The members and guest artists of The Vivaldi Project include leading soloists, concertmasters, teachers, and musical scholars in the Washington, DC area and around the country.   

Allison EdbergOne of the preeminent performers on baroque and modern violin, Allison Guest Edberg has been praised by The Chicago Sun Times as "impeccable, with unerring intonation and an austere beauty."  Currently the concertmaster of the Indianapolis Baroque Orchestra, a founding member of the early music ensemble Olde Friends, and the education director for the Lafayette Symphony Orchestra, she has performed throughout North America with Apollo's Fire, Chatham Baroque, Ensemble Galilei, the foundling Baroque Orchestra, La Monica, the Washington Bach Consort, and the Vivaldi Project.  Frequently featured at the Bloomington Early Music Festival and the Indianpolis Early Music Festival, Edberg has served on the faculty of the Interlochen Arts Camp as well as those of DePauw University, Indiana State University, Lawrence University, and Ohio State University.  A student of Stanley Ritchie at the Indiana University Early Music Institute, Edberg received a bachelor of music degree from the Peabody Institute of the Johns Hopkins University and a master of music degree from the University of Michigan, where she studied with Camilla Wicks.


 A familiar presence as a continuo instrumentalist and in music of the classical period, bassist ANNE TROUT is deeply devoted to an ongoing exploration of performance practice and aesthetics in music before 1830.  She has performed, recorded or toured with most of the prominent period ensembles in North America including Boston Early Music Festival Orchestra, Philharmonia Baroque, Tafelmusik,  Smithsonian ensembles, American Classical Orchestra.  As a member of the Trinity Baroque Orchestra in New York she performs on the highly regarded weekly Bach Cantata series presented at St. Paul’s Chapel in lower Manhattan adjacent to the World Trade Center site.   She has served as a principal player for many other early ensembles as well including Clarion Society, Opera Lafayette, Boston Bach Ensemble, Handel & Haydn Society, Concert Royal, Boston Baroque, Arcadia Players, Tempesta di Mare, and Emmanuel Music.  Long active primarily in small ensemble and chamber music settings, she plays regularly with REBEL, Aston Magna, and the Green Mountain Project.   

Tours have taken her to many important historic venues including the Esterhazy Palace in Eisenstadt, the Pamphili Palace in Rome, and Royal Albert Hall in London.  In the US she regularly appears at major concert halls such as Alice Tully Hall, Carnegie Hall and Brooklyn Academy of Music in New York, Symphony Hall and Jordan Hall in Boston, Library of Congress and Kennedy Center in Washington DC.  She is widely recorded.  Most notable are two Bach recordings made for Musica Omnia under Julian Wachner – the motets with the Trinity Wall Street Choir and the Christmas Oratorio with the Boston Bach Ensemble;  Schubert’s Trout Quintet with the Atlantis Trio, also for Musica Omnia;  Handel’s early oratorio “Triumph of Time and Truth” under the direction of Daniel Stepner for Aston Magna;  numerous CDs (Haydn and Vivaldi) and live broadcast performances with REBEL. 

Continually engaged by a stimulating range of seasoned artists, audacious mavericks and just-emerging interpreters, she has worked with Christopher Hogwood, Scott Metcalfe, Mark Morris, Jonathan Miller, William Christie, Nicola Benedetti, Andrew Parrott, Nicholas McGegan, Jaap ter Linden, Bernard Labadie, Herve Niquet, Jane Glover, Manfred Kraemer, Susie Napper, Catharine Turocy, Peter Sellars, Dominique LaBelle, among many others.  She teaches in a wide variety of settings, serving as conservatory faculty of Longy School of Music at Bard College, adjunct instructor at the Groton School and Boston College, and masterclass presenter for the Clarion Society and other organizations. 

