Praised for "her lovely limpid colors in good harmony with her musical intelligence" (Perform Arts Perugia), her "lovely, vibrant soprano, precise in her tuning," and "great acting and agile vocals" (DCMetroTheaterArts), Crossley Hawn enjoys an engaging career in various styles of music in the DC area. Commended as "outstanding" and "consistently beautiful" by Washington Classical Review, she has served as a guest soloist with ensembles including Cathedra (Pott My Song is Love Unknown), Cathedral Choral Society (Einhorn Voices of Light), The Reston Chorale (Handel Messiah), Maryland Choral Society (Winter Missa Gaia), Maryland Summer Chorus (Vivaldi Gloria in D), and The City Choir of Washington (Charpentier Te Deum, Bartoldus Magnificat, Bach Mass in B Minor, Purcell Come Ye Sons of Art). With Evolution Contemporary Music Series, she had the honor of performing David Lang's Pulitzer prize winning the little match girl passion, with the composer in attendance. She is an active member of Eya: Ensemble for Medieval Music, an award-winning female trio specializing in early music. Crossley also regularly appears with ensembles such as Folger Consort, Cathedra, Washington Bach Consort, Chantry, The National Shrine Choir, The Bridge Ensemble, The District Eight, and the U.S. Air Force Singing Sergeants.
A summa cum laude graduate of the Benjamin T. Rome School of Music at the Catholic University of America with an M.M. in Vocal Performance and studies in Theology, Crossley enjoys both sacred and operatic repertoire. She has performed the roles of Dido in Dido and Aeneas, the Shepherd Boy in Tosca, Giannetta in L'Elisir d'Amore, Drusilla in L'Incoronazione di Poppea, Susanna in Le Nozze di Figaro, Adele in Die Fledermaus, Suor Dolcina in Suor Angelica, Amahl in Amahl and the Night Visitors, and Serpina in La Serva Padrona, for which she was an award recipient of DC Metro Theater Arts: Best of 2016.
She enjoys employment as a chorister and cantor with the Basilica of the National Shrine of the Immaculate Conception under the direction of Dr. Peter Latona, and at the Washington National Cathedral under the direction of Canon Michael McCarthy.
Sara MacKimmie is a Washington DC based soprano who specialises in ensemble singing and Early music. Recent highlights include Vivaldi Gloria Lansing Symphonry Orchetsra, several oratorio with Academy of Sacred Drama, Couperin's Lecons de Tenebrae with the Denver Early music consort, music from the court of Henry viii with Mountainside Baroque and several engagements with New York Baroque Incorporated, with whom she has sung at the Metropolitan Museum of Art and for the San Diego Ealy music society. She also perfoms with Kinnara Ensemble, the Thirteen, the Peabody Consort, Chantry and the Washington Bach consort. She also serves as a chorister at the Basilica of the National Shrine, in Washington DC.
Shannon Rose McAuliffe enjoys a diverse career in the arts, including work as a freelance soprano, non-profit fundraiser, and educator. Her performances encompass a range of repertoire, including historically informed period instrument interpretations of Baroque music, musical theatre, and world premieres of self-commissioned works by living composers. She has appeared with Music at Marsh Chapel, the Hans Zimmer Live tour, and was a featured alumna soloist at the inaugural University of Massachusetts Bach Festival. Other notable appearances include Monteverdi’s “Vespers” with the Sounds of Stowe Festival, Helios Early Opera Company’s production of Charpentier’s “David et Jonathas,” and concerts with Cleveland-based Burning River Baroque. She is a staff soprano at the Church of the Redeemer in Chestnut Hill, MA. Ms. McAuliffe earned her Bachelor of Music degree in Music History and Voice from the University of Massachusetts Amherst, and completed graduate studies in Historical Performance, Musicology, and Arts Administration at Boston University.
