We are extremely grateful to the Rowland Foundation for their support of Emmanuel Music’s Community Connections program.
The Fellowship honors Lorraine Hunt Lieberson (1954-2006) who began her musical career as a violist in the Orchestra of Emmanuel Music under the direction of Craig Smith. By the mid-1980s, she had become a full-time singer and moved into the ranks of the Emmanuel Chorus, honing her craft both as an ensemble musician and soloist in the environment of intellectual rigor and collegial support unique to Emmanuel Music. Her association with Emmanuel Music continued throughout her highly acclaimed career and included legendary accounts of Bach cantata arias, the role of Dejanira in Handel’s Hercules, and a riveting performance of Bach Cantatas BWV 82 and 199 staged by Peter Sellars and performed in major international venues. (Celebrated recordings of these performances are available through Emmanuel Music.) Lieberson’s talent was nurtured and developed within the Emmanuel Music community of musicians, and in particular, the weekly Bach cantata presentations. It is in this spirit that we celebrate and support the young musicians identified each year as Lorraine Hunt Lieberson Fellows.
The Lorraine Hunt Lieberson Fellowship honors young artists who have enthusiastically participated within the Emmanuel community of musicians and demonstrated exceptional artistic talent.
To view past Lorraine Hunt Lieberson Fellows, click here.
Margot Rood, hailed for her “luminosity and grace” by The New York Times, performs a wide range of repertoire across American stages. Following her solo debut at Boston’s Symphony Hall in 2011, she has been a frequent soloist with Handel and Haydn Society under the direction of conductor Harry Christophers. Recent and upcoming solo appearances include Rhode Island Philharmonic (Messiah); New World Symphony (Reich's Desert Music); Handel and Haydn Society (Messiah, Vivaldi Gloria, Bach Mass in B Minor); Seraphic Fire (Messiah, Vivaldi Gloria, Mozart Requiem); Bach Collegium San Diego (Messiah); A Far Cry (Golijov's Three Songs); Oratorio Chorale (Brahms Requiem); Kent Singers (Brahms Requiem); Tucson Chamber Artists (Bach St. John Passion and Mozart C Minor Mass); Back Bay Chorale (Bach St. John Passion); Brookline Symphony (Mahler Fourth Symphony); and the Boston Early Music Festival Fringe. She is often featured on the Marsh Chapel Choir Bach Cantata Series. Recent stage appearances include Amor in Gluck’s Orfeo ed Euridice with Grand Harmonie, Emily Webb in Rorem’s Our Town with Monadnock Music, Johanna in Sweeney Todd with St. Petersburg Opera, the title role in Handel's Esther at Harvard University, and Ramiro in Helios Early Opera’s production of Cavalli’s Artemisia. In addition to opera and oratorio, Ms. Rood has performed as soloist with some of the United States’ premiere new music ensembles, and was a 2015 recipient of the St. Botolph Club Foundation's Emerging Artist Award for her work in new music. Notable recent engagements include her Carnegie Hall debut in the world premiere of Shawn Jaeger’s Letters Made with Gold under the direction of Dawn Upshaw, and Evangelist in Arvo Pärt's Passio with the Boston Modern Orchestra Project. Ms. Rood is a core member of Boston’s Lorelei Ensemble, an all-female vocal ensemble dedicated to the performance of new music, and is a founding member of the Michigan Recital Project, which features commissions by emerging composers. Also sought after as a collaborator, Ms. Rood has been invited by composers at Columbia University, University of Pennsylvania, University of Louisville and Keene State College for performances and masterclasses. Her new recording with composer Heather Gilligan, Living in Light, will be released in 2017.
Violinist Sarah Atwood is completing her Masters degree at New England Conservatory with Tamara Smirnova, Associate Concertmaster of Boston Symphony Orchestra. Sarah currently holds the position of assistant principal second with the Cape Symphony, and throughout the past year acted as concertmaster of New England Conservatory’s unconducted Chamber Orchestra. Sarah’s performance experience includes Carnegie’s Perelman Hall with the New York String Orchestra, Carnegie's Weill Hall in a performance of solo Paganini, and Jordan Hall, as part of many ensembles. First place winner of the 2014 American Protege International Piano and Strings Competition and recipient of the 2013 Presser Award, Sarah has won both Grand and First Prizes in Boston University's Solo Bach Competition, in addition to concerto competitions throughout New England. Sarah performs with Emmanuel Music, Cantata Singers, Pro Arte Chamber Orchestra, and substitutes for the New World Symphony. Festivals include Sarasota Music Festival, Yellow Barn Music Festival, and Tanglewood Music Center. Performances as part of summer festival residencies include Rockport Chamber Music Festival and Monadnock Music. As a chamber musician, Sarah has been on faculty at Arts Ahimsa Music Festival and coached at the Rivers Conservatory. She has also given extensive masterclasses in schools with her New England Conservatory Ensemble Fellowship quartet, as part of the Virginia Arts Festival.