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.


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.


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.


Kat­ja Suglo­bi­na

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Kat­ja Suglo­bi­na was born in 1991 in Kyiv, Ukrai­ne. She recei­ved her first vio­lin and pia­no les­sons at the age of 4 at the Kiev Children’s Aca­de­my of Arts and later, stu­di­ed vio­lin at the Natio­nal Music Aca­de­my of Ukrai­ne (vio­lin class of Taras Yar­opud).
Kat­ja con­tin­ued her sudies at the Colo­gne Uni­ver­si­ty of Music and Dance in Ger­ma­ny (clas­ses of Prof. Ari­ad­ne Das­ka­la­kis and Prof. Richard Gwilt). In 2015 she took part in the Inter­na­tio­nal Bach Aca­de­my in Stutt­gart, Ger­ma­ny. During her stu­dies, Kat­ja foun­ded “Colo­gne Baro­que Ensem­ble” and released with them a CD titled “Chia­connas and Pas­sa­ca­gli­as”. In 2019 she took part in “Baroc­co III”-Project with Bal­tha­sar-Neu­mann Aca­de­my led by Enri­co Ono­fri, and in 2021 she par­ti­ci­pa­ted in Ver­saille Aca­de­my in Pra­gue, Czech Repu­blic.

Sin­ce 2023 Kat­ja is stu­dy­ing Baro­que Vio­lin with Mido­ri Sei­ler at the Folk­wang Uni­ver­si­ty of the Arts in Essen, Ger­ma­ny. That year, Kat­ja play­ed a baro­que con­cert with “SuBer­Tu” Trio at The Natio­nal Phil­har­mo­nic in Kyiv, Ukrai­ne and took part in “Augen-Bilder“-Project done in col­la­bo­ra­ti­on with ZAMUS:unlimited in Wall­raf-Rich­artz-Muse­um in Colo­gne, Ger­ma­ny.
Kat­ja com­ple­ted the mas­ter clas­ses with famous pro­fes­sors Ves­se­lin Parash­kevov, Ida Bie­ler, Vik­tor Tre­t­ya­kov, Ber­nard Forck, Enri­co Ono­fri, Ste­fan Mai and others. She par­ti­ci­pa­ted in num­e­rous inter­na­tio­nal fes­ti­vals, such as Duchi d’Acquaviva (Atri, Ita­ly) and Fes­ti­val inter­na­tio­nal et grand prix de pein­ture de La Fer­te Ber­nard, 5éme edi­ti­on (La Fer­te Ber­nard, France). She has also play­ed as a soloist with seve­ral orchestras in Ukrai­ne, such as Natio­nal Sym­pho­ny Orches­tra of Ukrai­ne, orchestras of Cher­ni­hiv, Yal­ta and Zapo­rizhz­hya Phil­har­mo­nics, Cham­ber Orches­tra “Kiev Kame­ra­ta”.

In 2024, Kat­ja recor­ded a CD titled “All-in-One” with the music ensem­ble “The Cham­bers” that often per­forms throug­hout Ger­ma­ny, Switz­er­land and France. Same year, she took part in the recor­ding of Bruck­ner 4th Sym­pho­ny with Con­cer­to Köln under Maes­tro Kent Naga­no.


