Néstor Fabián Cortés Garzón

Nés­tor F. Cor­tés Gar­zón

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Nés­tor Fabián Cor­tés Gar­zón is co-foun­der and artis­tic direc­tor of the Bre­mer Barock­or­ches­ter. Throug­hout his child­hood in Colum­bia, he lear­ned to play various per­cus­sion and gui­tar instru­ments at the Con­ser­va­to­rio de la Uni­ver­si­dad Tec­noló­gi­ca de Perei­ra, along with per­cus­sio­nist Car­los Arturo Ren­dón,. He stu­di­ed modern cel­lo at the Con­ser­va­to­rio de la Uni­ver­si­dad Nacio­nal de Colom­bia in Bogo­tá, whe­re he gra­dua­ted with honors. Initi­al­ly, baro­que cel­lo was his secon­da­ry instru­ment, but his love for ear­ly music grew ste­adi­ly, espe­ci­al­ly through num­e­rous pro­jects at the Scho­la Can­torum Basi­li­en­sis in Bogo­tá and mas­ter clas­ses with the Aca­de­my for Ear­ly Music Ber­lin, for exam­p­le. Cor­tés Gar­zón then com­ple­ted a post­gra­dua­te and master’s degree under the ins­truc­tion of the inter­na­tio­nal­ly known baro­que cel­list Vio­la de Hoog at the Hoch­schu­le für Küns­te in Bre­men and spe­cia­li­sed enti­re­ly in his­to­ri­cal per­for­mance prac­ti­ce.

In addi­ti­on to his ela­bo­ra­te con­cert sche­du­le, the Colom­bi­an musi­ci­an inten­si­ve­ly rese­ar­ches baro­que music from South and Cen­tral Ame­ri­cas, and thus suc­cessful­ly recon­s­truc­ting and arran­ging works from various codi­ces, as well as musi­cal tra­di­ti­ons. Sin­ce 2009 the Colum­bi­an musi­ci­an has been imple­men­ting the results of his rese­arch with the ear­ly music ensem­ble “Los Tem­pe­ra­ment­os.” The ensem­ble has pro­du­ced four albums inclu­ding seve­ral of his arran­ge­ments, all of which recei­ved excep­tio­nal reviews and have been nomi­na­ted for mul­ti­ple inter­na­tio­nal pri­zes. The cel­list, who now lives in Bre­men, also spe­cia­li­zes in the orna­men­ta­ti­on prac­ti­ce of the 17th and 18th cen­tu­ries.

Under the direc­tion of Cor­tés, the Bre­men Barock­or­ches­ter released its first CD in 2020. With the title “BACH to the Roots!” the cel­list and the ensem­ble show their uni­que approach to the music of Johann Sebas­ti­an Bach. The album has alre­a­dy been nomi­na­ted for the “Inter­na­tio­nal Clas­si­cal Music Award 2021”.

Con­cert tours with various orchestras and ensem­bles have taken the young cel­list all over Euro­pe and Latin Ame­ri­ca.

Tomoe Badiarova

Tomoe Badi­a­ro­va

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Tomoe Badi­a­ro­va stu­di­ed modern vio­lin with Takayo­shi Wana­mi at the Toho Uni­ver­si­ty of Music in Tokyo and baro­que vio­lin with Ryo Ter­a­ka­do at the Kon­in­kli­jk Con­ser­va­to­ri­um in The Hague. In 2007 she made her debut as a vio­lin soloist with the Hibi­ki Cham­ber Orches­tra under Masa­hi­ro Ari­ta, fol­lo­wed by per­for­man­ces with the Bach Col­le­gi­um Japan, the Tokyo Bach Mozart Orches­tra and the ensem­bles Les Borea­des, La Peti­te Ban­de, Il Gar­de­li­no, Har­mo­nie Uni­ver­sel­le, Los Tem­pe­ra­ment­os and Les Esprits Ani­maux. She has also given con­certs with The Hague Pia­no Quin­tet in the Min­ato­mi­rai Hall in Tokyo and at the Ams­ter­dam Con­cert­ge­bouw.

