Meet Theresia: three new players join our Ambassadorship Programme

By Emilia Campagna - August 26, 2024

Each year around this time, Theresia Orchestra experiences a meaningful transition as three ambassadors complete their term and three new ones step into the role, becoming the key players in our Ambassadorship Programme. We're excited to introduce our new ambassadors: percussionist Jarick Bruinsma, violist Hannah Gardiner, and violinist Anna Freer.
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Every year at this time, Theresia Orchestra sees a special transition as new ambassadors join its Ambassadorship Programme. This year, percussionist Jarick Bruinsma, violist Hannah Gardiner, and violinist Anna Freer step into this important role, continuing Theresia’s mission to promote Historically Informed Performance (HIP) and classical music across Europe. Let’s get to know them, explore their backgrounds, and discover what they hope to achieve during their ambassadorship.

Where are you from and where do you currently live?

Anna Freer: I’m from Australia, and I currently live in Zürich, Switzerland!

Hannah Gardiner: I’m from London, which is also where I live.

Jarick Bruinsma: I am from Hoogeveen, a city 60 km south of the city of Groningen in the north of The Netherlands, where I have been living since 2015.

How long have you been a member of Theresia?

Anna Freer: Only since January!

Hannah Gardiner: For about a year.

Jarick Bruinsma: Technically speaking, I am not a member of Theresia, but I have been invited to join two of Theresia’s projects this year. As far as I know, these are the only projects that include percussion this season, which means I will be part of all the projects involving percussion.

The first and latest Theresia project you participated in were…

Anna Freer: I’ve done one Theresia residency thus far – the Seven Last Words project with Alfredo Bernardini in March.

Hannah Gardiner: My first project was the Rossini opera in October. My most recent project was the Beethoven transcriptions in Geneva this July.

Jarick Bruinsma: The only project I participated in so far was Haydn’s Seven last words in March 2024.

Why did you want to become an Ambassador for Theresia?

Anna Freer: I thought it would be a good opportunity to develop my skills further in developing projects, with the support of the Theresia and European Commission’s network, as well as a chance to promote Classical and HIP music to audiences in new ways.

Hannah Gardiner: Because I am very committed to working with young people and increasing engagement with classical music.

Jarick Bruinsma: I offered to become an ambassador because I have been quite active as an organiser and facilitator of projects for a while already, so it seemed right up my ally. I also noticed the necessity of fulfilling the different-nationalities factor of the project, and the pool of not-yet-used nationalities looked slim, there had not been a Dutch ambassador yet, so I could fill that gap nicely.

What would you like to work on during your ambassadorship?

Anna Freer: I would like to work on community building and singing together, as well as singing and playing instruments at the same time, two historical practices that have sadly been lost!

Hannah Gardiner: I would like to explore the potential benefits of music making and creativity on mental health in teenagers.

Jarick Bruinsma: Mainly I want to address that music, just like many other things, can be a vessel to spread unity and understanding amongst humans from different backgrounds and with different beliefs and values. All by touching audiences and get them to reflect on whatever it is that could make them a better understanding and accepting human being.

The main objective of the Theresia Ambassadorship Programme is to introduce new audiences, especially young people, to the world of classical music and to the practice of Historically Informed Performance (HIP). Every years, three young musicians from nine different European countries embody and transmit the core values of classical music and its importance in their countries of origin.

Find out more on the official page!

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Meet Theresia: Ching-Yao Wang

By Emilia Campagna - June 3, 2024

Theresian flautist Ching-Yao Wang is a highly active musician who recently won the first prize at the inaugural Dutch International Traverso Competition. Born in Taiwan, he moved to Europe to pursue his passion for music. It was here that he discovered and joined our orchestra... Let's find more about his story.
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How did you start studying the flute and what were the most important steps in your education?

I have always had a special interest in wind instruments since I was a child. Besides piano and percussion lessons, I learned to play the recorder and the harmonica by myself and played them every day for hours without taking a break. When I was ten, a very famous pan flautist came to our town and opened a private music school, where I started to take violin lessons. Since the pan flautist didn’t have enough students, he offered me free lessons on the pan flute, and it turned out that I was much more talented on the pan flute than on the violin. One day, he gave me a CD with pieces where he played the flute and suggested that I should learn to play the flute and consider a professional music education. I still remember the moment when I first heard the sound of the flute. I fell in love immediately with this instrument and started to take lessons. Later, I entered the Taiwanese music experimental class and received profound music training. When I was eighteen, I decided to come to Europe to study the flute. The music school of the pan flute player in our town closed a few years after opening, and my first teacher has withdrawn from the music business. I’ve never seen him again since then, but I am still very grateful to him for his advice.

When and how did you decide to become a professional musician?

It was never a question for me. I fell in love with music when I was very young, and since then I have never thought about leaving it for once. When I play the flute, I am the happiest person in the world. I am very glad that I now have so many opportunities to play concerts with my friends and colleagues.

Do you come from a musical family? Did your family support your choices?

My parents are not musicians, but my father is an enthusiastic amateur recorder player and a big fan of early music. I grew up in an environment very interested in arts. Regarding my decision to become a musician, they had their concerns, which is absolutely understandable. But they supported me anyway.

When did you choose to focus on historically informed performance?

It was more of a continuous process than a single decision. Since I started playing the traverso, I gradually played it more and more. Especially after founding my own group, ensemble freymut, I began spending a lot of time with historical instruments and sources without even realizing it. One day, I woke up and found myself deeply immersed in the world of historically informed performance!

Do you play the modern flute and modern repertoire as well?

I don’t play the modern flute that often anymore since I’ve done that for many years, and there are still so many historical flutes I want to explore. However, I premiered a very special concert programme in March this year. It was a programme about the music collection of the Jewish harpsichordist Sara Levy, combining early music and contemporary music. Together with my ensemble, we commissioned a Suite from the Spanish composer Daniel Serrano. The Suite consists of six movements, each movement based on a piece from Sara Levy’s music collection. By using modern performance techniques on historical instruments, Daniel transformed the motifs and structures from the originals into fascinating sound constellations. It was an extraordinary experience for us to explore modern performance techniques on historical instruments, and our audience was amazed by all these sounds they had never heard before. I can imagine doing more projects like this in the future.

