Ambassadors
Discover the past ambassadors of Early Music Day : Androulla Vassiliou & Jordi Savall (2013) // UNESCO (2014) // William Christie (2015) // René Jacobs (2016) // Hervé Niquet, Aapo Häkkiken, Vaclav Luks, Katarina Livlajanic, Olga Paschenko, Jos Van Immerseel, Skip Sempé, Doron David Sherwin, Christiano Holtz, Christiano Onolfri (2017) // Skip Sempé (2018) // Jean Rondeau (2019).
Ambassador 2027
BRUNO DE SÁ & JONATHAN SELLS : Singers
Bruno de Sá — From one continent to another
Bruno de Sá is a Brazilian sopranist and an exclusive recording artist with Erato/Warner Classics. After beginning his career in São Paulo, he made his European debut in 2019 as Aci in Bononcini’s Polifemo, conducted by Dorothee Oberlinger at the Musikfestspiele Potsdam Sanssouci. He has since become a regular guest at the Bayreuth Baroque Opera Festival.
His operatic roles include Nerone in Handel’s Agrippina at Drottningholm, Abel in Scarlatti’s Il Primo Omicidio under Philippe Jaroussky, and Aci in Handel’s Aci, Galatea e Polifemo at the Opernhaus Zürich. He regularly performs with leading early music ensembles, including il pomo d’oro, Les Accents and Ensemble 1700.
His appearances include a gala evening at the Vienna State Opera alongside Cecilia Bartoli and Max Emanuel Cenčić, as well as Le Concert de Paris on Bastille Day with Benjamin Bernheim, Julie Fuchs and Florian Sempey, accompanied by the Orchestre National de France under Cristian Măcelaru.
His discography includes Roma Travestita (2022), Mille Affetti (2024) and Uyaras (2026). In recognition of his work, he received the OPER! Award in 2020 and the Austrian Music Theatre Prize in 2024.
Jonathan Sells — A multi-talented artist
Jonathan Sells is a British-Swiss bass-baritone, conductor and artistic director based in Bern. His work focuses particularly on seventeenth- and eighteenth-century music, with a special interest in Johann Sebastian Bach. He studied music and musicology at the University of Cambridge before pursuing vocal and operatic studies at the Guildhall School of Music & Drama and joining the International Opera Studio at Zurich Opera House.
In 2008, he founded Solomon’s Knot, a baroque collective renowned for its collaborative approach to performance. The ensemble performs from memory and without a conductor, combining historically informed interpretation with imaginative theatrical presentation. Its repertoire spans Bach’s Passions, Handel’s oratorios, Monteverdi’s 1610 Vespers and lesser-known works of the seventeenth and eighteenth centuries.
Since 2023, Solomon’s Knot has been Baroque Ensemble in Residence at Wigmore Hall in London and has appeared at major festivals and venues across Europe and North America, including the BBC Proms, Bachfest Leipzig, Aldeburgh Festival, BOZAR in Brussels and the Händel-Festspiele Halle. Its recordings, released by labels including Sony Classical, Prospero and Linn, explore music by Bach and his family, Telemann, Johann Kuhnau and George Jeffreys.
Alongside his work as a conductor and artistic director, Sells pursues an international singing career, performing at venues such as the Sydney Opera House, Royal Albert Hall, Carnegie Hall, Glyndebourne and Teatro Real in Madrid. His collaborations include William Christie and Les Arts Florissants, John Eliot Gardiner, Ton Koopman and Roger Norrington, as well as ensembles such as the Dunedin Consort, I Fagiolini and Il Gardellino.
His longstanding relationship with the Monteverdi Choir has encompassed both singing and conducting. After performing with the Choir from 2009 to 2018, he made his conducting debut with the Choir and the English Baroque Soloists in 2024 and became Choir Director in 2025. His recent projects include Handel’s Dixit Dominus at the Edinburgh International Festival and a staged production of Purcell’s Dido and Aeneas in London and Bergen.
As a REMA Ambassador, Sells brings together the perspectives of a performer, conductor and artistic leader committed to European collaboration. Through his work, he explores how historically informed performance can connect with contemporary audiences, bringing repertoire to life through collective music-making and innovative presentation.
Ambassador 2026
LUCIE HORSCH & SARAH JEFFERY: RECORDER PLAYERS
Lucie Horsch — A leading virtuoso of the new generation
First acclaimed as a child prodigy, Lucie Horsch began studying the recorder at the age of five and attracted national attention at nine through a televised performance in Amsterdam. She has since developed into a stylish Baroque virtuoso with a wide-ranging artistic curiosity that embraces historical performance, contemporary creation and folk-inspired repertoire.
