The Swiss ensemble CHAARTS sees itself as the largest string quartet in the world. Following the example of the Lucerne Festival Orchestra, CHAARTS invites members of internationally successful string quartets and chamber ensembles, soloists, concert masters and soloists from leading European orchestras. In groups of 8 to 40 players, the musicians develop exceptional concert programs, often according to the motto ‘the big small and the small big’: works for large orchestras are arranged for chamber ensembles while music for string quartets is transferred into arrangement for large groups. As a result, these masterpieces are often completely redesigned and playable in rooms or concert series that otherwise would not be able to present this music.



„Die Klassik-Band Chaarts Chamber Artists und Regula Mühlemann (…) versetzten das Publikum in Wonneschauer und ließen es manchmal sogar ein bisschen mitschunkeln”

Kultur – Zeitschrift für Kultur und Gesellschaft, 16th January 2020


Dates upon request
Fairy tales
with Regula Mühlemann

Works by Edvard Grieg, Jules Massenet, Giuseppe Verdi, Felix Mendelssohn Bartholdy et al.

Dates upon request
beyond words
with Felix Klieser

Wolfgang Amadeus Mozart: Hornquintett in E Flat Minor KV 407
Antonio Vivaldi: NIsi Dominus (Psalm 126) R.608 – 4. Cum Dederit
Johann Sebastian Bach: Kantate BWV 170 „Vergnügte Ruh, beliebte Seelenlust“
Georg Friedrich Händel: “Lascia ch’io pianga” 
Francesco Geminiani: Concerto grosso in d-moll “La Follia”
Wolfgang Amadeus Mozart: Divertimento in F Major KV 138
Joseph Haydn: Horn-Konzert Nr. 1 in D Major


La Folia Barockorchester

La Folia – this term of the baroque era focusses on wildness, fury, jollity and generally on an artistic attitude of liberality and excessive creativity.

Since their foundation in 2007 the La Folia Barockorchester vitalises on period instruments the international music scene. Whether in a chamber music instrumentation or with baroque opulence, whether with instrumental music or together with vocal soloist – the aspiring young orchestra under the direction of the violinist Robin Peter Müller stands for energetic and overwhelming interpretations of the music from the 17th and 18th century. Historically informed the musicians are looking for opportunities to transfer the emotions and contents of the past centuries into contemporary interpretations which have thrilled both audience and critics alike.

The ensemble cooperates regularly with renowned instrumentalists and singers like Hille Perl, the Vienna Boys’ Choir, Regula Mühlemann, Mahan Esfahani and Jan Vogler, Dorothee Oberlinger, Dorothee Mields, Anna Prohaska, Maurice Steger and Stefan Temmingh.

Founder and director Robin Peter Müller, born in Dresden, is one of the most sought-after musicians of his generation performing on period as well as on modern violin.Within a short period he led La Folia Barockorchestra to international reputation.



„Standing Ovations für einen überragenden Countertenor mit einem erlesenen Orchester und für ein spannendes, die interpretatorischen Grenzen durchaus tangierendes Programm.“

Die Nordwest-Zeitung, 31.08.2019

„Ein wunderbarer Abend mit Riesenbeifall.“

Weser Kurier, 22.09.2019


Dates available upon request
Celebration of Life in Death – Totentänze und die Liebe (nicht nur) in Zeiten der Pest
with Anna Prohaska

Works by Oswald von Wolkenstein, Guillaume de Machaut, Christoph Graupner, Henry Purcell u.a.

Anna Prohaska © Marco Borggreve

Dates available upon request
Cesare! – A Hero’s Journey
with Bejun Mehta, Countertenor

Works by Georg Friedrich Händel, Antonio Vivaldi, Archangelo Corelli etc.

