Soloists
Margriet Tindemans
Margriet Tindemans has performed, recorded, and taught early music on four continents. A 2005 Grammy Nominee, she was named "Best asset to Seattle's classical music scene" in the Seattle Weekly's 2004 "Best of Seattle" issue. She has been called a rare combination of charismatic performing and inspiring teaching, a scholar with a profound knowledge of music, poetry and art of the Middle Ages - "a national treasure". As a player of early stringed instruments, from the medieval fiddle and rebec to baroque viola and viola da gamba, she performs and records with Medieval Strings, Seattle Baroque Orchestra and the Pacific Operaworks. Margriet is a frequently invited guest with the Folger Consort, the Newberry Consort, and other leading early music ensembles. She has performed with both the Seattle Opera and the National Dutch Opera in Amsterdam. In addition to maintaining a busy private studio she is a much sought after director and teacher at many workshops, including the Port Townsend Early Music Workshop, the Pacific Northwest Viols Workshop, the Accademia d'Amore, Viols West, and the Seattle Academy of Opera. Margriet works closely with the Northwest Puppet Center, for whom she has arranged and directed several operas, including The Magic Flute and Don Giovanni, and Francesca Caccini's La Liberazione di Ruggiero. She is a faculty member at Cornish College of the Arts in Seattle.
Vicki Boeckman, Recorder
Vicki Boeckman is an active and passionate performer of all styles of music and plays all sizes of recorders. Her travels and performances have taken her across the United States as well as Denmark, Norway, Sweden, England, Scotland and Germany. Since settling in Seattle in 2004, Vicki has been a featured soloist with the Seattle Baroque Orchestra, the Portland Baroque Orchestra, Portland Opera, Philharmonia Northwest Orchestra, Medieval Women's Choir, Gallery Concerts and the Northwest Girl Choir. She is actively involved in the Seattle Recorder Society and is the Music Director for the Portland Recorder Society. Vicki coaches and teaches at workshops all over the country. She is a faculty member at Cornish College of the Arts in Seattle, and has been on the faculty of the Music Center of the Northwest since 2005. Vicki resided in Denmark from 1981-2004. She taught at the Royal Danish Academy of Music in Copenhagen for 12 years, and at the Ishøj Municipal School of Music for 23 years. She was co-founder of two Danish-based ensembles: Opus 4, and Wood'N'Flutes, and continues to perform with these ensembles as often as she can. Vicki was awarded the 2010 recorder residency at the Sitka Center for Art and Ecology, where her project was to prepare six sonatas by Franceso Barsanti for a CD recording, which will soon be released.
Bill McJohn, Harp
Bill McJohn studied early harps with Cheryl Ann Fulton and medieval music with Margriet Tindemans. He is co-director of the chant ensemble Peregrine, the medieval ensemble Contrafacta, and the Seattle Continuo Ensemble, and performs with the Angelorum Harp Choir and the Medieval Women's Choir.
Peggy Monroe
Peggy Monroe specializes in historical percussion instruments. She has taught and performed across the USA, and in Canada, England, Spain, and Germany. She has written scripts for musical dramas performed by the Medieval Women's Choir and the Early Music Guild, and her many school appearances earned her Early Music America's Bringing History Alive award in 2004. Peggy is the only non-singing member of the Medieval Women's Choir and is featured on the choir's CDs 'River of Red' and 'Laude Novella'.
Marian Seibert, Soloist
No stranger to fans of the Medieval Women's Choir, soprano Marian Seibert is a soloist with the Trinity Consort and the Early Music Guild's Continuo Ensemble. She has performed with many local ensembles and organizations, including the Tudor Choir, St. Mark's Cathedral, the Esoterics, Northwest Baroque, the Early Music Guild, St. James Cathedral, Seattle Baroque Orchestra, Gallery Concerts, Seattle Opera, Northwest Puppet Center, Seattle Experimental Opera, and the Seattle Academy of Opera. She is a featured soloist on the Medieval Women's Choir's second CD, Laude Novella.
Linda Strandberg, Soloist
Soprano Linda Strandberg has appeared in a wide range of musical genres, from medieval chant, Renaissance song, baroque cantata and oratorio, to Romantic art song and contemporary and experimental music. Her solo appearances include performances with the Tudor Choir, the Fisher Ensemble, Choral Arts, Seattle Baroque Orchestra, the Medieval Women's Choir, Baroque Northwest, Seattle Pro Musica, Seattle Chamber Singers, the Northwest Puppet Theater, Seattle Academy of Opera, and on the Early Music Guild, Gallery Concerts, ArtsWest, and Mark Taper Forum concert series. Archbishop Desmond Tutu once proclaimed that she sings like an angel, so Linda feels exceptionally qualified in her role as an active church cantor, soloist, and educator. At Plymouth Congregational Church she is Music Assistant, soprano soloist, and director of the Youth Music Program. At St. James Cathedral she is Assistant Director of the Women of St. James Schola, and a cantor and soloist. She is soprano soloist at Temple Beth Am. Linda works frequently as a recording artist, and can be heard as soloist on the recent 'Halo 4' production. She teaches privately and through Seattle Central Community College. She spends her spare time studying and practicing permaculture.
David Stutz, Soloist
David Stutz is a singer, composer, and recording artist whose two main specialties seem to be early music and bleeding edge contemporary experimental music. He is a longtime member of two highly regarded Northwest vocal ensembles that specialize in early music: The Tudor Choir and Cappella Romana, and he also sings regularly with other Northwest early music ensembles, including Seattle Baroque, Portland Baroque Orchestra, and Pacific Masterworks. David has also sung in, composed, engineered, and/or produced incidental music for hundreds of plays, ballets, films, and CD projects. He performs and records his own electro-acoustic compositions, often using computers and mathematical structures to process field recordings of natural sounds. David enjoys participating in staged works, and his forays there have ranged from medieval mystery plays to grand opera. He has appeared this year as Dr. Bartolo in Rossini's "Il Barbiere di Siviglia", as Grandpa in Aaron Copland's "The Tender Land", and as Coviello in Paisiello's "Pulcinella Vendicato" at the Northwest Puppet Center (where he often has the pleasure of singing with Margriet Tindemans).