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Sep 10, 2024

Help Concerto Theresia record rediscovered music by Elia Vannini

Concerto Theresia, our alumni orchestra, is embarking on a mission to bring the beautiful yet forgotten music of Elia Vannini back to life. Vannini, born in Medicina in 1644 and a celebrated chapel master at Ravenna Cathedral, composed works that have sadly faded into obscurity.

Jul 5, 2024

Theresia at European Mozart Ways Assembly

On 28 and 29 June, we participated in the annual assembly of European Mozart Ways, a Cultural Route recognised by the Council of Europe, held in the German town of Schwetzingen.

Jun 6, 2024

Theresia wins REMA Business Innovator Award

Theresia Orchestra has won the Business Innovator of the Year Award from the European Early Music Network (REMA). This prestigious award is a tremendous encouragement for our efforts in providing young talent with significant performance opportunities in the classical repertoire according to a Historically Informed Performance (HIP) approach.

May 2, 2024

New round of auditions

Announcing Theresia Orchestra’s 2024 General Auditions! A new chance for musicians of period instruments who are at start of their career to gain valuable experience playing classical repertoire.

Mar 27, 2024

“Le astuzie femminili” on disc

Our latest recording of Cimarosa's 'Le astuzie femminili' conducted at the 2022 Reate Festival by Alessandro De Marchi is out now on the CPO label.

Nov 30, 2023

Meet Theresia: Guillermo Santonja di Fonzo

Guillermo Santonja di Fonzo is a young talented musician from Spain who plays in the ranks of Theresia's violins: his skill and dedication were recently rewarded when he was chosen, along with three other grantees, to take part in a major European tour of the famous period-instrument ensemble Il Giardino Armonico as a Theresia apprentice.

Aug 19, 2015

Meet Theresia: Assen Boyadjiev

Incontriamo Assen Boyadjiev, protagonista al fortepiano nel Doppio Concerto di CPE Bach

Aug 4, 2015

Orchestre sinfoniche e pensiero rivoluzionario, un amore impossibile?

Un editoriale pubblicato sul Guardian riflette sul rapporto tra finanziamenti pubblici e portata innovativa dei progetti culturali