The Bach Project

about the program

The Bach Project re-imagines Cantata 97: In Allen Meinen Taten of Johann Sebastian Bach for four singers, cello, violin, keyboard and vibraphone. This innovative program offers a space of meditation on questions and responses to major themes at work in Bach's worldview, as well as contemporary society: doubt and faith, hatred and tolerance, injustice and peace.

The cantata is interrupted with material that is contrapuntal to Bach's statements of faith -- including poetry and dramatic text from Kaveh Akbar, Adam Zagajewski, Lillian Hellman, and Rainer Maria Rilke and musical material such as Haitian folk songs, gospel music, Arvo Pärt, Nirvana and original compositions.

Created collectively by the ensemble to celebrate and challenge our shared humanity, The Bach Project is a kaleidoscopic meditation on what it is to be human.

Click above to view the official promo video of The Bach Project

meet the artists

New York native  Manami Mizumoto  started her lifelong relationship with music at age 3 on the violin. Early exposure to chamber music both at home and later in her studies, sparked in her a devoted love of collaboration. This led to a fascination with performing contemporary music and working with living composers, which recently led to a project to benefit women’s shelters in NYC. With Uhuru Quartet, a group she is a founding member of, Manami co-created and led a songwriting workshop as well as a benefit concert with composer Sato Matsui at the Women In Need shelter, and hopes to continue growing this project with more composer-collaborators and shelters in the future. Her driving curiosity is currently in exploring the dialogue between ancient and contemporary thoughts, as well as the dichotomy between nature and human development. Manami currently studies at the Juilliard School, where she is in the Historical Performance program for her Masters’ degree.

New York native Manami Mizumoto started her lifelong relationship with music at age 3 on the violin. Early exposure to chamber music both at home and later in her studies, sparked in her a devoted love of collaboration. This led to a fascination with performing contemporary music and working with living composers, which recently led to a project to benefit women’s shelters in NYC. With Uhuru Quartet, a group she is a founding member of, Manami co-created and led a songwriting workshop as well as a benefit concert with composer Sato Matsui at the Women In Need shelter, and hopes to continue growing this project with more composer-collaborators and shelters in the future. Her driving curiosity is currently in exploring the dialogue between ancient and contemporary thoughts, as well as the dichotomy between nature and human development. Manami currently studies at the Juilliard School, where she is in the Historical Performance program for her Masters’ degree.

Julian Loida  is a Boston-based percussionist, composer, and producer. Loida’s musical curiosity and open-mindedness has propelled him towards a wide-range of sounds, genres, and artistic endeavors. He’s performed jazz, folk, and classical, collaborating with dancers, visual artists, songwriters/composers, and musicians of all stripes. Loida often writes and arranges for his projects and ensembles (the Cuban/Brazilian band INÃ, jazz quintet Mojubá, chamber-folk band   Night Tree  ), and his music has been featured in film. His interdisciplinary projects aim at breaking down artistic barriers. The evening-length solo-project  Recital of Dedications  incorporates speech, visual media, and music into a series of dedications to individuals, historical moments, and more. In 2018, he released the album   Bach LIVE!   ,  featuring J.S. Bach’s music arranged for percussion. Loida’s upcoming 2019 release,  Wallflower , marks his solo-album debut, and also provides the clearest distillation of his voice as a composer to date. In 2017, he received his Master’s Degree in Classical Percussion from New England Conservatory.

Julian Loida is a Boston-based percussionist, composer, and producer. Loida’s musical curiosity and open-mindedness has propelled him towards a wide-range of sounds, genres, and artistic endeavors. He’s performed jazz, folk, and classical, collaborating with dancers, visual artists, songwriters/composers, and musicians of all stripes. Loida often writes and arranges for his projects and ensembles (the Cuban/Brazilian band INÃ, jazz quintet Mojubá, chamber-folk band Night Tree), and his music has been featured in film. His interdisciplinary projects aim at breaking down artistic barriers. The evening-length solo-project Recital of Dedications incorporates speech, visual media, and music into a series of dedications to individuals, historical moments, and more. In 2018, he released the album Bach LIVE!, featuring J.S. Bach’s music arranged for percussion. Loida’s upcoming 2019 release, Wallflower, marks his solo-album debut, and also provides the clearest distillation of his voice as a composer to date. In 2017, he received his Master’s Degree in Classical Percussion from New England Conservatory.

