Humanities West Crete release 4_29_11
Humanities West Crete release 4_29_11

Minoan Crete: The Dawn of European Civilization

A prosperous maritime society flourished on Bronze Age Crete from ~2700 to ~1400 BCE, a thousand years before classical Greek civilization. Egyptian records, paintings of Cretans bearing gifts to the Pharaoh, and Minoan paintings found in Egypt testify to this brilliant culture. The magnificence of its art and architecture and the sophistication of the urban culture of Knossos on Crete were not rediscovered until British archaeologist Sir Arthur Evans undertook the excavation and controversial reconstruction of Knossos from 1901-1930. The resulting images of a peaceful, matriarchal society have been increasingly challenged, with archaeological finds in Crete and Santorini that showcase Minoan Crete as a flourishing sea empire. A devastating volcanic eruption at nearby Thera (Santorini), followed by a tsunami, destroyed its navy and economy, triggering its gradual collapse. In the 14th century BCE came influential interaction with the Mycenaean culture developing on the Greek mainland and a shift in power that transmitted and transformed Minoan culture onto the European continent and into a palatial empire that marks the end of one fascinating story and the beginning of yet another.

Sponsored by the Consul General of Greece; the Center for Modern Greek Studies and Classics Department at San Francisco State University; Stanford University; UC Berkeley

Moderator: Kim Shelton (Classics; Director, Nemea Center for Classical Archaeology, UC Berkeley)

Friday, April 29, 2011, 8:00 to10:15 pm

Opening Remarks
Ioannis Andreades
 (Consul General of Greece in San Francisco)

Excavating in Santorini
Xenia Stefanidou (Ambassador of Greece to the Philippines)
Ambassador Stefanidou reflects on her experience excavating ancient archeological sites on Santorini.

Knossos and the Making of Minoan Civilization: a Century of Bronze Age Archaeology
Eleni Hatzaki (Classics, University of Cincinnati)
On March 23, 1900, British archaeologist Arthur Evans began excavating the largest prehistoric building in Crete and the Aegean, which he named Palace of Minos at Knossos. The unparalleled craftsmanship of local and imported material culture, combined with Evans’s definitive scholarship, has much shaped our understanding of Europe’s first civilization. Professor Hatzaki explores, critiques, and evaluates 100 years of Knossian and Minoan archaeology in the context of Bronze Age Crete, the Aegean, and the East Mediterranean.

Mezzo soprano Lauren Groff performs Monteverdi’s “Lamento d’Arianna,” the aria from the lost opera Arianna, and Haydn’s solo cantata “Arianna a Naxos,” with piano accompaniment. Introduced by Clifford (Kip) Cranna (SF Opera).

Enomenoi Dancers of the Church of the Holy Cross, Belmont, California.

Saturday, April 30, 2011, 10:00 am to noon and 1:30 to 4:00 pm

Explaining the Minoan Miracle
Ian Morris (Classics and History, Stanford University)
Minoan Crete was an amazing place: between 1800 and 1600 BCE its people ate better, lived longer, and inhabited bigger, more comfortable houses than Cretans ever had before or would have again for centuries. Why? By looking at Minoan Crete against the background of other moments when ancient Greeks lived unusually well (particularly 600-300 BCE and 400-600 CE), we see the answer—geography. The Aegean world began each of these eras as a backwater on the fringes of a more dynamic core in the east Mediterranean. As the core expanded, the Aegean world was drawn in, setting off economic and cultural explosions from its advantageous position on the periphery. Similar growth has happened throughout history, not least to northwest Europe and then North America after about 1600 CE. Only by looking at the Minoan Miracle in a global framework can we make sense of what happened there–and gain a whole new way to see our own times.

The World of Minoan Art: Sacred Landscapes and Nature; Gods and Man; Daily Life and Epic
Vance Watrous 
(Art History, SUNY Buffalo)
During the Late Bronze Age (1700-1400 BCE), the civilization of Minoan Crete was part of an international era that included the entire Eastern Mediterranean – the Aegean, Levant and Egypt. Famous as craftsmen, Cretan artists created wall paintings, jewelry, vases and seals. Of exquisite quality, this art still has the power to affect us today. In the Bronze Age, Minoan seafarers travelled widely and absorbed the artworks they saw in their journeys. Details in their art were clearly derived from the Near East, especially from Egypt. Nevertheless, when we turn from the art of Egypt and the Levant to Crete, nothing prepares us for what we see. We pass into a land of enchantment, into a world that is sensuous, alive, full of wonder and spirituality. Minoan art depicts landscapes and nature as well as gods and man, and epic themes of war and peace in which we can detect the very beginnings of Western art.

Lunch Break

Plato’s Myth of Lost Atlantis
Andrew Jameson (Emeritus, History, Harvard University and UC Berkeley)
Lost Atlantis, one of the most exasperating mysteries of human history, was born in the mind of Greek philosopher Plato. In two dialogues, Timaeus and Critias,Plato originated the idea, the legend, and the mystery of an advanced civilization “destroyed by a huge natural catastrophe.” Since antiquity many have tried to find Atlantis and date its destruction. The search has involved many disciplines: geology and archeology, ethnology and linguistics, mysticism and occultism, and the natural and psychological sciences. Ever since Greek archeologist Spyridon Marinatos proposed in 1939 that the Bronze Age eruption of Santorini (ancient Thera) was responsible for the demise of the Minoan Crete civilization, geologists and archeologists have studied the volcanic eruptions of the island, leading some to conclude that Santorini is the antecedent of Plato’s Atlantis. Thousands of works have been written about Atlantis in the scientific literature and in bestsellers of popular science, much of it characterized by myth, legend, and fantasy. Lost Atlantis has become a legendary symbol of the human search for a lost “cradle of human culture.”

The End of the Minoan Story and the Beginning of the Mycenaean
Kim Shelton 
(Classics; Director, Nemea Center for Classical Archaeology, UC Berkeley).
The Mycenaean Greeks rose to power on the mainland and in the Aegean during and after the collapse of the Minoan civilization. The interaction between these two cultures helped define not only the nature of the Late Bronze Age in the Aegean but also the legacy of prehistoric and pre-Hellenic civilization to the later Greeks of the historical period. The Mycenaeans lived at Knossos before its destruction in the middle of the 14th century BCE. Mycenaean art and society were strongly influenced by Minoan culture at several essential phases, while the concept of “Mycenaean” Crete and what that means for our understanding of the Minoans themselves and the implications for the first Greeks on the mainland as they develop into a palatial empire is the end of one fascinating story and the beginning of yet another.

