Interview
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Launching AEVUM: Streaming, ReimaginedJordi Savall: Choosing Independence, Once Again
At 85, Jordi Savall shows little inclination to slow down. After transforming the way we listen to early music, creating his own ensembles and his own label, the Catalan viol player and conductor is now embarking on a new adventure: the creation of AEVUM, a digital platform designed to return to musicians some of the value that streaming has taken away from them. A new fight for independence—and an opportunity to look back with him on sixty years of music.
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Young TalentsThe Many Lives of Eleonora Bišćević
At 31, she is a flautist, organist, improviser, occasional researcher and, now, a teacher at the conservatoires of Strasbourg and Innsbruck. She performs with Jordi Savall, Amandine Beyer, Andrea Marcon and Francesco Corti, while also pursuing her own projects with the Duo Alter Ego and the Girandola Quartett.
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Young TalentsFalse Consonance: Four Musicians, No Keyboard
Founded in Bremen, northern Germany, in 2020, just as the pandemic brought European musical life to a standstill, False Consonance has made an unusual configuration its hallmark: four musicians, but no keyboard instrument to support the continuo. A constraint that has become a field for experimentation.
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Les Épopées & Stéphane Fuget“Médée” on Tour: Bringing Charpentier Out of Lully’s Shadow
Marc-Antoine Charpentier’s “Médée”: In Lully’s Shadow? As he prepares to embark on a tour of France and Belgium for five concert performances of Charpentier’s only opera, Stéphane Fuget, music director of the ensemble Les Épopées, reflects on the work: it is time to stop viewing Charpentier solely through the lens of his powerful predecessor.
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Young TalentsApotropaïK: New Messengers of the Middle Ages
Formed in Lyon, the French quartet ApotropaïK describes its music as ‘new music of the Middle Ages’: troubadours, the Ars Nova, oral tradition, improvisation and stage productions all contribute to an approach that is as well-researched as it is free-spirited. Their next performance will take place this coming December in Enghien-les-Bains (France) with their new programme, ‘Bestiaire’.
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"Floridante" at Bayreuth Baroque 2026Max Emanuel Cencic: The Art of Breaking the Mold
Opening the 2026 Bayreuth Baroque Festival, Max Emanuel Cencic stages Handel’s “Floridante” and also takes on the title role. Under his artistic direction, the festival has established itself since its launch in 2020 as one of Europe’s most dynamic platforms for Baroque opera. Alongside Sonja Runje and Bruno de Sá, and under the musical direction of Markellos Chryssicos, this new production will be performed on 4, 6, 8, 10, 12 and 13 September 2026 at Bayreuth’s Margravial Opera House.
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Young TalentsBarque Ensemble: The Vitality of Polish Early Music
A group of four to six young Polish musicians, Barque Ensemble was founded in Łódź in 2019 and is equally drawn to Telemann and to “forgotten masters”, whether German or, more unusually, Irish. Their next appearance is on 28 August at the Innsbrucker Festwochen der Alten Musik in Innsbruck.
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Young TalentsSergio Bucheli, a Mexican lutenist at the heart of European Baroque music
At just 28, Sergio Bucheli has already lived several musical lives: a young guitarist in Mexico City, a student at the Yehudi Menuhin School thanks to the Rolling Stones, a lute student in London, and now a sought-after continuo player with some of Europe’s leading baroque ensembles. From Bach to Dowland, from Handel to Virginia Woolf, he reflects on his arrival in England, his love of singers, and the day he cut off his fingernails so he could never play the guitar again.
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Young TalentsEmmanuelle Dauvin, Baroque Music’s Unidentified Musical Object
A duo for violin and continuo may sound conventional enough — except when a single musician performs both parts at once. With her violin beneath her chin and her feet on the organ pedals, Emmanuelle Dauvin has created a world entirely her own with OVNI Baroque. From 14 August, she will rejoin La Chapelle Rhénane at the Festival Bach en Tarentaise, before giving concerts in Rennes on 30 August and at the Utrecht Early Music Festival on 2 September.
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Innsbruck Festival of Early MusicCesti’s “Il pomo d’oro”: The Daring Gamble of Reviving an Opera Unperformed Since 1668
Ten hours of music over two evenings, a theatre built especially for the occasion, and more than forty characters: Antonio Cesti’s “Il pomo d’oro” had all the makings of an extraordinary theatrical gamble. Premiered in 1668 at the imperial court in Vienna and never revived since, this monument to Habsburg glory returns to the stage this summer in Innsbruck with Accademia Bizantina, under the direction of Ottavio Dantone, to celebrate the 50th anniversary of the Innsbrucker Festwochen der Alten Musik. The opera will be performed on 7+8, 11+12, 15+16 August at the Tiroler Landestheater.
