About

First Belgrade Baroque Academy was held in April of 2013, when a dozen or so young musicians explored the music of J.S. Bach, Purcell, and Monteverdi with two Serbian baroque music specialists - contralto Marijana Mijanovic, and baritone, harpsichordist and conductor Predrag Gosta. After the successful final concert, Gosta and Mijanovic continued their activities at the 2nd Academy, held in conjunction of the Belgrade Early Music Festival in June of 2013. This second project was even more ambitious - the presentation of a fully staged performance of Henry Purcell's operatic masterpiece "Dido and Aeneas". This performance also marked the first ever performance of a baroque opera on period instruments at the Belgrade National Theatre. The great success of this performance encouraged the artists to pursue their efforts in a systematic and permanent manner, with a hope for a permanent establishment of the Belgrade Baroque Academy as an educational institution in Serbia. Since then, over a dozen internationally recognized artists have taught at the BBA, training and nourishing young singers and period instrumentalists in the historical performance. Many decided to pursue additional studies and develop their careers, and were successfully admitted into the international conservatories or various early music ensembles. And although the Belgrade Baroque Academy has been growing and changing through the years, its goal remains the same: to train a new generation of musicians in the historically informed performance, in order to develop and expand the early music movement...

From 2013 to 2019, total of 14 Baroque Academies have been organized. Past teachers included soprano Evelyn Tubb, contralto Marijana Mijanovic, harpsichordists Predrag Gosta, Ottaviano Tenerani, Dušan Toroman and Bojana Dimkovic,  baritone Christian Hilz,  baroque violinists Florian Deuter, Ilia Korol and Katarina Djordjevic, baroque trumpet players Siegfried Koch and Justin Bland, cornetto player Jeremy West, baroque cellist André Laurent O'Neil, baroque violist William Bauer, recorder and transverse flute player Karolina Bäter, lutenists Michael Fields and Darko Karajic,  baroque oboist Martino Noferi, and others.

Belgrade Baroque Academy has closely collaborated with several music institutions, including the New Belgrade Opera, the Austria Baroque Academy, the University of Bern, the Studio for Early Music, the Belgrade Early Music Festival and several others. For its activities it has received grants from the Ministry of Culture and the Ministry of Youth and Sport of Serbia, the InterMusica Foundation in Switzerland and the Makris Fondation in the USA.
Predrag Gosta
Predrag Gosta has been recognized as one of the pioneers of the early music movement on the Balkans and one of the most interesting conductors of his generation. He is the artistic director of New Trinity Baroque, a widely-acclaimed and recorded period instrument orchestra; the founder and the artistic director of the Belgrade Baroque Academy, Belgrade Early Music Festival, New Belgrade Opera, and the Makris Symphony Orchestra; as well as the music director and chief conductor of the Gwinnett Ballet Theatre in Atlanta, USA. He served as the assistant conductor of the National Philharmonic in Washington DC, was a faculty member at Oxford College of Emory University in Atlanta, and is currently conducting a doctoral research at the University of Oxford, where his research focuses on the late 18th century English opera.

Born in Belgrade, he started studying violin at the age of six. After starting his studies at Belgrade Music Academy, he was awarded a full scholarship from the Leverhulme Trust and Trinity College of Music in London, receiving his undergraduate and postgraduate degrees from Trinity. He then went to the USA where he received three Master of Music degrees from Georgia State University in Atlanta, studying under a graduate assistantship and the Regents Opportunity Scholarship. His conducting teachers include Alexander Polyanichko and Ennio Nicotra (Russia), Jonathan Brett (England), Gustav Meier (USA), Jorma Panula (Finland), Colin Metters (UK), and others.

Predrag Gosta appeared at many concerts and festivals in USA, UK, Russia, Sweden, Finland, Sweden, Germany, Poland, Switzerland, Mexico, Bulgaria, Serbia Croatia and Montenegro. He collaborated with artists and conductors such as Evelyn Tubb, Juilliane Baird, Vivica Genaux, Marijana Mijanovic, Florian Deuter, Ilia Korol, John Holloway, Antoinette Lohmann, Marion Verbruggen, Ottaviano Tenerani, Steven Devine, Anthony Rooley, Michael Fields, Justin Bland and many others. He performed at the Piccolo Spoleto Festival, Boston Early Music Festival and Amherst Early Music Festival in the USA; Sastamala Gregoriana Festival in Finland; Belgrade Early Music Festival in Serbia; Korkyra Baroque, Varazdin Baroque Evenings and Dubrovnik Summer Games in Croatia; Dartington International Summer School in England, etc. He conducted internationally renowned orchestras such as the London Symphony Orchestra, the Russian National Orchestra in Moscow, the St. Petersburg State Capella "Glinka", the National Philharmonic in Washington DC, the Sofia Philharmonic, the Belgrade Philharmonic, and more. He appeared in opera houses in the USA, Switzerland, Germany, Bulgaria and Serbia.

