Seattle Baroque Orchestra

Meet the talented musicians you see on stage and learn about their education and performance experience.


Music Director

Alexander Weimann

2017–18 Season Soloists

John Lenti, theorbo

Byron Schenkman, harpsichord

Suzie LeBlanc, soprano

Curtis Foster, oboe

Nate Helgeson, bassoon

Janet See, flute

Linda Melsted, concertmaster

Orchestra Musicians

Cecilia Archuleta, violin

Christine Wilkinson Beckman, violin

Meg Brennand, cello

Curtis Daily, bass

Jason Fisher, viola

Joanna Hood, viola

Tomà Iliev, violin

Carrie Krause, violin

Courtney Kuroda, violin

Corentin Pokorny, violin

Romaric Pokorny, viola

Annabeth Shirley, cello

Juliana Soltis, cello

Lindsey Strand-Polyak, violin and viola

David Walker, lute

Janet Worsley Strauss, violin

Laurel Wells, violin and viola

Music Director
Alexander Weimann

Alexander Weimann has been Music Director of Seattle Baroque Orchestra since 2015 and is one of the most sought-after ensemble directors, soloists, and chamber music partners of his generation. After traveling the world with ensembles like Tragicomedia, Cantus Cölln, the Freiburger Barockorchester, the Gesualdo Consort and Tafelmusik, he now focuses on his activities as Artistic Director of the Pacific Baroque Orchestra in Vancouver, and as music director of Les Voix Baroques, Le Nouvel Opéra and Tempo Rubato.

Weimann can be heard on some 100 CDs. He made his North American recording debut with the ensemble Tragicomedia on the CD Capritio (Harmonia Mundi USA), and won worldwide acclaim from both the public and critics for his 2001 release of Handel’s Gloria (ATMA Classique). Volume 1 of his recordings of the complete keyboard works by Alessandro Scarlatti appeared in May 2005. Critics around the world unanimously praised it, and in the following year it was nominated for an Opus Prize as the best Canadian early music recording. He has also released an Opus Award-winning CD of Handel oratorio arias with superstar soprano Karina Gauvin and his new Montreal-based ensemble Tempo Rubato. In 2017 he was nominated for a Juno Award for his recording of J.S. Bach’s Magnificat with Arion Baroque Orchestra.

Weimann was born in 1965 in Munich, where he studied the organ, church music, musicology (with a summa cum laude thesis on Bach’s secco recitatives), theatre, medieval Latin, and jazz piano, supported by a variety of federal scholarships for the highly talented. To ground himself further in the roots of western music, he became intensely involved over the course of several years with Gregorian chant. He lives in Vancouver, BC, with his wife, three children and pets, and tries to spend as much time as possible in his garden and kitchen.

John Lenti

John Lenti’s performances as a soloist and chamber musician on theorbo, renaissance lute, baroque lute, archlute, and baroque guitar across the United States and abroad have been described as “a joy to behold” (The Seattle Times) and praised for their “nuanced beauty and character” (Gramophone). He regularly deploys his “unusually big sound” (Third Coast Digest) with, among others over the years, American Bach Soloists, Apollo’s Fire, Bach Collegium San Diego,Mr. Jones and the Engines of Destruction, New World Symphony, Portland Opera, Pittsburgh Opera, and Seattle Opera. He enjoys nothing so much as making music on tour with his chamber groups I-90 Collective, Ostraka, Sacro Profano, and Wayward Sisters. His recording credits include Division with Ostraka, And I Remain: Three Love Stories, with soprano Linda Tsatsanis, and chamber music of Matthew Locke with Wayward Sisters. As a founding member of Plaine & Easie and Wayward Sisters, he has twice taken top prizes in Early Music America competitions.

He is a graduate of the North Carolina School of the Arts and Indiana University. He studied lute with Nigel North, Jacob Heringman, and Elizabeth Kenny and he strives to make himself worthy of that pedagogical legacy. He currently lives in Seattle with his wife, Sarah, and son, Victor.

Byron Schenkman

Byron Schenkman has recorded more than 30 CDs of 17th- and 18th-century repertoire, including recordings on historical instruments from the National Music Museum, Vermillion, and the Museum of Fine Arts, Boston. A recipient of the Erwin Bodky Award from the Cambridge Society for Early Music “for outstanding achievement in the field of early music,” he was voted “Best Classical Instrumentalist” by the readers of Seattle Weekly in 2006, and his piano playing has been described in The New York Times as “sparkling,” “elegant,” and “insightful.”

