Countertenor Daniel Moody has garnered widespread acclaim for his commanding yet expressive vocal timbre and his breathtaking musicianship.  Praised as having a “vocal resonance, [which] makes a profoundly startling impression” (The New York Times) and for his “vivid and powerful” voice (The Boston Musical Intelligencer), Mr. Moody is equally known for his “sweet and melancholy sound” (The Washington Post) and ability to “pierce hearts” and “utterly silence a room” (The Boston Musical Intelligencer) with his expressivity and deep connection with audiences.

Recent opera appearances include Nerone in Monteverdi’s L’incoronazione di Poppea, the title roles in Handel’s Giulio Cesare and Rinaldo, Oberon in Britten’s A Midsummer Night’s Dream, and L’Enfant in Ravel’s L’Enfant et les sortileges.  In Mr. Moody’s most recent role as Rinaldo, he drew attention from the San Diego Story for his unusually powerful tone: “[Mr. Moody] may help to create a new operatic vocal category: Helden Countertenor.”  Mr. Moody has also appeared in Mark Morris’ productions of Britten’s Curlew River and Purcell’s Dido and Aeneas at the Tanglewood Music Festival, where the Financial Timesnoted his “inspired and absorbing performances”.

A proponent of early music, Mr. Moody has performed at the Boston, Indianapolis and Washington Early Music Festivals, Maryland’s Mountainside Baroque, and Boston’s Antico Moderno, and under such conductors as Stefan Asbury, Nicholas Kramer, Ken Lam, and Lyle Nordstrom.  A graduate of the prestigious Yale Voxtet – resident at Yale’s Institute of Sacred Music – he has performed as a soloist at such venues as Lincoln Center’s Alice Tully Hall, London’s St. John’s Smith Square and, Cambridge’s Trinity College, working closely with renowned conductors David Hill, Simon Carrington, Masaaki Suzuki, and Matthew Halls.  His performances have been broadcast live in concert on BBC Radio 3 in the United Kingdom, and on Boston’s WGBH, Indiana’s WFIU, WSHU’s Sunday Baroque.

Highlights of 2015-16 include the American premiere of George Benjamin’s Dream of the Song at the Festival of Contemporary Music at the Tanglewood Music Center, as well as invitations to perform St. Matthew Passion at St. Peter’s Church in New York, Handel’s Messiah with the Charleston Symphony and Winston-Salem Symphony Orchestras, A Midsummer Night’s Dream (Oberon) at the Lakes Area Music Festival (Minnesota), and with La Fiocco.  He was also invited as one of four vocalists in Joyce DiDonato’s Carnegie Hall opera workshop, broadcast on Medici TV.

Mr. Moody is a graduate of the Peabody Conservatory (BM ’14) and sang with the at the Washington National Cathedral Choir during his years in Baltimore.  He recently graduated with a Master’s Degree from the Yale School of Music and Institute of Sacred Music, and has won awards at the Handel Aria Competition, the New York Oratorio Society Competition, and the Russell Wonderlic Competition.

http://www.danielmoodycountertenor.com/

Born in Vicenza, Italy and raised in Pennsylvania, Katherine Rossiter is a performer with diverse interests that spans opera, oratorio, art song, and musical theatre.

She is currently a second year Graduate Vocal Arts Fellow at Bard College-Conservatory of Music in New York, in the program led by world-renowned soprano, Dawn Upshaw, and collaborative pianist, Kayo Iwama.  This season, she will be the soprano soloist in Bach’s BWV 78, Jesu, du der meine Seele with the Albany Symphony Orchestra, under the direction of David Alan Miller.  She will also be the soprano soloist with the Concerts in the Village series in Kinderhook, NY in Handel’s Ode to the Birthday of Queen Anne, as well as in Vivaldi’s Gloria with the Bard College Baroque Ensemble, conducted by James Bagwell.   In February, she will appear with other members of the Vocal Arts Program in A Little Theatre Music:  Blitzstein and Sondheim in Review, singing excerpts from Marc Blitzstein’s  The Cradle Will Rock and Regina, as well as Stephen Sondheim’s Company and A Little Night Music.

Last season at Bard, Ms. Rossiter performed the roles of Second Lady and First Spirit in Die Zauberflöte, also conducted by James Bagwell.  In addition, she was the soprano soloist in The Haydn Project, curated by pianist, Peter Serkin at Bard Conservatory, and she reprised the soprano solos in The Messiah with Classics on Hudson in Hudson, NY.

