Bourbon Baroque Founded in the summer of 2007, Louisville-based Bourbon Baroque specializes in the historically informed performance of 17th and 18th-century music, inspired by the art and culture of the royal House of Bourbon. Led by historical keyboardist John Austin Clark and violinist Alice Culin-Ellison, the ensemble varies in size based on a given programme, performing chamber music to full operatic spectacles throughout the year in a variety of venues. Through music, Bourbon Baroque holds collaboration and outreach as its mission. John Austin Clark, Co-Artistic Director Director of Music and keyboardist John Austin Clark serves as founding Producing Artistic Director for Bourbon Baroque. Mr. Clark operates a private piano studio (#musicbox1532), is an active accompanist, recit- alist, vocal coach, and directs/produces musical theatre and opera including work with Louisville Ballet (Louisville, Kentucky), CenterStage (Louisville, Kentucky), Music Theater of Louisville (Louisville, Kentucky), Pandora Productions (Louisville, Kentucky), and Gulf- shore Playhouse (Naples, Florida). Mr. Clark made his debut at Commonwealth Theatre Center this Fall directing William Finn's "25th Annual Putnam County Spelling Bee" and will direct Kander and Ebb's "Cabaret" this Spring. He enjoys the musical rendezvous of the Baroque and Broadway and finds great influence between the two genres. Alice Culin-Ellison, Co-Artistic Director Alice Culin-Ellison, violinist and co-Artistic Director of Bourbon Baroque, is a versatile historical performer with training in over 400 years of repertoire. As concertmaster, Alice has led productions of Handel’s Acis and Galatea and Purcell’s King Arthur, and soloed with various ensembles. Other professional engagements include Indianapolis Baroque Orchestra, Chatham Baroque, Apollo’s Fire, and Les Délices. Also passionate about education and scholarship, her current research focuses on 19th-century American chamber music and she has lectured and given masterclasses on Historical Performance. Alice recently co-founded Incantare | An Ensemble of Violins and Sackbuts, specializing in lesser-known repertoire from the late 16th to 17th centuries. Bourbon Baroque Founded in the summer of 2007, Louisville-based Bourbon Baroque specializes in the historically informed performance of 17th and 18th-century music, inspired by the art and culture of the royal House of Bourbon. Led by historical keyboardist John Austin Clark and violinist Alice Culin-Ellison, the ensemble varies in size based on a given programme, performing chamber music to full operatic spectacles throughout the year in a variety of venues. Through music, Bourbon Baroque holds collaboration and outreach as its mission. John Austin Clark, Co-Artistic Director Director of Music and keyboardist John Austin Clark serves as founding Producing Artistic Director for Bourbon Baroque. Mr. Clark operates a private piano studio (#musicbox1532), is an active accompanist, recit- alist, vocal coach, and directs/produces musical theatre and opera including work with Louisville Ballet (Louisville, Kentucky), CenterStage (Louisville, Kentucky), Music Theater of Louisville (Louisville, Kentucky), Pandora Productions (Louisville, Kentucky), and Gulf- shore Playhouse (Naples, Florida). Mr. Clark made his debut at Commonwealth Theatre Center this Fall directing William Finn's "25th Annual Putnam County Spelling Bee" and will direct Kander and Ebb's "Cabaret" this Spring. He enjoys the musical rendezvous of the Baroque and Broadway and finds great influence between the two genres. Alice Culin-Ellison, Co-Artistic Director Alice Culin-Ellison, violinist and co-Artistic Director of Bourbon Baroque, is a versatile historical performer with training in over 400 years of repertoire. As concertmaster, Alice has led productions of Handel’s Acis and Galatea and Purcell’s King Arthur, and soloed with various ensembles. Other professional engagements include Indianapolis Baroque Orchestra, Chatham Baroque, Apollo’s Fire, and Les Délices. Also passionate about education and scholarship, her current research focuses on 19th-century American chamber music and she has lectured and given masterclasses on Historical Performance. Alice recently co-founded Incantare | An Ensemble of Violins and Sackbuts, specializing in lesser-known repertoire from the late 16th to 17th centuries. Part Two Messiah, HWV 56 Georg Frideric Händel (1685-1759) Christ’s Passion Part One Behold the Lamb of God (chorus) He was despised and rejected of men (Grabowski) Isaiah's prophecy of salvation Surely he hath borne our griefs and carried our sorrow (chorus) And with his stripes we are healed (chorus) Sinfony All we like sheep have gone astray (chorus) Comfort ye my people (Reese) All they that see him laugh him to scorn (Bradshaw) Ev'ry valley shall be exalted (Reese) He trusted in God that he would deliver him (chorus) And the glory of the Lord (chorus) Christ’s Death and Resurrection The coming judgment He was cut off (Bradshaw) Thus