Missa Gross senen, Confiteor (from the album “Missa Gross senen / Missa L’ardant desir”)

Bradford Gleim uses the human voice to create authentic connection. As an artist and mentor, he delves deeply into repertoire spanning 600 years, embracing a flexible vocal technique and sometimes unfamiliar approaches in the pursuit of emotionally attuned performances.

Mr. Gleim’s artistic commitment and risk-taking have won him wide recognition. Praised by the Boston Globe for his “voluminous baritone” and “brilliant delivery,” he performs throughout the United States and Europe. On the concert stage he has appeared with leading ensembles and in distinguished festivals including the Handel and Haydn Society, Tage Alter Musik (Regensburg), Boston Baroque, San Francisco Early Music Society, Emmanuel Music, The Borromeo String Quartet, Laus Polyphoniae (Antwerp, Belgium), Floremus (Florence, Italy), and with Boston’s spirited conductorless orchestra A Far Cry. He was featured soloist with Craig Hella Johnson and Conspirare on the 2015 Grammy Award-winning album The Sacred Spirit of Russia.

In his role as singer and Artistic Advisor, he has helped the vocal ensemble Cut Circle find a new sound for Renaissance music that is hearable on the albums Johannes Ockeghem: Les Chansons (2020), Messes Anonymes (2021), and JOSQUIN: I. Motets & Chansons (2023), the first in a series devoted to the complete works of Josquin des Prez.

A proponent of new music, Mr. Gleim collaborates with living composers to bring life to their works, having most recently sung Rick Sowash’s Harvest of a Quiet Eye with the Harvard Radcliffe Chorus and premiered Grüße Bruno ~ Briefe aus Stalingrad (Best Regards Bruno ~ Letters from Stalingrad) by Ralf Gawlick.

Bradford Gleim mentors others to discover their embodied voice. Moving fluidly among heterogeneous vocal techniques and pedagogical traditions, he helps musicians access not only a variety of vocal colors, but also their potential for healing, personal growth, and body awareness. Mr. Gleim guides singers in the Holden Voice Program at Harvard University, in the Applied Music Program at Brown University, and as Associate Professor of Voice at Berklee College of Music. He leads workshops and masterclasses, and offers unique intuitive instruction for vocalists in his private studio.

Jesse Rodin collaborates with modern performers to recreate musical experiences from the distant past. Immersing himself in primary sources, he sings from choirbooks, memorizes melodies and their texts, and recreates performances held at weddings, liturgical ceremonies, and feasts. A passionate teacher, Jesse has directed ensembles and led seminars, workshops, and masterclasses at institutions such as the Schola Cantorum (Basel, Switzerland), the University of Vienna, and the Centre d’Études Supérieures de la Renaissan ce (Tours, France).

Jesse is the Osgood Hooker Professor of Fine Arts at Stanford University. His recent monograph, The Art of Counterpoint from Du Fay to Josquin (Cambridge University Press, 2025), draws on his work with Cut Circle to uncover how fifteenth-century polyphonic music happens in time. His publications also include a volume in honor of Joshua Rifkin (2024), The Cambridge History of Fifteenth-Century Music (2015), a volume of L’homme armé masses for the New Josquin Edition (2014), Josquin’s Rome: Hearing and Composing in the Sistine Chapel (Oxford University Press, 2012), and articles that bring historiographical, analytical, evidentiary, practical, and embodied perspectives to a range of subjects. An in-progress co-edited book aims to clear the ground and offer a new path forward in Josquin studies.

Two projects in the digital humanities aim to make the period as a whole more accessible. Jesse directs the Josquin Research Project (josquin.stanford.edu), a digital tool for exploring a large musical corpus. He co-directs Mapping the Musical Renaissance (renaissancemapping.org), which facilitates basic understanding as well as serendipitous discovery.

Jesse is the recipient of awards and fellowships from the Guggenheim Foundation; the Université Libre de Bruxelles; the American Council of Learned Societies; the American Society of Composers, Authors, and Publishers; the Harvard University Center for Italian Renaissance Studies; the American Musicological Society; and the National Endowment for the Humanities. He has been featured in a variety of public forums, including The New Yorker. He prepares new editions of all the music Cut Circle performs; these are freely available through the Josquin Research Project.

At Stanford Jesse directs the Facsimile Singers, in which students develop native fluency in old musical notation. He has organized symposia on the composer Johannes Okeghem, medieval music pedagogy, musical analysis in the digital age, and regional Italian cooking.

Described as “radiant” by Opera Magazine, recent solo highlights for soprano Sonja DuToit Tengblad include Shostakovich Symphony 14 with A Far Cry, Mahler’s 2nd Symphony with the Boston Philharmonic, Barber’s “Knoxville: Summer of 1915” with the Boston Landmarks Orchestra, Monteverdi’s L’incoronazione di Poppea (Drusilla, Fortuna) with Boston Baroque, Puccini’s Suor Angelica with the Boston Symphony Orchestra and the Lorelei Ensemble, Bach’s St. John Passion with the Handel and Haydn Society, Knussen’s Symphony No. 2 with the Boston Modern Orchestra Project, and her Carnegie Hall and Lincoln Center debuts with the New York City Chamber Orchestra. She was awarded 2nd place in the 2014 American Prize competition’s art song and oratorio division.

A champion of modern music, Ms. Tengblad curated the award-winning touring program Modern Dickinson (www.moderndickinson.com), and launched the recital project BeatSong for soprano and percussion. She sings with the Grammy-winning ensemble Conspirare on tours of Considering Matthew Shepard and is a core member of the Lorelei Ensemble. She founded Beyond Artists in 2019 and with every performance donates to Braver Angels in addition to the Eden Reforestation Project or Singers Of This Age. www.sonjatengblad.com

Described by the Atlanta Journal-Constitution as a dignified and beautiful singer, bass-baritone Paul Max Tipton performs and records in opera, oratorio, chamber music and art song throughout North America, Europe, and Asia. Recent recordings and engagements include Haydn’s Creation with Pacific Symphony, Beethoven’s Symphony No. 9 in Tokyo with Bach Collegium Japan, covering the title role in Mozart’s Le Nozze di Figaro with Handel & Haydn Society under Raphaël Pichon, an album of Nicolaus Bruhns’s solo cantatas for bass with Masaaki Suzuki for the BIS label, the role of Phoebus in Bach Cantata No. 201, Geschwinde, ihr wirbelnden Winde with Dana Marsh and the Washington Bach Consort for the Acis label, Christus in Bach’s St. Matthew Passion at Spoleto Festival USA, Plutone in Monteverdi’s Orfeo with Göteborg Baroque, appearances with Cut Circle in Florence, Antwerp, and Berkeley along with several releases of works by Franco-Flemish composers for the Musique en Wallonie label, and the Bach Mass in B-Minor for Avie Records with Nicholas McGegan and Cantata Collective. In 2023–24 he records seventeenth-century German cantatas for the BIS label with Masaaki Suzuki, returns to Tokyo for Handel Messiah with Bach Collegium Japan, and is a soloist with Bach Collegium San Diego at the annual BachFest Leipzig in Germany. He holds an MMus from Yale University and resides in New York City.