PROFESSORES | FACULTY
VIOLINO & VIOLA BARROCOS
BAROQUE VIOLIN & VIOLA
LORENZO COLITTO
FLAUTA DE BISEL, CONSORT & IMPROVISAÇÃO
RECORDER, RECORDER CONSORT & IMPROVISATION
JOSTEIN GUNDERSEN
FAGOTE BARROCO
BAROQUE BASSON
HUGUES KESTEMAN
ALAÚDE, GUITARRA BARROCA & TIORBA
LUTH, BAROQUE GUITAR & THEORBO
VINÍCIUS PEREZ
VIOLONCELO BARROCO & VIOLA DA GAMBA
BAROQUE CELLO & GAMBA
ALEJANDRO MARÍAS
CRAVO, B.C. & CIMA ENSEMBLE
HARPSICHORD, B.C. & CIMA ENSEMBLE
JOÃO PAULO JANEIRO
PILAR MONTOYA
DANÇA HISTÓRICA
HISTORICAL DANCES
PAOLA GHIGO
MADRIGALS
MISE-EN-SCÈNE
JOERG FIEDLER
FLAUTA TRAVESSA
FLUTE
LORENZO COLITTO baroque violin and viola
Born in Roma, studied in Conservatorio di S. Cecilia where he graduated in 1990. In 1993 he started studying early music with original instruments. In 1994 he is admited in Schola Cantorum Basiliensis, in whitch he studied 3 years with T. Hengelbrock. Also in 1994 he was selected to make a trouneé with Europeian Union Baroque Orchestra where he worked with Ton Koopman, Roy Goodman and Andrew Manze. Since then he develops an intence concert activity, making concerts in every part of the world. Was member of Europa Galante Baroque Orchestra, directed by Fabio Biondi, with whom he recorded solo for Virgin-EMI and obtained excelent critics. From 1999 to 2002 he was the concertino of the american ensemble New York Collegium with which he made concerts with Reinhard Goebel, Andrew Parrot, Biondi, Lopez Banzo, Labadie, having been very well apreciated by the critic in international titles like The Boston Globe and The New York Times.
He frequently is convocated to play has concertino and soloist in many famous early music ensembles in Europe: Balthasar Neumann Ensemble, Orchestra Barocca di Siviglia, Accademia Bizantina, European Union Baroque Orchestra, Orchestra del Teatro di Cagliari, Accademia Litta, Al Ayre Español, Elyma, Amarillis, Pulcinella, La Grande Chapelle, Real Compañia Opera da Camara, Harmonices Mundi-Bozen Baroque Orchestra, Accademia degli Astrusi, Divino Sospiro. Also in this context he obtained excelent critics (Amadeus – ITA, Res Musica – FRA, Observator cultural - ROM).
He was invited by City Chamber Orchestra of Hong Kong, dos Solisti di Zagabria of Collegium Melbourne for the Spring Early Music Festival of Melbourne as director and soloist. And recently he was invited for concertmaster of New York Baroque Incorporated, recent and young ensemble formed bythe first generation of recognized students of the early music department of Juilliard of New York. He directed masterclassses in Spain in Arseguell and Granada courses, in Academy of Arts di Hong Kong, in Fontecolombo di Bridgetown Institute (Perth – Australia), in Melbourne University (Austrália) and we eas a guest teacher of JONDE preparation courses (Young Orchestra of Spain).
Recorded CD's for Harmonia Mundi, Virgin EMI, Opus 111, Tactus, Ambroisie, K617, Divox Antiqua, Stradivarius and Bongiovanni. He recently recorded Mozart serenatas K100 e K 185 for Amadeus magazine, inserted in the integral publication of Mozart Serenatas. In this project he is concertino and plays violin solo with the ensemble Accademia Litta. He recently founded the ensemble Archipelago.
In his musical investigation, he had identified works of some bolonha composers of the beggining of the XVII century, which caught the attention of theaters, festivals and music editors.
