Cellist Meg Brennand is known for her work on both baroque and modern cello. She has been cellist with the critically acclaimed Onyx Chamber Players since 2001, with performances throughout the Northwest and frequent live appearances on Classical KING-FM 98.1. Onyx has received outstanding reviews for complete cycles of Mozart, Beethoven, Mendelssohn and Brahms. Meg performed the complete works of Beethoven for cello and piano with Onyx pianist David White in the 2014-15 season. Meg performs on baroque cello with Seattle Baroque Orchestra and with Pacific MusicWorks, led by Stephen Stubbs. Past seasons have included performances with Pacific Baroque Orchestra in Vancouver, BC and the Portland Baroque Orchestra. In 2013 she performed two of the six Bach Suites for solo cello on Gallery Concerts. This season will include performances with the newly-formed Cosi-Quartet with Curtis Foster, oboe, Linda Melsted, violin and Laurel Wells, viola. Meg is Instructor of Cello at Seattle Pacific University and she serves on the cello faculty at DigiPen Institute of Technology in Redmond. She also maintains an active cello studio, where she teaches privately and coaches chamber music ensembles. Meg is cellist with the Pacific Northwest Ballet Orchestra in Seattle, including the recent NYC tour in February 2016. Meg is a graduate of the Eastman School of Music. She has recorded with the Seattle Baroque Orchestra, for NPR and the Wild Boar and Centaur labels. A new Onyx Chamber Players CD will be released in 2017. Meg performs on a cello made by Daniel Stadlmann in 1730.

Cynthia Miller Freivogel is the leader and concertmaster of the Baroque Chamber Orchestra of Colorado and of the ARTEK chamber orchestra (New York).  She has been a leader for Concerto Köln, Concerto d'Amsterdam and Joshua Rifkin's Bach Ensemble at the Stockholm and Antwerp Early Music Festivals, as well as in the Hague with Collegium Musicum den Haag and Musica Poetica where she recently appeared as a soloist (Sinfonia Concertante) at the Festival of Mozart in den Haag. As a chamber musician, Ms. Freivogel was a founding member of the Novello Quartet and the Coriolan Quartet, both of which were dedicated to the performance of the string quartets of Haydn and his contemporaries on period instruments. She was also a core member of Brandywine Baroque in Wilmington, Delaware, where she made several recordings, including Corelli Op. 5, on the Plectra label. Since relocating to the Netherlands, she has founded the Hopkinson trio which explores repertoire from the 17th century through the early classical era. She is an original member of the Tulpen consort (with soprano Johanette Zomer)  which debuted at the Göttingen Festival in May 2013 and she has performed often with Vox Luminis and Scorpio collective based in Brussels. As a solo artist, she has been heard playing Biber at the Berkeley Early Music Festival and the Vilsmayr Partitas at the Utrecht Fabulous Fringe. In the last year Ms Freivogel was featured playing solo Bach at the Seizoen Oude Muziek Bach Days and at Bach-Sommer Arnstadt. She has enjoyed collaborating both with visual artists and dancers, most recently performing early music with newly choreographed works by Garrett Ammon of Wonderbound in Denver, Colorado. She has played in the section with chamber orchestras from the west coast to the east coast and now in Europe, including with Holland Baroque Society, Amsterdam Baroque Orchestra, American Bach Soloists, Apollo's Fire, Portland Baroque, Handel and Haydn Society, Boston Early Music Festival Opera and she was a tenured member of Philharmonia Baroque Orchestra. Before completely dedicating herself to early music, Ms Freivogel played in many symphony orchestras including State Orchestra of Sao Paulo in Brazil, New World Symphony, (Miami), Royal Concertgebouw Orchestra (Amsterdam), Colorado Music Festival Orchestra in Boulder, as well as at Tanglewood, San Luis Obispo Mozart Festival, American Russian Young Artist’s Orchestra, and new music with Left Coast Ensemble.  Ms. Freivogel received a BA in musicology at Yale University and an MM in violin performance at the San Francisco Conservatory. She studied principally with Camilla Wicks and Marylou Speaker Churchill, and is a dedicated and certified Suzuki teacher.

