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Fascinated by the cello's origins and the creative process of new music, Elinor Frey plays both period and modern instruments. Berlin Sonatas, her recent release on the Belgian label Passacaille, with Lorenzo Ghielmi on fortepiano, was nominated for a Juno award and won a 2016 Québec Opus Prize. In Summer 2017, she released Fiorè, the world premiere recording of the sonatas of Angelo Maria Fiorè and unknown Italian arias with Canadian soprano Suzie LeBlanc. She has performed dozens of new works including recent commissions for the baroque cello by Scott Godin, Linda Catlin Smith, Ken Ueno, Isaiah Ceccarelli, and Maxime McKinley. In recent years she has performed with Les Idées heureuses, Il Gardellino, Studio de musique ancienne de Montréal, Clavecin en concert, and Theatre of Early Music, as well as with her quartet, Pallade Musica. Frey holds degrees from McGill, Mannes, and Juilliard.
Joëlle Morton is a widely sought performer and teacher, specializing in a variety of period instruments, including Renaissance and Baroque violas da gamba, violoni and double basses. Active primarily as a soloist and chamber musician, Joëlle is Artistic Director for the Scaramella concert series in Toronto and teaches viol and historical double basses at the University of Toronto. Her most recent scholarly work redefines, the full history and repertoire for the viola bastarda. Joëlle earned her doctorate in Early Music Performance at the University of Southern California.
Lucas Harris discovered the lute during his undergraduate studies at Pomona College, where he graduated summa cum laude. He then studied early music in Italy at the Civica scuola di musica di Milano and then in Germany at the Hochschule für Künste Bremen. He moved to Toronto in 2004 and became the regular lutenist for Tafelmusik Baroque Orchestra. He plays with many other ensembles in Canada and the USA, including the Newberry Consort, the Helicon Foundation, and the Smithsonian Chamber Players. He is on faculty at the Tafelmusik Summer and Winter Baroque Institutes, Oberlin Conservatory’s Baroque Performance Institute, and the VEMF’s Baroque Vocal Program