Panel Discussion with All Presenters


Mezzo-soprano Lauren Groff completed her master’s degree in Vocal Performance at the San Francisco Conservatory of Music in 2008, studying under Catherine Cook. Ms. Groff completed her undergraduate studies at Cal Poly San Luis Obispo, where she performed the role of Dido, (Dido and Aeneas) and was part of the chorus for Pacific Repertory Opera. Her roles in the Bay Area have included Hänsel (Hänsel and Gretel), Hippolyta (A Midsummer Night’s Dream), Claudio (Silla-US Premiere), Meg (Little Women), and Lidio (L’Egisto-Cavalli). A frequent soloist, her concert credits include Respighi’s Laud to the Nativity, Vivaldi’s Gloria, Handel’s Messiah, and Mozart’s Grand Mass in C-minor. Ms. Groff made her Bay Area opera debut with Festival Opera as Hippolyta in A Midsummer Night’s Dream. Her future engagements include a concert version of Carmen with the San Jose Youth Symphony (title role), Bay Area appearances in Handel’s Messiah, soloist appearances with the Valley Concert Chorale, and a soloist with the SF Concert Chorale in Saint-Saens Christmas Oratorio.

Mary Louise Hart, Associate Curator of Antiquities, J. Paul Getty Museum, Los Angeles.

Eleni Hatzaki (Assistant Professor, Classics, University of Cincinnati) is an Aegean Pre-historian working on Crete with research interests in the archaeology of Prehistoric Knossos, ceramic production and consumption, burial customs and society, the archaeology of urban complexity, and household archaeology. She came to University of Cincinnati from the British School at Athens where she held the academic positions of Assistant Director and Knossos Curator. In Greece she has directed two excavation projects (Little Palace North Project and Villa Dionysos Viridarium Project) at the quintessential Bronze Age site of Knossos, Crete. Her long-standing academic association with Knossos (urban development, labyrinthine stratigraphy, pottery, and architecture) started while a graduate student of Mervyn Popham, who suggested the Little Palace (excavated in the 1900s by Arthur Evans) as a suitable Oxford D.Phil. thesis. Apart from Knossos she has participated in numerous fieldwork projects in Greece: Palaikastro, Myrtos Pyrgos, Malia on Crete, Lefkandi and Phylla on Euboea, Kythera and Dokos (islands off the Peloponnese). Publications include the Late Bronze Age (MM IIIB to LM IIIC) chapters of the Knossos Pottery Handbook ( Momigliano ed. 2007); Knossos: the Little Palace (Hatzaki 2005); Knossos: Palace, City, State (Cadogan, Hatzaki and Vasilakis, eds. 2004). Current projects include the Little Palace North Project (now at post-excavation study season phase); publication of the Late Bronze Age ceramic assemblages from the ‘Minoan’ settlement and House Tomb of Myrtos Pyrgos (excavated in the 1970s by Gerald Cadogan); and publication of the Temple Tomb at Knossos (excavated in the 1930s by Evans and John Pendlebury).

Andrew G. Jameson (PhD, His­tory, Harvard; doctorate, History, The Sorbonne, Paris; MS, Library Science, Simmons; Archival Management, Radcliffe) taught Byzantine, Near Eastern, and African history at Harvard and UC Berkeley. He is Director Emeritus of Books for Asia of The Asia Foundation and President Emeritus of The Academy of Art SF. He was advisor to the National Libraries of Nigeria and China, visiting professor at Bosphorus University and advisor to the library of the Orthodox Ecumenical Patriarchate in Istanbul-Constantinople. He lectures and writes on African and Asian cultures, on libraries, and on the Orthodox Church and mon­asteries; he is researching a book on the Nicene Creed and on the history and lore of the camel. He serves on Harvard’s Graduate Council, as a trustee of the William Saroyan Foundation, and as historian of the Bohemian Club of SF. He was recently elected to the Explorers Club of New York, having climbed Mounts Kilimanjaro and Cameroon and trekked the Sahara with the Tuareg. AWorld War II infantry veteran, he earned a Bronze Star with Cluster and a Purple Heart with Cluster in the Battle of the Bulge.

Ian Morris (Jean and Rebecca Willard Professor of Classics and Professor of History, Stanford University) is an archaeologist and historian who has dug in Britain, Greece, and Italy. He has published eleven books. The latest of these, Why the West Rules—For Now: The Patterns of History, and What They Reveal About the Future, examines eastern and western history from the Ice Age into the twenty-first century (Farrar, Straus and Giroux, October 2010. At Stanford he has served as Chair of the Classics Department, Senior Associate Dean of the School of Humanities and Sciences, Director of the Archaeology Center, and Director of the Social Science History Institute, and in 2009 he won the Dean’s Award for Excellence in Teaching. From 2000 through 2006 he directed Stanford’s excavations at Monte Polizzo, an indigenous town in Sicily, uncovering new evidence about the transformation of Mediterranean societies in the seventh and sixth centuries BCE. His books have been translated into Spanish, Greek German, and Dutch, and he has appeared on numerous television specials.

Kim Shelton (Assistant Professor, Classics, and Director, Nemea Center for Classical Archaeology, UC Berkeley) is an active field archaeologist and Pre-historian with excavations at Petsas House in the settlement of Mycenae and in and around the Sanctuary of Zeus at Nemea. She is a specialist in ceramics, domestic architecture and Mycenaean religion. She came to UC Berkeley from the University of Texas at Austin following twelve years of field research in Greece, primarily at the Late Bronze Age palatial center of Mycenae where she remains the assistant to the director of the Archaeological Society of Athens’ research, Dr. Spyros Iakovidis. She has also participated in fieldwork and specialist study in Greece at the Mycenaean stronghold of Gla, at Pylos, Tegea, the shipwreck site of Iria and now in the sanctuary area and the settlement on Tsoungiza at Nemea. Publications include The Late Helladic Pottery from Prosymna (1996), the chapter on Late Bronze Age Mainland Greece for the Oxford Handbook of the Bronze Age Aegean (E. Cline, ed. Forthcoming) and numerous articles on the Petsas House excavations and the major finds (pottery, frescoes, Linear B tablets). Currently she is researching ceramic deposits from the UCB Nemea Excavations (1972-2002) for publication and finishing two books: one on the figurines of Petsas House (Archaeological Society) and the other the final publication of the Tsountas House excavations (Oxbow Books) conducted by the British School of Archaeology in 1950, 1959-1960. In 2009 she was elected Fellow of the Society of Antiquaries of London.