In addi­ti­on to the vio­lin, Tomoe Badi­a­ro­va has also mas­te­red the vio­la and the extra­or­di­na­ry cel­lo da Spal­la, with reper­toire ran­ging from ear­ly baro­que to the roman­tic era. Per­for­man­ces have taken her to num­e­rous well-known fes­ti­vals, inclu­ding the Fes­ti­val d’Ambronay, MA Fes­ti­val, Bru­ges, Ghent Fes­ti­val, Göt­tin­gen Han­del Fes­ti­val, La Fol­le Jour­née and the Ban­chet­to Musi­cale Vil­ni­us Fes­ti­val. Tomoe Badi­a­ro­va also col­la­bo­ra­ted on seve­ral pro­duc­tions for lea­ding inter­na­tio­nal radio sta­ti­ons such as the BBC, Musiq‘3, the Con­cert­zen­der and Radio France.

Meelis Orgse

Mee­lis Orgse

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Mee­lis Orgse (b. 1980) was gra­dua­ted as a modern vio­li­nist at the Esto­ni­an Aca­de­my of Music and Theat­re in 2004. He con­tin­ued his stu­dies with Baro­que vio­lin at Sibe­l­i­us Aca­de­my in Hel­sin­ki (Fin­land) with Kree­ta-Maria Ken­ta­la and at The Uni­ver­si­ty of Arts in Bre­men (Ger­ma­ny) with Tho­mas Albert. From 2004 until 2012 he work­ed with Esto­ni­an Natio­nal Sym­pho­ny Orches­tra. In 2007 he was cho­sen to play with Euro­pean Uni­on Baro­que Orches­tra. In recent years Mee­lis Orgse has appeared as a free­lan­ce cham­ber and orches­tra musi­can, con­cert­mas­ter and soloist with various ear­ly music ensem­bles inclu­ding Bre­mer Barock­or­ches­ter (Ger­ma­ny) and Ensem­ble Nylan­dia (Fin­land). Sin­ce 2015 he tea­ches Baro­que vio­lin and string per­for­mance histo­ry at the Esto­ni­an Aca­de­my of Music and Theat­re.

Annie Gard

Annie Gard

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Annie Gard dreamt of being a pro­fes­sio­nal musi­ci­an from at least the age of four, when she began atten­ding her brother’s con­certs at the Syd­ney Con­ser­va­to­ri­um of Music High School. When Annie took her own place at that school she found the ide­al envi­ron­ment in which to stri­ve for both tech­ni­cal excel­lence and genui­ne musi­cal­i­ty among like-min­ded peers. After achie­ving a Bache­lor of Music Per­for­mance with first class Hono­urs from the Syd­ney Con­ser­va­to­ri­um of Music, Annie knew that she had to explo­re broa­der hori­zons and audi­tio­ned for The Juil­li­ard School.

Two years later she found hers­elf stan­ding in the Lin­coln Cen­ter with a Mas­ters degree in one hand and a ticket to Euro­pe in the other. The sum­mer that fol­lo­wed found Annie per­forming in Leipzig’s Gewand­haus under the baton of Masaa­ki Suzu­ki, at Wil­liam Christie’s Dans les Jard­ins, in Pinch­gut Opera’s pro­duc­tion of Atha­lia, and Tea­t­ro Nuo­vo, a fes­ti­val in New York working to redis­co­ver clas­sic Ita­li­an ope­ra in line with cur­rent rese­arch in per­forming prac­ti­ce. His­to­ri­cal­ly infor­med per­for­mance beca­me a part of Annie’s life in her first year of uni­ver­si­ty when she fell in love with the rich tim­bres of gut strings and the musi­cal pos­si­bi­li­ties which sud­den­ly beca­me available.

