NOLA RICHARDSON (soprano) was born in Sydney, Australia but sadly lost her Australian accent after her family emigrated to Colorado when she was six. She began her musical studies on the violin at age seven, and dabbled additionally in percussion and clarinet throughout high school. However, her love for singing won out, and she completed studies as a vocal performance major at Illinois Wesleyan and the Peabody Conservatory. She fell in love with Early Music during her time in Baltimore which led her to apply to the ABS academy in 2012 and 2013. Making her mark as an “especially impressive” (The New York Times) Nola has won First Prize in all three major American competitions focused on the music of J.S. Bach (Bethlehem Bach, 2016; Audrey Rooney Bach, 2018; Grand Rapids Symphony Linn Maxwell Keller Award, 2019). These honors have catapulted her to the forefront of Baroque ensembles and orchestras around the country, where she has been praised for her “astonishing balance and accuracy,” “crystalline diction,” and “natural-sounding ease” (Washington Post). In recent seasons she has made debuts with the Seattle, Pittsburgh, and Colorado Symphonies (Handel Messiah); filmed arias with the Atlanta Symphony for a documentary about J. S. Bach; made appearances at the Lincoln Center with the American Classical Orchestra; and performed with a wide range of ensembles including the American Bach Soloists, Philharmonia Baroque Orchestra, Musica Angelica, the Colorado Bach Ensemble, and the Madison Bach Musicians. Past operatic highlights include her debut at the Kennedy Center with Opera Lafayette (Fraarte in Handel Radamisto) which drew praise for her “particularly appealing freshness and directness” (Washington Post), and a “standout” performance (Opera News) as the First Lady in Die Zauberflöte with the Clarion Music Society. Nola is also a devoted chamber musician and has performed, toured, and recorded with GRAMMY nominated ensembles Seraphic Fire, Clarion, Musica Sacra, and Trinity Wall Street. She is the first and only soprano to receive the prestigious DMA degree in Early Music Voice from Yale, where she attended the Institute of Sacred Music. Her upcoming season will include performances with the American Bach Soloists, the Grand Rapids and Kansas City Symphonies, Musica Angelica, Seraphic Fire, and debuts with Ars Lyrica Houston, and the Tucson Baroque Music Festival. Nola is an Athlone Artist and resides in NYC. When not singing, she enjoys taking far too many pictures of her cat, reading, and knitting everything that can possibly be knit.
SARAH COIT (mezzo-soprano) was the 2020 recipient of the American Bach Soloists Jeffrey Thomas Award. Opera News praised her performance in Le nozze di Figaro with Michigan Opera Theatre: “Sarah Coit’s burnished mezzo-soprano gave her Cherubino a seductive tinge. Her pure, lovely “Voi che sapete” confirmed her bright future, made all the more likely by her undeniable aptitude for physical comedy.” In the 2018-2019 season, she was a Vocal Fellow with Ravinia’s Steans Music Institute, made her Seattle Opera debut as Mercédès in Carmen, performed at the Ravinia Festival in Bernstein’s Songfest, joined West Edge Opera as Jenny Diver in The Threepenny Opera, and sang Olga in Eugene Onegin with Livermore Valley Opera. In the 2019-20 season, Sarah also performed Mercédès in Carmen with Opera Tampa. Covering Daniela Mack as Rosmira in Handel’s Partenope with San Francisco Opera was canceled due to the Covid-19 pandemic. In 2021, Sarah sang Addison Moore in Clint Borzoni and John de los Santos’ world premiere film The Copper Queen with Arizona Opera, Varvara in Katya Kabanova with West Edge Opera, Rosina in The Barber of Seville with Utah Opera, and Handel’s Messiah with Symphoria, Winston-Salem Symphony, and Indianapolis Symphony. In 2022, she makes house and role debuts with San Diego Opera as Stéphano in Gounod’s Roméo et Juliette and as Juno in Handel’s Semele with Opera Santa Barbara. Sarah was a 2017 National Semi-finalist in the Metropolitan Opera National Council Auditions and has received prizes from the George London Foundation and the Handel Aria Competition. A native of Spring Hill, Florida, Sarah holds degrees in Music Studies and Theatre Performance from the University of South Florida and a Master of Music Degree from the University of Michigan.
JAMES REESE (tenor) has been praised for his “intensity and sensitivity … spirituality and eloquence.” He is a frequently sought-after soloist with many leading orchestras and ensembles throughout North America, including the American Bach Soloists, Philharmonia Baroque Orchestra, TENET Vocal Artists, Bourbon Baroque Orchestra, Lyric Fest, and the Gamut Bach Ensemble. This season, James will collaborate with pianist Daniel Overly in a concert-length recital of Art Song at the Philadelphia Chamber Music Society. He also looks forward to this season’s debuts with the Washington Bach Consort, the Brooklyn Art Song Society, and New York’s Musica Sacra. James is a noted interpreter of Baroque music, giving performances both “splendid” (San Francisco Chronicle) and “captivating” (Broad Street Review). Following his Carnegie Hall solo debut in Bach’s Mass in B Minor with the New York Choral Society, the New York Classical Review noted “the high, easy tenor of James Reese … floated beautifully on its own over the long, gentle lines of the Benedictus.” An advocate for New Music, he is a founding member of Philadelphia vocal sextet Variant 6. He sings frequently with leading choruses and vocal ensembles, including The Crossing, Seraphic Fire, the Santa Fe Desert Chorale, and Gallicantus. James is a graduate of Northwestern University’s Bienen School of Music, where he studied with Kurt R. Hansen, Alan Darling, and Donald Nally. He holds a Master of Music Degree from Yale University’s School of Music, where he studied with James Taylor at the Institute of Sacred Music. He lives in Philadelphia.