Xenia Stefanidou (Greek Ambassador to Philippines), a native Athenian, is a BA graduate of the School of Archeology and History of the University of Athens. In 2005, she completed her Masters in Public Administration at the Kennedy School of Government at Harvard University. A nine-year stint in archeology led to an interest in diplomacy. After completing her studies in the Diplomatic Academy in 1984, she served in the Ministry of Foreign Affairs in Athens whereupon she was assigned to Bonn, Germany to serve as Secretary of Embassy, then to Plovidiv, Bulgaria where she served as Consul General at the Consulate General of Greece. Returning to Athens, she served in several political departments at the Ministry of Foreign Affairs. In 2004, Mrs. Stefanidou was detached to the Consulate General of Greece in Boston, and in September of 2005, she assumed her duties as the Consul General of Greece in San Francisco. In 2009 she was named Ambassador of the Republic of Greece to the Philippines. In 1995, she was decorated with the “Commander’s Cross of the Order of Merit of the Federal Republic of Germany” by the German Ambassador in Sofia, Bulgaria. She is fluent in six languages—Greek, English, German, French, Spanish and Italian.

Livingston Vance Watrous (PhD, University of Pennsylvania) is Professor of Art History; Adjunct Professor of Classics; Adjunct Professor of Visual Studies at SUNY Buffalo. Professor Watrous’ interests include Aegean and Greek art and archaeology. He is particularly interested in iconography (mainly as it relates to Greek poetry) and the relationship between society, social institutions and art. He has recently published articles on the archaeology of Crete, and on the earliest architectural sculpture known in Greece. Recent publications include Plain of Phaistos: Cycles of Social Complexity in the Messara Region of Crete, 2006; The Cave Sanctuary of Zeus at Psychro: A Study of Extra-Urban Sanctuaries in Minoan and Early Iron Age Crete. University of Texas at Austin, Program in Aegean Scripts and Prehistory, 1996; Kommos III, The Late Bronze Age Pottery, Princeton University Press, 1992. He is Director of the Gournia Survey Project, important for its new information about one of the most significant excavations of a town in the Late Bronze Age Aegean. He has received grants from the Archaeological Institute of America, National Endowment for the Humanities, National Geographic Society, Fulbright commission, and Institute for Aegean Studies to support his archaeological fieldwork and studies on Minoan Crete. In 1993/94 he was Elizabeth A. Whitehead Professor at the American School of Classical Studies in Athens.


Toledo: The Multicultural Challenges of Medieval Spain

For centuries under both Moorish and Spanish rule, Toledo thrived as a cultural, religious, and political center for its Muslim, Christian, and Jewish communities. Its artists influenced one another, blending styles in art and architecture, and remained influential enough to still attract El Greco late in the 16th Century. Its philosophers and scientists created a vibrant center of learning, while Latin translations of major Arabic works spread Toledo’s influence throughout Medieval Europe. Does Toledo deserve its reputation as a showcase of “Convivencia,” the relatively tolerant and synergistic co-existence of Muslims, Christians, and Jews? Or was its greatness the paradoxical result of tensions and conflicts that simmered beneath the surface until finally boiling over with the expulsion of the Jews (1492) and Muslims (1502)?

Moderator: Fred Astren (Professor and Chair, Department of Jewish Studies
Member, Faculty in Middle East and Islamic Studies, San Francisco State University)

Friday, February 4, 2011, 8:00 to 10:15 pm

The Place of Toledo in Spanish History
Teofilo Ruiz (Professor of History, UCLA) provides a broad view of the history of Toledo from its Roman foundation to the aftermath of the conquest of the city by the Christian armies of Alfonso VI in 1085. Emphasis is on the Visigothic presence in the city, the role of Toledo as the capital of the Visigothic empire, as primate Church in early modern Spain, as well as on the great Church councils held in the city. In many ways, the edicts of these councils eerily foreshadowed later harsh legislation against Muslims and Jews in the mid-thirteenth century. Focusing on discreet aspects of Toledo’s history and on its unique location in the center of the peninsula, Professor Ruiz also explores the contradictions inherent in Alfonso VI’s definition of himself as the emperor of the three religions (Islam, Christianity and Judaism) and the parallel development: the growing antagonisms between different religious groups in the city and the realm.


Soprano Susan Rode-Morris, percussionist Peter Maund, viola-da-gambist David Morris, and vielle/violinist Shira Kammen present a program indicative of the astonishing diversity of the music of late Medieval and Renaissance Toledo and Spain. From the Spanish secular storytelling villancicos to Sephardic love songs and laments, to the Moorish muwashah, this concert explores the rich and unusual meeting of cultures which culminated in a fascinating world. Introduced by Clifford (Kip) Cranna (Director of Musical Administration, SF Opera)


Multicultural Challenges of Medieval SpainSpanish Villancicos, Sephardic Love Songs, and Moorish Muwashah of Medieval and Renaissance SpainShira Kammen (vielle/violin), Susan Rode Morris (soprano), David Morris (viola da gamba), and Peter Maund (percussion).

Cantiga de Santa Maria #212from the Court of Alphonso X “El Sabio” (1221–1284)
Una MaticaAnonymous, Sephardic
Salinasbased on melodies by Francisco de Salinas (1513–1590)
Alta AltaAnonymous, Sephardic
Istihal NawaAthar and Lamma Bada YatathannaTraditional Arabic Muwashshah
Amor con FortunaJuan del Encina (1468–1529 or 1530)
RecercadaDiego Ortiz (ca. 1510–ca. 1570)
Puer Natus EstCristobal de Morales (ca. 1500– ca.1553)
Calata ala SpagnolaJuan Ambrosio Dalza (fl. 1508)
Tres Morillas me enamoran en JaenVillancico Anónimo
Jancu JantoAnonymous

Saturday, February 5, 2011, 10:00 am to noon and 1:30 to 4:00 pm

From Difference to Deviance in Early Modern Toledo
Mary Elizabeth Perry (Research Associate, UCLA Center for Medieval and Renaissance Studies).
The Purity of Blood Statute passed by the city government of Toledo in 1449 signaled a major change from past toleration of difference to official condemnation of difference as deviance. Originally aimed at judeo-conversos (Jews who had converted to Christianity), this law reflected a larger concern about growing challenges to a ruling elite. Historical records, literature, art, and architecture of Toledo expose deep anxieties about not only judeo-conversos, but also moriscos (Muslims who had to convert to Christianity in the early 16th century), the poor, the infirm, and prostitutes.