Gosta is an active recording artist, and has almost twenty CD recordings to his credit. He recorded with the London Symphony Orchestra (two albums), the Makris Symphony Orchestra and New Trinity Baroque, among others.

As a vivid educator, he regularly teaches at the Belgrade Baroque Academy. He is a member of the Phi Beta Delta Honor Society for International Scholars, Golden Key Honour Society, Mu Phi Epsilon International Music Fraternity, as well as the MENSA and the International High IQ Society.
Christian Hilz
Christian Hilz is internationally renowned as a versatile performer in the fields of classical song and opera. He regularly appears in the principal musical venues of Europe and America, such as the Vienna Musikverein, the Salzburger Pfingstfestspielen, the Lucerne Festival, the Concertgebouw Amsterdam, the Würzburger Mozartfest, the London Proms in the Royal Albert Hall, the Boston Early Music Festival, the Kunstfest Weimar, the Prague Spring, the Schleswig-Holstein Festival, in the Auditorio Nacional de la Musica in Madrid, at Ansbacher Bachwochen, the Ludwigsburger Schlossfestspielen and the Ruhrtriennale.

Hilz is equally sought after in baroque, classical and contemporary repertoire and works regularly with directors such as Andrew Parrott, Martin Haselböck, Nicolas McGegan, Joshua Rifkin, Ton Koopman, Ivor Bolton, Morten Schuldt Jensen, Krzysztof Penderecki, Helmuth Froschauer and Juan Pons and with orchestras such as the Munich Philharmonic, Kölner Rundfunkorchester, London Mozart Players, Mozarteum Orchester Salzburg, Camerata Salzburg, Tonhalle Orchester Zürich, Orquesta Nacional de Espana, New York Bach Ensemble, Ensemble Tafelmusik Toronto, Wiener Akademie, Norwegian Baroque Orchestra and Stavanger Symphony.

Alongside classical roles his opera repertoire encompasses a variety of parts in baroque and contemporary opera. Next to a variety of about 25 baritone roles from the Baroque and Classical eras including several Handel operas, Mozart´s Papageno, Conte, Figaro, Leporello and Allazim (Zaide), works by Hasse, Conti, Salieri, Paisiello, Gassmann and others, Hilz's operatic repertoire comprises parts from works by Britten, Berg, Menotti and Penderecki, which allow him to demonstrate the full scope of his interpretative talent. He among others maintained them in productions in Vienna, Amsterdam, Madrid, Los Angeles and Potsdam. Lied-recitals and chamber music with a variety of partners like Katia Bouscarrut, Eckart Sellheim, Dorian Keilhack, Jeremy Joseph and Tatiana Korsunskaya are an important part of his work.

His recordings include works by Bach, Händel, Telemann, Homilius, Mattheson, Meder, Mozart, Beethoven, Schubert, Schumann, Lortzing, Walter, Klemmstein, Sterk and Kleiberg. CDs with Schumann-Lieder, Telemann Lukas-Passion, a Bach Solo CD and the complete vocal works of Nikolaus Bruhns were released recently.

Christian Hilz received the award of Bavarian culture and the cultural award of his hometown Erlangen. He teaches voice as a professor at the Hochschule der Künste in Bern. 2015 he was announced as artistc director of the Austria Baroque Academy.
Simone Pirri
Born in 1994, Simone Pirri is an engaging and rising young violinist from Pescara (Italy), currently based in London (UK), who specialises in period instrument performance. Following a Bachelor of Music degree with the highest marks in Violin Performance at Conservatorio Luisa D'Annunzio in Pescara (2012), Simone went to the United Kingdom to pursue his postgraduate studies in early music and focus on historical performance practice with world leading experts such as Rachel Podger, Simon Standage and Nicolette Moonen, graduating with a Master of Arts with Distinction in Historical Performance from the Royal Academy of Music in London (2016) and a Postgraduate Diploma with Distinction in Historical Performance from the Royal Welsh College of Music and Drama in Cardiff (2017).