Bejun Mehta © Marco Borggreve

Dates available upon request
with Regula Mühlemann

Regula Mühlemann © Martin Förster



16 Sep 2021
Lausitz Festival
Robin Peter Müller, leader & violin / Elisabeth Breuer, soprano / Tim Mead, countertenor

G.-B. Pergolesi: Stabat Mater f-Moll, P.77
J.-S. Bach: Kantate »Tilge, Höchster, meine Sünden«, BWV 1083

10 Sep 2021
Harbour Front Literaturfestival, Elbphilharmonie Hamburg
Robin Peter Müller, leader & violin / Anna Prohaska, soprano / Carolin Emcke, text

Anna Prohaska and the La Folia Barockorchester provided musical answers to questions between love and loss from eight centuries. Together, the author and the musicians celebrated “Celebration of Life in Death” on that evening at HARBOUR FRONT SOUNDS and gave expression to hope and grief in times of pandemic.

6 + 27 Aug 2019
Festwochen Innsbruck, Musikfest Bremen
Robin Peter Müller, leader & violin / Bejun Mehta, countertenor

G. F. Händel: Ouverture, March and Arias of Cesare from the opera “Giulio Cesare in Egitto” HWV 17

Il Giardino Armonico

Il Giardino Armonico, founded in 1985 and conducted by Giovanni Antonini, has long established itself as one of the world’s leading period instrument ensembles, bringing together musicians from some of the most important music institutions in Europe. The repertoire of the ensemble focuses mainly on works of the 17th and 18th centuries. Depending on the requirements of the program, the ensemble consists of three to 30 instrumentalists.

Il Giardino Armonico is regularly invited to festivals all over the world, performing in the most important concert halls, and received the highest acclaim for both their concerts and their staged opera productions, like Monteverdi’s Orfeo, Händel’s Agrippina, Il Trionfo del Tempo del Disinganno and La Resurrezione, Vivaldi’s Ottone in Villa, as well as Handel’s opera Giulio Cesare in Egitto at the Salzburger Festspiele and Pfingstfestival in 2012.

Il Giardino Armonico is regularly invited to festivals all over the world, performing in the most important concert halls, and received the highest acclaim for both their concerts and their staged opera productions, like Monteverdi’s Orfeo, Händel’s Agrippina, Il Trionfo del Tempo del Disinganno and La Resurrezione, Vivaldi’s Ottone in Villa, as well as Handel’s opera Giulio Cesare in Egitto at the Salzburger Festspiele and Pfingstfestival in 2012.

The most recent projects include the recording of Haydn’s The Creation in collaboration with the Bavarian Radio Chorus, published by Alpha Classic in October 2020.



„The clarity of the orchestration is made transparent and gleaming by the soloists of Il Giardino Armonico, who also make the most of every joke or surprise.“

The Guardian, 19 JUN 2021

„De la très belle ouvrage.“

Diapason d’Or, APR 2021

„On the basis of this delightful recording I can only hope that at some point during his Haydn journey Antonini will also tackle Haydn’s other great oratorio, The Seasons.“

Presto Music, 09 OCT 2020



10. + 11. May 2019, Herkulessaal der Residenz, München
13. May 2019, Mozartfest Augsburg
14. May 2019, Konzerthaus Wien
23. June 2019, Soli Deo Gloria – Braunschweig Festival
28. June 2019, Rheingau Musik Festival
Giovanni Antonini, conductor / Anna Lucia Richter, soprano / Maximilian Schmitt, tenor / Florian Boesch, bass baritone / Chor des Bayerischen Rundfunks

J. Haydn: The Creation Hob. XXI:2

14. November 2018, Konzerthaus Berlin
Il Giardino Armonico Giovanni Antonini, conductor / Patricia Kopatchinskaja, violin

Works by A. Vivaldi, L. Francesconi, S. Movio, A. Cattaneo

© Patricia Kopatchinskaja

26. + 7. August 2018
„Serpent & fire“
Giovanni Antonini, conductor / Anna Prohaska, soprano

Freiburger Barockorchester

The Freiburg Baroque Orchestra looks back on a success story lasting almost thirty years and is a popular guest at the most important concert halls and opera houses. A glance at the ensemble’s concert calendar shows a diverse repertoire played at a variety of venues, ranging from the Baroque to the musical present and from Freiburg to the Far East. The Freiburgers’ artistic credo, however, remains unchanged: the creative curiosity of each of them, with the intention of playing a composition in as lively and as expressive a manner as possible.

