Guest Artists

Catherine Turocy

Catherine TurocyCatherine Turocy, artistic director of the New York Baroque Dance Company (NYBDC), is recognized as one of today’s leading choreographer/reconstructors and stage directors in 17th- and 18th-century period performance, with over 60 Baroque operas to her credit. She was decorated by the French Republic as a Chevalier in the Order of Arts and Letters.

A founding member of the for Dance History Scholars, Turocy has lectured on period performance practices around the world including at the Royal Academies of Dance in Copenhagen, Denmark; London, England; Stockholm, Sweden; the Festival Estival in Paris, France; and The Society for Early Music in Tokyo, Japan. As a writer she has contributed chapters to dance history textbooks, articles to Opera News, Early Music America and Dance Magazine. A chapter in Janet Roseman’s book, “Dance Masters: Interviews with Legends of Dance,” published by Routledge is dedicated to her work. Books in which Turocy has authored chapters include: ”Moving History/Dancing Cultures: A Dance History Reader;” ”Creating Dance: A Traveler’s Guide” and  “Dance on its Own Terms: Histories and Methodologies.”

National Endowment for the Arts International Exchange Fellowships supported extended visits in London and Paris, where she conducted research and interacted with other artists. In the 1980s she worked under famed stage directors Pier Luigi Pizzi and Jean Louis Martinoty.

As a sought-after period stage director/choreographer, Turocy has worked with singers Jessye Norman, Bryn Terfel, Christine Brandes, Howard Crook, Ann Monoyios, Julianne Baird and Drew Minter. She has participated in the Handel Festival in Goettingen, Germany, for 11 years, and has been lauded by the international press for her groundbreaking production of Handel’s ”Teseo” in 2011. In New York, Turocy works closely with Concert Royal directed by conductor James Richman. Highlights include Gluck’s ”Orfeo,” Handel’s ”Ariodante” and ”Terpsicore,” Rameau’s ”Pygmalion,” ”Les Indes Galantes,” ”Le Temple de la Gloire” and ”Les Fetes d’Hebe,” among others. In Washington, D.C., she has collaborated with Ryan Brown of Opera Lafayette Orchestra and Chorus.

Internationally Turocy has worked with conductors Nicholas McGegan, Festival Orchestra of Goettingen; Christopher Hogwood, Academy  of Ancient Music in London; John Eliot Gardiner, English Baroque Soloists in London; Philippe Herreweghe, La Chapelle Royale in Paris; and Wolfgang Katschner, Lautten Compagney in Berlin.

Training professional artists is an important part of Turocy’s work with the NYBDC. Former members of the company include Ken Pierce, Thomas Baird, Paige Whitley Bauguess and Carlos Fittante, all who have gone on to start their own companies and/or careers as freelance historical choreographers. Current members of the company trained by Ms. Turocy and now active in the field as choreographers include Patricia Beaman, Caroline Copeland, Sarah Edgar, Rachel List and Ani Udovicki.

Turocy is currently on faculty at the Juilliard School in the newly formed program historical performance program. She is often a guest teacher at the Early Music Institute at Indiana University, Oberlin College, Curtis Institute of Music and Case Western Reserve. She was recently in residence at the University of Miami directing Mozart’s "Magic Flute." 

Barbara Spencer

Barbara SpencerBarbara Spencer studied with Leonard Rose, Lucien LaPorte and Gabor Rejto. She was principal cellist for Music Academy of the West, Long Beach Symphony, Las Vegas Symphony and Chamber Orchestra and Los Angeles Jazz Orchestra. She has performed with the Los Angeles Philharmonic, California Chamber Orchestra and San Luis Obispo Mozart Festival. She is a freelance musician for motion picture and television studios in Los Angeles.

Jeanne Shumway

Jeanne ShumwayJeanne Shumway grew up in a musical family in which both parents and sister played the violin. She began musical studies on the violin at age three with her parents, but discovered the cello along the way, and eventually the instrument won her allegiance at the age of 10. She has studied performance and chamber music with many notable musicians such as Alice and Eleanor Schoenfeld, Joseph and Lillian Fuchs, David Wells, Joel Krosnick, Raphael Bronstein and Artur Balsam.

