Guest Artists

Born in Rome in 1961, Alfredo Bernardini moved to The Netherlands in 1981 to specialize in baroque oboe and early music with, among others, Bruce Haynes and Ku Ebbinge. In 1987, he received his soloist diploma from the Royal Conservatory of The Hague. He has performed all over Europe, in Russia, USA, Japan, China, Korea, Malaysia, Egypt, Israel, South America and Australia as a member of some major baroques ensembles such as Hesperion XX, Le Concert des Nations, La Petite Bande, The Amsterdam Baroque Orchestra, Das Freiburger Barockorchester, The English Concert, Bach Collegium Japan, Balthasar Neumann Ensemble and others. In 1989, he founded the ensemble Zefiro together with the brothers Paolo and Alberto Grazzi. He has taken part in some 100 recordings. Among others, his CD featuring Vivaldi oboe concertos was acknowledged with the Cannes classical Award 1995. In 1999, he realized together with Zefiro a documentary-film on Antonio Vivaldi for the Belgian Television. As a director, he has worked with several orchestras in Italy, France, Germany, Spain, Portugal, Holland, Poland, Australia and with the European Union Baroque Orchestra. Besides, his research on the history of woodwind musical instruments has resulted in several articles published by important international magazines. Since 1992, he teaches baroque oboe at the Conservatory of Amsterdam and from 2002 to 2005 at the Escola Superior de Musica de Cataluña in Barcelona.

Eamonn Dougan is the first Associate Conductor of the world-renowned vocal ensemble The Sixteen and has directed the ensemble to considerable acclaim in concerts across England and Europe. Recent engagements with The Sixteen have included performances in France, Spain, Belgium and on The Sixteen’s annual Choral Pilgrimage in the UK; he made his debut at the Concertgebouw, Amsterdam, in a celebration of James MacMillan’s 50th birthday. Other highlights with The Sixteen have included the world premiere of Gabriel Jackson’s Ave Regina Caelorum at the opening of Kings Place, a recording with Icelandic ensemble Sigur Ros and the closing concert of the Henry VIII 500th anniversary celebrations at the Royal Naval Chapel, Greenwich. His debut recording directing The Sixteen featured works by Polish baroque composer Bartlomiej Pekiel (CORO, 2013) met with widespread critical acclaim (‘Richly dramatic’ – The Observer; ‘A delightful performance’ – BBC Music Magazine). This is the first disc in a series of Polish Baroque recordings with The Sixteen. The second disc, The Blossoming Vine, was released in Spring 2014.

Eamonn is the founding Director of the Britten Sinfonia Voices, with whom he has conducted two world premières – Ēriks Ešenvalds’ Aqua, and Nico Muhly’s Looking Forward for the Britten Sinfonia’s 20th birthday at the Barbican. He is a regular Guest Conductor with Wroclaw Philharmonic Choir, Poland, the Coro de la Comunidad, Madrid and the St. Endellion Festival Orchestra & Chorus. He is increasingly in demand as a guest conductor and has assisted various conductors including Martyn Brabbins, Andreas Delfs, Adam Fischer and Sir Mark Elder, working with orchestras including the Orchestra of the Age of Enlightenment and The Hallé.

Eamonn is represented by Percius:

Img credit: Benjamin Harte

John Butt is Gardiner Professor of Music at the University of Glasgow and musical director of Edinburgh’s Dunedin Consort.

As an undergraduate at Cambridge University, he held the office of organ scholar at King’s College. Continuing as a graduate student working on the music of Bach he received his PhD in 1987. He was subsequently a lecturer at the University of Aberdeen and a Fellow of Magdalene College Cambridge, joining the faculty at UC Berkeley in 1989 as University Organist and Professor of Music. In autumn 1997 he returned to Cambridge as a University Lecturer and Fellow of King’s College, and in October 2001 he took up his current post at Glasgow. His books have been published by Cambridge University Press: these include Bach Interpretation (1990), a handbook on Bach’s Mass in B Minor (1991), Music Education and the Art of Performance in the German Baroque (1994). Playing with History (2002) marked a new tack, examining the broad culture of historically informed performance and attempting to explain and justify it as a contemporary phenomenon. He is also editor or joint editor of both the Cambridge and Oxford Companions to Bach and of the Cambridge History of Seventeenth-Century Music (2005). His book on Bach’s Passions, Bach’s Dialogue with Modernity, was published in 2010, and explores the ways in which Bach’s Passion settings relate to some of the broader concepts of modernity, such as subjectivity and time consciousness.

