Past Featured Artists

IN ALPHABETICAL ORDER (click on name for full bio)

GLENN ALPERT, tenor, has been a member of the Metropolitan Opera Chorus since 1987.  Since that time he has performed more than 4,000 times in over 100 different operas. As a soloist at the Met, he has appeared in a number of operas, including Eugene Onegin, La Traviata, La Boheme, Luisa Miller, (with Luciano Pavarotti), Manon, The Magic Flute, Falstaff, Pagliacci (with Placido Domingo) and Turandot.

In addition to her extensive work with the viol consort Parthenia, BEVERLY AU, viol, has performed with many notable early music ensembles and series, including Bach Vespers at Holy Trinity, NY’s Ensemble for Early Music, Carnegie Hall Neighborhood Concerts, and The Americal Classical Orchestra. She received graduate degrees in cello and viola da gamba from the Mannes College of Music under Paul Tobias, Timothy Eddy and Martha McGaughey, and also studied with Wieland Kuijken in Innsbruck, Austria. Beverly has appeared on film (Al Pacino’s Looking For Richard, television (PBS’s City Arts), radio (WNYC), on the Broadway stage (The Tempest, starring Patrick Stewart), and off-Broadway (Romance of the RoseThe Ship of FoolsLa DafneSemeleDido and AeneasCupid and DeathVenus and Adonis, all under the direction of the late Paul Echols; as well as in the ground-breaking theater pieces Blue Scene GrayFlatlands Little RemarksIf Kansas GoesSilent When Loaded, and Go Between Gettysburg, with Linda Mussman’s noted avant garde ensemble, Time and Space Ltd). Her duo Spuyten Duyvil was semifinalist at the International Early Music Competition in Utrecht, The Netherlands. She was also a finalist in the 2001 Dorian/EMA recording competition as a member of the Ensemble for the Seicento. She has recorded on the MSR Classics, Evening Star, Gothic, Museovich and Buckyball Music labels

Beverly Au

JULIA BADY, piano, is a concert pianist, and maintains a private piano studio in Greenfield, Massachusetts. She has performed chamber music and solo piano music throughout the New York/New England regions. She has enjoyed playing concerts for the Roslyn Young Memorial in 2010 and 2015, and is delighted to participate again this year.  Ms. Bady performs piano four-hands repertoire with Jamie Goodnow and with Andrew King. She has a long-standing and joyful collaboration with tenor Irwin Reese, which began at an RYM concert here in Madison, CT. Ms. Bady was a finalist in the Concert Artist’s Guild competition with flutist Susan Thomas, performing at Carnegie Hall, NYC. She has many self-produced CD’s and her performances have been aired on public radio in Boston and in Amherst, MA. Ms. Bady is a certified Taubman Approach teacher. The Taubman Approach is an ergonomically healthy way to play the piano, which allows for freedom and ease, thereby paving the way to greater musical expression. Ms. Bady recently traveled to Norway to introduce the Taubman Approach to Norwegian pianists. She has presented many master classes and technique clinics for pianists, including at the University of Massachusetts, the Northampton Community Music Center (MA), and the Neighborhood Music School in New Haven, CT. Ms. Bady also enjoys coaching chamber music groups. https://juliabadypianist.com/

DAVID BAKAMJIAN, cello, performs regularly as a recitalist, ensemble player, and recording artist on both modern and baroque cello. In addition to appearances in New York’s premiere concert halls, he has appeared several times on National Public Radio and WQXR, and was a winner or finalist in four international chamber music competitions. As a member of the Casa Verde Trio, he completed six critically acclaimed national tours and a month-long tour of China. He has performed as soloist with the Allentown Symphony, Philharmonia Virtuosi, Beijing Symphony, Early Music New York, Bachanalia Festival Orchestra, Musica Bella, the Hunterdon Symphony, and the Lehigh University Philharmonic, and he has served as principal cellist for several orchestras, including the Berkshire Opera, New York Grand Opera, Bachanalia, the High Mountain Symphony, and the Miss Saigon theater orchestra on Broadway. On baroque cello, he performs with Concert Royal and the American Classical Orchestra, and he was principal cello of Early Music New York for several years. He is a founding member of the New York Classical Quartet and of Brooklyn Baroque, whose CDs were deemed a “must buy” by the American Record Guide. His recording of cello sonatas by Boismortier was released in 2011 to critical acclaim. Mr. Bakamjian was featured at the Metropolitan Museum of Art in Evocations of Armenia, a specially conceived program that he co-wrote with actress Nora Armani for solo cello and spoken word. By special invitation, they subsequently took the program to Armenia. A dedicated teacher, he is the director of both the Summer String-In, where he teaches and performs as a member of the Simon String Quartet, and of the three Play Week chamber music workshops for adult amateurs. He earned his B.A.at Yale, and his Master’s and Doctorate degrees at SUNY Stony Brook, and he was a faculty member of Lehigh University for eight years.