Praised for her “penetrating lyrical agility, exquisitely phrased” (Jay Harvey Upstage), “notably stylish and expressive” soprano, Julie Bosworth interprets a vast array of musical genres. From medieval cantigas to newly composed works, this versatile singer revels in the performance practice of every age. On the operatic stage, Julie’s favorite roles include Queen of the Night (The Magic Flute), Cleopatra (Giulio Cesare), Belinda (Dido and Aeneas), Blanche de la Force (Dialogues of the Carmelites), and the title role in L’incoronazione di Poppea. Equally at home on the concert stage, she has been a featured soloist with the American Bach Soloists, the Baltimore Symphony Orchestra, the Indianapolis Early Music Festival, Mountainside Baroque, the Tucson Desert Song Festival, Baltimore Choral Arts Society, and The Bach Choir of Bethlehem. Furthermore, she has sung extensively with The Broken Consort, Grammy-nominated True Concord, The Peabody Consort, Hesperus, The Thirteen, hexaCollective, The Bridge Ensemble, and The New Consort.
MaryRuth Lown, soprano, is a graduate of Boston University (M.M. Historical Performance) where she studied with Aaron Sheehan, Peter Sykes, and Martin Pearlman. Praised by The Boston Musical Intelligencer for her “clear soprano” and “tasteful dramatic interpretation”, Ms. Lown is most often found performing early and new music as a concert soloist and chorister.
In her third season as a choral scholar with Music at Marsh Chapel, Ms. Lown has most recently been featured as a soloist in the “Bach Experience” cantata series, Bach’s St. Matthew Passion, Handel’s Judas Maccabaeus and Israel in Egypt, and the recently released recording of James Kallembach’s Most Sacred Body (Gothic Records). She can also be heard as the soprano soloist in the Boston Modern Orchestra Project’s 2017 recording of Jeremy Gill’s Before the Wresting Tides.
In addition to her engagements at Marsh Chapel, Ms. Lown has been developing her sound as a choral artist through the US VOCES8 Scholars Program (2017-2019) and will attend the Seraphic Fire Professional Choral Institute at the Aspen Music Festival this summer. This season, Ms. Lown performs with the Handel and Haydn Society Chorus, Bach Akademie Charlotte, Arcadia Players, Henry Purcell Society of Boston, Amherst Early Music Festival, Vox Futura, and The Brookline Consort. A native of South Carolina and a resident of Boston, she received a B.M.E. (K-12, Choral) from Winthrop University in 2014, where she studied with Dr. Jennifer Hough.
Mezzo-soprano Judith Burke is equally at home in both the opera house and recital hall. She has appeared as a guest artist with the Virginia Symphony Orchestra, Symphonicity, New Haven Symphony Orchestra, Indianapolis Symphony Orchestra, UCONN Opera, Hartford Opera Theater, the Yale Choral Artists, and Mark Morris Dance Company among others. Ms. Burke made her Carnegie Hall debut under the baton of William Christie.
Opera roles include Mrs Noye (Britten’s Noye’s Fludde); Maman, The Chinese Teacup and the Dragonfly (Ravel’s L’enfant et les sortilèges); Florence Pike (Britten’s Albert Herring); Jo March (Adamo's Little Women); Rebecca Nurse (Wards’s The Crucible); Bianca (Britten’s Rape of Lucretia); the Witch (Humperdinck’s Hänsel und Gretel); Marcellina (Mozart’s Le nozze di Figaro); and Third Lady (Mozart’s Die Zauberflöte).
Ms. Burke completed her masters in music from the Jacobs School of Music at Indiana University, as a student of Patricia Styles. She is currently a student of Dr. Constance Rock.
Praised by The New York Times for her “gracefully shaped vocal lines”, The Washington Post for her “confident and penetrating account of line” and for her “dead-on surety of pitch and attractive tone” by the Albany Ties Union, English contralto, Sonya Alexander Knusson is equally at home performing new music and established repertoire. She has premiered many new works in the United Kingdom and the United States. Sonya works as an educator as well as a professional soloist and currently works as a choral director/teacher to children from pre-K to 8th grade in Severna park, MD and has just joined the teaching faculty for the High School Performing and Visual Arts programme in Anne Arundel county. She has worked with a variety of children’s choruses both in the UK and the US, and to add to this string of achievements she has worked as a vocal animateur for projects with English National Opera and the BBC proms. Sonya sings as a regular member of the Basilica of the Shrine of the Immaculate Conception in Washington DC and is the founder and Artistic director of the vocal ensemble, hexaCollective.