John Butt’s conducting engagements with the Dunedin Consort (2003 –) have included major Baroque repertory and several new commissions. As well as the Irish Baroque Orchestra, he has also been guest conductor with the Orchestra of the Age of Enlightenment, Philharmonia Baroque Orchestra, The Royal Academy of Music Bach Cantata series, and the Royal Conservatoire of Scotland Chamber Orchestra and Chorus and continues to be active as a solo organist and harpsichordist. Eleven recordings on organ, harpsichord and clavichord have been released by Harmonia Mundi. As conductor or organist he has performed throughout the world, including recent trips to Germany, France, Poland, Israel, Korea, Canada, Belgium and Holland.

In 2003 John Butt was elected to Fellowship of the Royal Society of Edinburgh and received the Dent Medal of the Royal Musical Association. That year his book, Playing with History, was shortlisted for the British Academy’s annual Book Prize. In 2006 he was elected Fellow of the British Academy and began a two-year Leverhulme Major Research Fellowship for his research on Bach’s Passions. He has recently been appointed to the Council of the Arts and Humanities’ Research Council. In January 2011 he became the fifth recipient of the Royal Academy of Music/Kohn Foundation’s Bach Prize, for his work in the performance and scholarship of Bach. In 2013 John Butt was awarded the OBE for his services to music in Scotland.

Lars Ulrik Mortensen, born in 1955, studied at the Royal Danish Academy of Music – harpsichord with Karen Englund and general figured bass with Jesper Buoy Christensen – and with Trevor Pinnock in London. During the period 1988-90 he was harpsichordist with London Baroque and until 1993 with Collegium Musicum 90, under the leadership of Simon Standage. He is now working extensively as soloist and chamber musician in Europe, USA, Mexico, South America, Japan and Australia, performing regularly with such distinguished colleagues as Emma Kirkby, John Holloway and Jaap ter Linden.

In the period 1996-99 Lars Ulrik Mortensen was professor of harpsichord and performance practice at the Hochschule für Musik in Munich, and he still teaches at numerous Early Music institutions around the world. Since 2003, he has decided to work exclusively with ensembles specializing in the Early Music repertoire. Since 1999 he has been chief artistic director of the Danish baroque orchestra Concerto Copenhagen and in 2004 he succeeded Roy Goodman as artistic director of the European Union Baroque Orchestra (EUBO). During the period 2008-2009, his busy schedule with Concerto Copenhagen has resulted in performances of Handel’s Partenope at the Royal Danish Theatre and the Royal Albert Hall in London, as well as tours in Holland, Spain, Austria, Japan and the United States

Mark Duley was born in Hawkes Bay, New Zealand, and studied at Auckland University, the North German Organ Academy and Amsterdam’s Sweelinck Conservatorium, where he was an organ pupil of Jacques van Oortmerssen.

Mark came to Ireland in 1992 and has held several major posts in the country, including organist and director of music at Christ Church Cathedral Dublin, chorusmaster to the RTÉ Philharmonic Choir and artistic director of the Irish Baroque Orchestra. As conductor and organist he has appeared with most of the major Irish ensembles, including RTÉ National Symphony Orchestra, RTÉ Concert Orchestra, the National Chamber Choir, the Irish Baroque Orchestra, Opera Theatre Company, Orchestra of St Cecilia, and his own chamber choir Resurgam. He has performed at many of Ireland’s premiere festivals, including the Wexford Opera Festival, the Cork International Choral Festival, the Kilkenny Arts Festival and the East Cork Early Music Festival.