JOSTEIN GUNDERSEN recorder, recorder consort, improvisation
studied recorder with Frode Thorsen at the Grieg Academy in Bergen (Norway); he graduated in performance (2000) and pedagogy (2001), and received a Master’s degree in performance (2004). In addition, he completed a Konzertexamen with distinction with Peter Holtslag at the Hochschule für Musik und Theater in Hamburg (2003). From 2005 to 2009 he was a research fellow of the Norwegian Artistic Research Program with a project on improvisation of diminutions in the polyphonic repertoire from 1350 to 1700. He is currently teaching recorder, Baroque ensemble, and music theory at the Grieg Academy, and historical improvisation at the Hochschule für Musik und Theater “Felix Mendelssohn-Bartholdy” in Leipzig. Gundersen has given master classes, workshops, and lectures at academies and universities in Portugal, Austria, Germany, the Czech Republic, and in the US.
He has appeared as a soloist and chamber musician in many countries and with several ensembles, and his interest in contemporary music has led to premieres of pieces by such young Norwegian composers as Tor-Erik Hellesen, Jostein Stalheim, Ruben Sverre Gjertsen, and Berge Osnes, and by Czech composer Jan Rokyta.
ALEJANDRO MARÍAS gamba and baroque cello
Born in Madrid in 1984, Alejandro Marías begin his studies in cello with Mariló Cuesta, Enrique Correa and Maria de Macedo. Later, he also studied the cello with Christophe Coin, Philippe Muller and Claudio Bohorquez, the Viola da gamba with Wieland Kuijken, Marianne Muller and Hille Perl, and the baroque cello with Anner Bylsma and Jaap Ter Linden. He obtain his superior degree in music at Real Conservatorio Superior de Música in Madrid, with Miguel Jiménez, Josetxu Obregón and Pere Ros, and his performance master in baroque cello and viola da gamba at Haute École de Musique de Genève, with Bruno Cocset and Guido Ballestracci. He specialized in the historic interpretation of the classic and romantic with original instruments at Centre Européen of Recherche et Pratique Musicales (Saintes, Francia) and colaborated with Jeune Orchestre Atlantique (2006-2009), Académie Baroque Européenne d’Ambronay (2010) and Orchestre Fançais des Jeunes (2010).
Alejandro Marías artistic career, which also includes teaching, is ambicious and versatile, with three instruments - modern cello, baroque cello and viola da gamba - and also ith his participation in concerts, festivals and courses in many different professional contexts from all over Europe, Israel, Argelia, Argentina and Bolivia. He is the artistic directo of the baroque ensemble La Spagna and a frequent colaborador of Zarabanda and Concerto Ibérico Orquestra Barroca. Also, he is a founder member of Cuarteto Francisco de Goya, an ensemble dedicated to the historic interpretation of classic repertoire for strings quartet. He had worked with the directors Philippe Herreweghe, Marc Minkowski, Ton Koopman, Bruno Weil, Sigiswald Kuijken, Hervé Niquet, Lucy van Dael, Paul Agnew, Enrico Onofri and David Stern, and recorded for Warner and Columna Música, as well as to diverse radio and tv from Europe and America.
JOÃO PAULO JANEIRO harpsichord, continuo, orchestra
Harpsichordist, organist, João Janeiro divides his activity between research, concerts, recordings and teaching. Has studied organ, harpsichord, clavichord and musicology in Lisbon.
Director of Flores de Mvsica, Capella Joanina and Concerto Ibérico early music ensembles, his main work has been to disclose Portuguese musical heritage. He has recorded several CD with historical organs and instruments from Lisbon’s Music Museum and played in several international music festivals, in Italy Germany, Spain and Portugal.
Editor of João Baptista André Avondano Sonatas and Duets critical edition. Prepares the Opera Omnia Edition of Francisco António de Almeida. Recorded Almeida's Missa in F and Te Deum, Matuttino de Morti' of David Perez and Pedro António Avondano's Chamber Music.
He conceived and directs the early music festivals 'West Coast Early Music Festival', ' Série Ibérica de Música Antiga' and 'Jornadas de Órgão do Alentejo'. Completed Alentejo's Historical Organs Inventory to Ministry of Culture and guided some restoration processes in this region.
Also responsible for CIMA International Early Music Summer Courses and the Early Music International Competition for Young Musicians in Portugal.
