2018-19 30th Season
Nathan Whittaker, Artistic Director, and Jillon Stoppels Dupree, Founding Director
Purchase 2018-19 subscriptions online
Early Bird subscription discounts available through May 31st!
Venue: Queen Anne Christian Church, 1316 3rd Ave W., Seattle, Saturdays at 7:30 p.m., Sundays at 3 p.m.
General Admission $35, Seniors 65+ $30, Ages 15-25 $15, Ages 7-15 free with Adult
Pre-concert talks start 45 minutes before the concert and last 30 minutes. All programs subject to change.
September 29 and 30, 2018
Byron, Nathan and Ludwig
Byron Schenkman, fortepiano, Nathan Whittaker, violoncello
Seattle’s own Byron Schenkman returns to the Gallery Concerts stage for the first time in two decades to play with our Artistic Director in an evening of classical era music for violoncello and fortepiano. This program features works of a young and rhapsodic Beethoven, as well as a ravishing sonata of Hélène Liebmann, and a rarely performed piece of W.A. Mozart’s youngest child, Franz Xavier Wolfgang Mozart.
November 24 and 25, 2018
NOT a Christmas Concert!
Arwen Myers, soprano, Linda Tsatsanis, soprano, Ingrid Matthews, violin. Jillon Stoppels Dupree, harpsichord, Nathan Whittaker, violoncello
… though it might sound like Christmas, as two of the Pacific Northwest’s most stellar sopranos, are joined by stellar Seattle artists to perform Handel’s glorious Italian cantatas which later became the famous Messiah tunes. Enjoy a fun Corelli fugue, “borrowed” for the famous Hallelujah Chorus, and other festive musical gems.
January 12 and 13, 2019
Notes from the Margin
Tekla Cunningham, violin, Christine Wilkinson Beckman, violin, Laurel Wells, viola, Meg Brennand, violoncello
Women as well as People of Color have made fabulous, although often overlooked, contributions to the musical lexicon. This program presents works of Chevalier de St. Georges, Ignatius Sancho, Aniceto Ortega, and Fanny Mendelssohn-Hensel performed by an all-female string quartet. Celebrate diversity in classical music!
February 2 and 3, 2019
Clea Galhano, recorder, Vicki Boeckman, recorder, Peter Maund, percussion, Jillon Stoppels Dupree, harpsichord
Bring your sunglasses as our guest Brazilian recorder star and San Francisco Bay based percussionist join two favorite Seattle artists in a sunny tour of baroque and jazzy contemporary music from Italy, Spain, Brazil and Argentina which will surely warm your spirits!
March 30 and 31, 2019
Mozart with Monica
Monica Huggett, violin, Greg Ewer, violin, Adam LaMotte, viola, Sam Park, viola, Nathan Whittaker, violoncello
International All-Star violinist Monica Huggett is joined by Portland and Seattle based early music performers for this star-studded event! The program includes two string quintets (K. 515 and K. 593) by Wolfgang Amadeus Mozart and a delightful work of the underrated composer Michael Haydn.
April 13, 2019 (Saturday only)
The Next Generation
Competition Winner TBA
Gallery Concerts is not only dedicated to presenting the finest musicians working today, but also to fostering the future of Early Music. We are launching the Gallery Concerts Next Generation Competition for Young Artists, which will feature a solo recital of an up-and-coming young artist performing on period instruments of the Baroque and Classical periods. Be the first to witness the stars of tomorrow!
May 11 and 12, 2019
The French Connection: Telemann in Paris
Janet See, baroque flute, Linda Melsted, violin, Joanna Blendulf, viola da gamba, Jillon Stoppels Dupree, harpsichord
Third annual Margriet Tindemans memorial concert, in collaboration with Pacific Northwest Viols
Telemann was German, yet his brilliant Paris Quartets are decidedly (and deliciously) French! Savor their rich sonorities and those of other musical delicacies by Couperin, Forqueray and Marais. Vive la France!
Purchase 2018-19 subscriptions online
Prior Season 2017-18
October 21 and 22, 2017
Carla Moore, violin and Joanna Blendulf, viola da gamba/violoncello, with Linda Melsted, violin and Jillon Stoppels Dupree, harpsichord
North America’s newest early music ensemble, Leonarda’s Circle, makes its Seattle debut with the dazzling and sensuous music of 17th-century Italy and Germany, featuring works by Rosenmüller, Marini, Krieger, Uccellini, Schmelzer, Vierdanck, Kindermann, Buxtehude, Cima, and the incomparable Isabella Leonarda.