How and when did you discover Theresia and what has been your experience with the orchestra so far?

I found out about Theresia Orchestra quite by coincidence two years ago when I saw a poster for the audition at my university. Fortunately, I was invited to audition in Salzburg, and it was the most unique audition I have ever had in my life. It was more of a rehearsal than an audition, and the atmosphere was extremely positive and pleasant. There were four flautists who were invited to the audition, and we ended up eating ice cream and walking back to the city centre of Salzburg together. I am very happy to have been accepted by Theresia. Working with the orchestra has been absolutely amazing so far!

What has been your favourite orchestral or chamber music project with Theresia so far, and why?

It’s almost impossible to tell. So far, I have participated in two projects, and both have been my favourites. My very first project was the ten-year anniversary of Theresia with a Beethoven programme under the baton of Giovanni Antonini. The incredible energy he radiated during rehearsals and concerts was extremely touching. My second project was in Rheinsberg with Alexis Kossenko. Throughout the residency, he led the orchestra in a gentle and sensitive way, which left a very deep impression on me. The wind quintet project that took place as part of this residency was also a very special experience. Initially, the piece sounded very strange, and we all thought it might not work well. But after a few rehearsals, it came together beautifully in the end, and we had wonderful performances in Potsdam.

Would you suggest Theresia to a friend, and why?

Definitely! It’s a great opportunity to get essential orchestra practice on classical instruments, make friends, and explore new places. Unforgettable moments happen during the residencies. And the seminars of Theresia Academy provide good support for us, the young musicians, to better understand and deal with the challenges we encounter during our careers.

You recently won an important award: tell us about that.

Yes, exactly. I feel very proud and honoured to be the first prize winner of the inaugural Dutch International Traverso Competition for students. Although the competition was organised for the first time, everything was very well thought out, and the team on site was very friendly and supportive. The compulsory programme was absolutely charming, and it was a lot of fun to prepare and present it on the stage. It was also the first time in over ten years that I was back in The Netherlands. On my arrival, I was completely fascinated by the sky. I had never seen such an endless sky in my life. I live in Austria, and there are always mountains in sight. In The Netherlands, the sky is just endless…it was simply breath-taking. As far as I know, the next competition for traverso will take place in two years. Since there are not many competitions for traverso, I really hope that this wonderful event can bring more young traverso players to the international stage in the future.

What are your plans and dreams for the future, musically speaking?

I recently took over a festival in Vienna with my ensemble, and we have also started a new concert series featuring innovative early music programmes this year. Creating and implementing new programmes is artistically very satisfying, but the tasks involved are also tremendously demanding and time-consuming. My plan and dream would be for all these activities to achieve stability in the foreseeable future. In the long term, my dream has always been to be able to play the flute as much as I want since I was a child, and that has never changed.

How do you spend your days, apart from music? Do you have hobbies?

Due to my varied activities, I hardly have time for hobbies. But I love reading, and I try to read at least a few pages every day before I go to bed. I also enjoy handwriting. It’s a habit I developed in my teenage years. I usually choose a poem from a book and write it down in a notebook. The feeling of writing words beautifully and neatly on paper calms and relaxes me a lot. I always have this notebook with me wherever I go. In critical moments, it brings me back into balance and let’s me focus.

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Meet Theresia: Maddalena Bortot

By Emilia Campagna - April 3, 2024

Maddalena Bortot is a young Italian violinist who recently joined Theresia. Let's find out more about her in this interview!
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Maddalena Bortot is a young Italian violinist who recently joined Theresia. Let’s find out more about her in this interview!

Maddalena, tell us how you started to play the violin and how you decided to devote yourself to the period instrument.

I have been playing the violin since I was 10, although my first instrument was the guitar: but we had a violin at home and I always had it in my hand and tried to play it myself. Recognizing my passion, my parents enrolled me in a music school. At the end of secondary school I decided to devote myself entirely to music and moved to Bolzano to study at the Conservatory. I followed the three-year course for the first degree in modern violin with Paolo Zordanazzo. To tell you the truth, I immediately started poking around in everything that was going on in the Early Music department. By taking part in numerous projects, I discovered my deep affinity for the repertoire and the way I had to approach it. So upon completing the three-year course in modern violin, I embarked on another three-year course focused on baroque violin, and I am currently studying in Bolzano under Barbara Altobello.

Last January, you attended our auditions in Paris: how did you decide to take part? And how did you find out about Theresia Orchestra?

I heard about Theresia through a friend, Matylda Adamus, a cellist I met in Bolzano. She was the one who told me about the orchestra. Strangely enough, although I was born and raised in Rovereto, where Theresia has performed several times, I had never heard of it! In any case, having missed the opportunity to attend an audition, I didn’t miss it this year: it was really worth the trip to Paris!

What was it like to take part in the auditions? Apart from being selected, how would you rate the experience?

Everything was very positive. The auditions I had taken part in before just consisted of preparing a video. For Theresia, however, I first had to learn a Beethoven quartet (plus both violin parts), which was a completely different approach to playing a series of orchestral passages. In addition, the real challenge was to play with complete strangers, musicians from all over the world, communicating in a language that we all use, English, which may not be the first language for everyone: because to put a quartet together you have to talk as well as play! Finally, I also played in different ensembles, one day the first violin part, the next day the second violin part. It was really two days of full immersion! For me, it was particularly inspiring because I am still a newcomer to performing on historical instruments and it is not so common for me to have the opportunity to hear so many other young musicians live, with their different experiences and sensibilities.

Awesome. So the auditions went so well that you were selected to take part in the first residency of the year. How did it go and what was it like to work with Alfredo Bernardini?

It was a wonderful experience. I had never played the ‘Last Words of Christ’ by Haydn and I must say it was a challenge to perform. Working with Bernardini was particularly pleasant because he created such a good group atmosphere. To give just one example of his attitude, he called us all by name, which is not something you take for granted from a director. Then he managed to work us through such a demanding piece while keeping the atmosphere positive and relaxed: fatigue was inevitable, but it was accompanied by great satisfaction.