Valen­tín Sán­chez Piñe­ro

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Valen­tín Sán­chez Piñe­ro began lear­ning the vio­lin at the age of 5 with his par­ents, both vio­lin pro­fes­sors. He is the win­ner of the “The North Inter­na­tio­nal Vio­lin Com­pe­ti­ti­on”, Swe­den. As an orches­tral musi­ci­an, Valen­tín has per­for­med with renow­ned con­duc­tors inclu­ding Valery Ger­giev, Phil­ip­pe Her­re­weg­he, Joan­na Mall­witz, Sir Mark Elder, Edward Gard­ner, Alon­dra de la Par­ra, Lütz Köh­ler and Marc Sous­t­rot, and with orchestras inclu­ding the Mari­in­sky Orches­tra in Rus­sia (lea­der of second vio­lins), the Sta­te Theat­re Nurem­berg, Neu­bran­den­burg Phil­har­mo­nic, Süd­west­deut­sche Phil­har­mo­nie Kon­stanz (lea­der of second vio­lins) and Real Orques­ta Sin­fó­ni­ca de Sevil­la, Spain. He has per­for­med in con­cert halls such as the Mari­in­sky Theat­re in St. Peters­burg, the Elb­phil­har­mo­nie Ham­burg, the Ber­li­ner Phil­har­mo­nie, the Kon­zert­haus Ber­lin, the Leip­zig Gewand­haus, the Luxem­burg Phil­har­mo­nie, the Köl­ner Phil­har­mo­nie and Frank­furt HR Sen­de­saal. With a keen inte­rest in baro­que music, Valen­tín has been a mem­ber of the Seville Baro­que Orches­tra sin­ce 2021 and he has play­ed with musi­ci­ans and ensem­bles such as the Bre­mer Barock­or­ches­ter, with which he has play­ed pro­jects with musi­ci­ans such as Alexis Car­denas, Ryo Ter­a­ka­do and Gio­van­ni Sol­li­ma, the Aca­de­my of Anci­ent Music, La Sere­nis­si­ma, Col­le­gi­um Voca­le Gent, The Hano­ver Band, Hiro Kur­o­sa­ki, Shunske Sato, Ceci­lia Ber­nar­di­ni, Vic­tor Juli­en-Laf­er­riè­re, and Doro­thee Ober­lin­ger. Valen­tín has play­ed in fes­ti­vals such as BBC Proms (United King­dom), Vil­la Music Rhein­land-Pfalz (Ger­ma­ny), Moritz­burg Fes­ti­val (Ger­ma­ny), Gra­fen­egg Fes­ti­val (Aus­tria), Davos Fes­ti­val (Switz­er­land) or Mendels­sohn on Mull (Scot­land). He counts among his musi­cal influen­ces Hel­mut Lachen­mann, Dani­el Gae­de, Hart­mut Roh­de, Robin Wil­son, Lena Neu­dau­er, Krzy­sz­tof Weg­rzyn, Hei­me Mül­ler, Dani­el Phil­lips, Eckard Run­ge, Suye­on Kang, Albert Breu­nin­ger, Dani­el Dodds, Simo­ne Ber­nar­di­ni and Rober­to Gon­zá­lez Mon­jas. He has a master’s degree from the Roy­al Aca­de­my of Music in Lon­don, stu­dy­ing with Alex­an­der Reding­ton and Pav­lo Bez­no­si­uk, having pre­vious­ly stu­di­ed with pro­fes­sors Key­ko Wata­ya (Uni­ver­si­ty of Music of the Bas­que Coun­try, Spain), Reto Kup­pel (Nurem­berg Uni­ver­si­ty of Music, Ger­ma­ny), Nata­lia Pris­he­pen­ko (Dres­den Uni­ver­si­ty of Music, Ger­ma­ny), Axel Wilck­oz and Micha­el Baren­bo­im (Aca­de­my for Orches­tral Stu­dies Baren­bo­im-Said).


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.


Mari­na Kaku­no

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Vio­li­nist Mari­na Kaku­no, born in Japan, began taking vio­lin les­sons at the age of five and was accept­ed into a pre­pa­ra­to­ry pro­gram at the Uni­ver­si­ty of Music and Per­forming Arts Vien­na at the age of nine. She then com­ple­ted her diplo­ma and master’s degree in modern vio­lin at the Nurem­berg Uni­ver­si­ty of Music under Dani­el Gae­de, whe­re she also work­ed as a tea­ching assistant.
Kaku­no then suc­cessful­ly com­ple­ted a master’s degree in baro­que vio­lin under Vero­ni­ka Sku­plik at the Bre­men Uni­ver­si­ty of the Arts. The young vio­li­nist was also award­ed a scho­lar­ship from the DAAD (Ger­man Aca­de­mic Exch­an­ge Ser­vice). She con­tin­ued to inten­si­fy her stu­dies of his­to­ri­cal per­for­mance prac­ti­ce on the vio­lin under Ryo Ter­a­ka­do and Enri­co Gat­ti.
Mari­na Kaku­no lives in Ger­ma­ny and per­forms as a baro­que vio­li­nist in con­certs and CD recor­dings with inter­na­tio­nal his­to­ri­cal per­for­mance ensem­bles, inclu­ding Bach Col­le­gi­um Japan, Bre­mer Barock­or­ches­ter, Ensem­ble Weser­re­nais­sance, Gächin­ger Can­torey, Los Tem­pe­ra­ment­os, and Ensem­ble La Dol­cez­za.

