Octavie Dostaler-Lalonde performs on both the modern and historical cello across Europe, the UK and North America. After studying with Denis Brott and Carole Sirois at the Conservatoire de Musique de Montréal, Octavie received the Prix avec Grande Distinction. She then studied baroque cello with Susie Napper and later with Viola de Hoog in Amsterdam.
Octavie has won prizes at national competitions in Canada as well as international competitions (Concours Corneille, Yamanashi Early Music Festival, International Graun Brothers Competition). She has received scholarships from the Canada Council for the Arts, the Banff Centre for Arts and Creativity, and the Amsterdam Fonds voor de Kunst. She was selected to be part of Handel House Talent in the 2017/18 season.
As a soloist and chamber musician, Octavie has performed in festivals and concert series such as Folle Journée in Tokyo, Festival de Royaumont, the Grachtenfestival, Festival Montréal Baroque, Bachfest Leipzig, Oude Muziek Utrecht Fabulous Fringe, Musica Antica da Camera and La Nouvelle Athènes. Recent collaborations include solo recitals and recordings with Artem Belogurov (piano, fortepiano and harpsichord), a CD with her chamber group Postscript, and performances with Ensemble Masques, Vox Luminis, Amsterdam Corelli Collective and Erik Bosgraaf. As an orchestral musician, she has played with the Orchestre Symphonique de Montréal, the Orchestra of the Age of Enlightenment and the Nieuwe Philharmonie Utrecht. In 2018, she directed the festival Romberg Dagen at the Conservatorium van Amsterdam.
Octavie has recorded for Brilliant Classics, TRPTK and Gamma Musica. She is an avid researcher and enjoys applying the latest finds to her playing. Her current CAC-funded research project, the Romantic Lab, focuses on Romantic performance practice, through the imitation of historical recordings. Octavie has the pleasure to play a Thomas Dodd cello from 1800 on loan from the Nationaal Muziekinstrumenten Fonds of the Netherlands, as well as her own Johann Michael Alban cello from 1700-1730.
Originally from Seville, Víctor studied at the Escuela Superior de Música Reina Sofía, where in 2013 he was awarded with the Natalia Shakhovskaya Prize for the most outstanding student in his class. He finished his bachelor’s degree at the Universität der Künste Berlin, studying under professor Jens Peter Maintz, followed by a master’s degree in performance under his guidance. He continues his education with a Master of Arts in Historically Informed Performance Practice at the Royal Conservatoire of Scotland.
Víctor won the Second Prize at the 2013 Witold Lutosławski Cello Competition in Warsaw and has received important awards in several national Spanish competitions. He has appeared as a soloist with orchestras such as the Malaga Philharmonic, Royal Symphony Orchestra of Seville, Orchester im Treppenhaus and Ensemble Esperanza. In 2017, he made his recital debut at the Palau de la Música in Barcelona. He has participated in chamber music festivals, including the Yellow Barn Festival in Vermont, the East Neuk Festival Retreat and the Musethica Festivals in Spain, Sweden, France and Israel. He is also a founding member of the Impulsia Ensemble.
Xenia Gogu was born in Moldova and is currently studying for a master’s degree at the Hochschule für Musik und Theater in Hamburg. She received her bachelor’s degree from the Hanns Eisler Hochshule für Musik in Berlin and also studied at the Escuela Superior de Música Reina Sofía in Madrid with Zakhar Bron.
She was part of the Akademie Programme at the Rundfunk-Sinfonieorchester Berlin and collaborates regularly with the Kammerakademie Potsdam, Deutsche Kammerakademie Neuss am Rhein and the orchestra of the Gran Teatre del Liceu in Barcelona. She has always showed interest in historically informed performance practice, having received lessons from Bernhard Forck (Akademie für Alte Musik Berlin) and Amandine Beyer. She has also attended the European Union Baroque Orchestra Summer Academy and is a founder member of Impulsia Ensemble, having performed at the Wiener Konzerthaus as part of the Baroque Music Festival, Resonanzen.
As a chamber musician she is a member of Musethica and participated in festivals in Spain, France and Sweden; she also attended lessons with Heime Müller, Günter Pichler, Eckard Runge, Jonathan Brown (Casals Quartet) and the Quiroga Quartet. She is a holder of the Vera-Ritter Stiftung.