She performs regularly as a soloist with leading orchestras and ensembles including the Royal Concertgebouw Orchestra, Tonhalle Orchester Zürich, Academy of Ancient Music, Orchestra of the Eighteenth Century, B’Rock Orchestra, Amsterdam Sinfonietta and the Los Angeles Chamber Orchestra, working with conductors such as Barbara Hannigan, Maxim Emelyanychev, Andrew Manze and Richard Egarr. Lucie is a frequent guest at major international venues and festivals, among them Wigmore Hall, the Concertgebouw Amsterdam, Philharmonie de Paris, Elbphilharmonie Hamburg, Konzerthaus Vienna, the Rheingau and Schleswig-Holstein Musik Festivals, and the Festival de Pâques d’Aix-en-Provence.
In recognition of her exceptional artistry, Lucie was awarded a Borletti-Buitoni Trust Fellowship in 2022 and, from the 2024/25 season, has been appointed a Junge Wilde artist at the Konzerthaus Dortmund. A strong advocate for new music, she has commissioned and premiered works by composers such as Lotta Wennäkoski, Freya Waley-Cohen, Kate Moore and Calliope Tsoupaki.
Her debut album Vivaldi received the Edison Klassiek Award in 2017, while Baroque Journey reached No. 1 in the UK Classical Charts and was awarded an Opus Klassik Prize. Her third album Origins explored folk and traditional music from around the world and won the Edison Klassiek Audience Award in 2023. Her most recent release, The Frans Brüggen Project, recorded with the Orchestra of the Eighteenth Century using historic instruments from Brüggen’s own collection, received an Edison Award in 2025.
She is also an accomplished pianist and mezzo-soprano, holding master’s degrees with distinction in both fortepiano and voice.
Sarah Jeffery — Performer, educator and digital pioneer
Sarah Jeffery — Performer, educator and digital pioneer
Sarah Jeffery is one of the world’s foremost promoters of the recorder and performs regularly all over the globe as a soloist and chamber musician, from Brazil to Singapore, Finland to Australia. Recent accolades range from Best of Classical Music in the NRC for production While We Live, composing/musical direction for short film Recorder Rewrite for the Venice Biennale with artist Song-Ming Ang, and the nomination for Best Media at the prestigious REMA Early Music Awards.
Sarah was appointed as Professor of Recorder at the Royal College of Music in London in 2022. She holds positions including honorary Vice-President of the Society of Recorder Players and is the President of the National Youth Recorder Orchestra UK. Passionate about furthering music education, her popular YouTube channel Team Recorder has gathered more than 220,000 subscribers and aims to make music education more accessible.
Sarah is currently published by both Hal Leonard, with whom she recently released the best-selling official Hal Leonard Recorder Method; and Schott Music, with whom she released her second anthology in 2024. Her debut album Constellations was released in 2018, for which she gained rare permission to arrange Steve Reich’s Vermont Counterpoint, and she is currently signed to label TRPTK for upcoming recordings.
Sarah hails from Derbyshire in the UK, growing up steeped in English folk dance. She studied recorder at the Royal Birmingham Conservatoire and the Conservatorium van Amsterdam, where she graduated cum laude under the tuition of Jorge Isaac and Walter van Hauwe.
Ambassador 2025
FRANZISKA FLEISCHANDERL: SALTERIO PLAYER & RESEARCHER
Franziska Fleischanderl was born in Linz in 1983. At the age of four she fell in love with the clear, ethereal sound of the dulcimer. After completing master's degrees in Linz (Hackbrett/hammered dulcimer) and Basel (contemporary chamber music), she devoted herself exclusively to expanding the contemporary repertoire for Hackbrett and developing conventions for its notation. She premiered roughly thirty compositions, collaborating with such composers as György Kurtág.
The year 2014, however, marked an important turning point in her career. Friend and mentor Andrea Marcon helped her purchase an exceptionally beautiful original salterio, built in 1725 by Michele Barbi, in Rome. This special instrument ignited Franziska's desire to discover, understand, and play the baroque salterio at a high level of proficiency.