A native of San Francisco, Katherine Heater plays keyboards with Bay Area early music groups such as Magnificat, Musica Pacifia, and the Voices of Music. She has performed throughout the United States, including with Catacoustic Consort in Ohio, at the Berkeley Early Music Festival, the Bloomington Early Music Festival, and the Tropical Baroque Festival of Miami. She received an Arts Bachelor from the University of California, Berkeley in music and a Masters of Music in historical performance from Oberlin Conservatory. At the Sweelinck Conservatorium in Amsterdam Ms. Heater studied harpsichord with Bob van Asperen and fortepiano with Stanley Hoogland. Also an active teacher, Ms. Heater teaches harpsichord at UC Berkeley and privately.

Acclaimed for her ‘sterling tone’ in the New York TimesKris Kwapis appears regularly as soloist and principal trumpet with period-instrument ensembles across North America, including Portland Baroque Orchestra, Early Music Vancouver, Pacific MusicWorks, Bach Collegium San Diego, Oregon Bach Festival, Indianapolis Baroque Orchestra, Chicago’s Haymarket Opera Company, Bach Society of Minnesota, Callipygian Players, Bourbon Baroque, and Lyra Baroque, making music with directors such as Andrew Parrott, Monica Huggett, Alexander Weimann, Barthold Kuijken, Matthew Halls, Jacques Ogg, and Masaaki Suzuki.  Her playing is heard on Kleos, Naxos, ReZound, Lyrichord, Musica Omnia and Dorian labels, including the 2013 GRAMMY nominated recording of Handel’s Israel in Egypt, and broadcast on CBC, WNYC, WQED (Pittsburgh), Portland All-Classical (KQAC), Sunday Baroque and Wisconsin Public Radio. Kris is the Director of La Voce di Gabriele and former Artistic Director of Spiritus Collective.  A student of Armando Ghitalla on modern trumpet, with a BM and MM in trumpet performance from the University of Michigan, Dr. Kwapis holds a DMA in historical performance, and lectures on historical brass performance practice with recent appearances at the Metropolitan Museum of Art, University of Wyoming, University of Minnesota-Duluth, University of Louisville, Madison Early Music Festival, Pacific Lutheran University and Rutgers University. Dr. Kwapis enjoys sharing her passion with the next generation of performers as a faculty member at Indiana University’s Jacobs School of Music Historical Performance Institute (teaching cornetto and baroque trumpet), is on faculty at Seattle’s Cornish School of the Arts in addition to teaching at her home in Seattle and online.

Bruno Lourensetto, trumpeter and a native of Itu, São Paulo, Brazil, has been a member of YOA Orchestra of the Americas with which he has performed in Colombia, Peru, Brazil, the Dominican Republic, Canada, and the United States, including his debut at Carnegie Hall. He also has appeared in the trumpet sections of the Louisiana Philharmonic, Mississippi Symphony, Mobile Symphony, Lyra Baroque Orchestra, and Uninorte Orchestra (Paraguay), among others.Bruno has received several prizes, including first place at the Chicago Brass Festival and William T. Gower Competition. He was a Semifinalist of the National Trumpet Competition (USA) at the solo and ensemble divisions, and received awards such as The Most Valuable Brass Performer from the University of Southern Mississippi, and the Best Chamber Musician at the University of São Paulo. Besides his orchestral activities, Bruno has been featured as a soloist in front of the USM Symphony Orchestra and the Itu Philharmonic. He was a member of the Southern Arts Brass Quintet, and is a founding member of the USP Brass Quintet, which performed in Brazil, Italy and Switzerland. Bruno taught trumpet at the Assatemec School of Music for low-income children in Itu, Brazil and was the trumpet teaching assistant at the University of Southern Mississippi. Bruno Lourensetto holds a Bachelor’s Degree from the University of São Paulo and Master’s from the University of Southern Mississippi. Currently, Bruno is working on his Performance Diploma at the Jacobs School of Music at Indiana University.