December 2 and 3, 2017
The Virtuoso Clarinet
Thomas Carroll, clarinet, with Ingrid Matthews and Christine Wilkinson Beckman, violins, Laurel Wells, viola, and Page Smith, violoncello
Guest Artist Thomas Carroll, period clarinetist extraordinaire, visits from Boston to perform virtuosic chamber music with Seattle artists. Program includes Hummel: Quartet in E-Flat for Clarinet and Strings, S. 78; Backofen: Quintet in F for Basset Horn and Strings, Op. 9; Mozart: String Quartet in d, K. 173; Mozart: Quintet in A for Clarinet and Strings, K. 581.
January 13 and 14, 2018
The Power of Three
Tekla Cunningham, violin, Vijay Chalasani, viola, and Nathan Whittaker, violoncello
Join three of Seattle's young star Early Music performers in celebration of the string trio. Often neglected next to its “big brother” the string quartet, string trios allow space for a playfulness that is sure to delight. Schubert: allegro from Trio in B-flat, D. 471; Mozart: Prelude and Fugue #2 in g (after J.S. Bach); Rolla: Trio Concertant in B-flat, Op.1 No.1; Beethoven’s quirky Eyeglasses Duo for Viola and Cello, WoO 32, and his String Trio in G, Op. 9 No.1.
February 3 and 4, 2018
Artistry of Ingrid Matthews
Ingrid Matthews, violin, in collaboration with John Lenti, theorbo
Two internationally renowned titans of Early Music explore music of the French Baroque that is swimming in virtuosity, emotion, and passion. Together they perform Jean-Marie LeClair: Sonata in A, bk I, no. 3, and Jean-Féry Rebel: Suite in G. Mr. Lenti will feature his “engine of destruction” in Marin Marais: Les voix humaines, Louis Couperin: Chaconne, and Robert de Visée: Suite in b. Ms. Matthews will perform J.S. Bach’s French-influenced Partita in b for solo violin, BWV 1002 - it is truly an event whenever she and Bach cross paths.
March 3 and 4, 2018
Mozarts Quartet Party
Marc Destrubé, violin, with Adam LaMotte, violin, Laurel Wells, viola, and Nathan Whittaker, violoncello
In 1784, four of the greatest musicians the world has ever known - Franz Joseph Haydn, Carl Ditters von Dittersdorf, Wolfgang Amadeus Mozart, and Johann Baptist Vanhal - came together to play an evening of string quartets. Celebrated violinist Marc Destrubé joins forces with other Gallery Concerts’ favorites to reimagine the magic that must have occurred that night. Dittersdorf: Quartet No 2 in B-flat, Mozart: Quartet in d, K.421, Vanhal: Quartet in D, Op 21, No 6, Haydn: Quartet in C, Op 33, No 3 'The Bird'.
April 14 and 15, 2018
Strike the Viol
Ellen Hargis, soprano, Mary Springfels, viola da gamba, with Jillon Stoppels Dupree, harpsichord
Second annual Margriet Tindemans memorial concert, in collaboration with Pacific Northwest Viols
Enjoy a rich array of English vocal and instrumental music by Purcell, Dowland, Lawes, Blow, Byrd, Philips, Hume, Lanier, Banister, Inglot, Peerson, Wilson, Playford (publisher), and anonymous.
Cellist Nathan Whittaker enjoys a unique and diverse career as a concert soloist, chamber musician, recitalist, teacher, and historical cello specialist. He plays regularly with the Seattle Baroque Orchestra, Pacific Baroque Orchestra, Portland Baroque Orchestra, and is a founding member of the Op. 20 String Quartet. His 2012–13 concert season included appearances at the Indianapolis Early Music Festival, Vancouver Early Music Festival, and Pacific Baroque Festival (Victoria, BC), as well as other concert stops ranging from Seattle to New York to Dubai. He also composed and recorded an original score for the Emmy nominated documentary “When Seattle Invented the Future.” Nathan can be heard on recordings by ATMA Musique and Harmonia and broadcasts by NPR, CBC, and KING FM. An active pedagogue, he maintains a dynamic private studio and is a member of the faculty at the Academy of Music Northwest and Cornish College of the Arts. Along with his busy performance and teaching schedule, he completed a Doctorate of Musical Arts from the University of Washington in 2012. He also holds degrees from Indiana University.
