Ann Callaway’s music ranges from a sumptuously scored tone poem for soprano and orchestra inspired by the structure of crystals to an intimate setting of poems by Rilke for bass and chamber ensemble. Her works have been premiered by the Seattle and St. Louis Symphony Orchestras, the New York New Music Ensemble, and organist Thomas Murray, among many others. She is the recipient of a Guggenheim Fellowship and has held residencies at the MacDowell Colony, Yaddo, and the Leighton Artist Colony in Banff. The women’s choral ensemble Voci, directed by Anne Hege, chose Callaway as its inaugural composer for their New Works Project, premiering her commissioned work On Music and Nature: Three Hopkins Settings in May 2016. Callaway’s music is published by Subito Music Corp. Ann Callaway is a Contributing Director of SoniHer website is annmcallaway.com
Soprano Tonia D’Amelio enjoys an active career as soloist with Bay Area ensembles including the American Bach Soloists, Philharmonia Chorale, Pacific Collegium, Volti, Grace Cathedral Choir of Men and Boys, City Concert Opera Orchestra, and West Edge Opera. She created the role of Celia in Allen Shearer’s Middlemarch in Spring. She holds degrees from Harvard University and SF Conservatory of Music.
Victoria Ehrlich, born in Texas, studied at Southern Methodist University, the Accademia di Santa Cecilia in Rome, and at the State University of New York at Stony Brook. Her teachers included Robert Marsh, Bernard Greenhouse and Robert Gardner. Prior to joining the San Francisco Opera Orchestra in 1984 she played with the Santa Fe Opera, the Santa Fe Chamber Music Festival, and was principal cellist with the Symphonies of Omaha, Richmond and Phoenix. Ms. Ehrlich has performed with the San Francisco Ballet, San Francisco Symphony, the New Century Chamber Orchestra, Composers Inc., Berkeley Symphony, the Russian Chamber Orchestra, and Lamplighters. She is also an active chamber musician, performing regularly with the Ariel Quartet, resident ensemble of the Sacramento Chamber Music Society; the Bridge Players, who specialize in music by Jewish and Holocaust composers; the Picasso Ensemble, who present concerts in the historic Sesnon House in Aptos; the International Orange Piano Quartet, and the Fath Chamber Players, a fixture in Mill Valley. Ms. Ehrlich has collaborated with D’Arcy Reynolds since the previous millennium.
Peter Josheff has been on the front lines of the northern California new music scene for more than thirty years as a composer and clarinetist. He is a founding member of Earplay and of Sonic Harvest and is a core member of the San Francisco Contemporary Music Players, the Empyrean Ensemble (UC Davis), and the Eco Ensemble (UC Berkeley). He performs frequently with Opera Parallele and the San Francisco Chamber Orchestra, and has worked with many other groups including Other Minds, West Edge Opera, Melody of China, the Ives Collective, Mills College Contemporary Performance Ensemble, the Paul Dresher Ensemble, and Composers, Inc. He has appeared on numerous recordings on the Albany, Bridge, Centaur, Innova, Arabesque, CRI, Rastascan, Tazdik, and Electra record labels.
He has composed instrumental and vocal music, opera and pop songs, as well as music for dance and theater. His music has been performed by the San Francisco Chamber Orchestra, the Farallon Quintet, the Laurel Ensemble, the Bernal Hill Players, Earplay, Sonic Harvest, the Empyrean Ensemble, Melody of China, Goat Hall Productions, and many individual performers. His most recent works include: Images from the Past (2018) for spoken voice and piano; September (2017) for solo violin; Dream Spaces & Recurring Nightmares (2017) for spoken voice and piano, written for and premiered by pianist Kate Campbell; and The Dream Mechanic (2016), for woman’s spoken voice, tenor, and chamber orchestra, commissioned by and premiered by the San Francisco Chamber Orchestra with tenor Brian Thorsett.
Bass Richard Mix made his singing debut as Truelove in Berkeley Contemporary Opera’s 1992 production of The Rake’s Progress and went on to the Darmstädter Sommerferienkurse für neue Musik, where he was awarded a Patenring grant. He appears with many Bay Area opera companies singing a repertoire that embraces Wagner, Monteverdi and Stockhausen.
D’Arcy Reynolds is an award-winning composer and pianist based in Marin County. Ensembles including the San Jose Chamber Orchestra, Sontonga, Ariel String Quartet, Chamberlain String Quartet, Adesso, the Picasso Ensemble, and New Music Works have performed her chamber music. Her work has been represented at several new music festivals, including the Festival of New American Music at California State University at Sacramento, the Nevada County Composers’ Coalition New Music Festivals, Derriere Guard Festival, and Music in the Mountains in Nevada City.