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).


Tomasz Plusa

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From 1997 to 2002, Tomasz Plusa stu­di­ed at the Graży­na and Kie­j­stut Bace­wicz Aca­de­my of Music in Łódź, Pol­and, majo­ring in vio­lin. His artis­tic stu­dies included ear­ly music, the clas­si­cal roman­tic reper-toire and con­tem­po­ra­ry music. His main are­as of stu­dy included orches­tra, cham­ber music, orches­tral stu­dies, theo­ry, ear trai­ning and musi­co­lo­gy. With his Music Aca­de­my degree, he obtai­ned the qua­li­fi­ca-tions as a con­cert artist and tea­cher.
In 2002, he obtai­ned his artis­tic diplo­ma in Pol­and. From 2003 to 2007, he com­ple­ted a bachelor’s degree at the Roy­al Con­ser­va­to­ry in The Hague, Net­her­lands, with spe­cial trai­ning in baro­que music, orches­tral and cham­ber music. He has recei­ved various scho­lar­ships, inclu­ding the Schu­ur­man Schim­mel – van Ou-teren Sticht­ing (2006/2007) and the Sticht­ing DOR­RIE STOOP-FONDS (2004) in the Net­her­lands.
Tomasz recei­ved vio­lin les­sons from Ryo Ter­a­ka­do, Eli­sa­beth Wall­fisch, Enri­co Gat­ti and Pav­lo Bez­no-siuk. In 2007 he gra­dua­ted with the Sta­te Artis­tic Diplo­ma.
From 2013 to 2015 he com­ple­ted a master’s degree at the Con­ser­va­to­ry in Utrecht, the Net­her­lands, with the baro­que vio­lin and vio­la tea­cher Antoi­net­te Loh­mann. The trai­ning included num­e­rous work­shops, from jazz and dance music to clas­si­cal and baro­que music, as well as pro­grams for soloists, orches­tral and cham­ber music and the trai­ning of instru­men­tal and school music tea­chers. In 2015 he obtai­ned the Sta­te Artis­tic Diplo­ma. He has par­ti­ci­pa­ted in num­e­rous mas­ter clas­ses, in Cam­bridge with Judy Tar­ling, at Dar-ting­ton Hall under Michae­la Cam­ber­ti, in Trond­heim under Lucy van Dael, in War­saw under Simon Stan­da­ge and in Bel­gi­um under Sigis­wald Kui­jken.
Tomasz Plusa made num­e­rous appearan­ces at baro­que music con­certs and fes­ti­vals in the Net­her­lands, Ger­ma­ny, Spain, France, Eng­land, Croa­tia, Por­tu­gal, Ita­ly, the Czech Repu­blic and Switz­er­land, both as a soloist and in ensem­ble and orches­tra. High­lights include appearan­ces at the Zagreb Ear­ly Music Fes­ti­val, the Sant­ia­go de Com­postel­la Fes­ti­val, the Péri­g­ord Noir Fes­ti­val in France, the Copen­ha­gen Ear­ly Music Fes­ti­val and many more.
His first solo album with sona­tas by Johann Georg Pisen­del was released by Bril­li­ant Clas­sics.


Saa­ya Ikenoya

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Saa­ya Ikenoya was born in Sai­ta­ma (Japan) and grew up in Spain. She began stu­dy­ing the vio­lin at the age of three and stu­di­ed ele­men­ta­ry and inter­me­dia­te at the Ama­ni­el Pro­fes­sio­nal Con­ser­va­to­ry of Music with Pro­fes­sor Álva­ro Puy­ou, whe­re she was award­ed the Ama­ni­el Pri­ze seve­ral times in the cham­ber music and vio­lin cate­go­ries. She con­tin­ued her music stu­dies at the Con­ser­va­to­ry of the Bas­que Coun­try Musi­kene with Cata­lin Buca­ta­ru. She then moved to Lon­don to com­ple­te a Mas­ters in Vio­lin at the Roy­al Col­lege of Music in Lon­don under the gui­dance of the renow­ned vio­li­nist and pedago­gue Det­lef Hahn.