Under the artistic directorship of Gottfried von der Goltz and Kristian Bezuidenhout, and under the baton of selected conductors, the FBO presents it-self with about one hundred performances per year in a variety of formations from chamber to opera orchestra: a self-administrated ensemble with its own subscription concerts at Freiburg’s Concert Hall, Stuttgart’s Liederhalle, and Berlin’s Philharmonie and with tours all over the world.

Andreas Richter Cultural Consulting represents the Freiburg Baroque Orchestra in Asia, Great Britain, Germany and neighboring countries on request.



„What a wonderful gift for these challenging times!“

Limelight, 13th March 2020

„I doubt that Beethoven, at least recently, has sounded quite so original or so much fun.“

Gramophone, January 2020

„But what marks this recording out is the way they make the music dance – as if no one is watching.“

The Guardian, 20th February 2020


Dates available upon request
Mozart Evolution
Kristian Bezuidenhout, piano und direction (tbc) / Lorenzo Coppola, clarinet / Corina Golomoz, Viola

Wolfgang Amadeus Mozart:
Symphony No. 25 G Minor KV 183 Trio KV 498 „Kegelstatt“
Piano concerto KV 271 „Jenamy“

Kristian Bezuidenhout © Marco Borggreve

Dates available upon request
A Midsummer Night’s Dream
Pablo Heras-Casado, conductor / SWR Vokalensemble (Frauenchor SSAA, tbc) / n.n.. Soprano (2X) / n.n.: Ouverture

Franz Schubert: Symphony No. 6 C Major D. 589
Felix Mendelssohn: A Midsummer Night’s Dream op. 61

Pablo Heras-Casado © Dario Acosta

Dates available upon request
Christoph Willibald Gluck: Orfeo ed Euridice (konzertant)
mit René Jacobs, Dirigent / n.n., Choir / n.n., Soloists (SATB)

René Jacobs © Molina Visuals



10 March 2020, Melbourne Recital Center
L. v. Beethoven: Piano Concert no. 1 in C major op. 15 / Piano Concerto no. 2 in B flat major op. 19 / Piano Concerto no. 3 in C minor op. 37
Gottfried von der Goltz, leader & violin / Kris Bezuidenhout, piano

11 March 2020, Melbourne Recital Center
L. v. Beethoven: Ouverture Die Geschöpfe des Prometheus op.43 / Piano Concerto no. 4 in G major op. 58 / Ouverture Coriolan op. 62, Piano Concerto no. 5 in E flat major op. 73

© Melbourne Recital Center

27 November 2018, Elbphilharmonie
J.-P. Rameau: Hippolyte et Aricie
Sir Simon Rattle, Conductor / Aletta Collins, Director, Choreography / Ólafur Elíasson, Stage, Light Design, Costumes / Anna Prohaska, Aricie / Reinoud van Mechelen, Hippolyte / Magdalena Kozená, Phèdre / Gyula Orendt, Thésée / Elsa Dreisig, Diane / Staatsopernchor

© Thies Rätzke Images

Finnish Baroque Orchestra

New commissions for period instruments, fresh interpretations of old repertoire, courageous and innovative working methods, unique concepts that engage a diverse audience – FiBO offers all this while being an influential force in the Nordic cultural scene.

Founded in 1989, the Finnish Baroque Orchestra has consolidated its position within the Finnish orchestral scene. Since its inception, the FiBO has collaborated with some of the foremost soloists and concertmasters and performed a wide-ranging repertoire. It generally focuses on baroque music, but  often explores works from other periods from early baroque to early romanticism, too. The FiBO also plays contemporary music composed for period instruments and even commissioned several works itself.