Henry Lebedinsky performs as a historical keyboardist and Irish traditional guitarist across the United States and the United Kingdom, as a soloist and with Agave Baroque, The Live Oak Baroque Orchestra, Pacific MusicWorks, and The Vivaldi Project. He has also performed with The St. Paul Chamber Orchestra, The Charlotte Symphony, Seraphic Fire, and Boston Revels, among others. With the Seicento String Band, he has been featured on American Public Media’s Performance Today, and he has performed live on APM’s Pipedreams. With his Celtic band The Beggar Boys, he was featured in the nationally-syndicated NPR holiday special A Carolina Christmas from Biltmore Estate with Kathy Mattea. In addition to performing, Mr. Lebedinsky has taught masterclasses and workshops on historical performance practice at the University of Edinburgh, Bowdoin College, Davidson College, The University of North Carolina at Greensboro, and Appalachian State University, as well as at the American Guild of Organists’ 2014 National Convention. An avid composer of music for choir and organ, his sacred music is published by Paraclete Press and Carus-Verlag Stuttgart. He currently lives in the Seattle area, where he directs the guerrilla performance organization Early Music Underground (www.emuseattle.com) and serves as Organist and Choirmaster at Christ Episcopal Church in Seattle

Ingrid Matthews has long been established as one of the leading baroque violinists of her generation. She founded the Seattle Baroque Orchestra with Byron Schenkman in 1992, and served as Music Director until stepping down from that position in 2013. Matthews won first prize in the 1989 Erwin Bodky International Competition for Early Music, and since that time has performed extensively around the world with numerous period-instrument ensembles. She has served as concertmaster for orchestras such as the New York Collegium, the Boston Early Music Festival Orchestra, and Musica Angelica (Los Angeles); and has appeared as a guest director and soloist with many others including the New York Collegium, the Australian Brandenburg Orchestra, the Magnolia Baroque Festival Orchestra (Winston-Salem, NC), New Trinity Baroque (Atlanta), the Bach Sinfonia (Washington DC), Les Idees Heureuses (Montreal), the Indianapolis Baroque Orchestra, and the Victoria Symphony. For close to a decade she was first violinist of the ensemble La Luna, which specialized in 17th-century music, touring and recording to great critical acclaim. Matthews' career as a chamber musician has taken her to such venues as the Frick Collection (New York), the Boston Early Music Festival, the Berkeley Festival, Netwoork voor Oude Muziek (the Netherlands), the Getty Center (LA), the Pittsburgh Renaissance and Baroque Society, Early Music Vancouver, Woodstock Concerts, the Cambridge Society for Early Music, the Newberry Library (Chicago), CBC-Toronto, the San Francisco Early Music Society and the Library of Congress, among many others. Matthews has won international critical acclaim for a discography ranging from the earliest solo violin repertoire through the Sonatas and Partitas of J.S. Bach. The latter recording was named by Third Ear's Classical Music Listening Companion as "the finest complete set of these works," and the critic for American Record Guide writes "this superb recording is my top recommendation for this music… on either modern or period instruments." Ingrid Matthews has served on the faculties of the University of Toronto, the University of Washington, Indiana University, the University of Southern California in Los Angeles, the International Baroque Institute at Longy, and Amherst Early Music; and has given master classes in baroque repertoire and style at numerous colleges and universities.  She is currently on the faculty of Cornish College of the Arts in Seattle.  Ingrid Matthews is a graduate of Indiana University, where she studied with Josef Gingold and Stanley Ritchie. Ingrid Matthews is also known as Ingrid Matthews Olson. A passionate life-long interest in the visual arts has led her to amass an eclectic training in various techniques, and her paintings have been shown in group and solo exhibitions in Seattle and elsewhere.   

David Morris is a member of The King’s Noyse, the Galax Quartet, Quicksilver and NYS Baroque.  He has performed with the Boston Early Music Festival Orchestra, Tragicomedia, Tafelmusik, the Boston Symphony Orchestra, Philharmonia Baroque Orchestra, Musica Pacifica, American Bach Soloists, Musica Angelica, Seattle Baroque Orchestra, the Mark Morris Dance Company, and Seattle’s Pacific Musicworks.  He was the founder and musical director of the Bay Area baroque opera ensemble Teatro Bacchino, and has produced operas for the Berkeley Early Music Festival and the San Francisco Early Music Society series. David received his B.A. and M.A. in Music from U.C. Berkeley, and has been a guest instructor in early music performance-practice at UC Berkeley, UC Santa Cruz, the San Francisco Conservatory of Music, Mills College, Oberlin College, the Madison Early Music Festival and Cornell University.  He has recorded for Harmonia Mundi, New Albion, Dorian, New World Records, Drag City Records (with Joanna Newsom) and New Line Cinema.

