brings consummate musicianship, intelligence and a distinctive tonal palette to a wide range of musical styles. A much-sought-after concert soloist, her repertoire includes soprano 1 in Mozart’s C Minor Mass (New York’s Sacred Music in a Sacred Space in St. Ignatius Loyola Cathedral and Columbus, Ohio’s ProMusic Chamber Orchestra), Orff’s Carmina Burana (West Michigan, Mobile, Lima Symphonies, Florida Orchestra), the Brahms Requiem (Washington, D.C.’s Cathedral Choral Society, New York’s Voices of Ascension, Grand Rapids’ Calvin College), Britten’s Spring Symphony (Choral Society of Durham), Händel’s Messiah (Santa Fe Symphony, Rhode Island Philharmonic, Christ Church Cathedral in Lexington, Kentucky), Mendelssohn’s Elijah (Columbia Pro Cantare and Gloriae Dei Cantores), Mahler’s Second Symphony (Evansville Philharmonic) and Fourth Symphony (Flagstaff Symphony) , Beethoven’s Ninth Symphony (Fort Wayne Philharmonic) and Missa solemnis (Bachakademie Stuttgart), Mozart’s Exsultate, jubilate (Hamilton Philharmonic) and Concert Arias (Germany’s Bad Reichenhaller Philharmonie), Berlioz’s Les nuits d’été (Canadian Opera Company orchestra), Haydn’s Die Schöpfung (New Mexico Symphony) and Poulenc’s Stabat Mater (Spokane Symphony). Forthcoming from Naxos is her recording of Roberto Sierra’s Beyond the Silence of Sorrow with Maximiano Valdés conducting the Puerto Rico Symphony. In addition, she has collaborated with John Nelson, Helmuth Rilling, and both Seiji Ozwa and Robert Spano at Tanglewood and been guest soloist with the National Arts Centre Orchestra, Calgary Philharmonic and Toronto Symphony.
A persuasive actress, Ms. Guth scored a big success as Frau Fluth in the Boston Midsummer Opera’s recent production of Nicolai’s The Merry Wives of Windsor. Past operatic forays include Mozart’s Le Nozze di Figaro(Countess) and Don Giovanni (Donna Anna) at Opera Lyra Ottawa; the same composer’s Die Zauberflöte (Pamina) and Die Entführung aus dem Serail (Konstanze) in Göggingen, Germany; the title role of Händel’s Alcina in Lucca, Italy; Lauretta in Bizet’s Dr. Miracle and Norina in Don Pasquale with the Santa Fe Opera (the latter on tour as a past apprentice of the company), and Alyce in Tom Cipullo’s Glory Denied at New York’s Chelsea Opera, which she reprises in the 2015-16 season.
A model collaborator, Ms. Guth has earned special distinction for her passionate devotion to recital and chamber repertoire, earning First Prize at the 2007 Wigmore Hall International Song Competition in London. She has been welcomed at Wigmore Hall with pianist Graham Johnson, offered recitals in New York with Dalton Baldwin and Malcolm Martineau, and MusicFest Vancouver with Erika Switzer, with whom she co-hosts an online magazine Sparks and Wiry Cries (http://www.sparksandwirycries.com) featuring live and recorded performances and discussions with singers, pianists and composers. She also curates the Casement Fund Song Series in New York City.
Martha Guth was raised in Vancouver, British Columbia. She holds an undergraduate degree from the Oberlin Conservatory of Music, a Master’s from the Cincinnati College/Conservatory of Music, and a post-graduate degree from the Hochschule für Musik in Augsburg/Nürnberg where she studied with Edith Wiens.
recently performed at the Metropolitan Opera as Prince Yamadori in Puccini’s Madam Butterfly. At the Spoleto Festival he debuted as Mr. Friendly in the 18th-century ballad opera Flora, returning the next season as the Speaker in Mozart’s The Magic Flute. Other appearances have included the role of the Journalist in Berg's Lulu and Fiorello in Rossini's Barber of Seville, both at the Metropolitan Opera, Raymondo in Handel’s Almira with the Boston Early Music Festival, Dandini in Rossini’s La cenerentola with Pacific Opera Victoria; and Demetrius in Britten’s A Midsummer Night’s Dream at the Princeton Festival. Issued on the CPO label is his Boston Early Music Festival recording of the title role in John Blow’s Venus and Adonis.
