Artists

Caroline Nicolas, Artistic Director, Violas da gamba

Alyssa Weathersby, Soprano, Percussion, Dance

Ben Matus, Dulcian, Recorder, Percussion, Tenor

Kevin Payne, Lute, Theorbo

With an eclectic repertory that spans from the Middle Ages to the 21st century, acclaimed cellist/gambist Caroline Nicolas enjoys an active and multifaceted career as one of the outstanding performers in her field. Noted for her “eloquent artistry and rich, vibrant sound” (Gainesville Times), she has been praised as “one of the finest gambists working today” (Gotham Early Music Scene). She regularly appears with leading ensembles as soloist, chamber musician, and music director, bringing her unique ability to combine emotionally rich interpretations with a historically inquisitive spirit.

Ensembles she has worked with include the English Concert, Trinity Baroque Orchestra, Mercury Chamber Orchestra, Ars Lyrica Houston, Juilliard Baroque, Harmonia Stellarum, Philharmonia Baroque, Pacific MusicWorks, Kammerorchester Basel, New World Symphony, and Sinfonieorchester Liechtenstein. She recently completed her tenure as music director of New Baroque Orchestra. Festival appearances include the Boston Early Music Festival, Indianapolis Early Music Festival, Bach Festival Leipzig, and Styriarte Festival in Austria. Notable venues include the KKL Luzern, Berliner Philharmonie, Alice Tully Hall, Carnegie Hall, and Benaroya Hall. Her performances have been broadcast on KING FM in Washington, KUHF in Texas, WDIY in Pennsylvania, and CCTV in China. Notable collaborations include such eminent musicians as Andrea Marcon, Amandine Beyer, Kristian Bezuidenhout, Jordi Savall, William Christie, Rachel Podger, Harry Bicket, and Stephen Stubbs.

Recent performances include concerts with Philharmonia Baroque, Tempeste di Mare, the Victoria Symphony, Victoria Baroque, Early Music Access Project, Emerald City Music, Sonnambula, Yale Voxtet, the Sebastians, Teatro Nuovo, Night Music, Twelfth Night, and Parthenia. Her concert with Emerald City Music was listed in the Seattle Times as a top pick for classical music concerts that season.

Notable distinctions include having been selected as a fellow of The English Concert in America, an award given to young musicians “who appear likely to make significant contributions to the field of early music.”  As the winner of The Juilliard School’s Historical Performance concerto competition, she made her solo debut in Alice Tully Hall, New York City. 

A native of Winnipeg, Canada, Caroline was first introduced to the cello as a young child. Too restless to stick with a single steel strung instrument, she pursued early music studies with Phoebe Carrai at The Juilliard School, and with Christophe Coin and Paolo Pandolfo at the Schola Cantorum Basiliensis in Basel, Switzerland. Caroline resides in New York City.When not performing, she can typically be found occupying herself with reading, chess, crosswords, or watching Star Trek with her husband, lutenist Kevin Payne. More information is available at www.carolinenicolas.com.

Ben Matus enjoys a varied career in music: bringing to life music regardless of whether it was written in the Middle Ages or yesterday.  Ben performs with early music groups on various bassoons, dulcians, shawms, recorders, bagpipes, and whatever instruments he can get his hands on all along the East Coast—including Alkemie Medieval Music Ensemble, New York Baroque Incorporated, Trinity Baroque Orchestra, The Clarion Society, Opera Lafayette, The Washington Bach Consort, The Handel and Haydn Society, Mountainside Baroque, and more.  In addition to his performances in concert halls, Ben plays and sings for the Chivalrous Crickets, a band focused on the folk traditions of the British Isles, America, Canada, and their early music roots.  With Alkemie, Ben recently prepared and recorded the music for the video game Pentiment.  In his spare time Ben can be found attending his friends’ concerts (pandemic permitting), learning new instruments, developing new hobbies, or recording birds deep in the woods.  

Lutenist Kevin Payne is active as a recitalist, accompanist, and continuo player. Recent ensemble work includes performances with Philharmonia Baroque Orchestra, Seattle Symphony, Blue Heron, Handel and Haydn Society, and Bach Collegium San Diego. Festival appearances include Caramoor, Tanglewood, Spoleto, and Newport Classical. Performance venues include Carnegie Hall, Alice Tully Hall, the Kennedy Center in Washington, D.C., the National Concert Hall in Taipei, Taiwan, the Concertgebouw in Amsterdam, and the Festspielhaus in Baden-Baden, Germany. His playing has been broadcast on a number of nationally syndicated radio programs including Sunday Baroque and Performance Today. 

When not performing, Kevin enjoys cooking, reading, watching Star Trek (P’Tach!) and attempting to delay the inevitable (and often imminent) demise of the houseplants he shares with his wife, cellist Caroline Nicolas.

Alyssa Weathersby is a versatile vocalist and director/choreographer from Houston, Texas. Her “strong soprano voice” delivers performances deemed “an embarrassment of riches,” and her dynamic staging and choreography is hailed as “cleverly designed” and “compelling.” Alyssa’s early music affinity spans from Medieval to Baroque and beyond. Most recently, Alyssa performed the music of Hildegard in a world premier of Hildegard, Reborn, written by Rocky Duval and directed by Alyssa, presented by the NYPL at the Lincoln Center’s Bruno Walter Auditorium. In February, she helmed Early Music Access Project’s regional premier of John Locke’s Cupid & Death, directing, choreographing, and performing as the beleaguered Nature at the famed Blackfriars Playhouse in Staunton, VA. Previously with EMAP, Alyssa starred as Venus in their production of Venus & Adonis in 2022. 

Alyssa is a frequent collaborator around New York City and Boston. She joined Alkemie’s Verdant Medicine tour and sang the role of Narrator in Markaris’ world premier ofTam Linat the Five Boroughs Music Festival. She has also been heard as a soprano soloist singing new music with Theotokos at St. Mary’s on Grand St. and at Trinity Church Boston in theirMessiah.Alyssa has just finished her second season with the Utah Festival of Opera and Musical Theatre, where her direction and choreography were seen inAnything Goes, Guys & Dolls,andLittle Shop of Horrors(2024), andA Gentleman’s Guide to Love & Murder, Oliver!,andSentimental Journey(2023). Other highlights include directing sell-out productions ofRigoletto(Opera in the Heights, Houston) andL’elisir d’amore(Boston Opera Collaborative), devising and directing an updatedCosì fan tutt[i]at Carnegie Mellon University, and joining the New England Conservatory to directHansel & Greteland the Undergraduate Opera Scenes and selections of the graduate Perkins Opera Scenes programs. In 2022, Alyssa placed in the Quarterfinals of the prestigious American Traditions Competition (voice), and served as staff at the international festival Prague Summer Nights (director, choreographer, fight choreographer). Other career highlights includeAlcina(Morgana),Jane Eyre(Blanche),Le Comte Ory(Alice, Comtesse Adele u/s),Candide(Cunegonde u/s),Gentleman’s Guide(Sibella u/s),andBilly Elliot(Mrs. Wilkinson u/s, Ens).