Meet the Artists for this season!

Erik Andersen teaches and performs on modern and baroque string instruments, including all sizes of viola da gamba. His background in language pedagogy and historically informed performance inspires his search for expression and meaning in each musical work, which he relishes sharing with audiences.

An avid teacher, Erik works with students from absolute beginners to professionals, ages three to 95 years old, in private lessons and in chamber ensembles at home in San Francisco and at workshops across the Bay Area and nationwide (including the SFEMS Baroque Workshop, Zephyr Chamber Music Camp, VdGSA Conclaves, Viols West Workshop, SoCal Viols, Cascadia Viols, and Pacific Northwest Viols). Performances this season include Ensemble Affect, Parallax Concerts, a guest soloist appearance with organist Liz Forsyth, The Barefoot All-Stars Viol Consort, and The Affect String Quartet.

Outside of music, Erik enjoys adult beginner ballet, gardening, and training in dog agility with his two Weimaraners. Between rehearsals and lessons, he can usually be found hiking and practicing with his dogs.

Jillon Stoppels Dupree has been described as “one of the country’s top baroque musicians; a superior soloist and top-ranked ensemble player, and a baroque star” (Seattle Times). She has performed with the Seattle Symphony, Seattle Baroque Orchestra, San Francisco Bach Choir, San Francisco Choral Artists, and Early Music Seattle; her chamber music collaborations have included such artists as Rachell Ellen Wong, Julianne Baird, Ellen Hargis, Ingrid Matthews, Janet See, and Marion Verbruggen. 



Jillon received Fulbright and Beebe Fund grants for study abroad, and her teachers included Gustav Leonhardt, Kenneth Gilbert, Edward Parmentier and Lisa Goode Crawford. An honors graduate of the Oberlin Conservatory and Masters recipient at the University of Michigan, Ms. Dupree has taught at both her alma maters, at Seattle’s Cornish College of the Arts, and at the University of Washington; she has presented master classes at Stanford University and the University of Michigan. She received the National Endowment for the Arts Solo Recitalist award for contemporary harpsichord music, and her world-premiere recording of Philip Glass’s Concerto for Harpsichord was heralded as “Superb!” by the New York Times. She can be heard on the Meridian, Decca, Orange Mountain, Wildboar and Delos labels, and her solo Bach recording from Centaur Records has been described as “harpsichord musicianship at its best: expressive,  passionate and inspiring.” (American Record Guide).

Fortepianist Tamara Friedman, praised for the depth, wit, and humor of her performances (Seattle Times), attended the Oberlin Conservatory and received her master’s degree from the Mannes College of Music (NYC), studying with Lilian Kallir. She has collaborated with such artists as Stanley Ritchie, Jaap Schroder, Max van Egmond, and Tanya Tomkins, and has appeared with violinist Elizabeth Blumenstock as Duo Amadeus for the last several decades. In the Pacific Northwest she has performed on the Seattle Camerata, Allegro Baroque and Beyond, Belle Arte, Early Music Guild, Gallery Concerts, and Mostly Nordic series and for the Governor’s Chamber Music Festival. Tamara has been the featured performer in early piano workshops for Pacific Lutheran University (Tacoma, WA) and the Western Early Keyboard Association, and has lectured on Mozart for several regional and statewide music teacher associations in the Pacific Northwest. Tamara is co-curator of the Skagit Early Keyboard Music, where, together with George Bozarth, she welcomes performers, teachers, groups of students, and others interested in historic pianos. Tamara has also been featured on the Kennebec Early Music Festival in Bath, Maine.

Instrument info:

Fortepiano by Nannette Streicher (Vienna, 1805)

Soprano Addy Sterrett is a soloist and ensemble musician equally at home in early, contemporary, and large scale symphonic works. Recent performance highlights include Mahler’s Symphony No. 4 with the Grand Rapids Symphony, singing background vocals on Björk’s Cornucopia tour, and Schütz’s Musikalische Exequien directed by Peter Sellars at the Salzburg Festival and Philharmonie de Paris.