A sought-after soloist/recitalist, chamber musician and orchestral player, Simone has performed with Il Pomo d'Oro (appearing also as soloist), Ensemble Diderot, Arcangelo, La Nuova Musica, Brecon Baroque, Collegium 1704, Orchestra of the Age of Enlightenment, Holland Baroque, Dutch Baroque Orchestra, Musica Poetica, Devon Baroque, Rejouissance, Ensemble Symphosium, Ensemble Locatelli, Talenti Vulcanici of Pietà de Turchini, Theresia Youth Orchestra and led groups such as Oxford Bach Soloists, Eboracum Baroque, Welsh Camerata, Ensemble Corte Armonica, Badinerie Baroque Orchestra of the Royal Welsh College of Music and Drama and the Royal Academy of Music Baroque Orchestra. He has worked with many of the world's leading early music specialists such as Rachel Podger, Reinhard Goebel, Giovanni Antonini, Vaclav Luks, Masaaki Suzuki, Jonathan Cohen, Johannes Pramsohler, Maxim Emelyanychev and Chiara Banchini.

Simone had the privilege to perform at the Royal Albert Hall (London) for BBC Proms, the Lincoln Centre (New York City), New England Conservatory (Boston), Thomaskirche (Leipzig), Wigmore Hall and St. John's Smith Square (London), Gulbenkian (Lisbon), Muziekgebouw (Amsterdam), Kölner Philarmonie (Cologne), St. David’s Hall (Cardiff), Ettlingen Palace (Germany), Musica Antiqua Bruges (Belgium), Festival Oude Muziek Utrecht (The Netherlands) and Stockholm Early Music Festival. He also appeared on the radio and television, and recorded discs with Collegium 1704, Arcangelo and Allabastrina Choir and Consort.

Simone was the winner of London’s Nancy Nuttall Early Music Prize for two consecutive years (2014 and 2015) and has been a recipient of funding awards by The Countess of Munster Musical Trust, Loan Fund for Musical Instruments, The Zetland Foundation, The Gane Trust, The Kirsten Scott Memorial Trust, Settimana Mozartiana and Help Musicians UK.

Simone currently plays on a Pietro Paolo De Vitor (1730-40, Venice) on generous loan from the Harrison-Frank Family Foundation.
Christi Park
Korean-American violinist, Christi Park, specialises in repertoire ranging from early 17th Century to Contemporary works for historical instruments and voice.  

Christi has appeared as a soloist and chamber musician in venues such as Chicago Cultural Center, Jay Pritzker Pavilion, Chicago Symphony Center, Cité de la Musique in Paris, and the Rudolfinuim in Prague, and many others. Acclaimed for her “heartwarming, sorrowful and bittersweet compelling sound,” she has also appeared on America’s National Public Radio as a soloist and interviewee. Christi has performed and toured alongside the members of Les Arts Florissants under the direction of William Christie. She has also worked with a wide range of renowned professional musicians in the US and abroad, including Phillipe Herreweghe, Trevor Pinnock, John Butt, Masaaki Suzuki, Ton Koopman, David Rabinovich, Päivyt Meller as well as performing alongside Elizabeth Wallfisch, Jaap ter Linden, Ingrid Matthews, Elizabeth Blumenstock, Julie Adrijeski, Rachel Podger, Bojan Cicic, and Hiro Kurosaki.

She began her musical studies in Chicago, IL. At an early age, she fell in love with early music repertoire that led her to study Baroque violin with renowned early music specialist, Stanley Ritchie. As a Premier Young Artist Scholarship holder, Christi graduated from Indiana University, Jacobs School of Music with a Bachelor of Music and a Performer Diploma in Solo Performance, under the tutelage of renowned pedagogues, Ik-Hwan Bae and Mauricio Fuks. Christi aspires to become a great teacher and thinker, who advocates passionately for the discovery of one’s inner voice. For this reason, she has had the privilege to be one of Mauricio Fuks’ teaching assistants during her time at Indiana University.

Subsequently, she is completed her Masters of Music at the Royal Academy of Music, studying Historical Performance with Pavlo Beznosiuk and Simon Standage, and now pursuing the Artist Diploma at the Koninklijk Conservatorium Den Haag from September 2020, studying with Ryo Terakado and Shunske Sato. 

Her love and passion for Korean traditional music and theatre has led her to her ongoing project, The Pansori Project, at the Royal Academy of Music and as part of the DNA Contemporary Music Festival. 