Mr. Duncan’s concerts include Mahler’s 8th Symphony with the American Symphony Orchestra and the Toronto Symphony, Berlioz L’enfance du Christ with the Montreal Symphony; both Bach and Mendessohn’s Magnificat with the New York Philharmonic; Bach’s St Matthew Passion with the Munich Bach Choir, Montreal Symphony, and the Oregon Bach Festival; Haydn’s The Creation with the Québec, Montreal, and Winnipeg symphony orchestras; Beethoven’s Ninth Symphony with the Calgary Philharmonic and Philharmonie der Nationen in Munich, Berlin, Stuttgart, and Frankfurt; Haydn’s The Seasons with the Calgary Philharmonic; Handel’s Messiah with Tafelmusik, the Montreal and Toronto Symphony Orchestras, Handel and Haydn Society, San Francisco’s Philharmonia Baroque, and Portland Baroque; Mozart’s Requiem with the Montreal, Toronto, and Salt Lake City Symphony Orchestras. He has also performed at Germany’s Halle Händel Festival, Verbier Festival, Vancouver Early Music Festival, Montreal Bach Festival, Oregon Bach Festival, Lanaudière Festival, Stratford Festival, Berkshire Choral Festival, and New York’s Carnegie Hall.
Frequently paired with pianist Erika Switzer, Tyler Duncan has given acclaimed recitals in New York, Boston, and Paris, and throughout Canada, Germany, Sweden, France, and South Africa. Mr. Duncan has received prizes from the Naumburg, London’s Wigmore Hall, and Munich’s ARD competitions, and won the 2010 Joy in Singing competition, 2008 New York Oratorio Society Competition, 2007 Prix International Pro Musicis Award, and Bernard Diamant Prize from the Canada Council for the Arts. He holds music degrees from the University of British Columbia, Germany’s Hochschule für Musik (Augsburg), and Hochschule für Musik und Theater (Munich). He is a founding member on the faculty of the Vancouver International Song Institute.
Mr. Duncan’s recordings include Bach’s St. John Passion with Portland Baroque and a DVD of Handel’s Messiah with Kent Nagano and the Montreal Symphony from CBC Television. On the ATMA label are works by Purcell and Carissimi’s Jepthe with Les Voix Baroque.
Known for her brilliant and expressive playing, Erika Switzer has been praised for her ability to match emotional playing to dramatic texts. Throughout Europe and North America, she has performed in recital with sopranos Martha Guth, Simone Osborne and Edith Wiens, mezzo-soprano Julie Boulianne, tenors Colin Balzer and James Taylor, and baritones François Le Roux, Christopher Trakas and Tyler Duncan.
Ms. Switzer has appeared across Canada for Debut Atlantic and Prairie Debut, at the chamber music festivals of Montreal and Ottawa, and frequently at MusicFest Vancouver and the André Turp Recital Society series in Montreal. Her New York appearances include recitals for the Peggy Rockefeller Concert Series and the Frick Collection, as well as performances at Alice Tully Hall and Carnegie’s Weill Recital Hall. She has also appeared at the Kennedy Center in Washington, D.C. In France, she has performed for the Francis Poulenc Academy in Tours and in Paris at Salle Cortot for Pro Musicis. Other European performances include the New Discoveries series in Baden-Baden Festspiele, and the Winners & Masters concert series in Munich. She has also played at the Cape Classic Chamber Music Festival in South Africa.
Erika Switzer is a professor at Bard College and the Bard College Conservatory of Music, a co-founder of the Vancouver International Song Institute, and a faculty member of Westminster Choir College’s CoOPERAtive Program. She is also co-creator of the podcast and Ezine “Sparks & Wiry Cries,” co-produced with soprano Martha Guth.