Orchestra of St. Luke’s (OSL) was formed in 1979, when St. Luke’s Chamber Ensemble, founded in 1974, expanded to perform orchestral works at Caramoor Center for Music and the Arts, where OSL remains as the center’s summer orchestra-in-residence today. Each season, the orchestra performs at New York’s major concert venues, playing a wide range of musical styles and genres and collaborating with artists who range from Renée Fleming and Joshua Bell to Bono and Metallica. The orchestra has participated in 118 recordings, four of which have won Grammy Awards; has commissioned more than 50 new works; and has given more than 175 world, US, and New York premieres. In September 2018, world-renowned conductor of Baroque and Classical repertoire Bernard Labadie joined OSL as principal conductor, continuing the orchestra’s long tradition of working with champions of historical performance practice.

Internationally regarded as an opera and concert conductor of distinction, Harry Bicket is especially noted for his interpretation of Baroque and Classical repertoire, and since 2007 has been artistic director of The English Concert, one of Europe’s finest period orchestras. Following regular guest appearances at Santa Fe Opera, in 2013 he became its chief conductor and in 2018 assumed the music directorship. He has led productions in Santa Fe of Carmen, A Midsummer Night’s Dream, Le nozze di Figaro, Così fan tutte, Fidelio, La finta giardiniera, Roméo et Juliette, Alcina, and Candide; in 2019, he also performed Strauss’s Four Last Songs with Renée Fleming. Born in Liverpool, Mr. Bicket studied at the Royal College of Music and the University of Oxford.

Projects with The English Concert in 2022–2023—in addition to its London season and recording projects—include tours to Europe and the United States with Handel’s Solomon and a fully staged Ariodante for the Opéra de Paris’s Palais Garnier. This season, Mr. Bicket also returns to the Chicago Symphony Orchestra for a special collaboration with the Joffrey Ballet, Orchestra of St. Luke’s, Canadian Opera Company (Le nozze di Figaro), and Santa Fe Opera.

Following the success in earlier seasons of Rinaldo and Ariodante featuring Joyce DiDonato, The English Concert continued its Handel opera series in spring 2022 with critically acclaimed performances of Serse in Europe and the US, including with the Academy of St. Martin in the Fields and at Carnegie Hall. Other highlights with The English Concert have included Mr. Bicket’s own arrangements of Mozart works for mechanical clockwork organ, Bach cantatas for Advent, and Wayne Eagling’s ballet Remembrance, set to Handel’s Ode to St. Cecilia’s Day, for English National Ballet Theatre.

Internationally recognized for his sonorous lyricism and understated brilliance at the keyboard, British pianist Benjamin Grosvenor has been heralded as one of the most important pianists to emerge from the UK in several decades. Concerto highlights this season include performances with the London Philharmonic Orchestra; KBS, Prague Radio, Bern, and City of Birmingham symphony orchestras; Auckland Philharmonia, Hallé, and Royal Scottish National orchestras; San Diego Symphony; and Orchestre de Lyon. He is an Artist in Focus at Sage Gateshead and performs three projects during the season with the Philharmonia Orchestra, including both Chopin piano concertos and Beethoven’s Triple Concerto.

In recital, Mr. Grosvenor makes his debut at the Philharmonie Luxembourg; performs in Oldenburg as well as in Mainz as part of the SWR2 Internationale Pianisten series; returns to the Théâtre des Champs-Élysées, Wigmore Hall, Kennedy Center, 92nd Street Y, and Minneapolis Chopin Society; and embarks on a tour of Latin America. A keen chamber musician, he regularly collaborates with Hyeyoon Park, Timothy Ridout, Kian Soltani (with whom he appears at the Cologne Philharmonie), and the Doric String Quartet (with which he tours the US in spring 2023).