Throughout its history, the FiBO has been a forerunner in the Finnish music scene.  As the orchestra has developed, FiBO’s exciting performances, creative programming and innovative projects have caught the attention of numerous concert organisers, both in Finland and abroad.



„From the opening track onwards, elegant playing launches a programme rich in charm from Ilya Gringolts and the Finnish Baroque Orchestra, all on sparkling form.“

Gramophone Magazin, 19.02.2021

„Sharp-edged playing from the Finnish Baroque Orchestra.”

The Guardian, 27.01.2019


Dates available upon request
Virpi Räisänen, mezzo soprano / Taito Hoffrén

Werke von Claudio Monteverdi, Enríquez de Valderrábano, Tarquinio Merula u.a.

Virpi Räisänen © Jukka Lehtinen

Dates available upon request
mit Carolyn Sampson, Soprano

Georg Friedrich Händel: Andante from Triosonata C Minor l HWV 386a – attaca – Kantate Alpestre monte HVW 81
Antonio Vivaldi: Concerto for 2 Flutes C-Dur RV 533
Domenico Scarlatti: Sonata for Cembalo A-Dur K 208
Georg Friedrich Händel: Kantate Un’ alma innamorata HVW 173
Georg Friedrich Händel: Kantate Tra le fiamme HWV 170

Carolyn Sampson © Marco Borggreve



19 August 2019, Brühler Schlosskonzerte
„From Russia with love“
Irma Niskanen, leader & violin / Petteri Pitko, cembalo

Works by G. Pasiello, D. Cimarosa, J. Haydn and B. Galuppi: Concerto a quattro

© Brühler Schlosskonzerte

21 July 2019, Herrenchiemsee Festspiele
Dancing Queen“
Kajsa Dahlbäck, soprano / Olga Heikkilä, soprano / Katariina Heikkilä, alto / Jukka Jokitalo, tenor / Juha-Pekka Mitjonen, basso

Works by A. Scarlatti, A. Corelli, G. Düben, J. H. Schmelzer, C. Gesualdo, V. Albrici, A. Cesti a.o.

Europa Galante

Europa Galante was founded in 1989 by its musical director Fabio Biondi, who wanted to form an Italian period instrument ensemble to play both, the baroque and classical repertoire. The ensemble has a varying structure and often performs chamber music, such as the string sonatas of Italian composers of the seventeenth century. des 17. Jahrhunderts.

The ensemble’s repertoire includes operas of Handel, such as Agrippina and Imeneo, as well as Vivaldi, including Bazajet, Ercole sul Termodonte, Oracolo in Messenia and many pre-eighteenth century instrumental works. The orchestra is widely known for its performances of the works of Alessandro Scarlatti, such as the oratorios (Maddalena, La Santissima Trinità), serenatas (Clori, Dorino e Amore) and operas including Massimo Puppieno, Il Trionfo dell’Onore, La Principessa Fedele and Carlo Re d’Allemagna. Europa Galante regularly collaborates with the Fondazione Santa Cecilia in Rome to rediscover and restore eighteenth-century Italian operas, such as Antonio Caldara’s La Passione di Gesù Cristo, Leonardo Leo’s Sant’Elena al Calvario or Gesu sotto il peso della Croce by F. di Mayo. Last season in Rome, the ensemble presented La Foresta Incantata by Francesco Geminiani, together with an animated film by Fabio Biondi and the director Davide Livermore.

Europa Galante performed in many of the world’s major concert halls and theatres, including La Scala in Milan, Accademia di Santa Cecilia in Rome, Suntory Hall in Tokyo, Concertgebouw in Amsterdam, the Royal Albert Hall in London, Musikverein in Vienna, Lincoln Center in New York and the Sydney Opera House. The ensemble also toured throughout Australia, Japan, Europe, Canada, Israel, the USA and South America.



