Since founding Bach Collegium Japan in 1990, Masaaki Suzuki has established himself as a leading authority on the works of Bach. He has remained the ensemble’s music director ever since, touring regularly in major venues and festivals throughout Europe and the United States. His extensive discography on the BIS label, featuring all Bach’s major choral works as well as complete works for harpsichord, has been widely praised.

In addition to working with renowned period ensembles, such as the Orchestra of the Age of Enlightenment and Philharmonia Baroque, Mr. Suzuki conducts repertoire as diverse as Brahms, Britten, Fauré, Mahler, Mendelssohn, and Stravinsky, with orchestras such as the New York Philharmonic, Seattle Symphony, St. Louis Symphony, NDR Elbphilharmonie, Bavarian Radio Symphony, Orchestre Philharmonique de Radio France, Gothenburg Symphony, Sydney Symphony, Yomiuri Nippon Symphony, and NHK Symphony. He made his debut with the San Francisco Symphony in February 2016.

Mr. Suzuki combines his conducting career with work as an organist and harpsichordist. Born in Kobe, he graduated from the Tokyo University of Fine Arts and Music with a degree in composition and organ performance and then studied at the Sweelinck Conservatory in Amsterdam under Ton Koopman and Piet Kee. Founder and professor emeritus of the early music department at the Tokyo University of the Arts, Mr. Suzuki was on the choral conducting faculty at the Yale School of Music and Yale Institute of Sacred Music from 2009 until 2013 and remains affiliated as the principal guest conductor of Yale Schola Cantorum.

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Soprano Lauren Snouffer’s 2022–23 season includes Mahler’s Second Symphony with the Cleveland Orchestra, John Adams’s El Niño with the composer conducting Cleveland Orchestra, Mozart’s Mass in C minor with Pittsburgh Symphony, Handel’s Jeptha with Music of the Baroque, Bach’s Mass in G major with Handel and Haydn Society, Beethoven’s Ninth Symphony with the New York Philharmonic, and Hans Abrahamsen’s Let Me Tell You with NDR Elbphilharmonie. Operatic performances include Die Zauberflöte in a return engagement with the Opernhaus Zürich, Le nozze di Figaro with Houston Grand Opera, Il barbiere di Siviglia at Austin Opera, and debuts at Santa Fe Opera in Monteverdi’s Orfeo and at Detroit Opera in Xerxes.

Last season Ms. Snouffer made her debut at the Opéra national du Rhin in the lead role of Abrahamsen’s The Snow Queen and appeared in two new productions with the Opernhaus Zürich: she performed the title role in the world premiere of Stefan Wirth’s Girl with a Pearl Earring and sang Argene in a new production of Pergolesi’s L’Olimpiade. At Houston Grand Opera she gave performances of Dialogues des Carmélites. She made her San Francisco Symphony debut in December 2016.

A Grammy Award-nominated artist, Ms. Snouffer’s discography includes Hasse’s Siroe and Handel’s Ottone on Decca, Gottschalk’s Requiem for the Living on Novona Records, Grantham’s La cancíon desesperada on Harmonia Mundi, and Feldman’s The Rothko Chapel on ECM. An alumna of the Houston Grand Opera Studio, Ms. Snouffer holds degrees from Rice University and the Juilliard School.

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Countertenor Aryeh Nussbaum Cohen received the grand prize of the 2017 Metropolitan Opera National Council Auditions, a 2017 Sara Tucker Study Grant, and a 2022 Career Grant from the Richard Tucker Music Foundation. In 2019 his first commercial recording project—Kenneth Fuchs’s Poems of Life with the London Symphony Orchestra—was honored with a Grammy Award.

The 2022–23 season marks three European debuts for Mr. Nussbaum Cohen: at the Bavarian State Opera as Endimione in Cavalli’s La Calisto, at Komische Oper Berlin as David in Handel’s Saul, and at Glyndebourne as Athamas in Handel’s Semele. Among the highlights of his concert calendar are Handel’s Jeptha with Music of the Baroque and Theodora with Philharmonia Baroque. Other notable performances include a Metropolitan Opera debut as Rosencrantz in the US premiere of Brett Dean’s Hamlet and a debut at the Zurich Opera House in a world-premiere ballet using the music of Monteverdi.