Toledo’s Visual Interlace
Deborah Loft (Art History Professor, College of Marin). Toledo offers a rich opportunity to explore artistic interchange across lines of political power. Works of art ranging from medieval mosques, synagogues, and churches to the paintings of El Greco—himself a product of several cultures—reflect the city’s complex cultural relationships. The “Cristo de la Luz” mosque and the “Santa Maria la Blanca” and “Il Tránsito” synagogues are considered in the broader context of the Iberian Peninsula and as contributions to European art down to modern times. Toledo is also viewed through the paintings and projects of El Greco, for whom the city provided the patronage for his distinctive later work.

Lunch Break

Orphenica Lyra: Orpheus’ Lyre in Spain
Virtuoso guitarist Richard Savino (Professor of Music, CSU Sacramento) captures the spontaneity of Spanish period music on the guitar and vuihuela, el rey de los renacimiento intrumentos español(the king of Spanish renaissance instruments). Shaped in a manner more closely resembling that of a modern guitar, yet tuned in the manner of a lute, the vihuela was the defining musical instrument of late 15th and 16th century Spain.

The Limits and Pitfalls of “Convivencia
Teofilo Ruiz (Professor of History, UCLA). This lecture, a summation of our study of the great city of Toledo, examines critically the historiographical debate about convivencia, the supposedly peaceful interaction of Jews, Muslims, and Christians in medieval Toledo and Spain. By tracing the historical roots for this concept and its development over time, Professor Ruiz seeks to provide a new assessment of what the term meant for those different religions co-existing in medieval Toledo and Iberia, and what the presence or absence of real convivencia tells us about medieval Spain and about our own conflicted experiences of toleration and intolerance in the modern world. While most Toledan and medieval Castilian art shows a high degree of what Jerrilynn Dodds has defined as hybridity, Professor Ruiz examines, though a brief look at some specific cultural markers, how that hybridity worked at the level of everyday life.

Panel Discussion with all presenters and written questions from the audience.


Fred Astren, Professor and Chair of the Department of Jewish Studies and member of the Faculty in Middle East and Islamic Studies at San Francisco State University, received his PhD in Near Eastern Studies at UC Berkeley, where he also earned a master’s degree in Arabic. His bachelor’s is in Medieval History from the University of Minnesota. Among Professor Astren’s publications are: Karaite Judaism and Historical Understanding (2004); Judaism and Islam: Boundaries, Communication, and Interaction (Editor, with B. H. Hary and J. L. Hayes), Festschrift for William M. Brinner (2000); and The Jewish Printed Book in India: Imprints of the Blumenthal Rare Book and Manuscript Library, The Judah L. Magnes Museum (1992). Areas of research include minority/sectarian history history in the Mediterranean Middle Ages, with special focus on Jewish history under Islam, Islamization, Jewish-Muslim relations, and the Karaite Jewish sect. Having recently published a study on Jews in the early medieval Muslim conquests of the Near East and Spain, he is currently writing a book on Jews in the Mediterranean of the early Middle Ages.

Multi-instrumentalist and vocalist Shira Kammen received her music degree from UC Berkeley and studied vielle with early music specialist Margriet Tindemans. Shira has performed with Alcatraz, Project Ars Nova, Medieval Strings, Sequentia, Hesperion XX, Boston Camerata, Balkan group Kitka, and the Oregon, California and SF Shakespeare Festivals; with singer/storyteller John Fleagle, Fortune’s Wheel, Ephemeros, Panacea, storyteller/harpist Patrick Ball, sopranos Anne Azema, Susan Rode Morris, Margriet Tindemans, and in theatrical and dance productions. She founded Class V Music, an ensemble performing on river rafting trips. She has performed and taught in the US, Canada, Mexico, Europe, Israel, Morocco, and Japan, and on the Colorado, Rogue and Klamath Rivers. She has played on television and movie soundtracks, including ‘O’, a modern high school-setting of Othello. Her original music can be heard in a film about fans of JRR Tolkien. The strangest place Shira has played is in the Jerusalem Zoo elephant pit.

Dryden G. Liddle is a recently qualified PhD in history (Open University, UK),with an MA in Economics from Cambridge University, followed by a long career in diplomacy (the UK FO) and banking. His PhD thesis was on Charles V’s financial secretary, 1520-1547, covering issues on the finance of the Habsburg wars and the emergence of the fiscal state, largely by taxing the Castilian towns and not through the silver inflow from the Americas as is often thought. The thesis also covers the diplomatic and personal correspondence of artists, popes, ambassadors, and of course Charles V on issues raised by Luther, the Turk, Algerian piracy, and the wars against France in Italy. With the resulting imperial overstretch there is a clear parable with today, including the role of complex financial instruments, liquidity and subsequent solvency issues.

Deborah Loft is Art History Professor at College of Marin, with a BA from Oberlin College and MA from University of Pennsylvania. She has also worked on the curatorial staff at Fine Arts Museum San Francisco and has lectured at Bay Area museums, including the Getting to Know Modern Artseries at SFMOMA. In recent years, her research has focused on the artistic interactions of a variety of European cultures. Her wide-ranging travels have included significant time in Spain, including Toledo. She has paid particular attention to the ways in which the Islamic architectural vocabulary became integrated into the Christian buildings of northern Europe. She is currently working on a book on the meanings of interlace designs, and their significance as an indicator of intercultural contact.

Peter Maund, a native of San Francisco, studied percussion at the San Francisco Conservatory of Music; tabla with Swapan Chauduri at the Ali Akbar College of Music; and music, folklore, and ethnomusicology at the University of California, Berkeley (AB, MA). As a PhD candidate at Berkeley, he specialized in the music of north India. He specializes in hand percussion from the Middle East and North Africa. He has performed and recorded with various early music, contemporary music, and world music ensembles throughout North American, the UK, and Europe, including Chanticleer, Ensemble Project Ars Nova, Paul Hillier, Quaternaria, and Philharmonia Baroque Orchestra. He has toured with Jordi Savall’s Hesperion XX in a program of medieval Spanish music, and performs and records regularly as a member of Ensemble Alcatraz, Davka and Alasdair Fraser’s Skyedance. He has played on film and television soundtracks and has appeared on dozens of recordings. He also enjoys teaching and presenting lectures, workshops and classes.

Kerrin Meis received her master’s degree in art history from UC Berkeley. She lectured at San Francisco State University for many years and taught European Art classes in the Emeritus program at the College of Marin, where she received a Most Valuable Teacher Award. Her focus is on the interaction among artists of different cultures made visible in the recurrence of certain symbols and motifs in architecture, painting and sculpture. She has recently taught courses in Spanish Art and Culture at Elderhostel and at the OLLI program at Dominican University of California and has led travel/study programs in Europe.

