Since 2011, Director of Music Ministries K. Scott Warren has led a dynamic music team consisting of over 150 individuals, professional and volunteer, in providing music at approximately 400 liturgies annually. He is the principal conductor of the 18-voice professional Choir of St. Ignatius Loyola, which sings a demanding schedule of services throughout the year, with repertoire spanning Gregorian chant to 21st-century masterpieces. The choir, along with the Orchestra of St. Ignatius Loyola, form the backbone of the parish’s critically acclaimed concert series, Sacred Music in a Sacred Space, whose recent performances have been lauded by the New York Times as “stirring…positively thrilling” and “broad, wide-ranging, and powerful”. In addition to the vast choral spectrum presented at St. Ignatius, Mr. Warren presides over the four manual, 91-rank N. P. Mander Organ, the largest mechanical action organ in the New York metro area, and an instrument of international stature.
From 2002 to 2004, Mr. Warren served as Assistant Organist at Temple Emanu-El, Fifth Avenue, becoming Organist and Choirmaster in 2006. In this capacity he leads the 17-voice professional Temple Emanu-El Choir in 120 full choral liturgies annually. The Temple boasts three pipe organs, including the Main Sanctuary organ, originally built in 1929 by Casavant (dedicated by Marcel Dupré), most recently renovated by Sebastian Glück in 2002.
As a collaborative musician, Mr. Warren has appeared as organist with the New York Philharmonic, the American Symphony Orchestra, the New York Pops, the Orchestra of St. Luke’s, and the Dresden Philharmonic, in venues ranging from Carnegie and Avery Fisher Halls to the Ravinia and Bravo! Vail music festivals. Mr. Warren has also had an active career as choral accompanist, working with Voices of Ascension, Musica Sacra, the Choir of Trinity Church, Wall Street, the Oratorio Society of New York, and the New Jersey Oratorio Society, among others. His work as accompanist has been featured on National Public Radio.
Mr. Warren is a native of Dallas, Texas, and a graduate of the University of North Texas, where he studied organ with Dr. Jesse E. Eschbach. His choral music is published by Oxford University Press, and has been performed throughout Asia, Europe and North America.
Daniel Beckwith is Principal Organist at St. Ignatius Loyola and Assistant Organist at Temple Emanu-El, both in New York City. Former church positions include the posts of Assistant Organist at several New York City Landmark houses of worship: The Fifth Avenue Presbyterian Church, St. Bartholomew’s Church, and The Cathedral Church of St. John the Divine.
Mr. Beckwith has conducted in many of the major opera houses throughout North America and Europe. With a repertoire that spans the 17th through the 20th centuries, he has been hailed as one of the most exciting conductors of his generation.
Mr. Beckwith’s Metropolitan Opera debut was with Don Giovanni in 1995. On the strength of these performances, he was engaged for several important debuts conducting the works of Handel, both nationally (Serse, Seattle Opera) and internationally (Rinaldo, Grand Theâtre du Genève; Theodora, Glyndebourne Festival).
His return engagement to the Metropolitan, as well as his San Francisco Opera and Portland Opera debuts was with Don Giovanni; Le Nozze di Figaro for the companies of Vancouver, Baltimore, Edmonton and Arizona. Daniel Beckwith’s Australian opera debut in 1998 was with a personal favorite, La Clemenza di Tito. Mr. Beckwith’s return engagement to the Seattle Opera and his debut with the Washington Opera was with Die Zauberflöte.
His love of, and affinity for, the baroque, early classical, and the bel canto repertory has given him the opportunity to perform many of the cornerstone operas of these varying periods: Gluck’s Orphée et Euridice, Cimarosa’s Il Matrimonio Segreto, Lucia di Lammermoor, Il Barbiere di Siviglia, La Cenerentola, L’Elisir d’Amore, L’Italiana in Algeri, and the U.S. Premiere of Handel’s Oreste. The vehicle of his April 2000 New York City Opera debut was a new production of Rameau’s Platée with the Mark Morris Dance Group.
Other operas in Mr. Beckwith’s increasingly diverse repertory include Monteverdi’s Il Ritorno d’Ulisse in Patria, The Rape of Lucretia, Alcina, Giulio Cesare, The Crucible, Roméo et Juliette, Susannah, Don Pasquale, Carmen, Mozart’s Il Re Pastore, Turandot, Falstaff, Die Entführung aus dem Serail, Così fan tutte, Madama Butterfly, Les Contes d’Hoffmann, La Bohème and Ariadne auf Naxos.