Hatty Haynes is a violinist enjoying a varied musical life performing as a recitalist, chamber musician and orchestral player across the UK and Europe. She is currently pursuing a master’s degree at the Guildhall School of Music & Drama where she studies with Stephanie Gonley, Krysia Osostowicz and Pavlo Beznosiuk. Her studies are generously supported by Help Musicians UK, the Countess of Munster Musical Trust, the Tillett Trust and the Craxton Memorial Trust.
In July 2018 she graduated from the Royal Academy of Music with a first-class honours degree and was awarded the prestigious Beare’s Bow Prize upon graduating. Hatty studied with So-Ock Kim and Nicolette Moonen and was the recipient of the John Waterhouse, Amadeus, Sir John Barbirolli and Wolfe Wolfinsohn prizes during her time at the Academy. She was also a participant in both the Davey Poznanski Quartet scheme and the Asset Frost Chamber Music scheme under the tutelage of Levon Chilingirian.
Hatty has performed extensively throughout the UK in venues such as Wigmore Hall, the Barbican, Royal Albert Hall and Royal Festival Hall and has participated in masterclasses with James Ehnes, Lucy Chapman, Guy Johnston and with András Keller at International Musicians Seminar Prussia Cove. During the 2018/19 season she gained places on orchestral schemes with the London Symphony Orchestra and the Orchestra of the Age of Enlightenment. Hatty has also played with orchestras such as London Sinfonietta, Scottish Chamber Orchestra and the Philharmonia, and has played under conductors including Bernard Haitink, Sir Simon Rattle, Trevor Pinnock and Semyon Bychkov.
Oscar Holch is currently a Fellow at the Guildhall School of Music and Drama where he studies with David Takeno. He previously studied at the Royal Academy of Music, where he was awarded the Max Gilbert Prize. He has participated in masterclasses with Tatjana Masurenko, Garth Knox, Thomas Riebl, Hartmut Rohde and Hariolf Schlichtig. As a chamber musician, he has appeared at festivals around the UK and in Europe including the BBC Proms, Cowbridge, Beaminster, Ryedale, Fundación MonteLeón and Vilalte festivals.
Oscar has a keen interest in contemporary music and has performed the chamber music of Colin Matthews at a BBC Proms Extra concert celebrating the composer’s 70th birthday, which was broadcast on BBC Radio 3. He was also fortunate to collaborate with Latvian composer Pēteris Vasks in a concert celebrating his 70th birthday. He recently performed in a BBC Symphony Orchestra Total Immersion concert that was broadcast on BBC Radio 3, exploring the music of composers who lost their lives in the First World War.
As an orchestral musician he has performed as principal viola with the Guildhall Symphony Orchestra and has performed in side-by-side projects with the London Symphony Orchestra, London Mozart Players, Australian Chamber Orchestra and Academy of Ancient Music and collaborated with conductors such as Sir Simon Rattle, Robin Ticciati, Christian Thielemann, Semyon Bychkov and Esa-Pekka Salonen. During his studies, he was generously supported by the Leo Birnbaum Scholarship Trust and the Countess of Munster Musical Trust and he is grateful to The Cherubim Music Trust for the loan of his instrument.
Born in 1995, violinist Gabi Jones studied for ten years at Chetham’s School of Music, before graduating from Trinity College, Cambridge in 2016. Whilst at Chetham’s, she was awarded the school’s prestigious concerto and chamber prizes, and led the Chetham’s Symphony Orchestra, under conductors such as Paul Mann, David Hill and Paul McCreesh. She has performed as a soloist and chamber musician across the UK and Europe, including appearances at the Wigmore Hall, Bridgewater Hall and Cadogan Hall, and combined with musicians such as Leon McCawley, Tom Poster, Nicola Benedetti and the Endellion Quartet.
Gabi held a University Instrumental Award during her time at Cambridge, giving numerous chamber and solo recitals across the University. She led the University Chamber Orchestra, performing under the baton of Sir Roger Norrington, Carlos Izcaray and Nicholas Collon. In 2013, Gabi co-founded the Trinity College Chamber Orchestra, performing regularly with the ensemble both as leader and concert soloist.
Following a master’s degree at the Royal College of Music with Detlef Hahn, Gabi pursued an artist diploma in historical performance, studying with Lucy Russell and Bojan Cicic. She was awarded the Constant and Kit Lambert fellowship for 2019-20, during which time she led and directed various projects in historical performance. She performs regularly with ensembles such as Florilegium, the Orchestra of the Age of Enlightenment, the Academy of Ancient Music, the Hanover Band and Wond’rous Machine. Her historical violin is a 1756 Jacob Kloz which is generously loaned by the Cherubim Trust.