saith the Lord of hosts (Schwartz) But thou didst not leave his soul in hell (Bradshaw) But who may abide the day of His coming (Grabowski) And he shall purify the sons of Levi (chorus) Christ's Ascension The prophecy of Christ's birth Lift up your heads, O ye gates (chorus) Behold, a virgin shall conceive (Dodson) Christ's reception in Heaven O thou that tellest good tidings to Zion (Dodson and chorus) For behold, darkness shall cover the earth (Schwartz) Unto which of the angels (Soph) The people that walked in darkness (Schwartz) Let all the angels of God worship Him (chorus) For unto us a child is born (chorus) The beginnings of Gospel preaching The annunciation to the shepherds Thou art gone up on high (Lagasca) Pifa The Lord gave the word (chorus) There were shepherds abiding in the fields (Myers) How beautiful are the feet (Sutherland) And lo, the angel of the Lord (Myers) The world’s rejection of the Gospel And the angel said unto them (Myers) And suddenly there was with the angel (Myers) Why do the nations so furiously rage together (Lagasca) Glory to God in the highest (chorus) Let us break their bonds asunder (chorus) He that dwelleth in heaven (Soph) Christ's healing and redemption God’s ultimate victory Rejoice greatly, O daughter of Zion (Myers) Then shall the eyes of the blind be opened (Sutherland) Thou shalt break them with a rod of iron (Soph) He shall feed his flock like a shepherd (Sutherland and Beebe) Hallelujah (chorus) His yoke is easy (chorus) Part Two Messiah, HWV 56 Georg Frideric Händel (1685-1759) Christ’s Passion Part One Behold the Lamb of God (chorus) He was despised and rejected of men (Grabowski) Isaiah's prophecy of salvation Surely he hath borne our griefs and carried our sorrow (chorus) And with his stripes we are healed (chorus) Sinfony All we like sheep have gone astray (chorus) Comfort ye my people (Reese) All they that see him laugh him to scorn (Bradshaw) Ev'ry valley shall be exalted (Reese) He trusted in God that he would deliver him (chorus) And the glory of the Lord (chorus) Christ’s Death and Resurrection The coming judgment He was cut off (Bradshaw) Thus saith the Lord of hosts (Schwartz) But thou didst not leave his soul in hell (Bradshaw) But who may abide the day of His coming (Grabowski) And he shall purify the sons of Levi (chorus) Christ's Ascension The prophecy of Christ's birth Lift up your heads, O ye gates (chorus) Behold, a virgin shall conceive (Dodson) Christ's reception in Heaven O thou that tellest good tidings to Zion (Dodson and chorus) For behold, darkness shall cover the earth (Schwartz) Unto which of the angels (Soph) The people that walked in darkness (Schwartz) Let all the angels of God worship Him (chorus) For unto us a child is born (chorus) The beginnings of Gospel preaching The annunciation to the shepherds Thou art gone up on high (Lagasca) Pifa The Lord gave the word (chorus) There were shepherds abiding in the fields (Myers) How beautiful are the feet (Sutherland) And lo, the angel of the Lord (Myers) The world’s rejection of the Gospel And the angel said unto them (Myers) And suddenly there was with the angel (Myers) Why do the nations so furiously rage together (Lagasca) Glory to God in the highest (chorus) Let us break their bonds asunder (chorus) He that dwelleth in heaven (Soph) Christ's healing and redemption God’s ultimate victory Rejoice greatly, O daughter of Zion (Myers) Then shall the eyes of the blind be opened (Sutherland) Thou shalt break them with a rod of iron (Soph) He shall feed his flock like a shepherd (Sutherland and Beebe) Hallelujah (chorus) His yoke is easy (chorus) Part Three Biographies The promise of eternal life Rebecca Myers, hailed for her “vulnerability and grace” by the San Francisco Chronicle performs a wide variety of repertoire across North America. Last I know that my Redeemer liveth (Beebe) year’s solo performances included singing the role of Parthenope in the world Since by man came death (chorus) premiere of David Hertzberg’s The Wake World with Opera Philadelphia as a part of the inaugural O17 Festival. She also performed in a joint recital with The Day of Judgment composer Benjamin C.S. Boyle with Opus Opera at the Opera Guild Home in New Orleans. Rebecca returned as soprano soloist with Philadelphia’s Prome- Behold, I tell you a mystery (Cerin) theus Chamber Orchestra to sing Britten’s seldom performed masterpiece, The trumpet shall sound (Cerin) Les Illuminations and sang on a program of the music of Debussy with the Philadelphia art song series, Lyric Fest. Equally at home as an ensemble singer The final conquest of sin Rebecca sings regularly with The Crossing, the GRAMMY winning vocal ensemble fully dedicated to the performance of new music under the direction Then shall be brought to pass (Dodson) of Donald Nally. In 2015 she was one of three featured female soloists on the O death, where is thy sting (Dodson and Bradshaw) GRAMMY nominated recording of Thomas Lloyd’s Bonhoeffer sung the The But thanks be to God (chorus) Crossing.