Jordi Savall is one of the most versatile musical figures of his generation. For more than forty years, he has been bringing to light musical wonders forgotten in the shadows of indifference and neglect. Devoted to researching these ancient musical traditions, he studies and performs them with his viola da gamba or as a conductor. His work as a performer, educator, researcher, and initiator of new musical and cultural projects positions him among the key figures in the revival of historical music.

Together with Montserrat Figueras, he founded ensembles such as Hespèrion XXI (1974), La Capella Reial de Catalunya (1987), and Le Concert des Nations (1989), through which he explores and creates a universe of emotions and beauty shared worldwide with millions of early music enthusiasts. According to The Guardian (2011), “what really distinguishes Jordi Savall are his journeys beyond the temple of high culture. An omnivorous minstrel, he searches libraries in Manchester or villages in Colombia to rescue musical traditions, with recordings ranging from Berber rhythms to the ecstasy of a raga, from the moving stillness of an Armenian lament to the liveliness of an Elizabethan galliard.”

His crucial participation in Alain Corneau’s film Tous les Matins du Monde (winner of a César for Best Soundtrack), his intense concert activity (140 concerts per year), recordings (six annual releases), and the creation of his own record label, ALIA VOX (founded with Montserrat Figueras in 1998), demonstrate that early music need not be elitist and can appeal to an increasingly diverse and growing audience. His extensive work has been described as “not merely a musical revival, but a creative revival,” in the words of critic Allan Kozinn in The New York Times (2005).

After completing cello studies at the Conservatory of Barcelona (1964), he began studying viola da gamba and early music as an autodidact with the group Ars Musicae. Between 1968 and 1993, he refined his skills at the Schola Cantorum Basiliensis (Switzerland), where he also taught, and is currently a visiting professor at the Juilliard School in New York. Throughout his career, he has recorded and produced more than 200 albums covering medieval, Renaissance, baroque, and classical repertoires, with particular attention to Hispanic and Mediterranean musical heritage. These recordings have received numerous awards, including the Midem Awards, International Classical Music Awards (ICMA), and a Grammy Award.

For Jordi Savall, “music is one of the most universal means of expression and communication, and its importance should not be measured by the evolution of its language, but by its expressive intensity, inner richness, and humanity.” His concert programs have transformed music into an instrument of mediation for understanding and peace among diverse peoples and cultures. Thus, his guest musicians include Arab, Israeli, Turkish, Greek, Armenian, Afghan, Mexican, and American artists. In 2008, he was appointed European Union Ambassador for Intercultural Dialogue, and together with Montserrat Figueras, he was designated as an “Artist for Peace” by UNESCO.

His artistic career is considered a driving force behind the revival of early music in Europe, America, and the Mediterranean, making him a key reference in the study, performance, conducting, and intercultural approach to various musical traditions. He has received the highest distinctions, including honorary doctorates from the universities of Évora, Barcelona, Leuven, Basel, and Utrecht, the distinction of Chevalier de la Légion d’Honneur from the French Republic, the Praetorius Musikpreis Niedersachsen from the Ministry of Culture of Lower Saxony, the Gold Medal of the Generalitat of Catalonia, the Helena Vaz da Silva European Award, and the prestigious Léonie Sonning Music Prize (2012), considered the Nobel Prize of music. As The Guardian (2011) noted, “Jordi Savall reveals an infinitely diverse common cultural heritage. He is a man for our times.”

Following the model of the renowned medieval ‘Royal Chapels’ for which the great masterpieces of sacred and secular music of the Iberian Peninsula were composed, Montserrat Figueras and Jordi Savall founded La Capella Reial in 1987. It was one of the first vocal ensembles dedicated to performing music from Spain’s Golden Age using historical criteria and composed exclusively of Hispanic and Latin voices. Since 1990, the group has been known as La Capella Reial de Catalunya, regularly supported by the Generalitat de Catalunya.

The ensemble specializes in the recovery and historically informed performance of medieval and Golden Age polyphonic vocal heritage from Spain and Europe prior to the 19th century. Sharing the artistic approach of Hespèrion XXI, and with deep respect for the spiritual and artistic dimensions of each work, La Capella Reial de Catalunya masterfully blends quality, stylistic fidelity, declamation, and expressive projection of poetic texts.