Curr­ent­ly resi­ding in Ger­ma­ny and delight­ing in its rich musi­cal fabric, last year would have seen Annie tour Euro­pe and Ame­ri­ca with The Eng­lish Con­cert, record with Bos­ton Ear­ly Music Fes­ti­val, and once again return to Aus­tra­lia to join Pinch­gut Ope­ra, howe­ver COVID-19 has seen most of the­se won­derful musi­cal adven­tures eva­po­ra­te. Never one to be easi­ly stop­ped, in the­se times of silence, Annie has for­med no fewer than three new cham­ber ensem­bles – Gei­gen­con­sert Bre­men who­se aim is to bring ear­ly baro­que string music to life, Fal­se Con­so­nan­ce which explo­res the pos­si­bi­li­ty of baro­que music wit­hout a key­board instru­ment, and the Weck­mann Cons­ort which cele­bra­tes the rich tra­di­ti­on of organ music in Nor­t­hern Ger­ma­ny by per­forming cham­ber music with ori­gi­nal baro­que organs.

Most of all Annie loves the act of making music with peo­p­le and sha­ring tho­se sto­ries that, as Mendels­sohn wro­te, are “not too inde­fi­ni­te for words, but rather too defi­ni­te”.

Anna Stankiewicz

Anna Stan­kie­wicz

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Anna Stan­kie­wicz was born in Pol­and. The vio­li­nist, who now lives in Bre­men, began her musi­cal trai­ning at the age of 5 and per­for­med with the Kalis­zer Phil­har­mo­nic as a soloist during her youth. Seve­ral awards, inclu­ding a scho­lar­ship from Pre­si­dents of the Coun­cil of Minis­ters, fol­lo­wed. After com­ple­ting her master’s degree in vio­lin at the I. J. Pade­rew­ski Aca­de­my for Music in Poz­nań (Pol­and), she fur­the­red her stu­dies at the Hoch­schu­le für Küns­te Bre­men. In Bre­men Anna’s love for baro­que music was awa­ken­ed, which led her to focus on the baro­que vio­lin obtain a degree in ear­ly music.

Anna Stan­kie­wicz has alre­a­dy per­for­med with renow­ned musi­ci­ans such as Dmit­ry Sin­kovs­ky, Ryo Ter­a­ka­do, Doro­thee Ober­lin­ger, Vero­ni­ka Sku­plik and Alfre­do Ber­nar­di­ni and regu­lar­ly gives con­certs as a baro­que vio­li­nist in Ger­ma­ny, Bel­gi­um, Ita­ly and Pol­and.

Luis Miguel Pinzón Acosta

Luis Pin­zón

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During his stu­dies at the Natio­nal Uni­ver­si­ty of Colom­bia, Luis Miguel Pin­zón Acos­ta gai­ned pro­fes­sio­nal expe­ri­ence with the two lar­gest orchestras in Colom­bia, the Bogo­ta Phil­har­mo­nic Orches­tra and the Natio­nal Sym­pho­ny Orches­tra. The­re he took part not only as an artist, but also as a stu­dent and tea­cher in num­e­rous musi­cal pro­jects. After stu­dy­ing modern vio­lin, the young Colom­bi­an vio­li­nist came to Ger­ma­ny to learn inten­si­ve­ly the his­to­ri­cal per­for­mance prac­ti­ce. He recei­ved a bachelor’s and master’s degree in baro­que violin/early music.

As an artist, Pin­zón Acos­ta per­forms with various orchestras and ensem­bles, inclu­ding inter­na­tio­nal groups such as Oltre­mon­ta­no, Elb­i­po­lis, the Bre­men Baro­que Cons­ort, Weser Renais­sance, the Bre­mer Barock­or­ches­ter and Los Tem­pe­ra­ment­os. With the­se ensem­bles he has had the pri­vi­le­ge of par­ti­ci­pa­ting in various CD pro­duc­tions and per­forming with renow­ned artists, such as Ryo Ter­a­ka­do, Mido­ri Sei­ler, Sté­pha­nie Pau­let, Johan­nes Pram­soh­ler, Doro­thee Ober­lin­ger, Tho­mas Albert, Alfre­do Ber­nar­di­ni, Det­lef Bratsch­ke, Klaus Eich­horn, Man­fred Cor­des, Wim Becu, Vero­ni­ca Sku­plik, Mido­ri Sai­ler, Oli­via Cen­tu­rio­ni and Dmit­ry Sin­kovs­ky.

