LORENZO COLITTO, baroque violin and viola
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Born in Roma, he 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's frequently 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.
PAUL ESSWOOD, singing
studied with Gordon Clinton at the Royal College of Music in London from 1961 to 1964, and then was a lay vicar at Westminster Abbey until 1971. In this year, Paul Esswood made his formal debut as a counter-tenor in a BBC performance of Handel’s Messiah. His operatic debut followed in Cavalli’s Erismena in Berkeley, California, in 1968. He is one of the world‘s leading counter-tenors, and one of the trio of Englishmen who really put counter-tenor singing forward in the late 1960’s and 1970’s, with Alfred Deller and James Bowman. He had a wide range, with a rather vibrato-ish, womanly sound. Nevertheless, great powers of phrasing and very expressive. Paul Esswood has worked in opera houses throughout Europe and America and was the first counter-tenor ever to sing at La Scala, Milan. He took part in the historic Harnoncourt Ponelle Monteverdi Cycle at Zurich Opera, which has also been recorded and filmed for television worldwide. He has appeared at the Salzburg Festival, Cologne Opera production, Karlsruhe Händel Festival production and Royal Opera House, Covent Garden. Several roles have been written for Paul Esswood including the title role in Philip Glass's Akhnaten (Stuttgart) and Death in Penderecki's Paradise Lost (Chicago, Milan and Stuttgart). Most recently he sung the role of Seff in Schlafes Bruder by Herbert Willi in the world première in Zurich, followed by further performances of this in the first Austrian production in Innsbruck. As a concert and recital singer, Paul Esswood works in the world's most important musical centres: London, Edinburgh, Berlin, Vienna, New York, Washington, Los Angeles and the key festivals such as Salzburg, Graz, Aix-en-Provence, 3 Choirs and London Promenade Concerts. His repertoire is extensive: from to Robert Schumann. While he was best known for his performances of early masters, he also appeared in modern works, including the premiers of Penderecki’s Paradise Lost (1978) and Magnificat, Philip Glass’s Akhnaten (1984), and Schnittke (Faust Cantata - world première in Vienna and St. Florian Symphony No.2 - world première in London). Paul Esswood has made over one hundred and fifty recordings, including the Monteverdi Operas and Bach's major works with Harnoncourt and Leonhard. He recently released was the world premiere performance of Schnittke's Symphony No.2 (St Florian). As a teacher, Paul Esswood was a professor at the Royal College of Music (1977-1980). From from 1985 he is a Professor of Baroque vocal interpretation at the Royal Academy of Music and gives regular master-classes throughout the world, recently visiting Jerusalem, Aldeburgh and Karlsruhe. Paul Esswood co-founded in 1967 the Pro Cantione Antiqua, and a capella male vocal group. He also continued to pursue his solo career, appearing at many major European festivals. With Cantione Antiqua he has just completed a tour of Japan and Hong Kong. In 1990 he was appointed an Honorary Member of the Royal Academy of Music and in 1997 he was awarded the Deutsche Händel-Preis for his contribution to the performances Handel.
VINÍCIUS PEREZ , luth, baroque guitar, theorbo
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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.
HUGUES KESTEMAN baroque basson, dulcian and wind band
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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".
JOÃO PAULO JANEIRO, harpsichord, continuo, orchestra
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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. Founded MAACedita CD label, which catalogue includes Almeida, Perez, Bach, Galliard and orther composers works. 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 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).
FERNANDO PAZ, recorder
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Born in Madrid in 1966, he studied at the Professional Conservatory P.A. Soler of San Lorenzo de El Escorial, in the Royal Superior Conservatory of Madrid, in the Regional Conservatory of Toulouse and in the Royal Conservatory of Brussels, specializing in flutes of peak and baroque transverse flute. He dtuidied under Mariano Martín, Alvaro Marías, Pedro Bonet, Salvador Espasa, Baldrick Deeremberg, Kees Boeke, Aldo Abreu, Marion Verbrüggen, Paul Lennhouts, Agostino Cirillo, Philippe Allain-Duprè, Phillipe Suzanne, Konrad Hünteller, Frank Theuns, Marc Häntai , Barthold Kuijken and Wilbert Hazelzet. Member of Extramundi, Tritonus, Orphénica Lyra and Hippocampus, has also collaborated with formations such as La Stravaganza, Cancionero, Neocantes, Rex Hispaniae Chapel, Sforzinda, Unda Maris, Turiae Camerata, Castello Ensemble, Speculum, Scordatura, Capella Compostelana, Sebastián Durón Choir, Schola Cantorum de Pamplona, ​​Pro Old Music of Madrid, Harmonic Cabinet, Ad Libitum, Old Music of the Escorial, Spanish Company of Baroque Opera, Dilecta Music, Baroque Orchestra of Murcia, Capella de Ministrers, The Spanish Concert, La Dispersione, Baroque Orchestra of Seville, Le Concert de Nations, Hespérion XXI, Camerata Cayrasco, Divino Sospiro, Zarabanda and Minimal Art. He has performed concerts in Spain, Portugal, France, England, Germany, Belgium, Holland, Italy, Greece, Turkey, Poland, Czech Republic, Slovenia, Lithuania, Colombia, Cuba and Israel. Founding member of the Pico Extramundi Flute Quartet, which obtained in 1992 the 1st Villa de Madrid Interpretation Competition and the 2nd Montserrat Alavedra de Terrasa Chamber Music Competition (Barcelona). He has participated in the soundtracks