Hailed by The New York Times for her “radiant, liquid tone,” “exquisitely phrased,” and “sweetly dazzling” singing, soprano SARAH BRAILEY is in growing demand across all genres of classical music. She has performed Steve Reich at Carnegie Hall, Handel’s Messiah with the Saint Paul Chamber Orchestra, and with Kanye West and Roomful of Teeth at the Hollywood Bowl.

Highlights of Sarah’s current and recent seasons include Bach’s St. John Passion with St. Thomas Fifth Avenue; Barber’s Knoxville: Summer of 1915 with the Colorado Symphony; George Benjamin’s Dream of the Song with the Lorelei Ensemble and BostonSymphony; Bach’s B Minor Mass and Purcell’s Fairy Queen with the Handel and Haydn Society; Webern’s Op. 13, 14, and 25 with Trinity Wall Street; Zweite Dame in Mozart’s Die Zauberflöte with the Clarion Music Society; Ligeti’s Clocks and Clouds at the Tanglewood Festival of Contemporary Music; Bach’s Magnificat with Musica Angelica; various John Zorn works at venues worldwide including the Louvre Museum, Sarajevo Jazz Fest, and November Music in s-Hertogenbosch; a Nico Muhly world premiere for the MATA Festival; Costanza in Haydn’s L’isola disabitata with the American Classical Orchestra; Schoenberg’s Das Buch der Hängenden Gärten with the Brooklyn Art Song Society; Queen of Sheba in Handel’s Solomon with the Trinity Baroque Orchestra; and Britten’s Les Illuminations with NOVUS NY.

Among Sarah’s recording collaborators are tUne-yArDs, John Zorn, the Choir of Trinity Wall Street, Paola Prestini, and Bang on a Can All-Stars Stars (Julia Wolfe’s 2015 Pulitzer Prize-winning work Anthracite Fields). Sarah is a featured soloist on numerous GRAMMY®-nominated albums including New York Polyphony’s Sing Thee Nowell and The Clarion Choir’s recording of Maximilian Steinberg’s Passion Week. She also appears as a soloist on the premiere recording of Du Yun’s Angel’s Bone, winner of the 2017 Pulitzer Prize in Music. https://sarahbrailey.com/about/

Sarah Brailey

MICHELE BROSSEAU-TACCHIA, cello, and MICHAEL TACCHIA, piano, formed the BROSSEAU-TACCHIA DUO in 1972, the year they met. After receiving their Bachelor of Arts degrees both were accepted to the New England Conservatory of Music for graduate study. From there the duo pursued post-graduate study in Vienna, Austria. Though the two developed careers as soloists in their own right, they have devoted themselves, since their marriage in 1980, to in-depth interpretations of the the repertoire for cello and piano and have had many compositions written for them. In addition, both performers have devoted themselves to the education of the young in the cause of serious music and to bringing symphonic music to their own communities through their membership in the San Bernardino Symphony. 

Ms. Tacchia (cello) was named Most Valuable Player by the San Bernardino Symphony Guild and was elected head of the ‘Players Committee’ for 7 consecutive years. She has appeared as soloist and chamber musician in Vienna, Boston, New York, Connecticut,  Phoenix, Los Angeles and Mexico. Ms. Brosseau-Tacchia has been noted for her “astounding bow control,” “beauty and richness of tone” and “interpretations of genuine depth.” She is the founder of the youth orchestra, ‘Symphonie Jeunesse’ which is now entering its ninth season in 2016-17. The orchestra, under the auspices of the San Bernardino Valley Concert Association, serves to give valuable symphonic experience to young and gifted musicians throughout the Inland Empire.    