David Morris (violoncello) received his BA (Magna cum laude) and MA in Music from UC Berkeley and was the recipient of the University’s Eisner Prize for excellence in the performing arts. He has performed with Philharmonia Baroque Orchestra and been a guest of the Los Angeles and Portland Baroque Orchestras and the Mark Morris Dance Company. He is a member of Musica Pacifica and is the musical director of the Bay Area baroque opera collective Teatro Bacchino. He is the Dean of Students at the Crowden School in Berkeley, and has conducted the Crowden School Orchestra on festival tours through the United Kingdom and Europe. He has recorded for Harmonia Mundi, Dorian, New Albion and New World.

Susan Rode Morris is a singer of unusual versatility whose accomplishments encompass a wide range of repertoire and musical styles. A native of the SF Bay Area, she has received much critical acclaim for her expressiveness and naturalness in singing, as well as her communicative presence. She is a founding member of Ensemble Alcatraz and has sung with many ensembles including Philharmonia Baroque Orchestra, American Bach Soloists, Sequentia Koln, Sex Chordae Consort of Viols, Foolia!, Magnificat!, Women’s Philharmonic and others in North America and Europe. She has premiered numerous works of Bay Area composers, including opera and theatre pieces. Performances include appearances at the Kennedy Center in Washington DC, Metropolitan Art Museum in New York City, the Cloisters, Bellas Artes in Mexico City, and in such cities as Boston, Seattle, Phoenix, New Orleans, Portland, Pittsburgh, London, Regensberg, Vancouver, and at such universities and colleges as Stanford, UC Berkeley, and UC Davis, Oberlin College, and Washington State. She has enjoyed collaborations with artists including Shira Kammen, Phebe Craig, Judith Nelson, Alasdair Fraser, Paul Hillier, John Dornenburg, and others.  In 1992 she founded a recording company called Donsuemor which has released four compact discs, including songs of Henry Purcell and three recordings of the songs of 18th century Scottish poet Robert Burns. For many years she has studied voice with the legendary Lilian Loran. A special love is teaching children the joy of singing. She owns a baking company (Donsuemor) which supplies the U.S. with fresh madeleines.

Mary Elizabeth (Betsy) Perry is Research Associate for the UCLA Center for Medieval and Renaissance Studies and a Fulbright Senior Specialist. She has published five books and many articles and essays on women’s history and marginality in early modern Spain. Crime and Society in Early Modern Seville ( and Gender and Disorder in Early Modern Seville, won the Sierra Prize; Gender and Disorder has been translated and published in Spain as Ni espada rota, ni mujer que trota. A specialist in marginal people in 16th and 7th-century Spain, her most recent book is on Spanish Moriscos (baptized Muslims), exploring in particular the roles of women and children: The Handless Maiden: Moriscos and the Politics of Religion (Princeton University Press, 2005; paperback, 2007; Spanish edition, U. of Granada Press, forthcoming).

Peter O’Malley Pierson
 is Lee & Seymour Graff Professor of History Emeritus, Santa Clara University, where he taught for thirty-four years. He grew up in Southern California, and after two years at Denison University, he completed his undergraduate work at UCLA. Following four years active duty as a US Naval Reserve officer, he returned to UCLA to earn his PhD. Both a Fulbright Fellow to Spain and lately a visiting scholar at Stanford, he has written Philip II of Spain, Commander of the Armada and History of Spain, as well as many articles. He regards it his good fortune to have had to teach the whole of Western Civilization. He has a great interest in maritime and military history, travel, the fine arts, and locally, the opera; he serves on the Advisory Council of Humanities West. He also paints as a pastime.

Teofilo F. Ruiz, Professor of History, UCLA, was a student of Joseph R. Strayer, Teo received his PhD from Princeton in 1974 and has taught at Brooklyn College, CUNY Graduate Center, University of Michigan, Ecole des hautes Etudes en Sciences Sociales and Princeton–as 250th Anniversary Visiting Professor for Distinguished Teaching–before coming to UCLA in July 1998. A scholar of the social and cultural (popular culture) of late medieval and early modern Castile, Teo Ruiz’s selected publications include Spain, 1300-1469. Centuries of Crises (Oxford: Blackwell Press, 2007); Medieval Europe and the World (with Robin Winks) (Oxford, 2005); From Heaven to Earth: The Reordering of Castilian Society, 1150-1350 (Princeton University Press, 2004); Spanish Society, 1400-1600 (Longman, 2001); Crisis and Continuity: Land and Town in Late Medieval Castile (University of Pennsylvania Press: Philadelphia, 1994); The City and the Realm: Burgos and Castile in the Late Middle Ages (London: Variorum Reprints, 1992); Co-author, Burgos en la Edad Media (Valladolid, 1984) ; Sociedad y poder real en Castilla (Barcelona, 1981); Co-editor of Order and Innovation in the Middle Ages: Essays in Honor of Joseph R. Strayer (Princeton,  1976).

Richard Savino (Doctorate, SUNY) lectures at SF Conservatory of Music, directs the ensemble El Mundo, and is Professor of Music at CSU Sacramento. His instructors included Andres Segovia, Oscar Ghiglia, Albert Fuller and Jerry Willard. Recordings include guitar music of Johann Kaspar Mertz; virtuoso sonatas by Paganini and Giuliani; sonatas for flute and guitar; 18th century guitar music from Mexico by Santiago de Murcia (1998);Venice Before Vivaldi, a Portrait of Giovanni Legrenzi and Villancicos y Cantadas; music by Barabara Strozzi, Biagio Marini and Giovanni Buonamente; the Boccherini Guitar Symphonia and Op. 30 Concerto for Guitar by Mauro Giuliani; The Essential Giuliani Vol. 1; Music Fit for a King;and Baroque Guitar Sonatas (1696) of Ludovico Roncallii (2006-07). He received a Diapason d’Or from Compact (Paris) and a 10 du Rèpertoire (Paris). He is a principal performer with the Houston Grand Opera, New York Collegium, Portland Baroque Orchestra, SF Symphony, Santa Fe Opera, San Diego Opera, Opera Colorado, Dallas Opera and Glimmerglass Opera. From 1986-98 he directed the CSU Summer Arts Guitar and Lute Institute, and he has been Visiting Artistic Director of Aston Magna Academy and Music Festival at Rutgers.