of the films Cristóbal Colón, Finisterre, Juana La Loca, Buñuel and the Mesa del Rey Solomon. He has recorded for RNE-Radio 2 (Radio Clásica), Radio France and Canal Digital, and for record labels Alma Musik, Jubal, Auvidis Ibérica, Glossa, Verso and Arsis, obtaining awards from the specialized critics such as 10 de Répértoire, 5 Stars of Goldberg, CD Compact Year Award and Choc Le Monde de la Musique. He has been a visiting professor at the Professional Conservatory of Zaragoza, Arturo Soria Professional Conservatory of Madrid, Professional Music Conservatory "Cristóbal de Morales" of Seville, Encounters of Ancient Music of San Lorenzo de El Escorial, Conservatory of Torrent, Interpretation Course Historic Torrepacheco (Murcia), Aveiro Conservatory (Portugal), ESMAE Conservatory of Oporto (Portugal), Meetings of Sweet Flute in Maese Pedro (Madrid) and the Ancient Music Festival of Aracena (Huelva). He was flute professor at the Superior Conservatory of Murcia between 1990 and 1993 and professor of flute peak of the Department of Early Music of the Conservatory P. A. Soler of San Lorenzo de El Escorial (Madrid) between 1994 and 2011. As a flute builder he considers himself essentially self-taught, although he has taken courses with Jaqueline Sorel and Heiko ter Schegget and has received advice from Francisco Luengo, Monika Musch, Bob Marvin, Joachim Rohmer, Ernst Meyer, Pau Orriols, Adrian Brown, Nikolaj Ronimus and Fumitaka Saito In the summer of 2016 he spent two weeks in Bob Marvin's workshop (Woburn, Canada) where, together with Vicente Parrilla, they tried to compile part of his legacy as a Renaissance flute builder as well as learn the systematics in his voicing and build an Ag " Ganassi 466 mod. Marvin "under his tutelage. At present he combines his artistic and pedagogical activity with the artisanal construction of historical flutes.
ALEJANDRO MARÍAS gamba and baroque cello
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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.
RODOLFO LA BANCA, historical clarinet
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Degree in Clarinet, Comosition, degree in Musicology. Specialized in historical clarinet with Luca Lucchetta, Rocco Carbonara and Eric Hoeprich. Founder of the Trio Kalamus, a group dedicated to the research of the clarinet repertoire with period instruments. He played as a clarinetist with the Orchestra Baroque Santa Teresa, orchestra of Pordenone San Marco, Die Freitages Akademie di Berna, among others. He has played in Sweden, Brazil, Albania, Poland, France, Spain, Portugal, Switzerland, Germany. He held master class in antique clarinet at, Northridge University in Los Angeles (USA) in Valletta (Malta), J. Strauss School and Stockholm in the Royal College Of Music, in Luo Yang (China) for the musical company Luo Yang. Co-historical clarinet teacher for the "Conservatory of Cosenza", he participated as principal clarinet in the creation of the world premiere of the CD with historical instruments: Requiem di Bontempo (Portugal). Ancient clarinet teacher at the clarinet university of Camerino (Italian Clarinet Academy), Nocera Terinese Conservatory.
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.).
PAOLA GHIGO, mise-en-scène
She graduated in piano at the Conservatory of Music "F. Morlacchi" of Perugia under the guidance of Ornella Grossi, in harpsichord at the Conservatory of Music of S. Cecilia in Rome with Paola Bernardi, in singing at the Conservatory of Music "L. Refice "of Frosinone. She studied composition with Teresa Procaccini and Luca Salvadori and conducting with Nicola H. Samale. As a pianist and harpsichordist, she has perfected herself with Lya de Barberiis, winning the AMOR scholarship, Paola Bernardi, Antonio Ballista, E. Bagnoli, J. Straube, A. Coen, D. Chelmcka and performs as soloist, duo piano and in instrumental formations in various national and international festivals (Festival of Civitacastellana, LIM87 Bilbao, Festival of XX Siglo Madrid, Vertical Music, Todi Festival, etc). As a singer she is dedicated to chamber music, lieder and oratorical and contemporary music as well as to ancient and baroque music. She perfected herself with M. Hayward, D. Dorow, L. Poli, G. Di Rocco, L. Kozma, R. Meister, M. Baker and now with S. Magnifico performing an intense concert activity as soloist and in duo with guitar , harpsichord, piano and orchestra in Italy and tours abroad and has to her credit several first performances. She made her debut as a harpsichord master and conductor in the field of Baroque music with "Dido and Aeneas" by Purcell and works by C. Monteverdi such as "The Combat of Tancredi and Clorinda" and "Il Ballo delle ingrate" in scenic form directed by R. Mortelliti, founding the vocal and instrumental group "Gli affetti musicali di Roma" and the "Nuovi Affetti Musicali" with whom she has played repertoire from the 16th century to the present day performing concert activities in national festivals. She recorded for Edipan and EMI, as well as for Rai-Radio3, RAI-Radio Television, Spanish National Radio, Vatican Radio. She won the Cidim 86 award. She devotes herself to theatrical and cinematographic activity as a composer and performer and works with S. Marchini, M. Mattolini, A. Corsini, R. Mortelliti. She directed the soundtrack for the film "The strategy of the Mask" by R. Mortelliti for EMI Cecchi-Gori, the short films "Un'altra lei" by R. Mortelliti and "La gente" by A. Tiberi for the project Intolerance-L'Unità, the documentaries "Le grotte di Pastena" and "Collepardo". She is invited to give courses on vocal chamber music (Siracusa, Fiumara d'Arte, Cortona, etc.) and is a teacher of reading the score and of ancient music at the "L. Refice "of Frosinone.
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