He has been a featured guest with the Chameleon Arts Ensemble of Boston, the Daedalus Quartet, the Northwest Sinfonietta, Pacific Baroque Orchestra, Philharmonica Northwest, and the Portland Baroque Orchestra. He was also founding co-director of Seattle Baroque Orchestra with violinist Ingrid Matthews. In 2013 he launched “Byron Schenkman & Friends,” a Baroque and Classical chamber music series at Benaroya Hall in Seattle. Recently he has been studying Klezmer music with Shawn Weaver and has begun collaborating on performances of Russian Jewish art music with violinist Steven Greenman. Schenkman is a graduate of the New England Conservatory and received his master’s degree with honors in performance from the Indiana University School of Music. He currently teachers at Seattle University and Cornish College of the Arts. In 2012 he also served as guest lecturer in harpsichord and fortepiano at the Indiana University Jacobs School of Music.

Suzie LeBlanc

Soprano Suzie LeBlanc is one of the most sought after early music sopranos of her generation, as well as a gifted interpreter of lieder, French mélodies, Acadian repertoire and contemporary music. Concerts engagements have led her around the world, as well as to over 50 recordings with the world’s leading early music ensembles. On the opera stage, she performed for De Nederlandse Opera, Festival de Beaune, Opéra de Montréal, Boston Early Music Festival, Tanglewood, and Early Music Vancouver.

Her album, Canadian settings of poems by Elizabeth Bishop by Canadian composers Hatzis, Plant, MacLean and Doolittle, was released in the fall of 2013, along with a documentary of her walk in Newfoundland, following Bishop’s footsteps and 1932 journal. The recipient of four honorary doctorates for her artistic achievements and research, she also played the lead role in the award winning film Lost Song (Best Canadian Feature Film at the Toronto International Film Festival in 2008).

With Alexander Weimann and Marie-Nathalie Lacoursière, she founded Le Nouvel Opéra, which gives workshops in Baroque Opera at the Orford Arts Centre and produces chamber operas.

Curtis Foster

Curtis Foster, Baroque oboe and recorder, whose playing has been praised for its “brilliantly introverted charm” (Seattle Times), has appeared with some of North America’s most respected early music ensembles, including Pacific MusicWorks, Les Boréades de Montréal, the Seattle and Pacific Baroque Orchestras, Mercury Baroque Orchestra, American Bach Soloists, Musica Angelica, the Newberry Consort, Victoria Baroque Players, Indy Baroque, and Chicago Opera Theater. His many festival performances have included the Vancouver, Chicago, and Bloomington Early Music Festivals, Oregon Bach Festival, Ottawa International Chamber Music Festival, and the Phoenix Bach Festival.

A ravenous chamber musician, Curtis has performed with small ensembles in concert from San Francisco to Dubai, including regular appearances with his Seattle-based chamber groups, sound|counterpoint and the Così Quartet. Mr. Foster is also an enthusiastic advocate for music of our own time, and regularly commissions and premiers new works by contemporary composers for old instruments. A dedicated pedagogue, Curtis has taught Baroque oboe as part of the Baroque Orchestra Mentorship Programme at the University of British Columbia, and is regularly invited to teach workshops and masterclasses around the US and Canada. His recordings can be heard on ATMA Classique, Cedille Records, and IU Press.

Originally hailing from Wichita, Kansas, Curtis now makes his home in beautiful Bellingham, Washington. In his rare downtime, he enjoys exploring the many hidden corners of his adopted Pacific Northwest with husband, composer Adam Haws, and cuddling with their spunky cats, Tamino and Lobo. He is a graduate of Wichita State University and Indiana University’s Early Music Institute.

Nate Helgeson

A native of Eugene, Oregon, Nate Helgeson is in demand in the United States and abroad as a modern and historical bassoonist. He is a founding member of period instrument ensembles on both coasts, including SacroProfano (Seattle), Grand Harmonie (Boston), and New Vintage Baroque (New York). Helgeson also appears regularly with many of North America’s premier period instrument ensembles, such as the Tafelmusik Baroque Orchestra, Portland Baroque Orchestra, Pacific Music Works, American Bach Soloists, and the Trinity Baroque Orchestra. In 2012, Helgeson was chosen to perform at the summer music festival, Dans les Jardins de William Christie, an outdoor festival of 18th-century music in the west of France hosted and directed by the eminent French music specialist, William Christie. On the modern bassoon, he has performed throughout the country with a diverse range of ensembles, including the Oregon Bach Festival Orchestra, the Boston Philharmonic, and the Callithumpian Consort.