How did the concerts go from your point of view?

It is difficult to compare them because we played in very different places in terms of acoustics. In Lodi we played in a church with very generous acoustics. In Rovereto, we played in a much drier concert hall, but this did not affect the quality. Finally, in Ravenna, again in a church: in this case, the performance was more demanding because the pieces alternated with reflections by the Bishop of Ravenna, which were much longer than the readings in the first two concerts. In this case, maintaining concentration definitely proved to be more challenging.

What are your plans for the next few months?

I will be playing again with Theresia at the concerts in Slovenia in October. I also have many engagements with ensembles within the Conservatoire and with some baroque orchestras I work with such as the Ensemble Cordia and the Ensemble Labirinti Armonici from Trento which is led by Andrea Ferroni, who is my first violin teacher.

Do you have any hobbies or does music fill your days completely?

I have a few hobbies that are very important to me! I read a lot, and then I go swimming, which helps me keep in shape, as well as longboarding, which I do on the cycle paths in Bolzano: movement is essential for me to keep in shape, both physically and mentally.

You live in Bolzano, an Italian city with Austrian and German connections: do you like this dimension?

Bolzano offers a very high quality of life, a lively cultural life and the opportunity to get in touch with nature. However, I will be moving soon. If all goes well, I will be in Barcelona next semester as part of an Erasmus programme: I can’t wait! I always want to get to know new places and people to enrich my experience.

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Meet Theresia: Laura Hoeven

By Emilia Campagna - May 5, 2023

Austrian oboist Laura Hoeven joined Theresia in 2021 and in these very days she is playing with Theresia Wind Ensemble: let's find more about her upbringing, her love for music and the three most important things she learnt playing with our orchestra!
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Austrian oboist Laura Hoeven joined Theresia in 2021 and she is currently playing with Theresia Wind Ensemble: let’s find out more about her upbringing, her love of music, and the three most important things she learnt while playing in our orchestra!

Laura, tell us about your musical upbringing: how did you start playing the oboe? And when did you turn to the period instrument?

As a child, I started playing the recorder. When my parents listened to classical music at home, I really loved the sound of oboes, so I was interested in taking up oboe lessons. Unfortunately, there was no oboe teacher at my music school. One day when I was in high school, my recorder teacher told me that I could have a recorder lesson at the Music and Arts University of Vienna to see if I would be interested in studying music. Surprisingly, it turned out that the university teacher taught historical oboe instruments too. I got the chance to try out the baroque oboe and I managed to produce some sound – of course not super beautiful, but at least some notes came out of the instrument. I definitely knew that I want to learn the baroque oboe. I took historical oboe lessons and started a pre-study at the university. Later, I also started playing the Viennese oboe because I was very interested in the development of the oboe in the course of history. So, I actually started playing the period instrument first. Now, I’m about to finish my Master in ‘historical oboe instruments’.

What were the most important experiences that made you realise that music was where you wanted to go?

My parents always enjoyed listening to music and they both played musical instruments (piano and saxophone). I guess this is also why I discovered my love for music. When I was five years old, a friend of mine took music lessons, which inspired me to learn an instrument too. I think it actually happened step by step that I realised that music is where I wanted to go. I can recall the moment I got the chance to play the baroque oboe in an orchestra for the first time. After that, I could picture myself doing this professionally and studying music because I really enjoyed it.

Your first project with Theresia was with Alfredo Bernardini in Lodi in the autumn of 2021: what do you recollect of that experience?

I remember it as a very fun project. It was my first one and I didn’t really know what to expect, but I learned a lot during that residency. First of all, it’s fantastic to work with Alfredo Bernardini because he knows how to get the best out of everyone through his energy, his ideas and imaginative pictures of passages in the music. I also enjoyed that we experimented with the distribution of the instruments in the orchestra. In the rehearsal, we ended up playing the pieces next to instruments from other sections as an exercise. Suddenly, we could hear voices that we haven’t noticed before and it was easier to become aware of similar passages that we share with other instruments. The sound of the orchestra changed completely after that experiment because everyone was very attentive and reacting to everything that was happening. As a group, you really grow together after such an orchestral project.

You are involved in a chamber music project with Theresia Winds instruments, but you have joined orchestral residencies as well: in terms of rehearsal and performance experience, how much does playing in an ensemble differ from playing in an orchestra?

Yes, there is a difference between playing wind ensemble or orchestral music. The music that is composed for wind instruments demands something different from every musician than orchestral music. During the rehearsals with the Theresia Winds, we grow together as a group because there is no conductor. Sometimes, you need to lead the group with your instrument, or you have to react. This changes constantly, and you are required to be very flexible, which is fun and challenging at the same time. In orchestral music the function of the wind instruments is different. They have to blend with the strings, be a harmonic framework or play melodic passages. So, it’s good to be aware of that. Both ways of playing are enjoyable and demanding and there is a lot to learn for the professional life as a musician.

After two years, which in your opinion are the three most important things that Theresia has taught you?

1. No matter where you come from – music is a universal language. Even though we all come from various countries, it is really easy to connect through music.
2. Try to take a risk and use this opportunity to learn and to try out.
3. Most importantly, enjoy the time that you get to make music together!

They say that playing in a youth orchestra lets you meet people who will be your friends for life: do you think this happened to you in Theresia?

Yes, I definitely think so!

Which are your plans for your musical future?

I would like to continue playing in orchestras and ensembles. Also, it would be great to start my own chamber music ensemble. Basically, I would love to get the chance to do various projects.

What do you do when you do not play? Do you have any other passions that do not involve music?

When I’m not playing an instrument, I like to go for hikes, play badminton or cook. Sometimes, I also sing in a Big Band in my hometown for fun. My other passion is science. I also study ‘food science and biotechnology’. It is a completely different field compared to music, but I really like that they are so contrasting, which makes them fit together really well.

