"Sensitive musicianship" and a voice described as "clear" with "sweet highs" and "an impressive range" have brought soprano Evanne Browne solo engagements with many of the US’s outstanding chamber music ensembles, including the Smithsonian Chamber Players, Washington Bach Consort, the Folger Consort, Hesperus, Texas Baroque Ensemble, the National Cathedral Choir of Men and Boys, the Handel Festival Orchestra, and The Orchestra of the 17th Century. She has performed in master classes with Emma Kirkby, in recital with baritone Max van Egmond, and twice in concert under Tallis Scholars' conductor Peter Phillips. Ms. Browne has appeared in
recital and as soloist at Christ Church in Oxford, England; Lahti, Finland; Utrecht and Amsterdam, Netherlands; Venice, Spain, Portugal, Bosnia, and Slovenia; in historic settings in St. Mary's City and Annapolis, Maryland; and widely in the Nation's Capital including the Kennedy Center and the Smithsonian Institution's historic Hall of Musical Instruments. Her solo singing has been heard on National Public Radio in broadcasts of live concerts from Texas and the French Embassy. Her performance in Hildegard von Bingen's Ordo virtutum at the National Cathedral, was featured on the cover of Early Music America magazine, and she is on recording in the chorus of Opera Lafayette with director Ryan Brown on Naxos. She sang the dramatic soprano solo part for the U.S. Premier of Bohuslav Martinu's The Prophecy of Isaiah under Frank Albinder, and has premiered works by Boulder (CO)-area composer David Harris in recital, along with music by award-winning Colorado composer Cherise Leiter and New York pianist and Broadway conductor (also Evanne's sister), Jean Browne.
Evanne was singled out as a "delightful" witch in a period instrument performance of Purcell's Dido and Aeneus (Denver Post), while the Washington Post reported her "clear, powerful soprano and stately presence were compelling" in performance with Armonia Nova at the Washington Early Music Festival. Since moving to Colorado, Evanne has performed as soloist with the Baroque Chamber Orchestra of Colorado, Boulder Bach Festival, and the St. Martin's Chamber Choir, on international tours with Musikanten, and is soprano section leader and regular soloist for Boulder's Ars Nova Singers. This year she returns as soloist, recitalist and teacher for the Helena (Montana) Choral Festival week; as soloist with Ars Nova Singers; as guest artist for the University of DePauw, Indiana, in a concert of Hildegard von Bingen presented by Armonia Nova; and as soloist in the Charpentier Messe de Minuit pour Noël with St. Martin's Chamber Choir and Baroque Chamber Ensemble's joint Christmas concert "Noël nouvelet." Both Ars Nova Singers and St. Martin's Chamber Choir released recordings this year featuring Ms. Browne as choral soloist.
Evanne lives in Boulder where she is Director of Music at 1st United Methodist Church and maintains a private voice studio. She holds a Bachelor of Music degree from Trinity University, a Master of Music degree in voice from the Shepherd School of Music at Rice University. She studied Baroque performance practices at the Sweelinck Conservatory in Amsterdam, the Netherlands, and choral conducting at Houston Baptist University. Also an active choral singer, she has conducted occasional rehearsals and sectionals for the Ars Nova Singers, Baroque Chamber Orchestra of Colorado, Boulder Bach Festival, Colorado Music Festival chorus and The Renaissance Project.
Marjorie Bunday is a critically acclaimed oratorio, concert, and choral singer known not only for her "warm and pure-toned mezzo" voice (Washington Post 6/18/2010), but also for impressive range, versatility, and musicianship. She has been soloist (both contralto and mezzo-soprano roles) in, among many other works, J.S. Bach St. John Passion, B Minor Mass, Magnificat, and many cantatas; C.P.E. Bach Magnificat; Vivaldi Gloria; Duruflé and Fauré Requiem; Handel Messiah and Dixit Dominus; Mozart Requiem; Pergolesi Stabat Mater; Monteverdi Vespers of 1610; and Mendelssohn Elijah, with
groups that include Denver Bach Society, Baroque Chamber Orchestra of Colorado, Washington Bach Consort, Catholic University of America Chorus & Orchestra, and numerous other groups in the Washington, DC metropolitan area and beyond. She has performed Copland In the Beginning in six European countries and in the US with Musikanten, she has been an artist-in-residence with Musikanten Montana's Helena Choral Week for eight years, and she is a frequent guest artist at the Montana Early Music Festival.
