Christopher Preston Thompson is a New York City based tenor, historical harpist, and musicologist focused on early and new music. He has performed as soloist in venues throughout the United States, including NYC’s Carnegie Hall, and enjoys an active chamber music career in NYC. Christopher is the founding Artistic Director of Concordian Dawn, ensemble for medieval music, whose “mesmerizing” (Early Music America) debut album, Fortuna Antiqua et Ultra (MSR Classics), was released under his direction in December of 2021 to critical acclaim. In July of 2022, Cornell University Press published a collaborative book-recording project between Christopher, the ensemble, and medieval studies scholar, Sarah Kay, entitled Medieval Song from Aristotle to Opera, and the ensemble’s “palpably enchanting,” “unforgettable” (Fanfare) second album, based on the aforementioned collaboration, was released in October of 2023 (MSR Classics). Both albums have been featured on radio stations across the country, including Robert Aubrey Davis and SiriusXM’s Millenium of Music. The ensemble’s newest studio album, Veni Redemptor Gentium (AVIE Records) is set for release in November of 2025. The ensemble was a 2023-24 artist-in-residence at the University of California-Davis and performs annually with Gotham Early Music Scene in NYC, and the group has performed on multiple occasions for the Santa Cruz Baroque Festival, the Stavros Niarchos Foundation Library’s 7 Stories Up series, and for concert series across the country. Christopher has also recently teamed with long-time friend and colleague, Hayk Arsenyan to form the chamber music group, Ensemble Rhétorique Musicale. Christopher is a resident member of Grammy-nominated ensemble for Renaissance polyphony, Pomerium, and of the Chamber Choir of St. Luke in the Fields. He has performed roles (onstage and/or off) for such companies as Heartbeat Opera, On Site Opera, Encompass New Opera Theater, The Great River Shakespeare Festival, Red Bull Theater, Tabula Rasa Dance Theater, and many others. He is on the voice faculty at New York University’s Steinhardt School, the music faculty at Lehman College-City University of New York, and the voice faculty at Borough of Manhattan Community College-CUNY. Other publications and recordings include “Pizza, Opera, and Hybridity” in the edited collection Pizza is God (Düsseldorf: NRW-Forum, 2018); Musical Games, Riddles, and Puzzles of the Renaissance with Pomerium (Old Hall Recordings, 2019); Missa Tu Es Petrus with the Chamber Choir of St. Luke in the Fields (MSR Classics, 2018); and review articles for the Bulletin of the Historical Harp Society (vol. 28, no. 1, 2019) and Comitatus (vol. 51, 2020). Christopher is a contributing author for Total Baroque Magazine, and he has led performance practice workshops and given performance lectures for Princeton University, New York University, the University of Pennsylvania, the Modern Language Association, the Universities of California-Berkeley and Davis, Bard College, Stanford University, and the San Francisco Conservatory of Music, among others. Please visit www.christopherprestonthompson.com and www.concordiandawn.com for more.

Praised as “an excellent and impassioned” soprano possessing “a graceful tonal clarity that is a wonder to hear” (San Francisco Chronicle), Michele Kennedy is a versatile specialist in early and new music. Her recent venues include Carnegie Hall, Davies Symphony Hall, Lincoln Center, Tanglewood, and Washington National Cathedral. She is a Winner of the 2023 American Prize in Voice. In high demand across the country, Michele has been a featured soloist in Bach’s St. John Passion with Voices of Music and The San Francisco Symphony Chorus, Handel’s Messiah with NYC’s Trinity Wall Street Choir, Poulenc’s Gloria and Handel’s Messiah with The Bach Society of Saint Louis, Undine Smith Moore’s MLK Oratorio at U.C. Berkeley, and in her Carnegie Hall debut with The Hollywood Film Orchestra. Michele has recently debuted with Portland Baroque Orchestra in Bach’s Magnificat and the ‘Summer Fireworks’ of Handel and Purcell, with San Francisco Ballet in Mendelssohn’s Midsummer Night’s Dream, with Opera Philadelphia in their Sounds of America Recital Series, and with DC’s Washington Bach Consort as the soprano soloist in Haydn’s Die Schöpfung. Her singing is highlighted on a new Monteverdi’s Vespers of 1610 recording with The Thirteen and Dark Horse Consort, and in her solo debut album with AGAVE – called In Her Hands – showcasing an extraordinary range of female composers from over the ages, from Barbara Strozzi and Pauline Viardot to Florence Price and Margaret Bonds.