She embarked on several years of research in Italian archives, museums, and monasteries; her findings revealed that the salterio was by no means an exotic and marginal instrument of the Baroque era, but rather played a substantial and previously unrecognized role in the music of the time. Her research was followed by further studies at the Schola Cantorum Basiliensis, culminating in a doctorate at Leiden University. Her dissertation, which will soon be published as a book, is the first major study of the history, repertoire, and playing technique of the baroque salterio. Franziska Fleischanderl has become an internationally recognized authority on the salterio in the fields of musicology and artistic research.
She embarked on several years of research in Italian archives, museums, and monasteries; her findings revealed that the salterio was by no means an exotic and marginal instrument of the Baroque era, but rather played a substantial and previously unrecognized role in the music of the time. Her research was followed by further studies at the Schola Cantorum Basiliensis, culminating in a doctorate at Leiden University. Her dissertation, which will soon be published as a book, is the first major study of the history, repertoire, and playing technique of the baroque salterio. Franziska Fleischanderl has become an internationally recognized authority on the salterio in the fields of musicology and artistic research.
Additionally, she is the first modern musician to make the baroque salterio resonate again in all its historical playing techniques (battuto-playing with hammers, finger-pizzicato, and plectra-pizzicato), exploring the immense timbral richness of this exceptional instrument. In doing so, she has revolutionized the performance practice of the baroque salterio and became a pioneer in her field. In her newly founded "Salterio Academy Salzburg" she now makes her knowledge available to other salterio players. In 2024, she won the Opus Klassik Prize in the Concert Recording of the Year category.
Ambassador 2024
DOROTHEE OBERLINGER: RECORDER PLAYER
Dorothee Oberlinger is today one of the most highly acclaimed exponents of her instrument. After completing her studies (recorder, school music, and German language and literature) in Cologne, Amsterdam and Milan, she made her international debut in 1997 with the 1st prize at the international SRP/Moeck UK competition held at London’s Wigmore Hall. There followed numerous invitations to festivals and concert halls such as the Grand Théâtre in Bordeaux, the Théâtre des Champs Elysées, the Teatro Colón in Buenos Aires, the Grand Théâtre de Genève, the Laeszhalle in Hamburg, the KKL in Lucerne, the Tonhalle in Zürich, and many more.
As a soloist, she has worked since 2002 together with Ensemble 1700, which she formed, and with other renowned Baroque ensembles and orchestras such as the Sonatori de la Gioiosa Marca, Musica Antiqua Köln, the Akademie für Alte Musik Berlin, the Academy of Ancient Music, Al Ayre Espagnol, L’Arte dei Suonatori, Zefiro, and Concerto Köln.
Her CD recordings of Baroque music of the seventeenth and eighteenth centuries have been recognized by international critics with the highest awards that they can bestow, including for example the Diapason d’Or. In 2008,, she received the Echo Klassik prize in the category ‘Instrumentalist of the Year’, followed in 2013 by a second Echo Klassik for ‘Concert Recording of the Year’ with her CD Flauto Veneziano, and in 2015 together with her Ensemble 1700 by a third in the category ‘Chamber Music Recording of the Year’ for ‘The Passion of Musick’.
In 2011 Dorothee Oberlinger made her debut as a conductor in Salzburg. At the Tage der Alten Musik festival in Herne in 2016, the Internationale Händelfestspiele in Göttingen in 2017 and the Ludwigsburg Schlossfestspiele in 2018, she conducted a production, which received much international critical attention and great praise, of the rarely performed opera Lucio Cornelio Silla by George Frideric Handel in collaboration with the director Margit Legler, a specialist in historical gesture and facial expression. Stagings of Bononcini’s “Polifemo” (2019) and Scarlatti’s “Il Gardino d’amore” (2020 / 2022), Telemann’s Pastorelle en musique” (2021), Giuseppe Scarlatti’s “I portentosi effetti della madre natura” (2022) and Andrea Bernasconi’s “L’Huomo” (2023) followed, as well as most recently Ristori’s “I lamenti d’Orfeo” (2023). The Potsdam live recording of “Polifemo” was released as CD and was immediately named BBC record of the week as well as it fetched a Diapason d’or and an ICMA nomination; all other Potsdam opera productions have been or will be released as recordings. Further planned baroque opera projects will be funded by the Ministry of Culture and Science of the State of North Rhine-Westphalia NRW for a period of three years from 2022 to 2024.
Since 2004, Dorothee Oberlinger has been a professor at the Mozarteum in Salzburg, where her activities included building up and directing the Institute for Early Music in the ten years up to 2018.
