Early Music Ensemble
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.
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.
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Roman Testroet is a former PhD student in Historical Musicology, current doer of a large number of part-time jobs, and inveterate quitter of things. He is the Music Director at Pilgrim United Church of Christ, has worked as a Visiting Instructor of Music at Duke University and the Interim Curator of DUMIC (Duke University Musical Instrument Collection), and is a frequent collaborator with the Triangle-based Voices of a New Renaissance, Singers of New and Ancient Music, El Fuego, and Christ Church Raleigh’s Schola Cantorum. His research interests, when he used to do that kind of thing, were 16th Century Spanish music for Corpus Christi and Hip-Hop.
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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.
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.