Our faculty and performing artists are world-renowned musicians on the faculties of institutions such as Juilliard, the Paris Conservatory and the San Francisco Conservatory. They are experts in historic performance techniques and have decades of experience in Classical and Romantic chamber music. 


Canadian violinist Liana Bérubé’s love of performance began at the ripe old age of six and has since taken her around the world. She has performed in many of the world’s greatest concert halls, and her performances have been broadcast on CBC radio in Canada, NPO Radio 4 in the Netherlands, NPR, and VH1. A highly-sought after recording artist, Liana has appeared on dozens of albums and soundtracks, including two GRAMMY-nominated albums.

As a founding member of the award-winning Delphi Trio, Liana concertizes around the USA and abroad; recent tours have included the Netherlands, California, Virginia, Illinois, and Mississippi. The Trio will premiere William Bolcom's first piano trio in November 2016, and will also perform the West Coast premiere of Paul Juon's Episodes Concertantes with the Oakland Symphony in the 2016-17 season. Liana is equally enthusiastic about all kinds of music and performs in many capacities, from chamber music with her trio, to orchestral leadership in the San Jose Chamber Orchestra and the Oakland Symphony, to performances in a multitude of non-classical genres as concertmaster of the Magik*Magik Orchestra in San Francisco. She has appeared as concerto soloist with the Thirteen Strings Chamber Orchestra, the San Jose Chamber Orchestra, the Bear Valley Festival Orchestra, and Sinfonia Toronto, and coaches as part of the chamber music faculty at the Crowden School in Berkeley, CA. Liana is an alumna of the University of Toronto and the San Francisco Conservatory of Music.


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, principal second violin with Seattle Baroque Orchestra & Soloists, and plays regularly as concertmaster and 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.

She has appeared as concertmaster/leader or soloist with the American Bach Soloists, Baroque Chamber Orchestra of Colorado, Seattle Baroque Orchestra, and Musica Angelica (Los Angeles). She has also played with Apollo’s Fire, Los Angeles Opera, Philharmonia Baroque Orchestra, and at the Carmel Bach Festival, San Luis Obispo Mozart Festival, Indianapolis Early Music Festival, Savannah Music Festival and the Bloomington Early Music Festival. She has worked with many leading directors including Rinaldo Alessandrini, Giovanni Antonini, Harry Bicket, Paul Goodwin, Martin Haselböck, Monica Huggett, Nic McGegan, Rachel Podger, Jordi Savall, Stephen Stubbs, Jeffrey Thomas, Elizabeth Wallfisch and Bruno Weil.

Tekla received her musical training at Johns Hopkins University and Peabody Conservatory (where she studied History and German Literature in addition to violin), Hochschule für Musik und Darstellende Kunst, in Vienna, Austria, and at the San Francisco Conservatory of Music, where she completed a Master’s degree with Ian Swenson. She teaches Suzuki violin in both German and English and is on the early music faculty of Cornish College for the Arts.


Widely admired as a Baroque violinist of expressive eloquence and technical sparkle, Elizabeth Blumenstock is a long-time concertmaster, soloist, and leader with the Bay Area's American Bach Soloists and Philharmonia Baroque Orchestra, and is concertmaster of the International Handel Festival in Goettingen, Germany.

In Southern California, Ms. Blumenstock is Music Director of the Corona del Mar Baroque Music Festival. Her love of chamber music has involved her in several accomplished and interesting smaller ensembles including Musica Pacifica, Galax Quartet, Ensemble Mirable, ive Oak Baroque, the Arcadian Academy, and Trio Galanterie. An enthusiastic teacher, Ms. Blumenstock teaches at the San Francisco Conservatory of Music, the American Bach Soloists summer Festival and Academy, and the International Baroque Institute at Longy. Ms. Blumenstock plays a 1660 Andrea Guarneri violin built in Cremona, Italy, which is on generous loan to her from the Philharmonia Baroque Period Instrument Trust.


Lyric Coloratura soprano, Nikki Einfeld, has been widely recognized for her “high flying virtuosity” (New York Times) as well as “a bright, lithe tone, pinpoint accuracy and a saucy stage demeanor” (San Francisco Chronicle).