Ms. Bunday, in great demand as an ensemble singer, is a member of the Opera Lafayette and Washington Bach Consort choruses (both period instrument ensembles) and the Woodley Ensemble (a chamber choir specializing in modern choral repertoire). She is active in a variety of recording projects, choir work, and church music in Washington, DC, including positions at Christ Church Georgetown and the Basilica of the National Shrine of the Immaculate Conception (as a cantor). A near-lifelong resident of DC, she is looking forward to a change of pace with a planned move to Denver after she completes her first summer season (July 7 - August 12, 2011) with the Santa Fe Desert Chorale.
A frequent recitalist, Bunday is dedicated to presenting new music as well as old and has added her voice to many US and world premieres of art song, choral music, and chamber music. Premieres where she was a soloist include music of Elizabeth Vercoe, Christopher Marshall, composer/mandolinist/recital partner Neil Gladd, Bohuslav Martinu (the US premiere of The Prophecy of Isaiah, more than 40 years after it was composed), as well as many local Washington composers. Noted for her excellence in the early music repertoire, the Denver Post praised "Bunday's honey-toned, refined reading of [Monteverdi's] 'Laudate Dominum in sanctis eius' motet" (10/22/2010). She has sung with the English ensemble Magnificat (Philip Cave) and with Tina Chancey's Hesperus. She is a member of the early music ensemble Armonia Nova, whose repertoire includes Hildegard von Bingen and other medieval through renaissance European music performed by voices, medieval or renaissance harp, and vielle or viol.
American tenor Thomas Gregg enjoys a wide-ranging career, including performance in early music, opera, oratorio, ensemble, recital, and chamber music. His early music performances have been with the Boston Early Music Festival, The Early Interval in Columbus, Ohio, PanHarmonium in Alabama, and the Texas Baroque Ensemble and the Orchestra of New Spain in Dallas, Texas. Opera appearances have been with companies in New Orleans, Memphis, Columbus, Ohio, and historical operas in Boston and Washington, D.C.
His many solo appearances in oratorio include performances with orchestras in Columbus, Ohio, Memphis, Tennessee, Lake Charles, Louisiana, and numerous choral groups, such as the Cincinnati Choral Society, the Quincy (Massachusetts) Choral Society, the Back Bay Chorale in Boston, Chorus Pro Musica, and the Providence Singers. He has performed with the Harvard University Choir, including a recent performance of the C.P.E. Bach St. Matthew Passion, under the direction of Christopher Hogwood, and the New York premiere of John Knowles Paine's Mass in D. His extensive professional ensemble work includes Boston appearances with the Handel and Haydn Society, Emmanuel Music, Boston Baroque, the Trinity Choir, and the Boston Secession, as well as Cantari Singers in Columbus, Ohio, Musikanten in Washington, D.C., Musikanten Montana in Helena, and the Washington Bach Consort. He has been a member of the professional choir at historic King's Chapel since 2000.
He also enjoys an active career as a recitalist, with highlights including the Fontana Festival in Michigan and many guest recitals at colleges in the southern United States. His European debut was at the 1995 Franz Schubert Institute in Baden-bei-Wien, Austria. As a chamber music specialist, he performs with harpist Emily Laurance as the duo DoubleAction and he was a member of the Early American music ensemble Columbia's Musick (Ensemble-in-Residence at King's Chapel). Dr. Gregg is an Ohio native, and holds voice performance degrees from Capital University, the University of Michigan, and The Ohio State University, and he has won numerous performance and academic awards, including fellowships to attend two Bach Aria Institutes and two Aston Magna Academies. http://www.ThomasGreggMusic.com
He teaches at The Boston Conservatory at Tufts University.
Frederick A. Peterbark is a native of Springfield, Virginia, and currently resides in Boulder, Colorado. He holds a Master of Music degree from the University of Colorado at Boulder and a Bachelor of Music degree in Vocal Performance from the University of Michigan, along with a Teacher's Certificate for grades K-12. Fred currently serves as Assistant to the Dean for Recruitment and Outreach at the University of Colorado at Boulder's College of Music.
Fred has performed as a guest artist with the Loveland Opera Theater, guest artist for the 111th birthday of Boulder’s
Chautauqua Auditorium, Artist-in-Residence at St. Aidan's Episcopal Church (Boulder, Colorado), and has been featured on numerous recital series. Fred has toured as a guest artist with The Cornerstone Chorale & Brass (Southeast USA, 2005), and Musikanten (Baltic States, 2009). His operatic and oratorio performances have been highlighted with performances of Lensky in Tchaikovsky's Eugene Onegin, Pasák in Janácek's The Cunning Little Vixen, Brother Bates in the Restoration Premier of James P. Johnson's De Organizer, Evangelist and Tenor Soloist in J. S. Bach's St. Matthew Passion and Tenor Soloist in Ralph Vaughn Williams' Serenade to Music.
