2022-23 Artists

Suzanne Rousso, Viola
Mallarmé Artistic Director

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Violist Suzanne Rousso accepted an appointment as artistic director of the Mallarmé Chamber Players in 2008.  In this capacity she is responsible for all aspects of Mallarme’s eclectic programming. The ensemble is known as one of the region’s most diverse collectives of musicians.

Her previous administrative and educational engagements included service as Director of Operations and Education of the Portland (Maine) Symphony and Director of Education for the North Carolina Symphony. She was on the faculty of the Eastern Music Festival and served as that organization’s personnel manager.

Violist Rousso has performed with the North Carolina Symphony, as Principal violist of the Greensboro Symphony, the Vermont Symphony, the Portland Chamber Orchestra and orchestras of North Carolina Opera, Carolina Ballet, the Choral Society of Durham, PortOpera and Opera Boston.

Ms. Rousso was educated at the Curtis Institute of Music, the Eastman School of Music, and at New England Conservatory, earning Bachelor and Master of Music degrees in viola performance. Her teachers included Eugene Becker, Max Aronoff, Heidi Castleman and Walter Trampler. As a high school student she was lucky to study at the prestigeous Juilliard Pre-College.

In 2009, she received a Regional Artist grant from the United Arts Council of Raleigh and Wake County and later a Durham Arts Council’s Emerging Artist grant that enabled her to acquire a baroque viola and enter into the field of historically-informed performance. Pursuing this interest, she attended the Amherst Early Music Festival, Oberlin’s Baroque Performance Institute and Tafelmusik’s winter baroque intensive. She has participated in both Boston and Berkeley Early Music Festivals, is a member of the North Carolina Baroque Orchestra and a regular player with Duke Chapel’s Bach Cantata Series in which Mallarmé is a musical partner.

Her service to the arts extends beyond performance and administration. She has served on the boards of the American Federation of Musicians Local #500 and Arts North Carolina, an advocacy organization for arts and arts education in NC.

Robbie Link, Violone
(Baroque ABC’S)

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The short, simple story: I love music. I love music and I love sharing music through performance and through teaching. It’s what I love the most. Well, almost. There’s dark chocolate and cats and the beautiful woods of North Carolina and family and friends and so many other things but, music – that’s the thread that runs through it all.

I love all kinds of music. I grew up listening to classical music almost exclusively until high school when the influences of blues and rock and folk snuck in via my various friends. My bass teacher from 5th grade until I left high school, Marvin Lewis, guided me through the orchestral literature and the solo works for bass while my friends slipped me records by John Lee Hooker, Jimi Hendrix, Led Zeppelin, King Crimson, Jefferson Airplane, Pentangle and others. Late in high school I discovered late night jazz on the radio and later, in college at Indiana University School of Music, I studied jazz improvisation with David Baker alongside my classical studies with Murray Grodner.

Before, during, and since college I’ve performed in symphony orchestras, chamber ensembles, big bands and small jazz ensembles, rock, latin, and folk groups both American and International. I’ve done hundreds of recording sessions, am active in the HIP (historically informed performance) movement playing viola da gamba and violone, have hosted and performed in several jazz series, accompanied singers of all kinds, and teach students of all ages.

In the academic world I taught double bass at East Carolina University, University of North Carolina at Chapel Hill, Duke University, and for 30 years taught bass and cello and coached the young ensembles at the Duke University Pre-Collegiate String School. Currently I teach bass, cello, and viola da gamba at my home studio overlooking New Hope Creek equidistant from Chapel Hill, Durham, and Hillsborough and easily accessible from Raleigh and I-40.

I have a strong interest in technology and computers – I had one of the early Commodore 64 computers when they first came out in the 80’s – and love the open internet and all the information available to anybody. I’ve helped many folks get started on the web and currently host websites for several artists/musicians and arts organizations. And while I do often play in ensembles with electronic instruments and amplify my instruments when needed, my favorite sound is that of a wooden instrument with strings and bow played in a good sounding room full of attentive listeners.