In 2016, she was awarded the Freedom of the town of Simmern in the Hunsrück region of Germany, where she spent her childhood and youth. After she was appointed Telemann Ambassador to mark the 250th anniversary of the death of Georg Philipp Telemann (1681–1767), in 2016 by the newly formed ‘network of Telemann cities’, she was awarded the prestigious Telemann Award in 2020. Since 2021, she is bearer of the German Federal Cross of Merit, first class.
Since 2009, Dorothee has been musical director of the Arolser Barockfestspiele in Bad Arolsen and assumed the position as musical director of the Musikfestspiele Potsdam Sanssouci, a two-week festival with more than 50 events centering around the castle of Potsdam Sanssouci, where she also regularly directs own baroque opera productions.
Read her statement >
As a soloist, she has worked since 2002 together with Ensemble 1700, which she formed, and with other renowned Baroque ensembles and orchestras such as the Sonatori de la Gioiosa Marca, Musica Antiqua Köln, the Akademie für Alte Musik Berlin, the Academy of Ancient Music, Al Ayre Espagnol, L’Arte dei Suonatori, Zefiro, and Concerto Köln.
Her CD recordings of Baroque music of the seventeenth and eighteenth centuries have been recognized by international critics with the highest awards that they can bestow, including for example the Diapason d’Or. In 2008,, she received the Echo Klassik prize in the category ‘Instrumentalist of the Year’, followed in 2013 by a second Echo Klassik for ‘Concert Recording of the Year’ with her CD Flauto Veneziano, and in 2015 together with her Ensemble 1700 by a third in the category ‘Chamber Music Recording of the Year’ for ‘The Passion of Musick’.
In 2011 Dorothee Oberlinger made her debut as a conductor in Salzburg. At the Tage der Alten Musik festival in Herne in 2016, the Internationale Händelfestspiele in Göttingen in 2017 and the Ludwigsburg Schlossfestspiele in 2018, she conducted a production, which received much international critical attention and great praise, of the rarely performed opera Lucio Cornelio Silla by George Frideric Handel in collaboration with the director Margit Legler, a specialist in historical gesture and facial expression. Stagings of Bononcini’s “Polifemo” (2019) and Scarlatti’s “Il Gardino d’amore” (2020 / 2022), Telemann’s Pastorelle en musique” (2021), Giuseppe Scarlatti’s “I portentosi effetti della madre natura” (2022) and Andrea Bernasconi’s “L’Huomo” (2023) followed, as well as most recently Ristori’s “I lamenti d’Orfeo” (2023). The Potsdam live recording of “Polifemo” was released as CD and was immediately named BBC record of the week as well as it fetched a Diapason d’or and an ICMA nomination; all other Potsdam opera productions have been or will be released as recordings. Further planned baroque opera projects will be funded by the Ministry of Culture and Science of the State of North Rhine-Westphalia NRW for a period of three years from 2022 to 2024.
Since 2004, Dorothee Oberlinger has been a professor at the Mozarteum in Salzburg, where her activities included building up and directing the Institute for Early Music in the ten years up to 2018.
In 2016, she was awarded the Freedom of the town of Simmern in the Hunsrück region of Germany, where she spent her childhood and youth. After she was appointed Telemann Ambassador to mark the 250th anniversary of the death of Georg Philipp Telemann (1681–1767), in 2016 by the newly formed ‘network of Telemann cities’, she was awarded the prestigious Telemann Award in 2020. Since 2021, she is bearer of the German Federal Cross of Merit, first class.
Since 2009, Dorothee has been musical director of the Arolser Barockfestspiele in Bad Arolsen and assumed the position as musical director of the Musikfestspiele Potsdam Sanssouci, a two-week festival with more than 50 events centering around the castle of Potsdam Sanssouci, where she also regularly directs own baroque opera productions.
Read her statement >
Ambassador 2023
AMANDINE BEYER: VIOLINIST
Amandine Beyer is the ambassador of the 2023 edition of Early Music Day: the artist who recorded the critically acclaimed Sonatas and Partitas by J. S. Bach and initiated a collaboration with the dancer and choreographer Anne Teresa de Keersmaeker, has established herself as a reference in the interpretation of the Baroque violin repertoire.
She has performed in the most important concert halls throughout the world and has built her musical activity around solid collaborations with various artists, but also around her own ensemble Gli Incogniti, with whom she has made several recordings.
