Performance

A performer, teacher, and advocate for the arts, Marylin serves as Artistic Director of L.A. Camerata, a performing arts initiative devoted to works for and by women and “others.” In October 2023, she and L.A. Camerata released a reference recording of Camilla de Rossi’s Fra Dori, e Fileno, to accompany an edition she published with Dulcamara Press. In addition to ongoing L.A. Camerata events, Marylin has performed historical works with the Desert Baroque Festival, Boston Camerata, and Musica Angelica. In September 2018, she was featured as a continuo player in Monteverdi’s Il combattimento di Tancredi e Clorinda, a fully-staged performance by Tick-Tock Productions in Cambridge, UK. Other period theatrical performances include: Fairy Queen (Purcell), Don Giovanni and Le Nozze di Figaro (Mozart), L’Ormindo (Cavalli), Il Primo Omicidio (Scarlatti), Haydn’s Creation, and L’Incoronazione di Poppea (Monteverdi). As director, Marylin most recently staged a world-premiere reading of Isabella Andreini’s La Mirtilla; she previously directed USC’s Collegium Workshop production of a service for St. Ursula by Hildegard von Bingen and Chamber Opera USC’s production of Francesca Caccini’s La liberazione di Ruggiero. She holds a DMA in Early Music from USC Thornton School of Music, where she studied baroque cello and viola da gamba with Bill Skeen; her academic fields included a major emphasis in Musicology with minor emphases in Opera Directing and Teaching & Learning. In 2018, Dr. Winkle received the Early Music America Summer Workshop Scholarship to study vielle with Shira Kammen, Mary Springfels, and Benjamin Bagby at the Amherst Early Music Festival Roman de Fauvel Project. She has also spent several summers coaching and performing for the SFEMS Summer Baroque Workshop, and she attended the 2012 Tafelmusik Baroque Summer Institute. Her modern cello studies include a Master’s of Arts Degree from San Jose State University, where she studied with David Golblatt, and a Bachelor’s of Music Performance from Stetson University, where she studied with David Bjella.

Teaching

Marylin believes fiercely in the power of the arts to affect lives and create change. She has over a decade of teaching experiences with students of all ages and disciplines. At the collegiate level, Dr. Winkle currently serves on the faculty at UCLA’s Herb Albert School of Music where she directs the Early Music Ensemble. Under her direction, the UCLA EME was one of just four ensembles in North America featured at Early Music America’s 2022 Young Performers Festival. She has delivered music history lectures for music majors and non-majors at various undergraduate and graduate levels. As TA for the USC Early Music Department, Marylin facilitated the Thornton Baroque Sinfonia and the Collegium Workshop Ensemble, where she staged a performance of Hildegard von Bingen’s service for St. Ursula. Beyond the Early Music and Musicology, Marylin directed Chamber Opera USC in a performance of Francesca Caccini’s La liberazione di Ruggiero, a production that inspired her continued devotion to educating audiences about women’s artistic history.

Dr. Winkle is equally passionate about educating young musicians. She is currently teaching at Citizens of the World in Hollywood, where she has founded CWC’s first ever orchestra program. In addition to her over five years of classroom teaching experience, she has also taught private cello lessons independently and through the Rhodes School of Music. Past community engagement efforts have included founding SJSU’s Young Musicians’ Project (YMP), working with the USC Thornton Outreach Program, and teaching strings and general music for Harmony Project (sites in Long Beach and Pasadena), all programs which provide at-risk youth with affordable music instruction.

Scholarship

Marylin’s devotion to diversity extends beyond the classroom and onto the pages and stages in her career. Because the “Great Composers” historical narrative largely excludes musical individuals who lacked the privilege of nonconformity, Dr. Winkle’s scholarship explores the ways early-modern women utilized stylistic conventions to subvert social conventions. She recently published an edition of Camilla de Rossi’s secular cantata, Fra Dori e Fileno, complete with translations, critical and biographical notes, and a reference recording (by L.A. Camerata) with Dulcamara Press. Her current articles-in-progress examine, separately, Maddalena Casulana’s first book of madrigals and Francesca Caccini’s La liberazione di Ruggiero for gendered rhetorical strategies.

Conferences

November 2023—Pathways in Early Music Conference: HIP to HIP (Historically Inclusive Performance)

  • Conference organizer, alongside Dr. Elisabeth Le Guin

  • Performance director, “Alessandro Scarlatti’s Il martirio di Sant’Orsola with Baroque Gesture as Historical Sign Language”

  • University of California at Los Angeles

October 2023—Women in Art and Music: An Early Modern Global Conference

  • Presenter, “The Sound of Struggle: Francesca Caccini and the Gendered Politics of Power”

  • The Juilliard School, New York, NY

October 2022—Los objetos hablan: transformaciones en el arte iberoamericano

  • Performance director, “Musicos ruyseñores: Music from Spain and Latin America”

  • University of California at Los Angeles

September 2022—LA Escena Hispanic Festival of Theatre

  • Performance director, “Musicos ruyseñores: Music from Spain and Latin America”

  • University of California at Los Angeles

September 2018—Intersections: Between Music and Theatre in Seicento Italy

  • Presenter, “The Sound of Struggle: Francesca Caccini and the Gendered Politics of Power”

  • University of Cambridge, Cambridge, UK

July 2017—International Society for the History of Rhetoric

  • Presenter, “The Sound of Struggle: Francesca Caccini and the Gendered Politics of Power”

  • Queen Mary University, London, UK

 March 2016—Musicking Conference

  • Presenter, “Back that Bass Up: Orchestrating Francesca Caccini’s La liberazione di Ruggiero”

  • University of Oregon, Eugene, OR