 

Andrew Bonner, Violin
(Baroque ABC’S)

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Andy Bonner is an active performer on both baroque and modern violin, and teaches at Duke and Elon universities. Andy grew up in Durham and holds a DMA degree from UNC-Greensboro, as well as degrees from the Eastman School of Music and UNC-Chapel Hill. He has performed with five professional symphonies and with acclaimed smaller ensembles including Ossia, the Duke New Music Ensemble, the North Carolina Baroque Orchestra, Mallarme Music and the Chamber Orchestra of the Triangle, and in venues including the Piccolo Spoleto Festival (with Chamber Music Charleston) and the Boston Early Music Fringe Festival (with the Duke Vespers Ensemble), played with Edgar Meyer in a masterclass, and provided solo improvisation in a Moth Mainstage show. Andy’s doctoral dissertation focused on the 1627 Capriccio Stravagante, which uses a violin ensemble to imitate trumpets, shawms, organs, cats, dogs, roosters, and more.

Elizabeth Field, Violin
(Baroque ABC’S)

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Violinist Elizabeth Field, distinguished for her passionate and stylistic playing on both period and modern instruments, is the founder of The Vivaldi Project. Field is concertmaster of The Bach Choir of Bethlehem and also performs with a wide variety of ensembles throughout the US: from Washington DC’s acclaimed Opera Lafayette to the Sun Valley Summer Symphony. A former member of Brandywine Baroque, Field was also a founding member of the Van Swieten Quartet. In addition to period instrument recordings for Hungaroton, Naxos, and Dorian, Field has performed and recorded extensively for Deutsche Grammophon with the Orpheus Chamber Orchestra. Field holds a DMA from Cornell University in 18th-century performance practice and has coached student & professional performers throughout the U.S. including at the Universities of Maryland, Illinois and Iowa, and the University of Washington. She has held professorships at Sacramento State University and the University of California at Davis, and has served twice as the Alan and Wendy Pesky Artist-in-Residence at Lafayette College in Easton PA. She is an adjunct professor at George Washington University. As co-director of the Institute for Early Music on Modern Instruments with cellist Stephanie Vial, she has given workshops and classes at numerous institutions, working with a variety of string players, from talented young Curtis students, Suzuki teachers and their pupils, to seasoned professional orchestral and freelance players.  Her DVD with fortepianist Malcolm Bilson, Performing the Score, explores 18th-century violin/piano repertoire and has been hailed by Emanuel Ax as both “truly inspiring” and “authoritative.”

Katya Kramer-Lapin, Piano
(Music of Hope for Ukraine)

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 Katya Kramer-Lapin debuted with her solo album “Luminescence” at Oclassica digital label in the Spring of 2022, representing various piano works of the romantic era, piano transcriptions, and music by living composers. Katya’s solo concert appearances include UNESCO Headquarters, patroned by John Paul II in Paris, France; World Bank and International Monetary Fund, Washington, DC, as well as solo and chamber performances in major halls in Taiwan, Europe and Russia. One of Katya’s passions is the genre of piano-transcriptions. As an educator and interpreter, Katya’s solo recent engagements represent various important works of this genre. In addition to solo career, Katya enjoys being a co-founder of “Duo Amabile”, a violin-piano duet with her husband, violinist Matvey Lapin. The duo performs extensively live and livestream throughout the United States.   

Katya hails from Moscow City Russia, where she entered Gnessin School of Music at the age of 5, the professional institution for young, gifted children. During her studies there, Katya appeared at the Moscow State Conservatory Hall stage at the age of 13. Immediately after her graduation, Katya was granted the scholarship to study in Cologne, Germany at the Hochschuele Fuer Musik. During her concert tour to the US in 1997, Katya was invited to attend Oberlin College Conservatory, provided a full scholarship. Upon her graduation at Oberlin in 2003 Katya was invited to do her graduate work (Masters, Artist Diploma, the terminate degree in music/piano) at Indiana University, Jacobs School of Music. During her years in Bloomington, IN, Katya held the position of an Adjunct Professor of Music and Collaborative Pianist at DePauw University School of Music. Her chamber collaborations included concert appearances with the soloists of New York Philharmonic Orchestra, as well as world-renowned recitalists, chamber musicians. Katya’s recordings were often broadcasted on the National Public Radio. For two summers Katya served as faculty/guest artist at the International Summer Festival “Ameropa”in Prague, Czech Republic. Katya now resides in Cary NC, where she and her husband raise their four children.  