In addi­ti­on, her inte­rest in the his­to­ri­cist inter­pre­ta­ti­on of baro­que music has led her to work with musi­ci­ans such as Lucy Rus­sell, Rachel Brown, Lisa Bez­no­si­uk and Pedro Gan­día, and final­ly she com­ple­ted a baro­que vio­lin degree at the ESMUC under Man­fre­do Krae­mer.

Saa­ya has atten­ded mas­ter clas­ses with renow­ned tea­chers such as Olga Vil­ko­mir­s­ka­ia, Pao­lo Fran­ce­schi­ni, Wil­bert Aerts, Shir­ly Laub, Ulf Hoel­scher, Ando­ni Mer­ce­ro, Vera Mar­tí­nez-Meh­ner, Abel Tomas Realp, Char­lot­te Scott and Ali­na Ibrag­i­mo­va.

She has per­for­med with cham­ber music ensem­bles and orchestras in the most important venues in Spain, France and the United King­dom: Natio­nal Audi­to­ri­um of Madrid, Audi­to­ri­um of Zara­go­za, Eus­kalduna of Bil­bao, Kur­saal of San Sebas­tián, Thé­ât­re du Châ­telet in Paris, Roy­al Fes­ti­val Hall, King’s Place, Natio­nal Gal­lery and St. Mary’s Peri­va­le in Lon­don. From 2007 to 2009 she was a regu­lar mem­ber of the Youth Orches­tra of the Com­mu­ni­ty of Madrid and in 2013 of the Natio­nal Youth Orches­tra of Spain. She works with the Orches­tra and Choir of the Com­mu­ni­ty of Madrid, the Eus­ka­di Sym­pho­ny Orches­tra and is a mem­ber of the up-and-coming Street Orches­tra of Lon­don. He has also work­ed with cham­ber music groups such as the Sac­co­ni Quar­tet and the Cik­lus Ensem­ble. She regu­lar­ly per­forms with pia­nist Nikos Stav­las.
As a soloist, Saa­ya play­ed “Autumn” from Vivaldi’s “The Four Sea­sons” with the Ama­ni­el String Orches­tra in 2011 and “Intro­duc­tion” and “Ron­do Capricho­so” by Saint-Saëns with the youth orches­tra “Gre­go­rio Sola­bar­rie­ta” in 2015. Sin­ce 2022, Saa­ya has also been a regu­lar ensem­ble mem­ber of the Bre­men Baro­que Orches­tra.


Joa­quín Reyes Bór­quez

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The vio­list Joa­quín Reyes Bór­quez was born in Puer­to Varas, Chi­le. He first stu­di­ed vio­lin at the Uni­ver­si­dad Aus­tral de Chi­le in Val­di­via and later vio­la at the Pon­ti­fi­cia Uni­ver­si­dad Cató­li­ca de Chi­le in Sant­ia­go. In 2013, he moved to Stutt­gart, Ger­ma­ny,
whe­re he con­tin­ued his stu­dies at the Hoch­schu­le für Musik und Dar­stel­len­de Kunst until 2018. In 2024, he finis­hed his stu­dies in His­to­ri­cal Per­for­mance Prac­ti­ce at the Hoch­schu­le für Musik und Dar­stel­len­de Kunst Frank­furt, whe­re he stu­di­ed with Rebec­ca Rai­mon­di, Wer­ner Sal­ler, and Petra Mül­le­jans. Over the years, Joa­quín has col­la­bo­ra­ted with ensem­bles such as the Bre­mer Barock­or­ches­ter, Frei­bur­ger Barock­or­ches­ter, La Sta­gio­ne Frank­furt, Main Barock­or­ches­ter, Gae­chin­ger Can­torey, Köl­ner Aka­de­mie, Ensem­ble Reflek­tor, Kam­mer­en­sem­ble Kon­so­nanz and the Würt­tem­ber­gi­sches Kam­mer­or­ches­ter Heil­bronn among others. Addi­tio­nal­ly, he is a foun­ding mem­ber of Baro­que­LAB Frank­furt and the Orques­tra del Mira­cle.


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.