Highlights of Ms. Einfeld’s recent engagements include the world premiere of the opera Death with Interruptions by Kurt Rhode; with San Francisco Opera in several roles including the world premiere of Delores Claiborne by Tobias Picker, Gianetta in The Elixir of Love, Papagena in The Magic Flute, Barbarina in Le Nozze di Figaro; appearances with Vancouver Opera and New Orleans Opera as Susanna in Le Nozze di Figaro; with West Bay Opera in Die Entführung aus dem Serail as Konstanze; with Syracuse Opera and Green Mountain Opera Festival she has sung the title role of Lucia di Lammermoor; with Opera Lyra Ottawa as Ophelia in Hamlet; Edmonton Opera as Nanetta in Falstaff and as Mabel in The Pirates of Penzance; Canadian Opera Company as Queen of the Night in The Magic Flute; and a number of appearances with Manitoba Opera, including Rosina in The Barber of Seville, Marie in The Daughter of the Regiment, and Norina in Don Pasquale.

A former Adler Fellow and Merola Alumnus with the San Francisco Opera, this Canadian soprano also received acclaim as a Grand Finalist in the 2006 Metropolitan Opera National Council Auditions. Her affinity for recital and concert repertoire, including many 20th and 21st century work Premieres, has led to guest appearances with the San Francisco Symphony including the SoundBox Series concerts, Berkeley Symphony Orchestra, Winnipeg Symphony Orchestra New Music Festival, Calgary Philharmonic Orchestra, the Left Coast Chamber Orchestra, Montreal Chamber Orchestra, and the Empyrean Ensemble.


Hornist Sadie Glass is committed to creating unique musical experiences as a performer and educator. She is an active freelance musician in the San Francisco Bay Area and a Teaching Artist within her community. Currently, Glass is on faculty at the Pacific Union College in Angwin, CA and Napa Valley College, and is an Artist Partner at Salvador Elementary. As a freelance musician, Glass has performed with Symphony Silicon Valley, Santa Rosa Symphony, and Monterey Symphony. 

Specializing in early music, Glass performs on both the baroque and natural horns, working with some of the most influential natural horn players including Hermann Baumann, Richard Seraphinoff, and Lowell Greer. Traveling throughout the country, she enjoys giving lectures and recitals at workshops and universities discussing the importance of historic performance. Glass attended the American Bach Soloist Academy in the summers of 2014 and 2015 as the only horn player and was principal horn for the Oregon Bach Festival - Berwick Festival’s inaugural program last summer. She has also performed with Mercury in Houston, Texas, Albany Consort and Black Box Baroque in San Francisco. Glass completed a Master’s degree at the University of Illinois at Urbana-Champaign, studying horn performance with Bernhard Scully and graduated summa cum laude with a Bachelor’s degree in music performance from University of Wisconsin Stevens Point, studying with Dr. Patrick Miles.


For the past thirty years, Eric Hoeprich has specialized in performing on historical clarinets, in music from the Baroque to the late Romantic. Educated at Harvard University and the Royal Conservatory of Music in The Hague, he is currently on the faculties of the Paris Conservatoire National Supérieur de Musique, the Royal Conservatory of Music in The Hague, and Indiana University, Bloomington.

A founding member of Frans Brüggen’s Orchestra of the 18th Century (1982), Hoeprich has performed frequently as a soloist with this orchestra, as well as most of the major early music ensembles and many modern orchestras. In the 1980s, he founded two wind ensembles, Nachtmusique and the Stadler Trio (three basset horns), which have toured around the world. His dozens of recordings are available on labels such as Deutsche Grammaphon, Philips, EMI, SONY, Harmonia Mundi, Glossa and Decca. Collaboration with string quartets, chamber ensembles and vocal soloists also feature regularly on his calendar. The recent release of clarinet quintets (Mozart and Brahms) with the London Haydn Quartet (Glossa), the three clarinet concertos by Bernhard Crusell with Kölner Akademie (ARS Production) and “Sei Sinfonia” by J.C. Bach with Nachtmusique (Glossa) have received wide critical acclaim.