In June 2016, Ms. Rossiter made her Carnegie Hall debut with the New York Lyric Opera Theatre singing excerpts of Poussette from Manon and La Novice in Suor Anglelica, in the concert Love, Passion, and Betrayal.  Also with New York Lyric Opera Theatre, she performed the roles of Fortuna and Drusilla in L’incoronazione di Poppea, as well as excerpts of Suor Genovieffa from Suor Angelica at the Bruno A. Walter Auditorium in Lincoln Center.

http://www.katherinerossiter.com/

Tenor Christopher Sokołowski is a native of New York’s Hudson Valley, and has sung a wide repertoire of both concert and operatic works. He has performed roles including Acis (Acis and Galatea), Oronte (Alcina), Henrik (A Little Night Music), Alfred (Die Fledermaus), Tamino (Die Zauberflöte), Mari (Les mamelles de Tirésias), and concert works such as Orff’s Carmina Burana, Vaughan William’s On Wenlock Edge, Handel’s Messiah, Weber’s Jubelmesse, Bach’s Magnificat, Mendelssohn’s Elijah, Mozart’s Requiem, Vivaldi’s Dixit Dominus, Handel’s Esther, and Britten’s War Requiem. In 2013 he created the role of Thiện Sĩ in the world premiere of P.Q. Phan’s Tale of Lady Thị Kính, and sang the world premiere of Phan’s Vietnamese Requiem in April of 2015. He was a prizewinner in the S. Livingston Mather and Orpheus Vocal Competitions, earned his B.M. from SUNY Purchase, and his M.M. from Indiana University Jacobs School of Music where he was an Associate Instructor of Voice. www.christophersokolowski.com

Tenor Christopher Sokolowski is a native of New York’s Hudson Valley, and has performed a wide repertoire of both concert and operatic works, ranging from Purcell, to Poulenc, to Phan. The summer of 2016 brought a residency at the Tanglewood Music Center, where he sang cantatas of J. S. Bach, conducted by composer and Bach specialist John Harbison; song repertoire of Debussy, Britten, Thomas Pasatieri, and Percy Grainger; sang the role of the Father in Kurt Weill’s Die sieben Todsünden; and participated in masterclasses and workshops led by Sanford Sylvan, Stephanie Blythe, Dawn Upshaw, Margo Garrett, Alan Smith, and Ken
Griffiths.

In the summer of 2015 he sang the role of Henrick Egerman in Sondheim’s A Little Night Music
with the Phoenicia International Festival of the Voice, sharing the stage with highly acclaimed
artists such as Ron Raines, Rosalind Elias, and Susan Powell. Earlier in the year brought two
Handel works: the title role in Acis and Galatea with the IU Summer Music festival, and Oronte
in Handel’s Alcina at the Indiana University Opera Theater, directed by Chas Rader-Shieber and
conducted by Arthur Fagen. In November of 2014 he had the honor of performing as the tenor
soloist for the monumental War Requiem of Benjamin Britten in a performance conducted by
Michael Palmer which served as a campus-wide commemoration of the centennial of World
War I at Indiana University. February of 2014 brought the world premiere of P.Q. Phan’s Tale
of Lady Thị Kính with the IU Opera Theater, directed by Vince Liotta and conducted by David
Effron, in which he created the role of Thiện Sĩ.

In concert he has performed with orchestras and ensembles across America in works such as
Orff’s Carmina Burana; Vaughan William’s On Wenlock Edge; Handel’s Esther, Messiah and
Alexander’s Feast; the Magnificats of J.S. Bach, J.C. Bach, and Vivaldi; Mendelssohn’s Elijah;
Mozart’s Requiem; Vivaldi’s Dixit Dominus, Kyrie, and Gloria; among others. In the summer of
2013, he was an artist with the Lyric Opera Studio of Weimar, Germany, where he performed
the role of Tamino in Mozart’s Die Zauberflöte, and sang with the Thüringer Symphoniker
under the baton of Oliver Weder in opera scenes and arias. Other operatic roles include Alfred
in J. Strauss II’s Die Fledermaus, Le Mari in Poulenc’s Les mamelles de Tirésias, and Remendado
in Bizet’s Carmen.

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In addition to his work at the Tanglewood Music Center, he has been a featured artist with the
Phoenicia International Festival of the Voice for several summers, covering tenor Barry Banks
in the role of Don Ottavio in a performance of Don Giovanni conducted by Steven White, and
singing in their concert dedicated to young “Voices of Distinction,” in which he shared the
stage with countertenor Brian Asawa for a concert of repertoire from the Baroque and
Renaissance periods.
In November of 2014, he was awarded the Albert Rees Davis Scholarship as a winner of the S.
Livingston Mather Scholarship Competition, and in 2015 he was a semifinalist for the Lyndon
Woodside Oratorio-Solo Competition, was awarded the Bizet Award in the Orpheus Vocal
Competition, and placed third in the American Prize College/University Opera division.
He earned his Bachelor of Music degree, magna cum laude, from SUNY Purchase, and his
Master of Music degree from Indiana University’s Jacobs School of Music where he was
attending on full scholarship and also an associate instructor of voice. During his time in
conservatory, he has participated in masterclasses led by Matthew Polenzani, Daniel Taylor,
Josefien Stoppelenburg, Emilio Pons, and Damon Nestor Ploumis.
When not practicing, rehearsing, or performing, Christopher will most likely be maintaining his
company entitled Handel Reductions, which is dedicated to creating piano reductions of
repertoire from the Baroque period, in an effort to make this glorious music more
approachable and usable for auditions, recitals, and performances.
www.handelreductions.com

Information regarding upcoming performances can be found on his website,
www.christophersokolowski.com