Shumway is principal cellist for Symphony of the Vines, Opera San Luis Obispo, and the Santa Maria Philharmonic, as well as many other groups. She served as principal of Santa Barbara Opera and assistant principal with Santa Barbara Symphony for many years. She has held the principal chair with the San Luis Obispo Symphony, the Ventura County Symphony and Santa Barbara Chamber Orchestra, and was a member of the San Luis Obispo Mozart Festival/Festival Mozaic for 32 years. She performs often with productions by PCPA Theaterfest. Her symphonic work has brought her into contact with many fine conductors such as Henri Temianka, Christopher Hogwood, Varujian Kojian, Heiichiro Ohyama, Gisele Ben-Dor, and Valery Ryvken.

Chamber music is an essential part of Shumway's musical life. She has been active in many chamber ensembles throughout California, and her recital and chamber music experiences include performances throughout Asia, Europe and the U.S.

After many years as a resident of Santa Barbara, Shumway now resides in San Luis Obispo County, where she is an active educator, serving on the faculty of Cal Poly and teaching privately in both the San Luis Obispo and Santa Barbara areas, and performs with many groups throughout Central California.

Hilary Clark

Hilary ClarkHilary Clark has studied cello performance at University of California Santa Barbara, Western Michigan University, University of California Santa Cruz, and the Meadowmount School for Strings Summer Program. Currently she performs with numerous local chamber music groups including Symphony of the Vines and the Santa Maria Philharmonic. She is a nuclear medicine technologist at Sierra Vista Regional Medical Center.

Matthew Goinz

Matthew GoinzAcclaimed as an “exemplary” and “moving” musician (Minneapolis Star Tribune) and an “inspired” and “captivating” artistic programmer (St. Paul Pioneer Press), conductor, lyric baritone, and pianist Matthew Goinz is enjoying his fourth season as a member of the professional vocal ensemble Cantus, with which he maintains a rigorous performance schedule and acts as tour manager. With Cantus, he has appeared at the Kennedy Center, Lincoln Center, the National Gallery of Art, the Metropolitan Museum of Art, The Barns at Wolf Trap, Duke Performances, the Krannert Center, Teatro Metropolitano in Medellín, Colombia, the Busan Choral Festival and Competition, the Daegu International Choral Festival, the National Theater and Concert Hall in Taipei, Taiwan, Tianjin Concert Hall, and Shenzhen Concert Hall. Goinz has commissioned and premiered works by Libby Larsen, Gabriel Kahane, David Lang, Dale Warland, Roger Treece, Ysaye Barnwell, and Rosephanye Powell, and has enjoyed celebrated collaborations with Chanticleer, Sweet Honey in the Rock, Eric Whitacre and the Eric Whitacre Singers, Purple Voices, and Taipei Male Choir.

A sensitive and experienced pianist, Going recently collaborated with his fellow ensemble members in Cantus' inaugural chamber series "Songs of Travel," which was hailed by the Star Tribune as "totally successful." In July 2018, he took to the piano once again as Cantus presened its chamber series, "Songs My Mother Taught Me," anchored by Aaron Copland's "Old American Songs."

Goinz has worked with a number of other professional and collegiate ensembles including extensive work with True Concord Voices & Orchestra, The Concordia Choir, and the Tucson Symphony Orchestra. He can be heard as a soloist and chorister on a several critically acclaimed albums, most recently True Concord’s GRAMMY®-nominated “Far In The Heavens: Choral Music of Stephen Paulus.” A passionate advocate of music education, Goinz continues to work as a conductor, vocalist, coach, and collaborative pianist with students young and old in arts organizations and educational institutions across the country. He also serves as the director of the White Bear Lake United Methodist Chancel Choir where he recently implemented a paid choral scholar program for emerging professionals.
A native of northern Minnesota, Goinz studied conducting, voice, piano, and theater at Concordia College, Bemidji State University, and the University of Arizona.

Cait Frizzell

Cait FrizzellCait Frizzell delights audiences with her unique voice and her unflinching dedication to the “genre du jour.” A regular guest with ensembles and concert houses in Asia, Europe and the U.S., she was awarded the Liedersänger Preis at the American Institute of Musical Studies (AIMS) Festival in the same year that she recorded the soundtrack for the tribal-inspired Top-25 XBOX game "Wander.”