Mr. Nussbaum Cohen earned a bachelor’s degree in history from Princeton University and received academic certificates in vocal performance and Judaic studies. In his senior year he became the first singer in a decade to win the Princeton University concerto competition and was also awarded the Isidore and Helen Sacks Memorial Prize for extraordinary achievement in the arts. During the 2017–18 season he became the first countertenor in the history of the Houston Grand Opera Studio. He was a member of San Francisco Opera’s Adler Fellowship program in 2018–19 and made his San Francisco Symphony debut in December 2019.

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Tenor Leif Aruhn-Solén has been a sought-after singer on the world’s concert and opera stages for more than two decades. Often heard in the Evangelist parts of Bach’s Passions and in Handel’s tenor compositions, he has also had success in lead roles in Baroque operas and works by Haydn, Mozart, Rossini, and contemporary composers.

Mr. Aruhn-Solén began his studies at the Royal College of Music in Stockholm, followed by studies at Oberlin College, where he graduated from the artist diploma program in 2001. While still a student, he performed as a soloist with orchestras such as the City of Birmingham Symphony, Oslo Philharmonic, Swedish Radio Symphony, and Malmö Symphony. Upon graduation, he was engaged to sing with Les Arts Florissants, New Israeli Opera, and Singapore Symphony, followed by opera performances at Grand Théâtre de Genève, Opéra National de Montpellier, and Royal Opera in Stockholm, as well as orchestral engagements with the Cleveland Orchestra, Freiburg Baroque Orchestra, and Concert Spirituel. He made his San Francisco Symphony debut in December 2017.

His extensive discography includes Bach: Tenor arias (Nilento), Handel Arias (Edition Lilac), Ifigenia in Aulide by Martín y Soler and Il ré pastore by Mazzoni (Harmonia Mundi), Charpentier’s Judicium Salomonis (Virgin Classics), and Songs of the Heart (Sterling).

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Born in Amiskwaciwâskahikan (Edmonton, Canada), Jonathon Adams is a Cree-Métis two-spirit baritone. They have appeared as a soloist with Vox Luminis, Ricercar Consort, Servir Antico, Tafelmusik, and B’Rock Orchestra at Opera-Ballet Flanders. In 2021, they were named the first ever artist-in-residence at Early Music Vancouver.

Recent and upcoming solo engagements include Handel’s Messiah with the New York Philharmonic, concerts with TENET Vocal Artists, Toronto Consort, il Gardellino, Ensemble Arion, Washington Bach Consort, and recitals with lutenist Lucas Harris. Recent career highlights include the co-creation of Wreckonciliation with Marion Newman and Yvette Nolan for Amplified Opera, a fellowship with the Netherlands Bach Society, performances with Amsterdam Baroque Orchestra in China and Japan, and Bach’s St. John Passion in the Chapelle Royale at the Palace of Versailles. They make their San Francisco Symphony debut with these performances.

They have led workshops at University of British Columbia, Lunenburg Academy of Music Performance, and Festival Montréal Baroque, and this season are the first Indigenous artist-in-residence at the University of Toronto’s Early Music Department. They attended the Royal Academy of Music and the Conservatory of Amsterdam and studied with Nancy Argenta, Emma Kirkby, and Edith Wiens.

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Joshua Habermann is in his 14th season as artistic director of the Santa Fe Desert Chorale, one of the nation’s premier professional chamber choirs. He is a frequent clinician for state and national events, and has led honor choirs and choral festivals in North and South America, Europe, and Asia. As a tenor, he has performed and recorded with the Oregon Bach Festival Chorus, Conspirare, and the San Francisco Symphony Chorus.

From 2011–22 Mr. Habermann was director of the Dallas Symphony Chorus, where he prepared and led the 200-voice chorus for classical and pops concerts. Highlights with the DSO include Bach’s St. Matthew Passion, Verdi’s Requiem, Elgar’s Dream of Gerontius, Bernstein’s Kaddish Symphony, and Britten’s War Requiem. During his tenure in Dallas, he led annual Christmas programs with the orchestra and chorus, as well as collaborations between the Dallas Symphony Chorus and international orchestras.

Before his Dallas appointment, Mr. Habermann was director of choral studies at the University of Miami Frost School of Music, where he led the graduate program in conducting and collaborated with the New World Symphony and Michael Tilson Thomas. He also led the Masterchorale of South Florida in performances of Mendelssohn’s Elijah, Mozart’s Requiem, and Haydn’s Creation, among other works.

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