Heralded as, "a standout," (Albany Times Union) soprano  Elaine Daiber 's "shadowy, unfolding beauty,” has garnered her much acclaim on the operatic, concert and recital stages. Performance highlights from the 18/19 season include the role of Countess Almaviva in her first  Le Nozze di Figaro , conducted by Robert Tweten, soprano soloist in Orff’s  Carmina Burana  and Dvorak's  Te deum  with Symphony Pro Musica, and a return to the Tanglewood Music Center as a second year Vocal Fellow where she sang the principal role of Dede in a new production of Leonard Bernstein's  A Quiet Place.  A recent graduate of the Bard Conservatory Vocal Arts Program, she will begin her candidacy as the Artist Diploma in Opera Studies at the New England Conservatory this coming fall.

Heralded as, "a standout," (Albany Times Union) soprano Elaine Daiber's "shadowy, unfolding beauty,” has garnered her much acclaim on the operatic, concert and recital stages. Performance highlights from the 18/19 season include the role of Countess Almaviva in her first Le Nozze di Figaro, conducted by Robert Tweten, soprano soloist in Orff’s Carmina Burana and Dvorak's Te deum with Symphony Pro Musica, and a return to the Tanglewood Music Center as a second year Vocal Fellow where she sang the principal role of Dede in a new production of Leonard Bernstein's A Quiet Place. A recent graduate of the Bard Conservatory Vocal Arts Program, she will begin her candidacy as the Artist Diploma in Opera Studies at the New England Conservatory this coming fall.

Francis Yun  began playing the harpsichord while still a serious student of piano. He soon became enamored with the expressive capabilities of the harpsichord and became passionate about the music of the seventeenth and eighteenth centuries. He has performed throughout the United States in both solo and chamber recitals and has served as a continuo player for many orchestras, including The New York Strings Orchestra, Apollo’s Fire, and Juilliard415. Mr. Yun is also a strong advocate for new music written for the harpsichord. He has commissioned several new works for the instrument and has also appeared as soloist with the University of Michigan Symphony Orchestra where he premiered a new harpsichord concerto. Mr. Yun also hosts a podcast, “So Many Wrong Notes,” where he and his co-host, Jeannette Fang, discuss issues that face many emerging music professionals. More can be found at  somanywrongnotes.com

Francis Yun began playing the harpsichord while still a serious student of piano. He soon became enamored with the expressive capabilities of the harpsichord and became passionate about the music of the seventeenth and eighteenth centuries. He has performed throughout the United States in both solo and chamber recitals and has served as a continuo player for many orchestras, including The New York Strings Orchestra, Apollo’s Fire, and Juilliard415. Mr. Yun is also a strong advocate for new music written for the harpsichord. He has commissioned several new works for the instrument and has also appeared as soloist with the University of Michigan Symphony Orchestra where he premiered a new harpsichord concerto. Mr. Yun also hosts a podcast, “So Many Wrong Notes,” where he and his co-host, Jeannette Fang, discuss issues that face many emerging music professionals. More can be found at somanywrongnotes.com

Praised for his “lovely, nuanced tenor” (Boston Musical Intelligencer),  Daniel McGrew  is an active performer of a broad range of repertoires spanning opera, musical theatre, early, and new music. Recently at Tanglewood, he appeared as François in Bernstein’s  A Quiet Place  and participated in the annual Festival of Contemporary Music. An early music specialist, Daniel has performed Bach with conductors including Matthew Halls, John Harbison, David Hill, and Masaaki Suzuki, and toured India and the Baltic region with  Juilliard415  and Yale University’s Schola Cantorum. He participated in the symphonic premier of James Lapine’s  Sondheim on Sondheim  with the Boston Pops Orchestra and appeared in David Loud’s Sondheim review,  A Good Thing Going.  Daniel holds degrees from Oberlin Conservatory and Yale School of Music; he is currently pursuing a DMA at the University of Michigan.

Praised for his “lovely, nuanced tenor” (Boston Musical Intelligencer), Daniel McGrew is an active performer of a broad range of repertoires spanning opera, musical theatre, early, and new music. Recently at Tanglewood, he appeared as François in Bernstein’s A Quiet Place and participated in the annual Festival of Contemporary Music. An early music specialist, Daniel has performed Bach with conductors including Matthew Halls, John Harbison, David Hill, and Masaaki Suzuki, and toured India and the Baltic region with Juilliard415 and Yale University’s Schola Cantorum. He participated in the symphonic premier of James Lapine’s Sondheim on Sondheim with the Boston Pops Orchestra and appeared in David Loud’s Sondheim review, A Good Thing Going. Daniel holds degrees from Oberlin Conservatory and Yale School of Music; he is currently pursuing a DMA at the University of Michigan.