Harpsichordist JILLON STOPPELS DUPREE has been described as “one of the most outstanding early musicians in North America” (IONARTS) and “a baroque star” (Seattle Times). She has recorded for the Meridian, Decca, Orange Mountain and Delos labels and has been featured at early music festivals in York (England), Boston, Bloomington, and Berkeley. She was a winner in numerous harpsichord competitions, received both Fulbright and Beebe Fund grants for study abroad, and was a recipient of the National Endowment for the Arts Solo Recitalist award. Her teachers include Gustav Leonhardt and Ton Koopman. Recent activities include a residency at Stanford University and a solo recital at Reed College in Portland. Jillon’s world premiere recording of Philip Glass’ Concerto for Harpsichord was released to high acclaim in 2006, and her solo Bach recording is forthcoming. A graduate of the Oberlin College Conservatory of Music and the University of Michigan (masters’), she has taught at both her alma maters; she has also been a member of the early music faculty at Cornish College of the Arts. Jillon performs with the Portland Baroque Orchestra, Ensemble Electra, the Seattle Symphony, the Seattle Baroque Orchestra, and the San Francisco Bach Choir.
Meg Brennand is known for her work on both modern and baroque cello. She is cellist with the critically acclaimed Onyx Chamber Players, based in Seattle and Chicago, and a member of the Pacific Northwest Ballet Orchestra, and she has performed with Baroque orchestras in Seattle, Portland, and Vancouver. Meg was a founding musician of Gallery Concerts, specializing in 18th-century chamber music on period instruments. An avid chamber music performer, she hasappeared throughout the Northwest on series including Bloedel, Jacobsen, Second City, Mostly Nordic, Belle Arte, Camerata, First Sundays, and La Conner. Meg is a graduate of the Eastman School of Music and an adjunct professor of cello at Seattle Pacific University. She has recorded with the SeattleBaroque Orchestra for NPR, Wild Boar, and Centaur.
Hailed by critics as an “especially compelling” and “superb violinist” with “exceptional talent,” whose performances are “energetic and exquisite,” violinist Adam LaMotte has appeared as soloist, concertmaster, and conductor of such orchestras as the Northwest Sinfonietta, the String Orchestra of the Rockies, the Astoria Festival Orchestra, the Portland Baroque Orchestra, and the Maggini String Orchestra in Houston. The co-founder of acclaimed ensembles in Portland and Houston, he produces many chamber music and chamber orchestra performances. With the American Bach Soloists, the Portland Baroque Orchestra, the Trinity Consort, and Chanticleer he performs on period instruments. His recordings appear on the Cinnabar, Koch, and Warner Brothers Classics labels.
Violist Laurel Wells has enjoyed an extensive and eclectic musical life, performing in Hong Kong, Norway, Canada, and throughout the United States. For twenty years she played violin with the Lyric Opera of Chicago, between seasons earning Master’s degrees in violin and viola from Indiana University. She studied chamber music at the Banff Centre in Canada and performed extensively under the guidance of the Vermeer Quartet. Laurel was a member of the Northwest Chamber Orchestra, holding the position of principal viola. She is currently a member of the Pacific Northwest Ballet orchestra and performs often with the Seattle Symphony and the Seattle Opera, and at the 5th Avenue Theater. In the early music world, besides performing with Opus 20, Laurel plays with the Seattle Baroque Orchestra and PacificMusicWorks, and has participated in the Whidbey Island Music Festival. She will be performing on theEMG's Early Music Fridays series this season.
At the age of 16, Huggett started studying at the Royal Academy of Music, London, with Manoug Parikian and Kato Havas, baroque violin with Sigiswald Kuijken.
She co-founded and served as leader of the Amsterdam Baroque Orchestra under Ton Koopman from 1980 to 1987. She was made a Fellow of the Royal Academy of Music in 1994, and serves as professor of baroque violin at the Hochschule für Künste Bremen, Germany.
Huggett has worked with Christopher Hogwood at the Academy of Ancient Music; with Trevor Pinnock and the English Concert; and toured the US in concert with James Galway. She has served as the director of The Hanover Band, guest director of the Arion Baroque Orchestra, Montreal; Tafelmusik, Toronto; the Orchestra of the Age of Enlightenment; the Los Angeles Chamber Orchestra; Philharmonia Baroque, San Francisco; the Norwegian Chamber Orchestra; and Concerto Copenhagen.