Mark is one of Ireland’s most well-known choral specialists, and has led workshops and masterclasses for choirs and conductors in Ireland, the UK, and continental Europe. Aside from a busy freelance career, Mark holds the posts of Pipeworks artistic director, organist of the Collegiate Church of St Nicholas, Galway, and founder-director of St Nicholas Schola Cantorum.

The word “versatile” is often applied to musicians; in the case of the British conductor Matthew Halls, it is particularly well deserved. Although he first came to prominence as a keyboard player and early music conductor, Halls, still in his thirties, is now better known for his dynamic and intelligent work with major symphony orchestras and opera companies, and for his probing and vibrant interpretations of music of all periods.

In July 2011 he appeared for the first time at the Oregon Bach Festival. Such was the impact of his performances there, he was immediately asked to succeed Helmuth Rilling as Artistic Director at the close of the 2013 Festival. His inaugural Festival included performances of Verdi’s Requiem, Monteverdi Vespers as well as his own reconstruction of Bach’s St Mark Passion. Summer 2015 sees the Oregon Bach Festival launch the Berwick Academy for Historically Informed Performance under his leadership, a new national training programme for advanced students.

In 2013, he made his Toronto Symphony debut, performing a critically acclaimed interpretation of Beethoven’s Ninth Symphony and is reinvited this season for their Mozart Festival. He first led Washington, D.C.’s National Symphony in 2011, with performances of Handel’s Messiah returning the following season to lead works by Ravel, Dutilleux and Vaughan Williams and this season with Poulenc and Mendelssohn. Other recent and upcoming North American engagements include his debut with the Philadelphia Orchestra and appearances with the Cleveland Orchestra, Houston Symphony, Indianapolis Symphony, Los Angeles Chamber Orchestra, Ottawa’s National Arts Centre Orchestra and the Seattle Symphony Orchestra, in repertoire from Bach and Handel to Beethoven, Kernis, Mendelssohn, Messiaen, Mozart, Rachmaninov, Tchaikovsky and Tippett.

European orchestras are equally eager to welcome Halls to their podiums, including the BBC Scottish Symphony, Bergen Philharmonic, Bremen Philharmonic, Frankfurt Radio Symphony, Iceland Symphony, Musica Viva Moscow, Royal Northern Sinfonia, RTE National Symphony, Tonkünstler Orchestra NÖ, and regular appearances in Austria and on tour with the Salzburg Mozarteum Orchestra with whom he appears at the 2015 Salzburg Festival. Last season he appeared with Concentus Musicus Wien at the Internationale Barocktage Stift Melk, marking the start of collaborations between the orchestra and guest conductors. This season he is invited to Australia to conduct the Adelaide, Melbourne and West Australian Symphony Orchestras.

In the opera house, his repertoire covers Renaissance, Baroque and Classical works, but also extends to later works, with a particular focus on Britten. Spring 2014 saw him lead Handel’s Ariodante at the Aalto-Musiktheater Essen and he has appeared with companies such as the Handelfestspiele Halle and the Salzburg Landestheater. His debut performances of Handel’s Rinaldo with Central City Opera Colorado were so well received that he was reinvited to conduct not only Handel’s Amadigi but also Puccini’s Madama Butterfly.  His associations with both the Netherlands Opera and Bayerische Staatsoper have included productions of Verdi’s Luisa Miller, Britten’s Peter Grimes and Bellini’s Norma.

Halls is represented on disc with Handel’s Parnasso in Festa, winner of the Stanley Sadie Handel Recording Prize, released by Hyperion. On Linn Records, he has recorded a set of four Bach Harpsichord Concertos conducted from the keyboard, and Bach’s Easter and Ascension oratorios, as well as award-winning discs of Purcell’s Sonatas in Three and Four Parts.

Matthew Halls was educated at Oxford University and subsequently taught at the University for five years. Following his time in Oxford, he has held positions as Artistic Director of the King’s Consort and the Retrospect Ensemble. Passionately committed to education and working with young musicians, he has taught regularly at summer schools and courses.

Over the past 25 years Pavlo Beznosiuk has established a formidable reputation as one of Europe’s most respected baroque violinists, with a busy international career as a soloist, chamber musician, concertmaster and director.