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Meet Theresia: Laurène Patard-Moreau

By Emilia Campagna - April 3, 2023

Violinist Laurène Patard-Moreau, born in France and set in Amsterdam (after three years in Canada), is one of the new members of Theresia. She talked with us about her education, and her love for music and travelling.
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Violinist Laurène Patard-Moreau, born in France and based in Amsterdam (after three years in Canada), is one of the new members of Theresia. She spoke to us about her education, her love for music and travelling.

Laurène, how did you start playing the violin?

I started playing the violin at the age of five. I’m not sure how it came about, but I remember when I was little that we used to go to the market each Sunday morning, and there was this old man who played many instruments, including the violin. All the children were sitting around him on blankets playing percussions and trying out instruments. I have a very strong image of this memory, but I was shy and never really sat down with them to try. I think that is why I asked my parents to play the violin.

Are there other musicians in your family? Did they support your choice?

My parents are not musicians. Well, my father played the piano when he was a teenager. He even has one at home which he still from time to time, but we have never played together. Both of my parents are very supportive of me, and that means even a lot since they don’t know anything about the world of music!

How did you start playing a period instrument? Do you still play the modern violin?

I started baroque violin when I was 20 years old, during my last years at the Conservatory in Toulouse, before starting my Bachelor’s degree. Then, when I left for Montréal, my teacher at the University was teaching me both modern and baroque (even though I graduated in modern). And now, for my master’s degree, I decided to focus on the baroque violin only.

Do you still play the modern violin?

I like switching between both instruments, but I feel I improve much more when I have time to focus on one, and I felt I needed to do that with the baroque violin. I also had to learn lots more about HIP and have to admit that I miss my modern violin sometimes! I think soon I will go back to alternating the two instruments soon. This year I also started studying jazz violin as a secondary subject, so there’s a third style to bring into the mix!

And what is it like to play the jazz violin?

It is very different from modern or baroque playing. I have to learn everything again (including the way of thinking that this kind of music requires) and sometimes it feels a bit strange, but I love that. I’m really learning a new language. I had been wanting to do that for a long time but I never did: I thought that having regular lessons at the Conservatory was the perfect opportunity. And the teacher Tim Kliphuis is amazing.

You joined Theresia recently: how did you know about the orchestra and why did you decide to take part in the auditions? Had you already played in an orchestra like Theresia?

I heard about Theresia from friends and social media. I was looking for academies for this year and I thought it was exactly what I was looking for. I already played classical repertoire a few times, first when I was in the Orchestre Français des Jeunes (the french youth orchestra), we had some concerts with Julien Chauvin (who conducts now Le Concert de la Loge), we were not playing historical instruments in this orchestra, but he is specialized in this style. Then in 2020, I think, I went to Toronto for the Winter Institute of Tafelmusik Baroque Orchestra. With, by the way, Vanni Moretto that you know well in Theresia! And last summer I had the chance to go to La Petite Bande Academy for the second time, where we played chamber music from the classical period (mostly Mozart) and worked with Sigiswald Kuijken.

Your first experience with Theresia was our most recent project, with Giovanni Antonini as conductor. What did you like most about working with him?

I really loved this production. I don’t know how to explain this in words, but I admire him because he has this kind of aura and confidence that makes the orchestra respect him a lot. When he walks onto the stage everyone focuses and stops chatting. And I think when you get that kind of attention and focus from everyone, you can do amazingly detailed work. He was really precise and wanted to get the best out of us.

What did you like most about the soloist, Dmitry Smirnov?

I didn’t know Dmitry before, but now I will continue to listen to him. I love the freedom he has in his playing, he takes a lot of risks and makes each performance unique. He reminded me of Patricia Kopatchinskaja, who also plays to extreme contrasts, pushing the limits of madness, which I love. Playing is like theatre.

I read on your Facebook page that your violin was recently stolen! How did that happen, how did it affect your life and job? How did you cope with it?

Yes, that’s true, it happened last September. It was a pretty tough start to the year. I was staying in an Airbnb and when I came back one evening, my violin just wasn’t there anymore. I called the police and my insurance company, and it took me a few days to realize what really happened. The school gave me a violin, then my former teacher lent me hers, and I tried some others, but practising became really difficult because I couldn’t find my sound anymore. And it’s the worst timing when you are moving to a new country, and just about to start at a new conservatory with a new teacher. I felt like I couldn’t show what I was capable of. The sound was not how I wanted it to be and I was not happy with it. I still haven’t found my instrument back, nor found a new instrument I want to buy (I found bows though) so it is still difficult because the sound of the instrument I currently play is not really mine.

Where do you see yourself in ten years? Playing as a soloist, in a chamber music ensemble, teaching…

In ten years time I hope I will still be playing a lot and travelling around the world with my music (if climate change allows us). I would love to be part of an ensemble or a chamber music group. Actually, I like having multiple projects at the same time. I might have my own ensemble, a chamber orchestra with friends, why not?! I love leading and organizing, so I like the idea of that!

Do you have any passion or hobbies, or are you dedicated to music for 100% of your time?

Well, music takes up most of my time. Between the conservatory and my student job on the weekends, I rarely have a day off. But I love it when I just can sit on my bed with a cup of tea, write in my notebooks, and draw in my sketchbooks. I also love photography. When I travel I always take my camera and my travel journal with me.

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Meet Theresia: Lucas Bernardo da Silva

By Emilia Campagna - March 14, 2023

Lucas Bernardo da Silva is a new member of Theresia: he joined our orchestra after last year’s auditions and had his first experience in February, when the orchestra was conducted by Giovanni Antonini in an all-Beethoven program. Let’s know more about him!
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Lucas Bernardo da Silva is a new member of Theresia: he joined our orchestra after Theresia’s auditions in Paris and had his first experience in February, when the orchestra was conducted by Giovanni Antonini in an all-Beethoven program. Let’s get to know him better!

Lucas, how did you start playing the violin?

