Why did so much music by women composers of the Baroque era fall into oblivion? How would their works sound today? Why were so many works by Romantic women composers preserved and revived, while Baroque women composers remained forgotten? And what would it mean to create a dialogue between past and present?
This project is the culmination of years of research by violinist Anna Urpina in the archives of the libraries of Paris and Venice. The result is a collection of works by Baroque women composers—both instrumental and vocal—some of which have never been recorded or performed before.
The programme brings together works by twelve women composers from Italy, France, Spain and England and includes six completely unpublished pieces which, in this concert, enter into dialogue with contemporary composers such as Helena Cánovas and Zulema de la Cruz. If, for centuries, men have spoken about women in music, now women themselves can tell their own version of history.
María Hinojosa, voice
María Hinojosa Montenegro is a leading soprano on the international operatic scene, with an active career in major festivals and theatres throughout Europe and the Americas. Specialising in Baroque, Classical and contemporary repertoire, she studied at ESMUC in Barcelona and has received numerous distinctions, including the Critics’ Prize at the Butaca Awards. She has performed at prestigious venues such as the Musikverein in Vienna, the Gran Teatre del Liceu, Madrid’s Teatro Real and the Arena di Verona, and regularly collaborates with leading conductors and early music ensembles.
Anna Urpina, baroque violin
Anna Urpina specialises in early music and repertoire ranging from the seventeenth to the twenty-first century. Described by BBC Magazine as one of Europe’s emerging musical phenomena, she has received international acclaim for her highly personal and refined interpretations. She has studied with internationally renowned musicians including Enrico Onofri, Vartan Manoogian, Shirly Laub and Mariana Sîrbu, as well as leading figures of the early music movement such as Fabio Biondi, Manfredo Kraemer and Emilio Moreno.
Daniel Oyarzábal, harpsichord
Eva del Campo és una clavecinista especialitzada en música antiga, formada al Conservatori Regional de Tolosa de Llenguadoc i a l’ESMUC de Barcelona. Ha ampliat els seus estudis amb alguns dels principals referents internacionals de l’instrument i la interpretació històrica.
Guanyadora del Concurs Internacional de Música Antiga de Gijón (2018), és cofundadora de Pérgamo Ensemble i ha actuat en nombrosos escenaris europeus amb formacions especialitzades en música barroca. La seva activitat combina la interpretació, la recerca i la recuperació de repertori històric, amb diversos enregistraments discogràfics destacats. Actualment compagina la carrera concertística amb la docència de clavecí i baix continu.
Nicola Brovelli, baroque cello
Nicola Brovelli is a specialist in early music with an outstanding international career. He studied in Milan and graduated with honours in Baroque cello under Gaetano Nasillo. He has collaborated with conductors such as Riccardo Muti, Claudio Abbado and Gianandrea Noseda and performs regularly with some of Europe’s leading early music ensembles.
Élisabeth Jacquet de la Guerre (1665-1729)
Sonata for Violin and Obligato Viola da Gamba (world premiere performance)
Francesca Caccini (1587-1640)
Songs from Il primo libro delle musiche
Isabella Leonarda (1620-1704)
Sonata No. 12 for Solo Violin
Zulema de la Cruz (1958)
Love Songs
Mademoiselle Butier
Air sérieux (previously unperformed work)
Mademoiselle Duval (1665-1729)
Instrumental Suite
Helena Cànovas/Leonarda
Largo Once Again (world premiere)
Maireta Piruli
Correnti for Violin and Spinet (previously unperformed work)