Azzur­ra Rane­ri

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Azzur­ra began her cel­lo stu­dies with Vadim Pav­lov (prin­ci­pal cel­list at the Tea­t­ro Vin­cen­zo Bel­li­ni in Cata­nia). In 2008 she con­tin­ued her stu­dies at the Con­ser­va­to­rio “V. Bel­li­ni” in the class of Mau­ri­zio Sal­emi and atten­ded mas­ter clas­ses with Gio­van­ni Gnoc­chi (pro­fes­sor at the Mozar­te­um in Salz­burg), Umber­to Cle­ri­ci (Sid­ney Sym­pho­ny Orches­tra), Mas­si­mo Poli­do­ri (prin­ci­pal cel­list at the Tea­t­ro alla Sca­la in Milan). She has also par­ti­ci­pa­ted in num­e­rous fes­ti­vals such as the “Fran­ci­ge­na Fes­ti­val”, the “Por­to­gru­aro Music Fes­ti­val”, the “Fes­ti­val Oude Musik” in Utrecht, and the “Auro­ra Music Fes­ti­val” in Stock­holm.
In 2013 she began her stu­dies in Timo­ra Rosler’s class at the HKU Utrecht Con­ser­va­to­ry (Net­her­lands). Of her gre­at inte­rest in baro­que reper­toire, in 2015 she star­ted stu­dy­ing baro­que cel­lo with Prof. Vio­la de Hoog. This was com­ple­men­ted by cham­ber music les­sons and mas­ter clas­ses with gre­ats such as Nata­lia Gut­mann, David Geringas,Rita Wag­ner, Aran Tala­yan, Sieg­mund von Hausseger,Gerhard Darm­stadt, Han Tol, Vero­ni­ka Skuplik,Olga Pascht­schen­ko, Mecht­hild Kra­kow, Mar­ten Root, Bru­no Coc­set and Tho­mas Klug.
She has also per­for­med in num­e­rous con­certs in Ita­ly, Ger­ma­ny, and the Net­her­lands with Ham­bur­ger Sym­pho­ni­ker and fre­quent­ly been invi­ted to per­form with Bre­mer Barock­or­ches­ter under the direc­tion of Fran­çois Fer­nan­dez, Ryo Ter­a­ka­do, Sté­pha­nie Pau­let, and Mido­ri Sei­ler.
In Febru­ary 2020 she com­ple­ted her master’s degree with distinc­tion at the Hoch­schu­le für Kunst in Bre­men with Prof. Alex­an­der Bail­lie and in Febru­ary 2024 com­ple­ted her master’s degree in Baro­que Cel­lo with Prof. Vio­la de Hoog and Olaf Rei­mers at the Hoch­schu­le für Küns­te Bre­men.
In August 2022 she was in the finals at the “Bia­gio Mari­ni Com­pe­ti­ti­on” with the cham­ber music group “Le Sablier”. In Octo­ber 2022 she was part of the Van­nes Ear­ly Music Fes­ti­val in France and in Novem­ber 2022 of the Bach Aca­de­my 2022 in Leip­zig. She has been sel­ec­ted to play at the Ber­li­oz Fes­ti­val in La Côte-Saint-André in France in August 2023 with the Jeu­ne Orchest­re Rameau and Enri­co Gat­ti as con­cert­mas­ter.
In the sea­son 2024/25 she will be also part of the OAE sche­me with the Age of Enligh­ten­ment Orches­tra.