Everything started in the church where I used to go with my parents: there was an orchestra playing during the services, and I was totally fascinated by that: I always wanted to sit as close as possible to the violins as I was so into it! It was so evident that there was a rising passion in me that my mother gave me a violin as a present on one of my birthdays when I was a child; anyway, I started a proper musical education at around nine years old and violin at eleven, at the church; about a year later I enrolled in the Music State School of San Paulo where I had my complete training until 2014 when I moved to the Netherlands for my bachelor. After that, I took a Master in Den Haag, and here I am.

When did you decide to make music your profession, your job?

It’s always a difficult question to answer because when a passion grows within you, the decision to follow that path is not an isolated event, but a natural process. Anyway, I think the triggering moment was when I was 15 years old and had the opportunity to participate in a music festival where I played a lot in orchestra and chamber music groups: there I met great musicians and had this fulfilling experience that made me realize this was just what I wanted to do.

Are there other musicians in your family?

I have a sister who studied music but did not pursue further professional training. And none of my relatives is a professional musician, but they have always been supportive, since I was a child.

When and why did you start to play the period instrument?

I actually concentrated on modern violin until the end of my studies: when I moved from Brazil to the Netherlands, I started to have a lot of friends studying period instruments or play in ensembles devoted to historically informed performance. This is how I initially got into it: I went to their concerts or their lessons, and inevitably I was surrounded by it. And inevitably, I listened to a lot of professional ensembles and orchestras, as in the Netherlands there’s such a strong tradition in HIP. So by the end of my bachelor, I had started reading, listening, studying, and taking lessons to know more about it. I got more and more into HIP, and I realized that the music, the sound, the way of playing the instrument, everything started to make much more sense!

Do you still play the modern violin?

Yes, I do, especially in orchestras, as I’m a freelance musician. But I try to use the period instrument as much as I can, not only when playing baroque and classical repertoire, but also when playing romantic pieces.

You joined Theresia recently: how did you know about the orchestra, and why did you decide to take part in the auditions?

Before hearing about the auditions, I already knew Theresia from some colleagues who also studied here in Den Hague and with whom I played chamber music. After my graduation, I’ve been trying to do more and more with the period instrument, and when I learnt about the auditions, I thought that this was what I was looking for and that it was a great opportunity.

Had you already played in an orchestra like Theresia?

I have played in orchestras and ensembles that use period instruments and focus on HIP, but always playing earlier repertoire: I love the focus that Theresia has on classical repertoire.

Your first experience with Theresia was the recent production with Giovanni Antonini as a conductor. What did you like most about working with him?

It was really interesting: I obviously already knew Giovanni Antonini by reputation, but I had never worked with him. I was very happy with this experience because Giovanni Antonini is an inspiring and remarkable musician. He is full of energy, full of great ideas, and he got a great sound out of the orchestra.

What about the repertoire? Did you know that it was the first time that Theresia played Beethoven?

Yes, I was told, but if I didn’t know I wouldn’t have said! Knowing that, I was even happier to be there, to share this moment: playing Beethoven is great, his music is a development of the language, a huge pushing forward of many ideas.

What did you like more about the soloist, Dmitry Smirnov?

I was very impressed by him, he’s an inspiring musician. And when I say I was impressed, I’m not simply talking about his technique, but especially how daring he was about going for his ideas, in a non-apologetic way. This kind of approach, daring and risking, fits playing Beethoven, and he really managed to capture this. Especially when he played his cadenzas during the rehearsal, and then during the concert, it was unpredictable and made me think “oh, where is he going with that?” and it was always surprising.

How did you feel being part of the orchestra, and did you enjoy your little tour in Italy?

I already knew some people, a lot of them coming from Den Haag: some of them were familiar faces that I had the chance to know better; the rest of the people were super nice. And I obviously enjoyed being in Italy, especially in Ravenna we had some spare time and it was great. I had the time to visit churches and admire the mosaics, I was very impressed with how beautiful they were.

You moved from Brazil to the Netherlands: what do you miss about your country and what do you appreciate about living in Europe and in particular in the Netherlands?

That’s a hard one! I really miss the weather, the climate in my country is great. Also, I love the city I come from, São Paulo, and I miss my family and my friends. But I really like being in The Netherlands. When I decided to move here, it was because I knew I would have better opportunities for studying and playing classical music. Then, I love the possibility of moving around easily in Europe and enjoying how diverse cultures are in Europe. That’s very enriching. Finally, The Netherlands is a very international place, where I can meet people from all places, and this fits perfectly with my way of seeing things, and music too. For me, as a musician, it is a good place to live because a lot is going on.

Where do you see yourself in ten years?

Well, I love playing in an orchestra, it is the thing I enjoy most, so I definitely hope I will be doing that. I do not think it will matter for me to have a fixed position or not, and where, I do not really mind. But at some point having a closer connection with Brazil would be great. I hope I can teach there a bit, and share my experience back in my country.

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Meet Theresia: Natascha Pichler

By Emilia Campagna - December 21, 2022

It's been a while since the last time we introduced a member of Theresia: Natascha Pichler joined the orchestra this year, and made her debut with Theresia in Geneva. Let's find more about this Austrian violinist, about her musical experiences and her expectations!
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It’s been a while since the last time we introduced a member of Theresia: Natascha Pichler joined the orchestra this year, and made her debut with Theresia in Geneva. Let’s find more about this Austrian violinist, about her musical experiences and her expectations!

When did you start to study music? Was it a desire of yours or – as it often happens – was it an idea of your parents?

I started learning the violin when I was six years old. I had taken piano lessons previously, because my mum, who played the piano as a child, had encouraged me to. Starting the violin was my own idea. I came up with it out of the blue, I don’t even remember, if there was any specific inspiration for it. One day, I told my mother: “I want to play the violin.” And since then, my parents have supported me every step of the way. None of my family members are professional musicians, but they all love music.

When and how did you start to play the baroque violin? Was it a slow process, or did something trick you into it?

I started the baroque violin because at the Royal College of Music, where I did my Bachelor’s degree, there was the option to have Baroque violin lessons as a second study, in addition to lessons on the modern violin. I made many friends in the Early Music department and started playing chamber music with them, just for fun. I liked the friendly atmosphere and admired how much they all knew about the different musical styles. That is how I slowly got the idea of focusing on Early Music as my main study.