Michael Tacchia has appeared as soloist and recitalist throughout the United States, Mexico, and Europe. He has performed a cycle of the Beethoven Piano Concerti with the High Desert Symphony recently performed the Frank Martin ‘Petite Symphonie Concertante’ with the San Bernardino Symphony under the direction of Carlo Pont Jr. The performance was so well received that he was asked to return in the 2008 season to perform Gershwin’s ‘Rhapsody in Blue’ to a near capacity crowd. Critics have praised Mr. Tacchia for the ‘song-like sweetness of his tone’ and his “stylistic mastery of works spanning 4 centuries.” 

The Brosseau-Tacchia Duo  made a highly successful New York City debut in Merkin Concert Hall at Lincoln Center in 2001. A critic for the Highland Journal observed that “there has not been duo playing of such a high level since the hey-day of Ginette and Jean Neveu . . . The two play as one!”

MARIE DANIELS, viola, is devoted to sharing her passion for music as a performer, teacher and entrepreneur. An active solo, chamber, and orchestral musician, Marie performs throughout New YorkCity and her current city of Hamburg and loves traveling across the globe to teach and perform in countries such as Brazil, China, England, Germany, Japan, France, and Mexico. An advocate for historical performance, Marie performs often with period-instrument ensembles such as New York Baroque Incorporated and the Trinity Baroque Orchestra. She is also a member of Quartet Resound and the New York Classical Quartet, highlighting the performance of early string quartets by playing on instruments of the era. Marie was a 2015 recipient of Juilliard’s Benzaquen Career Advancement Grant for demonstrating outstanding artistry and achievement in leadership, entrepreneurship, and breadth of engagement. In 2012 Marie founded the Woodlands ChamberFest, an annual week-long workshop teaching 35 young students communication, collaboration, and leadership through chamber music. Committed to teaching and community, Marie joined the New York Philharmonic Teaching Artist faculty in 2016 and maintains a small private teaching studio. Marie holds a Master of Music and Bachelor of Music degree from The Juilliard School.

 

MOLLIE GLAZER, cello, is the Artistic Director of the Nantucket Community Music Center. She studied cello and viola da gamba at New England Conservatory of Music and the Royal Conservatory of The Netherlands. Mollie has performed throughout the US and Europe with such ensembles as Concert Royal, Waverly Consort, New York’s Ensemble for Early Music and is a frequent soloist at the Bethlehem Bach Festival. She has made seven recordings, the latest a self-produced CD with former student Ethan Philbrick entitled Two Friends Two Cellos. Also a pianist, composer and jazz vocalist, Mollie wrote the score to the musical about Nantucket, Faraway Land, which was produced on-island. She has also writtenscores for films and modern dance including a work for the Pennsylvania Ballet. She sings and plays regularly with jazz guitarist Andy Bullington. Molly has lived year-round on Nantucket since 1992.

 

KATE GODDARD, viola, enjoys a burgeoning career as a multi- instrumentalist. A busy freelance violinist, violist, and horn player, her musical proclivities range from period performance to contemporary works by living composers. Her upcoming season includes engagements with the American Classical Orchestra and Early Music New York, as well as performances at St. Bartholomew’s Church with her quintet Ensemble Melos, and a series of trio concerts in San Francisco. She has recently appeared with the Yale Schola, the American Handel Society at Princeton, and Manhattan School of Music’s contemporary ensemble, Tactus. Beyond classical music, she has performed at the Blue Note Jazz Festival, at the International Festival of Arts and Ideas with the NYChillharmonic, and at ShapeShifter Lab with her (aspiring) gypsy jazz band. As a session musician, her playing has appeared on recent releases by Morgan Saint (Epic Records), Karikatura (Oh So Nice Records), and the soundtrack for the upcoming film A Different Sun. As an educator, Kate maintains a studio of over forty students. She has worked with a number of music outreach programs, including the Youth Orchestra of St. Luke’s, the Queens-based public school program “Bach to School,” and her woodwind quintet has performed in collaboration with Lincoln Center Education.

 

Praised by the New York Times for his “beautiful range of colors”, Matthew Goodman made his solo Carnegie Recital Hall debut as winner of the Artists International Competition.  He has since toured Japan and Hong Kong as soloist under the auspices of the United States State Department and the Hong Kong government, performed as soloist with the National Orchestra of El Salvador, and the Israel Sinfonietta, and was featured as soloist at music festivals including the Scotia Festival in Halifax, Canada, the Jerusalem Music Festival in Israel, and at the Teatro Nuovo in Spoleto, Italy.

