Richard Egarr has worked with all types of keyboards and performed repertoire ranging from fifteenth-century organ intabulations to Dussek and Chopin on early pianos, to Berg and Maxwell Davies on modern piano. He is in great demand as a soloist and chamber musician, as well as a conductor. Richard Egarr is director of the Amsterdam based Academy of the Begijnhof, and is as Christopher Hogwood’s successor as Music Director of the Academy of Ancient Music. As soloist, Mr. Egarr has performed extensively in the major music festivals throughout Europe and Japan. He has toured the USA in 2006 with Bach’s Goldberg Variations to great critical acclaim. Mr. Egarr has also appeared as orchestral soloist, recently with the Dutch Radio Chamber Orchestra, with the Orchestra of the 18th Century, and with the Netherlands Wind Ensemble. Mr. Egarr records exclusively for Harmonia Mundi USA. Recent recordings include ‘Per Cembalo Solo’ (Gramophone Editor’s Choice), Bach’s Goldberg Variations and a disc with Fantasies & Rondos by Mozart.

Jed Wentz began his flute studies with Walter Mayhall in Youngstown, Ohio, and continued studying with James Walker in Pittsburgh, Pennsylvania. He studied modern and historical flutes at the Oberlin Conservatory of Music with Robert Willoughby and Michael Lynn, and received a Soloist's Diploma from the Royal Conservatory in The Hague after three years with Barthold Kuijken. He has performed and recorded with groups such as Musica Antiqua Koln, Les Musiciens du Louvre, Capriccio Stravagante Paris and the Gabrielli Consort. In 1992 he founded Musica ad Rhenum, with whom he has recorded more than 20 CDs both as flutist and conductor. The Fondazione Cini Venetia awarded his recording of the complete flute sonatas of Locatelli as the Best Recording of Italian Music 1995. Mr. Wentz teaches at the Amsterdam Conservatory of Music, and lectures regularly on performance practice at the Royal Academy of Music in London. He has published articles in Early Music, Concerto, and Tijdschrijft voor Oude Muziek. He is pursuing his doctorate through Leiden University, with his research centering on the relationship between 18th-century staging and tempo in the tragedie en musique.

Mimi Mitchell performs on renaissance and baroque violins as a soloist, chamber musician, concert-mistress, orchestral musician and director. Combining her musicological background (M.M., Ric University) with her baroque violin studies with Jaap Schröder (Sweelinck Conservatory, Amsterdam), she has won recognition in both fields, including first prize at the Early Music Network Young Artists’ Competition (London), first prize at the Erwin Bodky Competition (Boston), and numerous research and performing grants. She performs and records extensively with The Lock Consort and In Stil Moderno, as well as with early music ensembles such as Anima Eterna, Currende, London Baroque and The Parley of Instruments. In demand as a speaker and teacher, she has given lectures, masterclasses and courses in the Netherlands, France, Germany, Croatia and the USA.

Jennifer Lane currently teaches at the University of North Texas, having held positions at Stanford University and at the University of Kentucky in Lexington. She has some fifty CD recordings to her credit, mostly of 17th and 18th century repertoire. Her films include Dido & Aeneas, with the Mark Morris Dance Group and Tafelmusik, in which she sings the dual roles of Dido/Sorceress, appearing on camera. She has been featured in prestigious festivals and productions worldwide, singing principal roles with SFO, NYCO, Metropolitan Opera, Aix-en-Provence, Göttingen Handel Festspiel, Chatelet, Caen, Monte Carlo, and many others. She has directed Baroque opera productions at Stanford, UK, the Lake Placid Institute and the Staunton, VA Blackfriars Theatre (an exact replica of the Shakespeare original), and has given master classes at Royal Academy, San Francisco Conservatory, Mannes, and Peabody Institute, among others. At Stanford, she created a vocal and instrumental Collegium Musicum which performed, among other things, excerpts from Orfeo and The Tempest.
This year she sang Carmen in the Peter Brook adaptation based on the original Merimée play, directed a production of Handel's Semele, also singing Juno/Ino, at the Blackfriars Theatre, and is presently involved in an ongoing celebration throughout Spain with the ensemble Capella de Ministrers of the 400th anniversary of Monteverdi's Orfeo, singing the dual roles of Messaggiera/Speranza.

Mary Springfels (viola da gamba) recently retired as Musician-in-Residence at the Newberry Library, where she had been Musician-in-Residence since 1982 and was the founder of the Newberry Consort. A veteran of the early music movement in America, she has performed and recorded extensively with such ensembles as the New York Pro Musica, the Waverly Consort, Concert Royal, Sequentia, Philharmonia Baroque Orchestra, the Seattle Baroque Orchestra, Music of the Baroque, Musica Sacra, the Marlborough Festival, the New York City Opera, and Chicago Opera Theater, where she also serves as an artistic advisor. In Chicago, Ms. Springfels is a Senior Lecturer at both the University of Chicago and Northwestern University, and is much in demand as a teacher and player in summer festivals throughout the US, among them the San Francisco, Madison, and Amherst Early Music Festivals, and the Conclave of the Viola da Gamba Society of America. In 2004, she delivered the keynote address to the Berkeley Festival and Exhibition for Early Music America. She can be heard on over two dozen recordings, ten of which are critically acclaimed Newberry Consort projects, including Puzzles and Perfect Beauty: Italian Music at the End of the Middle Ages, released this year by Noyse Productions. Ms Springfels has recently moved to Santa Fe where she is active in safe environment activities