Huggett continues as artistic director of the Portland Baroque Orchestra and of the Irish Baroque Orchestra and is guest director of the Seville Baroque Orchestra[permanent dead link]. She also founded the baroque Ensemble Sonnerie and Hausmusik London as a chamber ensemble which concentrates on Romantic music.
She has won Gramophone Awards for her recordings of Bach's Sonatas and Partitas for solo violin (1997) and Biber's violin sonatas (2002).
Huggett's expertise in the musical and social history of the baroque era, coupled with her unique interpretation of baroque music, has made her a much sought-after resource for students of the baroque violin. She has given master classes in Banff, Dartington, Vicenza, Dublin, The Hague and Medellin.
The passionate artistry of violinist Linda Melsted has won the hearts of audiences across North America, Europe, and Japan. She has appeared as soloist, chamber musician, member, and leader of such outstanding ensembles as Tafelmusik, Freiburg Baroque Orchestra, Portland, Seattle, and Pacific Baroque Orchestras, and Pacific MusicWorks. Linda is the featured soloist in Tafelmusik’s documentary “Le Mozart Noir,” and has recorded for Sony, ATMA Classique, and Harmonia Mundi.
Linda’s true love is chamber music. She has performed with many ensembles in chamber music series from Toronto to Seattle including Early Music Vancouver, Gallery Concerts, Folia, Discovery Island Music Festival, La Primavera, and Toronto Music Garden. She regularly performs with Marc Destrubé and Friends and Early Music Underground. She is co-founder of the new chamber ensemble sound|counterpoint (www.soundcounterpoint.org) as well as the Cosi Quartet, a new classical oboe quartet, and the Salish Sea Players, a group dedicated to bringing early music to retirement and nursing facilities ( www.salishseaplayers.org ). Linda performs on a Nicolò Amati violin.
Ingrid Matthews is well established as one of the premier baroque violinists of her generation. She won first prize in the Erwin Bodky International Competition for Early Music in 1989, and was a member of Toronto's Tafelmusik Baroque Orchestra before founding the Seattle Baroque Orchestra with Byron Schenkman; she served as its Music Director from 1994 to 2013. Matthews has performed extensively around the world with many of today's leading early music ensembles, appearing as a soloist and/or guest director with many groups including the New York Collegium, the Australian Brandenburg Orchestra, the Bach Sinfonia (Washington DC), Ars Lyrica (Houston), Musica Angelica (Los Angeles), New Trinity Baroque (Atlanta), and numerous others. Matthews has won high critical acclaim for a discography ranging from the earliest Italian violin music through the Sonatas and Partitas of J.S. Bach (“the finest complete set of these works,” according to Third Ear's Classical Music Listening Companion). Sought-after as a chamber musician, Matthews has collaborated with most of the leading early musicians of her generation and served as first violinist of the notable ensemble La Luna. She has taught at Indiana University, the University of Toronto, Oberlin College, the University of Washington, the University of Southern California/Los Angeles, and the Cornish College of the Arts in Seattle. She is also active as a visual artist.
Tekla Cunningham, baroque violin, viola, and viola d'amore, enjoys a varied and active musical life. At home in Seattle, she is concertmaster of Stephen Stubbs' Pacific MusicWorks and principal second violin with the Seattle Baroque Orchestra & Soloists, and plays regularly as a principal player with the American Bach Soloists in California. She directs the Whidbey Island Music Festival, a summer concert series presenting vibrant period-instrument performances of repertoire ranging from Monteverdi to Beethoven. An avid chamber musician, Tekla enjoys exploring the string quartet repertoire of the 18th and early 19th centuries with the period-instrument Novello Quartet, whose abiding interest is the music of Haydn. She is also a member of La Monica, an ensemble dedicated to music of the 17th century, whose concerts have been reviewed as “sizzling”, and praised for their “irrepressible energy and pitch-perfect timing.” Tekla is a member of the Early Music Faculty of the Cornish College for the Arts.