For the 2018-19 season, Frizzell will perform with many professional choral ensembles. She will sing with Tucson's True Concord, under the batons of both director Eric Holtan and guest conductor Dale Warland. Between performances, she will travel to Florida for a return tour with Seraphic Fire, and will be making her debut as a member of the world-class Sante Fe Desert Chorale in the spring.

Though she has only been performing professionally for three years, her credits are already numerous. Her repertoire spans both coloratura and lyric soprano roles, including leading roles in “Giasone” (English Touring Opera), “Cold Sassy Tree” and “Orphée aux enfers” (Florida State University), as well as “L'enfant et les sortilèges” (Opera in the Ozarks).

Frizzell holds a Master of Performance degree in vocal performance, with honors, from the Royal College of Music, as well as a Bachelor of Music degree from Florida State University. During her studies, she forged a relationship with renowned Irish composer and director Michael McGlynn. In 2013, she joined the ranks of Anúna, the ensemble which he oversees and for which he composes. With Anúna, she has performed in various halls across Belgium, China, England, Ireland and the Netherlands, and most recently traveled to Tokyo, Japan, for the live 20th-anniversary performance of the Xenogears soundtrack in Disney's Maihama Amphitheatre.

In 2016, Frizzell was a vocal fellow at the Tanglewood Festival under the tutelage of soprano Dawn Upshaw and baritone Sanford Sylvan. On completion the fellowship, she embarked on a career which would incorporate all elements of vocal production. She is also on the rosters of the Oregon Bach Festival Berwick Chorus in Eugene, Oregon, and Polyphony in London; and is a full-time professional voice actor and narrator.

Katya Gruzglina

Lindsey McLennan BurdickUkrainian-born soprano Katya Gruzglina has been grabbing audiences' attention throughout the U.S. and abroad with her adept artistry and electric repertoire. Classical Voice North Carolina praised her "richly-colored top register" and "ravishing lower voice.”

An alumna of The Juilliard School and Rice University, Gruzglina excels in both contemporary and early music. In 2012, she performed John Cage's “Litany for the Whale” as part of the FOCUS Festival honoring the composer's centennial. The same year, she was selected for a residence with Emma Kirby, culminating in a collaboration with lutenist Jakob Lindberg and Juilliard 415.

Gruzglina’s operatic roles include Serpetta in Mozart's “La finta giardiniera,” Zerlina in “Don Giovanni” with the Banff Festival, Judge 1 in John Musto's “Volpone,” Barbarina in “Le nozze di Figaro,” Fiordiligi in “Così fan tutte” (Opera Cooperative), Susanna in “Le nozze di Figaro” (New Jersey State Repertory Opera), and Edwige in Pacini’s “Malvina di Scozia” with Vertical Player Repertory.

Gruzglina’s passion for new music has led her to many exciting projects. In 2014, she collaborated with composer Paul English, premiering his cycle for soprano, flute and piano, “Music of the Sphere: On the Poems of Jalalu’ddin Rumi.” The 2016-17 season brought Gruzglina to National Sawdust, where she performed Worker 2 in the world premiere of Juliet Palmer’s “Sweat” with Center for Contemporary Opera.

A 2015 finalist for the NOA Opera Competition, she was also vocalist in residence at the Incontri Musicali Chamber Festival in Spoleto, Italy, in 2015 and 2016, where she performed repertoire ranging from Handel’s “Venus and Adonis” to John Tavener’s “Akhmatova Songs.” She was awarded a 2016 New Young Artist fellowship at the Victoria Bach Festival, and was a professional fellow at Songfest in summers 2016 and 2017.

Gruzglina has a busy and varied season ahead. She is a 2018-19 artist-in-residence with Chamber Music Silicon Valley, and a member of the de Angelis Vocal Ensemble specializing in early music. She will also be covering Barbarina with Center Stage Opera in January 2019.

Mensa Sonora California

The members of Mensa Sonora California have played together in many different combinations and formations over the years in the Bay Area, at Stanford University, at the San Luis Obispo Mozart Festival, the Aston Magna Festival and elsewhere. Its members regularly appear in such groups as Philharmonia Baroque Orchestra, Jubilate Baroque Orchestra and Archetti Baroque Strings, a Bay Area ensemble dedicated to the concerto repertoire of the 18th century. Their passion is primarily for the music of the 17th and early 18th centuries, the “Wild West” of western music.