Recent highlights include performances of Vivaldi’s The Four Seasons, concertos by Bach and Haydn, Tartini’s ‘Devil’s Trill’ sonata and Pergolesi’s Stabat Mater. He is currently the Academy of Ancient Music’s leader.

Pavlo is Musical Director of the Avison Ensemble, with which he has recorded the complete output of Charles Avison as well as music by Vivaldi (Concerti Op.8), Handel (Concerti Grossi Op.6) and the entire published output of Corelli, released this year. In the mid-1980s he was involved in pioneering work in the use of renaissance violins with The Parley of Instruments, and was a key member of the ground-breaking medieval ensemble The New London Consort.

Pavlo teaches baroque violin at the Guildhall School of Music & Drama and at the Royal Academy of Music.

A former member of the Jette Parker Young Artist at the Royal Opera House Covent Garden, the Britten-Pears YAP and the National Opera Studio, Irish soprano Anna Devin is fast becoming established as one of today’s brightest young sopranos.

Opera appearances in 2013/14 include a return to Scottish Opera as Zerlina (Don Giovanni) and to the Royal Opera House as Flowermaiden (Parsifal). Later in the season, she makes her debut at the Handel Festival Göttingen as Clotilde in Faramondo, conducted by Lawrence Cummings and appear at the ROH Linbury Studio in a new commission by Luke Bedford. Further ahead, she returns to the ROH main stage as Nanetta (Falstaff) in 2014/15.

Anna’s performances at Covent Garden have included Lauretta (Gianni Schicchi), Suor Genovieffa (Suor Angelica), 1st Nymph (Rusalka), Amante (Il Tabarro), Papagena (Die Zauberflöte), 2nd Niece (Peter Grimes), and Dew Fairy (Hänsel und Gretel). At the ROH, she has also covered Sophie (Werther), Zerlina (Don Giovanni), Marzelline (Fidelio), Marie (Fille du Regiment) and Gretel and the Sandmann (Hänsel und Gretel).

Elsewhere, she has appeared as Night/Spring (Fairy Queen), conducted by Harry Bicket, and the Governess (The Turn of the Screw) as part of the Britten-Pears Young Artists Programme, Virtue/Damigella (L’incoronazione di Poppea) for OTC, Aldeburgh and Buxton, conducted by Christian Curnyn, as Second Fairy and Second Woman (The Fairy Queen) at Glyndebourne and Opéra Comique, conducted by William Christie, and more recently as Susanna (Le nozze di Figaro) with Glyndebourne Touring Opera, Sophie (Werther) with Scottish Opera, Gretel (Hänsel und Gretel) with Garsington Opera and as Silvia (L’isola Disabitata) with the Royal Opera House at the Hobart Festival in Tasmania.

A frequent concert performer, Anna’s repertoire encompasses both sacred and secular works, with oratorio roles ranging from Monteverdi’s Vespers to Tippett’s A Child of Our Time and from Haydn’s Theresienmesse to Mozart’s Requiem.

Appearances in 2012/13 included Anna’s BBC Proms debut as Flowermaiden in Parsifal with the Hallé under Sir Mark Elder, a Debussy programme at the London Song Festival, Vreli (A Village Romeo and Juliet) at the Queen Elizabeth Hall with the London Concert Orchestra under Ronald Corp, and arias by Mozart, Verdi and Puccini, as well as Canteloube’s Songs of the Auvergne with the RTÉ NSO Dublin. With Classical Opera, she appeared at London’s Wigmore Hall in a Gluck and Mozart programme and recorded Arbate in Mitridate. She will return to Wigmore Hall with the ensemble later this year for a New Year’s Eve Gala.

An alumnus of the Royal Irish Academy of Music, Guildhall School of Music and Drama, and National Opera Studio, Anna Devin has garnered awards including the Maggie Teyte and Miriam Licette Scholarship, Stuart Burrows International Voice Award, Singers’ Prize at the Gerald Moore Awards and the Audience Prize in the London Handel Singing Competition. She is an Associate Artist with Classical Opera.

