Author: Emanuele Broglia

Classically trained dancer, choreographer and teacher, she approaches the study of ancient dance in Urbino in 1992, under the guidance of B. Sparti, V. Daniels and D.C. Column. She deals with ethnic and contemporary dance, in 2002 she graduated dance-educator © Laban method / community dance (Mousiké, Bologna). She studied Paleography and Musical Philology at the University of Cremona.

From Europe, to Asia, to the Americas, she has performed with La Petite Bande by S. Kujiken, Le Concert des Nations by J. Savall, DoulceMémoire, Dowland Consort by J. Lindberg, Elyma by G. Garrido, La Follia by G. Fabiano, Micrologus, Musica Fiorita by D. Dolci, La Risonanza by F. Bonizzoni, LesJardins de Courtoisie, Resonances by C. Chiarappa, Norsk Barokkorkester G. von deer Gotz- R. Lislevand, Orchestra Barocca Civica Scuola di Musica Claudio Abbado- R. Balconies, La Follia by G. Fabiano, I Solisti Veneti.

For director Susanna Nicchiarelli she created the choreographies for the forthcoming film dedicated to Santa Chiara – produced by Vivo Film – and danced in Romeo and Jiuliet by Carlo Carlei – Indiana Production.

She has collaborated with Il Leoncello by A. Pontremoli and Il Ballarino dancing in various productions and in particular in the French-language show inspired by the life of Leonardo da Vinci “L’Harmoniedu Monde”.

She conducted research on Manuscript 9085 “LesBassesdanses de Marguerite d’Autriche” by conducting workshops and lectures-conferences (Bourg-en Bresse 2004; Pesaro, 2012; Dolmetsch School Congress, London 2013).

She created the choreography for the following works by Claudio Monteverdi: Il Ballo delle Ingrate, L’Orfeo, Il Combattimento by Tancredi and Clorinda staged several times in Milan, Genoa, Mantua, Brescia and Trento.

She danced with C. Turocy’s New York Dance Company on “The Pleasure of the Dance” and “The Temple of Glory” at the Jarvis Theater in Napa, California.

She presented her studies in the United States for the Society of Dance History Scholars, at the Vaganova Academy (St. Petersburg Russia), at the Université de Paris-Sorbonne (France), in Germany, VII International Historical Dance Symposium at BurgRothenfelsamMain, at the University of Bologna and at the Teatro San Carlo-Conservatorio Naples.

She has conducted lessons for adults and children in numerous prestigious institutions in Italy (Conservatory of Adria, Rovigo, Pesaro, Como, Brescia, Parma, Scuola Civica Milano) and abroad (CSI Lugano, Switzerland; Rigve International Summer Course, Norway; Valtice , Czech Republic; Belgium, Slovenia, Paraguay, Indonesia).

Testo curriculum

Ha studiato violoncello barocco e classico con Gaetano Nasillo presso la Scuola Civica di Milano, diplomandosi con lode nel 2003. Si è perfezionato inoltre con Christophe Coin, Amedeo Baldovino, Mario Brunello e Antonio Meneses.

Nel 2002 ha fondato AleaEnsemble, insieme ai violinisti Fiorenza de Donatis e Andrea Rognoni, ed al violista Stefano Marcocchi, con l’intento di approfondire il repertorio per quartetto d’archi dei periodi classico e romantico su strumenti originali.
Con AleaEnsemble, Marco ha registrato il Divertimento per trio d’archi in mi bemolle maggiore KV 563 di W.A.Mozart per l’etichetta MVCremona, i quartetti op. II di Luigi Boccherini (Choc de la Musique, Diapason d’Or) e gli ultimi quartetti di Haydn dell’ op. 77 per Stradivarius, nonchè i quartetti inediti dell’opera 15 di Luigi Boccherini per l’etichetta Dynamic.

Dal 2016 suona come primo violoncello presso The English Baroque Soloists, Monteverdi Choir and Orchestras, diretti da John Eliot Gardiner.
Collabora inoltre con Concerto Italiano (Rinaldo Alessandrini), con Le Concert d’Astrée (Emmanuelle Haïm) e con Balthasar Neumann Chor und Orchester (Thomas Hengelbrock).

Dal 2003 al 2016 ha ricoperto il ruolo di primo violoncello di Accademia Bizantina, diretta da Ottavio Dantone, e dal 2011 al 2014 ha collaborato come primo violoncello con Orchestra of the Age of Enlightenment.