Chloé graduated with a Master of Arts in Music Pedagogy and majored in Instrumental Teaching from the Haute école de musique de Genève under Patrick Genet (violin), Gabor Takács-Nagy (quartet) and Florence Malgoire (baroque violin).
She discovered her passion for period instruments at the Jeune Orchestre Hector Berlioz (Les Siècles directed by François-Xavier Roth), and started to work with them in 2015. With this orchestra, she has had the opportunity to play a wide range of repertoire on period instruments from Handel to Webern, Debussy, Ravel, Berlioz and Stravinsky. She has worked in countries such as China, Japan, Mexico, Italy, Germany, England and France. With this ensemble, she has also been involved in education projects (parent-child workshops, coaching within an amateur orchestra and hospital visits at the Necker Children’s Hospital). Alongside this, Chloé completed a Master’s in Research and Ensemble Playing on period instruments (classical and romantic repertoire) in partnership with the University of Poitiers and the Abbaye de Saintes. During these workshops, she met conductors, musicians and musicologists specialising in historical performance practice: William Christie, Philippe Herreweghe, Amandine Beyer, Hervé Niquet, Clive Brown, Kai Köpp, Marten Root and Lorenzo Coppola.
Today, Chloé lives and works in Paris, where she combines her passion for orchestral and chamber music and teaching. She plays with Les Siècles, Orchestre des Champs-Elysées, Les Frivolités Parisiennes, and in chamber ensembles of different sizes. She currently teaches at the Conservatoire de Villeneuve-le-Roi.
Eglantine began playing the cello at the La Rochelle Conservatoire and joined Marc Coppey’s class at the Conservatoire régional de Paris at the age of 13. After receiving the Diplôme d’Études Musicales in 2007, she studied with Raphaël Pidoux in Paris and subsequently with Laurentiu Sbarcea at the Hochschule für Musik und Tanz Köln. There she received her bachelor’s degree in modern cello and chamber music followed by a master’s degree in baroque cello in the class of Rainer Zipperling.
Eglantine performs regularly with orchestras including Concerto Köln (Kent Nagano, Wagner project), Insula Orchestra (Laurence Equilbey), Kölner Akademie (Michael Willens) and Das Neue Orchester (Christoph Spering). An active chamber musician, she has played with Christophe Coin, Davit Melkonyan, Richard Gwilt, Ingeborg Danz, Natalia Lentas and others. Since 2018, she has contributed to a series of concert-lectures on music and philosophy together with her husband François Thomas (Université Paris-Nanterre).
Eglantine has expanded her knowledge of historical performance through participation in the academy of Freiburger Barockorchester (Guido Larisch), the Jeune Orchestre Européen Hector Berlioz (François-Xavier Roth, Robin Michael) and the Jeune Orchestre de l’Abbaye aux Dames (Hervé Niquet, Clive Brown, David Watkin, Peter Hanson, Hilary Metzger etc.).
Alongside her musical endeavours, Eglantine is a trained practitioner of the Feldenkrais method, which she has taught since 2018, in particular to students at the Hochschule für Musik und Tanz Köln.
William McGahon recently graduated from the Royal Northern College of Music (RNCM) with first-class honours, studying with Julia Hanson. During his final year at the RNCM, William undertook a research project exploring Late 19th and Early 20th Century Violin Performance Practice, specifically the music of Johannes Brahms and the treatise of Louis Spohr and Joseph Joachim in preparation for projects in 2019/20.
In March 2018, he was chosen as a Britten-Pears Baroque Young Artist, performing Handel’s Theodora, and taking part in masterclasses with Sarah Connolly and Christian Curnyn. In August 2018, William performed Bach’s St Matthew Passion with the Dartington Festival Baroque Orchestra. In both 2017 and 2018 William was invited under a full scholarship to study on the internationally acclaimed chamber music course ‘Musique á Flaine’. Whilst in Flaine in 2018, he was also fortunate enough to work on John Casken’s quintet Inevitable Rifts with Yovan Markovitch of the Danel Quartet and Casken himself. This culminated in a performance of the quintet dedicated to Heinrich Schiff and a recording in the Flaine Auditorium.
William maintains a keen interest in contemporary music and has regularly been part of the RNCM’s prestigious New Ensemble. Notable performances include the 2018 Gilbert and Gorb Festival, the 2019 Saariaho: In Focus, and the Future Music Series in June 2019.