Her interest in world music goes back to her college years when she studied North Indian Raga with Pandit Pran Nath and improvisation with Terry Riley. Since that time she has composed music based on Indian Ragas, South African field recordings, Cuban and Puerto Rican harmonies and rhythms, and finally the tango. She toured South Africa with the Sontonga Quartet on a Meet The Composer global Connections grant and was featured in the DVD ‘Inner Landscape’ filmed in Nieu Bethesda at Helene Martin’s Owl House. She has received commissions from the American Composers Forum, Noe Valley Chamber Music, the San Francisco Community Music Center, and the East/West Continuo, and has received grants and awards from the ASCAP, USIA, the American Music Center, and Meet the Composer. Her CD the Past Keeps Changing was awarded the Music Now Recording Grant.
D’Arcy Reynolds earned a B. A. with honor and an M.A. in music at Mills College, where she received the Paul Merritt Henry Prize for excellence in composition. Her composition teachers include Terry Riley, Andrew Imbrie, Exequiel Mantega, and Emilio Solla. Her music is published and recorded by Capstone Records, Dharma Gate Music, and New Music Publications and Recordings.
Pianist Karen Rosenak has performed with Earplay, Empyrean Ensemble, Left Coast Chamber Ensemble, and SF Contemporary Music Players as well as Sonic Harvest. She appears in many recordings on the Albany, CRI and Ravello labels. Retired as senior lecturer at UC Berkeley, she holds music degrees from SF State and Stanford University. She studied piano with Carlo Bussotti and Nathan Schwartz and fortepiano with Margaret Fabrizio.
Composer Allen Shearer has been honored with the Rome Prize Fellowship, a Charles Ives Scholarship, the Aaron Copland Award, residencies at the MacDowell Colony, and grants from the National Endowment for the Arts. In 2009 his chamber opera The Dawn Makers, on a libretto by Claudia Stevens, was premiered at Herbst Theatre by Composers, Inc. The Dawn Makers was selected as a finalist in the National Opera Association’s Dominick Argento Chamber Opera Competition 2015. His Three Lyrics, a work written at the Copland House, won the Sylvia Goldstein Award. The premiere production of his opera Middlemarch in Spring was named one of the Ten Best Operatic Events of 2015 by the San Francisco Examiner, and one of the year’s most notable events in classical music worldwide by the Encyclopedia Brittanica. His new opera Howards End, America will premiere in San Francisco in February. Allen Shearer is a Contributing Director of Sonic Harvest.
A native of Japan, violinist Beni Shinohara studied at the Tokyo National University of Fine Arts and Music, where she earned a Master of Music degree. She also studied extensively in Europe with Sandor Vegh before coming to the United States. She has been Assistant Principal Second violin for the San Francisco Opera Orchestra since 1988 and Assistant Concertmaster for the San Francisco Ballet Orchestra since 1990. She has appeared as a soloist with the Tokyo Metropolitan Symphony and the Nagoya Philharmonic Orchestra, the Houston Ballet Orchestra, and the Cabrillo Music Festival Orchestra. Over the years, she has premiered numerous twentieth-century Japanese composers’ works, participating in the “Music Today” Concert Series under the direction of Toru Takemitsu. She also performs with numerous Bay Area chamber ensembles such as the Marin Chamber Players, Gold Coast Chamber Players, and the Edgewood Trio. She has been a curator of the Wednesday Noon Concert Series, as well as a member of the Board of Directors at 142 Throckmorton Theatre.
Claudia Stevens’ creative works for her interdisciplinary solo performance have been recognized by grants from the NEA (“New Forms”) and Virginia Commission for the Arts, as well as artist residencies including the MacDowell Colony, RS9 Szinhaz in Budapest, Baltimore Theater Project, Virginia Center for the Creative Arts, Gitameit Art Center in Burma and numerous colleges and universities. Two of her solo plays and her libretto for A Very Large Mole appear in the avant-garde poetry journal Exquisite Corpse. She is the librettist of a number of operas in collaboration with Allen Shearer, including Middlemarch in Spring and Howards End, America, which will have its premiere this Feb. 22-24 at Z Space in San Francisco. Her newest opera under development with Shearer is the one-act, Jackie at Vassar. Claudia Stevens is a Contributing Director of Sonic Harvest.