     Mr. Goodman has performed on stage in costume with the Royal Shakespeare Company of London in their Broadway productions of Cyrano de Bergerac and Much Ado About Nothing at the Gershwin Theatre, and in All’s Well That Ends Well at the Martin Beck Theatre, as well as in a performance of Stravinsky”s L’Histore du Soldat at the company’s Fringe in the USA festival in New York and Washington, D.C. He is currently solo clarinetist in the orchestra for the Broadway Production of The Phantom fo the Opera at the Majestic Theatre.

      Mr. Goodman has performed with New York orchestras and chamber ensembles including The New York City Ballet, Mostly Mozart Festival Orchestra, New York Philomusica, Long Island Philharmonic, Queens Symphony, Bronx Arts Ensemble, Orchestra of St. Luke’s, Westchester Philharmonic, Brooklyn Philharmonic, and the Northeast Pennsylvania Philharmonic.  He served as principal clarinetist with the Israel Sinfonietta, under music director, Mendi Rodan, with whom he frequently performed on Israeli Television and Radio.  Mr. Goodman was on the faculty of the Rubin Academy of Music, where he taught clarinet and chamber music.  He has given Master Classes worldwide, including Hong Kong, Japan, and Israel.  He has performed with several contemporary music groups, including North-South Consonance, Musical Elements, and the New Music Consort.

      Mr. Goodman is the recipient of numerous additional awards and prizes, including the Dolan Prize for Music from Columbia University, the Paderewski Foundation’s George Galicia Young Artist’s Award, the Israel Radio Competition Prize, the Jack Kahn Bosendorfer Competition, and as a member of the Zephyr Woodwind Quintet, the Artists International Chamber Music Award.

The New York Times
Music: Debuts in Review; Matthew Goodman
By Bernard Holland

This busy week of newcomers was also brightened by a clarinetist named Matthew Goodman, who with his excellent young pianist, Elena Ivanina, played at Carnegie Recital Hall Sunday evening.  Mr. Goodman creates a beautiful range of colors and knows when and how to go from one to the other.  The Romanza from Poulenc’s duo Sonata was especially sensuous and appealing, creating a softness and timbral breadth to be recreated later in the evening in Debussy’s First Rhapsody. 

Mr. Goodman toughened his style in the high-energy, alternately bluff and witty Dance Preludes of Lutoslawski; and in the familiar Brahms E flat Sonata, special heed was paid to articulation.  It was a clarity that fit well the relative reticence and brevity of Brahms’s late style.

Miss Ivanina is a Romantic at the piano.  One wished she could have underplayed her feelings in the Poulenc a little more, but as the music became Central European, her sense of style seemed more and more appropriate.

Mr. Goodman ended with a Concert Fantasia on “La Traviata” by Donato Lovreglio.  The music, which was skillfully handled, decorated and complicated Verdi’s familiar tunes ad absurdum.

JUDSON GRIFFIN, violin, graduated from the Eastman School of Music and earned Master’s and Doctorate degrees at The Juilliard School. Coming to period instruments in 1979 through the influence of harpsichordist Albert Fuller, in the 1980s he played with Aston Magna, the Mozartean Players, the Boston Early Music Festival Orchestra, and the Smithsonian Chamber Players and Chamber Orchestra. He was a founding member of the Smithson Quartet, in residence at and using instruments from the collections of the Smithsonian Institution, making ground-breaking recordings of quartets of Haydn, Mozart, and Beethoven. He was Music Director of the Connecticut Early Music Festival from 2000 to 2007, conducting music from Gabrieli through operas of Vivaldi and Mozart, researching and creating new editions, writing program notes, and providing translations from Latin, Italian, French, and German. He was a frequent performer in Europe and in the US as concertmaster, soloist, and conductor, appearing with groups like Amor Artis, the American Classical Orchestra, Concert Royal, Florida Pro Musica, and Baltimore Pro Musica Rara. Mr. Griffin led period-instrument orchestras for dance performances at the Maggio musicale in Florence, in opera at Musica nel chiostro near Grosseto, Italy, and led the Lobkowitz Quartet in performances of Haydn’s Seven Last Words in Germany. He toured with the English Concert and Trevor Pinnock; played with the Akademie der alten Musik in Berlin; with Il complesso barocco in Innsbruck, Milan, and Venice; and was a soloist at the Festival de Clisson, France. Solo recitals were given in Boston, Detroit, Washington, D.C., in New York at Weill Recital Hall and Merkin Hall, and in Alaska. He was first violinist of Abendmusik, an ensemble of 2 violins, 3 viols, and organ, performing music of the 17th century, and headed the new Providence Baroque Orchestra.