What do you like more in historically informed practice?

What I like about historically informed performance is that I feel a deeper connection to the music. Knowing about a piece’s origins, and about how it might have been performed back in the days, helps me identify with the music better. Drawing from different sources of information also helps me create my own personal, unique interpretation and be convinced of it.

You participated in an orchestral tournèe with a star of the violin, Anne Sophie Mutter: what did you learn after this experience?

Anne Sophie Mutter led the orchestra from her violin, without a conductor, playing a Mozart concerto. The most inspiring thing about working with her was her way to communicate with the other musicians on stage, showing us exactly what she wanted in every single passage of the piece. Even while playing difficult passages, she was always aware of what was going on around her. It was the first time that I experienced the power of non-verbal communication in music with such intensity.

How did you know about Theresia Orchestra, and why did you decide to try the auditions?

Some of my colleagues in The Hague were part of the orchestra and of course, I also saw posts about the auditions on social media. I decided to try the auditions because I had the feeling that the classical style that Theresia specializes in really suits me and also interests me very much.

Which Theresia’s residencies were you involved in? What did you appreciate more about performing with Theresia?

I have been involved in three Theresia residencies so far: chamber music in Geneva, the Cimarosa opera, and chamber music in Montecastelli. I appreciate the very high level of musicianship and the professionality of all the participants. It is a pleasure to work with people who have a similar mindset as me. I also really enjoyed working with the very experienced tutors (especially in the chamber residencies) who are experts in their field. Last but not least, the Theresia community is very welcoming, and the atmosphere is friendly and supportive.

2022 is going to end soon… this was the first year that things seemed to get to normal after Covid: how was your year in that sense?

It was a big relief after Covid, which was a hard time for me personally as I started to question my value as a musician. Being able to organise concerts and play together with people again brought back my motivation and reminded me how much joy music brings me.

Do you have hobbies? How is your typical day?

My hobbies are cycling or hiking in the nature. I love spending time at the sea, which is only a short bicycle ride away from my flat. I also like reading books and learning new languages. I spend most of my days at the conservatoire, so there is not always time for hobbies. Sometimes, I do Yoga in the morning, then I go to the conservatoire and in the evenings I cook, study and socialize with my flatmates.

Recently on the blog we talked how to take care of themselves: how much is important for you, and what do you do for taking care of your well-being?

Well-being is of course very important, and something that musicians often forget. For my physical well-being, I am doing Yoga, which helps me relax, stretch my muscles and release back pain. Regarding mental health, I have little things that bring me joy which I can do whenever I am not feeling well. Going for a walk outside to get some fresh air is on top of my list, I enjoy nature because it helps me see the bigger picture when I get stuck in a certain mindset or obsessed with some problem. Other strategies are talking to family members or friends, reading or taking care of my plants.

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Meet Theresia: Jonathan van der Beek

By Emilia Campagna - May 31, 2022

Does every musician remember how they fell in love with their instrument? Belgian horn player Jonathan van der Beek does: find more in the new interview of the Meet Theresia series.
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Jonathan van der Beek, Belgian horn player, joined Theresia in 2021: let’s find something about his passion for music, his experience and his expectations.

Tell us something about your musical story: how did you start playing and when and why did you decide to focus on the historical instrument?

I wanted to play the horn from a very young age on – I think that happened when I was four years old. My parents had this CD from Peter and the Wolf (Prokofiev) where the horns represent the wolves. I fell in love with the warm sound of the horn and when I was old enough, I immediately started in the music school. My first teacher in music school, who would be my horn professor in the Conservatory later on, was a horn player but also a phenomenal natural horn player. I listened a lot to his CD’s where he plays the natural horn, and that’s why I have always been interested in it. I started studying the modern horn but when the Coronavirus crisis left us all without any goals I decided to enrol for an audition and start practising the natural horn. Furthermore, I fell in love with the instrument and its sound. Some months later I played my first projects on natural horn, and nowadays I am very happily combining modern horn with the natural one.

How did you know about Theresia?

The first project I ever played on natural horn I played together with Rodrigo Lopez Paz who told me about Theresia. I went to search for Theresia on the internet, and it seemed like an opportunity I didn’t want to miss. So, I signed up for the audition.

You auditioned for Theresia in the summer of 2021: how was it, and which pieces of advice could you give to some colleagues of yours who may take part in the next auditions?

The only advice I can give is that you should really go there! Normally, an audition is a quite frightening and sometimes disappointing experience. In the case of the Theresia audition, this was exactly the opposite. It is called an audition because they are making a selection in the end, but it felt more like a workshop or even a masterclass in a beautiful environment. We got to prepare certain pieces, and we had to ‘rehearse’ in front of a jury the whole day. This made me very comfortable as I wasn’t judged only on the 5 first minutes of playing. When I went out of the audition, I was just so grateful that I got the opportunity to work with Alfredo Bernardini and all the great musicians that participated. If I were not selected, I would still take this great experience home.

You took part in the latest project, a wind academy with tutor Alfredo Bernardini. How was it? What did you like more about this experience?

I had a great time at the wind academy, especially because the group of musicians and friends we played with was so close. We had a lot of fun playing the music, but also outside the rehearsals. I like very much that we got the opportunity to play 4 concerts in 4 different cities. It was exciting to have to deal with another acoustic every time.

You worked with Maestro Bernardini both in an orchestral and in a chamber music project: which was the difference between the two experiences?

Both times were unforgettable experiences, but there was a clear difference; Alfredo was really the conductor in the orchestra project, while he was more like a coach in the wind project. I really like his way of working and experimenting with the group of musicians he works with. This was similar during both projects.

During the residency, you were presented with the EMPOWER project, an initiative funded by the EU: what do you expect from it? How do you think working with Theresia can “empower” you?

Foremost, I want to say that Theresia already empowered me in developing my skills as an instrumentalist. About the particular EMPOWER project: I am looking forward to gaining more knowledge in the domain of historical informed performance, and I am also interested in the more ‘economical’ subjects of the course. I think this combination of residencies with the orchestra, chamber music projects and specific courses in domains where I am very much interested in, will empower me the next years as a musician, thanks to Theresia Orchestra.

