Anne Trout

Bassist Anne Trout has been devoted to music of the Baroque and Classical periods for 30 years. She regularly performed, toured and recorded with most of the prominent historical performance ensembles in North America including Handel and Haydn Society, REBEL, Aston Magna, Trinity Wall Street, Boston Early Music Festival Orchestra, Philharmonia Baroque, Tafelmusik, American Classical Orchestra, Boston Baroque, Opera Lafayette, Atlantic Trio, Sarasa, Emmanuel Music, Green Mountain Project directed by Scott Metcalfe and many others. She has performed in productions with choreographer Mark Morris and in modern re-stagings of masterworks by renowned directors Peter Sellars, Jonathan Miller and R.B. Schlather: Mozart operas in repertory, Bach’s Saint Matthew Passion and Handel’s Orlando, respectively.  

Active in contemporary music as well, she has appeared with organizations such as the Mostly Mozart Festival and Orchestra of St. Lukes (NY), the Colorado Music Festival, Cabrillo Festival (CA), Chamber Music Society of Martha’s Vineyard among many others. She has recorded the complete Bach motets with three of the finest vocal ensembles in the US.

European engagements bookended the shutdown. Shortly before COVID swept through northern Italy in January 2020, Anne was part of a 20-member NY-based contingent performing Monteverdi Vespers in Venice. A few months ago she joined Philadelphia-based Tempesta di Mare on its tour of Germany where it was a featured ensemble at the Telemann Festival, presenting concerts in Magdeburg, Dresden and Kothen. Other recent engagements include an appearance at the Chamber Music Society of Detroit as part of the ensemble FOUR NATIONS and the inaugural concert of K366, a new Classical period ensemble in NYC. She has performed with coastal Maine’s Blue Hill Bach Festival every summer since its formation 10 years ago. A longtime advocate for women composers in all periods and genres, she most recently played in a program of the cantatas of Fanny Mendelssohn Hensel.  

Anne serves on the faculties of Longy School of Music of Bard College in Cambridge and Boston College.

She is guardian of a rare fully-restored 1610 five-string Brescian bass with which she is developing chamber music partnerships.  Earlier this year she premiered a new work written for the instrument by composer John Morrison based on the Lament from Purcell’s Dido and Aeneas.