An interest in historical clarinets has led to the publication of numerous articles, contributions to the New Grove Dictionary and a general text on the clarinet published by Yale University Press (The Clarinet, 2008). He recently prepared the entry for “Clarinet” in the Oxford Bibliographies Online. Hoeprich has amassed a collection of more than a hundred antique clarinets, which has also led to restoration and construction of replicas of period originals; he maintains a workshop for instrument making at his home near London.


In her 4-decades long career as a violinst, Monica Huggett co-founded the Amsterdam Baroque Orchestra with Ton Koopman and founded her own London-based ensemble Sonnerie.

She has worked with Christopher Hogwood at the Academy of Ancient Music, with Trevor Pinnock and the English Concert, and toured the United States in concert with James Galway. She has served as guest director of the Seville Baroque Orchestra, the Kristiansand Symphony Norway, Arion Baroque Orchestra in Montreal, Tafelmusik in Toronto, the Los Angeles Chamber Orchestra, Philharmonia Baroque, the Norwegian Chamber Orchestra and Concerto Copenhagen. She is currently the first artistic director of the Juilliard School’s Historical Performance Program. Alongside her work at Juilliard Monica continues as artistic director of both the Irish Baroque Orchestra, and the Portland (Oregon) Baroque Orchestra. She also performs frequently as a solo violinist all over the world.


2016 Apprentice

Currently based in New York City, Toma Iliev is a well-rounded musician, focused on Historical Performance Practice. He has performed at prominent concert venues in New York including Carnegie Hall, Alice Tully Hall, Peter J. Sharp Theater, Merkin Hall, The Kosciuszko Foundation, as well as venues across North America and Europe. Recent appearances include performances at the Oregon Bach Festival 2016 and Berkeley Festival and Exhibition 2016 as well as broadcasts on MediciTV, BBC3 radio, KLCC and the CBC “Rush Hour” series. Iliev is a recent graduate from The Juilliard School's highly prestigious and selective Historical Performance Program; he holds the Christa Bach-Marschall Foundation Prize from the International Bach Competition in Leipzig 2014, and Competition Winner at the Indianapolis Baroque Orchestra Concerto Competition 2013.

Toma Iliev, a native of Sofia, Bulgaria, discovered his passion for music at an early age, beginning his violin studies at the National Music School in Sofia, and continuing his post-secondary music education at Indiana University and the Juilliard School. Between 2014 and 2016 Iliev appeared regularly with Juilliard’s period ensemble, Juilliard 415, at venues in North America and Europe including Alice Tully Hall, Jordan Hall, St. John Smith Square and others. His future appearances include ABS Festival and Academy 2016, Dans les Jardins de William Christie 2016 as well as regular appearances with the Portland Baroque Orchestra and Mercury Houston in the 2016-2017 season. Toma Iliev holds a Master of Music degree from Indiana University and a Graduate Diploma from the Juilliard School.


2016 Apprentice

Ji Young is a performer-scholar and current PhD candidate in musicology at Cornell University. She began her piano studies at age 11 in her hometown Santiago, Chile. Soon after moving to the US, she appeared on the National Public Radio show From the Top, performing in Alice Tully Hall. Ji Young earned her Bachelor of Music from Manhattan School of Music, but upon graduation opted to leave the conservatory track and sought a liberal arts education at Columbia University. While at Cornell, serendipitous circumstances steered Ji Young towards an exploration of early keyboards with Malcolm Bilson, and after a long hiatus, she is working her way back to the performance stage.

She has presented at various institutions and conferences, such as the New England Conference of Music Theorists. Her research has been funded by the Cornell Institute for European Studies and Deutscher Akademischer Austauschdienst. As a performer, she strives for vivid renditions of eighteenth- and nineteenth-century music, informed by historical contexts and instruments, analytical insight, and careful programming. Recent projects include a multi-event exploration of Robert Schumann’s late music through a symposium featuring lectures by several established scholars and a concert in which she collaborated with the Formosa Quartet (winners of the 2006 London International String Quartet Competition). Ji Young is currently adjunct lecturer of musicology at Indiana University's Jacobs School of Music.