Venice: Queen of the Adriatic

Herbst Theatre, San Francisco

Venice, poised regally on the Adriatic coast, dominated the Eastern Mediterranean beginning in the twelfth century. Her extensive trade network linked Europe to Byzantium, the Moslem world, and even the distant Asian civilizations explored by Marco Polo. With a unique political system, commercial and technical prowess, and tolerant cultural environment, Venice became the most prosperous city in Europe, and a showcase of magnificent art, architecture, music, and fashion. Although eventually overshadowed as a cultural and economic power by emerging nation-states of Western Europe in the sixteenth and seventeenth centuries, Venice followed its own unusual path to lasting material and cultural success.

In collaboration with the Italian Cultural Institute of San Francisco and the Consul General of Italy; Sponsored by Bank of the West; Stanford University; and UC Berkeley.

Friday, October 22, 2010, 8:00 to 10:15 pm

Introduction to the Program
Patricia Lundberg 
(Humanities West) and Hon. Fabrizio Marcelli, Consul General of Italy

The Allure of Venice:  Civic Myth and Social Reality.  Joanne M. Ferraro (Professor and Chair of History, San Diego State University).

What gave Venice its alluring reputation as ‘The Most Serene Republic?’ Myths like this one fostered civic pride and constructed civic identity, inspiring an elaborate ceremonial symbolism and iconography to represent the floating city. Public space was decorated with icons of Justice and Liberty, while the votive churches of the Redentore and Santa Maria della Salute stood as symbols of pious devotion for staged processions. The pageantry, however, did not mask the hardships of poverty, prostitution, or disease. Social historian Joanne Ferraro explores the civic energies that sustained Venice’s ideal public and sacred symbolism. The city housed courtesans, heretics, sorcerers, and fake saints but also a community of pious donors that built confraternities, hospitals, orphanages, and homes for women whose virtue was endangered.


Introduced by Clifford (Kip) Cranna, Director of Music Administration, SF Opera

The music of Renaissance Venice expresses the excitement and novelty of that great city. This performance presents the more intimate of the Venetian musical styles—love songs, carnival songs, street seller’s songs, as well as more formal celebratory compositions by some of the Renaissance master composers, are performed by Allison Zelles Lloyd (soprano); David Morris, (viola da gamba, gittern and voice); Gilbert Martinez (harpsichord); Shira Kammen (violin and voice); with Herb Myers.

Venecie mundi splendorJohannes Ciconia (c.1370–1412)
L’amor donna ch’io te portoGiacomo Fogliano (1458–1548)
Ancor che col partireCipriano da Rore (c. 1515–1565)
Divisions on Ancor che col partire from Il vero modo di diminuir (Venice, 1584)Girolamo dalla Casa (d. 1601)
Musica dulci sonoCipriano da Rore
Three settings of Fortuna d’un gran tempo from The Odhecaton published by Ottaviano Petrucci (Venice, 1501)Anonymous
ToccataGiovanni Picchi (ca. 1571–1643)
Ballo alla PolachaGiovanni Picchi
La RomanescaBiagio Marini (1594–1663)
Si dolce tormentoClaudio Monteverdi (1567–1643)
Dal lecto mi levavaMichele Pesenti (c. 1470–1524)

Saturday, October 23, 2010, 10:00 am to noon and 1:30 to 4:00 pm

Moderator, Paula Findlen (Professor and Chair, History; Co-Director, Center for Medieval and Early Modern Studies; Co-Director, History and Philosophy of Science and Technology Program; Stanford University)

Regnum aquosumSpace and Society in Medieval Venice
Maureen C. Miller
 (History, UC Berkeley)
This broad introduction narrates the emergence and early development of Venice, giving particular attention to the impact of environmental factors. It traces the gradual fusion of island parishes into a city and highlights the distinctive features of Venice’s urban fabric. The lagoon’s role in shaping Venetian economic practices and mentalities is also assessed: did an economy based on fish, salt, and shipping yield a more harmonious social and political order?

From Mosaic to Melting Pot in the Venetian Empire
Sally McKee
(History, UC Davis)
The city of Venice reflected the preeminent role it played in the conquest and economy of markets around the Mediterranean Sea. Venetian merchants and colonial settlers changed the landscape of the cities and territories they dominated. The Lion of St. Mark appeared on public buildings, fortresses, and warehouses in Constantinople, Tyre, Crete, the Aegean Islands, and Cyprus, while monumental trophies displayed in Venice reminded inhabitants of their city’s economic power. But Venetians bore the stamp of empire not just in their clothing, food, art, and language. Venice’sstato da mar promoted as well an influx into Venice of people — slaves, wealthy brides, artisans, and sailors — from all over the eastern Mediterranean. Uniquely multicultural in its time, Venice embodied the benefits and contradictions of foreign domination.

Lunch Break

Venetian Musical Instruments
Herb Myers demonstrates Antique Venetian Musical Instruments. Venice is famous for its many significant contributions to the world of music in the 16th and 17th centuries, both as a center of music publishing and as a widely imitated leader in compositional styles. Not the least of its contributions was in the production of musical instruments, particularly woodwinds, string keyboards (virginals and harpsichords), and bowed strings. Herb Myers demonstrates copies and shows images of instruments by Venetian builders of the Renaissance and early Baroque—instruments clearly designed to appeal to the eye as well as the ear.


Sonata in sol maggiore per violoncello e basso continuoBenedetto Marcello (1687–1739)
Toccata seconda per tiorba solaJohannes H. Kapsperger (c. 1580–1651)
Sonata in sol minore per violoncello e basso continuoAntonio Vivaldi (1678–1741)
Sonata III per violoncello e basso continuoGiovanni Benedetto Platti (1697–1763)

Architecture and Urbanism Between East and West: The Piazza San Marco of Venice in Context
Max Grossman
 (Art History, University of Texas El Paso)
Long admired as one of the most beautiful and best preserved public squares in Europe, the Piazza San Marco of Venice was for centuries the civic, religious and commercial epicenter of the Republic. The surrounding monumental edifices, including the Basilica of San Marco, Palazzo Ducale, Zecca, Campanile and Procuratie, bear witness to the commercial successes of the great Venetian fleets and their extensive trade with the city’s colonial empire. Moreover, they project the myth of the foundation of Venice by the ancient Romans while declaring the city’s status as the principle gateway into Western Europe for Byzantine and Islamic culture.

Panel Discussion with all Presenters and written questions from the Audience.