Bobb Robinson has been hailed by the Washington Post for his "charismatic stage presence" and "rich, flowing baritone," and by the Miami Herald for his "impressively effortless" singing. Recent operatic roles include "Donald Fonzo" in The In-Series’ sell-out hit Cosi fan tutte goes Hollywood!, Parmenione in Opera Theatre of Northern Virginia’s Love’s Luggage Lost, and Friedrick Wieck, father of Clara Schumann, in the world premier of Robert Convery’s Clara with the Maryland Opera Studio. In 2000, Dr. Robinson was a Regional Finalist (Mid-Atlantic Region) in the Metropolitan Opera National Council Auditions.
As concert soloist, Dr. Robinson has performed with many
nationally renowned ensembles, including the Washington Bach Consort, the Denver Bach Society, the Montana Early Music Festival, Musikanten, and the National Gallery of Art Vocal Ensemble. In 2001, he made his European recital debut, performing at the cathedrals of Notre Dame (Paris), St. Sernin (Toulouse), Chartres (Chartres), and the renowned Festival d’Avignon. He has been a featured performer on recordings with the Choirs of Washington National Cathedral, and this year, will be featured on a CD of Brahms duets with his friend and colleague, mezzo-soprano Jane Christeson.
No stranger to the world of cabaret, Dr. Robinson recently co-wrote and performed an original cabaret, Une soirée a l’Olympia, presented as a part of "Paris on the Potomac," Washington DC’s year-long celebration of French Art and Culture. Other cabaret appearances include Noel and Cole and A Tale of Two Cities: Paris and Berlin Between the Wars at Maryland’s Clarice Smith Performing Arts Center.
Dr. Robinson holds Bachelor degrees from Muskingum College and Stetson University, a Master’s degree from the University of Miami, and a Doctorate from the University of Maryland. He currently serves as Artist-In-Residence at Jacksonville University in Jacksonville, Florida.
Rob Tudor has distinguished himself as a noted performer of opera, musical theatre, cabaret, and concert works throughout the United States. Roles have included Papageno in The Magic Flute, The Lecturer in Dominick Argento’s monodramatic opera A Waterbird Talk, Freddy in My Fair Lady, and Murdoch in Titanic – A New Musical. Other productions include Follies, Iolanthe, The Fantastics, and Gianni Schicchi. Concert works include the Requiems of Fauré and Duruflé, Carl Orff’s Carmina Burana, Schubert’s Mass in G, Saint-Saens’s Christmas Oratorio. Rob is a frequent guest artist with the Montana Early Music Festival directed by Kerry Krebill, and artist and
instructor at the annual Helena Choral Festival in Helena, Montana. In 2009, Rob collaborated with celebrated soprano Rosa Lamoreaux, pianist Betty Bullock, and bassist David Jernigan for the first in a series of national concert engagements featuring classics from Broadway.
Rob enjoys collaborating on new works, and has an affinity for contemporary music. Premieres have included the role of the Emperor in Imant Raminsh’s opera The Nightingale with the Children’s Chorus of Washington, Gouvenor Morris in Garrison Hull’s work Nancy with Opera Theatre of Northern Virginia, and an orchestral work for baritone and oboe soloists by Lawrence Moss entitled Dawn to Dawn – Five Poems of the Tang Dynasty. A champion of innovative performance practice, Rob has designed thematic art song recitals and concert works employing simultaneous projections of visual media (including paintings, sculpture), inspired by the poetry of the text, and performed them in the Washington, DC area, the Clarice Smith Performing Arts Center, and the southeast.
Rob began directing opera scenes in college, and in recent years has enjoyed musical direction and conducting shows like Ragtime, Oklahoma!, and Company. Stage direction includes new works like Transcendence from The Collaborative Project – a staging of Rejoice in the Lamb by Benjamin Britten (for which he co-designed and created large-scale puppets with Rodney Waldrip; The Orpheus Project – a collaborative performance project including opera and arts songs, dance, film and theatre; and innovative stagings of Henry Purcell’s Dido and Aeneas. Rob has also written original musical revues for the stage like Hooray for Hollywood! (co-written with Bobb Robinson); A Celebration of the American Songbook – music of Porter, Gershwin, Berlin, and Kern; as well as cabaret works performed on cruise ships and the Atlas Theatre in Washington, DC.
