They are the future of the Baroque scene! Discover the promising young musicians and ensembles supported by Total Baroque in this section!
Marie Nadeau-Tremblay’s name has risen like a rocket through Quebec’s Baroque music scene in recent years. The colourful violinist, who has built a series of recording projects far off the beaten path, reflects on her journey, her artistic convictions, and the place of art in North American society today.
PassiSparsi are Italian and unapologetically unconventional. This vocal quartet has chosen a little-known Renaissance polyphonic repertoire: the morescas, irreverent secular songs that composer Orlando di Lasso wrote following a stay in Naples. Discover the mystery of PassiSparsi’s black cat in this many-voiced interview.
At 23, the French musician Manon Papasergio is already pursuing a distinctive path between the viola da gamba and early harps, placing them at the service of rarely explored repertoires, from the Renaissance to the threshold of the Baroque. Invited by ensembles such as Les Musiciens de Saint-Julien and Il Caravaggio, and the author of a much-noticed first recording, she moves forward with insatiable musical curiosity and a firmly embraced refusal of boundaries.
For over a decade, the French quartet Kapsber’girls have been reclaiming overlooked pages of the Baroque repertoire. Driven by in-depth research and creative work, the ensemble develops original programmes conceived for the stage and shaped by a strong taste for experimentation. Their journey also sheds light on the practical realities of production and touring today, balancing artistic ambition, collective organisation and a changing sector.
Created in Basel (Switzerland), in the vibrant atmosphere of the Schola Cantorum Basiliensis, the female vocal quartet Contre le Temps brings medieval music to life in a renewed form. Four singers—two French, two American—and four individual paths converging in a shared sound, always in search of itself.
A Franco-American harpsichordist born in Berkeley and based in Paris since adolescence, Lillian Gordis has established herself as a leading figure of her generation on the international stage. Acclaimed for the expressive power of her playing and her intellectual engagement, the “Martha Argerich of the harpsichord” is regularly invited to major festivals across Europe and the United States, while also pursuing a highly regarded recording career.
They are four: Roxana and Yaoré on violins, Suzanne on cello and Louise on harpsichord. Behind the Celtic myth of the “banshee”, they reinvent the concert experience with a freedom shaped as much by Baroque aesthetics as by the spirit of an Irish pub. Their album, to be released in September on Alpha Classics, will explore Venetian and Viennese repertoire.
Dutch classical violinist Charlotte Spruit only discovered the Baroque instrument at university, but now they’re linked for life. She looks back on this unexpected turning point, her first steps on gut strings, the momentum sparked by the Bach Competition, and how she now moves between Baroque and modern, refusing to choose one over the other.