Kati Kyme has been called the 'Fritz Kreistler of the Baroque Violin' for the beauty of her tone and the soulfulness of her playing. She is often heard as soloist and/or leader with Philharmonia Baroque Orchestra, the American Bach Soloists, and Musica Angelica.

Chamber music is her real passion, however, and in that genre, she can be heard with The New Esterházy Quartet, Voices of Music, String Circle, The Streicher Trio and the Kyme/Skeen Duo.  She loves inspiring players in orchestra and in chamber music groups and has co-founded the San Francisco Early Music Society's Classical Chamber Music Workshop and founded the Berkeley Baroque Strings. She is also a regular coach at the San Francisco Conservatory of Music, at Stanford University, at the San Francisco Youth Symphony and at the Palo Alto Chamber Orchestra. Every Sunday she conducts 3 orchestras of talented Peninsula and South Bay young people in the String Ensembles of the California Youth Symphony.


2016 Apprentice

Awarded Second Prize and Audience Prize at the 2011 Westfield International Fortepiano Competition, New Zealand pianist Mike Cheng-Yu Lee performs on pianos that span the eighteenth century to the present. Recently Mike held a week-long residency appearing with the New World Symphony at the invitation of Michael Tilson Thomas. As a chamber musician, Mike has collaborated with musicians including Joseph Lin (Juilliard String Quartet), members of the Formosa Quartet, among others, that integrate modern and period instruments. Current projects include the complete cycle of Mozart’s piano sonatas and a series of lecture-recitals that explore connections between works by Beethoven and others.

As a scholar, Mike has presented on issues of musical form, Schenkerian analysis, Lewinian transformational theory, and musical embodiment at a number of conferences, including the Society of Music Theory and the European Music Analysis Conference.

Mike is Visiting Assistant Professor at the Jacobs School of Music, Indiana University-Bloomington and has served as Lecturer of Music Theory at Yale University. Mike holds a Ph.D. in musicology from Cornell University.


2016 Apprentice

Isabelle began her violin training at the age four and studied at the Special Music School of the Rimsky-Korsakov Conservatory in St. Petersburg, Russia from 1995-2005. In 2006 she moved to the U.S, where she earned Bachelor of Music degree under Elmar Oliveira at the Lynn Conservatory of Music, a Master of Music degree from The Juilliard School under Hyo Kang and Naoko Tanaka, and an Artist Diploma from Yale University under Hyo Kang. She has won numerous prizes including second prizes in Austria’s Schloss Zell an der Pram International Violin Competition, the Donald Portnoy International Violin Competition, and the Artist Series of Sarasota String Competition. She has been featured soloist with the Symphony Orchestra of Tele-Radio of St.Petersburg, Chamber Orchestra of Estonia, St. Petersburg Conservatory Symphony, St. Petersburg State Symphony Orchestra, Olympia Youth Philharmonic Orchestra and the Lynn Philharmonia Orchestra. From 2014-15, Isabelle was a member of the Yale Baroque Ensemble, a postgraduate ensemble at Yale University, directed by Robert Mealy. Currently, she is enrolled in Juilliard’s Historical Performance program, where she studies with Cynthia Roberts and Monica Huggett.



Carla Moore is one of America’s foremost Baroque violinists acclaimed for her stylish and virtuosic playing. A First Prize winner of the Erwin Bodky Competition for Early Music, she is co-concertmaster of Philharmonia Baroque Orchestra, of which she has been a member for over twenty years.  She is also concertmaster of Portland Baroque Orchestra and a founder and co-director of Archetti Baroque String Ensemble, a conductor-less Baroque string band, which recently released its first CD on the Centaur label. 

Carla has served as concertmaster and performed as soloist with Pacific Baroque Orchestra, Santa Fe Pro Musica, Musica Angelica, Baroque Orchestra of Colorado and American Bach Soloists. As a chamber musician, she has recorded seven critically acclaimed CDs with the ensemble Music’s Re-creation and three with Voices of Music, including her own interpretation of violin sonatas by J. S. Bach. Her videos with Voices of Music have been viewed by millions worldwide on YouTube.

Residing in Oakland, California, Carla teaches baroque violin and viola at the University of California, Berkeley and the San Francisco Conservatory of Music. Carla received her undergraduate training from the University of Southern California and earned a Master’s of Music with Distinction from Indiana University’s Early Music Institute where she studied with Stanley Ritchie.


