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B i o g r a p h i e s


Hailed as “a fine, flexible ensemble” by The New York Times, Ensemble Origo is an early music organization founded in 2011 and directed by Connecticut-based musicologist and conductor Eric Rice. Its aim is to present vibrant performances of early music (from the Middle Ages through the baroque) that reflect the context in which the repertory was originally produced and heard; “Origo” is Latin for “earliest beginning,” “lineage,” or “origin.” The ensemble draws on a roster of professional musicians from Connecticut, Boston, and New York.  Its debut recording, released on the Naxos label in January 2021, is “Orlande de Lassus – Le nozze in Baviera: Music for the 1568 Wedding of Wilhelm V of Bavaria and Renate of Lorraine." It includes Lasso’s moresche — settings of texts uttered in Neapolitan dialect by enslaved Africans from the Bornu Empire. Another recording still in post-production is "Master of the Notes – Martin Luther's Josquin" a reconstruction of a Luther's Deutsche Messe as it might have been performed in his orbit ca. 1530, which grew out of a concert program commemorating the 500th anniversary of the Protestant Reformation in 2017. A third recording project in post-production is  “The Last Imperial Coronation – Music for the 1530 Coronation of Charles V in Bologna”; a collaboration with the Greenhouse Studios at the University of Connecticut on a multi-modal virtual reality presentation of the same event.  


Artists for Fall 2023 Concerts of  Un sarao de la Chacona

MICHAEL BARRETT, tenor, is a Boston-based conductor, singer, multi-instrumentalist, and teacher. He serves as music director of The Boston Cecilia. Barrett is also an Assistant Professor at the Berklee College of Music, where he teaches courses in conducting and European music history, and until recently served as Interim Director of the Five College Early Music Program. Michael has performed with many professional early music ensembles, including Blue Heron, the Boston Camerata, the Huelgas Ensemble, Vox Luminis, the Handel & Haydn Society, Nederlandse Bachvereniging (Netherlands Bach Society), Seven Times Salt, Schola Cantorum of Boston, Ensemble Origo, and Nota Bene, and can be heard on the harmonia mundi, Blue Heron, Coro, Naxos, and Toccata Classics record labels. He holds degrees in music (AB, Harvard University), voice (First Phase Diploma, Royal Conservatory in The Hague, The Netherlands), and choral conducting (MM, Indiana University; DMA, Boston University).

CATHERINE HEDBERG, mezzo-soprano, is a concert soloist and ensemble musician concentrating in early and new music. Recent performances include songs by Nadia Boulanger at Brandeis University, a South Korean tour of Korean art song with the American Soloists Ensemble of National Chorus of Korea, Monochromatic Light (Afterlife) (Tyshawn Sorey) with Trinity Wall Street, A Point on a Slow Curve (Dana Lyn) at Joe’s Pub, and Cilice (Lewis Nielson) with Wavefield Ensemble. She performs regularly with the Handel & Haydn Society, with whom she has appeared as a soloist in works including J.S. Bach’s B Minor Mass, Magnificat, and cantatas, and in a concert of Dowland songs with lutenist Catherine Liddell. She has been a frequent collaborator with the chamber ensemble, Musicians of the Old Post Road, and appears on the ensemble’s recording of Christmas music from 18th-century Central and South America. Catherine is based in New York City and Maine.

DANIEL S. LEE, violin, thrives in the intersection of the arts and spirituality. His work involves redefining the roles of sacred and secular music with regard to their intention, function, and venue. Praised by The New York Times as “soulful” and “ravishing,” he performs as a period violinist and leader with various ensembles throughout the United States and Europe, including his own, the Sebastians. He currently serves as the concertmaster for the Providence Baroque Orchestra (RI) and the resident baroque orchestra at the Washington National Cathedral (DC). He performs on various historical instruments and fosters ongoing collaborative research with luthier Karl Dennis (Warren, RI) and bowmaker David Hawthorne (Waltham, MA). When not traveling and performing, he splits his time between Willard, MO, where he pastors a Presbyterian Church (USA) congregation, and New Haven, CT, where he teaches early music at the Yale School of Music. Born in Chicago and raised in Seoul (South Korea) and in New York City, Daniel is equally (un)fluent in Korean and in English. He identifies himself as ethnically a New Yorker. He enjoys learning different languages and cultures, and is a student of various ancient languages.