She shares her generous and holistic vision of the violin with the younger generation, dedicating herself extensively to teaching, whether it be formal teaching at the conservatory, or more experimental courses in various masterclasses and academies, including the Gli Incogniti Academy.
"I am very honoured to be an ambassador for Early Music Day, and to have the opportunity to share my passion for my profession. I didn't really choose music, it gradually made its way into my life thanks to an incredible family and teachers, but without the diligent practice of the baroque repertoire, I might not have become a professional violinist. And now I know what I owe to Vivaldi, Beethoven, Purcell, Bach, Haydn, Matteis, and so many others...
Indeed, for years now, I have seen the transforming power of this music, the power of its effect, not only on concert audiences, but also on children, on the people we turn to who would not necessarily have the reflex to push open the door of a theatre, and above all, on the performers themselves, whether amateurs or professionals. Because it is a music of sharing, of immediacy, of joy. Joy of playing, listening, dancing, of tasting simplicity (and perceiving transparent complexity).
And it is a music of the present, as well as a music of the future, because it teaches us curiosity, respect and action: indeed, the revival of the interpretation of all these scores of the 17th, 18th and sometimes early 19th centuries, initiated by the pioneers of the genre in the 60s and 70s (of the 20th century!) still lives in our cells, rejoices in our pulse and allows us to marvel every day."
She has performed in the most important concert halls throughout the world and has built her musical activity around solid collaborations with various artists, but also around her own ensemble Gli Incogniti, with whom she has made several recordings.
She shares her generous and holistic vision of the violin with the younger generation, dedicating herself extensively to teaching, whether it be formal teaching at the conservatory, or more experimental courses in various masterclasses and academies, including the Gli Incogniti Academy.
"I am very honoured to be an ambassador for Early Music Day, and to have the opportunity to share my passion for my profession. I didn't really choose music, it gradually made its way into my life thanks to an incredible family and teachers, but without the diligent practice of the baroque repertoire, I might not have become a professional violinist. And now I know what I owe to Vivaldi, Beethoven, Purcell, Bach, Haydn, Matteis, and so many others...
Indeed, for years now, I have seen the transforming power of this music, the power of its effect, not only on concert audiences, but also on children, on the people we turn to who would not necessarily have the reflex to push open the door of a theatre, and above all, on the performers themselves, whether amateurs or professionals. Because it is a music of sharing, of immediacy, of joy. Joy of playing, listening, dancing, of tasting simplicity (and perceiving transparent complexity).
And it is a music of the present, as well as a music of the future, because it teaches us curiosity, respect and action: indeed, the revival of the interpretation of all these scores of the 17th, 18th and sometimes early 19th centuries, initiated by the pioneers of the genre in the 60s and 70s (of the 20th century!) still lives in our cells, rejoices in our pulse and allows us to marvel every day."
Ambassador 2022
CARLO VISTOLI: COUNTERTENOR
Carlo Vistoli is one of the most promising singers of his generation, thanks to his remarkable voice and warm personality that have already made him a favourite of baroque ensembles, directors and the audiences.
Born in 1987 in Lugo, he began his vocal training in 2007. After participating in many international voice competitions, he was chosen in 2015 for Le Jardin des Voix – Les Arts Florissants’s baroque Academy for young singers. He soon started a busy career, balancing regular roles in opera productions with performances with Les Arts Florissants, Cappella Mediterranea, the English Baroque Soloists, Coro e Orchestra Ghislieri, Les Ambassadeurs, Les Accents, Cappella Gabetta, Concerto Italiano, Les Musiciens du Louvre and Il Pomo d’Oro. He is praised for his vocal technique that mixes the Italian ideal of Bel Canto with the striking agility of the baroque countertenor.
Born in 1987 in Lugo, he began his vocal training in 2007. After participating in many international voice competitions, he was chosen in 2015 for Le Jardin des Voix – Les Arts Florissants’s baroque Academy for young singers. He soon started a busy career, balancing regular roles in opera productions with performances with Les Arts Florissants, Cappella Mediterranea, the English Baroque Soloists, Coro e Orchestra Ghislieri, Les Ambassadeurs, Les Accents, Cappella Gabetta, Concerto Italiano, Les Musiciens du Louvre and Il Pomo d’Oro. He is praised for his vocal technique that mixes the Italian ideal of Bel Canto with the striking agility of the baroque countertenor.