He is a graduate of the Historical Performance program at the Juilliard School, and holds degrees in modern bassoon performance from the University of Oregon and the New England Conservatory of Music.

Janet See

Janet See is one of today’s outstanding performers on baroque and classical flute. For over 30 years she has performed as a soloist, in chamber music, and in orchestras throughout North America and Europe. In London, where Janet lived for 12 years, she played principal flute for Sir John Eliot Gardiner’s two orchestras, and with those groups recorded the complete Mozart Operas and Beethoven Symphonies as well as numerous other discs. While in London she also played principal flute for ‘The Taverner Players’, conducted by Andrew Parrott. In North America Janet plays principal flute with Philharmonia Baroque under Nicholas McGegan and has recorded Vivaldi and Mozart Concertos with that orchestra. She also performs frequently with the Portland Baroque Orchestra and as guest soloist with chamber music ensembles throughout the US and Canada.

Among her highly acclaimed recordings are the Vivaldi Concertos and the complete Bach Flute Sonatas, both recorded on the Harmonia Mundi label. Other labels she has recorded on include DG Archive, EMI, Erato, Hyperion and Phantom Partner.

Janet is on the Early Music Faculty at Cornish College of the Arts in Seattle and is an active and enthusiastic teacher of early flutes and also of interpreting the nuance and language of baroque and classical music on modern flute. She received her degree on the modern flute at Oberlin Conservatory, training with Robert Willoughby. Her post-graduate training was with Frans Vester in The Hague. Janet is a qualified teacher of the F.M. Alexander Technique, having trained in London with Walter Carrington. She currently lives on Bainbridge Island, Washington with her husband and son.

Linda Melsted

Linda Melsted has won the hearts of audiences across North America, Europe, and Japan with her passionate artistry. Currently concertmaster of Seattle Baroque Orchestra, she has appeared as soloist, member, and leader of many outstanding ensembles, including Tafelmusik, Portland Baroque Orchestra, Pacific Baroque Orchestra, Pacific MusicWorks, Philharmonia Baroque, and Freiburg Baroque Orchestra. Linda is the featured soloist in Tafelmusik’s documentary “Le Mozart Noir”, and has recorded for Sony, ATMA, Classique, CBC, and Harmonia Mundi. Linda’s true love is chamber music. She has performed with many ensembles in chamber music series from Toronto to Seattle including Early Music Vancouver, Gallery Concerts, Northwest Showcase, Camerata Musica, Folia, Discovery Island Music Festival, La Primavera, and Toronto Music Garden. She is a founding member of the chamber ensembles sound|counterpoint, the Cosi Quartet – a classical oboe quartet, La Modestine—a Baroque quartet based in Vancouver B.C., and Salish Sea Players—a group dedicated to bringing early music to retirement and nursing facilities in the greater Seattle area. Working with adult amateurs is one of Linda’s favorite activities and she happily coaches students at her home and at various chamber music festivals. She has worked with community baroque orchestras in Toronto and Calgary in workshop settings and is the director of the New Baroque Orchestra in Seattle. Linda performs on a Nicolo Amati violin.

Cecilia Archuleta

Cecilia Archuleta, violinist, has performed internationally as a soloist, chamber, and orchestral musician. She has toured in North and South America with the Orquestra de la Juventud, Toluca Symphony Orchestra and Mexico Philharmonic. She was also Concertmaster and featured soloist for several concerts. By special request of the First Lady of Mexico, Cecilia has performed before the President of Mexico, José López Portillo.

Cecilia’s career in Los Angeles, her birthplace, brought numerous engagements, including a concert for Princess Grace of Monaco with American harpsichordist, Igor Kipnis, and a performance of the Bach Double Concerto with Jack Benny. She has also performed with San Diego Symphony Orchestra, Pacific Symphony Orchestra, and Pasadena Symphony.

In the Pacific Northwest, Cecilia is one of the most sought-after violinist for chamber music. She was the founding member of the Onyx Chamber Players, soloist with Octava Chamber Orchestra, and has performed with the Philadelphia String Quartet for 12 seasons at the Olympic Music Festival, and will be performing her third season this summer with the Friday Harbor Chamber Music Festival. Cecilia is a member of Northwest Sinfonietta, and Concertmaster with Philharmonia Northwest. She has also performed with Seattle Symphony, Auburn Symphony, and the Pacific Northwest Ballet. On period violin, Cecilia performs with Seattle Baroque, Gallery Concerts, Intimate Baroque Series, The Obbligato Players and is a member of the Opus 20 String Quartet. She has recorded with Seattle Symphony and SEATTLEMUSIC for soundtracks and commercials.