She plays on a Baroque violin crafted by Jason Viseltear in 2017 and a violin crafted in mid-17th century by an anonymous French instrument maker. 
David Brutti
After an outstanding career in Avant-garde and Classical Music in quality of saxophone player, in 2012 fell in love with Renaissance and Early Baroque music: soon he began to study Cornetto with Andrea Inghisciano. Since then he has an intense concert activity in the world of Early Music. He has collaborated with "Accademia Bizantina" cond. Ottavio Dantone, “Cappella Neapolitana” cond. Antonio Florio Odhecaton, "Modo Antiquo" cond. Federico Maria Sardelli, "Il Gusto Barocco" cond. Jörg Halubek, La Pifarescha, La Reverdie, “Cappella Marciana” - Venice, “Cappella Musicale di San Petronio” - Bologna; he performed at “Festival Claudio Monteverdi” - Cremona, Trigonale 2016 - Maria Saal - Austria. “Teatro Regio” - Torino, Mannheim Nationaltheater, Auditorium Haydn - Bolzano, Teatro Abbado - Ferrara etc...

He has recorded for Brilliant Classics, Amadeus, Bongiovanni, Stradivarius, Ort1. David Brutti studied saxophone with Jean-Marie Londeix and Marie Bernadette Charrier at the “Conservatoire de Bordeaux - Jacques Thibaud”, obtaining the "Medaille d'Or", and with Pier Narciso Masi at the “Accademia Pianistica Internazionale di Imola”, obtaining the Master in Chamber Music.
Meila Tome Pichler
Born in 1986 in Brasília, recorder and traverso player Meila Tomé Pihler moved to Belgium in 2004 to study at the Lemmensinstituut in Leuven.She concluded the Bachelor and Masters Degree in Music under the orientation of Bart Coen, Bart Spanhove and Koen Dieltiens. For the whole duration of her Master studies, Meila had  a scholarship from the school board for her merits as a leading student. Under the orientation of Koen Dieltiens, she had her musicological research on “Georg Philipp Telemann: the problematic in Telemann’s instrumental compositions with a focus on the recorder works“. Meila studied one year in ESMAE (Escola Superior de Música e Artes do Espetáculo) with the Erasmus European Program where she studied under the guidance of Pedro Sousa Silva. In 2012 she finished her second Bachelor Degree in Traverso with the Highest Distinction in the class of Frank Theuns.

During her conservatory years, she attended master classes with Dorothee Oberlinger, Peter Van Heyghem, Adrian Brown, Sigiswald Kuijken, Barthold Kuijken, Marc Hantai, Tomma Wessel, Rachel Brown and others. Meila performed with Atelie OudeMuziek under the direction of Erik Van Nevel, with concerts throughout Belgium; performed as soloist in the Telemann ciclus concerts of Hildebrandt Consort directed by Wouter Dekoninck.; Ensemble Camerata Vocale directed by Philippe de Clerck; and on different occasions with the Lemmensinstituut orchestra. She also formed two groups while a student in Belgium, SamBarok and Telemannia, and with both had the opportunity of playing in Belgium, Germany,  Holland, Spain, Portugal, Brazil, and Serbia. 

Since 2010 Meila lives in Novi Sad, Serbia, where she founded VEMA [Vojvodinian Early Music Association]. She assumed the position as one of the pioneers of Historically Informed Performer in the region. She collaborated several times with Belgrade New Opera, New Trinity Baroque, Belgrade Baroque, Renesans Ensemble, Minstrel and other groups. and regularly plays solo concerts. She gave courses in the Arts Academy of both Novi Sad and Belgrade, music schools Isidor Bajic and Josip Slavenski. She organizes Vojvodina's first Early Music festival: Days of Baroque Music in Novi Sad since the year of 2012, bringing to Novi Sad guests from Belgium, Canada, Slovenia , Croatia, Austria, Italy and Germany.  
Srdjan Stanic
Srdjan Stanic, cellist and gambist, studied cello at the Belgrade Music Academy. He began to actively explore early music at the Early Music Department of the Josip Slavenski Music School, studying viola da gamba with Miomir Ristic, a long-time member of the Ensemble Renaissance. He currently plays viola da gamba and baroque cello in several ensembles, including Renaissance, Belgrade Baroque, New Trinity Baroque, Anonymous, as well as Flauto Dolce (Joculatores), Parnas, Tempera Barocca, Ludus Musicus and others.

He performed a large number of concerts both in Serbia and abroad, playing the music of the Middle Ages, Renaissance and Baroque. He also studied at master classes in Urbino (Italy) with Paolo Pandolfo and at the Austrian Baroque Academy in Gmunden with Christoph Urbanetz. He also worked with Mark Caudle.