Addy performs regularly with the nation’s leading choral ensembles, including the Los Angeles Master Chorale, Seraphic Fire, Skylark and Santa Fe Desert Chorale. Addy makes frequent appearances with multiple early music ensembles including Tesserae Baroque, Three Notch’d Road, San Diego Baroque, and the Baroque Festival Corona del Mar. She was a finalist in the Handel Aria Competition in 2026, was named Audience Favorite at the 2025 American National Oratorio Competition, received the Linn Maxwell Keller Distinguished Bach Musician Award in 2022, and was a Virginia Best Adams Fellow at the Carmel Bach Festival in 2024. Her voice can also be heard on several film soundtracks including The Mandalorian and Grogu (2026), Superman (2025), and How to Train Your Dragon (2025).

Addy is an alumna of Interlochen Arts Academy and received her master’s degree at Yale’s Institute of Sacred Music. Outside of singing, she enjoys composing folk melodies, practicing yoga, and spending time outdoors.

Joshua Romatowski, flutist, has been praised for his ability to “allow each note to sound with its own expressive qualities” (San Francisco Examiner). His playing has been described as “elegantly shaped” (San Francisco Examiner) and possessing “graceful intimacy” (San Francisco Classical Voice). Joshua was a winner of the Ladies Musical Club of Seattle Frances Walton Competition and a prize winner in the National Flute Association's Baroque Artist Competition. Joshua has appeared with American Bach Soloists in San Francisco, Portland Baroque Orchestra, the Seattle Bach Festival and Sound Salon in Seattle, Eugene Bach Festival, Victoria Baroque, Minnesota Bach Society, and Musikanten Montana.

As a recording artist Joshua has received critical acclaim for his pair of Georg Philipp Telemann Flute Duet CDs, with Early Music America saying “Ragusa and Romatowski play with an engaging sense of drama — it’s a continuous joy to ride the waves of their phrasing. Also impressive is their wide and quickly changing palette of colors.”

Joshua currently holds the 3rd Flute/Piccolo chair with Symphony Tacoma and is a founding member of the period woodwind quintet Canova Winds. Joshua’s primary teachers have been Timothy Day (San Francisco Symphony), Marianne Gedigian (Boston Symphony), Jeffery Zook (Detroit Symphony), and period instruments with Janet See (Orchestre Révolutionnaire et Romantique, Philharmonia Baroque).

Cellist and viola da gamba player Annabeth Shirley performs regularly with the Portland Baroque Orchestra, and during the summer months can often be found at festivals including Carmel Bach Festival and the Oregon Bach Festival. While studying and living in Europe, she played with Nederlandse Bachvereniging, the Orchestra of the Age of Enlightenment, and in several performances at the Utrecht Early Music Festival. Outside of the typical concert hall Annabeth has performed with historical magic shows, as cellist for yoga classes, as both dancer and cellist for contemporary dance performances, and at the Australian Embassy in Washington, DC. Annabeth is also a dedicated teacher to students of all ages - whether at baroque workshops, at her local public high schools, or in her small private studio of cello and viol students. Annabeth holds a bachelors and masters degree in Baroque Cello from the Royal Conservatory of The Hague (where the daily commute was a bike ride with cello on her back!), and bachelors degrees in Cello Performance and Biology from the University of Michigan. She plays a cello of anonymous origin from approximately 1830, and a Charlie Ogle bass viol based on a 1720 instrument by Nicolas Bertrand. She currently resides in Salem, OR, with her husband, young son, and her dog Fritz.

Page Smith is solo cellist of the Pacific Northwest Ballet and was principal cellist of the Northwest Chamber Orchestra for twenty-five years and the Auburn Symphony for ten years—ensembles with which she has frequently appeared as soloist. Page has also served as principal cellist of the Aspen Chamber Symphony and the New Jersey Symphony, and currently plays upon invitation with the Seattle Symphony and the Seattle Opera. She is one of this region’s most beloved and trusted chamber musicians, performing with the Orcas Island Chamber Music Series, Music of Remembrance, Chamber Music Northwest, and the Mostly Nordic and Second City chamber music series. Page especially enjoys playing the uniquely beautiful repertoire combining chorus and solo cello with St. Mark’s Compline Choir, Opus 7, Choral Arts Northwest, the St. Mark’s Cathedral Choir, Seattle Pro Musica, and the St. James Cathedral Choir.