Mr. Grosvenor has received Gramophone’s Young Artist of the Year and Instrumental awards, a Classic Brits Critics’ Award, UK Critics’ Circle Award for Exceptional Young Talent, and a Diapason d’Or Jeune Talent Award. In 2011, he signed with Decca Classics, becoming the youngest British musician and the first British pianist in almost 60 years to sign with the label. He has been featured in the BBC television documentaries BBC Breakfast and The Andrew Marr Show, as well as in CNN’s Human to Hero series. He studied with Christopher Elton and Daniel-Ben Pienaar at the Royal Academy of Music (RAM), from which he graduated in 2012 with the Queen’s Commendation for Excellence. In 2016, he was awarded a RAM Fellowship. He is an ambassador of Music Masters, a charity dedicated to making music education accessible to all children regardless of their background, championing diversity and inclusion.

David Hyde Pierce is a Tony- and Emmy-winning stage, television, and film actor who recently starred in the HBO Max series Julia. In the midst of a long career on and Off-Broadway, he spent 11 years playing Dr. Niles Crane on the television show Frasier, for which he received multiple Emmy and Screen Actors Guild awards. He directed the original Broadway production of Brian Hargrove and Barbara Anselmi’s musical It Shoulda Been You, the world premiere of David Lindsay-Abaire’s comedy Ripcord, and the West coast premiere of Christopher Durang’s Vanya and Sonia and Masha and Spike. He is a longtime spokesperson for The Actors Fund, the Alzheimer’s Association, and Caring Kind, a New York City–based Alzheimer’s support group. He is a proud audience and board member of Orchestra of St. Luke’s, and one of its biggest fans.

Cuban-American soprano Elena Villalón recently completed her tenure with the Houston Grand Opera Studio. Described as having “a voice with considerable warmth and mellifluous legato tone, but also weight and breadth” by Washington Classical Review, Ms. Villalón is a 2019 Grand Finals winner of the Metropolitan Opera National Council Auditions, and most recently took home several prizes in the Hans Gabor Belvedere Singing Competition, including the Second, Audience, CS, and Wil Keune prizes. In the 2022–2023 season, she joins the ensemble of Oper Frankfurt for her debut as Iole in Handel’s Hercules in a new production by Barrie Kosky and as Atalanta in Handel’s Serse. In addition, she returns to Houston Grand Opera as Susanna in Le nozze di Figaro, Dallas Opera as Gretel in Hänsel und Gretel, and the Queen of Sheba in Handel’s Solomon for an international tour with The English Concert and Harry Bicket. She also presents a recital with the Tuesday Music Club in San Antonio, Texas.

Ms. Villalón’s engagements in 2021–2022 included house and role debuts at the Dallas Opera as Tina in Jonathan Dove’s Flight, Susanna in Le nozze di Figaro at Austin Opera, and Nannetta in Falstaff at Santa Fe Opera, as well as collaborations with Houston Grand Opera, where she created the role of Amy in the world premiere of Joel Thompson’s The Snowy Day and debuted as Juliette in Roméo et Juliette. In concert, Ms. Villalón appeared as an emerging artist recitalist with Vocal Arts DC, collaborated with Kathleen Kelly at the Kennedy Center, and performed Orff’s Carmina Burana with the Los Angeles Philharmonic, Poulenc’s Gloria with the Grand Rapids Symphony, and Handel’s Ode for St. Cecilia’s Day with Boston Baroque.

A native of Austin, Texas, Ms. Villalón is passionate about art song and concert repertoire; she has spent summers at the Tanglewood Music Center and at Songfest in Los Angeles as a Colburn Fellow.

Cecelia Hall has appeared in leading roles on many of the world’s finest stages, including the Metropolitan Opera, Santa Fe Opera, Lyric Opera of Chicago, Canadian Opera Company, Opera Philadelphia, Bavarian State Opera, and Oper Frankfurt, where she is currently a member of the ensemble. Highlights of the 2022–2023 season include the title role in Serse for the Komische Oper Berlin, the title role in Ariodante conducted by Jean-Christophe Spinosi for The Israeli Opera, and leading roles at Oper Frankfurt that include Charlotte in Werther, Irene in Tamerlano, the Second Lady in The Magic Flute, and La mère d’Iseult in Le vin herbé.