Srdjan Stanic collaborated with several prominent artists, such as the Dutch baroque violinist and violist Antoinette Lohmann, British lutenist Michael Fields, soprano Laura Antonaz, harpsichordist Maria Luisa Baldassari and conductor and harpsichordist Predrag Gosta. He also worked closely with Predrag Preša Novovic and Divna Ljubojevic and her choir for sacred music "Melódi".

Srdjan is also employed in the Symphony Orchestra of the Radio-Television of Serbia as a cellist. He has been a member of the ROCHER Music Institution since 2014. He works as a viola professor in the Department of Early Music at the Josip Slavenski Music School in Belgrade.
Bojana Dimkovic

Bojana  Dimkovic  leads a versatile career as a concert pianist, harpsichordist and lecturer. She holds a position at the University of Niš Faculty of Arts and is in great demand as a chamber music partner.  Concert engagements include performances in the UK, Serbia, Slovenia, Montenegro, Italy, Republic of Ireland, Norway and Island. She has performed  at Wigmore Hall, Royal Festival Hall,  St. John’s Smith’s Square, St. Martin-in-the-Fields and Buckingham Palace. She has participated in many festivals in the UK and Serbia, and as  a soloist appeared with ensembles such as Die Kölner Academy, Radio Television Serbia Symphony Orchestra, St. George Strings, The Early Music Experiment, Metamorphosis and New Trinity Baroque. As a chamber musician and continuo player she regularly collaborates with Sasha Mirkovic & Ensemble Metamorphosis, the Makris Symphony Orchestra, New Belgrade Opera and Camerata Serbica. She is a staff accompanist for the Belgrade Baroque Academy, KozArt festival and the Austria Barock Academy.  

 

Bojana is a previous holder of the Henry Richardson Award (Musicians’ Benevolent Fund), a Wall Trust scholar, winner of the Petar Konjovic competition and finalist of the Kathleen Ferrier Awards, Royal Overseas League (category collaborative pianist), Torneo Internazionale di Musica, Broadwood Harpsichord Competition, Concorso Internazionale di Musica Citta di Stresa and Councours international de piano Nikolai Rubinstein.  As a young pianist she won prizes at many national and international competitions in her home country Serbia. At the age of 16 she received a scholarship to study music at the prestigious Purcell School for music talents in London. She received undergraduate and postgraduate degrees in piano, chamber music and historical performance from the Guildhall School of Music and Drama, and a doctoral degree from the University of Belgrade’s Faculty of Music.  At London’s Guildhall School of Music and Drama she had two Fellowships and was engaged as a Piano Associate and accompanist at “Dr Vojislav Vuckovic” Music School in Belgrade, The University for Fine Arts in Belgrade, New Belgrade Opera and more.


As an active promoter of new and neglected repertoire, she is a founding member of the Szumanski/Dimkovic duo with baritone Krzysztof Szumanski. Their recording of Sergei Bortkiewicz’s complete song cycles (Orphée Classics) is the first of its kind and has been met with great critical acclaim.  She recorded for many radio and television programmes, is on the Editorial Board of the journal Facta Universitatis: Visual Arts and Music, is on the Executive Board of the Belgrade Baroque Academy and is  a member of the Association of Music Artists of Serbia (UMUS). 

 

 

Karolina Bäter
Karolina Bäter playing the recorder and the transverse flute has established herself as a performer in both early and contemporary music. She studied with Walter van Hauwe and Barthold Kuijken at the conservatories of Amsterdam and The Hague in The Netherlands.  She won various prizes at music competitions as Deutscher Musikwettbewerb' in Bonn (Germany), the 'International Penderecki Competition' in Cracow (Poland) and was finalist during the 'International Gaudeamus Competition' in Rotterdam (The Netherlands). 

She is performing on international podiums and has played on various music festivals like Aqua Musica Amsterdam, Musica Polonica Nova, November Music, Making New Waves, Musica Antiqua Perast, Huddersfield Contemporary Music Festival, Aldebourgh Chambre Music Festival, Gaudeamus Week Amsterdam, Wien Modern, Klang K öln, März Musik Berlin, Musica Experimento, Incubate Festival, Piccolo Spoleto, Belgrade Early Music Festival, SIGF Sarajevo, Crna Kraljica Zagreb, Guitar Art Festival, Sugisfest Tallinn, Swiss Music Days and others.

As a member of early music ensembles  New Trinity Baroque, Anonimus, Renesans, Nymbus, Belgrade Baroque and Minstrel she has performed in Serbia, Croatia, Bosnia, Austria and Germany.  