Michael Form was born in Mainz (Germany) in 1967. He graduated twice in 1990 and 1992 «summa cum laude» at the Hochschule für Musik Köln went on to study at the Rotterdams Conservatorium and subsequently specialised in medieval, Renaissance and baroque music at the Schola Cantorum Basiliensis (Basel/Switzerland). Apart from his interest in Early Music, he found one of his most eminent teachers in the Romanian conductor Sergiu Celibidache. Finally in 2016 he obtained a DAS (Diploma in Advanced Studies) as a classical conductor at Berne University of Arts (Switzerland).

Michael Form was granted scholarships from Heinrich-Strobel-Stiftung (SWF, Baden-Baden), Studienstiftung des deutschen Volkes, Cité Internationale des Arts (Paris) and Deutscher Akademischer Austauschdienst DAAD. As a flute player he was awarded at important competitions such as Internationaler Musikwettbewerb der ARD (Munich), Concours de musique contemporaine ICARE 88 (Paris) and Concours Musica Antiqua (Bruges).

He regularly performs at prestigious European festivals such as Schleswig-Holstein Musik Festival, Rheingau Musik Festival, Internationale Händel Festspiele Halle und Karlsruhe, Mosel Musikfestival, Villa Musica Mainz (Germany), Festival Oude Muziek Utrecht (Holland), Festival van Vlaanderen, Laus Polyphonie Antwerpen (Belgium), Les Museiques Basel, Lucerne Festival, Freunde Alter Musik Basel (Switzerland), Festwochen der Alten Musik Innsbruck (Austria), Brixner Initiative Musik und Kirche, Musica e Poesia a San Maurizio Milano (Italy), Automne Musical au Château de Versailles, Festival de Musique de la Chaise-Dieu, Festival Baroque de Pontoise, Rencontres de Musique Medievale de Thoronet, Bach à Silvacane – La
Roque d’Antheron, Theatre de la Ville, Paris, Bibliothèque Nationale de France, Opéra National de Bordeaux (France), Fundação Calouste Gulbenkian (Lisbon), Concentus Moraviae (Czech Republic). He works together with famous artists and groups such as the TAVERNER PLAYERS (Andrew Parrott), the ENSEMBLE GILLES BINCHOIS (Dominique Vellard) and CAFÉ ZIMMERMANN. For the last 20 years he has been performing highly acclaimed duo recitals with the German harpsichordist Dirk Börner. His live concerts have been recorded by almost all German radio stations. His CDs for Raumklang Musikproduktion, Alpha and Edition Ambronay, have received several awards such as Choc du Monde de la Musique and Diapason d’or for his Album «Bach Remixed».

Currently Michael Form works chiefly as a conductor with his ensemble LES FLAMBOYANTS, which had its début in 1997 and has been performing since then all over Europe and in New Zealand. The group is specialised in the neglected instrumental repertoire of the Renaissance era around 1500, however, it had its first big success in 1998 with a large tour dedicated to the 900th birthday of Hildegard von Bingen. 2007 Michael Form and Dirk Börner founded the ensemble AUX PIEDS DU ROY in order to put into practice the results of an extant research project for the Schweizerische Nationalfonds on French baroque Belle Danse. Michael Form has a considerable reputation as a teacher: already at the age of 21 he received a lectureship at the Johannes Gutenberg-Universität Mainz, from 2000 until 2002 he had been teaching at the Schola Cantorum Basiliensis, and from 2004 until 2007 at the Musikhochschule Freiburg (Germany). Since 2003 he is professor at the Hochschule der Künste Berne (Switzerland). He has been an invited teacher at the Conservatorio superior de música de Canarias (Spain) and has given master classes at the Meistersinger Konservatorium Nürnberg (Germany), at the Anton Bruckner Universität Linz (Austria), at the Conservatory of Sofia (Bulgaria), at the Conservatoire national supérieur musique et danse Lyon (France), at the Universidad de Alicante, at the Festival de Música Antigua de Gijón (Spain).