GEORGE LERNIS is a world-recognized percussionist and educator who currently resides in the U.S. Having grown up with the musical traditions of the Middle East/Eastern Mediterranean regions and subsequently received formal training as a jazz drummer from the prestigious Berklee College of Music, Lernis is considered to be a bi-musical individual. In addition to his extensive training and experience on drum set, he specializes in several traditional percussion instruments such as: the darbuka (goblet shaped drum), bendir (frame drum), santur (microtonal hammered dulcimer) and riq (Arabic tambourine). Lernis has recorded and collaborated with Grammy nominee and winning artists such as: John Patitucci, Danilo Pérez, Antonio Sanchez, Anat Cohen, Dave Liebman, Tiger Okoshi and A Far Cry String Orchestra, to name a few. In addition, Lernis was part of the Berklee Indian Ensemble’s “Shuruaat,” which was nominated for the 65th Best Global Music Album category. After receiving a full scholarship in 2021, Lernis graduated from the Berklee College of Music Global Jazz Institute (where he also worked as the Graduate Academic Assistant) with his second master’s degree in Jazz Performance. Lernis’s latest original album, “Between Two Worlds,” which features world-renowned bass player John Patitucci, was released on June 10, 2022. The music for his new album was inspired by the ongoing stereotyping of immigrants and aims to empower individuals from various ethnic backgrounds to incorporate their traditions and cultures into American Society.

ELIJAH MCCORMACK, male soprano, performs both concert and opera all over the United States, and has garnered praise for his “radiant soprano” and “expressive sophistication” (Dallas Morning News). He has performed major works such as Bach’s Christmas Oratorio, St. John Passion, and St. Matthew Passion, as well as Handel’s Messiah and others, with organizations such as Seraphic Fire, Washington Bach Consort, Dallas Bach Society, American Bach Soloists, and Ensemble Altera. He has participated in several world premieres with The Crossing. Opera credits include the role of Bell* Cohen in Lowell House Opera’s world premiere of NIGHTTOWN; Haymarket Opera Company’s L’incoronazione di Poppea (Amore/Valletto); and IlluminArts Miami’s Turn of the Screw (Miles). He was recently awarded the Meyerson/Zanger award for second place in the Oratorio Society of New York’s Solo Competition, was previously a finalist for the Keller Distinguished Bach Musician Award, and was a semifinalist in Poème Harmonique’s Corneille Baroque Competition. His upcoming season sees his return to Washington Bach, Seraphic Fire, The Crossing, and Ensemble Altera, as well as his debut with INseries Opera and his European debut at the Leipzig Gewandhaus. He received his Master’s degree in Historical Performance at Indiana University, where he studied with Steven Rickards.

SARAH MEAD is a sought-after teacher of viol and Renaissance performance practice who has performed throughout the U.S. and overseas as far afield as New Zealand, Australia, Japan, Brazil, and the UK. In this country she has performed with ARTEK, Tenet, Emmanuel Music, the Handel & Haydn Society, Pegasus Baroque, Schola Cantorum, and Ensemble Origo. She has served as Music Director of the annual Conclave of the Viola da Gamba Society of America and plans to return to that role in 2025. Her performing editions of historical and original works for viols have been published by PRB Productions, and she edits a quadrennial publication of little-known works for viols for the VdGSA. In 2007, she received the Thomas Binkley Award from Early Music America for outstanding achievement in performance and scholarship for her work with the Early Music Ensembles at Brandeis University, from which she recently retired as Professor of the Practice of Music. Mead is a founding member and musical director of the viol consort Nota Bene, whose recording Pietro Vinci: Quattordeci Sonetti Spirituali was released by Toccata Classics (London) in 2020.