A lifelong advocate of new works, Michele has sung premieres with Experiments in Opera, Harlem Stage Opera, Seraphic Fire, Kaleidoscope Vocal Ensemble, The Crossing, and The New York Philharmonic. This year, she is traveling with Lorelei Ensemble in a world premiere tour of Julia Wolfe’s Her Story – an outspoken celebration of women’s civil rights – in concert with the Nashville, Chicago, San Francisco, and Boston Symphony Orchestras, culminating with the National Symphony in her debut at The Kennedy Center. Michele completed her musical studies at Yale University, Yale School of Music, and NYU. A lover of Redwood groves and Bay vistas, she lives with her husband, visual artist Benjamin Thorpe, and their adventurous daughter, Audra May. Please visit www.michele-kennedy.com for more.

Amber Evans is an Australian vocalist, conductor and composer currently based in the US. She regularly performs as an early music soloist, chamber ensemble vocalist, and contemporary opera/vocal specialist, with consistent touring engagements in Australia, the US and the UK. Winner of the inaugural US Dwight and Ursula Mamlok Advancement Award for the interpretation of contemporary music, she is committed to the vital artistic collaboration with composers to thoughtfully contribute to the musical canon of the present day. In Australia during the uncertainty of the pandemic years from 2020, Amber became the inaugural lecturer for aural studies and ear training at the Young Conservatorium, stepped in as assistant conductor for The Australian Voices, established the vocal sextet Formant, and directed the music for All Saints Anglican Church, Brisbane. Upon her return to the US, Amber commenced doctoral studies at the Graduate Center of the City University of New York, under the tutelage of Neil Semer. Notable musical endeavours to date include work with medieval ensemble Concordian Dawn, new music ensembles BlackBox and Infrasound, her duos confluss, Aesop’s Nightingale and panSonus, concerts and services with the Choir of St. Luke in the Fields, and further engagements as an extra member of vocal ensembles Ekmeles and Roomful of Teeth.

Tenor/Haute-contre Nickolas Karageorgiou has established himself as a formidable chamber musician and soloist. A resident of Brooklyn, Nick is a member of the Trinity Wall Street Chorus, performing a wide array of choral repertoire, from baroque gems, to new commissions. Recently, Nick sang his first Messiah with TWS, singing the alto aria “O Thou That Tellest Good Tidings to Zion” in haute-contre style. He has also sung one of the title roles, the Narrator, in a reimagined role of Craig Hella Johnson’s oratorio, Considering Matthew Shephard.

This is Nick’s second season with Concordian Dawn. He can also be heard singing in ensembles like Seraphic Fire, Clarion Music Society, Yale Choral Artists, Variant Six, Ampersand, and TENET. Previous engagements have also included ensembles such as Pegasus Early Music Society, True Concord, The Crossing, Spire, The Thirteen, and The Rose Ensemble.

Outside of a busy performance season, Nick is frequently seen with needles and yarn, biking through the park, playing video games, or going on a hike.

