John Bradley, Artistic Director, has played many roles in the world of historically informed performance, He has studied historical costuming, stage direction, and baroque gesture. He has been involved with fully staged productions of Carl Heinrich Graun's Montezuma with the Arcadia Players, Purcell's King Arthur with the Boston Early Music Festival, G.F. Handel's Alcina with Ex-Machina in Minneapolis and Handel's Dueling Sopranos with Julianne Baird, Beverly Hoch, and the Philadelphia Classical Orchestra.
As a singer, John’s credits have included Monteverdi's 1610 Vespers and J. S. Bach'sJohannes - Passion with Artek and the New Jersey Bach Festival, and numerous concerts of small ensemble early music. One of John's favorite gigs was as a baroque "chorus boy" in a tour of Purcell's Dido and Aeneas with Amherst Early Music, in which he was a singer as well as a featured dancer.
John’s first and last love is small ensemble singing combined with interdisciplinary research in music, historical liturgy, and history. He has assembled several early-modern liturgical reconstructions including masses and vespers from Pre-Reformation England, Ireland, 16th Century Spain, and Imperial Germany. Well versed in the reading and interpretation of medieval and renaissance notation of both chant and polyphony, John has been actively researching and creating original editions of Renaissance choral masterworks for Polyhymnia since 2000. In 2004 John's new edition of Vaet's Missa Ego flos campi was performed in Boston as a Boston Early Music Festival fringe event. The edition was revised and performed again in 2014, ten years after it was first completed. He has also completed editions of Nicholas Gombert's Missa Quam pulchra es and lavish 12-voice Regina Caeli both which were performed in New York and Boston in June 2007. Other editorial projects include Cristobál de Morales’ Missa pro defunctis, Pierre de Manchicourt’sMissa Reges Terrae, Palestrina’s Missa Assumpta est Maria , Francisco Guerrero’s only six-voice mass the Missa Surge propera and John Taverner’s Missa Gloria tibi Trinitas, with which he has also edited the liturgical chant from Irish sources for A Mass for Patrick of Ireland in March of 2011 In 2014 he completed extensive revisions on Thomas Tallis’ hymn Quod chorus vatum, and a new edition of John Sheppard’s Media vita. In the spring of 2016 John provided liner notes and performing editions of his Manchicourt project for a concert and CD release by the Church of St. Luke in the Fields on MSR Classics including newly edited motets by Pierre de Manchicourt from Renaissance music publisher Pierre Attaingnant’s collection of the composer’s works, published in 1539.
John holds degrees from Kalamazoo College, Western Michigan University, and Case Western Reserve University, and lives with Charles Keenan his husband of sixteen years and their two overindulged and overfed cats in the Lincoln Park neighborhood of Jersey City, NJ.