A frequent partner with soprano Renée Fleming, they have performed in concert at Carnegie Hall, Spain’s Santander Festival and television appearances on Good Morning America, The View and Martha Stewart Living.
Nancianne Parrella is Organist Emerita of the Church of St. Ignatius Loyola in New York City. For 22 years, she played a prominent part in the acclaimed concert series Sacred Music in a Sacred Space as organ soloist, continuo player, and accompanist for choral and orchestral works. During the recent seasons in New York, she played concerts with Voices of Ascension directed by Dennis Keene; at the Cathedral of St. John the Divine; and with Musica Sacra and Oratorio Society at Carnegie Hall with Kent Tritle conducting. Nancianne and K. Scott Warren have performed together often as duo pianists for many of the leading choral ensembles in New York City.
Nancianne’s signature Organ Plus! recitals, regular audience favorites on the N.P. Mander Organ Recital Series, demonstrated the versatility of the organ in combination with Victoria Drake, harp; Jorge Avila, violin; and Arthur Fiacco, violoncello. In addition to New York City performances, she brought Organ Plus! to Ohio, New Jersey, Texas, and Long Island.
Nancianne was the founding director of Intermezzo, the chamber music series at the Spoleto Festival USA in Charleston, SC. Her organ performances with orchestra have included: the Saint Saëns Symphony No. 3, “The Organ Symphony” with The Orchestra of St. Ignatius Loyola and the Fort Worth Symphony; Stephen Paulus’ Concerto for Organ, Timpani, Percussion, and Strings at New York’s AGO Regional Convention; and the University of Massachusetts Amherst Symphony Orchestra, which included Poulenc Concerto for Organ, Strings, and Timpani as well.
She also performed with the New York Philharmonic in Lorin Maazel’s farewell concerts of the Britten War Requiem, and recorded it with Kurt Masur conducting; and she has been heard in recent recitals at the Cathedral of St. John the Divine; Methuen Memorial Music Hall; at Trinity Church, Wall Street, and at Princeton University Chapel.
Among America’s preeminent choral accompanists, Nancianne is an Emeritus Faculty member of Westminster Choir College of Rider University Princeton, where she was accompanist and assistant director of the famed Westminster Choir and Symphonic Choir directed by Joseph Flummerfelt. She toured and recorded extensively with Westminster Choir in Europe, America, Taiwan and Korea.
Nancianne was long associated with America’s pioneering choral conductor, Robert Shaw, with whom she toured and recorded in America, France, and Brazil. She has also collaborated with conductors: Kurt Masur, Charles Dutoit, and Lorin Maazel with the NY Philharmonic; Wolfgang Sawallisch of the Philadelphia Orchestra; Zdenek Macal and Neeme Järvi of the NJ Symphony; and James Bagwell and Louis Langreé in New York’s Mostly Mozart Festival.
Her CD labels include MSR; Delos; Gothic; Dorian; Chesky; Telarc, and Teldec. She is featured on two Pheasant Eye DVDs, The Organistas and Creating the Stradivarius of Organs, revealing the development of the N. P. Mander Organ, one of the largest tracker-action organs in New York City.
Robert Reuter, conductor, singer, and pianist, was appointed Associate Director of Music in September of 2012 at the Church of St. Ignatius Loyola in New York City, where he works closely with director K. Scott Warren in contributing and shaping the church’s vibrant liturgical music program and concert series Sacred Music in a Sacred Space.
A native of the San Francisco Bay Area, Robert began his involvement in music ministry while in grade school as a member of the church choir. He eventually became accompanist, cantor and choir director at St. Martin of Tours Roman Catholic Parish in San José, California. From 2001-2006, he also served as accompanist for the Santa Clara University Mission Choir, providing music at many of the weekly liturgies at historic Mission Santa Clara de Asís in Santa Clara, California.
Since joining the music staff at St. Ignatius Loyola in 2007, Robert has had the pleasure of working with all of the church’s professional and volunteer ensembles. He currently sings with, and occasionally conducts the 18 voice professional Choir of St. Ignatius Loyola, which offers repertoire at liturgies and concerts ranging from Gregorian chant to the latest choral masterpieces. He is director of the church's 50-member Parish Community Choir, which can be heard at the annual Christmas and Rejoice in the Lord concerts, as well as many of the major Christmas, Holy Week and Easter liturgies. Robert is director and accompanist for Canticum Sacrum, an advanced volunteer ensemble which offers musical support for the weekly 7:30 Sunday evening liturgies.