Called “gripping” by The New York Times and described as singing with “calm fluidity” by The Washington Post, baritone and conductor Thomas McCargar is one of the country’s most sought-after ensemble singers.  After launching his career with Grammy-winning male ensemble Chanticleer, he moved to New York City where he joined the acclaimed Trinity Choir in 2007 and has been a member of Concordian Dawn since 2021.  Other ensembles with which Thomas regularly performs include Grammy-winning Roomful of Teeth, Seraphic Fire, Spire, Bach Vocal Artists, Pomerium, Musica Sacra, Voices of Ascension, New York Virtuoso Singers, Antioch, TENET and the New York Philharmonic, among others.  As a soloist Thomas has performed in many of the world’s preeminent concert halls, including Carnegie Hall, Lincoln Center, the Kennedy Center, Walt Disney Concert Hall, Musikverein Wien, and Het Concertgebouw.  He also appears in three recordings of compositions that went on to win the Pulitzer Prize for Music: Anthracite Fields (Julia Wolfe), Angel’s Bone (Du Yun) and p r i s m (Ellen Reid) and is featured on numerous Grammy-nominated albums. As a conductor Thomas is director of Compline by Candlelight and the St. Paul’s Chapel Choir at Trinity Church.  Recent highlights include curating and conducting “Lenten Meditations: Remorse to Redemption” in March 2025, featuring the countertenors, tenors and basses from Trinity Choir; leading Trinity Choir and NOVUS during 2023’s “Last Words” concert; and conducting all of Trinity’s vocal ensembles in “Sing, Choirs of Angels: Holiday Sing-Along” in 2023 and 2024.  Thomas conducted Trinity Choir’s recording sessions for Mary Kouyoumdjian’s opera Adoration, which premiered during the Prototype festival in January 2025 and had its album release in August 2025.  He has also prepared choirs for esteemed conductors including Harry Bicket, Daniela Candillari, and Andrew Megill, and in 2012 he led over 1,000 people in singing John Lennon’s “Imagine” for Yoko Ono’s Imagine Peace Installation in Times Square.

Praised for her “astonishing virtuosity” (Chicago Tribune), Daphna Mor (recorders, voice, ney) is a versatile performer who has appeared as a soloist and ensemble member across Europe and the United States. Her solo appearances include the Tanglewood and Ravinia Festivals, the Metropolitan Museum of Art, and London’s Saint Martin-in-the-Fields with Apollo’s Fire Orchestra, as well as performances with the New York Collegium, New York Early Music Ensemble, and Little Orchestra Society at Carnegie Hall. She was both soloist and ensemble player at the annual New Year’s Eve Concert for Peace at the Cathedral of Saint John the Divine, directed by Kent Tritle. As an orchestral musician, Mor has performed with the New York Philharmonic, the American Classical Orchestra, and the Orchestra of St. Luke’s. She has performed in duo with mezzo-soprano Joyce DiDonato on the In War and Peace album tour and appears on Sting’s If On A Winter’s Night (Deutsche Grammophon).

A dynamic collaborator, Mor performs internationally with Basya Schechter’s Pharaoh’s Daughter and Rachid Hailial’s ensemble Layali al-Andalus, dedicated to Andalusian Moroccan music. She studied ney with Lebanese master Bassam Saba. Mor is also co-director, with Nina Stern, of the ensemble East of the River, which will open Music Before 1800’s 2025–2026 season and will return later in the season as soloist with Apollo’s Fire. – www.eastoftherivermusic.com. Dedicated to the music of the Jewish diaspora, particularly Sephardic repertoire, Mor is the founder and director of Beineinu Mitzvah, a New York-based initiative cultivating Jewish cultural expression through modern, inclusive practice. She regularly performs and teaches liturgical music, and was invited to Mumbai to lead a workshop on Jewish diaspora melodies while learning local traditions. As a curator, she co-directed a program with Jeannette Sorrell for the New York Philharmonic at Lincoln Center. An advocate for contemporary music, Mor has recorded for John Zorn’s Tzadik label and premiered David Bruce’s Tears, Puffes, Jumps, and Galliard with Metropolis Ensemble. She also co-composed and performed WAVES—a genre-blending work for recorders, voice, cello, and beatboxer—for Carolyn Dorfman Dance, presented at New York’s SummerStage and other venues. Mor is a sought-after guest educator, teaching workshops and masterclasses across the U.S. She is also deeply committed to early childhood music education, leading programs for the Education Department at the Metropolitan Museum of Art. Please visit www.daphnamor.com for more.