Sunday, October 24, 2010

Venezia Serenissima Concert at SF Conservatory of Music. Alessandro Palmeri (Bassetto Cimapane), SF Conservatory of Music Faculty Richard Savino (lute), Corey Jamason (harpsichord), and Elisabeth Reed (cello).


Luciano Chessa teaches at the San Francisco Conservatory. He received his PhD in musicology from University of California Davis. Previously, at the Conservatory of Bologna, he earned a DMA in piano and a MA in composition. His areas of research interest include 20th-century music, experimental music and late 14th-century music, and he has been interviewed at the CBS (KPIX/KBHK) television channel as an expert on Italian hip-hop. His scholarly writings can be found in MIT Press’ Leonardo and Musica e Storia, the Journal of the Levi Foundation, Venice. He is currently working on the first English monograph dedicated to Luigi Russolo, to be published by University of California Press. Dr. Chessa is also active as a composer and performer. His scores (including a large work for orchestra and double children choir, and a piano and three turntables duo) are published by RAI TRADE, and many are produced with visual artist Terry Berlier. Since 1999 he has been musical program coordinator for the Italian Cultural Institute in San Francisco, where he produces concerts of Italian contemporary music.

Clifford (Kip) Cranna (PhD, Musicology, Stanford) is Direc­tor of Musical Administration at SF Opera. He has served as vocal adjudicator for numerous groups including the Metropolitan Opera National Council. For many years he was Program Editor and Lecturer for the Carmel Bach Festival. He lectures and writes frequently on music and teaches at the SF Conservatory of Music. He hosts the Opera Guild’s “Insight” panels and intermission features for the SF Opera radio broadcasts, and has been a Music Study Leader for Smithsonian Tours. In 2008 he was awarded the SF Opera Medal, the com­pany’s highest honor.

Joanne M. Ferraro (PhD UCLA), Professor and Chair of History at SDSU, is an historian of Renaissance and early modern Venice. A specialist in the history of marriage and the family, she has published Family and Public Life in Brescia, 1580-1650. The Foundations of Power in the Venetian State(Cambridge, 1993); Marriage Wars in Late Renaissance Venice (Oxford, 2001), which was awarded best book from the Society for the Study of Early Modern Women and the Helen and Howard R. Marraro Prize in Italian Historical Studies; and Nefarious Crimes, Contested Justice. Illicit Sex in the Republic of Venice, 1557-1789 (Johns Hopkins, 2008). Ferraro has received research fellowships from National Endowment for the Humanities, American Council of Learned Societies, and Gladys Krieble Foundation. She is an “International Associate” of Venice’s Ateneo Veneto and serves as a Vice President of the American Friends of the Marciana Library. Ferraro is currently writing a history of Venice for Cambridge University Press.

Moderator, Paula Findlen (Professor and Chair, History; Co-Director, Center for Medieval and Early Modern Studies; Co-Director, History and Philosophy of Science and Technology Program; Stanford University) is “fascinated by a society that made politics, economics and culture so important to its self-definition, and that obviously succeeded in all these endeavors for some time, as the legacy of such figures as Machiavelli and Leonardo suggests. Renaissance Italy, in short, is a historical laboratory for understanding the possibilities and the problems of an innovative society.” Among her many publications are The Italian Renaissance: Essential Readings (Blackwell, 2002); and “Men, Moments and Machines” special on the History Channel: “Galileo and the Sinful Spyglass.”

Max Grossman, Assistant Professor of Art History at University of Texas El Paso (UTEP), formerly taught in the School of Art and Design at San Jose State University and at Stanford University (BA, Art History and English, UC Berkeley; MA/PhD, Art History, Columbia University). After seven years of residence in Tuscany, he completed his dissertation on the civic architecture, urbanism and iconography of the Sienese Republic in the Middle Ages and Early Renaissance. He has presented papers at academic conferences around the United States, including at the annual meeting of the Renaissance Society of America, and chaired a session entitled “The Italian Civic Palace in the Age of the City-Republics” at the 1st International Meeting of the European Architectural History Network in Guimarães, Portugal in 2010. He is currently preparing the main arguments of his doctoral thesis, the first synthetic treatment of the total architectural production of an Italian city-state, for submission. His research is focused on the political iconography of the Sienese commune, as manifested in painting, sculpture, architecture, coinage, seals and manuscripts. In addition, he is studying the development of the Italian civic palace, from its origins in the twelfth century through its final transformations in the Quattrocento, challenging and revising accepted paradigms while forming a new critical apparatus for interpreting the architecture and urbanism of medieval and Renaissance city-states.

Multi-instrumentalist and vocal­ist Shira Kammen received her music degree from UC Berkeley and studied vielle with Margriet Tindemans. Shira has performed with Al­catraz, Project Ars Nova, Medieval Strings, Sequentia, Hesperion XX, Boston Camerata, Balkan group Kitka, and the Oregon, Califor­nia and SF Shakespeare Festivals; with John Fleagle, Fortune’s Wheel, Ephemeros, Pana­cea, Patrick Ball, Anne Azema, Susan Rode Morris, Margriet Tindemans, and in theatri­cal and dance productions. She founded Class V Music, an ensemble performing on river rafting trips. She has performed and taught in the US, Canada, Mexico, Europe, Israel, Morocco, and Japan, and on the Colorado, Rogue and Klamath Rivers. She has played on soundtracks, including ‘O’, a modern high school-setting of Othello. Her original music can be heard in a film about fans of JRR Tol­kien. The strangest place Shira played is the Jerusalem Zoo elephant pit.

Gilbert Martinez (harpsichord) is the Artistic Director of MusicSources, the Bay Area’s center for early music. He studied harpsichord at the San Francisco Conservatory of Music with Laurette Golberg, who was the founder of Philharmonia Baroque Orchestra and MusicSources. Subsequently he was invited to Italy to study with Alan Curtis. In addition to revitalizing MusicSources’ concerts and programs, he has had the pleasure of appearing with many soloist and ensembles, including Anne Akiko Meyers, The New Century Chamber Orchestra, Musica Angelica, Les Idees Heureses of Montreal, to name only a few.  For more of his recent activity, see

David Morris (violoncello) received his BA (Magna cum laude) and MA in Music from UC Berkeley and was the recipient of the University’s Eisner Prize for excellence in the performing arts. He has performed with Philharmonia Baroque Orchestra and been a guest of the Los Angeles and Portland Baroque Orchestras and the Mark Morris Dance Company. He is a member of Musica Pacifica and is the musical director of the Bay Area baroque opera collective Teatro Bacchino. He is the Dean of Students at the Crowden School in Berkeley, and has conducted the Crowden School Orchestra on festival tours through the United Kingdom and Europe. He has recorded for Harmonia Mundi, Dorian, New Albion and New World.

