Elizabeth Baber (soprano) and Charles Weaver (lute) made their debut as a duo at the 2004 Baltimore Shakespeare Festival with a program of songs from the plays of Shakespeare. The following year, their artist recital of 16th-century Spanish song at the Washington Early Music Festival met with a rave review from the Washington Post, which praised their “impeccable performances” and “imagination in programming.” They have since presented programs of Renaissance song in venues around the country, and have collaborated with ensembles such as New York Polyphony and Parthenia, a Consort of Viols. They are both faculty members of the New York Continuo Collective.
Charlie and Elizabeth married in 2008 and live in Connecticut with their four children.
The Sorrowful Mysteries: 16th- and 17th-century arias and cantatas on the subject of the Passion
Music in Elizabethan Catholic Households (intabulations of works by Victoria, Byrd, Tallis, and Taverner from the Paston manuscripts; lutesongs by Dowland)
Sacred Song 1500-1650: works of Josquin, Lassus, Monteverdi and more
Un monstro della natura: The genius and influence of Josquin
Recitar Cantando: Masterpieces of sacred and secular monody
A la mode espagnole: Spanish Song in 17th-century France
Sweet Was the Song: Psalms, carols and lovesongs from the English Renaissance
Con dulces cantos y modos: Music from the Golden Age of Spain
Fancy’s Knell: A Shakespearean Song-Cycle
Charles Weaver is on the faculty of the Juilliard School, where he teaches Historically Informed Performance on Plucked Instruments. He was music director for Cavalli’s La Calisto with New York’s Dell’Arte Opera in summer 2017, when The Observer remarked on “the superb baroque band led by Charles Weaver…it was amazing to hear what warm and varied sounds he coaxed from the ensemble.” He has served as assistant conductor for Juilliard Opera, and accompanied operas with the Yale Baroque Opera Project and the Boston Early Music Festival. Chamber music appearances include Quicksilver, Piffaro, Chamber Music Society of Lincoln Center, the Folger Consort, Apollo’s Fire, Blue Heron, and Musica Pacifica. He also works with the New York Continuo Collective, an ensemble of players and singers exploring seventeenth-century vocal music in semester-length workshop productions. He has taught at the Lute Society of America Summer Workshop and the Madison Early Music Festival. This summer he will join the faculty of the International Baroque Institute at Longy. He is associate director of music at St. Mary’s Church in Norwalk, Connecticut, where he specializes in Renaissance polyphony and Gregorian chant.