Countertenor Daniel Bubeck has been hailed by the New York Times and Opera News for his distinctive, honeyed timbre, smooth coloratura and superb command of line and text. Mr. Bubeck has earned an international reputation in repertoire ranging from the baroque to the present, regularly collaborating with musical luminaries such as John Adams, Peter Sellars and Gustavo Dudamel. Benchmark credits include world premieres and numerous productions of Adams's nativity and passion oratorios: El Niño and The Gospel According to the Other Mary (Opera du Châtelet, Los Angeles Philharmonic, English National Opera) guest appearances with the London Philharmonic, Tokyo Symphony, Boston Symphony, Carnegie Hall, San Francisco Symphony, New York City Opera, American Bach Soloists, Concerto Köln and festivals throughout North America, Europe, Asia and Australia. Premiere recordings: Deutsche Gramophon, Nonesuch and Warner Brothers. Recent performances have included the role of Medoro in Handel’s Orlando and St. John passion at Alice Tully Hall. Future engagements include debuts with Hawaii Opera Theater, London Symphony, New York Philharmonic and Berlin Philharmonic.

Canadian Soprano Sarah Gartshore is much in demand on both the concert and operatic stages. As a Santa Fe apprentice artist she performed the role of First Lady in Mozart’s The Magic Flute and covered the roles of Fiordiligi (Mozart’s Cosi fan Tutte) and Thalie/ La Folie (Rameau’s Platée). Concert appearances have included the symphonies of Muncie (IN), Jacksonville (FL), Richmond (VA), Elgin (IL), Southwest Michigan and La Porte (IN), as well as Chicago’s Music of the Baroque, Chicago’s Apollo Chorus, the Northwest Choral Society and the Tower Chorale. She performs regularly with the Handel Week Festival of Chicago where she has sung the roles of Galatea (Acis and Galatea), Esther (Esther) and Fulvia (Ezio) as well as numerous cantatas and oratorios. Recent career highlights include Donna Elvira (Mozart’s Don Giovanni) with the Soo Opera Theatre, Brahms’ Requiem with the Southwest Michigan Symphony, Haydn’s Mass in Time of War and Handel’s Dettingen Te Deum with Jane Glover and Chicago’s Music of the Baroque, and Holiday Pops with the Elgin and La Porte Symphonies.

Tenor Lawrence Jones has sung roles with companies such as New York City Opera, Opera Saratoga, Amarillo Opera, Glimmerglass Opera, and the Tanglewood Music Festival. He has received praise for his portrayals of Tom Rakewell in Stravinsky’s The Rake’s Progress at the Princeton and Aldeburgh Festivals. The New York Times wrote, “Tenor Lawrence Jones brought a light, sweet voice and lyricism to Tom”, while Opera News praised him for his “clean, ringing tenor”. On the concert stage, Mr. Jones has sung as a soloist with the Utah Symphony, Charlotte Symphony, Boston Pops, Boston Modern Orchestra Project, Bach Society of St. Louis, New Mexico Philharmonic, and Boston Baroque. His recent performances have included Messiah at Carnegie Hall with Musica Sacra, Bach’s St. Matthew Passion with the St. Thomas Choir and Concert Royal, and the role of the Evangelist in the St. John Passion with the Cathedral Choirs & Orchestra of St. John the Divine.

Rosalind Lee has been described as "a beautiful soprano with a glowing voice." She has appeared as the soprano soloist in Bach’s Magnificat, Brahms' Ein Deutsches Requiem, Gounod’s St. Cecilia Mass, Haydn’s Paukenmesse and Lord Nelson Mass, Mozart’s Vesperae solennes de confessore, Orff’s Carmina burana, Schubert’s Mass in G, Mollicone’s Beatitude Mass, and Vivaldi's Gloria. She's appeared as a soloist with groups such as the Indianapolis Symphony Orchestra, Civic Orchestra of Chicago, Bach Week Festival, Chorus Angelorum, Elgin Choral Union, Handel Week Festival, North Shore Choral Society, Fort Wayne Philharmonic and the Chicago Symphony Orchestra in their Kraft Family Concert series. Ms. Lee has also covered soprano solos in Beethoven's Missa solemnis, Mendelssohn's Elijah, Orff's Carmina Burana, and Verdi's Requiem for the CSO. On the opera stage, she has appeared at Lyric Opera of Chicago, Glimmerglass Festival, Bloomington Early Music Festival, Music by the Lake, and Light Opera Works, among others.

Ryan de Ryke, baritone, is an artist whose versatility and musical presence have made him increasingly in demand on both sides of the Atlantic. He has performed at many of the leading international music festivals, including the Aldeburgh Festival in the United Kingdom and the summer festival at Aix-en-Provence in France. The Baltimore Sun hails him as “a talent that seems to defy labels, for without pretense or vocal tricks he delivers a naturally beautiful sound that penetrates to one’s inner core in every conceivable range… His is a voice I never tire of hearing.” Ryan studied at the Peabody Conservatory with John Shirley Quirk and at the Royal Academy of Music in London with Ian Partridge. He is also an alumnus of the Britten-Pears Institute in the UK and the Schubert Institute in Austria, where he worked with artists of the caliber of Elly Ameling, Wolfgang Holzmair, Julius Drake, Rudolf Jansen, and Helmut Deutsch. Ryan lives in Chicago, where he appeared last season with Haymarket Opera Company in Don Quichotte auf der Hochzeit des Comacho as Sancho Panza. He also appears often with Chamber Opera Chicago, where he has premiered leading roles in new operas based on novels by Jane Austen, including Pride and Prejudice and Persuasion.  Ryan is a passionate advocate for song recitals and concert repertoire as a founding member of the Baltimore Lieder Weekend and frequent performer on WFMT Chicago. He feels fortunate to collaborate regularly with artists and friends around the world, including Daniel Schlosberg, Eugenia Cheng, Eva Mengelkoch, Michael Shepard, Susan Youens, and Roger Vignoles.