In 2002 Michael Form started a second career as a conductor. After having directed the baroque orchestra of the Schola Cantorum Basiliensis for several years, emphasising on a new approach to French orchestra music as well as experimenting with historical conducting techniques, he was appointed to conduct the orchestra of the FIMA Urbino, the biggest Early Music Festival in Italy. He had his debut as an opera conductor 2004 in Lausanne with «Les Indes Galantes» by Jean-Philippe Rameau, a production with turned out to be a remarkable success. Subsequently, Michael Form conducted not less than 160 opera performances in Europe and Latin America. From 2006 until 2011, he may be considered having been the central artistic figure at the festival Winter in Schwetzingen: Several German first performances of operas by Antonio Vivaldi have been rewarded with big applause by the audience as well as by the international press. In 2007, Michael Form conducted the American first performance of Vivaldi’s recently discovered opera «Motezuma» at the Teatro de la Ciudad in Mexico City coproduced by the Luzerner Theater.

Subsequently, he was invited as a guest conductor and soloist by the FOLKWANG KAMMERORCHESTER ESSEN, the WÜRTTEMBERGISCHES KAMMERORCHESTER HEILBRONN, the NIEDERSÄCHSISCHE STAATSPHILHARMONIE Hannover, the NDR RADIO-PHILHARMONIE the MÜNCHNER OPERNFESTSPIELE, the BADISCHE STAATSKAPELLE, the OLDENBURG STATE ORCHESTRA, the OPERN- UND MUSEUMSORCHESTER FRANKFURT, the DEUTSCHE HÄNDEL SOLISTEN, the PHILHARMOISCHES ORCHESTER DER STADT HEIDELBERG (Germany), the LUZERNER SINFONIEORCHESTER and the ORCHESTRE DE CHAMBRE DE GENÈVE (Switzerland).

In 2012 Michael Form had his debut at the Internationale Händel-Festspiele Karlsruhe: Handel’s opera «Alessandro» was a great success, it has been repeated the following year and issued as a live recording for Pan Classics. In 2015 und 2016 Handel’s early opera «Teseo» was produced at the same festival. In 2013 Michael Form conducted at the Oper Frankfurt Emilio de’ Cavalieri’s «Rappresentatione di Anima, et di Corpo» together with the first performance of «Fulgur Harmoniae» by the Austrian composer Klaus Lang, a work commissioned by the Frankfurt opera house. As well the scenic as the musical realisation of both works have been praised as the best production of the season.

In 2010 Michael Form found his own orchestra on period instruments, the ORCHESTRE ATLANTE, which is dedicated to the research and performance of late baroque and classical repertory. One of its highlightsso far was a gala concert with the famous italian soprano Roberta Invernizzi. Since 2014 he is collaborating as principal guest conductor with the SIMÓN BOLÍVAR SYMPHONY ORCHESTRA OF VENEZUELA and the SIMÓN BOLÍVAR BAROQUE ORCHESTRA in Caracas (Venezuela), which is one of the most remarkable new ensembles of EL SISTEMA.

Already for the 5th time Michael Form has been conducting the MADRIGALISTAS DE BELLAS ARTES, the famous chamber choir of the Mexican National Opera. On the 19th of September 2015 he has been elected to direct a concert broadcasted life by the Mexican television commemorating the 30th anniversary of the big earthquake in Mexico City.

Paolo Da Col ha compiuto studi musicali al Conservatorio di Bologna e musicologici all’Università di Venezia e presso il Centre d’Études Supérieures de la Renaissance di Tours. È il bibliotecario del Conservatorio di Venezia. Sin da giovanissimo ha orientato i propri interessi al repertorio della musica rinascimentale e preclassica, unendo costantemente ricerca ed esecuzione. Ha fatto parte per oltre vent’anni di numerose formazioni vocali italiane e dal 1998 dirige l’ensemble vocale maschile Odhecaton, al quale è stato conferito nel 2018 il Premio Abbiati della critica musicale italiana. Con Odhecaton ha registrato una quindicina di dischi che hanno ricevuto i maggiori riconoscimenti, tra i quali il Grand prix international de l’Académie du disque lyrique, 5 diapason d’or, 2 diapason d’or de l’année, cd of the Year (Goldberg), Editor’s choice (Gramophone). Ha diretto con Luigi Ferdinando Tagliavini e dirige la rivista L’Organo e ha collaborato in qualità di critico musicale con varie riviste specializzate, ha diretto il catalogo di musica dell’editore Arnaldo Forni di Bologna, è curatore di edizioni di musica strumentale e vocale, autore di cataloghi di fondi musicali e di saggi sulla storia della vocalità. Collabora all’edizione critica delle opere di C. Gesualdo da Venosa e G. Tartini.