RYM Artistic Director

AYA HAMADA, harpsichord, is an active recitalist, concerto soloist and continuo player. She has made over three dozen appearances as concerto soloist on four continents, and has performed under conductors such as William Christie, Jordi Savall, Christophe Rousset, Harry Bicket, Trevor Pinnock, Nicolas McGegan and Masaaki Suzuki. The New York Times proclaimed “Ms. Hamada gave a deft account of Handel’s Concerto” about her concerto performance with conductor William Christie in Alice Tully Hall at Lincoln Center.

Her debut album “Jacques Duphly: Pièces de clavecin” was chosen as “Recording of the Month” in The Music Web International (July 2015) and The Record Geijutsu Magazine (June 2015). The American Record Guide wrote “This is a terrific solo debut… Her control of touch and dramatic delivery are both extraordinary. Her expressiveness is especially noteworthy.” Others have praised her “acrobatic finesse” (The Early Music America Magazine), and “sensitive and dramatic interpretations” (The Fanfare Magazine). She won first prize in the London Music Festival Competition and second prize in the Josef Hofmann Piano Competition, and earned her master of music degree in the inaugural class of Historical Performance from The Juilliard School. She studied under Kenneth Weiss in New York and Skip Sempé in Paris, and has received additional coaching from Pierre Hantaï and Christophe Rousset. https://www.ayahamada.com/

 

SUSAN IADONE, recorders & viol, her diverse musical activities run the gamut from Medieval and Renaissance music through contemporary opera. In her incarnation in the world of the recorder, she was the co-founder of the Recorder Society of Long Island and served as its music director for 15 years. She is the founding music director of the Recorder Society of Connecticut and was, for many years, one of the music directors of the New York Recorder Guild. For over twenty-five years, she performed as recorder and viola soloist with the Bach Vespers at Holy Trinity Lutheran Church in New York City and is in her 29th year as recorder teacher at Saint David’s School in Manhattan. As a performer on viola, viola d’amore and viola da gamba, Susan has appeared with some of the leading period ensembles on the east coast, including the Washington Bach Consort, the Smithsonian Chamber Orchestra, the Classical Band, the Bethlehem Bach Festival, Concert Royal, the New York Consort of Viols and the Waverly Consort. Some highlights of her career include performing in recital with Victoria de los Angeles at the Metropolitan Museum, touring Europe with Meredith Monk’s opera Atlas, recording withthe klezmer icon Giora Feidman, performing the viola d’amoresolos in the St. John Passion with the NY Philharmonic, playing viola da gamba on-stage in the Broadway production of The Three Musketeers, and playing sopranino recorder at the MetropolitanOpera in Britten’s A Midsummer Night’s Dream. Susan can be heard on the soundtracks of the Coen Brothers remake of The Ladykillers, and the Heath Ledger Casanova, as well as numerous legitimate recordings. Gerald Burakoff was a musical mentor from an early age; the greatest influence on her musical growth and love of early music was Joseph Iadone.

Susan Iadone

MOTOMI IGARASHI, viol, enjoys a rich and varied career on viola da gamba, double bass, violone and lirone. A native of Japan. Motomi holds a Bachelor of Music degree in double bass from the Tokyo National University of Fine Arts and Music. She pursued her graduate studies at the Juilliard School where she studied double bass with Eugene Levinson, with additional studies with with Franco Petracchi and Duncan McTier. After graduating from Juilliard, she went to France to study viola da gamba, spending several years in intensive study with Marianne Muller, Wieland Kuijken, and Paolo Pandolfo and more recently studied lirone with Erin Headley. Since her return from Europe she has been in high demand on the viola da gamba, violone, baroque double bass and lirone, performing and recording with various groups including The American Classical OrchestraAnimaAR- TEKBostonBaroqueConcert RoyalTrinity Baroque Orchestrathe New York Philharmonic and REBEL. Versatile in the pop and jazz realms, Motomi is featured on the Nathalie Merchant album “ Leave your Sleep” and has collaborated with the jazz pianist, Kevin Hays. In Germany her performance as guest violist da gamba with the Migration Jazz Trio was broadcast on German National Radio. http://motogamba.com/