She has a loving, supportive husband and two talented and successful sons. She enjoys tennis, knitting and gardening.

Christine Wilkinson Beckman

Christine Wilkinson Beckman enjoys performing throughout her native Northwest with early music ensembles large and small and appears regularly with such groups as the Seattle, Portland, and Pacific Baroque Orchestras and Early Music Underground. She is also the director of the New Baroque Orchestra, one of the Community Collegia of the Early Music Guild of Seattle. Christine began her studies on baroque violin with Ingrid Matthews, and she graduated in 2013 with an MA from the Historical Performance Practices program at Case Western Reserve University where she studied with Julie Andrijeski. She received her BM in Violin Performance from St. Olaf College. A passionate educator, Christine teaches Suzuki violin and viola to a growing studio of young musicians in Olympia. When not busy performing or teaching, she enjoys baking, reading, drinking tea, and listening to the rain with her husband at their home in Olympia, WA.

Meg Brennand

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 received outstanding reviews for their complete cycles of Mozart, Beethoven, Mendelssohn and Brahms. Meg and Onyx pianist, David White, performed the complete works of Beethoven for cello and piano in the 2014–15 season. Meg performs on baroque cello with Seattle Baroque Orchestra and with Pacific Music Works. Past seasons have included performances on the Whidbey Island Music Festival, led by Tekla Cunningham, and 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. Meg has served on the cello faculty as adjunct professor at Seattle Pacific University and 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 two recent tours to New York City. She is a graduate of the Eastman School of Music. Meg 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.

Curtis Daily

Curtis Daily has focused on the historical performance practice of Baroque and classical music for more than 25 years. He is the principal bassist with Portland Baroque Orchestra and a member of Seattle Baroque Orchestra since its inception, as well as a participant at the Vancouver Early Music Festival and Oregon Bach Festival. Daily also performs on occasion with Musica Angelica, Orchester Wiener Akademie, Pacific Baroque Orchestra, Philharmonia Baroque Orchestra, and Tafelmusik Baroque Orchestra, working with many of the most distinguished artists in the early music field. Daily’s upcoming season includes Pacific Northwest tours with the newly established Northwest Baroque Masterworks, Portland Baroque Orchestra, and performances in Miami, Florida with New York-based The Sebastians and Seraphic Fire. Daily was a member of the Oregon Bach Festival orchestra for the Grammy-winning recording of Credo by Krzysztof Penderecki on Hannsler Records, and is also heard on recordings for Virgin Classics, Koch, Centaur, and Sub-Pop Records. He lives in Portland, Oregon.

Jason Fisher

Jason Fisher is a native of Seattle who currently calls Boston his home. He is a founding member of Boston’s Grammy-nominated chamber orchestra, A Far Cry ( A Carnegie Hall Fellow and a Peabody Singapore Fellow, Jason has toured Europe, Asia, Kazakhstan, and the Kyrgyz Republic. Concerts at Vienna Musikverein, Singapore Esplanade, and Carnegie Hall. Performances with Pink Martini, Jake Shimabukuro, Itzakh Perlman, Yo-Yo Ma, Renée Fleming, Kiri Te Kanawa, and with members of the Florestan Trio, and the Æolus, Brentano, Cleveland, Emerson, Mendelssohn, and St. Lawrence String Quartets. As a passionate explorer of early music, Jason plays period viola with a bicoastal variety of ensembles including Gut Reaction, Antico/Moderno, the Handel & Haydn Society, Boston Baroque, and the Seattle and Portland Baroque Orchestras.

Carrie Krause

Carrie Krause has performed with Clarion and Concert Royale in New York, Chatham Baroque in Pittsburgh, Portland Baroque Orchestra, Seattle Baroque Orchestra, and the Baroque Chamber Orchestra of Colorado. She was concertmaster of the Bozeman Symphony and New Trinity Baroque, and guest concertmaster of Pacific Baroque and the San Francisco Bach Choir. Krause has appeared as soloist with the Fairbanks Symphony, Casper Symphony, Bozeman Symphony, and Apollo’s Fire in Miller Theatre. Recent festival engagements include the Spoleto Festival, Belgrade Early Music Festival (Serbia), Utrecht Early Music Festival, Strings Festival (Steamboat Springs), and the Montana Baroque Festival with Monica Huggett. At her home in Bozeman, Montana, Krause founded the Second String Orchestra for adult amateurs, the Baroque ensemble I-90 Collective, and teaches a studio of 30 students. Krause earned degrees in violin performance from Carnegie Mellon and the Cleveland Institute of Music. She is currently a graduate student at the Juilliard School’s Historical Performance program.