Con­cert tours have led Luis Pin­zón to dif­fe­rent fes­ti­vals all over Ger­ma­ny, Euro­pe and Ame­ri­ca. The ver­sa­ti­le musi­ci­an is curr­ent­ly working on his doc­to­ra­te of Fine Arts with a focus on musi­co­lo­gy at the Uni­ver­si­ty of Gua­na­jua­to (Mexi­co).

Alice Vaz

Ali­ce Vaz

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The vio­li­nist and vio­list Ali­ce Vaz grew up in Lis­bon, Por­tu­gal. She came to Ger­ma­ny in 2008 to stu­dy vio­lin and vio­la with Prof. Tho­mas Klug and Prof. Esther Van Stra­len at the Hoch­schu­le für Küns­te in Bre­men. Addi­tio­nal­ly, she stu­di­ed baro­que vio­lin with Vero­ni­ka Sku­plik and modern music with Prof. Bar­ba­ra Mau­rer at the Folk­wang Uni­ver­si­tät der Küns­te in Essen. Ali­ce Vaz expan­ded her know­ledge through various mas­ter clas­ses with Sté­pha­nie Pau­let, Mido­ri Sei­ler, Jane Rogers and Garth Knox, among others.

She was a mem­ber of the orches­tra of the Han­sea­tic City of Lübeck and the orches­tra of the Olden­burg Sta­te Thea­ter and has given con­certs in seve­ral Euro­pean count­ries. In the field of ear­ly music, she plays with well-known ensem­bles such as L’Arpeggiata, La Dol­cez­za, Hol­land Baro­que, the Bre­mer Barock­or­ches­ter, De Nieu­we Phil­har­mo­nie Utrecht, Weser Renais­sance and Oltre­mon­ta­no. She can be heard on mul­ti­ple radio and CD recor­dings, inclu­ding Radio Bre­men and the Arcan­tus label.

Eva Euwe

Eva Euwe

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Eva Euwe (Ams­ter­dam, 1988) works as a free­lan­ce dou­ble bas­sist and vio­lo­ne play­er. Spe­cia­li­zed in his­to­ri­cal­ly infor­med per­for­mance prac­ti­ce, she plays music on peri­od instru­ments from the Baro­que peri­od up to the late roman­tic era. After finis­hing her stu­dies in clas­si­cal dou­ble bass with Qui­ri­jn van Reg­te­ren Alte­na at the Utrecht Con­ser­va­to­ry, she stu­di­ed his­to­ri­cal bass with Mar­ga­ret Urquhart. She recei­ved her Master’s degree in his­to­ri­cal bass and vio­lo­ne in 2018. In the same year, she was sel­ec­ted for the Expe­ri­ence Sche­me of the Orches­tra of the Age of Enligh­ten­ment, which has resul­ted into regu­lar per­for­man­ces with this orches­tra. Other ear­ly music ensem­bles she per­forms with are the Nieu­we Phil­har­mo­nie Utrecht, Músi­ca Tem­pra­na, Orques­tra Bar­ro­ca Vigo 430, the Bre­mer Barock­or­ches­ter, and her own group La Favo­ri­ta. She has work­ed with many inspi­ring musi­ci­ans such as Sir Roger Nor­ring­ton, Phil­ip­pe Her­re­weg­he, Lau­rence Cum­mings, John Butt and Marin Als­op. Next to her gro­wing care­er as a his­to­ri­cal bas­sist, Eva also loves per­forming reper­toire from the 20th and 21st cen­tu­ry. She pre­mie­red the new music theat­re pie­ce “die Bes­se­ren Wäl­der” in Nurem­berg, Ger­ma­ny and tog­e­ther with vio­li­nist Kir­s­ti Apa­ja­la­thi, she per­forms modern reper­toire for vio­lin and dou­ble bass. One of the dou­ble bas­ses Eva plays is built by Har­ry Jan­sen and bor­ro­wed from the Dutch Musi­cal Instru­ments Foun­da­ti­on and she recei­ved grants from the Sticht­ing Eigen Muziek­in­stru­ment and the Adria­na Jaco­ba Fonds.