Teaches organ, harpsichord, chamber music, basso continuo and historical performance at ESART - IPCB and EMNSC. Has been invited for masterclasses and concerts in Portugal, Spain and Italy on harpsichord, organ, basso continuo and baroque orchestra. Director the MAAC, he is one of the founding members of CESEM (FCSH - UNL) and the Portuguese Society for Research in Music (SPIM).
HUGUES KESTEMAN baroque basson, dulcian and wind band
Born in Brussels in 1949, Hugues studied classical singing during six years and started his career in the chorus of the opera at age 20. At the same time, he studied bassoon at the Royal Conservatory of Brussels and graduated with distinction in Bassoon, Chamber Music, Musical Training and obtained the music pedagogy degree.
Later, he improved with the Master Albert Hennige in Germany and studied Ancient Music with oboist Paul Dombrecht Lemmens in Instituut of Leuven.
Laureate by the Yehudi Menuhin Foundation he was bassoon and contrabassoon in the Orchestra of Liège, soloist in the Belgium Radio and Television Orchestra, the Philharmonic Orchestra of Flanders and Porto Symphony Régie.
He performed in concert and give numerous master classes throughout Europe, USA, Brazil, Peru, India and Macao with "La Grande Ecurie et la Chambre du Roy, Concerto Köln, Les Musiciens du Louvre, Capella Compostelana in Santiago de Compostela, Ensemble Rumein (with Sabine Meyer), harmonic Concerto Budapest and Quintet "Artziz" with pianists António Rosado and Pedro Burmester, among others.
He participated in several recordings of CDs with Octophoros, Wiener Akademie, Segréis de Lisboa, Arte Real Ensemble and Flores de Música (Portugal).
As a teacher, he created five bassoon courses in Belgium and five in Portugal. He organized two national stages in Belgium, the first Bassoon national stage and the first national meeting of double reeds in Porto.
Instructor of martial art "Aikido" founded five centers as well as their own association "aparn" (Portuguese Association of Aikido Northern Region) in Portugal.
It was the winds coordinator and was part of the direction of the Department of Music of ESMAE. Today he is Chamber Music teacher, and founder of the course of bassoon and baroque bassoon, of the course of "Aikido" for actors of the Department of Theatre as well as the course "Play Health" (artistic interventions in hospital means) in ESMAE.
Founded in July 2013 Orchestra "Musicum Portucalense". It has recently published an autobiography about Hugues Kesteman entitled "Two Lives a Destination".
PILAR MONTOYA historical dances workshop
Multifaceted artist born in Zaragoza (Spain). She studied piano with M. Pesci and graduated as a Teacher. At the same time she got the Diploma in Singing with P. Andrés and also studied Chemistry at the University of Zaragoza. She commenced her studies of Early Music with J. L. González Uriol achieving the Higher Certificate of Harpsichord and Organ with Honours. Pilar Montoya holds a High Degree in Orchestral Conducting by the Royal School o f Music in London.
With a grant from the Provincial Council of Zaragoza and later from the "Commission Federale des Bourses pour étudiants strangers" of the Swiss Government, she furthered her studies in the "Schola Cantorum Basiliensis" where she studied Thorough Bass and Chamber Music (J. Christensen), Singing (R. Jacobs and R. Levitt), Conducting (H. Martin Linde), Historical Dance (E: Schneiter) and Baroque Gesture (S. Weller). At the same time she studied Harpsichord and Clavichord with I. Wjuniski in Paris, completing her studies with the First Prize in Harpsichord.
She has participated in numerous international courses of music and early dance (B. van Asperen, K. Gilbert, J. Ogg, A. Yepes, B. Sparti, B. Massin, etc.) and has attended the International Harpsichord Symposium held in Utrecht.
Her concert performances are frequent all over Europe, Asia and America, be it as soloist, as member of an orchestra or chamber music groups or as conductor. She has participated in many recordings.