Karolina Bäter is founding member of contemporary music ensemble "The Roentgen Connection", specialized in contemporary music on historic instruments, was member of new music ensemble "MAE" in Amsterdam and from 2012 on she is playing with con temporary music collective "Studio 6" in Belgrade.  Next to giving concerts, Karolina Bäter is frequently invited for lectures and masterclasses for recorder and historic flutes for ZUOV and the Belgrade Baroque Academy.

Florian Deuter
Florian Deuter, baroque violin, has had a remarkable career in the field of Historical Performance Practice. Since Reinhard Goebel invited him in 1986 to join Musica Antiqua Köln, he has propelled himself into positions of leadership by means of his formidable talent and unquenchable energy. By 1994, he was concertmaster of Goebel’s ensemble; since then, he has led the Gabrieli Consort, the Chapelle Royale, the Collegium Vocale Gent, the Amsterdam Baroque Orchestra, Les Musiciens du Louvre and Concerto Köln among other ensembles.

In 2003, in Cologne he founded the ensemble Harmonie Universelle to explore the rich and diverse literature of seventeenth and eighteenth-century chamber music. He plays on a violin by Matthieu Besseling, Amsterdam.
Katarina Djordjevic
Katarina holds a Master of Arts in baroque violin from the Royal Academy of Music in London where she studied with Simon Standage and a Master of Music from the Academy of Music in Belgrade where she studied violin with Vesna Stankovic.

Since 2011 Katarina has been performing as part of the Royal Academy of Music Kohn Foundation Bach Cantata Series and since 2013 as a member of Cambridge University Collegium Musicum. She participates regularly in the English Haydn Festival in Bridgnorth and Brecon Baroque Festival in Wales.

Her other performances include chamber music on period instruments at the Wallace Collection, leading the Royal College of Music Baroque Orchestra for performances at the National Portrait Gallery, playing as part of Florilegium for Bach’s St Matthew Passion at the Royal Festival Hall, leading the Royal Academy of Music Baroque Orchestra for Bach Unwrapped at Kings Place, Italian baroque music at the Wigmore Hall with Rachel Podger and In Tune BBC Radio 3 live broadcast of Bach’s Coffee Cantata.

Besides being an active concert violinist, Katarina is pursuing a career in early music education. In 2013 & 2014 she has been awarded Graduate Entrepreneur sponsorship from the Royal Academy of Music for her Breakthrough Baroque educational project breakthroughbaroque.com.

Currently, Katarina is the concertmaster of an early music ensemble New Trinity Baroque and the faculty of the Belgrade Baroque Academy.
Michael Fields
Michael Fields began his musical journey playing folk, rock and jazz in California.  Michael then turned his attention to classical guitar and piano and spent two years at the Melba Conservatorium in Melbourne, Australia.  A growing interest in “early” music led him to England in 1974 where he continued his studies at the Guildhall School of Music and Drama, studying classical guitar with Hector Quine and lute with Anthony Rooley, Nigel North, Jakob Lindberg in England, and with Hopkinson Smith in Basel.  He received the AGSM and LRAM diplomas in 1977.

