Rita Lilly, Soprano

Rita Lilly has been lauded by The New York Times for “possessing a voice of strength, clarity, and virtuosity” and by the S.F. Classical Voice for “having a pure, silvery voice with plenty of color.” As a specialist of Baroque and early music, Rita has been a featured artist with the American Boychoir, American Classical Orchestra, Artek, Clarion Music Society, Concert Royal, Rebel, the Folger Consort, Sacabuche, and the New York Consort of Viols, among others. As the soprano of the Waverly Consort, she toured throughout the U.S. and abroad, including performances at Alice Tully Hall and Town Hall. Rita has been featured on live broadcasts on WNYC, WNCN, National Public Radio, and Radio-Canada.

Rita is a frequent soloist with some of the finest Bay Area groups, such as the Albany Consort, American Bach Soloists, California Bach Society, Chora Nova, Marin Oratorio, Sacramento Baroque, San Francisco Bach Choir, and Soli Deo Gloria. She can be heard on the EMI, Naxos, Musical Heritage, and Newport Classic labels.

Rita is the choral director at Mills College, music director at Lafayette Christian Church, and director of Sorella Girls Chorus. She is on the faculty of the Pacific Boychoir Academy and maintains an active vocal studio in her home.

Proud CBS chorister from 2011-2017, soprano Caroline Jou Armitage is known to Bay Area audiences for her “absolutely beautiful” performances sung with “pitch-perfect clarity and affecting intensity” (San Francisco Classical Voice). As a frequent soloist with the California Bach Society, she has performed Handel’s Dixit Dominus, Bach’s Cantatas BWV 21 and 198, Bach’s Mass in G Major, Bach’s Mass in A Major, and most recently in last fall’s Plaisirs Baroques concerts. On May 19, she sings Rameau’s La Lyre Enchantée with tenor Brian Thorsett and Harmonia Felice.

A multi-instrumentalist, Caroline made her Hertz Hall debut at the 2022 Berkeley Festival and Exhibition, playing repertoire from Bach’s Well-Tempered Clavier on the harpsichord. The same festival found her debuting on the Baroque violin with the Albany Consort.

Caroline currently studies voice with Karen Clark and is the soprano soloist and section leader at St. Stephen’s Episcopal Church in Belvedere.

Kyle Sanchez Tingzon, countertenor

Filipino countertenor Kyle Sanchez Tingzon has been praised for his "lovely, plummy voice" (Opera Today). As a 2022 Gerdine Young Artist with Opera Theatre of Saint Louis, he made his company and role debut as The Messenger in Stewart Wallace’s world premiere of Harvey Milk Reimagined, and covered the Third Spirit in The Magic Flute. His current season includes work with American Bach Soloists, California Bach Society, Philharmonia Baroque Chorale, his soloist debut with Pacific Opera Project in the US premiere of Vivaldi's Ercole su'l Termodonte, his debut with Tacoma Opera in the world premiere of Tacoma Method, and his first summer with the Glimmerglass Festival and debut in Handel’s Rinaldo.

In 2022, Kyle completed his graduate and postgraduate studies in Vocal Performance, with a Historical Performance emphasis, at the San Francisco Conservatory of Music, studying under César Ulloa. While there, he made role debuts in Handel’s Giulio Cesare in Egitto (in the title role) and Monteverdi’s L’incoronazione di Poppea (as Ottone).

He is the first-prize winner of the Handel Aria Competition, third-prize winner of the Rochester Oratorio Society Competition (RIVC), and most recently, a Colorado-Wyoming district winner and Rocky Mountain regional finalist in the Metropolitan Opera Laffont Competition.

Corey Head, tenor

Corey Head specializes in early music with a special affinity to J.S. Bach. His solo concert performances include The Evangelist in Bach’s St. John Passion, as well as tenor soloist in his Magnificat, Christmas Oratorio, B-Minor Mass, and many of his cantatas. Other oratorio roles include Uriel in Haydn’s Creation, “The Evening” in Telemann’s Die Tageszeiten, and tenor soloist in Handel’s Messiah. He has also performed solos in Mozart’s Requiem, Orff’s Carmina Burana, Britten’s Rejoice in the Lamb, William Boyce’s Solomon: A Serenata, Handel’s Acis and Galatea, Beethoven’s Mass in C Major, and Mozart’s C Minor Mass.

Operatic performances include the roles of Ferrando in Mozart’s Così Fan Tutte, Damon in Handel’s Acis and Galatea, and Mordocai in Cristiano Lidarti’s Hebrew setting of Esther.

Corey has performed as soloist with many San Francisco Bay Area groups including Albany Consort, Bay Choral Guild, California Bach Society, Chora Nova, Marin Baroque, Marin Oratorio, Marin Symphony, San Francisco Choral Society, San Francisco Renaissance Voices, San Francisco Symphony, Stanford Choirs and Orchestras, and Viva La Musica. He performs regularly in the chorale with Philharmonia Baroque Orchestra and Chorale.

Curtis Streetman, bass

Curtis Streetman is an artist who strives to perform a rich and excitingly varied repertoire. He has appeared in Le Nozze di Figaro (Figaro), Die Zauberflöte (Sarastro), La Bohème (Colline), Don Giovanni (Leporello), and Rigoletto (Sparafucile), as well as leads in other Verdi, Handel, and Rossini operas. Operatic performances include appearances at the Salzburg Festival, as well as opera houses in Vienna, Bilbao, Dortmund, Halle, and Victoria.

Recent debuts include performances in Geneva, Basel, and at the Theatre Champs-Élysées. Festival appearances include Ravinia, the Savannah Music Festival, the Hong Kong Arts Festival, Tanglewood, Herrenchiemsee Festspiele, the Halle Handel Festival, and the San Juan Arts Festival.

Curtis toured Canada with Bernard LaBadie and Les Violons du Roi in performances of Bach’s St. John Passion. He has toured the United States with the chamber ensembles Aulos and Rebel, and Europe with Kammerorchesterbasel in performances of Handel’s Riccardo Primo. He performed the role of Christus in Sir Jonathan Miller's acclaimed fully staged production of the Saint Matthew Passion, produced by the Brooklyn Academy of Music, and performed the title role in Lalo’s Le Roi d'Ys with the American Symphony Orchestra, which marked his Lincoln Center debut.