Baritone Mark Duer has been a soloist with such varied companies as the New York Chamber Ensemble, Woodstock Fringe Festival, Berkshire Choral Festival, Cleveland Opera, Greensboro Opera, Ash Lawn-Highland Opera, Lower East Side Performing Arts, Ensemble for Early Music, and with the orchestras of the Battell Chamber Orchestra, Cleveland Orchestra, Apollo’s Fire, Bach Sinfonia, Musica Sacra, Masterworks Chorale, West Virginia Symphony, American Virtuosi, and the Washington Bach Consort.
His solo engagements include performances at Carnegie Hall, Weil Hall, the Bar Harbor Music Festival, and Tanglewood. He was a featured soloist in national broadcasts of the Cleveland Orchestra, and of Pipedreams on NPR.
Mark premiered the lead role of Allen in Waking In New York, a post minimalist opera set to poetry of Allen Ginsberg, written for his voice by composer Elodie Lauten. He also created a supporting role in Frank London’s, Bei Nacht, at the Streisand Festival.
Mark’s professional choral work includes the Washington Bach Consort, Chantry, and the Bach Sinfonia, two seasons with The Handel & Haydn Society, years of recordings and concerts with New York’s Voices of Ascension and seventeen seasons as a member of the renowned a cappella virtuoso Renaissance choir, Pomerium. Mark’s choral recordings include the Gothic, Dorian, Delos, Deutsche Grammophon, and Glissando labels. Additionally, Mark was one of the youngest members of the Blossom Festival Chorus of the Cleveland Orchestra under conductor Robert Page. Mr. Duer has sung with many esteemed conductors including Jahja Ling, Charles Dutoit, Sir Colin Davis, Christopher Hogwood and Kurt Masur.
A native of London, England, Biraj Barkakaty's singing career began as a choral scholar with the Queens choir at St George’s Chapel, Windsor Castle where he performed on many tours, recordings and royal occasions including the marriage of Prince Charles and Camilla Parker-Bowles and the 80th birthday celebration of Queen Elizabeth. He is a graduate of the University of Manchester, Trinity College of Music and the Manhattan School of Music. Biraj’s recent engagements include Handel’s Esther with Music of the Baroque under Jane Glover, Vivaldi’s Gloria, Wesmoreland Congregational church as well as the role of Eunuch in Dina Pruzhansky’s ‘Shulamit’ at the JCC Manhattan, the role of Pino in the world premiere of Larry Likpis’ Simonalta and the Chasseur in Charpentier’s ‘Acteon’ with Haymarket opera, Chicago. He currently resides in Washington DC where he is a member of the National Cathedral Men and Boys Choir under Michael McCarthy.
Praised for his “real musicality and finely executed coloratura,” Patrick Muehleise is an acclaimed American tenor known for his “beautiful, evenly produced lyric tenor” and “pure tone” specializing in a wide variety of concert soloist repertoire. Recent engagements include Mozart’s Requiem with the Aspen Music Festival Orchestra under the baton of Xian Zhang, Monteverdi’s Vespers of 1610 under the baton of Jane Glover, Mendelssohn’s Elijah with both Elmhurst Symphony and Fort Wayne Philharmonic, Bach’s B Minor Mass with Back Akademie Charlotte, Reich’s The Desert Music with New World Symphony, Bach’s St Matthew Passion with Seraphic Fire, and Carmina Burana with Long Beach Camerata. In addition to his performing, Patrick currently serves as Artist in Residence at UCLA and Artist-Faculty at the Aspen Music Festival in partnership with the Grammy-nominated Seraphic Fire Professional Choral Institute.