Michael combines his experience in music with a considerable knowledge of history, art, theatre and philosophy in a varied career – performing, directing, teaching and record-producing - which has taken him around the world several times.  As a soloist, Michael has given recitals in the USA, Australia and England, and performed the Vivaldi Lute Concerto on lute, classical guitar and baroque guitar.  He is a member of the US-based baroque ensemble, New Trinity Baroque. In 2001, he performed Rodrigo’s Concerto de Aranjuez with the Camden Chamber Orchestra in London, to mark the composer’s centenary.
Darko Karajic
Darko Karajic completed his studies at the Zagreb Music Academy under professor István Roemer. He obtained his Masters and DMA degrees at the Faculty of Music in Belgrade under the mentorship of Vera Ogrizovic. His involvement with early music began with the ensemble Musica Antiqua in 1985, and continued with the ensemble Renaissance in 1991. Darko Karajic is the founder of the ensemble Anonimus, which focuses in the authentic performance of Western European Baroque music, and the ensemble Levant, which explores Byzantine and Medieval music. He also performs with early music ensembles Minstrel (Zagreb), New Trinity Baroque, Studio for Early Music, and others. He is on the faculty of the Belgrade Music Academy.
Siegfried Koch
Siegfried J. Koch studied at the J. Haydn Conservatory in Eisenstadt with Reinhold Ambros (Vienna Philharmonic) and at the University of Music and Performing Arts Graz with Prof. Stanko Arnold. Koch is a member of Haydn Akademie Wien, Wiener Akademie, Ensemble Zeitfluss and Catkanei – Studio Alte Musik Graz. He is a past member of the Gustav Mahler Youth Orchestra and Camerata Salzburg and has also performed with the Vienna Philharmonic, Orchester der Nationen, the Chamber Orchestra of Europe, the ensemble Le Concert de Francais and the St. Petersburg Philharmonic. He is a co-founder of the period ensemble Barockorchester J.J.Fux Wien, and has become known as a specialist for the baroque trumpet and the cornetto. CDs made together with Wiener Akademie, the Vienna Boys’ Choir and Lauda Musica (Madrid), as well as several solo recordings, round out his musical activities. Siegfried Koch currently teaches at the music school in Hartberg and at the University of Music and Performing Arts in Graz.
Ilia Korol
Born in Kiev, Ilia Korol (Violin) studied violin at the Music Academy Moscow with Abraham Stern and Marina Iashvili. Since 1997 he lives in Austria, where he was rewarded 2001 with the Austrian citizenship due to his musical merits. He appeared with Musica Antiqua Cologne, and performs as concertmaster of Joshua Rifkin?s Bach Ensembles, with the Spanish Baroque Orchestra RCOC, with the Vienna Academy of Music and furthermore, he is a member of the Ensembles Ars Antiqua Austria and the Clemencic Consorts. He recorded several CDs and performed as a member in renown ensembles at the most important festivals in Europe, Asia, and the United States. In 2003 Ilia Korol founded together with Julia Moretti the chamber orchestra moderntimes, that was one of the opening orchestras of the Vienna Festival in 2004, that gave a guest performance at the Ruhr Triennale in 2005, and that was invited to the Salzburg Festival in 2006.
Marijana Mijanovic
Contralto Marijana Mijanovic was born in Serbia. After studying piano at the Belgrade Academy of Music, she studied singing at the Conservatorium Sweelinck, Amsterdam. She is the winner of several international competitions, including the First Prize at the National Competition for Young Singers in the Netherlands and the Prix Jeunesse at the International Opera Competition of the Concertgebouw Amsterdam. Her international breakthrough came at the Festival d’Aix-en-Provence in 2000 as Penelope in Monteverdi’s Il Ritorno d’Ulisse in Patria under William Christie and his ensemble Les Arts Florissants. Marijana Mijanovic celebrated important successes in Handel roles at Zurich Opera House, where she débuted in Il trionfo del tempo e del disinganno, followed by the title roles in Radamisto and Orlando, and as Ottone in Agrippina. She also performed at other opera houses with conductors such as Alan Curtis, Paul McCreesh, Rene Jacobs, Fabio Biondi, Ottavio Dantone and others. Between 2013 and 2019 she closely collaborated with Serbian-American conductor and keyboard-player Predrag Gosta at the Belgrade Baroque Academy and the New Belgrade Opera, and in 2020 she started her own Baroque Atelier. She recorded several CDs, including Handel’s Giulio Cesare, Vivaldi’s Bajazet, Handel’s Rodelinda; Vivaldi’s Tito Manlio, and Conti’s Davids. She appeared on DVD as Giuditta in Mozart’s La betulia liberata and as Orlando in Handel's Orlando. Marijana Mijanovic’s solo album of Handel arias Affetti barocchi, was issued by Sony in 2007. She lives in Switzerland.

André Laurent O'Neil
André Laurent O'Neil, baroque cello, has extensive experience as both soloist and continuo player. In addition to New Trinity Baroque, he works with Boston's Handel and Haydn Society and has played with the European groups Les Perruques d'Amsterdam, and L'Orfeo Barock Orchester. André has also performed with the period instrument chamber ensembles Repast, Duo Seraphim, Bacchanalia, Ars Antiqua, Arc'Angelo, Capitol Chamber Artists and Musicians of Ma'alwyck. During the summer he regularly performs in Robert Conant's Festival of Baroque Music in upstate New York, where a reviewer has praised "his lustrous ringing tone, facile technique and strong convincing grasp of the baroque style." He has presented Bach's six solo suites at the University at Albany. André graduated from Yale with honors and from the Early Music and Historical Performance Practice Program at the Royal Conservatory in The Hague, Netherlands, where he studied with Jaap ter Linden. He has given baroque performance practice presentations and masterclasses at Columbia University, the University at Albany and the Brooklyn-Queens Conservatory of Music. André plays an original John Morrison violoncello (London, 1800), using a reconstruction of a c.1700 English bow.
Dusan Toroman
Dušan Toroman was born in Cacak (Serbia), where he started learning the piano at the age of ten. He then moved to Zemun to study with Zlata Maleš at the “Kosta Manojlovic” school of music, winning first prizes at many piano competitions: “Città di Gorizia”, “Petar Konjovic”, Serbian National Piano Competition, EPTA Competition dedicated to the works of Ludwig van Beethoven.

