Early Music Ensemble
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TRACY COWART (mezzo-soprano) enjoys a wide range of vocal interests, from twelfth-century polyphony to contemporary art music. Praised by the New York Times as “the real attraction” with a voice that is “light and lithe,” Tracy has performed with a number of period ensembles, including the American Classical Orchestra, Apollo’s Fire, La Donna Musicale, Exsultemus, Musica Pacifica, Opera Lafayette, the Newberry Consort, Newton Baroque, Seven Times Salt, Three Notch’d Road, and the Washington Bach Consort. She has three times been featured as part of Early Music America’s Young Performer’s Festival with Case Western Reserve University (CWRU), twice at the Boston Early Music Festival, where she was also awarded a spot with the Early Music America’s Select Festival Ensemble, and also at the Berkeley Early Music Festival. As a scholar of historical performance practice, Tracy has been a guest-artist/lecturer at Pennsylvania State University and Bucknell University, and performed the music of Antonio Tenaglia at the Society for Seventeenth Century Music. Most recently, Tracy co-founded Alkemie, a new ensemble that explores popular music from the Middle Ages. Also known for her interpretations of new music, Ms. Cowart is the resident mezzo-soprano for the Great Noise Ensemble, with whom she recently performed the world premiere of Armando Bayolo’s Kaddish: Passio: Rothko and the role of “Hadewijch” in Louis Andriessen's Die Materie. She is also an avid forager, with a particular interest in mycology. Tracy began exploring early dance and choreography during her M.M. at the Longy School of Music, and continued during her DMA studies at CWRU. There, she regularly performed with the CWRU Renaissance and Baroque Dance Ensemble, for which she also served as a teaching assistant. She made her debut with Pegasus Early Music, and her final doctoral recital investigated the role of dance in 17th-century French theatre, with a focus on the operas produced by Madame de Pompadour at Versailles.Type your paragraph here.
Malina Rauschenfels is a soprano, composer and multi-instrumentalist transplanted to Cleveland after 11 years in New York City. Praised by the Boston Musical Intelligencer as “spellbinding” and for her "powerful clarion tones and crisp articulation,” she has also been commended by clevelandclassical.com for her "exceptional vocal range, strong acting abilities, gripping theatricality, and commanding gestures, both musical and physical." Malina is co-founder and executive director of Burning River Baroque, with whom she sings and plays baroque cello. She is also artistic director of hūmAnómali, a collaboratively structured music ensemble which incorporates "extra-musical affairs," such as dance, gesture and theatricality into its historically informed performances of music from antiquity to the present.
Salomé Sandoval sings and plays a variety of fretted string instruments such as lutes, early and classical guitars. A native of Venezuela Salomé holds a Graduate Performance Diploma in Early Music as a voice (with Laurie Monahan) and lute major (with Doug Freundlich) thanks to a scholarship awarded by Longy School of Music in Cambridge, MA; a Master’s in Arts from Middle Tennessee State University (with William Yelverton) and a Bachelor in Music from Instituto Universitario de Estudios Musicales (in Venezuela, with Luis Zea) both in classical guitar. She has played in master classes with renowned international guitarists such as Leo Brower and Alirio Diaz and lutenists such as Nigel North, Paul O’Dette and Stephen Stubbs, as well as in radio shows, theater, movie soundtracks and television. Award winner in several competitions, Salomé has sung and played early, Latin American, and contemporary music in various ensembles and choirs in Venezuela and the US. She has collaborated in many CD recordings with groups such as Camerata Renacentista y Barroca de Caracas conducted by Isabel Palacios in Caracas, VE and has two of her own: Singing with the Fire and Potions (available in Itunes) containing a variety of songs from early, Spanish, Latin- American and twentieth-century music. Salomé’s recent collaborations with Early Music Ensembles include Raleigh Camerata, El Mundo with Richard Savino, Newberry Consort with Ellen Hargis and her own group El Fuego, with repertoires that range from New World to Spanish Eighteenth Century sacred and stage music.
Jennifer Streeter, has performed throughout the United States and Europe with ensembles such as the North Carolina, Indianapolis and Seattle Baroque Orchestras, Piedmont Baroque, Ensemble 415, and the Monte Carlo Philharmonic Orchestra. She has been featured at the Bloomington, Magnolia Baroque and Amherst Early Music Festivals. She holds masters’ degrees in recorder and harpsichord from the Early Music Institute at Indiana University, studying with Eva Legêne and Elisabeth Wright. Originally from Europe, she now calls Cary, North Carolina home where she is a freelance musician and body therapist.
Allison Willet has appeared as a soloist with the North Carolina Baroque Orchestra, the Winston-Salem Symphony and the Salisbury Symphony Orchestra. She also served as Concertmaster of the Philharmonia of Greensboro, Principal second violin for Salisbury Symphony Orchestra and Associate principal second violin for Western Piedmont Orchestra. Allison performs regularly with The NC Symphony, NC Baroque Orchestra, NC Opera, NC Ballet, Carolina Philharmonic, Fayetteville Symphony Orchestra, Mallarme, Harmonie Universelle, Duke Vespers, Raleigh Camerata, and El Fuego. Allison comes from a musical family. At age 6, she started playing the violin, just like her grandmother. She learned the clarinet at age 11, and she taught herself viola and piano at age 16. Later in college, she went on to learn to play the viola da gamba and viola d'amore. Allison graduated Summa Cum Laude from Appalachian State University in 2006 with a degree in violin performance. She then went on to graduate school at the University of North Carolina at Greensboro and attained a Master of Music in 2008, also in violin performance. Allison has studied with baroque violinist Gesa Kordes and violist da gamba Gail Ann Schroeder. She has attended many historical performance workshops and festivals, including Boston Early Music Festival, Amherst, Oberlin Baroque Performance Institute, Tafelmusik Institute, and Madison Early Music Festival.
Matvey Lapin dates his interest in historical performance back in his pre-college years. While in Russia, he collaborated with the most prominent HIP groups, like Musica Petropolitana and Musica Antiqua Rossica in St Petersburg, as well as the Moscovites Pocket Symphony and Pratum Integrum. Since settled in US, Matvey completed his DMA minor field in historical violins at the Early Music Institute of Jacobs IU School of Music, Bloomington, Indiana. He collaborated with such notable musicians as Stanley Ritchie, Nigel North and Jeanne Lamont. Matvey has performed with Indianapolis Baroque Orchestra, ensemble Ad Libitum, North Carolina Baroque Orchestra, Raleigh Camerata.