In 2010 and 2013 she took part in a highly praised world tour of the St. Matthew Passion under the direction of Philippe Herreweghe and in 2011 she made her debut in Carnegie Hall with Masaaki Suzuki´s Bach Collegium Japan. In 2017 she appeared in major venues all over Europe and North America in the trilogy of Monteverdi operas mounted by John Eliot Gardiner for the composer’s 450th birthday. In the three operas she sang six roles including the title role in Poppea.
 
Hana appears on more than thirty CDs, including the well-known series of Bach cantatas with the Bach Collegium Japan. She also plays gothic and romanesque harp and presents concerts in which she accompanies herself on this instrument. In addition she is a member of the Tiburtina Ensemble, which specializes in Gregorian chant and early medieval polyphony.

He created the dual role of Ulisse and John Gregory Dunne to critical acclaim in last  year’s Bayerische Staatsoper production of Il Ritorno d’Ulisse/Jahr des magisches Denken  His concert appearances span the intimate and the grand, from BBC Radio 3 recitals  with lutenist Elizabeth Kenny, domestic music of Bach for Nederlandse Bach Vereniging  and Handel Chandos Anthems in their original setting of the Canons Estate church, to  performances of Britten’s War Requiem (Canterbury, Lille) and Elgar’s Dream of Gerontius (Cardiff, Wroclaw). Recent concerts include Dowland in Japan with Les Voix Humaines,  Viadana in Verona and Switzerland with Bruce Dickey, a Weckmann programme in  Vienna’s Konzerthaus and the 50th birthday celebration in Oxford of Andrew Parrott’s  Taverner Consort. 

Charles’ reconstructions of Gesualdo’s Sacrae Cantiones à6 have been premiered by  the Gesualdo Consort of Amsterdam and his completion of Purcell’s court Ode Arise my  Muse was broadcast on Radio-Canada during the Montréal Baroque Festival.  He is delighted to return to EMV for this summer’s Festival.

Alongside Chloe’s passion for performance and directing, is her love of teaching. As adjunct professor at the University of British Columbia, she trains young artists in the Baroque Orchestra Mentorship Program, chamber music and solo lessons. She has years of teaching children, university and students of all ages and levels! She is an active teacher in the summer Victoria Conservatory teaching programs, as well the UVic Collegium orchestral program.

Chloe lives in Ladner, BC, with her ever growing family and dog.

Maximilien is lecturer for baroque trombone at the University of the Arts Bremen, the leading conservatory in Germany for early music, and has taught in masterclasses and workshops at the University of Toronto, MentiParti, the San Francisco Early Music Society and the Madison Early Music Festival. Also active as a scholar and editor, he presented his research on Lodovico Viadana’s solo motets at the MedRen conference in Basel in 2019, as well as on a forgotten, early Italian trombone method at the Romantic Brass Symposium in Bern in 2023. His edition of the complete works of Andreas Oswald is pending publication.

An accomplished leader, Maximilien received critical acclaim for his 2013 interpretation of Mahler’s Sixth symphony: “What he heard is comparable to the best Mahler there is, both live and on disc. […] This reviewer even had tears in his eyes. Because this Mahler’s Sixth […] was rendered in its full and terrifying dimension by this astonishing young conductor” (Claude Gingras, La Presse). He is Artistic Director of the Viadana Collective and co-director of canticum trombonorum.

Catherine studied historical trombone with Charles Toet at the Schola Cantorum, Basel and with Dominique Lortie at McGill University. She has taught at McGill University, the Université de Montréal, the Royal Conservatoire of the Hague, the Royal Academy in London, and currently at the Schola Cantorum in Basel. She also teaches specialised workshops for early career musicians at LAMP in Nova Scotia, the Neuburger Sommerakademie für Alte Musik and at Alte Musik in Hof.

Catherine’s research activities focus on two related fields in Renaissance music: improvisation pedagogy and emotional expression in music. She has published on the role of memorisation in improvisation, and given workshops on improvised counterpoint at the Universities of Oxford, Birmingham, and Glasgow, the Royal Conservatory of the Hague, CESR (Tours), and at the Alamire Foundation (Leuven). In February 2021, she gave a Keynote presentation at The Hague Royal Early Music Conference: Edition 2021, Historical Music Pedagogy.

That is why Alon, as soloist and conductor, frequently brings contemporary compositions both to the stage and into the studio. He conducted the Munich Chamber Orchester in Markus Stockhausen’s “Symbiosis”, premiered as soloist with the Deutsches Kammerorchester Berlin Gilad Hochman’s “Nedudim”, and commissioned two new works for mandolin from Uri Caine for the Beethoven anniversary year in 2020. His album and PENTATONE debut “Plucked Bach” is a journey through Bach’s Cello Suites on six of his different plucked instruments, with a follow-up “Plucked Bach II” released in 2023.

Looking beyond the scope of a professional musician, Alon is an active member of Rhapsody in School, introducing classical music to schoolchildren of all ages. Furthermore, he supported the Live Music Now Foundation and has played in Daniel Barenboim’s West-Eastern Divan Orchestra. Animal protection is also an important issue for Alon; he has been an ambassador for the Pro Animale charity since 2021.

Alex has appeared on more than 100 recordings, including the Juno-award-winning album “Prima Donna” with Karina Gauvin and Arion Baroque orchestra. His latest album series “The Art of Improvisation” (Volume 1: A Prayer for Peace; Volume 2: Ad libitum; and Volume 3: Canavian Variations, released on Redshift, 2024) unites his passions for both baroque music and improvisation on organ, harpsichord, and piano.

In the course of his long career as a performer and recording artist he has worked with most of the leading figures in the field of early music, including the legendary pioneers of historically informed perfomance, Gustav Leonhardt, Frans Brüggen and Nikolaus Harnoncourt. He was a member for over ten years of Jordi Savall’s Hesperion XX , and has frequently and repeatedly  collaborated wth Ton Koopman, Monica Huggett, Philippe Herreweghe and many others. Of special importance has been his long-time friendship and collaboration with Andrew Parrott, and in more recent years with Konrad Junghänel.
 
Bruce Dickey can be heard on countless recordings. His solo CD (“Quel lascivissimo cornetto…”) on Accent with the ensemble Tragicomedia was awarded the Diapason d’or and was chosen in 2017 by Diapason Magazine as one of the 100 best CDs of Baroque Music of the past half century. His second solo CD, entitled “La Bella Minuta”, was released on the Passacaille label in 2011, and was described as, “simply a brilliant recording”. 
 
In addition to performing, Bruce Dickey is much in demand as a teacher, both of the cornetto and of seventeenth-century performance practice. In addition to his regular class at the Schola Cantorum he has taught at the Royal Conservatory in The Hague, the Accademia Chigiana in Siena, and the Early Music Institute at Indiana University, as well as master classes in the United States, Canada, Europe and Japan. He is also active in research on performance practice, and has published, together with Michael Collver, a catalog of the surviving cornetto repertoire, and, together with trumpeter Edward Tarr, a book on historical wind articulation. In 1997, together with his wife Candace Smith, he founded Artemisia Editions, a small publishing house which produces editions of music from17th-century Italian convents.

For more information, please visit brucedickey.com.