Yuval Atlas

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Yuval Atlas grew up in Tel Aviv (Isra­el), whe­re he first stu­di­ed recor­der and then dou­ble bass with Nir Com­for­ty. He stu­di­ed with Hein­rich Braun in Munich and with Alex­an­dra Scott and Alex­an­dra Hengs­te­beck in Karls­ru­he. Yuval Atlas atten­ded mas­ter clas­ses with: Dorin Marc, Nabil She­hata, Matthew McDo­nald, Jan­ne Sak­sa­la, Gün­ter Klaus, Bogus­ław Fur­tok and Dun­can McTier. In addi­ti­on to stu­dy­ing the modern bass, Yuval has also been stu­dy­ing baro­que music and his­to­ri­cal per­for­mance prac­ti­ce with Jona­than Cable (in Lyon) sin­ce 2009. Other mas­ter clas­ses and les­sons in this area: Mag­gie Urquhart, Joseph Car­ver, Axel Bouch­aux, Dane Roberts, David Sin­clair, Love Pers­son, Xavier Puer­tas and Age­et Zwei­stra (baro­que cel­list). As a soloist, Yuval has play­ed solo with orchestras in Isra­el, Ger­ma­ny, Chi­na and Bra­zil. Orchestra/ensemble expe­ri­ence includes: Isra­el Phil­har­mo­nic Orches­tra, Jeru­sa­lem Sym­pho­ny Orches­tra, Jeru­sa­lem Baro­que Orches­tra, Bava­ri­an Radio Sym­pho­ny Orches­tra, Bochum Sym­pho­ny Orches­tra, Pots­dam Cham­ber Aca­de­my, Jeu­ne Orchest­re Atlan­tique, Ambro­nay Baro­que Aca­de­my, West Eas­tern Divan Orches­tra, Colo­gne Aca­de­my, Bre­men Baro­que Orches­tra, Los Tem­pe­ra­ment­os, Con­cer­to Fos­ca­ri, Bal­tha­sar Neu­mann Ensem­ble, Har­mo­nie Uni­ver­sel­le, Orches­tra of the Klang­ver­wal­tung, Hof­ka­pel­le Stutt­gart and Stutt­gart Baro­que Orches­tra – under con­duc­tors such as Zubin Meh­ta, Dani­el Baren­bo­im, Lou­is Lang­rée, Phil­ip­pe Her­re­weg­he, Jos van Immer­seel, Leo­nar­do Gar­cia Alar­con, Pablo Heras-Casa­do, Dun­can Ward, Tho­mas Hen­gel­b­rock, Frie­der Ber­ni­us, Kon­rad Jung­hä­nel, Dani­el Har­ding and Paul Agnew. Yuval has work­ed on tem­po­ra­ry con­tracts in Ger­man orchestras such as the Wies­ba­den Thea­ter, the Mainz Phil­har­mo­nic, the Bie­le­feld Phil­har­mo­nic and the Göt­tin­gen Sym­pho­ny Orches­tra (as a soloist). Yuval was an aca­de­mic in the orches­tra Les Musi­ci­ens du Lou­vre in Paris. He has given mas­ter clas­ses at the Xi’an Con­ser­va­to­ry (Chi­na), the Buch­mann Meh­ta School of Music (Tel Aviv, Isra­el), The Ear­ly Music Work­shop (Jeru­sa­lem, Isra­el), in Gua­te­ma­la City in three dif­fe­rent music schools and in Bra­zil in Rio de Janei­ro and São Pau­lo.

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.


Olga Maru­lan­da

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Olga Maru­lan­da is a Colom­bi­an obo­ist and impro­vi­ser. Her work is main­ly dedi­ca­ted to his-tori­cal per­for­mance with peri­od instru­ments, from baro­que to roman­ti­cism, and to instru­men-tal and sound expe­ri­men­ta­ti­on. Maru­lan­da has work­ed with orchestras such as Bre­mer Barock­or­ches­ter, Aka­de­mie für Alte Musik Ber­lin, La Scin­til­la at Zürich Ope­ra, Les Tal­ens Lyri­ques, Il Giar­di­no Armo­ni­co, Il Pomo d’Oro, among others, with whom she has per­for­med throug­hout Euro­pe, Rus­sia and Latin Ame­ri­ca. She has been part of record pro­duc­tions for major labels such as Deut­sche Gram­mo­phon, Dec­ca, Accent, Pan Clas­sics, among others. As an impro­vi­ser, she works with dif­fe­rent musi­cal coll­ec­ti­ves, inter­di­sci­pli­na­ry pro­jects, con-cepts and inno­va­ti­on pro­jects through music and art. She is part of the expe­ri­men­tal music or-ches­tra “Unor­tho­dox Juke­box Orches­tra” and “Insub Meta Orches­tra”, based in Basel and Gen­e­va. She was foun­der and artis­tic direc­tor of the Natio­nal Oboe Aca­de­my Foun­da­ti­on, an edu­ca­tio­nal pro­ject for Colom­bi­an obo­ists. She holds a bache­lor and mas­ter degree in his­to­ri-cal oboes from the Scho­la Can­torum Basi­li­en­sis, Basel, Switz­er­land, a mas­ter degree in mod-ern oboe and impro­vi­sa­ti­on from the Musik-Aka­de­mie der Stadt Basel, Switz­er­land, and a post­gra­dua­te diplo­ma in his­to­ri­cal oboes from the Mozar­te­um Uni­ver­si­ty of Salz­burg, Aus­tria.


