Ton Koopman began his musical education and career in the 1950s, at the leading edge of the revival of interest in baroque music. His outstanding reputation as a harpsichordist, organist, conductor and teacher has Johann Sebastian Bach’s music as its foundation. Over the decades, Ton Koopman has collaborated with some of the world’s most accomplished […]
Avi Avital is a mandolin player and a composer with a broad repertory of music for his instrument from many different genres. Suzanne spoke with him about the mandolin and his 2015 recording of Vivaldi’s Mandolin Concertos with the Venice Baroque Orchestra. https://sundaybaroque.org//~sundayba//podcasts/avi_avital.mp3
The visual arts and artists of the 17th century are much better known than the music and composers of that same time period, and guitarist Richard Savino wanted to address that oversight. He embarked on a comprehensive project to integrate the paintings of artists such as Artemisia Gentileschi and her contemporaries with music by composers
Guitarist Sharon Isbin is a passionate and articulate advocate for her instrument and for music in general. As an international performer, recording artist, teacher and mentor she is shaping the future of the popular instrument. Suzanne spoke with Sharon Isbin about her impressive career.
The Yale Baroque Opera Project (YBOP) was founded in 2006 to introduce Yale students to historical and aesthetic studies related to Italian opera from the 17th and early 18th centuries. Grant Herreid is Artistic/Music Director YBOP, and he spoke with Suzanne about the May 2014 production of Claudio Monteverdi’s opera The Coronation of Poppea.
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Nicholas McGegan is a man of many talents and interests: an art aficionado, avid gardener and epicure, to name just a few. He’s also one of the most sought-after experts in baroque and early music — a conductor, harpsichordist and scholar. His zest for life is evident in everything he does, especially when he’s leading
When renowned conductor Nicholas McGegan spoke with Suzanne Bona, he shared his thoughts about how and why artificial barriers went up between baroque & early music and other kinds of music, and he offered suggestions for making the concert-going experience more enjoyable and popular. He also shared his fondness for Oregon pinot noirs and advice
