”Both Sides the Tweed”
Twin Forks Musicivic
January 10, 2021
January 15, 2021
Fiona is a New York City-based classical and folk singer. Raised in a family of traditional Celtic musicians in Bethlehem, PA, Fiona grew up step dancing, singing ballads, and playing the Irish whistle, on which she competed nationally and internationally until 2006. Fiona holds degrees in voice performance from Westminster Choir College (BM) and the University of North Texas (MM) and happily spends her time traversing the country performing in genres from Medieval to Modern, folk to opera.
Fiona’s debut compositional work with collaborator Elliot Cole premiered in New York in January 2020. The half-hour folk rock cantata, scored for voices and 12-piece band of historical, modern, and electronic instruments, recreates the ancient Scottish ballad of Tam Lin, and will be recorded at Oktaven Audio, for a Fall 2020 release. Fiona’s album of classically-arranged Scottish folk songs, “Wisps in the Dell”, with members of Baroque band ACRONYM, under the name Makaris, released in 2019. Recent engagements include The Queen’s Baroque Ensemble in Paris, Mountainside Baroque, The Academy of Sacred Drama, The Bach Choir of Bethlehem, Fire and Grace, ALKEMIE, The Pennsylvania Sinfonia Orchestra, and The Reading Symphony Orchestra. She sings as a professional chorister with Skylark Ensemble, Apollo’s Fire, Kinnara Ensemble, Ensemble VIII, Brevitas, and St. Tikhon’s Choir, among others.
Fiona teaches voice at Muhlenberg College in Allentown, PA, where she also leads opera workshop and music directs main stage productions (recent: Gilbert & Sullivan’s Trial by Jury, 2019). Fiona taught voice at Lycoming College from 2013-2017, as well as directed opera (stage & music: Humperdinck’s Hansel und Gretel), co-taught courses on Baroque music and art that traveled to Italy, Germany, and Austria, and helped coordinate and lead choir tours to Washington DC, Florida, and China.
Lutenist, theorbist, banjoist, guitarist, lyricist, composer, arranger, historical archeologist, soloist, chamber musician; the music of Paul Holmes Morton is defined less by genre than by a fascination with history, a cultivation of creativity, and a belief that music once born does not die or grow old. With a technical pallet of colors ranging from the Florentine Camerata to modern Americana, Paul follows the thread of resonant evolution, his interpretations and performances stained with the resin left by countless musics present and not yet passed.