Rob received a Doctorate in Musical Arts in Voice Performance from the University of Maryland, College Park. In addition to enjoying an active performing, teaching, and directing career, Rob has served as Head of Opera and Music Theatre and Chair of the Division of Music at Jacksonville University since 2006. http://www.robtudormusic.com/
the bass solos in his Grand Mass and his Requiem. Among Mozart operatic roles, Mr. Bahny has sung Sarastro (Flute), Leporello and the title role in Don Giovanni and Osmin in Abduction. He has also sung the role of Figaro in Le Nozze di Figaro with the Manhattan Mozart Orchestra under the baton of Metropolitan Opera conductor John Keenan. A chorister for many years with the Metropolitan Opera Company, he has also sung several solo roles with the Met, including the Customs Officer and the Customs Sergeant, both in Puccini's La Boheme, the Old Gypsy in Verdi's Il Trovatore, and the Second Elder in Schoenberg's Moses und Aron. While in New York, Mr. Bahny was also heard as Bethune in Les Vespres Siciliennes and Samuele in Un Ballo in Maschera as part of New York Grand Opera's Complete Verdi Cycle, conducted by Vincent La Selva.
Other regional companies with whom Mr.Bahny has performed include the New York Bel Canto Opera, the Pittsburgh Opera Festival, Sarasota Opera and the Des Moines Metro Opera. He has toured internationally and recorded solos with the Gregg Smith Singers, and among his early credits he includes appearing with Dudley Moore and Sir John Gielgud as part of the Singing Christmas Tree in the movie "Arthur2: On the Rocks."
Mr. Bahny studied music at the Crane School of Music at Potsdam, New York, Purchase College and the Boris Goldovsky Opera Institute. An avid recitalist, Mr. Bahny recently sang a program of Classic Broadway and other American songs at Helena's Plymouth Congregational Church.
To read the IR article about Mr. Bahny, "From Big Apple to Big Sky" Click Here.
Jean Browne has lived in or around New York City for the past 30 years and has had a versatile career as a pianist, accompanist, conductor, producer, composer and music copyist. She received a Performance Certificate in Vocal Accompanying from the Music Conservatory in Freiburg, Germany and a Master of Music Degree in Piano from Southern Methodist University.
In demand as a collaborator, Jean is particularly sought after as a singer’s accompanist because of the vocal freedom and support she gives a singer when she is at the piano. One critic wrote that it was “as if Browne and the singer were breathing the same air.”
Jean and her sister Evanne performed the world premiere of her song “Lullaby” during last year’s Helena Choral Week and she recently accompanied concerts for soloists of the Ars Nova Chamber Singers in Colorado.
Jean started piano lessons at age 3 and at the age of 16 debuted as a soloist with the Dallas Symphony Orchestra. At the age of 19 she was awarded the Key to the City of Dallas for her outstanding musical contribution. She has studied piano and accompanying with Alfred Mouledous, Paul Vellucci, Ramón Walter and Norman Shetler.
Ms. Browne has accompanied Master Classes for such artists as singer Jennie Tourel, art song specialist Hans-Peter Schilly, oboist Heinz Holliger, flutist Aurèle Nicolet and flutist Jean-Pierre Rampal, who afterwards asked her to accompany him in concert. She was an accompanist for the Summer Vocal Institute in Graz, Austria for 2 summers and worked as a vocal coach for the opera in Osnabrück, Germany for 3 seasons.
As a conductor, Jean was the Associate Music Director for the Dallas Summer Musicals for 7 seasons, working with such celebrities as Gene Kelly, Herschel Bernardi, Shirley Jones, Rock Hudson and Carol Burnett. For 2 seasons she was the Associate Music Director for San Francisco Opera’s Western Opera Theater where she toured extensively throughout the USA, including several cities in Montana. She was the Associate Music Director for the Broadway Production and National Tour of Peter Pan, starring Sandy Duncan, thus becoming the first woman to conduct a hit Broadway show and performing a total of 954 performances of the show.
A certified music copyist, Jean was one of the first professional copyists in New York City to convert to a computerized music system. She was the supervising copyist for many productions, including the first and only fully orchestrated version of The Fantasticks and the world premiere of Robert DeGaetano’s Piano Concerto. Jean created the complex music examples used in The Harmony of Bill Evans, a book published by Hal Leonard. She founded Apple Music Copy Services in 1989 which led her to purchase the domain name www.applemusic.com. In 2003 she sold the domain to Steve Jobs for the launch of Apple’s iTunes Music Store, which ignited the digital music revolution.
Jean is currently business manager to jazz drummer, Joe Piazza and has co-produced and acted as artistic advisor for 9 recordings on the Crystonyx label for pianist, Robert DeGaetano. Blessed with a gene for technology and organization, Jean consults for several foundations in New York City.