Vivaldi’s Griselda and other Baroque tales of Broken Hearts

Thea Lobo, Mezzo
Ashley Roper, Soprano
Dylan Sauerwald, Music Director and Harpsichord

THEA LOBO, mezzo
Hailed as "excellent", "impeccable", "limpidly beautiful", "impressive", "stunning", and "Boston's best", Grammy-nominated mezzo-soprano Thea Lobo's 2016-17 season includes performances with Boston Symphony Orchestra, Bucknell Bach Festival, The Shakespeare Concerts, Halcyon Chamber Series, Callithumpian Consort, Sarasota Choral Society, Concord Chorus, and Guerilla Opera. Upcoming, she will perform with Gloria Musicae, EnsembleNewSRQ, Songeaters, Harvard Musical Association, Machias Bay Chamber Concerts, and more. Lobo has appeared under conductors Gunther Schuller, Harry Christophers, Stephen Stubbs, Joshua Rifkin, Martin Pearlman, Helmut Rilling, and Andris Nelsons, and has been featured by the Firebird Ensemble, Carmel Bach Festival, Boston Baroque, Handel + Haydn Society, The Bermuda Festival, Boston Early Music Festival, and Europäisches Musikfest Stuttgart. Her dedication to new music, art song, and early music has seen her featured on True Concord's Grammy winning recording of Stephen Paulus's 'Prayers & Remembrances', invited to the Carmel Bach Festival as an Adams Fellow, a prizewinner at the Bach Vocal Competition for American Singers, a grant recipient of the Julian Autrey Song Foundation, a featured recitalist for the Boston Portuguese Festival, and performing as a soloist under the direction of composers Steve Reich, Fred Lerdahl, Christian Wolff, Louis Andriessen, and many others. Thea Lobo is a graduate of New England Conservatory and Boston University, and represented by Vocal Artists Management. (

Hailed for her effortless high notes, warm timbre, and vocal agility, coloratura soprano Ashley Roper is a versatile performer and advocate of early and contemporary music.
In 2017/18, Roper makes her European début singing the roles of Aricie in Rameau’s Aricie et Hyppolite and Diana in Cavalli’s La Calisto with Woodhouse Opera Festival in London. Upcoming engagements also include medieval repertoire with early music group Lauda Musicam, a presentation of Baroque music for the Historical Keyboard Society of North America, and two programs with Savannah Baroque: Love and Passion and Donne in Musica, the latter presenting music of female composers of the Baroque era. In the summer, she will return to the Savannah Voice Festival as a second year studio artist under the tutelage of Sherrill Milnes. 
In 2016, Roper was in a featured soloist in Haydn’s Missa brevis Sancti Joannis de Deo, and prior to that she portrayed the role of Josephine in HMS Pinafore presented by Asbury Memorial Theatre. She was a featured soloist on a program of medieval Spanish repertoire with early music ensemble The Goliards, which she has collaborated with since 2010. 
Other past operatic performances include Ännchen in Der Freischütz, Barbarina, La Contessa and Susanna in Le Nozze di Figaro, Erste Dame, Pamina and Papagena in Die Zauberflöte, Fiordiligi in Così fan tutte, and Mabel in The Pirates of Penzance.

Roper has pursued the study of voice, vocal pedagogy, acting, and Alexander Technique with teachers from around the country since 2008. Currently, she studies with Sharon Stephenson, Dr. William Lavonis, and Dr Ron Dennis. She resides in Atlanta, Georgia where she maintains a private studio in addition to her performance schedule. (

Internationally respected cellist and viola da gamba player SHIRLEY HUNT brings fierce imagination and integrity to the music of the Renaissance, Baroque, and contemporary eras.  Praised by The Strad as “stylish and accomplished,” she embraces an eclectic musical life as a soloist and collaborator.

Her recent CD release J.S. Bach Suites & Sonatas Volume One is the first installment in an ambitious three-part recording project featuring Bach’s complete cello suites and viola da gamba sonatas. Early Music America called the disc “a fine debut and one with promise for future projects.” Facts & Arts noted her “soulful renditions,” “high-wire interpretations,” and “resonant, singing tone that stays in the mind.” 