“Why and how does Early Music still speak to us today, from hundreds of years away? I always felt that one of its most fascinating peculiarities is to allow the interpreter to express themselves in many ways, and to give, even within the boundaries of the practicing “rules”, the possibility to personalize the performance even more than later repertoires. The more we discover, the more we realize there are buried treasures that just wait to reveal themselves. As a baroque singer, I always try to keep that sparkle alive and “speak” directly to my audience, performing live and in recordings. For me, fantasy and inspiration go along with accuracy and historically informed practice.
To have been designated as Ambassador of Early Music Day is not only a great honor for me but also an encouragement to go even further on this road, connecting people, especially younger generations, through the passion for Early Music, and making them discover an entire world that opens mind and heart to new and unexplored emotions, or better “affetti”, as we say with an old but timeless expression. To have the feeling that a piece composed three hundred years ago could have been written nowadays, because it still has something important to say to us: that’s the magic of Music!”
Ambassador 2021
OLGA PASHCHENKO: KEYBOARD SPECIALIST
Olga Pashchenko is one of today’s most versatile performers on the keyboard, from organ and harpsichord to fortepiano and modern piano, demonstrating a passionate personality, virtuosity, wealth of color and sensitivity towards the broad repertoire that she performs on these different keyboards.
She began her musical studies at the age of 6 in Moscow, where she was born. She studied at the Moscow State Tchaikovsky Conservatory with Alexei Lubimov (fortepiano and modern piano), Olga Martynova (harpsichord) and Alexei Schmitov (organ). Olga’s ability to go from one instrument to the other with equal skill and sensibility, made her the embodiment of the balance between artistic virtuosity, individual creativity and historic awareness, and an ideal ambassador for Early Music Day.
She began her musical studies at the age of 6 in Moscow, where she was born. She studied at the Moscow State Tchaikovsky Conservatory with Alexei Lubimov (fortepiano and modern piano), Olga Martynova (harpsichord) and Alexei Schmitov (organ). Olga’s ability to go from one instrument to the other with equal skill and sensibility, made her the embodiment of the balance between artistic virtuosity, individual creativity and historic awareness, and an ideal ambassador for Early Music Day.
“Early Music Day is the celebration of Early Music, celebration of our lifestyle and dreams as HIP performers and listeners, and of the attitude we all advocate for, and that is – trying to understand the sources and the composers’ conceptions and interpret it on within the historical context with heart and soul in the 21st century. To be the Ambassador of REMA at this time of uncertainty in the world, is a gift. I am honoured to contribute to this platform by promoting the importance of early Music, making all different colours of period instruments more audible and visible and encouraging to breathe life into restoration just as early music breathes life into us with its restorative power.”
In 2020, she released two albums dedicated to the music of Beethoven with Alpha Records (Variations on folk songs with flutist Anna Besson and Vanitas with singer Georg Nigl) and given performances of Beethoven music as well, as historical keyboards allow intimate concerts and small audiences, ranking them among the most covid-safe instruments. She has also just released two of Mozart’s Piano Concerti with Il Gardellino.
Ambassador 2020
RACHEL PODGER: BAROQUE VIOLONIST
Rachel Podger, the unsurpassed British glory of the baroque violin,” (The Times) has established herself as a leading interpreter of the Baroque and Classical repertory. A creative programmer, Rachel is the founder and Artistic Director of Brecon Baroque Festival and her ensemble Brecon Baroque.
“The recognition and expansion of Early Music has been my life’s work and as I continue to teach and perform around the world, I will be particularly proudly waving the flag of Early Music Day, and hoping that music will continue to heal divisions and create harmony amongst all peoples.”
“The recognition and expansion of Early Music has been my life’s work and as I continue to teach and perform around the world, I will be particularly proudly waving the flag of Early Music Day, and hoping that music will continue to heal divisions and create harmony amongst all peoples.”
Rachel Podger is one of the Artists in Residence at Wigmore Hall for the 2019/2020 season, for all-Bach performances as a soloist, with Brecon Baroque and with Kristian Bezuidenhout. She is currently working with Christopher Glynn to perform and record Beethoven’s sonatas, and will play three previously unfinished Mozart for their world premiere recording and performance.
Rachel Podger was the first woman to be awarded the prestigious Royal Academy of Music/Kohn Foundation Bach Prize (2015) and was also Gramophone Artist of the Year 2018. Her recordings have earned her and her collaborators several prestigious awards: two Baroque Instrumental Gramophone awards, the Diapason d’Or de l’année 2012 for a Baroque Ensemble, and two BBC Music Magazine awards.