Romaric Pokorny, baroque viola, is an avid chamber music player. Based out of Seattle, he has been a member in several chamber music ensembles in the Puget Sound area, most notably the Oceana String Quartet, SCREE! String Quintet, and especially the Rocoempo Trio, alongside his brothers. He also enjoys performing with Seattle’s Pacific MusicWorks, the Northwest Sinfonia, and various other ensembles. A native of France, he received his early musical training there, studying violin, composition and music theory at the Conservatoire a Rayonnement Regional de Boulogne-Billancourt and at the Conservatoire d'Aulnay-sous-Bois under violinist Jose Alvarez, and earning a Diplome Superieur de Solfege. After moving to the United States, his interests grew to include some experience in pipe organ building, working for a local organbuilder for several years, followed by work in harpsichord restoration. His other current music interests include genre-crossing musical exploration (with the Rocoempo Trio) and the promotion of classical and early music performances to include a broader audience, with Early Music Underground. 

Corentin Pokorny is a freelance baroque and modern violinist based in Seattle, Washington. He has been a member of many chamber ensembles, most recently, the Daana String Quartet, the SCREE! Ensemble, and the Rocoempo Trio with his two brothers. He has also played with Pacific MusicWorks among other orchestras. He was born and raised in France, where he studied violin, piano, and voice from a very young age. He studied in the Boulogne Conservatory of Music, followed by several years in the Aulnay-Sous-Bois Conservatory of Music, under the teaching of violinist José Alvarez, former principal second of the Paris Opera, and assistant violin teacher at the Conservatoire National Supérieur de Musique in Paris. After moving to the United States in 2008, Corentin eagerly joined the musical scene of the Seattle area, performing three years in the Seattle Youth Symphony, as well as taking part in the chamber music program of the Seattle Conservatory of Music. He also performed many times, as soloist and as part of ensembles, in concert series at the Daniels Recital Hall in downtown Seattle. Corentin received his Bachelor of Music degree from the University of Washington in 2016, where he studied with Ron Patterson, violin professor at the University. During his years at the University, Corentin won the University of Washington's concerto competition, and was the concertmaster of the University Symphony Orchestra for the 2014-15 year. He also was a member of the UW Scholarship string quartet, the Daana String Quartet, for the 2015-16 year. 

Elisabeth Reed teaches Baroque cello and viola da gamba at the San Francisco Conservatory of Music, where she is co-director of the Baroque Orchestra. Recent teaching highlights include master classes at the Juilliard School, the Shanghai Conservatory, and the Royal Academy of Music.   A member of Archetti, Voices of Music, Pacific Musicworks, and Wildcat Viols, she has performed at, among others, the Boston Early Music Festival, the Berkeley Early Music Festival, the Ohai Festival, the Whidbey Island Music Festival, the San Luis Obispo Mozart Festival, and the Smithsonian Institution.  A graduate of the North Carolina School of the Arts, the Oberlin Conservatory, the Eastman School of Music, and Indiana University's Early Music Institute, she can be heard on the Virgin Classics, Focus, and Magnatune recording labels.  She also teaches at the University of California at Berkeley and is a Guild-certified practitioner of the Feldenkrais Method of Awareness Through Movement.

Colombian lutenist and guitarist Daniel Zuluaga has been praised for his “rhythmic vitality and fine sense of color” (Washington Post), and for his “great inventiveness” as an accompanist (San Francisco Classical Voice). A Juno-award winner (2016), he performs regularly with leading orchestras in Canada and the US, including Philharmonia Baroque Orchestra, Les Violons du Roy, L’Harmonie des Saisons, San Diego Bach Collegium, Baroque Chamber Orchestra of Colorado, and Ensemble Caprice. Also an avid researcher, Mr. Zuluaga holds a PhD in musicology from the University of Southern California (2014); he has published articles on the early history of the guitar, and has won several awards for musicological studies. Mr. Zuluaga is based in Montreal, and is visiting faculty at the Universidad Central in Bogotá, Colombia. He is preparing his first solo Baroque guitar recording on the music of Henry François de Gallot.