Juan Diaz

Juan Diaz

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The dou­ble bass play­er Juan Diaz is a ver­sa­ti­le orches­tra and cham­ber music play­er who covers various styl­es from ear­ly music to con­tem­po­ra­ry music on the appro­pria­te instru­men­ta­ti­on.

He was a sel­ec­ted mem­ber of the Euro­pean Uni­on Baro­que Orches­tra (EUBO) in the sea­son 2016/2017 and a fel­low of the Orches­tra of the Age of Enligh­ten­ment Aca­de­my in 2018, with whom he has also per­for­med sin­ce then.

Spe­cia­li­sing in vio­lo­ne and Vien­nese bass, he per­forms with ear­ly music orchestras and ensem­bles such as the Orches­tra of the 18th Cen­tu­ry (Orkest van de Acht­ti­en­de Eeuw), the Nieu­we Phil­har­mo­nie Utrecht, the Bre­mer Barock­or­ches­ter, La Real Cámara,the Bach Orches­tra of the Net­her­lands, the Odys­see Ensem­ble, the Col­le­gi­um Musi­cum Den Haag and the Flo­ri­le­gi­um Musi­cum sha­ring stage with musi­ci­ans like Lars Ulrik Mor­ten­sen, Mar­ga­ret Fault­less, Alfre­do Ber­nar­di­ni, Bojan Cicic, Alex­an­der Mel­ni­kov, Maria Keoha­ne, Maria Espa­da, Ken­neth Mont­go­me­ry, Emi­lio Moreno, Ryo Ter­a­ka­do, Pie­ter Wis­pel­way and Sunske Sato.

As a modern dou­ble bass play­er, Juan Diaz was prin­ci­pal dou­ble bass of the Spa­nish Natio­nal Youth Orches­tra (Joven Orques­ta Nacio­nal de Espa­ña, JON­DE) in 2009 and has per­for­med with orchestras as with the Het Gelders Orkest, the Folk­wang Kam­mer­or­ches­ter Essen, the Ovie­do Filar­monía and the Cast­le­ton Fes­ti­val Orches­tra, foun­ded by Lorin Mae­zel, with musi­ci­ans such as Fabio Lui­si, Rafa­el Paya­re, Ali­sa Wei­ler­stein, Nils Mön­ke­mey­er, Fried­rich Hai­der, Pablo Gon­zá­lez and Asier Polo.

In 2013 he was sel­ec­ted for the Lucer­ne Fes­ti­val Aca­de­my, whe­re he work­ed inten­si­ve­ly on con­tem­po­ra­ry music until 2017. Here he had the oppor­tu­ni­ty to work with its foun­der Pierre Bou­lez and other artists inclu­ding David Robert­son, Pablo Heras-Casa­do, the Ensem­ble Inter­con­teporain, Mat­thi­as Pint­scher, Isa­bel­le Faust and Wolf­gang Rihm. He also appeared as solo bass play­er at the con­tem­po­ra­ry music fes­ti­val Mani­Fes­te at the IRCAM of the Cent­re Pom­pi­dou in Paris with Peter Eöt­vös and was invi­ted as solo dou­ble bass of the Lucer­ne Fes­ti­val Alum­ni Ensem­ble with Patri­cia Kopatchinska­ja and the JACK Quar­tet in 2017.

