A sound and video recording of the entire concert is available on request, for study purposes only.
Adam Cigman-Mark (piano) is a sought-after pianist and accompanist. He has performed with ensembles and orchestras in venues across the UK, including the Royal Festival Hall, the Snape Maltings Concert Hall, and the Cadogan Hall. As a vocal coach and repetiteur, he has worked on La tragédie de Carmen (Berliner Philharmoniker Baden-Baden Easter Festival), Hector Parra’s Wilde (Schwetzingen SWR Festival), Michel Tabachnik’s Benjamin, dernière nuit (Opéra National de Lyon), and Schreker’s Der Ferne Klang (National Theater Mannheim) and Die Gezeichneten (Opéra National de Lyon). He has played for leading conductors including Mark Elder, John Eliot Gardiner and Marin Alsop. He currently studies Piano Accompaniment at the Royal Academy of Music, where he is taught by Ian Brown and James Baillieu, and previously read English Literature at Clare College, Cambridge. Upcoming projects include developing a 20th century music collective – EntArt – celebrating the work of Jewish composers banned under the Nazis.
Catherine Groom (mezzo-soprano, harp, and recorder) is Director of Music here at Fitzwilliam College. When not engaged in organising concerts, managing things musical around College or conducting in this Chapel, she is a freelance player of historical harps and recorders, a singer and a writer on music. She has worked for the Royal Shakespeare Company (including on their West End run of their adaptations of Hilary Mantel’s acclaimed novels Wolf Hall and Bring Up The Bodies); in seasons for Shakespeare’s Globe Theatre; for various BBC and independent television channels; extensively within the liturgical musical world and in opera pits across the UK and further afield in a great many operas by composers from Cavalli, Monteverdi to Handel to Britten and beyond. Her writing on music has been commissioned by many print publications and record labels. Cat read Music at St. Catherine’s College, Oxford and trained as a performer at the Guildhall School of Music and Drama and at the Royal Academy of Music. She has particular performance-research interests in sixteenth-century Italian convent composition, in Monteverdi opera, in the intersection of plainsong and folksong, and in live-scoring contemporary theatre, and has been known (in collaboration with her one-year-old) to sabotage RhymeTime at the local library with added ninths.
Rachel Kay (cello) is currently studying for an MPhil in Development Studies at Pembroke College, Cambridge. Prior to this, she spent a year at the Royal Academy of Music taking postgraduate studies, where she learnt modern cello with Guy Johnston and baroque cello with Joseph Crouch. Whilst at the Royal Academy she particularly enjoyed learning baroque cello for the first time, and performed with the Academy Baroque Orchestra. This year Rachel has become a member of Endelienta Baroque, a group composed of Cambridge students and alumni with whom she has given performances in King’s Chapel and Jesus Chapel. She is also a member of the Janus Ensemble, a London-based chamber orchestra, and the Façade Ensemble, which specialises in chamber music of the 20th century. She has performed in masterclasses with Bengt Forsberg, Jonathan Manson and David Waterman. Rachel was at Pembroke College for her undergraduate degree in Human, Social and Political Science and graduated with a First Class Honours. An active chamber musician, she was granted a place on the Cambridge University Instrumental Award Scheme through which she received regular coaching from acclaimed chamber musicians. She has given both solo and chamber recitals at major venues in Cambridge including the West Road Concert Hall and Kettle’s Yard. A highlight has been a performance of the Vivaldi double cello concerto with the Cambridge University String Ensemble.