Last season, Ms. Hall made her acclaimed debut as Romeo in Bellini’s I Capuleti e i Montecchi at Opera Omaha. For Oper Frankfurt, she performed Mercédès in Carmen, Dorabella in Così fan tutte, Dido in Dido and Aeneas, Pippo in La gazza ladra, and Dimitri in Fedora. Other highlights included the Second Lady in The Magic Flute at Tchaikovsky Concert Hall with the Moscow Philharmonic Orchestra, and her debut at Opera Holland Park in the title role of Serse.

Previous seasons in Frankfurt have included notable debuts such as Idamante in Idomeneo, Irene in Tamerlano, Hänsel in Hänsel und Gretel, Marguerite in La damnation de Faust, and Fulvia in Gluck’s Ezio. Other European highlights include Cherubino in Le nozze di Figaro at the Bavarian State Opera and Zaida in Il turco in Italia in Aix-en-Provence. In North America, recent roles include Don Ramiro in La finta giardiniera for Santa Fe Opera, Rosina in Il barbiere di Siviglia for Canadian Opera Company, Sesto in La clemenza di Tito for Opera Theatre of Saint Louis, and the Page in Salome with The Philadelphia Orchestra.

Ms. Hall’s concert highlights include recitals at London’s Wigmore Hall, Mozart’s Mass in C Minor and Requiem with Louis Langrée at the Mostly Mozart Festival, and Berlioz’s Les nuits d’été with the Bay Atlantic Symphony. She is an alumna of the Lyric Opera of Chicago’s Ryan Opera Center, the Metropolitan Opera’s Lindemann Young Artist Development Program, The Juilliard School, and DePaul University.

Peerless interpreters of both early and new music, The Choir of Trinity Wall Street has redefined the realm of 21st-century vocal music, breaking new ground with artistry described as “blazing with vigor … a choir from heaven” (The Times, London). The ensemble can be heard live, online, and on recordings in performances that have been described as “thrilling” (The New Yorker), “musically top-notch” (The Wall Street Journal), and “simply superb” (The New York Times).

A typical season for the choir includes performing in Bach at One, Compline by Candlelight, and many other concerts and festivals throughout the year, often with NOVUS NY, the Trinity Baroque Orchestra, and the Trinity Youth Chorus. The choir anchors Trinity’s critically acclaimed performances of Handel’s Messiah, which The New York Times has referred to as “the best Messiah in New York.”

The choir has toured extensively throughout the United States, making appearances at Carnegie Hall, Lincoln Center, the Metropolitan Museum of Art, The Shed at Hudson Yards, the Kennedy Center, Walt Disney Concert Hall, and the PROTOTYPE Festival with partners such as the Bang on a Can All-Stars, the New York Philharmonic, and the Rolling Stones. Increasingly in demand internationally, the choir has also performed at Montreal’s Salle Bourgie, Paris’s Théâtre des Champs-Élysées, Norway’s Stavanger Cathedral, and London’s Barbican Theatre.

In addition to the Grammy Award–nominated recordings Luna Pearl Woolf: Fire and Flood and Handel’s Israel in Egypt, the choir has released recordings on Naxos, Musica Omnia, Pentatone, VIA Recordings, ARSIS, Avie Records, Acis, Cantaloupe Music, Decca Gold, and Philip Glass’s Orange Mountain Music. Trinity’s long-term commitment to new music has led to many collaborations with living composers who include Ellen Reid, Du Yun, Trevor Weston, Paola Prestini, Luna Pearl Woolf, Ralf Yusuf Gawlick, Elena Ruehr, and Julia Wolfe, whose Pulitzer Prize–winning and Grammy Award–nominated work Anthracite Fields was recorded with the choir. Along with NOVUS NY, the choir also collaborated on and recorded two Pulitzer Prize–winning operas: Du Yun’s Angel’s Bone and Ellen Reid’s prism.