In the 2009-2010 season, Robert made his Sacred Music in a Sacred Space concert series debut, conducting the combined choirs and orchestra of St. Ignatius Loyola on Giovanni Gabrieli’s much beloved O Magnum Mysterium in the series’ annual Christmas Concerts. The following season, he conducted the New York Premiere of Cecilia McDowall’s Christus Natus Est at the Christmas Concerts, as well as an all a cappella concert with Kent Tritle. The a cappella concert was recorded and commercially released in 2011 as Cool of the Day on the MSR label.
When not contributing to the musical aspects of Sacred Music in a Sacred Space, Robert enjoys being the behind-the-scenes "go-to-guy" in his position as Technical & Logistics Coordinator. Responsibilities include crafting detailed schematics for each concert, running the lighting and sound systems, and helping to ensure an overall smooth concert experience for the musicians and audience members alike. Robert is a graduate of Santa Clara University.
Michael Sheetz was appointed Music Associate of the Church of St. Ignatius Loyola in September 2012, after having joined the music staff in 2010. He serves as Music Director of the Wallace Hall Choir and Orchestra, Assistant Conductor of the Parish Community Choir, and provides conducting and keyboard support for the acclaimed Sacred Music in a Sacred Space concert series. Further duties include maintaining the church’s renowned music library, as well as contracting, playing, and overseeing many of the church’s liturgies throughout the year. A recording of his playing with the St. Ignatius Children’s Choirs was regarded as “consistently excellent” by the American Record Guide Review, and he recently produced and directed the liturgical music album “Hallelujah: The Wallace Hall Choir and Orchestra,” featuring music in both classical and contemporary styles.
An active musician in New York City, Michael is the Assistant Music Director of Musica Sacra, New York’s longest continuously performing professional chorus. Through this organization Michael assists Music Director Kent Tritle in performances at Carnegie Hall, Alice Tully Hall, and the Cathedral of St. John the Divine, and leads an educational outreach program advocating choral music in underserved New York City public schools. With Musica Sacra he has collaborated with the New York Philharmonic, Orchestra of St. Luke’s and New York City Ballet, and released a recording on the AMR label, “Eternal Reflections: The Choral Music of Robert Paterson.” He made his Musica Sacra conducting debut in March 2014 at the Cathedral of St. John the Divine with Judith Lang Zaimont’s Parable: A Tale of Abram and Isaac.
Michael is the Assistant Conductor and Accompanist of the Fairfield County Chorale in East Norwalk, CT. He is on the faculty of the Berkshire Choral Festival, the United Nations International School, and La Lingua della Lirica, a summer training program for opera singers in Novafeltria, Italy. He has served as a Teaching Fellow at The Juilliard School and as a vocal coach and accompanist at Manhattan School of Music, as well as Assistant Choral Director at the New York Philharmonic, Lincoln Center Festival, and Weill Music Institute. He has performed live broadcasts on WQXR and Vermont Public Radio, and in concert at Weill Hall, Alice Tully Hall, and The Kennedy Center. An accompanist for the Oratorio Society of New York, Voices of Ascension, New York Choral Consortium, Aspen Opera Theatre Center, Middlebury Opera, and the College Light Opera Company, he has collaborated with Philippe Entremont, Alan Gilbert, Jane Glover, Maria Guinand, Pablo Heras-Casado, Dennis Keene, Bernard Labadie, Meredith Monk, John Nelson, Sir Roger Norrington, Emmanuel Plasson, David Rosenmeyer, Steven Schick, Bramwell Tovey, Kent Tritle, and K. Scott Warren.
Michael holds a Master of Music and two Professional Studies degrees from Manhattan School of Music in accompanying and conducting. He is a graduate of Vassar College.
Maureen Haley was a member of the professional choir at St. Ignatius for 21 years. An active musician in New York and New Jersey, she accompanies school choruses in the area and teaches voice and piano privately. She is passionate about providing choral experiences for young people. In 2014, Ms. Haley made her conducting debut at the Kimmel Center in Philadelphia with the girls and boys of the Pennsylvania Girlchoir and Keystone State Boychoir. She guest lectures at Monmouth University, where she familiarizes future music teachers with the Kodaly methodology. Ms. Haley currently teaches music at The Brearley School.
As a professional singer, Ms. Haley has worked and recorded with musicians such as Michael Tilson Thomas, Kent Tritle, Zubin Mehta, Richard Westenburg, Meredith Monk, Mark Morris, Steve Reich and Robert DeCormier, singing Renaissance through Contemporary and Folk repertoire. She has received critical acclaim in the New York Times.
Ms. Haley received her Bachelor of Arts degree with a concentration in piano from Penn State University, and her Master of Music with a concentration in voice from Queens College, CUNY. She completed her Kodaly certification at Westminster Choir College and James Madison University. A lover of foreign languages, Ms. Haley has pursued post-graduate language studies in Latin, French, Spanish, Hebrew and German.
