Soprano
Jacqueline
Goldgorin was born in L.A., where she
performed the roles of the Mother/ Hansel and Gretel,
Lady Billows and the title role in Suor Angelica. She
received her masters degree from Boston University,
where she performed the role of Lauretta and Maguelone
in Viardot's Cendrillon. Jacqueline received an opera
fellowship under the direction of Sarah Caldwell,
where she performed Musetta, the title role in
Charpentier's Lousie and the Composer in Strauss'
Ariadne auf Naxos. She has also performed the Mozart
Requiem internationally as soloist in Argentina,
Uruguay, and Brazil. Recent projects include
“Shining” a new song cycle by composer Eva
Kendrick, the Countess, Grimgerda in Die Walkure with
New Jersey Concert Opera and the Cousin in Madama
Butterfly with Connecticut Grand Opera and Orchestra.
Pianist
Scott Marosek
performs regularly as a soloist and collaborative
artist. His recent performances in Beijing, Guangzhou,
Jerusalem, Tel Aviv, Los Angeles, Las Vegas, and
Dallas have included appearances at such renowned
venues as Xinghai Hall, the Jerusalem Music Centre,
and the Meyerson Symphony Center. Mr. Marosek has also
performed several solo recitals sponsored by the Van
Cliburn Foundation. In addition to his work as a
performer, Mr. Marosek is an experienced music
educator. He is currently the Adjunct Professor of
Piano at the Southwestern Adventist University
Department of Fine Arts and Music, and has given
master classes at several universities in China. As a
faculty member of the Eastern U.S. Music Camp he
teaches piano, piano literature, and music theory. He
taught for three years at the University of North
Texas College of Music, where he is completing his
Doctorate in Performance. Mr. Marosek holds Masters
and Bachelors degrees from the University of
Missouri-Kansas City Conservatory of Music. His major
teachers have been Adam Wodnicki and Robert Weirich.
Critically acclaimed pianist
Jonathan Korth is
increasingly in demand as a soloist, chamber musician,
and collaborator, having performed recitals across the
United States, Canada, and France. A native of Forest
City, Iowa, he started piano at age 4, and is
currently studying in the DMA program at SUNY Stony
Brook with Gilbert Kalish. Previously, he graduated
from the Peabody Conservatory of Johns Hopkins
University, working with Boris Slutsky and Ann Schein.
In 2002, Mr. Korth made his Carnegie Hall debut at the
Weill Recital Hall under the sponsorship of the La Gesse
Foundation, and returned again in 2003 to present the world
premiere of Robert Sirota’s Mixed Emotions. Recent
concert activities include a tour of Newfoundland, a series
of artist performances at BYU, Drake University, Simpson
College, and Waldorf College, as well as many varied
performances at Stony Brook University and the surrounding
New York metro area. His orchestral appearances include the
Stony Brook Symphony Orchestra (after winning the
school’s concerto competition), as well as the Des
Moines and Fort Dodge Symphonies (after winning their
respective Young Artist Competitions).
Chamber music has always played an integral part in Mr.
Korth’s musical development, and he’s
collaborated with musicians such as Martin Beaver, Alan
Stepansky, Misha Rosenker, Hyunah Yu, and members of many
of America’s leading orchestras. His chamber music
residencies include the Banff Centre, Sarasota, Tuckamore,
and Kneisel Hall (summer ’07) festivals, and he
currently coaches with the faculty at Stony Brook,
including members of the Emerson String Quartet, Colin
Carr, Pam Frank, and Tina Dahl, among others.
Mr. Korth resides on Long Island in New York, and in
addition to his studies teaches piano and coaches chamber
music at Stony Brook University.
Laura Barger
has performed both as a
soloist and chamber musician at the The Lucerne Festival
(Switzerland), the Gamper Festival of Contemporary Music,
Bang on a Can Institute at Mass MOCA, The Banff Centre, The
Institute and Festival for Contemporary Performance, and
throughout the New York area. In addition to
Yarn/Wire, she has performed with Ensemble, Inc.,
Argento Ensemble, Talujon Percussion, and the Stony
Brook Contemporary Chamber Players. Laura holds
performance degrees from the University of
Tennessee-Knoxville (BM) and Stony Brook University
(MM), and is currently pursuing doctoral studies at
Stony Brook.
Isabelle
O’Connell is a dynamic performer
and one of Ireland’s most exciting and
successful pianists. Her performances have taken her
around the United States, Canada, Japan, France,
Germany, Italy and Ireland. She made her New York
Debut recital at Carnegie Hall’s Weill Recital
Hall in January 2002 – only the second Irish
pianist ever to perform there. Receiving a standing
ovation, the New York Concert Review wrote: “She
has the technical prowess… and a spirit and
intelligence to bring it all together.”
Isabelle O’Connell is a committed and energetic
advocate of music by 20th and 21st century composers. She
enjoys premiering new works and both her recital debuts in
New York and Dublin featured premieres by Irish composer
Philip Martin. In 2005 she was selected to participate in a
Carnegie Hall workshop and performance featuring the music
of John Adams, conducted by the composer himself. The New
York Times described it as “
a zesty
account…the ensemble played the piece
brilliantly”. She recently performed at the 2006
Bang on a Can Summer Festival, USA, with composer/singer
Meredith Monk and members of the Bang on a Can All-Stars.
She has also recorded works by Irish composers Ian Wilson
and Frank Corcoran for Lyric FM.
One of the younger generation's most genre-defying
musicians, Canadian violinist, composer, and improviser
Eric km Clark may be
most often heard performing in contemporary,
experimental, and improvisational settings. Clark has
collaborated in performance with many of the world's
most innovative artists and ensembles, including Han
Bennink, Michael Gordon, Guy Maddin, and the
California EAR Unit. His experimental ensemble
projects include Passenger Fish, an electric
groove-based Zappa-like band; and future Hearing
Deprivation™ compositions for Hearing Deprived
musicians, in which he ‘masks’ the
performers’ hearing to create a hermetic canon.
Other notable recent and upcoming appearances include
the ISIM and Re:NEW conferences, in 2007 and 2008
respectively; participation in Wadada Leo
Smith’s SILVER ORCHESTRA at the Hammer Museum at
UCLA; and new music performances with Object
Collection at the Ontological Theater in the East
Village beginning late January through April 2008. For
more information, visit
www.erickmclark.com.