Giovanni Togni graduated with top marks in piano, harpsichord and choir direction further extending his musical knowledge with studies in composition and organ. His musical interests have been focused on early keyboards (harpsichord, clavichord and fortepiano) since meeting his harpsichord teacher Laura Alvini.

He is the winner of the 1991 ECBO selections (harpsichord and organ continuo) in Paris, France, and of the 1993 National Harpsichord Competition in Bologna, Italy.

He performed as continuo player (at the harpsichord and organ) with many ensembles, such as Ensemble Concerto, Il Complesso Barocco, Accademia Bizantina, Ensemble Zefiro, Ensemble Aurora, the European Community Baroque Orchestra (ECBO), the RAI Orchestra in Rome, the Orchestra Mozart directed by Claudio Abbado. Furthermore, he had collaborations with opera theatres like the Teatro Massimo in Palermo and the Opéra de Monte-Carlo and he performed in prestigious Italian and European early music and chamber music festivals, both as a soloist at the harpsichord and fortepiano and in chamber groups.

He has recorded for labels such as Glossa, Brilliant, “Amadeus”, Dynamic, Concerto, Deutsche Harmonia Mundi, EMI-Virgin, Deutsche Grammophone (Archiv Produktion) and for the Radiotelevisione Italiana and other European broadcasters.

He has been engaged as lecturer, speaker and jury member, by several institutions like the Giorgio Cini Foundation in Venice, European Harpsichord Competition (Bologna) and the International Early Music courses in Urbino (Fondazione Italiana per la Musica Antica). Since 2017 he is director of the International Early Music courses in Urbino.

He taught harpsichord and historical keyboards at the Cagliari and Milan Conservatoires. Currently he is professor for the same disciplines at the Conservatoire “G. Verdi” of Como.

During his training, Pierre Goy was taught by pianists from three major schools: Fausto Zadra and Edith Murano, both pupils of Vincenzo Scaramuzza (whose pianistic lineage dates back to the great Sigismund Thalberg): Esther Yellin, pupil of the pianist and teacher Heinrich Neuhaus of Moscow: and finally Vlado Perlemuter in Paris.

Fascinated by the expressive possibilities of old instruments, he followed courses for the fortepiano given by Luciano Sgrizzi, Paul Badura-Skoda and Jos van Immerseel, and Jesper Christensen for the romantic piano.

Pierre Goy seeks to perform the music of each era on an instrument that corresponds to it. 

His recordings have been acclaimed by the critics, receiving the highest distinctions.

He gives numerous concerts as a soloist or in chamber music.

He teaches in the Hautes Ecoles de Musique of Geneva HEM and Lausanne HEMU and frequently shares his knowledge of old instruments and performance practice during master class and seminars.

Pierre Goy is the founder of the Rencontres Internationales harmoniques de Lausanne, which since 2002 has seen instrumentalists, musicians, musicologists and museum curators gathering to exchange knowledge of old instruments.

For publications and recordings see https://pierregoy.com

Born in Verona, Italy, in 1965, she began to play the harpsichord at the age of 11. In 1989 she obtained an organ degree at the Conservatory F.E. Dall’Abaco in Verona. Later, in Holland, she studied at the Koninklijk Conservatorium of The Hague with Jacques Ogg, Ton Koopman (harpsichord) and Stanley Hoogland (fortepiano) obtaining a soloist degree in 1993.

Her professional activity include numerous collaborations with various baroque orchestras such as La Petite Bande, Amsterdam Baroque Orchestra, La Risoluzione Amsterdam, Zefiro, I Barocchisti, Venice Baroque Orquestra, Ensemble Il Divino Sospiro. Recently she has taken part, in many productions of the Chamber Orchestra of Europe, as harpsichordist.

Together with Roberta Invernizzi she has formed a classical duo Voice and Fortepiano, and with the Mannheimer Schule Ensemble, she usually plays quintets by Mozart and Beethoven for winds and fortepiano.

In her professional activity she has partecipated in several Cd recordings for labels as Naxos, Emergo, Hungaroton, Tactus, Stradivarius and Spanish National Radio.

At the Conservatory of Verona, as a teacher of chamber music, she organized, several international music workshops on the classical repertoire in collaboration with Lorenzo Coppola. Currently she teaches harpsichord and historical keyboards at the Conservatory of Frosinone.