Artist Biographies
as the recently-released Hymn to the Dawn, both available through Delos Music. » amandasidebottom.com A “sweetly soaring tenor” (Dallas Morning News) with “impressive clarity and color” (New York Times), Steven Soph performs as a soloist and chamber musician throughout the United States. Upcoming engagements include Handel’s Dettingen Te Deum with the Cleveland Orchestra under Ton Koopman, Evangelist in Bach’s St. John Passion with Chicago Chorale, arias in Bach’s St. John Passion with Voices of Ascension in NYC, and a residency at Stanford University with Cut Circle interpreting the works of DuFay and Josquin. Recent solo appearances include Handel’s Dettingen Te Deum as a 2012 Young American Artist with Robert Shafer’s City Choir of Washington; Handel’s Messiah with Miami’s Seraphic Fire; Beethoven’s Choral Fantasy in Alice Tully Hall with Musica Sacra; Bach cantata arias (BWV 70 and 181) on Trinity Wall Street’s Bach at One series; arias in Bach’s St. Matthew Passion with Dennis Keene’s Voices of Ascension; Uriel in Haydn’s Creation, arias in Bach’s St. Matthew Passion, and Monteverdi’s Vespers of 1610 with the Yale Schola Cantorum and Juilliard 415 under Masaaki Suzuki; Zadok in Handel’s Solomon with Simon Carrington; Gabriel in the world premier of Robert Kyr’s The Annunciation with the Yale Camerata and Maggie Brooks; and Lurcanio in Handel’s Ariodante with American Bach Soloists Academy under Jeffrey Thomas. Steven is on the rosters of New York’s Musica Sacra, Miami’s Seraphic Fire, Cut Circle, Yale Choral Artists, Boston’s Handel and Haydn Society, and Boston Baroque and appears on numerous recordings including Blue Heron’s Hugh Aston: Three Marian Antiphons. Steven holds a B.A. in music from the University of North Texas and is a 2012 graduate of Yale’s School of Music and Institute
of Sacred Music where he studied with tenor James Taylor. Praised by the Boston Globe for her “crystalline tone and graceful musicality”, soprano Sonja DuToit Tengblad’s vocal versatility lends itself to music ranging from the Renaissance era to some of the newest compositions of our time. Recent highlights include her Carnegie Hall and Lincoln Center solo debuts, both with the New York Civic Orchestra, and appearances with the Haydn Society in Purcell’s King Arthur (Cupid) and Bach’s Christmas Oratorio, and the Oregon Bach Festival for many of Helmuth Rilling’s performances of Bach. Other solo highlights include performances with the Boston Modern Orchestra Project in Oliver Knussen’s Symphony No. 2 for high soprano and orchestra, as well Kati Agocs’ Vessel for three solo voices and chamber orchestra, and the American premiere of Sigfried Matthus’ Te Deum at the American Guild of Organists National Convention in 2008. Ms. Tengblad sings with Conspirare, the five-time Grammy nominated ensemble out of Austin, Texas; as well as Boston’s Blue Heron and Lorelei Ensemble, an 8-voice women’s ensemble specializing in early and new music. Described by the Atlanta Journal-Constitution as a dignified and beautiful singer, baritone Paul Max Tipton performs nationally to acclaim in repertoire ranging from Schütz and Monteverdi to Britten and Bolcom. He solos under such notable figures as Masaaki Suzuki, Matthias Pintscher, Nicholas McGegan, Leonard Slatkin, Ton Koopman, Helmuth Rilling and Martin Katz, and has performed with Bach Collegium Japan, the New York Philharmonic, Apollo’s Fire, Seraphic Fire, and the Orchestra of St. Luke’s. Recent engagements include Britten’s War Requiem, Rameau’s La Lyre Enchantée, and a recording of Brahms’ Ein Deutsches Requiem, which earned a 2012 Grammy