Pamela Dellal, mezzo-soprano, has enjoyed a distinguished career as an acclaimed soloist and recitalist. She has appeared in Symphony Hall, the Kennedy Center, Avery Fisher Hall, and the Royal Albert Hall, and premiered a Harbison chamber work in New York, San Francisco, Boston and London. Ms. Dellal has received critical acclaim for performances of Brahms’ Alto Rhapsody, Handel’s Messiah, Mozart’s C-minor Mass, and Bach’s B-minor Mass, St. Matthew and St. John Passions. Operatic appearances include leading roles in the operas Alcina, Albert Herring, Dido and Aeneas, La Clemenza di Tito, Così Fan Tutte, Vanessa, The Rape of Lucretia, and Winter’s Tale. She has been featured by the Handel and Haydn Society, Aston Magna, The Boston Early Music Festival, Tokyo Oratorio Society, Opera Company of Boston, the National Chamber Orchestra, Boston Baroque, Baltimore Choral Arts Society, and the Dallas Bach Society, appearing in concert in major cities in Europe, the United States, Australia and Japan.
Known for her work in historical repertoires from medieval through classical, Ms. Dellal has appeared multiple times with the Boston Early Music Festival, Ensemble Chaconne and the Musicians of the Old Post Road, and is a current member of the Blue Heron Renaissance Choir. With Sequentia Ms. Dellal has made numerous recordings of the music of Hildegard von Bingen. A passionate advocate for contemporary music, she has sung often with the Boston ensembles Collage New Music, Dinosaur Annex and Boston Musica Viva, premiering works by many prominent composers. She has been a regular soloist in the renowned Bach Cantata series presented by Emmanuel Music for over 30 years, having performed almost all 200 of Bach’s sacred cantatas. Her extensive discography comprises more than thirty-five recordings. She is a recognized specialist in early vocal techniques and the music of Hildegard von Bingen; in addition, she has become a sought-after translator of musical texts including the Bach cantatas, translations of which appear on the Emmanuel Music website. Dellal serves as faculty at the Boston Conservatory at Berklee, and at the Longy School of Music of Bard College. More at www.pameladellal.com
Meravelha was formed in 2012 in Boston for the purpose of making medieval music accessible to a wider audience through live performances. Using music, poetry, and movement, the ensemble tells stories that reflect themes illustrated within the songs and cultures of the 11th-15th centuries. The name “Meravelha,” which translates as “marvel” or “wonder” was taken from the song “Non es meravelha s’eu chan” (It is no wonder that I sing) by Bernard de Ventadorn, a 12th-century troubadour.
Meravelha frequently performs self-produced concerts around the Greater Boston area, and has also appeared at the 2013 IBERICA Early Music Festival, in a fringe concert at the 2013 Boston Early Music Festival, and on the SoHIP Summer Concert Series in 2014 and 2016.
Teri Kowiak, Voice
Barbara Allen Hill, soprano
Barbara is a GRAMMY-winning ensemble member and soprano soloist performing the music of the Middle Ages through the present era.
As a soloist, she has appeared with Masterworks Chorale, Musica Sacra, The Boston Cecilia, Seven Times Salt, 7 Hills Renaissance Wind Band, and Long and Away: A Consort of Viols. As an ensemble member, she performs with the GRAMMY-winning ensemble The Crossing (Philadelphia, PA), Emmanuel Music (Boston, MA), Meravelha Medieval Ensemble (Boston, MA), and Red Shift (Baton Rouge, LA), among others.
She also appears regularly with many of the choirs of religious institutions around Boston; to include Trinity Copley, Church of the Redeemer, and the Cathedral of the Holy Cross.
An enthusiastic supporter of new music, she especially enjoys the opportunity to premiere and record new works. Highlights include recording Gavin Bryars: The Fifth Century (2018 GRAMMY Award for Best Choral Performance), as well as performing the world premieres of Joel Puckett’s I Enter the Earth (with The Crossing, 2015), Karl Henning’s From the Pit of a Cave in the Cloud (2015), and Kile Smith’s The Consolation of Apollo (with The Crossing, 2014).