Whilst at the RNCM, William was chosen to participate in masterclasses with Mauricio Fuks, Alexandre da Costa, Harriet Mackenzie and Henk Guittart as well as perform with members of the Manchester Camerata and the BBC Philharmonic as part of RNCM’s String Festival 2019.
Jam Orrell has recently completed her studies at the Royal Academy of Music in London, where she studied historical viola and viola d’amore with Jane Rogers. Before this, she studied Music at St Catherine’s College, Oxford. During her time there, she was the Senior Repetiteur Scholar for New Chamber Opera Company and sang in Schola Cantorum of Oxford.
As a historical violist, Jam has performed with groups such as Early Opera Company, The English Concert, Florilegium, La Nuova Musica and Oxford Bach Soloists. She is a graduate of the Orchestra of the Age of Enlightenment Experience Scheme and is a former Britten-Pears Young Artist. Jam is interested in pursuing a career both in academia and performance. Her research interests include the philosophy of the body, pop music, and gender musicology.
Miguel Pliego García
Born in Madrid, Miguel began his undergraduate studies with Luis Fonseca at the Royal Conservatory of Madrid. During this time, he combined his musical education with a degree in architecture at the Escuela Técnica Superior de Arquitectura de Madrid. Later he moved to London to complete his studies at the Guildhall School of Music & Drama under Luis Cabrera and Rinat Ibragimov, thanks to the economic support of the school, Juventudes Musicales de Madrid and Instituto Aragonés de Empleo.
He has attended several courses, receiving lessons from musicians such as Edicson Ruiz, Johane González Seijas, David Takeno, Janne Saksala, Detmar Kurig, Cecelia Bruggemeyer, Jan Vogler and Carole Petitdemange. Furthermore, his passion for modern music has brought him to take jazz courses at the Conservatorium van Amsterdam and the Berklee College of Music, for which he was awarded a full scholarship.
Under the baton of conductors such as Esa-Pekka Salonen, Daniel Harding, François-Xavier Roth, Mark Wigglesworth, Juanjo Mena and Josep Caballé Domenech, Miguel has performed with the orchestras of the Gustav Mahler Academy, Encuentro de Música Santander, Moritzburg Festival, and Australian Chamber Orchestra. In addition, he has been a member of the Spanish Youth Orchestra (JONDE) and the Netherlands Youth Orchestra (NJO). Recently he has won an audition for sub-principal double bass at the Netherlands Philharmonic Orchestra.
Beyond large ensembles he enjoys playing chamber music and solo concerts, being accompanied by the RCSMM String Orchestra and Orquesta de Cámara Andrés Segovia under the direction of Víctor Ambroa in the Auditorio Nacional de Madrid. Last September he received the First Prize in the Viennese Double Bass Competition in Amsterdam.
Born in Bath and raised in the South West, George is now based in London and enjoys a busy and varied life as a versatile chamber and orchestral musician and teacher.
He studied with Garfield Jackson at the Royal Academy of Music, where he participated in masterclasses with Tatjana Masurenko, Hartmut Rohde and Garth Knox. In 2013 he gained a place in the class of Thomas Riebl at the International Musicians Seminar at Prussia Cove, and was also a participant at the Casalmaggiore International Festival. The same year, he received the Marjory Bunty Lempfert Award and graduated from the RAM with first-class honours.
George toured with the European Union Youth Orchestra in 2014 and was also a reservist with the Gustav Mahler Youth Orchestra. He has since freelanced with numerous UK orchestras, including the Royal Philharmonic Concert Orchestra, Bournemouth Symphony, Army of Generals and La Folia. He has also played main stages at the Glastonbury, Green Man and All Points East festivals, and has toured the UK with artists such as Father John Misty and The Unthanks.
Among other collaborations, George plays regularly with the Edington Ensemble, and, with pianist John Reid, has especially enjoyed exploring much of the piano quartet canon in recent years.
Peter Hanson has been the leader of Orchestre Révolutionnaire et Romantique (ORR) for over 25 years, appearing in nearly all of their concerts and recordings. In November 2012, he was the soloist for a European and US tour of Beethoven’s Missa Solemnis, which, as well as several major European venues, also featured performances in Carnegie Hall, NY and Orange County, CA. In October 2013, the ORR toured Switzerland and neighbouring countries. The 2017 Prom with ORR featured Berlioz’s La Damnation de Faust. 2018 included a huge European and US tour of Berlioz’s works, including two Carnegie Hall concerts, and a tour of Verdi’s Requiem. Most recently, the ORR has continued its commitment to the music of Berlioz with a European tour (including a performance at the BBC Proms) of his bombastic first opera, Benvenuto Cellini.