In high demand as viola da gamba soloist and continuo cellist for the Passions, Cantatas, and Concertos of J.S. Bach, Hunt has performed and recorded with the nation's leading period instrument ensembles including Boston Baroque, Handel and Haydn Society, Philharmonia Baroque Orchestra, American Bach Soloists, Portland Baroque Orchestra, American Baroque Orchestra, Musica Angelica, and Bach Collegium San Diego. In 2011 she toured Europe and South America with John Malkovich and Wiener Akademie, and between 2008 and 2010 performed on the adapted viola and harmonic canon in PARTCH, the Los Angeles Harry Partch band.

Hunt has given solo cello recitals at the Berkeley Early Music Festival, the Boston Public Library, King’s Chapel, the Loring-Greenough House, the Early Music Series at the Bryon Colby Barn, and at Spectrum NYC. She has offered living room concerts through Groupmuse and since 2013 she has performed a yearly recital as an artist-in-residence at The Museum of Jurassic Technology in Los Angeles. She has also appeared at the Phillips Collection in Washington, D.C. and at the Metropolitan Museum of Art where she performed on a viola da gamba from the museum’s collection. In 2014 she debuted at La Jolla Music Society SummerFest where she performed chamber works by Haydn on the baryton, an unusual viol-family instrument from the Esterházy court. In 2015-2016 she debuted with the Bach Society of Charleston and performed as guest principal cellist with Mercury.  2016-2017 highlights include debut performances with Three Notch'd Road, TENET, and The Sebastians, as well as performances at National Sawdust, MetLiveArts, Princeton Sound Kitchen, and the Isabella Stewart Gardner Museum.  

In addition to her concert appearances, Hunt can be heard on the Parma, NCA, Centaur, and Origin Classical labels as well as on numerous pop/rock albums and feature film soundtracks. She has served as a Visiting Teaching Artist at CalArts, given masterclasses at the University of Wisconsin and Adelphi University, and appeared as a guest speaker at Harvard University’s Quincy House and at the Boston Early Music Festival Young Artist Training Program. She has been an artist-in-residence at The Banff Centre and was a recipient of the Voices of Music Young Artist Award.

Her primary studies were with Hans Jensen at Northwestern University and with Ronald Leonard at the University of Southern California. She also studied period performance with Mary Springfels and Phoebe Carrai.

Originally from Portland, Oregon, Hunt was born into a musical family and is the younger sister of the late mezzo-soprano Lorraine Hunt Lieberson. Hunt divides her time between Boston and New York City. She performs on a 1775 English cello by William Forster Sr. (

DYLAN SAUERWALD, music director and harpsichord
Dylan Sauerwald is a distinctive historical keyboardist and conductor, known for his inventive continuo playing and passion for underperformed works of the seventeenth and eighteenth centuries. Sauerwald has been music director of Helios Early Opera's critically acclaimed productions of Charpentier's David et Jonathas, Cavalli's Artemisia, and Telemann's Pimpinone. He has been music director for staged productions by the Cantanti Project, Ensemble Musica Humana, Ensemble la Félicité and others, leading repertoire spanning from Hildegard of Bingen to Mozart. He is a regular continuo player and répétiteur at the Amherst Early Music Festival and the Tafelmusik Baroque Summer Institute opera program.

A versatile keyboardist, Sauerwald is featured on harpsichord, organ and lautenwerck on the world premiere recording of David Funck's Stricturae Viola di Gambicae (New Focus recordings), on fortepiano in the Handel & Haydn Society's latest recording of Haydn's orchestral music (Coro records), and as harpsichord soloist in Unitas Ensemble's upcoming release of Manuel de Falla's Retablo del Maese Pedro (Naxos). His harpsichord playing is featured in the BBC historical drama Poldark. He has appeared as soloist with Emmanuel Music, the Unitas Ensemble, and the Cambridge Concentus, performing the complete concertos for multiple harpsichords of J.S. Bach alongside Peter Sykes, Matthew Hall and Joshua Rifkin. His continuo playing has been compared to “the best jazz rhythm sections” (Boston Musical Intelligencer), and his solo playing hailed as “impeccable,” (Local arts live, Philadelphia) and of “the highest level” (Boston Musical Intelligencer).

Dylan directs Polyphemus, a monthly early music series in lower Manhattan, and can be heard performing with with the Handel & Haydn Society, Emmanuel Music, TENET and others. He is director of music at the New Dorp Moravian Church on Staten Island, and he holds degrees in historical performance from McGill and Boston University. (