2016 Apprentice

Praised as an “exceptional talent” by the Frankfurter Neue Presse, violinist Jessica Park explores a wide spectrum of music on both the baroque and modern violin. Since her debut at the age of nine with the Cincinnati Symphony Orchestra, Ms. Park has appeared as a soloist throughout the United States, Austria, China, Germany, South Korea, and Switzerland at venues such as Alice Tully Hall, Cologne Philharmonie, Seoul Arts Center, Shanghai Grand Theatre, and the Vienna Konzerthaus.

Ms. Park gave her baroque violin debut at Weill Recital Hall in Carnegie Hall as a member of the Yale Baroque Ensemble. Miss Park currently plays with the Handel and Haydn Society, Boston Baroque, The American Classical Orchestra, Trinity Baroque Orchestra, as well as other groups around the country.

Wholehearted in her love of quartet music-making, Ms. Park has worked closely with members of the Brentano, Cleveland, Emerson, Juilliard, Mendelssohn, Orion, Tokyo, and Ying Quartets. Ms. Park is an active freelance orchestral player in Manhattan, and she currently plays with the American Composers Orchestra, New York Chamber Orchestra, Ensemble LPR, and the New Haven Symphony.

Ms. Park holds Bachelor and Master degrees from The Juilliard School. Additionally, she has a Professional Studies Diploma from the Mannes School of Music and she was a Fellow of the Yale School of Music as a member of the Yale Baroque Ensemble.


    Holly Piccoli has established herself internationally as a modern and baroque violinist. Newly based in the Bay Area, Holly has worked with the American Bach Soloists and the San Francisco Chamber Orchestra, and frequently returns to New York and Australia for performances.

    Holly’s most recent career highlights include performing in Manhattan with Trinity Baroque Orchestra as Concertmaster of orchestra 2 for Bach's 'St Matthew Passion', Australia's Sanguine Estate Music Festival performing chamber music with the extraordinary violinist Anthony Marwood and former leader of the famous Brodsky Quartet- Andrew Haveron, her solo recital at Italy’s Bari International Music Festival, Melbourne Piano Trio's extensive tour throughout China and Mongolia, the Novus NY performance of “Epic Rarities” in Carnegie Hall, and the premier, as concertmaster, for American composer Martin Bresnick’s opera, “My Friend’s Story.”  

    Holly performs on a 2012 Jay Haide violon à l'ancienne baroque, a copy of the Tommaso Balestrieri style instrument. Holly also performs on a modern violin by Alessandro Di Matteo, made in 2004 in Cremona, Italy. Holly is an alumna of the Australian National Academy of Music and the Yale School of Music. 


    Marc Schachman was born in Berkeley, California, and attended Stanford University and the Juilliard School, where he was awarded the B.S, M.S., and the D.M.A. degrees. One of the world’s leading performers on early oboes, Mr. Schachman is a founding member of some of America’s foremost period instrument chamber groups--The Aulos Ensemble (1973), The Amadeus Winds (1983), and The Helicon Winds (1994). He has performed as principal oboist and soloist with virtually all of this country’s “original instrument” orchestras, including Philharmonia Baroque (San Francisco), Handel and Haydn Society and Boston Baroque (Boston), The American Classical Orchestra (New York), the Smithsonian Chamber Orchestra (Washington, D.C.). His numerous recordings cover a wide variety of styles and genres, and include “Venetian Oboe Concerti”  with ACO (Centaur), the Mozart Oboe Quartet and Bach Cantatas (Harmonia Mundi),  the Mozart Oboe Concerto (Musicmasters), Concerti and Chamber Music of Bach, Couperin, Handel, Rameau, Telemann, and Vivaldi with the  Aulos Ensemble (Centaur and MHS/Musicmasters), Bach’s Brandenburg Concerti, Orchestral Suites, and B Minor Mass (Telarc), Wind music of Mozart and Beethoven (L’Oiseau Lyre-Decca, Sony), and the Schumann Romances for oboe and piano (Helicon), which the New York Times described as “pure magic”.