Born in Ovie­do (North-Spain), Juan Diaz star­ted his stu­dies at the Con­ser­va­to­ry of his home­town and later gra­dua­ted from the Con­ser­va­to­rio Supe­ri­or de Músi­ca del País Vas­co Musi­kene (San Sebas­ti­an, Spain) with pro­fes­sor Niek de Groot, Wolf­gang Gütt­ler and Ber­nard Sal­les. This was fol­lo­wed by a Master’s stu­dy at the Folk­wang Uni­ver­si­ty of the Arts in Essen with pro­fes­sors Niek de Groot, Oli­vi­er Thiery and Matthew Mcdo­nald and in 2017 a Master’s degree spe­cia­li­sing in Ear­ly Music at the Con­ser­va­to­ri­um van Ams­ter­dam with Pro­fes­sor Mar­ga­ret Urquhart.

In addi­ti­on he has also recei­ved ins­truc­tion and inspi­ra­ti­on from musi­ci­ans such as Robert Fra­nen­berg, James Oesi, Alex­an­der Mich­no, Sigis­wald Kui­jken, Die­go Zecha­ries, Nico­las Crosse and Joshua Cheat­ham.

Juan Diaz is curr­ent­ly based in Bre­men, Ger­ma­ny.

Felipe Maximiliano Egaña Labrín

Feli­pe Ega­ña

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Feli­pe Maxi­mi­lia­no Ega­ña Lab­rín was born in Sant­ia­go de Chi­le. He stu­di­ed art, music and flu­te at the Uni­ver­si­dad de Chi­le and trans­ver­se flu­te with Wil­bert Hazel­zet at the Kon­in­kli­jk Con­ser­va­to­ri­um in The Hague. The Chi­lean flau­tist con­tin­ued his trai­ning with a master’s degree and con­cert exam with Mar­ten Root at the Hoch­schu­le für Küns­te in Bre­men.

Feli­pe Ega­ña has given con­certs with num­e­rous ear­ly music ensem­bles and baro­que orchestras, such as the Bach Choir and Orches­tra of the Net­her­lands, Le con­cert d’Apollon, Nue­vo Mun­do, La dol­cez­za, The Net­her­lands Bach Socie­ty, and Los Tem­pe­ra­ment­os. He is also an acti­ve mem­ber of various cham­ber music ensem­bles such as Les points car­dinaux and the Can­crizans duo.

He has per­for­med cham­ber music and orches­tral con­certs in Chi­le and Mexi­co with the baro­que orches­tra Nue­vo Mun­do. Enga­ge­ments, such as the Aca­dé­mie Baro­que Euro­pé­en­ne d’Ambronay under the direc­tion of Sigis­wald Kui­jken, have taken the trans­ver­se flu­tist to many Euro­pean count­ries. Feli­pe Ega­ña has per­for­med at inter­na­tio­nal fes­ti­vals and con­cert series throug­hout Ger­ma­ny, Bel­gi­um, the Net­her­lands, France, Ita­ly, Mexi­co and Chi­le, among others.

Isabelle Raphaelis

Isa­bel­le Rapha­e­lis

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Isa­bel­le Rapha­e­lis is a flau­tist who is com­mit­ted to both his­to­ri­cal per­for­mance prac­ti­ce and the search for an expe­ri­men­tal sound lan­guage in the con­text of cur­rent, inter­di­sci­pli­na­ry and per­forming art forms. She is a flu­tist and foun­ding mem­ber of the con­tem­po­ra­ry Ensem­ble New Baby­lon, part of the Unbro­ken Cons­ort, the Bre­mer Barock­or­ches­ter and the ensem­ble reflek­tor. She is also a guest at “Crossing­Li­nes” Bar­ce­lo­na and the “Deut­sche Kam­mer­phil­har­mo­nie Bre­men”.

Isa­bel­le com­ple­ted her stu­dies with Bet­ti­na Wild at the Hoch­schu­le für Küns­te Bre­men. She recei­ved addi­tio­nal inspi­ra­ti­on from mas­ter clas­ses and cham­ber music clas­ses with Prof. Wal­ly Hase, Prof. Micha­el Mar­tin Kof­ler and Rober­to Fabbri­cia­ni, among others. In order to expo­se hers­elf to an even wider spec­trum, she is curr­ent­ly stu­dy­ing his­to­ri­cal trans­ver­se flu­tes with Prof. Mar­ten Root at the HfK Bre­men and has atten­ded cour­ses with Prof. Marc Han­taï, Anne Smith and Kate Clark. She has been a scho­lar­ship hol­der of the Ger­man Natio­nal Aca­de­mic Foun­da­ti­on sin­ce March 2019.