 

Caroline Stinson, Cello
(Music of Hope for Ukraine)

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is a native of Canada and has made her career across North America and Europe as a soloist, recitalist and chamber musician in traditional, 20th century and contemporary repertoire. Cellist of the internationally acclaimed Ciompi String Quartet and Associate Professor at Duke University in North Carolina, Ms. Stinson’s concert invitations include Carnegie’s Weill and Zankel Halls, Lincoln Center’s Alice Tully Hall, the Museum of Modern Art’s Summergarden Series, Bargemusic and Le Poisson Rouge in New York, Boston’s Gardner Museum, Washington D.C.’s Smithsonian; the Koelner Philharmonie, Lucerne Festival and Cité de la Musique in Europe, and the Centennial and Winspear Centres in Canada.

An active recitalist and chamber musician, Caroline is invited regularly as guest and has appeared at the Rencontres d’été Strasbourg, France, Rudersdal Sommerkoncerter, Denmark, Manchester Music, Newburyport and Caramoore Music Festivals in the USA. Since joining the Ciompi Quartet in 2018, she has performed with the group across the US, in Taiwan and Italy and has given solo recitals in New York City presented by the League of Composers and in Denmark. In 2022 she will tour Lithuania with pianist Gabrielius Alekna performing Dialogues with Beethoven including a premiere by Žibuoklė Martinaityte.

Samuel Gold, Viola
(Music of Hope for Ukraine)

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began studying the viola at the age of four with Sherida Josephson of the Des Moines Symphony. He is a graduate of the New England Conservatory, where he studied primarily with Martha Strongin Katz and Roger Tapping, and the University of Iowa, where he studied with Christine Rutledge and Elizabeth Oakes.

Gold has performed at the Aspen Music Festival and School, the Taos School of Music, and the Montreal International String Quartet Academy. In May of 2008 he performed as soloist with the University of Iowa Chamber Orchestra after winning the school’s concerto/aria competition.

Gold is currently the principal viola of the North Carolina Symphony.

Jennifer Curtis, Violin
(Music of Hope for Ukraine)

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The New York Times described violinist Jennifer Curtis’s second solo concert in Carnegie Hall as “one of the gutsiest and most individual recital programs.” She was celebrated as “an artist of keen intelligence and taste, well worth watching out for.”

Curtis navigates with personality and truth in every piece she performs. Jennifer is a member of the International Contemporary Ensemble (ICE) and founder of the group Tres Americas Ensemble. She has appeared as a soloist with the Simon Bolivar Orchestra in Venezuela and the Knights Chamber Orchestra; performed in Romania in honor of George Enescu; given world premieres at the Mostly Mozart Festival in New York; collaborated with composer John Adams at the Library of Congress; and appeared at El Festival de las Artes Esénias in Peru and festivals worldwide.

An educator with a focus on music as humanitarian aid, Jennifer has also collaborated with musical shaman of the Andes, improvised for live radio from the interior of the Amazon jungle, and taught and collaborated with Kurdish refugees in Turkey.

Jennifer joins the Haw River Ballroom’s Culture Mill in Saxapahaw, North Carolina as artist in residence and teaches a course on the art of interpretation at Duke University. She plays on a 1777 Vincenzo Panormo violin.

Paige Whitley-Bauguess

Jacqueline Saed Wolborsky, Violin
(Music of Hope for Ukraine)

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…is Principal Second Violin of the North Carolina Symphony and a Lecturer of Violin at the University of North Carolina at Chapel Hill. She was previously a member of the Charleston Symphony and an Adjunct Professor of Violin at the College of Charleston. She has been a featured soloist with the North Carolina Symphony, Brussels Chamber Orchestra, and South Carolina Philharmonic, and was honored with the Russell Award at the Coleman International Chamber Music Competition.

Wolborsky has performed at the National Gallery in Washington, D.C., as a co-founder of LACE (Living Arts Collective Ensemble) and with fellow NCS musicians in a trio setting. She has performed for Nobel Peace Prize winner Elie Weisel in Chicago and, in 2001, for the Vice President of the United States in Washington, D.C. She has spent past summers at the Verbier Festival in Switzerland, at the Eastern Music Festival in Greensboro, with the Chautauqua Symphony in New York, at the Norfolk Chamber Music Festival in Connecticut, at Ravinia’s Steans Music Institute in Chicago, at Keshet Eilon in Israel, and at the Weathersfield Festival in Vermont. She has worked with members of the Tokyo, Cleveland, and Vermeer Quartets; and with Yuri Bashmet, Joseph Silverstein, and Claude Frank, among others. She has toured with Joshua Bell, James Levine, and Mstislav Rostropovich.

