"...supported the recitatives with unobtrusive skill…”—San Francisco Chronicle
- Claudio Monteverdi and the Emergence of the Baroque
- The Rise of Comic Opera
- Folk and Popular Music in Comic Opera
- Opera Before Handel
- Orfeo's Lyre: Music and Rhetoric
- Topics in 18th- and 19th-Century Music
- PhD, Stanford University
- BA, University of Victoria, British Columbia
- Philharmonia Baroque Orchestra
What is your hometown?
What are you passionate about outside of music?
Horsemanship and poetry.
Who were your major teachers?
What was the defining moment when you decided to pursue music as a career?
When I was 16, recovering from a broken jaw, a friend's mother gave me two LPs: Wanda Landowska, and Aldo Ciccolini playing Satie.
What was a turning point in your career?
Learning to play continuo.
If you could play only three composers for the rest of your life, who would they be?
Beethoven, Chambonnières, and Satie.
From a music history perspective, what year and city are most important to you?
What are your most important collaborations?
Reconstruction of marionette operas with the Carter Family Marionettes; Production and recording of Cavalieri's La Rappresentatione di Anima et di Corpo with Judith Nelson and Paul Hillier.
What are your academic publications?
La grand-mére amoureuse, parodie d'Atys, Recent Researches in the Music of the Baroque, 2008
What recordings can we hear you on?
La Rappresentatione di Anima et di Corpo, Koch International
Baroque Music by Women Composers, Newport Classics
Water Music, Harmonia Mundi
What is your unrealized project?
Baroque riding on a baroque horse to baroque music.