After graduating with the highest marks from the Faculty of Music in Belgrade, an interest in historic keyboard instruments brought him to Italy, where he obtained a diploma in fortepiano at the Accademia “Incontri col Maestro” in Imola under the guidance of Stefano Fiuzzi. He studied harpsichord with Emilia Fadini and Maria Luisa Baldassari, and attended masterclasses by musicians such as Ottavio Dantone, Sergio Ciomei, Malcolm Bilson, Ketil Haugsand, Egon Mihajlovic, Lidija Bizjak, Sigiswald Kuijken…

Winner of the International Music Tournament in Paris and of the international harpsichord competition “Wanda Landowska” (Italy), he was also awarded a prize for the best interpretation of Italian music by the jury of the “Gianni Gambi” competition in Pesaro.

As a soloist and chamber musician, he has performed in Serbia, Italy, France, Hungary, and Slovenia. He is a member of "Arbor Dianae", an ensemble that performs XVIII century music on authentic instruments, as well as the ensemble "New Trinity Baroque". Due to his longstanding interest in vocal music, he has worked extensively as a piano accompanist and currently holds a place at the singing department of the Faculty of Arts in Kragujevac. Dušan Toroman is in the team of the Young Artists of the Accademia Europea Villa Bossi in Bodio Lomnago – Varese, Italy. He is also a staff accompanist of the Belgrade Baroque Academy and the Austria Baroque Academy.
Evelyn Tubb
Evelyn Tubb, soprano, has been hailed by critics as “one of the few truly outstanding sopranos of her generation”, and has attracted world-wide admiration for innovative and adventurous performances which breathe life and character into both familiar and forgotten songs. After spending her formative years on the Isle of Wight, Evelyn studied at the Guildhall School of Music in London. A background in dance as well as singing, plus eclectic musical tastes, has given rise to her own expressive style, which is equally at home in jazz as in medieval music. As a member of the Consort of Musicke, and in her duo partnerships with Michael Fields and Anthony Rooley, Evelyn has made dozens of recordings and given concerts and broadcasts in the USA, Japan, Australia, Israel and East & West Europe. Evelyn has a great love for music mixed with drama, and has performed works ranging from medieval music-drama, through baroque opera, to modern music-theatre pieces by Peter Maxwell-Davies and David Bedford. As well as having a busy calendar of international concerts and recitals, Evelyn has often appeared in programmes for English, Dutch, Swiss and Italian television. Her inspiring teaching is widely recognised, and she is much in demand for courses world-wide, as well as being Professor of Singing at the Scola Cantorum Basiliensis in Basel, Switzerland. When not flying around the world, she is passionate about creative cooking.
Jeremy West
Jeremy West  is an evangelist for the cornett, the often-overlooked wind instrument which was held in the highest possible regard during the 16th and 17th centuries. He continues to play a lead role in re-establishing this instrument as a recognised and accepted virtuoso and ensemble instrument and now has thirty-five years of top class playing and recording experience with many of Europe's leading renaissance and early baroque ensembles. Jeremy has on several occasions been acclaimed a “pioneer” of his instrument. He is a founder member of His Majesty's Sagbutts & Cornetts – the leading ensemble of its kind – and is Principal Wind Player with the Gabrieli Consort and Players for their earlier repertoire. He has more than 60 recordings to his credit.

In addition to a playing career which has taken him to more than 30 countries, since 1991 Jeremy has directed the instrument-making workshops of the late Christopher Monk. The workshops are devoted to the research, development, reproduction and worldwide distribution of all instruments in the cornett and serpent families. Examples of the workshop’s output, and in particular the extraordinarily popular resin cornett – an instrument which has inspired and enabled the majority of today’s players – may be found from New York to New Zealand, Scandinavia to South America.

In 1995 Jeremy wrote How to play the Cornett with Susan J. Smith (University of Cambridge). This is the first comprehensive tutor, written in modern times, for cornett players of all levels and it has sold more than 1000 copies worldwide.

Jeremy West is a professor at the Guildhall School London, and Musician in Residence at Girton College, University of Cambridge. In his spare time, he plays for the City of Cambridge Brass Band and Stanhope Silver Band (Eb Horn - another overlooked brass instrument about which he is passionate), amidst spells of skiing and tractor driving. He lives with his partner, Susan Smith, between Cambridge and Weardale, County Durham.
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