Elisabeth Wright is a peerless early keyboardist, basso continuo player, teacher, and chamber music coach. She’s a professional century hopper and master of early keyboard repertoire spanning many epochs.
This professor emerita from the Indiana University Jacobs School of Music (Bloomington, IN) and Historical Performance Institute is noted for versatility as soloist, chamber artist, and expertise in the art of basso continuo.
Don’t miss this unique opportunity to hear her in concert.
Instruments for this recital are borrowed from The Baroque Room, St. Paul, with gratitude to Tami Morse for her many kindnesses.
Biography
Professor of music (harpsichord/fortepiano) at the Historical Performance Institute of the IU Jacobs School of Music,Elisabeth Wrightis noted for her versatility as soloist and chamber musician and for her expertise in the art of basso continuo improvisation. Adjudicator and guest professor at the Royal Conservatory in the Hague, she is in demand for masterclasses and seminars pertaining to performance practices of sixteenth- to eighteenth-century music. Folllowing graduate studies with Gustav Leonhardt at the Amsterdam (now Sweelinck) Conservatory, she has maintained a distinguished international career performing in such noted venues as Boston and Berkeley Early Music Festivals, Mostly Mozart, Tanglewood, Kennedy Center, the Smithsonian, Metropolitan, Frick, and Stibbert Museums, Aston Magna, Lufthansa of London, Wigmore Hall, Vancouver Early Music, Tage alter Musik, Sydney Festival, Santa Fe Festival, Festival Cervantino, Musica Antica Bolzano, Semana de Música Antigua Estella, Performa Clavis, and on series at the Querini and Sala dei Giganti. Soloist with Tafelmusik, Vancouver, Seattle, Portland, and Lyra Baroque Orchestras, she has performed for decades as member of Duo Geminiani with esteemed baroque violinist Stanley Ritchie, with the Colombian ensemble Música Ficta, the Vivaldi Project, Jacques Ogg, and numerous others, here and abroad. She has been broadcast on four continents and recorded for Classic Masters, Milan-Jade, Focus, Arion, Arts Music, Música Ficta, Pro Musica Antiqua, and Centaur. A perpetual student of languages and interested in the relationship between text and music, her research on musical settings of the poetry of Giambattista Marino led to concerts and presentations at a conference at the University of Toronto, and a chapter inThe Sense of Marino: Literature, Fine Arts and Musicfor Legas Press. Reviewer forEarly Keyboard Journal, she was founding member of The Seattle Early Music Guild and Bloomington Early Music and has served on the board of Early Music America and as panelist for the National Endowment for the Arts, PEW, and PennPat.