Hugo Miguel de Rodas Sanchez

Hugo de Rodas

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Lute­nist and gui­ta­rist Hugo Miguel de Rodas San­chez was born in Mexi­co City, whe­re he ori­gi­nal­ly stu­di­ed clas­si­cal gui­tar at the Uni­ver­si­dad Nacio­nal Autó­no­ma de Mexi­co. In 2004 he won the Rosa Misti­ca, a gui­tar com­pe­ti­ti­on in Curi­ti­va, Bra­zil, befo­re he began focu­sing on his­to­ri­cal lute instru­ments and ear­ly music per­forming prac­ti­ces. He atten­ded num­e­rous mas­ter clas­ses and was invi­ted by the Frei­burg Baro­que Orches­tra to enhan­ce his stu­dies in Euro­pe. He then stu­di­ed lute instru­ments and baro­que gui­tar with Lee San­ta­na and Joa­chim Held at the Hoch­schu­le für Küns­te in Bre­men.

He has per­for­med under well-known con­duc­tors, such as Gabri­el Gar­ri­do, throug­hout many count­ries in Euro­pe, Cen­tral and South Ame­ri­ca with various ensem­bles and orchestras, inclu­ding the Deut­sche Kam­mer­phil­har­mo­nie Bre­men, Kna­ben­chor Han­no­ver, Bre­mer Barock­or­ches­ter and Orkie­s­tra Histo­rycz­na.

He regu­lar­ly gives mas­ter clas­ses in Mexi­co. In 2020 he pre­sen­ted his first edi­ti­on recon­s­truc­tion of a Mexi­can manu­script of Fol­lia by Arc­an­ge­lo Corel­li for gui­tar with Tree Edi­ti­on.

Nadine Remmert

Nadi­ne Rem­mert

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Harp­s­ichor­dist and orga­nist Nadi­ne Rem­mert initi­al­ly stu­di­ed church music at the Hoch­schu­le für Musik und Thea­ter in Ham­burg. She then gra­dua­ted from the Hoch­schu­le für Küns­te in Bre­men with degrees in harp­s­ichord and con­ti­nuo play­ing, under the ins­truc­tion of Prof. Cars­ten Lohff and Lud­ger Rémy. She con­tin­ued her stu­dies in ear­ly music with Prof. Pie­ter van Dijk at the Con­ser­va­to­ri­um van Ams­ter­dam and in num­e­rous mas­ter clas­ses with spe­cia­lists, such as Wolf­gang Zerer, Edo­ar­do Belot­ti, Men­no van Delft, Skip Sem­pé and Fré­dé­ric Haas.

The young musi­ci­an regu­lar­ly per­forms as a soloist, as well as with various orchestras and ensem­bles nati­on­wi­de. She has had the pri­vi­le­ge of play­ing with renow­ned ensem­bles, such as the Ensem­ble Weser-Renais­sance and Ely­ma, and is a per­ma­nent mem­ber of the Bre­mer Barock­or­ches­ter and the ensem­ble Los Tem­pe­ra­ment­os. She has par­ti­ci­pa­ted in seve­ral CD and radio recor­dings for Radio Bre­men, with the labels CPO and Arcan­tus.

In addi­ti­on to her per­for­mance sche­du­le, Rem­mert has coa­ched mul­ti­ple inter­na­tio­nal pro­duc­tions, mas­ter clas­ses and audi­tions – inclu­ding sum­mer cour­ses at the Mozar­te­um Salz­burg and the Bal­tha­sar-Neu­mann Choir. Sin­ce 2014, Nadi­ne Rem­mert has been a lec­tu­rer of harp­s­ichord, con­ti­nuo play­ing and cham­ber music at the Ham­burg Uni­ver­si­ty of Music and Thea­ter.


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