Courtney Kuroda

Courtney Kuroda is an active performer of early music in the Seattle area and has performed throughout the U.S. and Canada with period chamber ensembles and orchestras, including Portland Baroque Orchestra, Pacific Baroque Orchestra, Indianapolis Baroque Orchestra, Ars Antigua in Chicago, Ensemble Mirable, and Opera Lafayette in Washington D.C. Kuroda has played in the Bloomington and Boston Early Music Festivals. Her violin playing has been described as “plangent of tone and right on the mark technically” (Herald-Times). Kuroda received her Master’s degree in performance from the Early Music Institute at Indiana University where she studied Baroque violin with Stanley Ritchie. She has recorded for the Naxos and ATMA labels, and currently resides in the Seattle area.

Corentin Pokorny

Corentin Pokorny is a 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. He is actively playing with Pacific Musicworks, as well as beginning to perform with the Seattle Baroque orchestra starting in 2018.

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.

Romaric Pokorny

Romaric Pokorny, baroque violin and 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 Seattle Symphony Orchestra, SeattleMusic, Pacific Northwest Ballet, and various other ensembles.

A native of France, he received his early musical training there, studying violin, piano, composition and music theory at the Conservatoire a Rayonnement Regional de Boulogne-Billancourt and later at the Conservatoire d’Aulnay-sous-Bois under violinist Jose Alvarez, and earning a Diplome Superieur de Solfege. After moving to the United States, he finished his studies with a degree in Viola Performance from the University of Washington. His interests also grew to include some experience in pipe organ building and restoration, working for an organ supply and restoration company for several years, and is now currently working on harpsichords with The Harpsichord Shop.

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 Pacific MusicWorks Underground.

He plays a 1744 Johann Ulrich Eberle violin, and a 1620 Brothers Amati copy viola made by Francis Beaulieu in 2017.

Annabeth Shirley

Cellist Annabeth Shirley has performed across the US and Europe in concerts with the Orchestra of the Age of Enlightenment, the Nederlandse Bachvereniging, Cantata Profana, the Nederlands Kamerkoor, Bourbon Baroque, and as a fringe artist in the Utrecht Oudemuziek Festival. She has worked with directors Robert Levin, Rachel Podger, Jos van Veldhoven, Leonardo García Alarcón, Marc Destrubé, Marin Alsop, Vladimir Jurowski, and Kati Debretzeni, among others, in concerts including Verdi’s Requiem and Mahler’s Resurrection Symphony with the OAE, J.S. Bach’s Matthew Passion with the Nederlandse Bachvereniging, and as a member of the 2015 Baroque Orchestre Français des Jeunes and the 2016 Berwick Academy at the Oregon Bach Festival. Annabeth holds bachelors degrees in Cello Performance and Biology from the University of Michigan, where she studied with Anthony Elliott and Enid Sutherland, and a bachelors and masters degree in Baroque Cello from the Royal Conservatory of the Hague, where she studied with Lucia Swarts. She plays a cello of unknown, most likely French, origin from approximately 1830.

violin and viola
Lindsey Strand-Polyak

Lindsey Strand-Polyak is a Seattle native now based in Santa Monica, CA. She received her PhD/MM in Musicology and Violin Performance from UCLA, studying historical performance and modern violin. She performs with Pacific MusicWorks, Musica Angelica, American Bach Soloists, Bach Collegium San Diego and Austin Baroque Orchestra, among others. While at UCLA, she worked to re-establish the UCLA Early Music Ensemble in 2009 after a 20-year hiatus, and has served in alternating roles as Managing Director and Director since 2011. She is an alumna of Baroque academies such as Tafelmusik Summer and Winter Institutes, American Bach Soloists Academy, and Oregon Bach Festival’s Berwick Academy. Masterclasses include Elizabeth Blumenstock, Marc Destrubé, Stanley Ritchie, Jeanne Lamon, Robert Mealy and Kenneth Slowik. Dr. Strand-Polyak has also presented papers and lecture-recitals at numerous musicology conferences in both the US and Canada.