    Mr. Schachman has served on the faculties of Vassar College, the Baroque Performance Institute at Oberlin College and the Historical Performance Division at Boston University. He has given workshops and master classes at The Juilliard School, the Curtis Institute of Music, the San Francisco Conservatory, and at colleges and universities throughout the U.S. He has performed at festivals worldwide, including Spoleto, Edinburgh, Goettingen, Perth, Tanglewood, Ravinia, and Mostly Mozart. A resident of New York for the past 30 years, Marc and his wife and long-time colleague, the violinist Linda Quan, will be moving back to the Bay Area in June of 2016, and look forward to commuting in the other direction.


    2016 Apprentice

    Eugenio Solinas began studying cello when he was eight. He has musically grown under the guidance of professor Claudio Merlo at the “A.Vivaldi” Conservatory of Music in Alessandria (Italy), where he graduated in 2009. Through that period, he took part in many music festivals both in Italy and abroad (Spain, France, Russia, Switzerland), especially with chamber music ensembles. After graduation, he started to study with the renowned concert cellist Umberto Clerici. In 2008, Eugenio also began his solo career performing the Haydn Concerto in C major with “Solisti di Perugia,” and the Vivaldi Concerto for two cellos. On the side, he started to develop an interest to early music, attending the “St. Rocco Ancient Sacred Music Academy,” where he won two merit scholarships. Awarded twice at the “Carlo Mosso International Competition” for soloist and chamber music categories, he received a special mention for the interpretation of Shostakovich Cello Concerto n°1. From 2010 to 2013 he collaborated with the “Turin Philharmonic Orchestra”, where he was member of a restricted group of eleven strings. With that ensemble, he had the possibility to perform in the most important Italian music festival, playing with the greatest soloists and musicians of the scene. During this period, Eugenio was hired by the “Music Academy of Savona” for the position of cello teacher, and he taught there for two years to young beginners. In 2013, he moved to the States to attend a Master program at the “Mannes College The New School of Music” under the guidance of Ms. Barbara Stein Mallow. In New York City, he performed in Symphony Space, Alice Tully Hall, Weill Hall, and Carnegie Hall. He has been involved in the “Mannes American Composer Ensemble” (MACE) directed by Lowell Liebermann, the “Baroque Music Ensemble” coordinated by Nancy Wilson, and masterclasses with members of the “Orin String Quartet.” After receiving his Master's, he decided to move to the Bay Area where he is currently studying at the San Francisco Conservatory of Music for a Instrumental Performance Degree Program in the studio of Jennifer Culp (morden cello), and Elisabeth Reed (baroque cello). He teaches cello at the San Francisco Community Music Center. Eugenio plays a Filippo Fasser cello, made in Brescia in 2012, copy of a Pietro Giacomo Rogeri 1717.


    Tenor Kyle Stegall has garnered praise around the world for his “lovely tone and ardent expression” (NY Times), as well as his “blemish-free production” (Sydney Morning Herald). Already at this early stage of his career, Kyle has performed as soloist under the baton of many of the world’s most celebrated conductors including Manfred Honeck, William Christie, and Jeffrey Thomas. Kyle’s period-informed performances are characterized by an unfailing attention to style and detail. 

    Engaged frequently as a concert soloist, Kyle has recently been heard in the Passions and Cantatas of J.S. Bach, the oratorios of Handel, the great masses of Mozart, Haydn, and Beethoven, Stravinsky’s Pulcinella, Britten’s Serenade for Tenor, Horn, and Strings, and in the world premiere of Robert Kyr’s For Those Who Hunger. As the evangelist in Bach’s St. John Passion, Kyle made his Lincoln Center debut under the direction of Maestro Masaaki Suzuki. This fall, the American Bach Soloists will release their historic HD Blu-Ray recording of Handel’s Messiah, in which Kyle was featured as tenor soloist.  

    As a dedicated proponent of the art song repertoire, Kyle programs and sings recitals throughout his performance season. Upcoming recitals include a French and English program with pianist Rhodri Clarke in Melbourne, and a program of sacred texts set by Benjamin Britten for the Yale Center for British Art. In the summer of 2013 Kyle was a member of the Britten-Pears Institute at the Aldeburgh Music Festival where he studied Britten song repertoire and Schubert lieder under the guidance of Ian Bostridge and Malcolm Martineau. 

