Patrick Dupre Quigley, conductor/arranger/composer/producer, is Founder and Artistic Director of Seraphic Fire, and Artistic Director of the period instrument opera company Opera Lafayette.

Quigley is known for his engaging performances of historically informed programming that draw in new audiences and delight regular concertgoers. A ceaseless advocate for a more inclusive concert experience, Quigley’s programs regularly span more than 1,000 years of musical history.

Last season with Opera Lafayette and OperaCréole, Quigley gave the world premiere of Edmond Dédé’s 1887 French grand opera Morgiane, ou, Le Sultan d’Ispahan, the earliest extant opera by a Black American, and with Seraphic Fire gave the modern world premiere of 18^th-century composer Mariana Martines’s O, virgo, cui salutem for soprano and orchestra.

Recent and upcoming programs include Bach’s orchestral suites with the St. Louis Symphony Orchestra, Orchestra of St. Luke’s, and Chicago’s Music of the Baroque; return engagements with the Baltimore Symphony Orchestra, Charlotte Symphony, Louisiana Philharmonic Orchestra, New World Symphony, and Phoenix Symphony; and conducting debuts with the St. Paul Chamber Orchestra, Tucson Symphony, and Rhode Island Philharmonic.

Other guest conducting invitations have come from The Cleveland Orchestra, Grand Rapids Symphony, Hamilton Philharmonic, Indianapolis Symphony, Kansas City Symphony, Mobile Symphony, ARTIS Naples, New Jersey Symphony, Philharmonia Baroque Orchestra, San Antonio Symphony, San Francisco Symphony, and the Utah Symphony.

Quigley holds an undergraduate degree in Music Theory and History from the University of Notre Dame and a Master of Music degree in conducting from the Yale School of Music. He has assisted Michael Tilson Thomas in rehearsals, performances, and recordings at the San Francisco Symphony.  Quigley is a native of New Orleans, Louisiana, and currently resides in Washington, D.C.

Conductor, Composer, Producer Anthony J. Maglione is Director of Choral Studies at the University of Houston and Director of the Houston Symphony Chorus. He joins the Moores School of Music faculty from William Jewell College in Liberty, Missouri, where he was the Director of Choral Studies and held the Robert H. McKee Chair of Music. Choirs under his direction have appeared at state, regional, and national conventions, released internationally-distributed commercial recordings, and have twice been named “Runner Up” for the American Prize in Choral Performance, College/University Division. A frequent collaborator, he has prepared choirs for performances with the American Spiritual Ensemble, Boston Camerata, The Canadian Brass, Joyce DiDonato, Kansas City Chamber Orchestra, Kansas City Civic Orchestra, The King’s Singers, Kings Return, and the Mark Morris Dance Group.

An often-performed and commissioned composer with a growing national reputation, Maglione’s music has appeared at state, regional, and national-level conventions, on TV, in video games, and has been recorded on Albany Records, Centaur Records, GIA Choral Works, and Gothic Records. Several of his choral works are published on James Jordan’s “Evoking Sound” choral series through GIA Publications as well as “The Amanda Quist Signature Choral Series” on Gentry Publications. In 2018, Maglione’s cantata for soloists, choir, and orchestra, The Wedding of Solomon, premiered at the American Guild of Organists National Convention. The Miami University Men’s Glee Club premiered Maglione’s On Life at the 2019 National ACDA Conference. In early 2020, Verdigris Ensemble premiered his extended dramatic work Dust Bowl as part of the AT&T Performing Arts Center’s Elevator Project in Dallas, Texas. Dust Bowl was recently revised and performed again in 2024 at the Wyly Theatre in Dallas through funding in-part from the National Endowment of the Arts. From 2023 to 2025, Maglione served as Composer-In-Residence with Te Deum, a professional choir based in Kansas City.

As a producer, Maglione lends his ears to recording projects around the country and recently received national attention through his production work with Sam Brukhman and Verdigris Ensemble on Betty’s Notebook  by composer Nicholas Reeves. This ground-breaking, programmable art music is the first of its kind and the first to be sold using blockchain technology.

As a tenor, Maglione has appeared with renowned organizations such as Artefact Ensemble, Cappella Romana, Kansas City Baroque Consortium, Kantorei KC, The Same Stream, The St. Tikhon Choir, Sunflower Baroque, and Spire Chamber Ensemble.

A sought-after clinician and frequent guest conductor, Maglione teaches workshops and has conducted All-State and honor choirs in California, Kansas, Mississippi, Missouri, New Mexico, New Jersey, New York, and Pennsylvania. He holds degrees from Westminster Choir College of Rider University, East Carolina University, and the University of California, Los Angeles.

The Houston Symphony Chorus is the official choral unit of the Houston Symphony and consists of highly skilled and talented volunteer singers. Over the years, members of this historic ensemble have learned and performed the world’s great choral orchestral masterworks under the batons of Juraj Valčuha, Andrés Orozco Estrada, Hans Graf, Christoph Eschenbach, Robert Shaw, and Helmuth Rilling, among many others.

In addition, the Chorus enjoys participating in the Houston Symphony’s popular programming under the batons of conductors such as Steven Reineke and Michael Krajewski. Recently, the ensemble sang the closing subscription concerts with the Prague Symphony Orchestra in the Czech Republic. Singers are selected for specific programs for which they have indicated interest. A singer might choose to perform in all 45 concerts, as was the case in a recent season, or might elect to participate in a single series. The Houston Symphony Chorus holds auditions by appointment and welcomes inquiries from interested singers.