 An active performer of early music, William Simms appears regularly with Apollo's Fire, the Bach Sinfonia, the Baroque Chamber Orchestra of Colorado, the Folger Consort, and Harmonious Blacksmith.  He has been heard  with the American Opera Theatre, the Baltimore Consort, the Cleveland Opera, Opera Lafayette, the Washington Bach Consort, and Washington National Opera at the Barns at Wolf Trap, the Corcoran Gallery of Art, the Kennedy Center, the Libarary of Congress, and Washington National Cathedral.  Simms received a bachelor of music degree from the College of Wooster and a master of music degree from the Peabody Institute.  Formerly on the faculty at the Interlochen Arts Camp, he currently teaches at Mount St. Mary's University and Hood College, where he founded and directs the Hood Early Music Ensemble.  He has recorded for the Centaur, Dorian, and Electra labels.




HLred.JPGHailed by The Miami Herald for his “superb continuo… brilliantly improvised and ornamented,” Henry Lebedinsky performs on historical keyboards across the United States and the United Kingdom. He currently plays with The Seicento String Band, Triumvir, Quince, Tableau Baroque, and Ensemble Vermillian, and directs the period instrument ensemble The Seicento String Band. He has also performed with The Charlotte Symphony, Seraphic Fire and the Firebird Chamber Orchestra, and Boston Revels, among others. He is the founder of the Music @ St. Alban’s concert series in Davidson, North Carolina, and served as interim Artistic Director of Charlotte Chamber Music, Inc. and Director of Rochester, NY’s The Publick Musick. Mr. Lebedinsky has lectured and led workshops on 17th and 18th century music at the University of Edinburgh, Davidson College, The University of North Carolina at Greensboro, and Appalachian State University. He holds a Master of Music in historical organ performance from the Longy School of Music, where he studied with Peter Sykes. He currently lives in Minnesota, where he serves as interim Director of Music at historic St. Clement’s Episcopal Church in St. Paul, and is a contributing writer at Fanfare magazine.

Violinist, Gesa Kordes, performs with numerous chamber ensembles and Baroque Orchestras on both sides of the Atlantic, including the Washington Bach Consort, Ensemble Musical Offering, Muses’ Delight, Opera Lafayette, Ensemble Tra i Tempi, and the Rheinisches Barockorchester Bonn, as well as the Atlanta Baroque Orchestra. She has toured as soloist and chamber musician in the U.S., Central America, Europe, and Israel and has recorded for NPR, harmonia mundi, FONO, Dorian, and Naxos. She performs frequently at international music festivals, such as the Bloomington, Berkeley, and Boston Early Music Festivals, the Staunton Music Festival, Troisdorf Barock, and the Carmel and Victoria Bach Festivals. Since 1998, Ms. Kordes has been increasingly in demand as teacher and as ensemble director of chamber groups and period orchestras in the U.S. and Europe. After teaching at Indiana University and the University of North Carolina at Greensboro, she joined the faculty of the University of Alabama in Tuscaloosa in August 2009 as the director of the newly-founded Early Chamber Ensembles.

A native Washingtonian, Leslie Nero, spent many years in Ontario and Quebec performing in modern orchestras before returning to the D.C. area, where she is currently an active freelance musician on both modern and baroque violin and viola. In recent years she has performed locally with Opera Lafayette, Modern Musick, Folger Consort, the Handel Choir of Baltimore and the Washington Bach Consort, and has participated in summer early-music festivals in Oberlin, Vancouver, Boston, Toronto, and Albuquerque. In addition to her performing career, Ms. Nero teaches beginning strings for the Alexandria City Public Schools.


Pianist Andrew Willis performs in the United States and abroad on pianos of every period. Noted for his mastery of early keyboard instruments, Willis recorded several Beethoven sonatas in the first complete recording of the cycle on period instruments, a project directed by Malcolm Bilson and presented in concert in New York, Utrecht, Florence, and Palermo, in which his recording of Op. 106 was hailed by The New York Times as “a ‘Hammerklavier’ of rare stature.” He has also recorded Schubert lieder and Rossini songs with soprano Julianne Baird, early‐ Romantic song cycles with soprano Georgine Resick, and music of Rochberg, Schickele, Luening, Kraft, and Ibert with flutist Sue Ann Kahn.

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