Colombia native CAMILA PARIAS, soprano, is a frequent soloist with the Boston Camerata. Parias, whose tone has been praised for its strength and clarity, also collaborates with ensembles such as La Donna Musicale, Skylark Ensemble, and Handel & Haydn Society. Her international appearances include performances in Europe of Borrowed Light with the Boston Camerata. She can be heard on Camerata’s most recent CDs, Free America! and A Medieval Christmas – Hodie Christus Natus Est. Upcoming engagements include concerts with Pegasus, Upper Valley Baroque, and a performance at the Houston Early Music Festival. In addition, she will sing Belinda in Dido and Aeneas with the Camerata, a role she has previously performed. Camila is particularly interested in early music of Spain and the New World. She recently introduced Cantos y Suspiros, an ongoing collaboration with harp and Baroque guitar/theorbo which celebrates seventeenth-century Spanish secular songs. In Bogota, she recorded selections of archival manuscripts belonging to that city’s Cathedral. She holds a B.M. in Vocal Performance from the Pontificia Universidad Javeriana in Bogotá and a M.M. in Historical Performance from the Longy School of Music of Bard College.

Originally from Philadelphia, baritone ROZIME LINDSEY recently graduated from Boston University, where he received his Bachelor of Music degree in Voice Performance. In the Summer of 2023, Lindsey worked as a Summer Intern with Fletcher Artists Management, which promoted him to his new job as the Development Associate with Boston Singers’ Resource. In the Summer of 2022, he was selected as an Emerging Artist with the Bach Roots Festival, performing as a soloist and chorister in the St. Matthew Passion. As a member of the All-City Philadelphia Chorus and Orchestra, Lindsey has been honored to perform for President Joseph Biden and Pope Francis. With the All-City Philadelphia Chorus, he has also performed numerous concerts under the baton of Yannick Nezet-Seguin of the Philadelphia Orchestra and Metropolitan Opera. In addition to performing, Rozime also served as an intern with Juventas New Music Ensemble, focusing on outreach and educational programming. 

Musicologist and conductor ERIC RICE is Professor and Head of the Music Department at the University of Connecticut, where he teaches music history and directs the Collegium Musicum. He is the 2019 recipient of Early Music America’s Thomas Binkley Award for excellence in performance and scholarship by the director of a university early music ensemble. He also directs Ensemble Origo, praised by the Boston Musical Intelligencer as “aesthetically…top-notch” with “immaculate execution”; and by The New York Times as “a fine, flexible ensemble,” presenting concerts and making recordings reflecting the context in which early repertory was originally heard. He was previously Artistic Director of the Connecticut Early Music Festival and music director of the Boston-based ensemble Exsultemus. His scholarly focus is medieval and Renaissance liturgy and its relationship to architecture, politics, and secular music, and also representations of non-Western cultures in Western music. His books are Music and Ritual at Charlemagne’s Marienkirche in Aachen and Young Choristers, 650-1700 (co-edited with Susan Boynton), the first scholarly volume dedicated to the history of professional child singers. His articles have appeared in numerous journals, and he has received fellowships to pursue archival research in Germany and France. Raised in Brooklyn, New York, Rice discovered early music at Bowdoin College. After four years as a schooner captain at the South Street Seaport Museum, he earned a PhD in Musicology and a Certificate in Medieval and Renaissance studies from Columbia University. He taught at Brandeis University for two years before joining UConn’s faculty in 2003.

HIDEKI YAMAYA is a performer of lutes, early guitars, and early mandolins based in Connecticut, USA. Born in Tokyo, Japan, he spent most of his career on the West Coast before settling in New England, where he is a freelance performer and teacher. He has a B.A. in Music and an M.A. in Ethnomusicology from University of California, Santa Cruz, where he studied with Robert Strizich, and an M.F.A. in Guitar and Lute Performance from University of California, Irvine, where he studied with John Schneiderman. He also studied with James Tyler at University of Southern California and with Paul Beier at Accademia Internazionale della Musica in Milan, Italy. In demand both as a soloist and as a continuo/chamber player, Yamaya has performed with and for Portland Baroque Orchestra, Portland Opera, Santa Cruz Baroque Festival, Musica Angelica Baroque Orchestra, Los Angeles Master Chorale, Los Angeles Opera, Oregon Bach Festival, Astoria Music Festival, Folger Consort, Connecticut Early Music Festival, and Shakespeare’s Globe Theatre. He is also recognized as an effective communicator and teacher, and has given masterclasses and workshops at Yale University, University of California, Santa Cruz, Montana State University, Oregon State University, and Aquilon Music Festival. A prolific recording artist, Yamaya’s playing could be heard on Profil, hänssler CLASSIC, and Mediolanum labels. His recordings have received glowing reviews from Early Music America, Classical Guitar Magazine, and the Guitar Foundation of America.

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