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Meet Theresia: Sara Vicioso Usero

By Emilia Campagna - February 11, 2022

How does a musical passion start? And which are the dreams of a cello player? This, and more, is what we talked about with Spanish cellist Sara Vicioso Usero in our latest interview of the Meet Theresia series. She is a member of Theresia since July 2021 and told us more about her story and her plans.
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How does a musical passion start? And which are the dreams of a cello player? This, and more, is what we talked about with Spanish cellist Sara Vicioso Usero in our latest interview of the Meet Theresia series. She is a member of Theresia since July 2021 and told us more about her story and her plans.

Tell us about your musical history: when and how did you start to play cello?

I started to play the cello when I was 8, but my first encounter with music was years before. On afternoons my mother would be listening to Radio Nacional Clásica and she would take me in her arms and dance with me. I would close my eyes and let myself go and dance with her. As I grew up she started to ask if I wanted to study music and without hesitation, I said yes, but the instrument I wanted to study was the piano, like my two older cousins. As there were no vacancies for piano, my mother signed me up for cello, her favourite instrument, but I didn’t know at that time what it sounded like! The first time I had my little cello with me I remember not stopping to play all afternoon, as I loved the sound of it. My teacher at the time, Diego Valbuena, suggested that I prepare for the exams to enter the conservatory and that’s how I met M. Ángeles Villamor, who inspired me and encouraged me to go deeper and deeper into the cello.

When and why did you decide to focus on historical performance?

When I was in my fifth year of professional studies, I discovered that my conservatory offered the possibility of joining a baroque orchestra, and since I had always liked Early music, I decided to try it. There, I met Marcelino García, the conductor of the orchestra, who began to make me reflect on how to play the music of the 18th century from a historical point of view. I was so excited that he put me in contact with cellist María Saturno that began to give me period-instrument lessons. With her, I learned to see music from a different perspective, not only looking at the notes but also reflecting on the affections that the music incites. I tried gut strings and other types of tuning depending on the repertoire and I realized how rich, complex and beautiful the field of historical performance was. For this reason, I decided to continue along this path and enter the department of Early music at the Royal Conservatory of Madrid.

You studied in Madrid and you are now studying at Royal Conservatory in Den Haag: why did you choose to move abroad and what did this experience mean for you?

I have always believed that studying abroad is an enriching experience since it gives the chance to know completely different people and learn different ways to understand music. I chose Den Haag because on the one hand, I knew that Lucia Swarts was the teacher of historical cello and I really wanted to study with her, and on the other hand because the Early music department of this Conservatory is one of the most important in the Early music field, so I could learn a lot. Now, that I am finishing my master I can say that moving here was the best idea since I am improving a lot and I am meeting wonderful people with the same ambitions as mine.

How did you know about Theresia and why did you decide to join it?

I have several friends who were in Theresia a few years ago and they were always encouraging me to try it, so I started following the orchestra on Facebook and I was fascinated by the projects and the atmosphere. In the end I did it, and it has been the best decision I have ever made!

Your first experience was an orchestral project: how was it? Had you already worked with Alfredo Bernardini?

It was one of the most beautiful musical experiences I have ever had! I had never worked with Alfredo Bernardini before, it was my first time and it was amazing. In particular, I really enjoyed one of the rehearsals in which he suggested that we sit next to a different instrument than ours, so we had a completely different sonic perspective of the orchestra. Besides, I’ve met amazing people that I am looking forward to seeing again in the next projects.

During the last residency an afternoon was devoted to rehearsing chamber music suggested by musicians: did you come up with a piece of music?

Yes! I was rehearsing one trio by Beethoven for Violin, Viola and Cello and a Trio Sonata by C.P.E. Bach. It was a very enriching afternoon since we could read chamber music together just for fun and I enjoyed it a lot.

During a residency like Theresia’s one, you find yourself working with musicians from many countries, how is it like? Do you think this fact enhances your experience?

For me, working with musicians from other countries is one of the most beautiful things to experiment with. I can learn a lot about other cultures and also I can share with them part of mine. One of the most beautiful things is when you have a connection with someone from abroad and you realize that in the end you are very similar, you have the same motivations, the same fears, even the same sense of humour! Of course, it enhances my experience a lot.

How is a typical day of yours? What do you like to do when you are not studying/playing?

Now I am finishing my master, so my days are full of study! I get up early to study cello, to go to some rehearsals and to finish my Master Research which I have to hand in soon. However, when I am not studying or playing I love reading, cycling and travelling when I can. As I am in the Netherlands now, I really love when I have some time to discover bike routes and visit little villages with my friends.

Where do you see yourself in ten years?

Musically, I would love to combine teaching and stage, being part of a baroque or classical orchestra. It is one of my dreams. Personally, I see myself surrounded by the same people that make me happy right now, that in the end are the ones who encourage me every day.

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Meet Theresia: Anna Krzyżak

By Emilia Campagna - January 27, 2022

Our series of interview “Meet Theresia” continues with one of our newest members, Polish viola player Anna Krzyżak, who talks about her upbringing, education and love for music.
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Let’s meet another new member of Theresia: Anna Krzyżak, viola player from Poland, joined the orchestra after the Salzburg auditions and participated in her first orchestral residency.

Anna, tell us about your musical history: when and how did you start to play the viola?

I started to play the violin when I was 7. My father’s sisters are violinists, so I remember music around me all the time. There is this photo with me and my aunt when I was one year old, taken during Christmastime. In the picture, I am just sitting next to her legs and listening to her playing (no idea what) with my eyes and head directed up. Just a few months before graduation from primary music school, I decided I didn’t want to play any more and I wanted to ski, as I used to take part in some skiing youth contests. And I thought that was it, but no! I took part in a violin competition which my parents recorded. When I listened to myself, I felt like the music was inside me, and I simply couldn’t live without it. It was just a few weeks before the entrance exam to the secondary music school. In the last year of primary music school, I was also a private student of Szymon Krzeszowiec (Silesian String Quartet), and he suggested that I switched to viola. So I went to a viola teacher to see what that was about. It was like a true love’s kiss. He gave me his viola and told me to play whatever I wanted. So I played one of Telemann’s Phantasies for violin solo. I remember I had shivers, and it was unforgettable. Łukasz Syrnicki (also a member of Silesian String Quartet) was my viola teacher for six years, and he’s been my mentor since then.