ALEX ROSEN (bass) has quickly risen to international prominence in concert, operatic, and song repertoire. After completing his studies at the Juilliard School, he has had the fulfilling opportunity to follow his passion for historical performance, in projects both in Europe and back in the United States. Alex Rosen made his international debut with Les Arts Florissants, under the direction of William Christie, in two tours of Haydn’s Creation and Handel’s Acis and Galatea. He has appeared in Handel’s Messiah with the Houston Symphony, and has sung the role of Seneca in Monteverdi’s L’incoronazione di Poppea with Cincinnati Opera and the dual roles of Somnus and Cadmus in Handel’s Semele with Opera Philadelphia, and as Jesus in Bach’s Saint John Passion with the Royal Concertgebouw Orchestra and Les Arts Florissants, again under the direction of William Christie. In 2020, he sang Caronte in a new production of Monteverdi’s L’Orfeo with the Nederlandse Reisopera, directed by Monique Wagemakers. The piece incorporated ten singers and ten dancers into one “organism,” fully choreographed by Nanine Linning, and featured an art installation by Dutch artist collective Studio Drift. This season, Alex joined the Gran Teatre del Liceu in Barcelona as Truffaldino in Katie Mitchell’s acclaimed production of Ariadne auf Naxos by Richard Strauss, and Theater Basel for Krystian Lada’s new interpretation of Il ritorno d’Ulisse in patria, which combined Monteverdi’s original score with the electro-acoustic music of Nicolas Buzzi. Alex also enjoys an ongoing collaboration with pianist Michał Biel, with whom he won 2nd prize in the 2018 International Hugo Wolf Academy Competition. As laureates of the Royaumont Foundation Art Song Academy, they have given recitals in some of Europe’s most prominent Art Song venues, including the Festival Lied Victoria de los Angeles in Barcelona, and Wigmore Hall in London. Alex is a native of La Cañada, California.
LIV REDPATH (soprano) is quickly becoming a leading soprano leggero on the opera and concert stage today. During the 2021-22 season, Liv returns to the Deutsche Oper Berlin to make her debut as the title role in Lucia di Lammermoor, as well as the Metropolitan Opera where she covers two title roles: Aucoin’s Eurydice conducted by Yannick Nézet-Séguin with staging by Mary Zimmerman and Simon Stone’s new production of Lucia di Lammermoor conducted by Riccardo Frizza. Her concert performances include a Verbier Festival debut singing in Beethoven’s Ninth Symphony with the Chamber Orchestra under the baton of Gábor Takács-Nagy; an evening of chamber music with Yannick Nézet-Séguin and members of the Metropolitan Opera Orchestra at Carnegie’s Weill Recital Hall; a chamber music gala concert in honor of Martin Chalifour’s 25th anniversary with Los Angeles Philharmonic; a New Year’s Eve concert with American Bach Soloists featuring works of Handel, Rameau, and Purcell; and a Mozart Requiem with the Long Beach Symphony. A graduate of Harvard University and The Juilliard School, Liv is a former Domingo-Colburn-Stein Young Artist with the Los Angeles Opera. She was one of twelve finalists worldwide at the 2019 Operalia competition and sang under the baton of Plácido Domingo in Prague for the final round concert. She has been engaged by numerous opera companies and leading orchestras including The Santa Fe Opera, Los Angeles Philharmonic, The Edinburgh International Festival, Bregenzer Festspiele, Opera Theatre of Saint Louis, Seattle Symphony, Los Angeles Opera, Lyric Opera of Chicago, Cincinnati Opera, Aspen Music Festival, Scottish Opera and New York Festival of Song, among others. Her wide-ranging operatic repertoire includes Le nozze di Figaro, Der Rosenkavalier, Hansel and Gretel, L’elisir d’amore, Ariadne auf Naxos, Les Huguenots, Die Zauberflöte, The Golden Cockerel, A Midsummer Night’s Dream, Béatrice et Bénédict, Orphée et Eurydice, Cendrillon, Lakmé, Les mamelles de Tirésias, Candide, and L’enfant et les sortilèges.
DOMINIC FAVIA (trumpet) has been praised by the San Francisco Chronicle for his “unforgettable display of virtuosity.” Equally adept on modern and early instruments, Dominic performs regularly on historical instruments with the American Bach Soloists, Philharmonia Baroque Orchestra, Musica Angelica, and the Carmel Bach Festival. Playing standard trumpet, he is a member of the Marin Symphony, has appeared with various performing groups throughout the Bay Area including the San Francisco Symphony, the San Francisco Ballet Orchestra, and the San Francisco Opera Orchestra; and is a lecturer in trumpet performance at University of California, Davis. Originally from Virginia, he received a Master of Music Degree from the San Francisco Conservatory of Music as a recipient of the Dr. Beernink Memorial Scholarship and received a Bachelor of Music degree from the Cleveland Institute of Music. While in Cleveland, he also was actively involved in the CIM/Case Western Reserve University Baroque Orchestra, performing on both trumpet and harpsichord. He has performed on NPR’s “From the Top program,” made a solo appearance with the United States Navy Band, and was a finalist for the inaugural Indianapolis International Baroque Competition. Dominic lives in the San Francisco Bay Area with his wife, violinist Cynthia Keiko Black, and (in addition to maintaining a busy performance schedule) he also works building harpsichords in John Phillips’ Berkeley, California studio.
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