Recorder player Vicki Boeckman has performed as soloist and chamber musician throughout the United States, Scandinavia, England, Scotland, Germany, and Canada. She taught at the Royal Danish Academy of Music for twelve years and at the Ishøj Municipal School of Music for twenty-three years. Settling in Seattle in 2004, Vicki has been soloist with Seattle Baroque, the Skagit Symphony, and the Philharmonia Northwest Orchestra. She is a returning guest with the Medieval Women’s Choir. She is the artistic director of the Port Townsend Early Music Workshop and the Portland Recorder Society. Vicki is on the faculty of the Cornish College of the Arts and the Music Center of the Northwest. Her recordings can be heard on the Kontra Punkt, Classico, Da Capo, Horizon, Musical Heritage America, Paula, Kadanza, and Primavera labels.
Joanna Blendulf has performed as soloist and continuo player in leading period instrument ensembles throughout the United States. She holds performance degrees with honors from the Cleveland Institute of Music and Indiana University. In 1998, Ms. Blendulf was awarded the prestigious Performer's Certificate for her accomplishments in early music performance from Indiana University. Joanna performs regularly with the Portland Baroque Orchestra and Pacific MusicWorks (Seattle) and has also performed with America Bach Soloists, Apollo’s Fire Baroque Orchestra, and Bach Collegium San Diego. Ms. Blendulf is also an active chamber musician, performing and recording with Ensemble Electra, Ensemble Mirable, the Catacoustic Consort, Nota Bene Viol Consort, Parthenia, and Wildcat Viols. Her world premiere recording of the complete cello sonatas of Jean Zewalt Triemer with Ensemble Mirable can be found on Magnatune. Ms. Blendulf's summer engagements have included performances at the Bloomington, Boston and Berkeley Early Music Festivals, the Aspen Music Festival as well as the Carmel and Oregon Bach Festivals, where she was the viola da gamba soloist. Ms. Blendulf is Associate Professor of Music (Baroque cello and viola da gamba) at the Indiana University Jacobs School of Music.
BYRON SCHENKMAN has recorded more than thirty CDs of 17th- and 18th-century repertoire, including recordings on historical instruments from the National Music Museum, Vermillion, and the Museum of Fine Arts, Boston. A recipient of the Erwin Bodky Award from the Cambridge Society for Early Music "for outstanding achievement in the field of early music," he was voted “Best Classical Instrumentalist” by the readers of Seattle Weekly, and his piano playing has been described in The New York Times as "sparkling," "elegant," and "insightful." He has been a featured guest with the Chameleon Arts Ensemble of Boston, the Daedalus Quartet, Les Enfants d'Orphée, the Northwest Sinfonietta, Pacific Baroque Orchestra, Philharmonia Northwest, and the Portland Baroque Orchestra. He was also founding co-director of the Seattle Baroque Orchestra with violinist Ingrid Matthews. In 2013 he launched “Byron Schenkman & Friends,” a Baroque and Classical chamber music series at Benaroya Hall in Seattle. Schenkman is a graduate of the New England Conservatory and received his master's degree with honors in performance from the Indiana University School of Music. He currently teaches at Seattle University, and has been a guest lecturer in harpsichord and fortepiano at the Indiana University Jacobs School of Music. www.byronschenkman.com
Janet See is one of today’s outstanding performers on baroque and classical flute. For over 35 years she has performed as a soloist, in chamber music, and in orchestras throughout North America and Europe. In London, where Janet lived for 12 years, she played principal flute for John Eliot Gardiner’s two orchestras, and with those groups recorded the complete Mozart Operas and Beethoven Symphonies as well as numerous other discs. While in London she also played principal flute for The Taverner Players, conducted by Andrew Parrott. In North America Janet plays principal flute with Philharmonia Baroque under Nicholas McGegan. She is principal flutist with the Portland Baroque Orchestra and a guest soloist with chamber music ensembles throughout the US and Canada. Ms. See has recorded on the DG Archive, EMI, Erato, Hyperion, and Harmonia Mundi labels. Janet is on the Early Music Faculty at Cornish College of the Arts in Seattle and is an active and enthusiastic teacher of early flutes and also of interpreting the nuance and language of baroque and classical music on modern flute.
Christine Wilkinson Beckman is a baroque violin specialist based in Olympia, WA. She enjoys performing throughout her native Northwest with early music ensembles large and small and appears regularly with such groups as the Seattle, Portland, and Pacific Baroque Orchestras, Pacific MusicWorks, and Pacific MusicWorks Underground. From 2015 to 2017 she directed the New Baroque Orchestra, one of the Community Collegia of the Early Music Guild of Seattle.