When and why did you decide to focus on historical performance?

I owe it all to my first viola teacher – Łukasz Syrnicki. Bach’s Cello Suites are obligatory pieces for violists as well, and my teacher always encouraged me to look for something deeper than just notes. I remember that he kept sending me recordings of amazing artists such as Paolo Pandolfo to get inspired. And I did! Initially, I had no idea what to do with that and how to play early music, but I was trying to get closer to what I heard. When I went to Berlin for an Erasmus exchange, I studied with Simone Jandl, who plays in the Orchestra of the Age of Enlightenment. She showed me some basics and that was in 2019. During my studies at the Hanns Eisler Academy of Music, I also had a baroque course with Bernhard Forck and that’s when I decided I wanted to focus on performing early music. I bought my very first baroque bow that year, as well as the viola, which I got a few months later. Then I met stunning musicians in Poland – Martyna Pastuszka, Marcin Świątkiewicz, Aureliusz Goliński and many more who introduced me to the world of historically informed performance. I am so grateful to each of them, they helped me to understand and to perform early music the way I always wanted to.

How do you balance the fact of playing both modern and period instrument?

It’s tricky, but I’m getting used to it! The biggest difficulty is tuning. When I play the modern instrument one week and the next week the period one, it’s totally fine, as I need one or two days to be comfortable on these violas. But when I have a rehearsal in the morning playing the modern viola and then in the afternoon playing the baroque instrument, that’s crazy. Apart from that, I reckon I became a better modern instrumentalist when I learned how to play the period instrument. The sound production is so much easier on metal strings than the gut strings. Now I can feel the instrument itself, not just the strings. It is very inspiring for me to adjust to two instruments and to see how much I can affect them both with my right and my left hand. I wouldn’t have known if I hadn’t played the period instrument.

How did you know about Theresia, and why did you decide to join it?

I saw one of my friends on tour with an orchestra I had no idea about. It was before I started playing the baroque viola. Since then, I kept an eye on Theresia’s Facebook page and when I saw there was an audition, I thought: why shouldn’t I try? And I am more than happy that I did!

Your first experience was an orchestral project: how was it? Had you already worked with Alfredo Bernardini?

It was my very first time working with Alfredo Bernardini, and I was amazed by his knowledge and attitude. I met new friends during my first residency, with whom I am still in touch. I have to admit that my favourite moment of that project was the chamber music jam session. Likewise, I loved it! Playing in the orchestra is fantastic, but I feel like chamber music is something that suits me most. And that’s another thing I like about period music – we perform in smaller groups than a big symphony orchestra, and I feel it’s more like chamber music.

You made your solo debut with an orchestra at the age of 13: what did this experience mean to you? Are you more a soloist, an orchestral player or a chamber music one?

It was one of the most amazing moments of my life, on that day I realized I have the soloist’s attitude. Playing as a soloist is something I like most, but I don’t want to be labelled as a soloist or a chamber musician or an orchestra player, as I do love performing: music is the most important thing. It’s remarkable how different those positions are and how much I can explore and learn from playing as a soloist or in the orchestra and chamber music.

You have studied mostly in Poland, your country, but also spent a year in Berlin thanks to the Erasmus project: what is in your opinion the importance of studying abroad for a young musician?

I encourage everyone to study abroad. Music is an international language, but people differ one from another and music is somehow affected by the culture we belong to. That is why it’s essential to see the point of view of someone who didn’t grow up where we did. Moreover, the different teaching attitude also matters, it’s good to experience different sorts of lessons. I learned a lot in Berlin, not only from my teachers but also from my friends. I’m aware of many things I couldn’t have done if I had stayed in Poland.

During a residency like Theresia’s one, you find yourself working with musicians from many countries, how is it like? Do you think this fact enhances your experience?

As I said, meeting people from around the world is one of the most beautiful experiences. When we get to know each other, we can see something from another point of view. That’s very beautiful because then you can notice things you couldn’t see. You become a more conscious person and musician at the same time. It makes you understand the music and the world better.

How important is music and music education in Poland?

Unfortunately, classical music in Poland is not connected to our culture. Music education in random schools doesn’t encourage children and teenagers to listen to it; I would say it’s the opposite, unfortunately. People who are not classical musicians show almost no interest in classical music: not everyone, of course, but in general. I’d love it to change, but I am not sure if it’s possible. But higher musical education is on a pretty high level. It depends on the school, of course, but I can see many more young musicians getting better and better both at playing and understanding the music.

What do you like more about your country, regarding music and generally speaking?

What I like about my country is the Baltic Sea. I love the sea! I live quite far away from it, but it’s not a problem to get on a train and be there in around seven hours.

How is a typical day of yours? What do you like to do when you are not studying/playing?

In the morning I have to have breakfast, always salty! I wish I did more jogging, but I stretch at least. Then it depends on the day: I may have lessons, rehearsals, or I may teach. When my husband and I are back from our duties, we have dinner at home – my husband cooks great, so it’s always super tasty! Evenings are ours. We sit on one sofa and watch a film or talk about music, inspiring each other. I knit, and it relaxes me. I do it whenever I can but mostly in the evenings. And then we can all stay warm in winter thanks to my hand-knitted beanies, scarfs and sweaters.

Where do you see yourself in ten years?

Musically speaking, I would love to be a mentor to someone, but I’m not sure if 10 years is enough to be in this place. I see myself on stage. I dream of becoming a soloist, and who knows what is going to happen. For now, I don’t want to say if I want to be more into modern or baroque viola, and I don’t have to choose. That’s wonderful! Apart from music, I want to be a mum. Having kids is the most amazing thing in the world, and I look forward to becoming one.

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