David Walker

Lutenist and guitarist David Walker has performed extensively throughout the United States earning praise for his “surety of technique and expressive elegance,” (Columbus Dispatch) as well as his “tremendous dexterity and careful control” (Bloomington Herald Times). David has appeared with such ensembles as Boston Baroque, the Catacoustic Consort, Chatham Baroque, Clarion Music Society, and the Smithsonian Chamber Players, and is a member of the chamber ensemble Ostraka. He has performed in numerous baroque opera productions, including engagements with Glimmerglass Opera and the Wolf Trap Opera Company. Festival highlights include the Savannah Music Festival, Indianapolis Early Music Festival, and solo recitals for the Bloomington Early Music Festival and the University of Louisville Guitar Festival. Recording credits include Ostraka’s critically acclaimed debut, Division, and Grammy-nominated recordings for Linn Records and Sono Luminus.

Janet Worsley Strauss

Janet Worsley Strauss enjoys an active career as a Baroque violinist. As a leading violinist in Los Angeles, she has appeared with the Los Angeles Opera, and Los Angeles Master Chorale; and is a principal member of Los Angeles-based Musica Angelica Baroque Orchestra. She often appears with Seattle Baroque Orchestra, Portland Baroque Orchestra, and Trinity Consort (Portland, OR) where she has worked with Monica Huggett, Eric Milnes, Reinhard Goebel, Paul Goodwin, and Richard Egarr. Strauss has performed with American Bach Soloists, Musica Pacifica, San Francisco Bach Choir, Magnificat, Camerata Pacifica, and Galanterie. She has performed at the Indianapolis Early Music Festival, Tage Alte Musik Regensberg, Brighton Early Music Festival, Renaissance and Baroque Society Pittsburgh, and Corona del Mar Bach Festival. She holds a Bachelor of Music degree in performance from the University of Southern California, is co-founder of the Los Angeles-based chamber ensemble Angeles Consort, and teaches privately in the Los Angeles area.

violin and viola
Laurel Wells

Laurel Wells is known for her work on both Baroque and modern instruments. She has enjoyed an extensive and eclectic musical life, performing in Hong Kong, Norway, Canada, and throughout the United States. For 20 years she played violin with the Lyric Opera of Chicago, also earning Master’s degrees in violin and viola from Indiana University. She studied chamber music at the Banff Centre in Canada and performed extensively under the guidance of the Vermeer Quartet. Wells was a member of the Northwest Chamber Orchestra, holding the position of principal viola. She is currently a member of the Pacific Northwest Ballet Orchestra and performs often with the Seattle Symphony, Seattle Opera, and at the 5th Avenue Theater. In the early music world, Wells plays with Seattle Baroque Orchestra, Pacific MusicWorks, and with her quartet, Opus 20, in the Gallery Concert Series. She has also participated in the Whidbey Island Music Festival, and EMG’s Early Music Fridays.


SBO’s Discography

Handel’s Harp

Seattle Baroque Orchestra

Ingrid Matthews, Music Director; Maxine Eilander, Harpist; Stephen Stubbs, Conductor

Label: ATMA Classique

Recorded: October 2008

The Pachelbel Canon and other Baroque favorites

Seattle Baroque

Ingrid Matthews, Music Director; Byron Schenkman, Artistic Director

Label: Loft Recordings

Recorded: January 2003

Agar et Ismaele Esiliati (The Exile of Hagar and Ishmael)

Seattle Baroque

Ingrid Matthews, Music Director; Byron Schenkman, Artistic Director with Karina Gauvin, Nathaniel Watson, Melissa Fogarty, Jennifer Lane


Recorded: November 2001

Heinrich Biber: Sonatas for Strings

Seattle Baroque

Ingrid Matthews, Music Director; Byron Schenkman, Artistic Director

Ingrid Matthews, violin

David Greenberg, violin


Recorded: March 2001

Vivaldi: Bassoon Concertos

Seattle Baroque

Ingrid Matthews, Music Director; Byron Schenkman, Artistic Director

Michael McCraw, bassoon


Recorded: May 1999

J.S. Bach: Concertos for Harpsichord

Seattle Baroque

Ingrid Matthews, Music Director; Byron Schenkman, Artistic Director

Byron Schenkman, harpsichord


Recorded: March 1998

Handel: Tra Le Fiamme

Seattle Baroque [Ingrid Matthews, Music Director, Byron Schenkman, Artistic Director]

Ellen Hargis, soprano


Recorded: May 1996