She combines her profession in music with her other facet as historical dancer of the main styles from the Italian Renaissance (B. Sparti and L. Baert), Spanish Baroque (Mª José Ruiz), French Baroque (A. Yepes, B. del Valle, B. Gertsch, S. T'Hooft, J. Schrape, J. Voss, F. Denieau, C. Gracio Moura and B. Massin) up to the Bolera school of the end of the 18th century (G. Schwabl y M. León). She has collaborated with the professional companies of early dance, "Corpo Barocco" and "Esquivel" directed by S. T'Hooft and Mª José Ruiz in diverse projects which have been very well received by both public and critics alike and among which we could highlight "Il Ballo delle Ingrate" (C. Monteverdi), "Il Pastor Fido" (C. Monteverdi and B. Marini) in the theatre of Basel under the musical direction of A. Rooley, "Cierta y Galana" in the courtyard of the Monastery of San Lorenzo del Escorial in the commemoration of Felipe II and "Amor y Desamor", spectacle that she herself created and directed. At the same time, she is profoundly interested in the study of original sources and is now working on her Doctoral Thesis "La Danza en la Corte de Felipe V" under the direction of Begoña Lolo (Universidad Autónoma de Madrid). She also founded the historical dance company "Los Comediantes del Arte" with whom it has offered six shows and has been invited to give courses and lectures on early music and dance in Conservatories, Universities and other Institutions.
She is a member of the Musical Pedagogy team of the Diputación General de Aragón directed by María Angeles Cosculluela and the International Dance Council CID UNESCO. At present she is Professor of Harpsichord and Clavichord, Head of Department of Early Music and Artistic Director of the Baroque Orchestra at Conservatorio Superior de Salamanca and President of the Spanish Association of Early Music and Dance (A.E.M.D.A.).
VINÍCIUS PEREZ luth, baroque guitar, theorbo
Vinícius was born in Rio de Janeiro, Brazil. He began his musical studies at the early age of six, playing the classical guitar.
After successfully graduating from the UFRJ-CLA with Magna cum Laude (Rio de Janeiro, Brazil) and the Hochschule für Musik Luzern (Luzern, Switzerland), he decided to focus his musical career on the early european plucked string instruments, with particular emphasis on the instruments from the lute family.
This decision took him on a one-year-self-taught intense learning process, during which he had the opportunity to go through extensive literature concerning historical informed performance as well as specific lute literature, going from early 16th century publications through late 18th century manuscript sources. This enlightening journey culminated with his admission at the prestigious Schola Cantorum Basiliensis (Basel, Switzerland) in the class of one of the world’s leading authorities in historical plucked string instruments Professor Hopkinson Smith. Between 2012 and 2015 he had the joy and pleasure of working with Professor Smith, who will always remain as his deepest and truest musical and poetical influence.
Vinícius has been a well-in-demand continuo player, and has performed with the Kammerphilharmonie Graubünden, Konzert Theater Bern, Bach Collegium (Freiburg), Renate Steinmann (Zürcher Barockorchester), Ensemble La Fontaine, Jerusalem Baroque Orchester and others.
He regularly performs as a soloist: at the 13-Course Lute, Archlute, Theorbo, as well as at the 7-Course Lute.
His solo recording debut “The Galant Lute” is the result of both his researching works on late 18th century performance practice and style together with his desire to make it possible for the modern audience to experience the charming, galant and colorful sound of the lute through an original and yet unheard repertoire.
JORG FIEDLER
Born and grown up in Duisburg (Germany) Jörg Fiedler finished his flute studies with a degree at the Folkwang Hochschule. After working for some time in the Duisburger Symphonieorchester and the Ensemble Fin de Siècle (focusing on contemporary music) he applied himself to Historically informed Performance Practise. Studies at the Schola Cantorum Basiliensis (Basel, Switzerland) in historic transverse flutes as well as recorder he finished with the respective degrees (Diplom für Alte Musik). Since that time he works both as a teacher and as an ensemble player, orchestra player and soloist with renowned conductors such as Frans Brüggen, Gustav Leonhardt, René Jacobs, Jordi Savall, Hans-Martin Linde, Joshua Rifkin etc.
At the same time he researches intensely in the field of historic music practise. His main research areas are historical tone-systems, historical practises of tuning as well as the investigation and reconstruction of historical flutes.