Christine began her studies on baroque violin with Ingrid Matthews, and she graduated in 2013 with an MA from the Historical Performance Practices program at Case Western Reserve University where she studied with Julie Andrijeski. A passionate educator, Christine teaches Suzuki violin and viola to a busy studio of young musicians in Olympia. Her Suzuki teacher training has been with Elizabeth Stuen-Walker.
Internationally renowned Brazilian recorder player Cléa Galhano has performed in the United States, Canada, South America and Europe as a chamber musician.
Galhano studied at Faculdade Santa Marcelina in Brazil, at the Royal Conservatory of The Hague in the Netherlands, and at the New England Conservatory of Music in Boston, earning a Fulbright scholarship and support from the Dutch government.
A popular teacher and ensemble director, Galhano regularly conducts workshops across the United States, Europe and Brazil. Currently, Galhano is the Executive Artistic Director of the Saint Paul Conservatory of Music and she is on the faculty of Macalester College. Galhano has seven recordings available on Dorian, Ten Thousand Lakes and Eldorado labels.
An advocate of recorder music and educational initiatives, Galhano has served for six years on the national board of the American Recorder Society and has been featured at Suzuki and AOSA conferences. She is also the Music Director of the Recorder Orchestra of the Midwest.
A native of San Francisco, Peter Maund studied percussion at the San Francisco Conservatory of Music and music, folklore, and ethnomusicology at the University of California, Berkeley. A founding member of Ensemble Alcatraz and Alasdair Fraser’s Skyedance, he has performed with early and contemporary music ensembles including American Bach Soloists, Anonymous 4, Chanticleer, Hesperion XX, Kitka, Musica Pacifica, Philharmonia Baroque Orchestra, and Voices of Music, among others. He is the author of “Percussion” in A Performers Guide to Medieval Music, Indiana University Press, 2000. He has served on the faculty of the University of California, Berkeley as well as in workshops throughout the US and Europe. Described by the Glasgow Herald as “the most considerate and imaginative of percussionists” he can be heard on over 60 recordings.
Praised for her artistry and warm, clear tone, soprano Arwen Myers is quickly gaining a reputation as a captivating and sensitive interpreter of repertoire spanning from early to new music. A versatile artist equally comfortable in oratorio, chamber music, and on the recital stage, Ms. Myers has performed major works with Portland Baroque Orchestra, Early Music Vancouver, Indianapolis Symphony Orchestra, Indianapolis Baroque Orchestra, and Sacred Music at Notre Dame.
Ms. Myers holds bachelor’s and master’s degrees and a Performer's Diploma in vocal performance from the Indiana University Jacobs School of Music, where she studied with Alan Bennett and Patricia Brooks Havranek. In 2014, she placed third nationally in the prestigious NATS Artist Award competition in Boston, MA, and she has twice competed in the Oratorio Society of New York's solo competition. A native of Augusta, GA, Ms. Myers is currently Music Associate at Trinity Episcopal Cathedral in Portland, OR, serves as co-director of the Royal School of Church Music Pacific Northwest course, and is an active freelance artist in the Northwest and beyond.
Hailed as “ravishing” (New York Times) and possessing “sheer vocal proficiency, a bright,
flexible voice, big but controlled, shaded with plentiful color” (Boston Globe), Canadian soprano
Linda Tsatsanis enjoys a career that spans the concert hall, opera stage, movies and television.
Her love of chamber music will lead her to Carnegie Hall in 2016 to perform William Bolcom’s
song cycle Let Evening Come. She also collaborates with various early music chamber
ensembles who have been presented by the Indianapolis Early Music Festival, Early Music Guild
(Seattle), San Francisco Early Music Society, Early Music in Columbus, Renaissance and
Baroque Society (Pittsburg), Early Music Now (Milwaukee), and Bloomington Early Music
Festival. In addition, she keeps a demanding performance schedule soloing with groups such as
Mark Morris Dance Group, Seattle Baroque Orchestra, Pacific Baroque Orchestra, Magnolia
Baroque Orchestra, and Pacific MusicWorks. Ms. Tsatsanis can be heard on various recordings
by the Canadian Broadcasting Corporation and Naxos and has a solo album with Origin
Classical, And I Remain: Three Love Stories, described as a “seductive recital of the darker sides
of 17th-century love” (Gramophone) and an album with Centaur, Beethoven alla Britannia: Folk
Song Settings and Variations to be released in 2016. Currently, she holds the status of Visiting
Scholar at the University of Washington.