At home in repertoire from early music to new commissions, coloratura soprano Kathryn Mueller is praised for her “crystalline soaring soprano.” She has sung with ensembles including the Cincinnati Symphony (Mozart’s Mass in C Minor), ROCO (Knoxville: Summer of 1915), Orlando Philharmonic Orchestra (Reena Esmail’s The History of Red), Los Angeles Chamber Orchestra (Beethoven’s Symphony No. 9), Tucson and Phoenix Symphonies (Messiah), and Spartanburg Philharmonic (Glière’s Concerto for Coloratura Soprano), as well as with ensembles including the Baltimore, Charlotte, and Memphis Symphonies; American Bach Soloists; Portland Baroque Orchestra; and Santa Fe Pro Musica.

An advocate for new music, Kathryn co-commissioned Reena Esmail’s The History of Red along with Santa Fe Pro Musica, River Oaks Chamber Orchestra, the Orlando Philharmonic, and The Knights. The History of Red premiered in 2021 and was hailed for its “evocative sonorities, sensitivity to the changing moods of the poem, and skillfully crafted, natural-sounding text rhythms.”

Kathryn turned to her musical roots in the Baroque period for her debut solo album, Love & Loss: Songs of Purcell, Bach, and Handel. Released in 2020, it was praised by Early Music America for Kathryn’s “sheer beauty,” “deliberate restraint,” and “concern for the text.” She has also been featured as a soloist on recordings by New Trinity Baroque, the Santa Fe Desert Chorale, Tucson Chamber Artists, and Seraphic Fire. Awards include an Adams Fellowship at the Carmel Bach Festival, finalist in the Oratorio Society of New York’s Solo Competition, and finalist (with her soprano duo Les Sirènes) in Early Music America’s Baroque Performance Competition.

Kathryn began her musical studies at 7,000' elevation in the White Mountains of Arizona. She continued her vocal studies as an undergraduate at Brown University and then earned a master’s degree in vocal performance from the University of Arizona. She is based in Raleigh, N.C., where she lives with her choral conductor husband and two lively young children. She belongs to Beyond Artists, a coalition of musicians who donate a percentage of their concert fees to organizations they care about. She supports the Poor People’s Campaign through her performances.

American countertenor Reginald Mobley is globally renowned for his purity of tone and deft interpretation of baroque, classical, and modern repertoire, leading an award-winning career on both sides of the Atlantic. His debut solo album Because released in June 2023 on Alpha Classics earned raves reviews, winning both the Opus Klassik and the Edison Klassiek, while also garnering a Grammy Award nomination. The Chicago Reader keenly heralded him as “Curator, musical code-switcher, YouTube sensation: Reginald Mobley is a countertenor for our time”

Highlights of his 2025–26 season include debuts with Grant Park Music Festival and newly minted Music Director Giancarlo Guerrero and The Cleveland Orchestra with Osmo Vänska, performing Orff Carmina Burana. He returns to Detroit Symphony Orchestra in the same oratorio under the baton of Music Director Jader Bignamini, which will be recorded on Pentatone. In December, he performs Handel’s Messiah in his debut with Houston Symphony and longtime collaborator Patrick Dupré Quigley; Pittsburgh Symphony with Music Director Manfred Honeck; Ancient Academy of Music and Royal Liverpool Philharmonic, both under the baton of Laurence Cummings; and then on tour with Bach Collegium Japan with the luminary Masaaki Suzuki. In addition, he performs Bach’s Passions and Cantatas with Musica Angelica, Washington Bach Consort, Bach Collegium San Diego, Orchestra of St. Luke’s, Philharmonia Baroque Orchestra, and Dunedin Consort.

An advocate for diversity in music and its programming, Reginald became the first-ever Programming Consultant for the Handel and Haydn Society following several years of leading H&H in its community engagement concerts entitled Every Voice. He holds the position of Visiting Artist for Diversity Outreach with Apollo’s Fire and has served as Artistic Advisor at the Portland Baroque Orchestra. Reginald is also leading a research project in the United Kingdom funded by the Arts and Humanities Research Council (AHRC) to uncover music by composers from diverse backgrounds, currently working on the music of Charles Ignatius Sancho.

Douglas Ray Williams, bass-baritone, is a singer and actor with a repertoire ranging from the early baroque to the golden age musical and contemporary opera.

He got his start in opera chorus at the 2003 Boston Early Music Festival while an undergraduate at the New England Conservatory. He then studied at Yale in the first class of the Yale Institute of Sacred Music’s vocal program.

In concerts and opera, Douglas has appeared with the Berlin Philharmonic, Boston Symphony Orchestra, Houston Symphony, Hungarian National Philharmonic, London Symphony Orchestra, Munich Philharmonic, Philadelphia Orchestra, Camerata Salzburg, San Francisco Symphony, and St. Louis Symphony Orchestra in repertoire that includes Félicien David, Handel, Haydn, Mozart, Puccini, and Stravinsky.

Douglas can be heard on a slate of classical recordings, including Die Zauberflöte for Deutsche Gramophone with Yannick Nézet-Séguin and the Chamber Orchestra of Europe, the world premiere of the late serialist Charles Wuorinen’s It Happens Like This, Lully’s Alceste and Armide with Christophe Rousset and Les Talens Lyriques, and multiple opera recordings with the Boston Early Music Festival.