Brooklyn multi-instrumentalist  Aaron Stokes  made his musical start on a 20-dollar Fisher-Price keyboard. Since then he’s performed alongside top artists such as Solange Knowles, Chris Martin and The Kronos Quartet, crisscrossing the uncharted path between Pop and Classical genres. Aaron began studying church organ at age 3, where he began to exercise his musical capabilities rooted deeply in gospel and contemporary forms of music. Not stopping there, Aaron’s fervent desire for music led him to the cello where he embarked on his journey through classical studies. Aaron’s dedication to his instrument has led to notable performances at Carnegie Hall, The Grammys, The United Nations Head Quarters, Lincoln Center, and Radio City Music Hall. On top of his his solo performances, Aaron is an active member of the Collaborative Arts Ensemble and the Association of Dominican Classical Artists. Aaron is also the founder of his very own business, Stokes Strings Conservatory. Through his business, he strives to enrich the lives of at-risk youth with weekly strings and piano tutorship.

Brooklyn multi-instrumentalist Aaron Stokes made his musical start on a 20-dollar Fisher-Price keyboard. Since then he’s performed alongside top artists such as Solange Knowles, Chris Martin and The Kronos Quartet, crisscrossing the uncharted path between Pop and Classical genres. Aaron began studying church organ at age 3, where he began to exercise his musical capabilities rooted deeply in gospel and contemporary forms of music. Not stopping there, Aaron’s fervent desire for music led him to the cello where he embarked on his journey through classical studies. Aaron’s dedication to his instrument has led to notable performances at Carnegie Hall, The Grammys, The United Nations Head Quarters, Lincoln Center, and Radio City Music Hall. On top of his his solo performances, Aaron is an active member of the Collaborative Arts Ensemble and the Association of Dominican Classical Artists. Aaron is also the founder of his very own business, Stokes Strings Conservatory. Through his business, he strives to enrich the lives of at-risk youth with weekly strings and piano tutorship.

Praised for his “burnished tones and focused phrasing,” baritone  Jean Bernard Cerin  has charmed audiences throughout the United States, France, Austria, and his native Haiti. A gifted recitalist, Jean Bernard won the Gerard Souzay Prize for best performance of a French Melodie in the 2018 Joy in Singing International Song Competition. With his Duo 1717 partner, pianist Veena Kulkarni-Rankin, he gives recitals throughout the country redefining the limits of a traditional song recital. On the concert stage, this season’s highlights included debuts with American Bach Soloists in San Francisco, Philadelphia Chamber Society’s Gamut Bach Ensemble, Piffaro Renaissance Wind Ensemble and Louisville’s Bourbon Baroque alongside returns to the Philadelphia Bach Festival and the Mendelssohn Club of Philadelphia.

Praised for his “burnished tones and focused phrasing,” baritone Jean Bernard Cerin has charmed audiences throughout the United States, France, Austria, and his native Haiti. A gifted recitalist, Jean Bernard won the Gerard Souzay Prize for best performance of a French Melodie in the 2018 Joy in Singing International Song Competition. With his Duo 1717 partner, pianist Veena Kulkarni-Rankin, he gives recitals throughout the country redefining the limits of a traditional song recital. On the concert stage, this season’s highlights included debuts with American Bach Soloists in San Francisco, Philadelphia Chamber Society’s Gamut Bach Ensemble, Piffaro Renaissance Wind Ensemble and Louisville’s Bourbon Baroque alongside returns to the Philadelphia Bach Festival and the Mendelssohn Club of Philadelphia.

Mezzo-soprano  Olivia Cosio , originally from San Francisco, CA, is a Master of Music student in Vocal Arts at The Juilliard School. She will tour to Europe with Juilliard this coming June, performing Second Witch in Purcell’s “Dido and Aeneas” with performances at London’s Holland Park and Versaille’s Opéra Royal. She will be a mezzo-soprano fellow at Tanglewood this summer where, last year, she performed Bach cantatas conducted by John Harbison, the world premiere of Michael Gandolfi’s “In America”, and the role of Susie in Bernstein’s “A Quiet Place”. Olivia received her Bachelor of Music degree from the Oberlin Conservatory, where she performed Cherubino in Mozart’s “Le nozze di Figaro”, Dorothée in Massenet’s “Cendrillon”, and Bradamante in Handel’s “Alcina”. Olivia has worked with world-renowned artists such as Dawn Upshaw, Marilyn Horne, Isabel Leonard, and Stephanie Blythe. In addition to her vocal studies, Olivia is also an experienced educator, having held teaching fellowships with both the Breakthrough Collaborative and Juilliard’s Music Advancement Program.