Pierre Riley (harpsichord) trained both as a collaborative pianist and as a soloist. After earning degrees in performance from the Université de Montréal under the guidance of Paul Stewart, he furthered his training at the Guildhall School of Music & Drama in London, where his teachers included Charles Owen, Joan Havill, and Eugene Asti. In addition to his activity as a recitalist he has taken part in a wide range of musical ventures, including lecture recitals, outreach performances in schools, film score recordings, and interdisciplinary productions combining music and theatre. Through master-classes and other projects, Pierre’s practice as a performer has been enriched by encounters with distinguished pedagogues such as John Perry, Susan Manoff, Pascal Devoyon, Jean-Claude Vanden-Eynden, Iain Burnside, and Graham Johnson. Currently based in Cambridge, he is exploring the performance of Bach’s keyboard works in early twentieth century Britain in the context of a PhD in music. Pierre’s research interests stem from his practice as a performer: in addition to the aesthetic issues surrounding Bach pianism and the present-day pianist’s relationship to the recorded past, he has an active curiosity about collaborative creativity in the context of song accompaniment.
Ella Taylor (soprano) is currently studying for a Masters in Performance at the Royal Academy of Music under the tuition of Elizabeth Ritchie and Iain Ledingham, having graduated from the University of Sheffield with a First Class Honours Degree in Music. Ella has a particular interest in performing and premiering new music. She has recently performed at the Leeds Lieder Festival Composer and Poets Forum as part of the Day of Song, performed Schönberg’s Pierrot Lunaire and Freya Waley-Cohen’s We Phonecian Sailors at the Royal Academy of Music, and in opera scenes as Agnès from Written on Skin, as well as premiering Jonathan Higgins’s Schutzwall, playing the character of Susanne Meyer at the Tête à Tête festival. Her other roles include Miles from Britten’s The Turn of the Screw, Galatea in Handel’s Acis and Galatea, and La Contessa in Mozart’s Le Nozze di Figaro, as well as performing scenes as the Governess from The Turn of the Screw. A keen recitalist and collaborator, she has an on-going relationship with the ensemble 4 Girls 4 Harps, as well as being a member of the Royal Academy of Music’s prestigious Song Circle and a Royal Academy of Music/Kohn Foundation Bach cantata scholar. She works regularly with the Strand Chamber Orchestra, most recently performing Mahler’s Rückert Lieder with them. She has performed with Ensemble 360 in Music in the Round’s May Festival, singing John Tavener’s Akhmatova Songs. She was commended in the Mozart Singing Competition, and was runner-up the David Clover Singers Platform Recital Prize, as well as the Lesley Garrett Opera Prize. She was also a recipient of BBC Chorister of the Year. Ella is generously supported by the Sheffield Church Burgesses Trust, the Josephine Baker Trust and the Harold Wrigley Alcock Scholarship, awarded by the Royal Academy of Music. www.ellataylorsoprano.co.uk
Anna-Luise Wagner (soprano) is in the second year of an AHRC-funded PhD at Selwyn College, researching the career of seventeenth-century writer, singer, and courtesan Margherita Costa. She completed her MPhil and undergraduate degree reading Italian and French at Clare College and has worked at OneStage Specialist Concert Tours in London. Operatic and theatrical roles include Adina in Donizetti’s L’elisir d’amore (CUOS), Zenobia in Händel’s Radamisto (CUOS), Despina in Mozart’s Così fan tutte (CUOS), the title role in Holst’s Savitri (CUOS), Alison in Holst’s The Wandering Scholar (CCMS), Marceline in Beaumarchais’s Le Mariage de Figaro (Brickhouse Theatre), Cléone in Racine’s Andromaque (Pembroke Players), Papagena in Mozart’s Die Zauberflöte and Dew Fairy in Humperdinck’s Hänsel und Gretel (Talentwerkstatt 43). She is also preparing for The Artist in Joanna Ward’s new opera Hunger at the Edinburgh Fringe. She has performed as a soloist in Mozart’s Requiem, Haydn’s Die Schöpfung, Vivaldi’s Gloria, Jenkin’s The Armed Man, and Bach’s Cantata No. 127. During her MPhil, Anna won second prize at the Clare College Song Competition and gave a recital in St Bride’s Church, Fleet Street, as part of the scheme. During her undergraduate, she was a Clare College choral scholar under Graham Ross. She still sings with the University Chamber Choir and continues to take lessons with Nicola-Jane Kemp. When not on stage, she drinks wine with her fabulous Writing Women in History research group.