Anne Marie Gibbons studied at the DIT Dublin and the RNCM in Manchester. She subsequently joined English National Opera as company principal performing numerous roles and now enjoys a freelance career working with conductors including Christophers, Cummings, Daniel, Gardner, Joel, Parry and Wigglesworth; and directors including Richard Jones, Phylida Lloydd and David McVicar.

Opera credits include Dorabella Cosi fan tutte, Anna The Trojans, Ascanius The Trojans at Carthage, Ino Semele, Sister Mathilde The Dialogues of the Carmelites, Pitti-Sing The Mikado, Flora La Traviata, Bacchis La Belle Helene, Nero Agrippina, Kasturbai Satyagraha and Annio La clemenza di Tito with ENO; Rosmira Partenope at Les Azuriales Festival in France, the title roles in Teseo and Ariodante for ETO and La Cenerentola and Ariodante for OTC Ireland, 2nd Lady The Magic Flute with WNO, Pippo La gazza ladra for Opera North and David Saul at the Buxton Festival.

Concert appearances include Schumann’s Das Paradies und die Peri and Berlioz’s Les Nuits d’ete with The RTE National Symphony Orchestra in Dublin, Siegrune and Gutrune in Wagner’s Ring Cycle with The National Youth Orchestra in Limerick and at Birmingham Symphony Hall, Anna Maria Stuarda at Cadogan Hall and Flora La Traviata at Queen Elizabeth Hall in London, Handel’s Messiah with The Irish Baroque Orchestra in Limerick and Dublin and Bach’s Magnificat at the St Endellion Festival.

Anne Marie’s discography include Zulma Elvida and Abra Il diluvio universal for Opera Rara, and for Chandos Sister Mathilde The Dialogues of the Carmelites and Zulma Italian Girl in Algiers.

Recent credits include Bach’s St Matthew Passion with The Gabriele Consort and Players at the Lausanne Festival, Mozart’s Requiem in Madrid, David Saul at the Palace of Versailles Handel Festival with The Sixteen , Vivaldi’s Gloria at the Sage in Gateshead, Rossini’s Stabat Mater in Dublin, The Page Salome in Adelaide with the State Opera of South Australia and Begbick The Rise and Fall of the City of Mahagonny, Dublin .

Eamonn Mulhall trained at the Royal College of Music and the National Opera Studio in London.

His operatic engagements include the world première of James MacMillan’s Clemency (ROH Linbury, Covent Garden; Scottish Opera at the Edinburgh International Festival), Mariotte’s Salomé (Wexford Festival), Dorian Gray (Slovak National Opera), staged Messiah, After Dido and Count Almaviva The Barber of Seville (English National Opera), Sailor Tristan und Isolde (Wide Open Opera), Prince Safir in Offenbach’s Barbe bleu (Grange Park Opera), Jacquino in Fidelio and Soldier in Ullmann’s Der Kaiser von Atlantis (Opera Theatre Company) as well as Don Ottavio in Don Giovanni (Orchestra of St Cecilia) and understudying Bajazat in Handel’s Tamerlano (Scottish Opera), Lamplighter in Weinberg’s The Portrait (Opera North) and Belmonte in Die Entführung aus dem Serail and Ferrando in Così fan tutte (Welsh National Opera).

A frequent soloist in concert, Eamonn has sung with many of Britain and Ireland’s eminent choral societies. Highlights include Messiah at the Royal Albert Hall, Puccini’s Messa di Gloria with the RTÉ Concert Orchestra and appearances with the Irish Baroque Orchestra, the City of Birmingham Symphony Orchestra, the Ulster Orchestra, the Irish Chamber Orchestra, the Royal Liverpool Philharmonic Orchestra and the RTÉ National Symphony Orchestra. He has recorded Beethoven Irish songs, Jerome Kern’s Roberta, Victor Herbert’s Eileen and Dylan Thomas’ Under Milk Wood.

Future engagements include Matthäus-Passion with the RTÉ NSO and a revival of Dorian Gray in Bratislava which will also be presented at the 2015 Spring International Music Festival in Prague.

