Robert Seletsky was the music director of NYS Baroque from 1994-2000. He was concertmaster / soloist for New York’s Grande Bande (now Early Music New York) from 1994-2003 and Jonathan Miller’s internationally acclaimed Glimmerglass / BAM production of Monteverdi’s “L’Incoronazione di Poppea” in 1994 / 1996. Using his newly reconstructed instrumental parts, he also led a production for the Florida Grand Opera in 1997, conducted by Harry Bicket. He has been principal violin / soloist for numerous other ensembles, and has performed with such organizations as American Bach Soloists, Handel & Haydn Society, Aston Magna, Barockorchester Stuttgart, etc. He has appeared at Ravinia, Wolf Trap, Hong Kong, Berkeley, and Connecticut Music / Early Music Festivals. Allan Kozinn of New York Times referred to his playing as “fleet and stylish.” He may be heard in recordings for Music Masters, Koch International, and Chesky. A Cornell doctorate holder, his scholarly work appears in The New Harvard Dictionary, Early Music, New Grove 2000, The Opera Quarterly, Neal Zaslaw’s “Mozart’s Symphonies,” the RRMCE edition of Maddalena Sirmen’s Violin Concerti, and elsewhere. He concentrated principally on scholarship from ca. 2000-09. His work on the pre-Tourte bow (EM 5&8/2004 and NG 2000) is regarded as definitive. He is the advisor to, and collaborator with, the best period bow makers today. Additionally, he is a noted authority on period improvisation and rhetoric (e.g., NG 2000), as well as a recognized expert on the work of Maria Callas (e.g., TOQ 2000-2005). He is currently the artistic director of the New York-based ensemble, Musica Dissepolta.