his repertoire  — Bach’s St. John and St. Matthew Passions and the B minor Mass, Mendelssohn’s Elijah, Beethoven 9, the Brahms Requiem, Handel’s Messiah, and Mozart’s Requiem – Dashon is a frequent guest with ensembles such as Philharmonia Baroque, the Handel and Haydn Society, and Boston Baroque; the Carmel and Bethlehem Bach Choir Festivals, and the symphony orchestras of Baltimore, Cincinnati, Cleveland, Indianapolis, Kansas City, New Jersey, Oregon, the Royal Stockholm Philharmonic, and the St. Paul Chamber Orchestra.   He is a regular guest with the Cleveland orchestra and Franz Welser-Möst, appearing there in the Brahms and Mozart Requiems, the groundbreaking animated production of Janacek’s Cunning Little Vixen and, most recently, at home and on tour in Europe and Japan in Beethoven’s Symphony No. 9. www.dashonburton.com

 

 

 

 

 

 

 

Praised for her “alluring clarity” (New York Times), Jamie Jordan sings modern and contemporary classical music. She has performed at the Brooklyn Museum for the Bang on a Can Marathon and the Brooklyn Philharmonic Chamber Music Series; Carnegie Hall with Daniel Druckman, Colin Currie and the Juilliard Percussion Ensemble; Detroit Institute of Arts with Amphion Percussion; Disney Hall with the Los Angeles Philharmonic New Music Group; Big Ears Festival, Disney Hall, June in Buffalo, Lincoln Center Festival, Miller Theater and the Stone with Ensemble Signal; Abrons Arts Center with Experiments in Opera; MATA festival and Wesleyan University with Mantra Percussion; Merkin Hall with Mimesis Ensemble; Merkin Hall and Tenri Cultural Institute with New York New Music Ensemble; MATA Festival with Talea Ensemble; National Sawdust on the New York Philharmonic’s CONTACT! series; PASIC with the Bob Becker Ensemble; and Symphony Space with American Composers Orchestra and Nadia Sirota and friends.

Jamie Jordan has appeared as a guest artist at the American Academy in Rome, Cornell University, Eastman School of Music, Ithaca College, University of Notre Dame, Rochester Institute of Technology, SUNY Fredonia, Syracuse University, University of Maryland, University of Pennsylvania, University of South Carolina, University of South Florida, University of Wisconsin-Stevens Point, Music on the Edge (UPittsburgh), NYCEMF, Resonant Bodies Festival, Unruly Music Festival (UMilwaukee), and Wisconsin Flute Festival. She has also appeared as soloist with Alia Musica Pittsburgh, NOCCO (Seattle), and Southern Tier Symphony. Other performances include the role of Romilda (Xerxes) with the Connecticut Early Music Festival, and one-woman cabaret shows at Rose’sTurn.

Jamie Jordan is a passionate music educator; she teaches privately in New York City and the metropolitan area. She can be heard on Albany Records, GIA publications, Innova Records, Ravello Records, and Sanctuary Jazz. www.jamiejordansings.com

 

 

 

 

Hailed by Montreal’s La Presse as “a true Carmen: extremely sensual, with the grace of a serpent, the violence of a tiger, and a mezzo of penetrating depth,” Julia Mintzer enjoys a varied career in standard and contemporary repertoire in the United States and Europe. She was member of the Junges Ensemble at the Semperoper Dresden and a young artist at the Washington National Opera. She has returned to Washington National Opera as Hansel and to the Dresden Semperoper as Mercédès. She sang the first staged performance of David Lang’s Little Match Girl Passion at the Glimmerglass Festival and the world premiere of Tsangaris’s Karl May: Raum der Wahrheit at the Dresden Semperoper. This year at Theater Aachen, she performs the roles of Elisabetta in Maria Stuarda, Preziosilla in La forza del Destino and Beethoven’s Ninth Symphony. Previously she joined the Landestheater Schleswig-Holstein to sing the title role in Carmen, and Elisabetta in Maria Stuarda, returning for Santuzza in Cavalleria Rusticana and Giulietta in Les Contes d’Hoffman, before reprising the title role in Carmen at Theater Lüneburg. Julia graduated from The Juilliard School and the Boston University Opera Institute. Her concert engagements include Handel’s Messiah with Boston Baroque, Washington National Cathedral, and the Toledo Symphony and Mozart’s Requiem at Washington National Cathedral. Also a stage director, Julia was the 2017 Winner of the National Opera Association’s JoElyn Wakefield-Wright Directing Fellowship. Her interactive theater piece Pizza Parlance was listed in Nombre Art Magazine’s “5 Must-Sees of Venice Biennale” and she has directed and developed new works at the Helsinki Festival, NRW-Forum Düsseldorf, and Cornell University. www.juliamintzer.com