Irish Baritone Brendan Collins trained at the Cork School of Music and his training continued at the Dublin Institute of Technology Conservatory of Music and Drama.  He holds a diploma in Performance from the London College of Music and a Gold Medal in acting from the London Academy of Music and Dramatic Arts.  He has also been the winner of many awards in Ireland and Northern Ireland where he was awarded the Pro Musica Singer of the Year Award from the Cork School of Music.

Brendan Collins continued his studies in Brussels when he was awarded a scholarship to study at the opera studio of Theatre de la Monnaie under Susanna Eken and the renowned bass-baritone José van Dam.  He has take part in Master Classes with Dennis O’Neill, Sir Thomas Allen, Dame Anne Murray, Mikael Eliason, Ingrid Surgenor, John Elwes and Ugo Benelli.  He currently studies with Robert Dean.

His radio appearances have included broadcasts on RTE Lyric FM where he sang The Notary Gianni Schicci, YamadoriMadama Butterfly, Marullo Rigoletto and Dr Grenvil La Traviata.  With BBC Radio 3 he performed Haydn’s Creation with the Ulster Orchestra and on RTE Radio 1 he has performed a programme of operatic arias.  He sang on the original cast recording of renowned Irish composer John Gibsons’ Judith and Holofernes, playing the title role of Holofernes, and the world première recording of Michael Balfe’s Falstaff in which he played Giuseppe.

Brendan Collins’s repertoire includes over forty roles, including Count Almaviva Le nozze di Figaro, Marcello La Bohème, Escamillo and Dancaire Carmen, Germont La Traviata, Tonio Pagliacci, Masetto and Leporello Don Giovanni, Jupiter Orpheus in the Underworld, Marullo Rigoletto, Yamadori Madama Butterfly, Demetrius A Midsummer Night’s Dream, Elviro Xerses, Aeneas Dido and Aeneas, Sacristan Tosca, Captain Petrovich Eugene Onegin, Conte Gil Il segreto di Susanna, Pietro di Wisants L’assedio di Calais and Paolo Albiani Simon Boccanegra.  He has performed with Opera Ireland, Opera Theatre Company (OTC), English Touring Opera, Scottish Opera and Northern Ireland Opera.

He made his American début at the Kennedy Center, Washington D.C. with OTC performing the American première of Irish composer Steven Deazley’s opera Bug Off!

Brendan Collins has a busy concert diary.  His repertoire includes Messiah, Mozart Requiem, Mozart Vespers, Mozart Coronation Mass, Mozart Mass in C Minor, Mozart Spatzenmesse, Haydn Creation Mass, Haydn Nelson Mass, Fauré Requiem, Schubert Mass in G, Puccini Messa di Gloria, Orff Carmina Burana, Mendelssohn Elijah and Beethoven Ninth Symphony.

For Glyndebourne Festival Opera, he performed the role of Arthur Jones and covered the role of Donald in Billy Budd at both the Festival and the Brooklyn Academy of Music in New York City. Most recent engagements include Speaker The Magic Flute and First Nazarene Salome for Northern Ireland Opera.

Forthcoming engagements include Wagner Faust at the Everyman Cork, Marullo Rigoletto for OTC, Dublin, and also for Longborough Festival Opera and Pallante Agrippina for Irish Youth Opera.

Soprano Róisín O’Grady completed her B.A. Hons. Degree in Music and Italian at University College, Cork in 2000 and in 2001 completed her B.Mus. Hons. Degree. In 2004, she completed the one-year Postgraduate Diploma in Concert Singing at The Royal Scottish Academy of Music and Drama, Glasgow, under the vocal guidance of soprano Margaret Marshall O.B.E. She took part in master classes with sopranos Lynn Dawson and Emma Kirkby and mezzo-soprano Ann Murray. She received a First Class Hons. M.A. in Performance at the Cork School of Music in 2008. She was selected to perform in The Johann Sebastian Bach International Music Competition in Leipzig, July 2008. She was a member of and a soloist with The National Chamber Choir of Ireland for over two years. The choir perform both in Ireland and throughout Europe. They recently performed in music festivals in The Lebanon and Holland. They sing frequently with The National Symphony Orchestra, The RTÉ Concert Orchestra and The BBC Ulster Orchestra both in Dublin and Belfast.