In addition to performing, Barbara serves on the board of the Society for Historically Informed Performance (SoHIP) in Boston, and helps to produce their annual summer concert series. She is also the executive director for Meravelha.
Barbara received her BA in vocal performance from the University of New Hampshire. She currently resides in Boston.
Jaya Lakshminarayanan, voice and harp
Described as “a stunning soprano…moving and charismatic” by the Boston Musical Intelligencer, Jaya Lakshminarayanan has appeared in concert series and dramatic productions throughout New England and in Pennsylvania, Portugal and Italy. Her stage credits extend from the twelfth century to the twenty-first, and include Procris in Jacquet de la Guerre’s Cephale et Procris, Pirithous in Conradi’s Die schöne und getreue Ariadne, and Castitas and Misericordia in Hildegard of Bingen’s Ordo Virtutum. She has appeared as a soloist with the Philharmonic Society of Arlington, Seven Times Salt, and the Andover Choral society, and as a chorister has sung with the Handel and Haydn Society and the Choir of the Church of the Advent. As a harpist, she has performed with the Boston Christmas Revels and the Wellesley Collegium, and as a Jeopardy! contestant she lost, but still effected what may be the first ever mention of a vielle on syndicated television. She holds degrees from Chatham College and the Longy School of Music.
Catherine Stein, voice
Catherine Stein started out as an oboist, and earned her B.A. from the University of North Carolina Greensboro, where she studied with Dr. M. Ashley Barrett. She was introduced to historical performance there in the collegium directed by Pat Petersen. She earned a Masters in Early Music Performance from the Longy School of Music, where she studied Baroque oboe with Stephen Hammer, and Renaissance reeds with Daniel Stillman. On early reeds and as a mezzo-soprano, she has performed with a number of choirs and historical performance groups, including the Parish choir at Church of the Redeemer Chestnut Hill, Church of the Advent, Early Music New York, Newport Baroque, New Trinity Baroque, Vox Consort, Bach Vespers, Boston Shawm and Sackbut Ensemble, the Seven Hills Renaissance Wind Ensemble, Zefiro, and Meravelha.
Otherworldly” mezzo-soprano Clare McNamara brings her versatility to a wide variety of repertoire throughout the United States and abroad. A 2018 recipient of the prestigious St. Botolph Emerging Artist Award, she maintains core affiliations as a soloist and ensemble member with Lorelei Ensemble, Handel+Haydn Society, Skylark Vocal Ensemble, and Cut Circle (among others). In addition to a regular touring schedule with Lorelei, she recently appeared with them alongside the Boston Symphony Orchestra in performances of Puccini’s Suor Angelica and Debussy’s Nocturnes (Andris Nelsons). A regular alto soloist with the Handel+Haydn Society, her next solo appearance at Boston’s Symphony Hall is in their 2020 performance Handel’s Dixit Dominus (Harry Christophers). Clare has joined the Renaissance ensemble Cut Circle for multiple European festivals (Utrecht, Regensburg, Antwerp, and Maastricht); she is one of two trebles on their upcoming one-to-a-part compendium of Ockeghem’s secular songs, slated for release in 2020. Passionate about medieval music, Clare was recently hailed as “pure-toned” and “as good as they come” (MusicWeb International) for her solo Hildegard chant on the GRAMMY-nominated Skylark album “Seven” (2018). She made her New York soloist debut alongside the St. Thomas Fifth Avenue Choir of Men and Boys in their 2018 performance of Handel’s Messiah (Daniel Hyde). 2019 marks her first year as a rostered alto at the Staunton Music Festival. Clare holds an A.B. in Music from Princeton University and an M.M. in Early Music Performance from the Longy School of Music of Bard College. www.claremcnamara.com