Wolborsky received her bachelor’s degree from the Oberlin Conservatory, as a student of Roland and Almita Vamos, and her master’s degree from the Cleveland Institute of Music, where she studied with Donald Weilerstein and received her Suzuki teacher training.

Nathan Leyland, Cello
(Music of Hope for Ukraine)

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 was born in Butler, Pennsylvania, later moved to Lynchburg, Virginia and began his cello studies in their public school system at the age of nine. Nathan attended the Manhattan School of Music where he studied with Tchaikovsky Competition gold medalist Nathaniel Rosen, a former student and teaching assistant to the late Gregor Piatigorsky. Mr. Leyland has performed as soloist with the Hartford Symphony Orchestra, Manchester Symphony Orchestra, The Southeastern Ohio Symphony Orchestra, Des Moines Symphony Orchestra, and the Welsh Hills Chamber Orchestra, to name a few. Nathan began his professional career at the age of 20, becoming the cellist of the Pioneer String Quartet. In addition to that appointment, he was Principal Cellist of The Des Moines Symphony Orchestra. Mr. Leyland moved to North Carolina in 2001 and began performing regularly with some of the area’s professional ensembles such as the North Carolina Symphony, Carolina Ballet, North Carolina Opera, North Carolina Master Chorale, and the Choral Society of Durham. Currently, he is the principal cellist of the North Carolina Opera, Fayetteville Symphony Orchestra, Tar River Symphony Orchestra, and a member of The Mallarme Chamber Players. Along with these positions, Leyland is an avid chamber musician and recitalist, having performed in venues across the U.S.

Stephanie Vial
Baroque Cello
(Baroque A,B,C’S)

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 is a widely respected cellist, praised for her technical flair and expressive sense of phrasing. Vial performs regularly in early music ensembles throughout the US and has given solo and chamber music concerts, lectures, and master classes at numerous universities and institutions: including The Shrine to Music Museum in Vermillion, South Dakota, The University of Virginia, Duke University, and The Curtis Institute of Music. She is co-director of the period instrument ensemble The Vivaldi Project and its educational arm, the Institute for Early Music on Modern Instruments (EMMI). www.thevivaldiproject.org

Vial received her undergraduate degree from Northwestern University, an MM from Indiana University, and a DMA in 18th-­century performance practice from Cornell University. Her book, The Art of Musical Phrasing in the Eighteenth Century: Punctuating the Classical “Period,” published by the University of Rochester Press, was praised by Malcolm Bilson as “inspired scholarship” and “essential reading.” She has recorded for the Dorian Label, Naxos, Hungaroton, and Centaur Records, with a recent release of string trios for MSR Classics, titled Discovering the Classical String Trio. Vial lives in Durham, N.C.

Kathryn Mueller, Soprano
(Baroque A,B,C’S)

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American soprano Kathryn Mueller thrills and connects with audiences with her crystalline sound, personal warmth and musicianship. She sings a wide range of repertoire from period baroque performances to world premieres of new works, and has been a soloist with the LA Chamber Orchestra, American Bach Soloists, Portland Baroque Orchestra, Santa Fe Pro Musica, Phoenix Symphony, New Mexico Symphony Orchestra, Winston-Salem Symphony, and Tucson Symphony Orchestra.

Kathryn’s favorite concert works include Barber’s Knoxville: Summer of 1915, Glière’s Concerto for Coloratura Soprano, Haydn’s Creation, Bach’s St. John Passion, and anything by Mozart or Handel. She collaborates as a guest artist with the award-winning early music group Wayward Sisters, and has also sung operatic roles for Arizona Opera, the North Carolina HIP Music Festival, and Bach Collegium San Diego.

Kathryn received a 2015 GRAMMY nomination for her solo work on True Concord’s album Far in the Heavens. She has also recorded two GRAMMY-nominated albums with Seraphic Fire, and is featured as a soloist on recordings by New Trinity Baroque, the Santa Fe Desert Chorale, Tucson Chamber Artists, and Seraphic Fire, including Seraphic Fire’s best-selling Monteverdi Vespers of 1610, which reached the top of the iTunes classical chart.