Róisín has extensive concert experience including; Vivaldi’s Gloria, Beatus Vir and Magnificat, Handel’s Solomon, Samson, Dixit Dominus, Ode on St. Cecilia and Messiah, Charpentier’s Mess de Minuit, Schubert’s Mass in G, Schumann’s Reqiuem, Haydn’s Little Organ Mass, Creation and Nelson Mass, Pergolesi’s Stabat Mater, Vaughan Williams’ Mass in G Minor, Allegri’ Miserere, Bach’s Jauchzet Gott, Mozart’s Exultate Jubilate, Durufle’s Requiem, Saint Säens’ Christmas Oratorio, Fauré’s Requiem, John Rutter’s Requiem and Carl Orff’s Carmina Burana. She has performed with choral societies and orchestras throughout Ireland and Scotland including The BBC Scottish Symphony Orchestra, Sinfonia Alba, Orchestra of St. Cecilia, St. Andrew’s Chorus, Wexford Festival Singers, Trinity Choral Society, Göethe Institute Choir, St. George’s Singers and East Cork Choral Society.

She is a member of the early music duo Tonos who performed in The John Field Room, NCH, The National Gallery of Ireland, Royal Society of the Arts, London, Queen’s University and were broadcast in concert by Lyric FM. She performed at the West Cork Chamber Music Festival in 2008.

Countertenor Roderick Morris graduated with a Master of Music degree from Cambridge University and went on to study at the Royal Academy Opera in London. His operatic credits include The Shaman (cover) at ENO, Guido Flavio, the title role in Cavalli’s Il Giasone with Royal Academy Opera conducted by Jane Glover, Cupid Venus and Adonis with La Nuova Musica,  Rutilia Hasse’s Lucio Papirio at the London Handel Festival with Ensemble Serse, Athamas Semele, Satirino La Calisto conducted by Anthony Legge, and The Spirit Dido and Aeneas.

His oratorio credits include Handel’s Saul with Laurence Cummings at the Spitalfields Festival, Bach’s St Matthew Passion with Masaaki Suzuki at Snape Maltings, and Handel’s Messiah with Sir John Lubbock and the Orchestra of St John’s at Kings Place and St John’s, Smith Square. He has appeared as a soloist on BBC Radio 3 and last year performed a duet recital with Michael Chance in the Holywell Music Room, Oxford.  He also recently performed a concert series of Bach’s alto cantata Vergnügte Ruh with the orchestra Charivari Agréable.

Recent operatic engagements include Arsace in Handel’s Partenope conducted by Andrew Griffiths, The Prince Daisy Chain at the Tête à Tête Opera Festival, previewed at LSO St Luke’s, Dido and Aeneas with Kiez Oper in Berlin, and a tour of the staged Messiah with the Merry Opera. Other past engagements include a newly composed opera at Snape Maltings and with Tête à Tête Opera festival and Vivaldi’s Stabat Mater with Charivari Agréable.

Peter was awarded the Dr Ralph Kohn Scholarship to study at the Royal Academy of Music under the tutelage of Neil Mackie. During his time at the Academy, he was a member of Song Circle, performing at the Oxford Lieder Festival and Wigmore Hall, as well as collaborating with Michael Chance, Roger Vignoles, and Dame Felicity Lott. He was a finalist in the Richard Lewis competition, and had public master classes with Angelika Kirchslager and Dennis O’Neill.  Past engagements include Nemorino (L’elisir d’amore), LeJournaliste  (Les Mamellesdes Tiresias) and Florville (Il signor Bruschino) [Dutch National Opera Academy], Goro (MadamaButterfly) and Poisson (Adriana Lecouvreur) [Opera Holland Park], Ramon (La Navarraise) [Wexford Festival Opera] and Tito (La clemenza di Tito) [Teatru Manoel, Malta], (Don Giovanni) [Opus Opera] and Song Vendor (Il Tabarro) [Opera Holland Park] as well as collaborations with the Monteverdi Choir and Academy of Ancient Music.