 

 

 

 

 

 

 

 

 

 

 

 

A native of Quebec, Canada, Eric Trudel graduated with top honors from the Quebec Conservatory of Music. He won the prestigious Prix d’Europe competition, which enabled him to study privately with pianists Garrick Ohlsson, Jean-Claude Pennetier, Marc Durand and Louis Lortie. He has taught and performed extensively throughout Canada, Italy, Germany, Austria, Japan, Korea, Spain, and the United States. His New York City credits include recitals at Weill Recital Hall, Alice Tully Hall, Merkin Hall and the 92nd Street Y.

 

Mr. Trudel has performed in association with many organizations, including the Metropolitan Opera, Yale Institute for Musical Theater, Yale School of Drama, Montreal International Piano Festival, the Banff Center Festival for the Arts, L’Opéra de Montréal, Connecticut Grand Opera, Les Grands Ballets Canadiens, the Oklahoma Mozart Festival, Pro Arte Singers, and Concora. Equally at ease in experimental projects, he has been involved in the creation of the hit musical Nelligan in Montreal, Christopher Cerrone’s opera Invisible Cities for Yale Institute of Music Theater, and the new Adam Bock / Todd Almond musical We Have Always Lived in a Castle for Yale Rep.

 

His faculty appointments include the Banff Centre for the Performing Arts, the Conservatoire de Musique du Québec in Trois-Rivières, Montréal Opera’s Atelier Lyrique, the Université du Québec à Montréal and more recently Yale University’s School of Music and Western Connecticut State University. He currently is on faculty at University of Hartford’s Hartt School of Music and Southern Connecticut State University. www.eritu.com

 

 

 

 

 

 

 

American tenor Zachary Wilder is recognized for his work in repertoire from the 17th and 18th centuries and is sought after on international concert and operatic stages. Having studied at the Eastman School of Music and at the Moores School of Music, University of Houston, Zachary subsequently moved to Boston after the beginning of his ongoing collaboration with the Boston Early Music Festival and a summer of studies as a Tanglewood Music Fellow. 2010 marked Zachary’s European debut as Renaud in Lully’s Armide on tour with Mercury Houston at the Théâtre de Gennevilliers. The following year brought him back to France to the Festival d’Aix-en-Provence as Coridon in Händel’s Acis and Galatea which subsequently toured to La Fenice in Venice. Zachary relocated to France after he was chosen by William Christie in 2013 to take part in Les Arts Florissants’s prestigious academy for young singers, Le Jardin des Voix. He now works with leading ensembles including Les Arts Florissants, American Bach Soloists, L’Arpeggiata, Bach Collegium Japan, Boston Early Music Festival, Cappella Mediterranea, Le Concert Spirituel, Collegium Vocale Gent, Early Music Vancouver, the English Baroque Soloists, Ensemble Clematis, Ensemble Pygmalion, Handel & Haydn Society, Orchestre de Chambre de Paris, Orchestre Symphonique de Strasbourg, Le Poème Harmonique, La Rêveuse, Royal Philharmonic Orchestra, San Francisco Symphony Orchestra, and Les Talens Lyriques. Recent projects include a seven-month international tour of the Monteverdi Trilogy with Sir John Eliot Gardiner, a collaboration of traditional kabuki and opera, The Tale of Genji, at Tokyo’s Kabuki-za starring Ebizo Ichikawa, a solo album of 17th-century Venetian lute song, Eternità d’amore, and Frank Zappa’s 200 Motels at the Paris Philharmonie. www.zacharywilder.com