Sally McKee (History, UC Davis) crisscrossed North America as an academic before becoming a professor at UC Davis since 1990. Since 1989, she has spent much of her research time in Venice and specializes as a late medieval/early Renaissance historian on the origins of the Adriatic empire. Publications include “Inherited Status and Slavery in Renaissance Italy and Venetian Crete,” Past & Present 182 (February, 2004), 31-53 (awarded the 2004 Berkshire Conference of Women Historian’s Article Prize); Uncommon Dominion: Venetian Crete and the Myth of Ethnic Purity (University of Pennsylvania Press, 2000); “Households in Fourteenth-Century Venetian Crete,” Speculum: A Journal of the Medieval Academy of America 70 (January 1995), 27-67; “Women Under Venetian Colonial Rule: Some Observations on their Economic Activities,” Renaissance Quarterly, 51/1 (1998), 34-67; Editor, Wills from Late Medieval Venetian Crete (1312 – 1420), 3 vols. (Washington, D.C.: Dumbarton Oaks, 1997).

Maureen C. Miller is a historian of medieval Europe with a particular interest in Italy. She earned her PhD from Harvard University, where she studied with the distinguished social and economic historian, David Herlihy. Her first book, The Formation of a a Medieval Church: Ecclesiastical Change in Verona, 950-1150 (Cornell University Press, 1993), won the American Catholic Historical Association’s John Gilmary Shea prize for the best book on Catholic history published that year. Her second book, The Bishop’s Palace: Architecture and Authority in Medieval Italy (Cornell University Press, 2000), was awarded the 2001 Helen and Howard R. Marraro Prize of the Society for Italian Historical Studies for the best book in Italian history. After teaching at Hamilton College and George Mason University, she joined the history department at UC Berkeley. She is currently working on a book on clerical clothing in Rome, 800-1300.

Herb Myers (DMA, Stanford) is Lecturer of Renaissance Winds at Stanford University. He is also Curator, Harry R. Lange Historical Collection of Musical Instruments and Bows, and a Member of The Whole Noyse. Formerly he was a member of the New York Pro Musica Antiqua. He has recorded for Columbia, Orion, Intrada, and Musical Heritage Society. His articles and reviews have appeared in Early MusicThe American RecorderJournal of the American Musical Instrument Society, The Galpin Society Journal and Journal of the Viola da Gamba Society of America; EMA Performance Guides.

Alessandro Palmeri studied cello at the Conservatory of Music of Palermo. He has performed as 1° cello and soloist in Europe, Russia, Canada, US, Argentina, Chile, Uruguay, Japan for prestigious musical institutions- International Festival of Contemporary Music of Warsaw, International Festival of Bacau, Amici della Musica (Italy), Nuova Consonanza, Teatro Massimo of Palermo, Scarlatti Festival, Teatro Comunale of Bologna, Romanian Radiotelevisione, Blumental Festival of Tel Aviv, CIDIM – New Careers of Rome, International Festival of San Pietroburgo, New York University, Bologna Festival, Bimhuis of Amsterdam, l’University Navarro of Pamplona, Auditorio Nacional de Madrid, Innsbruck Festival, Teatre des Champs Elysees, Vancouver Festiva. He recorded for Tactus, Florentia Musicae, Stradivarius, Symphonia, Amadeus, Opus 111, Naive, ZigZag, Hyperion. He has approached the baroque repertory with original instruments, attending the course of the Fondazione Cini of Venice and collaborating with ensembles of ancient music –  “Il Ruggiero”, “Auser musici”, “Antonio Il Verso”, “L’Astrée”, “Cantica Simphonia”“La Venexiana”, “Academia Montis Regalis”, collaborating with Savall, Kuiyken, Coin, De Marchi. He is member of Imaginarium by Enrico Onofri to perform baroque Italian repertoire. He founded the chamber ensemble Il Ricercar Continuo to perform music for bass and continuo’s instrument. He has taught baroque cello at the international courses of ancient music and has been invited to give master classes throughout Italy and Europe. He plays a rare Italian cello, almost a ‘bassetto’ or a bass violin, by Simone Cimapane (Rome 1685). A few years ago Palmeri found and restored this rare violoncello. The Bassetto Cimapane owes its uniqueness to the fact that it was played in the Arcangelo Corelli Orchestra in Rome. For its features and historical relevance, it belongs in the Italian musical heritage. It is the only instrument of its kind known to be in existence. Sponsored by the Italian Cultural Institute, Alessandro Palmeri joins Humanities West for a special performance on the Cimapane Bassetto of music by Italian authors of the 17th century who wrote the earliest compositions for cello.

Richard Savino (Doctorate, SUNY) lectures at SF Conserva­tory of Music, directs ensemble El Mundo, and is Professor of Music at CSU. His instructors included An­dres Segovia, Oscar Ghiglia, Albert Fuller and Jerry Willard. Recordings include gui­tar music of Johann Kaspar Mertz; sonatas by Paganini and Giuliani; 18th century guitar music from Mexico by Santiago de Murcia;Ven­ice Before Vivaldi; music by Barabara StrozziBiagio Marini and Giovanni Buonamente; the Boccherini Guitar Symphonia and Op. 30 Concerto for Guitar by Mauro Giuliani; Essential Giuliani Vol. 1; Music Fit for a King; andBaroque Guitar Sonatas of Ludovico Ron­callii (2006-07). He received aDiapason d’Or from Compact (Paris) and a 10 du Rèpertoire (Paris). He is a principal performer New York Collegium; Portland Baroque Orchestra; SF Symphony; and with the Operas of Houston, Santa Fe, San Diego, Colorado, Dallas, and Glimmerglass Opera. He has been Visiting Artistic Director of Aston Magna Academy and Music Festival at Rutgers.

Allison Zelles Lloyd has toured and recorded, in the US and Europe with Bimbetta [d’Note label], the Medieval ensemble Altramar [Dorian Discovery], Paul Hillier’s Theatre of Voices [Harmonia Mundi] and minimalist, Steve Reich [Nonesuch].  She has performed locally with the chamber ensemble, American Baroque, and the chorus of the American Bach Soloists as well as AVE. She holds a Masters of Music degree from the Early Music Institute of Indiana University. She utilizes her vocal, keyboard, percussion, recorder and medieval harp skills in the music education of young children and their parents as a registered Music Together® teacher and as an Orff Schulwerk certified music educator in the Mt. Diablo school district.