She is a past New Jersey Symphony Master Teacher, a national conference committee member for the Organization of American Kodaly Educators and is an officer in the New Jersey state chapter.
Sara Murphy is Executive Director of Sacred Music in a Sacred Space. In this capacity she manages areas such as advertising, marketing, communication, ticketing and fundraising for Sacred Music in a Sacred Space, as well as general operations.
Sara has been actively involved in liturgical music since beginning in the church choir in grade school, serving as a cantor in high school, and continuing as a choir member and cantor at St. Matthew’s Cathedral in Washington, DC, Sacred Heart Cathedral in Newark, NJ, and here at St. Ignatius Loyola.
From 1998-2011, Sara was a staff member at the Biblical Archaeology Society, publisher of Biblical Archaeology Review magazine, most recently as editor of the society’s award-winning network of web sites and extensive email newsletter program.
Sara is also an active vocal soloist, called “a gorgeous, deep, dark mezzo-soprano” by the New York Times. In October 2016, she will make her European debut at Opera Theater of Rome as Ulrica in Verdi’s Un Ballo in Maschera under the baton of Jesús López-Cobos.
Highlights of recent seasons include soloist engagements at New York City’s Carnegie Hall and Lincoln Center with Oratorio Society of New York, American Symphony Orchestra and MidAtlantic Opera in works as wide-ranging as the Ligeti Requiem, Schnittke's Nagasaki, Hindemith's The Long Christmas Dinner and Handel’s Messiah. She has served as soloist for several seasons at Cincinnati May Festival with the Cincinnati Symphony conducted by James Conlon, appearing in Verdi’s Otello, Mendelssohn’s Elijah, Mahler's Symphony No. 8, Beethoven's Symphony No. 9 and Tchaikovsky's Ode to Joy. She presented Britten's Phaedra, Barber's Dover Beach and High Priestess in Verdi's Aida at Ravinia with the Chicago Symphony Orchestra conducted by James Conlon.
Sara earned a bachelor's degree from Oberlin College and a Master's degree from Catholic University.
Danya Katok, originally from State College, PA, is Music Administrator of the music department at the Church of St. Ignatius Loyola. She also sings regularly with the professional 20-voice choir, under the direction of K. Scott Warren. In 2016, she received her doctorate in Voice Performance from The CUNY Graduate Center. She taught on the music faculties of Brooklyn College from 2013-2016 and Bronx Community College from 2011-2013. Fluent in Russian, she also teaches Russian diction and has served as diction coach for performances with Collegiate Chorale and Bard Festival Chorale.
As a singer, Danya’s versatility is her greatest strength, described as a “chameleon” by BistroAwards.com. Notable performances include Max in Where the Wild Things Are with New York City Opera (a role for which she was praised by The New York Times as being “superb,”) soprano soloist in Mahler’s Symphony No. 4 with Pennsylvania Centre Orchestra, Commère in Thomson’s Four Saints in Three Acts with Mark Morris Dance Group, soprano soloist in Brahms’ Requiem with Fifth Avenue Presbyterian Chamber Choir, the world premiere of O Night Divine at York Theater Company (Off-Broadway), Vaughan Williams’ Serenade to Music with New York Symphonic Arts Ensemble, featured soloist with The Boston Pops in “An Evening of Cole Porter” (“…keep an eye on Katok,” The Boston Globe reported,) and her very own cabaret at Don’t Tell Mama.
A two-time Vocal Fellow at Tanglewood Music Center and first-ever New Voices in American Song Fellow at SongFest, Danya has worked closely with song and opera composers, including Libby Larsen, John Musto, Oliver Knussen, and Richard Hundley. She has enjoyed premiering new works by up-and-coming composers, such as Stuart Paul Duncan's Lament with the Cornell Festival Chamber Orchestra, Michael Strauss' Sassafras Dawn with members of the Mid-Atlantic Symphony, James Sproul's October, and David Bridges’ The Hill Wife, a "quartet for two people" where she played the violin and sang. She has received numerous awards in the contemporary music space, including the Phyllis Bryn-Julson Award for 20th/21st Century Music, Tanglewood’s Grace B. Jackson Prize, and the Ernst Bacon Prize for American Art Song. Other awards include Regional Finalist in the Metropolitan Opera National Council Auditions (Mid-Atlantic region), Winner of the Annual Teaneck Cabaret Competition, and Winner of the Baltimore Music Club Vocal Competition.