On Friday evening of Bach Week, the group will present “Bach and His Students,” a chamber concert in Mission San Luis Obispo.


Charles Sherman

Charles ShermanCharles Sherman, harpsichord, is recognized as one of the leading harpsichord soloists and continuo players in the country, and has been called a “fluent virtuoso” by the Los Angeles Times. Since 1997, he has been a member of Philharmonia Baroque Orchestra and Musica Pacifica. Previously, as a member of the Aulos Ensemble in New York, he toured regularly throughout North America and overseas and recorded extensively. He has also performed with such acclaimed ensembles as the Philadelphia Orchestra, American Baroque, Musica Angelica, Handel and Haydn Society, Emmanuel Music, St. Luke’s Chamber Ensemble and Concert Royal, and at well-known music festivals, including in Marlboro and Saratoga, the New England Bach Festival, early music festivals in Boston and Berkeley, and Aston Magna. Sherman holds degrees in history and musicology from the University of Chicago and in harpsichord performance from the Juilliard School, where he studied with Albert Fuller. His recordings appear on the Dorian, Musical Heritage Society, Koch International, Reference Recordings and BMG labels.




David Wilson

David WilsonDavid Wilson, violin, plays regularly with Ensemble Vermillian and Heartland Baroque, and he is a founding member of Archetti, the Galax Quartet and other ensembles. He has taught baroque violin at Indiana University, where he earned a Doctor of Music degree in early music, and he holds degrees in violin from Bowling Green State University in Ohio and The Catholic University of America in Washington, D.C. He teaches violin and chamber music and directs the orchestra at the San Francisco Early Music Society’s annual Baroque Workshop. In recent years he has performed and recorded classical music of India and the Ottoman Empire with Lux Musica (East Meets West Music and Golden Horn Records), contemporary music with the Galax Quartet (Innova Recordings), and 18th-century concerti with Archetti (Centaur Records). He is the author of "Georg Muffat on Performance Practice," published by Indiana University Press, and of an article on Muffat in the forthcoming Cambridge Encyclopedia of Historical Performance in Music.




Anthony Martin

Anthony MartinAnthony Martin, violin, teaches at Stanford University where he directs the Stanford Baroque Soloists. He plays and has made recordings with numerous early music groups, including Philharmonia Baroque Orchestra, the New Esterházy Quartet, and Orchestra of the Eighteenth Century in Amsterdam.








John Dornenburg

John DornenburgJohn Dornenburg, viola da gamba, is a San Francisco Bay Area performer, teacher and recording artist on the viola da gamba and violone. He has made over 30 CDs of both solo and chamber music, primarily for the Centaur and Meridian labels. He is co-director of the Archetti Baroque String Ensemble, founder of the Baroque ensemble Music’s Re-creation, and director of the Sex Chordae Consort of Viols. He can also be heard with many other leading ensembles in the U.S., and has performed widely in Australia, Europe, the Middle East and New Zealand. Dornenburg is lecturer in viola da gamba at Stanford University, teaches violone at UC Berkeley, and is faculty emeritus in music history at California State University, Sacramento. He had the great privilege to study Baroque music for many years with several of the pioneering legends in period instrument performance, and would like to acknowledge his teachers Nikolaus Harnoncourt and Wieland Kuijken in particular.


Paul Woodring

Paul WoodringPaul Woodring specialized in organ performance at Cal State Northridge, studying under Sam Swartz and David Britton. He then studied organ and harpsichord in Vienna under Otto Bruckner and Elfriede Stadlmann. As an accompanist, Woodring has worked with the Los Angeles Master Chorale, the Mormon Tabernacle Choir and the Los Angeles Opera Company among other well-known ensembles. Locally, he has worked with Opera San Luis Obispo, Festival Mozaic, Central Coast Children’s Choir, San Luis Obispo Master Chorale, Tolosa Strings and several musical theater organizations. He is currently staff accompanist, coach and university organist at Cal Poly. He is music director for Mt. Carmel Lutheran Church and San Luis Obispo United Methodist Church.