    When not performing, Kyle commits his time to teaching. Kyle has been a voice instructor for Yale University and maintains a private studio year-round.


    Michel Taddei leads a varied career as performer, teacher, and administrator.  He is Director of Artistic Administration at the Crowden Music Center in Berkeley, and serves as Education Consultant for Music at Kohl Mansion (MAKM). He also teaches through those organizations, giving instruction in bass, chamber music, and leading orchestras at Crowden, and acting as a visiting artist in Peninsula schools for MAKM. Michel has been a faculty member for the Palo Alto Chamber Orchestra’s (PACO) chamber music intensive for nearly a decade, and guest conducts for PACO annually.

    Michel is Principal Bassist of the San Francisco Chamber Orchestra, the Berkeley Symphony, the Fremont Symphony, the Pacific Chamber Symphony, Symphony Napa Valley, and the Mendocino Music Festival, and is Assistant Principal Bass of the California Symphony. Other groups with which he has performed locally include the San Francisco Symphony and the New Century Chamber Orchestra, and he has worked frequently with recording orchestras at Skywalker Sound. Chamber music is a passion for Michel -- a founding member of the Left Coast Chamber Ensemble, he has performed with groups including the Bella Trio, Empyrean Ensemble, Earplay, Quartet San Francisco, Musica Marin, Ensemble SF, the San Francisco Contemporary Music Players, and at festivals including Moab, the Musical Days at Forest Hill, French music festivals at Rive-de-Gier and Caves du Roussillon, and the Festival des sept Chapelles in Brittany.  He has also performed with Yo Yo Ma and the Silk Road Ensemble on tours in the US and in Central Asia.

    Michel studied bass with Homer Mensch at the Juilliard School, and is a graduate of Columbia University, where he was a John Jay National Scholar.  He interrupted his graduate studies in history at UC Berkeley to accept the invitation of Kent Nagano to become Principal Bass of the Orchestrede l’Opéra de Lyon, where he played for over seven seasons, touring widely and making numerous recordings. Michel also enjoys performing as a singer, with concert and opera appearances including works such as Stravinsky’s Renard, Bernstein’s Candide, and Rossini’s Barbiere di Siviglia.


    Artistic Director and Co-Founder of the Valley of the Moon Music Festival, cellist Tanya Tomkins is equally at home on Baroque and modern instruments. She has performed on many chamber music series to critical acclaim, including the Frick Collection, “Great Performances” at Lincoln Center, the 92nd Street Y, San Francisco Performances, and the Concertgebouw Kleine Zaal.

    She is renowned in particular for her interpretation of the Bach Cello Suites, having recorded them for the Avie label and performed them many times at venues such as New York’s Le Poisson Rouge, Seattle Early Music Guild, Vancouver Early Music Society, and The Library of Congress.

    Tanya is one of the principal cellists in San Francisco’s Philharmonia Baroque Orchestra and Portland Baroque Orchestra. She is also a member of several groups including Voices of Music and the Benvenue Fortepiano Trio (with Monica Huggett and Eric Zivian). On modern cello, she is a long-time participant at the Moab Music Festival in Utah, Music in the Vineyards in Napa, and a member of the Left Coast Chamber Ensemble. As an educator, Tanya has given master classes at Yale, Juilliard, and the San Francisco Conservatory of Music, and runs the Benvenue House Concert Series in Berkeley.


    Kate Van Orden, classical bassoonist, studied modern bassoon at Sweelinck Conservatorium in Amsterdam and baroque bassoon at the Koninklijk Conservatorium in The Hague, beginning her performing and recording career on period instruments with European ensembles including Les Arts Florissants, La Petite Bande, La Chapelle Royale, and the Orchestra of the Renaissance. In America she has performed regularly with American Bach Soloists, Tafelmusik, Handel and Haydn Society, and Philharmonia Baroque Orchestra and has made over fifty recordings.

    She also studies the French and Italian Renaissance and is the Dwight P. Robinson, Jr. Professor of Music at Harvard University. 