Motor Igarashi

LAWRENCE LIPNIK, recorders & viol, has performed with many acclaimed early music ensembles from Anonymous 4 to Piffaro and the Waverly Consort, and is a founding member of the viol consort Parthenia and vocal ensemble Lionheart. He has prepared an authoritative edition of Francesco Cavalli’s La Calisto, com- missioned by the Juilliard School, served as gambist and recorder player for staged opera productions including Monteverdi’s Ritorno d’Ulisse in Patria at Wolf Trap and Telemann’s Orpheus with the New York City Opera. In addition to performing, he enjoys a busy teaching schedule which has included national and international festivals including the Benslow Music Trust in the UK, Port Townsend, San Diego and Madison Early Music Festivals, Pinewoods, Collegium Director at Amherst Early Music, as well as viol, recorder and early music performance instruction at Wesleyan University. He is a contributor to The Cambridge Companion to Shakespeare and Contemporary Dramatists, and The Cambridge Guide to the Worlds of Shakespeare, as well as the journal Comparative Drama. Recent performance highlights include concerts with lutenist Paul O’dette of Dowland’s complete Lachrimae at the Metropolitan Museum of Art, concerts at the Berkeley Festival, appearances with the Venice Baroque Orchestra, ARTEK, TENET, the Indiana University Historic Performance Institute at the Bloomington Early Music Festival and early opera residency at Carnegie Mellon University.

Lawrence Lipnik

NELL SNAIDAS, soprano, a Grammy-nominated artist, has been praised by the New York Times for her “beautiful soprano voice, melting passion” and “vocally ravishing” performances. Of Uruguayan-American descent, Nell is recognized for her specialization in historical performance practice, in particular the repertoire of Italy and Spain. Nell began her career singing leading roles in zarzuelas at New York City’s Repertorio español. Operatic performances include her European debut in Alessandro Scarlatti’s Gli equivocal nel sembiante at the Teatro Garibaldi in Palermo, Sicily, as well as creating the role “Princess Olga” in the world premiere of the Boston Early Music Festival’s production of Johann Mattheson’s opera Boris Goudenow in Boston and Tanglewood.  Favorite projects include singing with the Los Angeles Philharmonic at the Hollywood Bowl, recording the movie-soundtrack of “The Producers” with Mel Brooks in the booth, and singing Schubert Lieder with duet partner Daniel Swenberg on 19th-century guitar. Nell has was featured on CBC radio as one of the leading interpreters of Spanish Renaissance/Sephardic song and has recorded for Sony Classical, Sono Luminus, Koch International and Dorian. Nell is the co-artistic director of GEMAS, a concert series in NYC devoted to the early music and musicians of the Americas and sponsored by Americas Society and GEMS. https://www.nellsnaidas.com/

MARGARET ZIEMNICKA, violin, received education in violin, piano, and chamber music at the Wieniawski Music Lyceum in her native Łódź, Poland. She toured Europe with the Lyceum’s chamber choir, winning major prizes at competitions in Spain and Italy. She became interested in period instruments while studying violin and sound engineering at the Chopin Music Academy in Warsaw. After immigrating to the United States Ms. Ziemnicka completed undergraduate studies at DePaul University in Chicago and earned a Master of Music degree at McGill University in Montreal. As a member of the Chicago Civic Orchestra she performed under Sir Georg Solti, Daniel Barenboim, and Pierre Boulez. Since moving to New York Ms. Ziemnicka has been performing baroque and classical music on period instruments with REBEL, Concert Royal, Early Music New York, Trinity Baroque Orchestra, Sinfonia New York, Gotham Chamber Opera, and at Museum Concerts in Providence. She performs regularly at Lincoln Center with the American Classical Orchestra, and has appeared at the Kennedy Center, the Washington National Cathedral, and at the Musica nel chiostro festival in Tuscany. Ms. Ziemnicka has been on the faculty of Music Conservatory of Westchester since 2000. She is a great fan of jazz and popular music of the 1920s.