Instrument info:

Violoncello made by Robert Brewer Young (Sentaraille à Berdot, France, 2011), after a Sanctus Seraphin instrument (Venice, 1730).

Vicki Boeckman is a passionate musician, performer, and teacher who has been active in the early music community since the 1980s. As a professional recorder player, she has performed internationally and recorded numerous CDs with acclaimed musicians and ensembles.

Originally from the Pacific Northwest, Vicki lived in Denmark from 1981 to 2004, studying at the Royal Danish Academy of Music before collaborating with some of Denmark’s leading musicians and contemporary composers.

Since returning to Seattle, Vicki has become an integral part of the region’s vibrant early music community. She has performed with Seattle Baroque Orchestra, Seattle Bach Festival, Gallery Concerts, Medieval Women’s Choir, and Musique du Jour, and has appeared as a featured soloist with the Seattle Symphony, Yakima Symphony, Portland Baroque Orchestra, Oregon Symphony, Portland Opera, Boise Philharmonic, and Skagit Symphony.

Vicki is currently a member of the Farallon Recorder Quartet, Music Director of the Seattle Recorder Society, Artistic Director of the Port Townsend Early Music Workshop, and Co-Director of the Recorder Orchestra of Puget Sound. She is also a sought-after teacher at workshops and seminars across the US and has taught at Music Center of the Northwest since 2005, alongside maintaining a thriving private and Zoom studio. She especially enjoys inspiring students of all ages.

A Pacific Northwest native, Lindsey Strand-Polyak lives a hyphenated life to go along with her hyphenated name: divided between viola and violin; living in Whidbey Island, WA and Santa Monica, CA. In California, she serves as Artistic Director of Los Angeles Baroque, Adjunct Professor of Baroque Violin at Claremont Graduate University, and Director of the San Francisco Early Music Society Baroque Workshop. In Washington, she is Principal Violist for Seattle Baroque Orchestra, and has performed with Pacific MusicWorks, Byron Schenkman & Friends, the Salish Sea Early Music Festival, and the Whidbey Island Music Festival. She has appeared across the country in concert and festival appearances, including Musica Angelica, Baroque Music Montana, the Bach Collegium San Diego, the American Bach Soloists, the Baroque Festival Corona del Mar, the Oregon Bach Festival, and fringe concerts of the Boston and Berkeley Early Music Festivals. In the non-baroque world, she has recorded for numerous film and TV scores, and performed with artists across the musical spectrum from Anne Akiko Meyers to Stevie Wonder. She holds a PhD/MM in Musicology and Violin performance from UCLA. 

Instrument info:

Viola made by an anonymous maker (England, mid-18th-century)

Violin by Richard Duke, Sr. London, July 10, 1776

Jason Yoshida specializes in solo and continuo performance on lutes and historical guitars. Praised by Los Angeles Times critic Mark Swed as “eloquent and serious,” he has performed with ensembles including Ciaramella, Musica Angelica, Les Surprises Baroques, Angeles Consort, Con Gioia, Corona del Mar Baroque Festival Orchestra, and the Los Angeles Chamber Singers.

Yoshida is an accomplished continuo player, having performed in opera productions with Los Angeles Opera, UCSB and USC Thornton, Hawaii Performing Arts Festival, Bach Collegium San Diego, and the Hawaii Early Music Society. He accompanied Placido Domingo in Los Angeles Opera’s production of Handel’s *Tamerlano* and was selected by Early Music America to perform in the EMA Festival Ensemble at the 2011 Boston Early Music Festival.

His recording *Mozart Encomium* received international recognition and features the world premiere recording of Scheidler’s virtuosic *Variations on a Theme by Mozart* for Baroque lute. He also performed on theorbo, Baroque guitar, and Renaissance guitar for Ciaramella’s acclaimed *Dances on Movable Grounds*, and can be heard on recordings released by Radio Bremen, Yale University, and Yarlung Records.

Yoshida holds a DMA in early music performance and an MM in classical guitar from USC, and a BM from UC Santa Barbara. He teaches lute and continuo at USC and guitar at Pomona College.