„… tutto aveva un senso, un’ intelligenza musicale. In tutto, questo Europa Galante si è confermata un’ orchestra che risponde come un corpo unico ma che rivelare tra le sue fila bravi solisti, quando serve. Teatro colmo pubblico un festa come a un concerto rock!”

Gazzetta di Parma, 22 October 2021

„Had Fabio Biondi made no other record, we would know from this one that he was a great violinist.“

The Strad, 2019

„I will certainly be looking out for any future releases he (Fabio Biondi) cares to record.“

The Art Music Lounge, 2019

„Biondi was a wizard on his violin.“

The San Diego Union Tribune. 2018



20 April 2019
C. Monteverdi: Il ritorno d’Ulisse in patria
Fabio Biondi, conductor / Furio Zanasi, Ulisse / Sara Mingardo, Penelope / Ewa Leszczynska Ericlea / Matheus Pompeu, Giove / Coro Costanzo Porta / Walter Le Moli (stage director) a.o.

Ulisses © Patrick Klein

8 June 2018 / 21 July 2018 / 11 September 2018

Works by M. Mascitti, A. Vivaldi, G.F. Händel, F. Geminianio, F. Barsanti, G. Paisiello, J. Stamitz, A. Soler, L. Boccherini and G. P. Telemann

© Musikfestspiele Potsdam Sanssouci

Compagnia di Punto

As part of the Ludwig van Beethoven Year 2020 – the 250th anniversary of the birth of the German-born Viennese master -, the Compagnia di Punto has made a recording of his first three symphonies. How is this special?

A remarkable aspect of this recording is that Beethoven’s symphonies, today considered as untouchable and virtually sacred monuments, are here performed by the Compagnia di Punto in arrangements realized by Beethoven’s contemporaries for a chamber ensemble made up of only ten instrumentalists. While this may be considered an affront to some purists, this recording will be welcomed by classical music fans with an open mind as an absolute rarity. On one hand, original arrangements of famous works reveal how loosely the “musical pantheon” could be treated during Beethoven’s time; on the other hand, they manage to cast a completely new light on musical works that are known inside out. With exceptional works such as Beethoven’s symphonies, this is an especially rewarding undertaking. Nominated for an OPUS Klassik 2020 in the category “Ensemble/Orchestra of the year”!



„An outstanding ensemble gives us a new perspective on Beethoven’s symphonies.“

NDR Kultur, 21.02.2020

„The presence of mind and vitality of nine fantastically motivated players sweep the listener into the symphonic chamber music of yesteryear…“

Süddeutschen Zeitung, 02.02.2020

„Fazit: Auf jeden Fall spannend!“

onlineMerker, 07.02.2020


Dates upon request
BEETHOVEN en miniature

The Compagnia die Punto plays Beethoven’s symphonies on period instruments in chamber music format, arranged by contemporaries Carl Friedrich Ebers and Ferdinand Ries. The symphonies can be combined at will or supplemented with other works by Beethoven for small ensembles.

L. v. Beethoven: Symphony no. 1 in C major op. 21, edited by Karl Friedrich Ebers (1770-1836)
L. v. Beethoven: Symphony no. 2 in D major op. 38, edited by Ferdinand Ries (1784-1838)
L. v. Beethoven: Symphony no. 3 in E flat major op. 55, edited by Carl Friedrich Ebers
Additional works: Serenade for flute, violin and viola op. 25, Sextett op. 81b (2 horns and pianoK), horn sonata


Symphony No. 2 D Major – IV. Allegro molto (excerpt) © Sony / Deutsche Harmonia Mundi



B’Rock Orchestra

B’Rock Orchestra was set up in Ghent in 2005 on the basis of an urge for renewal and rejuvenation in the world of Early Music. The selected international musicians specialise in historically well-founded performance practices. They distinguish themselves by their open mind and flexibility of repertoire and playing style.