Mezzo-soprano Olivia Cosio, originally from San Francisco, CA, is a Master of Music student in Vocal Arts at The Juilliard School. She will tour to Europe with Juilliard this coming June, performing Second Witch in Purcell’s “Dido and Aeneas” with performances at London’s Holland Park and Versaille’s Opéra Royal. She will be a mezzo-soprano fellow at Tanglewood this summer where, last year, she performed Bach cantatas conducted by John Harbison, the world premiere of Michael Gandolfi’s “In America”, and the role of Susie in Bernstein’s “A Quiet Place”. Olivia received her Bachelor of Music degree from the Oberlin Conservatory, where she performed Cherubino in Mozart’s “Le nozze di Figaro”, Dorothée in Massenet’s “Cendrillon”, and Bradamante in Handel’s “Alcina”. Olivia has worked with world-renowned artists such as Dawn Upshaw, Marilyn Horne, Isabel Leonard, and Stephanie Blythe. In addition to her vocal studies, Olivia is also an experienced educator, having held teaching fellowships with both the Breakthrough Collaborative and Juilliard’s Music Advancement Program.

Philip Stoddard  is an award-winning actor, singer, and director. Favorite credits include the title role in Mozart's  Don Giovanni  and Tommy Albright in  Brigadoon  at the Chautauqua Institution, the title role in  Woyzeck , the Colonel in  Father Comes Home From the Wars , Dorian Belle in the world premiere of  P.Y.G. , Agis in  The Triumph of Love , Cloten in  Cymbeline , Ferryman in Britten’s  Curlew River . He was a Second Place winner in the 2018 Lotte Lenya Vocal Competition and is co-founder of  OperaComp : the first interdivisional opera development laboratory at Juilliard, which culminated in the world premiere of six new operas at National Sawdust in 2018. He holds a Bachelor of Music from Juilliard's Marcus Institute for Vocal Arts and an MFA in Acting from Juilliard’s Drama Division. Recent engagements include Jud in  Oklahoma!  at the Weston Playhouse, directing and co-writing the world premiere of  Echo & Narcissus  with Satellite Collective at BAM, curating and directing  The Bach Project  with Collaborative Arts Ensemble.  www.philiptstoddard.com

Philip Stoddard is an award-winning actor, singer, and director. Favorite credits include the title role in Mozart's Don Giovanni and Tommy Albright in Brigadoon at the Chautauqua Institution, the title role in Woyzeck, the Colonel in Father Comes Home From the Wars, Dorian Belle in the world premiere of P.Y.G., Agis in The Triumph of Love, Cloten in Cymbeline, Ferryman in Britten’s Curlew River. He was a Second Place winner in the 2018 Lotte Lenya Vocal Competition and is co-founder of OperaComp: the first interdivisional opera development laboratory at Juilliard, which culminated in the world premiere of six new operas at National Sawdust in 2018. He holds a Bachelor of Music from Juilliard's Marcus Institute for Vocal Arts and an MFA in Acting from Juilliard’s Drama Division. Recent engagements include Jud in Oklahoma! at the Weston Playhouse, directing and co-writing the world premiere of Echo & Narcissus with Satellite Collective at BAM, curating and directing The Bach Project with Collaborative Arts Ensemble. www.philiptstoddard.com

The company after the NYC premiere

The company after the NYC premiere

 

What Audiences Are Saying

This program’s beauty... emanates from each artist’s reflection on their individual religious and spiritual realities, and sharing those memories so fully. Doing this through poetry, ritual and music - whether classical, modern, folk, or gospel - made the performance deeply personal, while at once genuinely artistic
— NYC Audience Member
I was exhilarated by the experience of seeing The Bach Project... Collaborative Arts Ensemble is creating the type of cutting-edge work that will be the future of the concert experience: artistically excellent, deeply personal, and socially profound.
— Seth Radwell, business entrepreneur and musicologist & founder of "Music in Time"

For More Information

For more information, including booking details and access to an expanded demo video of The Bach Project, please click the box below. We look forward to hearing from you!