These are the musicians performing in concerts in 2018
Matthew Brook trained at the Royal College of Music, London. A specialist in Bach, he has sung the Passions and Cantatas from Seoul and Tokyo to the Amsterdam Concertgebouw and St Thomas’s Leipzig with – among others – the English Baroque Soloists, the Orchestra of the Age of Enlightenment, and the Nederlandse Bachvereniging. Happy on the operatic stage, he has sung at the Royal Opera House (Covent Garden), Teatro Madrid, Pisa Opera House, and the Opéra Comique, Paris. Among his many recordings as soloist are Handel’s Messiah, Handel’s Acis and Galatea, Bach’s St Matthew Passion, and Bach’s Mass in B Minor, all with the Dunedin Consort (Linn Records). His website is here.
Anna Curzon performs on both modern and period instruments in many of the country’s leading ensembles. A regular player with the Orchestra of the Age of Enlightenment, Anna has performed at Glyndebourne Festival Opera, the BBC Proms, and venues throughout Europe. She has also played and recorded with The European Union Baroque Orchestra, Arcangelo, and The Bach Players. Anna studied Music at Nottingham University before completing a masters at the Royal Academy of Music where she was a scholar and prize-winner. Principally a violinist, Anna relishes the opportunity to play the viola, especially in chamber music!
Rachel Elliott studied piano at the Purcell School, before going to Selwyn College, Cambridge, to read music. She then spent two years on the post-graduate Early Music course at the Guildhall School of Music and Drama, where her singing teacher was David Pollard. Her career has been divided between solo and ensemble singing. She has worked with English groups such as I Fagiolini, Concordia, the Orchestra of the Age of Enlightenment, the Academy of Ancient Music, and the New London Consort. She has also sung with the French ensembles, Les Arts Florissants and Il Seminario Musicale, and works regularly with the Spanish group Hippocampus. Her recordings include lute songs by Campion with Nigel North, discs of music by Purcell, Charpentier and Rameau with New Chamber Opera, music for voice and viol consort by Gibbons with Concordia, as well as a disc of Vivaldi motets for solo soprano. Most recently she has recorded a recital of music by Monteverdi, Frescobaldi, and Caccini for the Spanish label Arsis.
Kinga Gáborjáni studied music in her native Budapest before coming to London for postgraduate work at the Royal Academy of Music, where she studied baroque cello with Jennifer Ward Clarke and the viola da gamba with Richard Campbell. Since then she has played with leading orchestras, including the Amsterdam Baroque Orchestra, the Gabrieli Consort and Players, The English Concert, the Orchestra of the Age of Enlightenment, and the English Baroque Soloists. She also plays chamber music with Triologue and other groups. Among her recordings, she played with the English Baroque Soloists on their recording of Bach’s Brandenburg Concertos for the SDG label.
Reiko Ichise was born in Tokyo, where she read musicology at Kunitachi College of Music and started to play viola da gamba. She came to London to pursue her study at the Royal College of Music with Richard Boothby. She now performs regularly with many orchestras and ensembles throughout the world. She is a member of Florilegium, Passacaglia, and from 2009 to 2017 was a member of the viol consort Fretwork. She teaches viola da gamba at the Royal College of Music in London.
Nicolette Moonen grew up in Amsterdam bilingually, in a Dutch-French musical family – an experience that later encouraged her to learn the main European languages. In 1992 she moved to live in London. Her taste in music has been shaped by a love of languages. She is passionate about the connection between language and music, and has a special affinity for French music. In 1996 she founded The Bach Players of which she is the artistic director and leader. She teaches at the Royal Academy of Music in London and has directed the baroque orchestra at Dartington from 1998 to 2013. Nicolette studied with Jaap Schröder and Sigiswald Kuyken, and has played with most British and other European baroque orchestras (Amsterdam Baroque Orchestra, English Baroque Soloists, Orchestre Révolutionnaire et Romantique, the Orchestra of the Age of Enlightenment, among many). She has been invited to lead ensembles such as Collegium Vocale Gent, La Chapelle Royale, Ex Cathedra, the European Union Baroque Orchestra, and English Touring Opera.
