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American Choral Music



Amor Artis is a distinctive chorus featuring dynamically balanced programs of well-known favorites together with important works rarely heard. The ensemble has achieved considerable recognition internationally through its many concerts and extensive discography encompassing more than 40 recordings. One of the first and foremost presenters in New York of lesser-known Baroque masterpieces, Amor Artis has distinguished itself through authentic versions in style and setting, paving the way for the performances of these works given in the United States today. Audiences and critics have hailed Amor Artis for musical excellence in all repertoires: from Dvorák's Requiem at Carnegie Hall to its recording of Kurt Weill's Violin Concerto, Kiddush, and "Suite" from the Three penny Opera on compact disc. Amor Artis has recorded for eight record labels.

Conductor Johannes Somary's bio is with composer information.



SHALOM
Sopranos
Elizabeth Henreckson Farnum (soloist), Margery Daley, Michele Eaton, Karen Grahn, Esther Jane Hardenbergh, Therese McCormick, Beth Wagstrom, Marcia Young.
Altos
Megan Friar (soloist), Emily Eyre, Karen Goldfeder, Fay Kittelson, Deborah Jamini, Nicola James, Elsa Larsson, Nancy Wertsch.
Tenor:
Jonathan Goodman (soloist), Daniel Egan, G. Jan Jones, Steven Raiford, Paul Solem, Michael Steinberger.
Basses
Richard Holmes (soloist), Hayes Biggs, Gregory Purnhagen, Alan Rasmussen, Walter Richardson, Curtis Streetman.
Solo winds, celesta, percussion
Flute, Zizi Mueller; Clarinet, Phillip Bashor; Bassoon, Richard Lawson; French Horn, Lawrence DiBello; Trumpet, Thomas Verchot; Percussion, James Neglia and Richard Fitz, Celeste, Jeanne Shaffer.

 

MANY-COLORED BROOMS
Sopranos I & II
Arlene Travis (soloist), Eileen Clark, Margery Daley, Michele Eaton, Maureen Haley, Marcia Young.
Altos
Karen Krueger (soloist), Elsa Larsson, Liz Norman.
Flute/piccolo,
Zizi Mueller; Viola, Susan Follari; Piano, Kevin Jones



SHALOM SOLOISTS
Versatile soprano Elizabeth Farnum specializes in 20th century music and is an active performer in the oratorio and recital fields. She has premiered pieces by Berio, Keuris and Schlenck at Tully Hall in New York. Other premieres include Braxton's opera, Shala Fears for the Poor, in which she created the role of Alva; Roland Moser's Nach Deutsche Volksliederen, which she premiered with Parnassus; Wuorinen's Fenton Songs and James Bassi's Carol Symphony. In the oratorio field, Elizabeth has performed the Requiems of Fauré, Mozart and Brahms, Beethoven's 9th Symphony, the Rutter Magnificat and Handel's Judas Maccabeus, to mention a few. She is a member of the Rialto Ensemble and the acclaimed early music group Pomerium, and has appeared as soloist with the Waverly Consort, Musica Sacra, BachWorks and the New York Virtuoso Singers. Ms. Farnum is featured on recordings of Koch, Helicon, Bis, Vox, New World, Leonarda, Altarus, and North/ South records. She has recorded four CDs for Deutsche Grammophon with Pomerium, the third of which was nominated for a Grammy in 1999.

Megan Friar, mezzo-soprano, is a familiar face to audiences as a soloist in opera, oratorio and musical theatre. She has performed in the national tour of The Phantom of the Opera and has had roles with the Connecticut, Virginia, Sarasota and Dicapo Operas; Connecticut Grand Opera; Des Moines Metro Opera; American Opera Projects and New York Gilbert & Sullivan Players. Megan appears regularly as a soloist with various New York ensembles, including Amor Artis, BachWorks, Musica Sacra, New York Virtuoso Singers and the Gregg Smith Singers. She has appeared on TV's The Guiding Light and has been a featured soloist on many recordings, including Stravinsky's Russian Peasant Songs.