In the choices it makes for its concert programmes, B’Rock combines established works of baroque composition with the lesser-known repertoire of the 17th and 18th centuries. In addition, the orchestra pursues a bold and innovative programme policy, in which early and contemporary music meet and enrich each other. It focuses especially on giving first performances of new music written with its historic instruments in mind. Yet, the orchestra has a reputation for cross-genre productions, too. Finally, early music in combination with theatre, visual art and/or video are also a part of the orchestra’s DNA.

B’Rock Orchestra regularly engages prominent guest conductors and soloists such as René Jacobs, Jérémie Rhorer, Leonardo García Alarcón, Peter Dijkstra, Bejun Mehta, Alexander Melnikov, Kristian Bezuidenhout, Dmitry Sinkovsky, Sophie Karthäuser and many others. It frequently collaborates with leading choral ensembles such as RIAS Kammerchor, Collegium Vocale Ghent, the Nederlands Kamerkoor and Cappella Amsterdam ND has developed structural partnerships in the fields of opera and musical theatre with De Munt/La Monnaie and Muziektheater Transparant.



„But, under Mr. Jacobs’s baton, B’Rock still sounded like a small chamber orchestra: nimble, clear, precise. And restrained, reserving its most powerful sound for dramatic effect, which added a sense of theater to a piece…”

New York Times, January 2019

„It’s a very special experience, from which the world can learn a great deal.“

Bachtrack, March 2017


Dates available upon request (October 2022, April 2023)
Adventurers, Or: A Dirty Business
Cecilia Bernardini, artistic direction // Jeanine de Bique, Sopran (tbc)

Works by G. F. Händel, C. Th. Pachelbel and J. Boulogne Chevalier de Saint-Georges


Dates available upon request
Next stop: Mendelssohn
René Jacobs, conductor // soloist, piano OR soprano (tbc)

F. Mendelssohn: 1st & 5th Symphony
F. Mendelssohn: 1st Piano Concerto G Minor op. 25 (tbc)



11 + 19 March 2018
B’rock Orchestra, René Jacobs, Robin Johanssen
Franz Schubert: Symphony no. 1 in D major D 82
Franz Schubert: Symphony no. 6 in C major D 589


musicAeterna was founded in 2004 by Teodor Currentzis in Novosibirsk. Its goal was to present Baroque and Classical works using authentic performance practices, but also set new accents in the realm of contemporary music. From the 2011/12 to the 2019/2020 season, the ensemble, as well as the musicAeterna Chorus, found a new home at the State Ballet and Opera Theater in Perm.

The orchestra also published numerous CD recordings, including an acclaimed Mozart/Da Ponte cycle.
In April 2019, Teodor Currentzis and musicAeterna toured with Verdi’s Messa di Requiem, and in September 2019 with Mozart’s Da Ponte cycle successfully through Europe. In November 2019, they performed Alfred Schnittke’s Concerto for Choir and Philippe Hersant’s Tristia in Teodor Currentzis’ hometown Athens (Megaron).

In 2018, Teodor Currentzis expanded the musicAeterna family by founding musicAeterna byzantina. The new choir consists of the 16 best graduates of Byzantine music schools in Greece and is intended to help the public to (re)discover the treasures of the Byzantine musical culture, including the songs of the ancient Greek church. The choir is led by Antonios Koutroupis, a graduate of the vocal department of the State Conservatory Rimsky-Korsakov in St. Petersburg and honorary cantor of the Greek Orthodox Cathedral of Saint George in Venice.

Since September 2019, musicAeterna persists as an independent, privately financed ensemble.



„Artistic ambitions match social ones.”

The New Yorker, 14th August 2017

„The orchestra uses period instruments and plays them with a finesse and vitality that has no equal.”

Los Angeles Times, 14th August 2017