Marion Moonen studied flute at the Royal Conservatoire in The Hague with Paul Verhey and Frans Vester, and Baroque flute with Wilbert Hazelzet. She is a member of various ensembles and orchestras, including the Amsterdam Baroque Orchestra, the Kleine Konzert of the Rheinische Kantorei with Hermann Max, the Van Swieten Society, and Concerto d’Amsterdam. Since the formation of the ensemble Musica ad Rhenum in 1992 she has performed and recorded much of the repertoire for two Baroque flutes with flautist Jed Wentz. She features on recent recordings with Wilbert Hazelzet, the Van Swieten Society, the Attaignant Consort, and other chamber groups.
Olaf Reimers studied modern cello in Freiburg, London, and Düsseldorf, before going to The Hague in 1989 to study baroque cello with Jaap ter Linden. Since 1993 he has played music from the sixteenth to the twentieth centuries with ensembles in, especially, Germany and the UK. He leads the group Caterva Musica in Gelsenkirchen, and plays regularly with a number of other groups, including Ensemble 1700 and Musica Fiata in Cologne, and John Eliot Gardiner’s English Baroque Soloists and Orchestre Révolutionnaire et Romantique. He teaches baroque cello at Franz Liszt Hochschule für Musik in Weimar.
Anne Schumann studied violin at the music academies in Weimar and Dresden and joined the Gewandhaus Orchestra Leipzig in 1989. Since 1993 she has perfomed as a freelance baroque violinist, mainly in England for, among others, The English Concert and the English Baroque Soloists. In Leipzig she founded her own ensemble, the Chursachsische Capelle Leipzig, which focuses primarily on performances of forgotten chamber music. Anne was the leader of the European Union Baroque Orchestra for several years. She also enjoys playing the viola and viola d’amore, and searching for new ‘old’ repertoire.
Her website is here.
Pawel Siwczak is a harpsichordist, fortepianist, and historical keyboard specialist. Among his prizes are the 8th Broadwood Harpsichord Competition, the Sir Anthony Lewis Memorial Prize (Musica Britannica), and the award of the Minister of Culture of Poland. He combines a solo concert career in the UK and abroad with experience as a chamber musician and continuo player, also conducting from the harpsichord. He has performed with many orchestras, among them Florilegium, Orchestra of the Age of Enlightenment, Britten Sinfonia, Royal Northern Sinfonia, Mahler Chamber Orchestra. Pawel teaches at the Royal Academy of Music in London. His website is here.
Rachel Stott is a performing musician and composer. She played for a number of years with the Orchestra of the Age of Enlightenment, London Classical Players, and other period instrument orchestras, while also exploring new music with Opus 20 String Ensemble, Music Projects of London, and the New Music Players, of which she was a founder member. She is the viola player of the Revolutionary Drawing Room, with whom she has performed throughout the UK and continental Europe, and she plays viola d’amore in the Ariosti Duo.
Oliver Webber’s education took him to Wells, Cambridge, London, and The Hague, and laid the foundations for his approach to historical performance. He is the artistic director of the Monteverdi String Band, and has directed programmes ranging from sevententh-century chamber music to Hasse operas. He is the leader of Ludus Baroque, and principal and guest leader with the Gabrieli Players, the Early Opera Company, the London Handel Orchestra, and the Hanover Band; he recently led the string band for the Taverner Consort’s ground-breaking recording of Monteverdi’s Orfeo. He is also a member of the Parley of Instruments, Passacaglia, and the London Handel Players. Oliver makes his own gut strings: here as elsewhere seeking to apply research to concert performance. He teaches at the Guildhall School of Music and Drama in London.
Silas Wollston was a chorister at St Paul’s Cathedral. During his teens his flair for composing and arranging music flourished. While at Cambridge University he directed performances of Purcell’s Fairy Queen for the Opera Society, as well as a series of concerts with students playing on historical instruments. He went on to study the harpsichord at the Guildhall School of Music and Drama, London, and the Conservatoire Royale, Brussels. Since then he has played for all the major British early music groups and was principal continuo player for John Eliot Gardiner, performing as a soloist in the Bach Cantata Pilgrimage in 2000. Silas is passionate about seventeenth-century music and has written a PhD thesis on the repertoire of Charles II’s violin band. He is also a council member of the Handel Institute. From 2011 to 2015 he was Director of Music at Queens’ College, Cambridge. He is now an Affiliated Lecturer at the Music Faculty in Cambridge.