Ser­gio San­chez

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Vene­zue­lan artist Ser­gio San­chez was appoin­ted the pro­fes­sor for oboe at the Con­ser­va­to­ry of Lübeck (Ger­ma­ny) in 2023. He star­ted his care­er in Ger­ma­ny as prin­ci­pal obo­ist at the Braun­schweig Sta­te Thea­ter, and beca­me prin­ci­pal obo­ist of the Augs­burg Phil­har­mo­nic in 2019. At the same time, he stu­di­ed baro­que oboe with Alfre­dro Ber­nar­di­ni at the Mozar­te­um Uni­ver­si­ty in Salz­burg, whe­re he com­ple­ted his stu­dies in 2022. As a soloist, he has play­ed with renow­ned orchestras, inclu­ding the Munich Cham­ber Orches­tra and the Augs­burg Phil­har­mo­nic, as a guest prin­ci­pal obo­ist he has per­for­med with such orchestras as NDR Radio­phil­har­mo­nie Han­no­ver, Bam­ber­ger Sym­pho­ni­ker, Radio France Phil­har­mo­ni­que, Deut­sches Sym­pho­nie-Orches­ter Ber­lin and Staats­oper Han­no­ver. He has taken part in various inter­na­tio­nal com­pe­ti­ti­ons and is a lau­rea­te of the ARD Music Com­pe­ti­ti­on, the inter­na­tio­nal Dou­ble Reed Socie­ty Gil­let-Fox oboe com­pe­ti­ti­on, the Chi­e­ri Inter­na­tio­nal Com­pe­ti­ti­on and the Bar­bi­rol­li Inter­na­tio­nal Oboe Fes­ti­val and Com­pe­ti­ti­on.
As part of the Vene­zue­lan cul­tu­ral pro­ject “El Sis­te­ma”, Ser­gio Sán­chez recei­ved his first oboe les­sons at the age of ele­ven and gai­ned his first orches­tral expe­ri­ence in the Cara­cas Children’s Orches­tra. As a foun­ding mem­ber and prin­ci­pal obo­ist of the Tere­sa Car­re­ño Youth Orches­tra, he work­ed under the direc­tion of Uly­ses Asca­neo, Gustavo Duda­mel and Clau­dio Abba­do. Inter­na­tio­nal tours have taken him to num­e­rous con­cert halls in Euro­pe, Asia and the USA with the Simón Bolí­var Sym­pho­ny Orches­tra. As a Vene­zue­lan, it is a mat­ter clo­se to Ser­gio Sánchez’s heart to make the music of his home­land bet­ter known. He recent­ly took part in the CD pro­duc­tions of the cham­ber ensem­ble “Bar­ro­que­a­nas Vene­zo­l­a­nas”.


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.


Fer­nan­do Oli­vas

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Born in Mexi­co in 1991, Fer­nan­do Oli­vas first lear­ned to play the elec­tric gui­tar at the age of 11. He later stu­di­ed clas­si­cal music with a major in gui­tar at the Uni­ver­si­dad Michoa­ca­na de San Nico­las de Hidal­go. He moved to Ger­ma­ny to spe­cia­li­ze in his­to­ri­cal plu­cked instru­ments (the­or­bo, baro­que gui­tar, baro­que lute, Renais­sance lute, etc.). He stu­di­ed ear­ly music with Joa­chim Held at the Bre­men Uni­ver­si­ty of the Arts.

Cha­rac­te­ri­zed by his ener­ge­tic and pas­sio­na­te stage pre­sence, the young musi­ci­an is alre­a­dy in demand for con­certs and CD pro­duc­tions all over Euro­pe. His musi­cal acti­vi­ties have taken him to Ita­ly, Bel­gi­um, Hol­land, France, Eng­land, the Czech Repu­blic, Lithua­nia, Aus­tria, Scot­land, Den­mark and other count­ries.


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.


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