Peter has played with both modern and period instrument groups throughout his career, including the Academy of St. Martin-in-the-Fields, London Symphony Orchestra, London Sinfonietta, and as leader of the Philharmonia Orchestra, under Rostropovich. He was leader for Trevor Pinnock and the English Concert for seven years and has played with Roger Norrington and the Orchestra of the Age of Enlightenment. During this time, a vision of a new type of string quartet emerged: the Eroica Quartet was formed with colleagues from the world of period instrument performance. Recordings of all the Mendelssohn quartets, all the Schumann quartets and various Beethoven quartets soon followed on the Harmonia Mundi label. In February 2012, their recordings of the Ravel and Debussy quartets were released, along with a recording of the un-edited version of Mendelssohn’s string octet.
As a Director of Music, he has a permanent place in the Carmel Bach Festival in California, curating a programme of chamber music concerts, directing two string orchestra concerts and acting as concertmaster for most of the festival orchestra concerts.
Peter also directs concerts with other orchestras. Recent engagements have included projects with the Singapore Symphony Orchestra, Kymi Sinfonia from Finland, Orquesta da Camera (near Barcelona) and the Luxembourg Philharmonic. In 2017, he was guest concertmaster for a Beethoven and Gade project with Concerto Copenhagen, under the baton of Lars Ulrik Mortensen.
Principal Viola, ORR
After reading Classics at Clare College, Cambridge, Oliver studied at the Royal College of Music and at Edsberg Chamber Music Institute in Stockholm. Since then Oliver has pursued a diverse musical life performing a wide range of repertoire on modern and historic instruments.
In 2016 Oliver became the Principal Viola of the Gaechinger Cantorey, the orchestra of the International Bach Academy in Stuttgart. He has appeared with many other ensembles as Principal Viola including the English Concert, the Academy of Ancient Music, the Dunedin Consort, the Dresdner Festspielorchester, and the Orchestra of the Age of Enlightenment, which he led in Faure’s Requiem at the BBC Proms. As a member of the classical chamber ensemble Denote, he has recently recorded 2 CDs of Mozart’s chamber music.
Oliver’s first project with the Orchestre Révolutionnaire et Romantique was the 2003 production of Berlioz’s Les Troyens in Paris. Since then he has played in almost every one of the ensemble’s projects.
Principal Cello, ORR
Robin Michael studied at the Royal Academy of Music with David Strange and Colin Carr, and later with Ferenc Rados. He is Principal Cellist in Orchestre Révolutionnaire et Romantique, Solo Cellist with Orchestre Les Siècles (Paris), as well as regular guest Principal Cellist with the Australian Chamber Orchestra, Scottish Chamber Orchestra, BBC National Orchestra of Wales, Royal Northern Sinfonia, Irish Chamber Orchestra, Britten Sinfonia, RTE Concert Orchestra, English Baroque Soloists, English National Opera and Orchestra of the Age of Enlightenment.
Robin was the cellist in the Fidelio trio for over 10 years with whom he toured Europe, North America, Asia and South Africa. He has also appeared in collaboration with the Dante and Eroica quartets. Highlights in his discography include the premier recording of Joe Cutler’s Cello Concerto with the BBC CO (NMC), the first recording of the original version of Mendelssohn’s Octet on period instruments (Resonus), and recordings with the Fidelio trio on Naxos, NMC, Métier and Delphian records.
Mentor (Double Bass)
Principal Double Bass, ORR
Valerie Botwright studied at the Royal Academy of Music, as a clarinetist with John Davies, and a double bass player with John Walton. She was the winner of the Eugene Cruft Prize for double bass, and upon completion of her studies was appointed Principal Bass of the Scottish Baroque Ensemble. She then became a founder member and Principal Bass of the Scottish Chamber Orchestra, also playing for Scottish Opera.
She returned to London and worked with various orchestras including the Academy of St Martins, before joining the Monteverdi Orchestra and subsequently becoming the Principal Bass of the English Baroque Soloists and the Orchestre Révolutionnaire et Romantique.
She was one of the pioneers of the early music movement and continues to be at the forefront of historically informed performance. In 2005 she gained a first-class honours degree in psychotherapeutic counselling, and in addition to her playing career is now working in the field of performance wellbeing.
In 2011 she became a Fellow of the Royal Academy of Music.