Jonathan Goodman, tenor, is at home in a diverse repertoire spanning early music through contemporary. As a former member of Chanticleer, he toured Europe and Asia and premiered works by Ned Rorem. Much in demand as a Bach soloist with Musica Sacra and other groups, he has been a soloist with Amor Artis, the Virgin Consort, Parnassus, the New England Bach Soloists, National Chorale, and the Central City Chorus. He has appeared twice with the American Symphony, most recently in the role of Publicist in Richard Wilson's Aethelred the Unready, a modern opera premiere. Mr. Goodman has sung New York premieres of works by Arvo Pärt for broadcast on National Public Radio. As the resident tenor with the New York Vocal Arts Ensemble, Jonathan recorded two CDs of Brahms and Schubert vocal quartets for Arabesque. He has also recorded for Polygram, Leonarda and Harmonia Mundi.

Richard Holmes, baritone, made his operatic debut at the Lake George Opera Festival in 1982. A principal artist with the Glimmerglass Opera, Virginia Opera, Chicago Opera Theatre, New York Grand Opera, Opera Company of El Paso and Natchez Opera Festival, he lists over 130 roles in his repertoire. His over 500 performances of Gilbert and Sullivan roles have won him the affection of audiences throughout the United States. He recently had solo contracts at the Metropolitan Opera for performances of Die Fledermaus and Carlisle Floyd's Susannah. Mr. Holmes' contemporary repertoire ranges from Ben in The Telephone to the dramatic outpourings of Charles Gloyd in Moore's Carry Nation, and his many premiere performances have included the recent Sorry, Wrong Number by Jack Beeson and Barab's cantata Rest Eternal Grant Us, performed and recorded with the Manhattan Chamber Orchestra. In concert he has appeared with Amor Artis at the Avignon Festival and in Aix-en-Provence, Prague, Budapest, Paris and Amsterdam. He has been soloist with the Cape May Music Festival, Brooklyn Philharmonic, Sioux City Symphony and Philharmonia Virtuosi.

Many-Colored Brooms soloists
Soprano Arlene Travis has appeared as both an ensemble member and soloist with many of New York's leading musical organizations, including Amor Artis, Voices of Ascension, BachWorks, Concert Royal, Musica Sacra, Pomerium and The Virgin Consort. She toured Ireland with Amor Artis in 1997. Her recent solo appearances include Couperin's Trois Lecons de Tenebre; Poulenc's Gloria; Bieber's Missa Alleluia; Bach's St. John Passion; Haydn's Lord Nelson Mass; and Handel's Messiah, Judas Maccabeus, and Psalm 112, Laudate pueri Dominum, cantata for soprano and orchestra. Ms. Travis' recordings include Musici di San Cassiano's CD of Purcell's Dido and Aneas (Vox); a series of recordings of music of the Renaissance by Voices of Ascension, including a newly released CD of music of Hildegard von Bingen (Delos); and the music of contemporary composer Mary Jane Leach entitled Ariadne's Lament (New World). She has also recorded for BMG, Leonarda, CRI and XI.

Lyric mezzo-soprano Karen Krueger has appeared as soloist with the American Symphony, the Handel Choir of Baltimore, Ascension Music, Pomerium, the Long Island Baroque Ensemble, New York Bach Ensemble, Clarion Music Society, Dessoff Choirs, and the Pro Arte Chorale. She has toured throughout the world with the Gregg Smith Singers and the New York Vocal Arts Ensemble. Operatic performances have been with the New York City Opera National Company, St. Louis Opera Theatre, Illinois Opera Theater, and PepsiCo Summerfare productions. She can be heard in recordings on the Arabesque, CRI, Turnabout, Delos, Leonarda, Catalyst, Nonesuch, and BMG labels with such organizations as Musica Sacra, the DeCormier Singers, Gregg Smith Singers, Western Wind, Amor Artis and Ascension Music, and also on the movie soundtracks of Kundun and Candyman lI (music by Philip Glass), Dead Man Walking and The Household Saints.

 



 

 

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