    She has produced major studies of vernacular culture and the Renaissance chanson and a series of books on print culture, including Authorship, Music, and the Book in the First Century of Print (California, 2014), an edited volume of essays titled Music and the Cultures of Print (New York, 2000), and Materialities: Books, Readers, and the Chanson in Sixteenth-Century Europe (Oxford and New York, 2015). Her work has been supported by major grants from the ACLS, the AAUW, and the French Centre Nationale de la Recherche Scientifique. Her first book, Music, Discipline, and Arms in Early Modern France (Chicago, 2005), won the Lewis Lockwood Award from the American Musicological Society. She was Editor-in-Chief of the Journal of the American Musicological Society from 2008-2010.



    Music Director and Co-Founder of the Valley of the Moon Music Festival, Eric Zivian was born in Michigan and grew up in Toronto, Canada, where he attended the Royal Conservatory of Music. He graduated from the Curtis Institute of Music, where he received a Bachelor of Music degree. He went on to receive graduate degrees from the Juilliard School and the Yale School of Music. He studied piano with Gary Graffman and Peter Serkin and composition with Ned Rorem, Jacob Druckman, and Martin Bresnick. He attended the Tanglewood Music Center both as a performer and as a composer.

    Mr. Zivian has given solo recitals in Toronto, New York, Philadelphia, and the San Francisco Bay Area. He has performed Mozart and Beethoven concertos with the Toronto Symphony Orchestra, and the Beethoven Triple Concerto with the Santa Rosa Symphony and the Philharmonia Baroque Orchestra. He performed the Schumann Concerto with the Diablo Symphony in Walnut Creek in October 2013.

    Since 2000, Mr. Zivian has performed extensively on original instruments, playing fortepiano in the Zivian-Tomkins Duo and the Benvenue Fortepiano Trio. He is also a member of the Left Coast Chamber Ensemble and has performed with the Empyrean Ensemble and Earplay. He is a frequent guest artist on the San Francisco Conservatory's faculty chamber music series. Mr. Zivian's compositions have been performed widely in the United States and in Tokyo, Japan. He was awarded an ASCAP Jacob Druckman Memorial Commission to compose an orchestral work, Three Character Pieces, which was premiered by the Seattle Symphony in March 1998.


    Violinist Susannah Foster enjoys a diverse performing career on modern and historical instruments. She performs with ensembles including the Handel + Haydn Society, Boston Baroque, Les Bostonades, Emmanuel Music, Grand Harmonie, Phoenix Orchestra, and Newton Baroque, and has appeared throughout North America, Europe, and Africa under the baton of artists such as Riccardo Muti, Kurt Masur, Jaap Van Sweden, Rafael Frühbeck de Burgos, Michael Tilson Thomas, and John Williams. She has performed extensively with the New World Symphony, and served as concertmaster of the Civic Orchestra of Chicago, Tanglewood Music Center, Music Academy of the West, and Northwestern University Symphony Orchestras. Susannah studied chamber music with Pamela and Claude Frank, as well as members of the Guarneri, Takacs, Juilliard, Vermeer, and Cleveland String Quartets. Her principal teachers include Almita Vamos, Kathleen Winkler, Blair Milton, and Gerardo Ribeiro, and she holds master’s and bachelor’s degrees from Northwestern University. 



    Italian pianist, Christian De Luca was born in San Giovanni Rotondo in 1993. At age 17 he made his debut with Brahms Piano Concerto No. 1 with the Umberto Giordano Conservatory orchestra, and he graduated from the Umberto Giordano Conservatory the following year. During his studies in Italy, Christian developed a strong interest in historical performance practice, as he studied fortepiano with Giuseppina De Berardinis. He has continued to pursue his interest in historical performance practice while being coached by fortepianist, Audrey Axinn, and harpsichordist, Peter Sykes. Since autumn of 2016, Christian has been performing regularly with cellist, Madeleine Bouissou, in both modern and period-instrument settings. Currently, Christian is completing his Master’s degree at The Juilliard School, where he has studied with Jerome Lowenthal, Julian Martin, and Matti Raekallio, and has also been teaching as fellow for the Music Theory and Analysis department.