In 2011 Kathryn was one of four fellows in the Adams Vocal Master Class at the Carmel Bach Festival. She was a finalist in the 2012 and 2013 Oratorio Society of New York’s Solo Competition, winning the Frances MacEachron Award in 2013. Kathryn’s soprano duo Les Sirènes was one of 6 finalist groups in Early Music America’s 2012 Baroque Performance Competition.

A strong advocate for new music, Kathryn co-commissioned Reena Esmail’s “The History of Red” – a concerto-length work for soprano and orchestra based on Chickasaw writer Linda Hogan’s powerful poem of the same name – along with Santa Fe Pro Musica, ROCO, Orlando Philharmonic Orchestra, and The Knights. Kathryn also gave the world premiere of Ananda Sukarlan’s song cycle Love and Variations, commissioned for her vocal-piano ensemble, the Swara Sonora Trio. The Swara Sonora Trio followed that successful premiere with a 3-week benefit tour across Indonesia, raising funds for UNICEF’s Indonesia Country Office.

Kathryn was born in San Francisco, and began her musical studies at an elevation of 7,000 feet in the White Mountains of Arizona. Her first solo performance was “Away in a Manger” in church, at age seven. She got her first pro gig – a section leader position at a church in Providence – during high school in Rhode Island, continued her vocal studies as an undergraduate at Brown University, and then earned a Masters degree in vocal performance from the University of Arizona. Kathryn lives in Raleigh, NC with her husband (NCSU choir director Nathan Leaf) and two spirited young children. She belongs to Beyond Artists, a coalition of musicians who donate a percentage of their concert fees to organizations they care about. She supports the Poor People’s Campaign through her performances.

Jeffery Beam, Poet
(Life of a Bee)

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Jeffery Beam’s work hailed for its “transcendent, lush beauty, its minimal sacrament, simplicity and physicality” fuses through Gnostic intention the physical and spiritual worlds, creating a conversation between the natural world, the body, and the spirit. For more go to https://jefferybeam.com/about/

 

 

Beverly Biggs Harpsichord
(Baroque A,B,C’S)

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is a freelance harpsichordist based in Durham, North Carolina. She was the founder of Baroque & Beyond, a period-music concert series based in Chapel Hill. A North Carolina native, Biggs lived for many years in the Pacific Northwest, returning to North Carolina and settling in the Triangle in 2005.

Bev has served as a member of the continuo team with the North Carolina Symphony, North Carolina Bach Festival, and NC Baroque Orchestra, and she plays with various early music groups, including concerts with her trio, Zephyr (under the Book Us tab).

While based in Spokane, Washington, she performed, made recordings, toured in the U.S. and Canada, and served as artistic director of two period music organizations. A founding director of both Connoisseur Concerts and Allegro, she specializes in baroque period music. Accomplishments include founding the Northwest Bach Festival, the Royal Fireworks Festival & Concert, Allegro’s Viennese Ball, Music in Historic Homes, and Period Music at The Met.

Bev’s primary concert instrument is a double manual French harpsichord built in 1972 by David Dutton. It is a replica of the 1769 Pascal Taskin harpsichord found in the Yale University collection.

Beverly Biggs earned her Bachelor of Music degree in performance from Oberlin Conservatory and a Master of Music degree from Southern Methodist University. Post-graduate study was done with harpsichord­ists Margaret Irwin-Brandon and Alan Curtis in the United States, and with the late Gustav Leonhardt in Amsterdam.

Leah Peroutka
Baroque Violin
(Baroque A,B,C’S)

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is known for her versatility as a performer of repertoire ranging from the 17th Century through music of today on both modern and baroque violin. She has performed with numerous ensembles across the country and in Europe, including the Atlanta Baroque Orchestra, New Music Raleigh, North Carolina Baroque Orchestra, Bertamo Trio, and Ensemble Collina.
With the latter she has recorded 17th Century chamber music works for violin, trombone and continuo (“Confluences”) on the Acis label. Locally, she performs regularly with the North Carolina Symphony, North Carolina Opera, Carolina Ballet, Magnolia Baroque, Mallarmé Chamber Players, Raleigh Camerata and with colleagues at UNC-Chapel Hill and Duke University. Ms. Peroutka has been on the music faculty at UNC-Chapel Hill, serves as the coordinator for the Chapel Hill Chamber Music Workshop, and is in high demand as a private teacher in the North Carolina Triangle area.