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Nathan Stroud

Chorus Singer (countertenor) at Philharmonia Baroque Orchestra & Chorale

Nathan Stroud is a Member of the Board of Directors at Clerestory and a Chorus Singer (Countertenor) at Philharmonia Baroque Orchestra & Chorale. Also serving as an Alto (Countertenor) in the Choir of Men and Boys at Grace Cathedral, Nathan has an extensive background in acoustics and audiovisual work, with experience as a Senior Consultant and Consultant in the field. Nathan's educational background includes a Bachelor's degree in Architectural Engineering from the University of Wyoming and a Master's degree in Architectural Sciences with a focus on Architectural Acoustics from Rensselaer Polytechnic Institute.

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San Francisco, United States

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Philharmonia Baroque Orchestra & Chorale

Philharmonia Baroque Orchestra and Chorale’s mission is to present audiences throughout the world with historically-informed performances of music from the Baroque, Classical, and Early Romantic periods, as well as new music, using period instruments and vocal techniques that capture the style, spirit, and distinctive sound of that time. We share our music through live performances and recordings, and actively reach new audiences through our educational offerings and training programs for the next generation of musicians. Philharmonia’s pursuit of its mission is based upon three fundamental convictions: 1. Great music is universal. It is a timeless medium that impacts quality of life on an emotional, social, spiritual, and intellectual level. 2. Period-instrument performance, executed at the highest level, creates a distinct sound and singular listening experience. Historically-informed performance means more than playing music in the style in which it was written; it also means performing music with a passion, joy, and vitality that provide a meaningful contemporary artistic experience for today’s audience. In addition, this experience enriches appreciation of history and provides a valuable perspective in preserving and understanding the orchestral tradition. 3. The opportunity for audiences today to hear great works and authentic instruments from the past is, in itself, a legacy that must be preserved for the benefit of future generations.


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11-50

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