Its repertoire spans medieval music from Mediterranean cultures to the great masters of the Renaissance and Baroque periods. Some of its most celebrated programs include the Cantigas of Alfonso X El Sabio, El Llibre Vermell de Montserrat, Sephardic songs, the music from El Misterio de Elche, romances from Don Quixote, Golden Age songbooks, and Mozart’s Requiem. The group has also explored Baroque and Classical operatic repertoires, as well as contemporary compositions by composers such as Arvo Pärt. It contributed to the soundtrack of Jacques Rivette’s film Jeanne La Pucelle (1993), about Joan of Arc.

With over 40 recordings released, their discography has received prestigious awards such as the Midem Classical Award, the International Classical Music Awards, and a Grammy Award. Under the direction of Jordi Savall, La Capella Reial de Catalunya maintains an active international presence in concerts and recordings, regularly performing at major early music festivals worldwide.

The most significant value of early music lies in its ability, as a universal artistic language, to convey sensitivities, emotions, and ancestral ideas that continue to move contemporary audiences. With a repertoire ranging from the 10th to the 18th century, Hespèrion XXI continually seeks new connections between East and West, promoting integration and recovery of international musical heritage, especially from the Mediterranean region and the New World.

Founded in 1974 in Basel by Jordi Savall and Montserrat Figueras, along with Lorenzo Alpert and Hopkinson Smith, the group initially emerged as Hespèrion XX, aiming to recover and disseminate pre-19th-century music, following historical criteria and using original instruments. The name Hespèrion references the ancient Greek names for the Iberian and Italian peninsulas, as well as Venus as the “evening star.” In 2000, the ensemble was renamed Hespèrion XXI.

Today, Hespèrion XXI is an indispensable reference for understanding musical evolution from the Middle Ages to the Baroque period. Its efforts in recovering unpublished works, scores, instruments, and documents hold dual invaluable significance: they contribute fresh insights to historical research and provide high-quality performances that allow audiences to experience the beauty and spirituality of these musical pieces.

From its inception, Hespèrion XXI has followed a clear and innovative artistic direction, influencing the global music scene by viewing early music as a tool for musical experimentation and expressive exploration. Performers must connect with the original spirit of each work through the study of its author, instruments, and historical context, while also making creative choices that link the past with the present and cultural heritage with its dissemination.

Their repertoire encompasses Sephardic music, Castilian romances, Spanish Golden Age works, and music from various European nations. Among their most celebrated programs are the Cantigas de Santa María by Alfonso X, La Diáspora Sefardí, and music from Jerusalem, Istanbul, Armenia, and Folías Criollas. With over 60 recordings released, Hespèrion XXI continues to play a crucial role in the revival of global musical heritage and actively participates in leading international music festivals.

Le Concert des Nations was founded by Jordi Savall and Montserrat Figueras in 1989 during preparations for Marc-Antoine Charpentier’s Canticum Beatae Virgine, aiming to form an orchestra of historical instruments capable of performing repertoires ranging from the Baroque to Romantic periods (1600–1850). The name is inspired by François Couperin’s work, Les Nations, symbolizing the union of musical tastes and anticipating the European artistic spirit of the Enlightenment.

Under Jordi Savall’s direction, it was the first orchestra mainly comprised of musicians from Latin countries (Spain, Latin America, France, Italy, Portugal, etc.), all internationally recognized specialists in early music performed on period instruments. From its inception, the ensemble has aimed to present historical repertoires through performances faithful to their original spirit but enriched with revitalizing energy. This is clearly demonstrated by their programs and recordings of composers such as Charpentier, J. S. Bach, Haydn, Mozart, Handel, Marais, Arriaga, Beethoven, Purcell, Dumanoir, Lully, Biber, Boccherini, Rameau, and Vivaldi.

In 1992, the ensemble debuted in the operatic genre with Martín i Soler’s Una Cosa Rara, performed at the Théâtre des Champs Élysées, the Gran Teatre del Liceu, and the Auditorio Nacional de Madrid. This was followed by productions of Monteverdi’s L’Orfeo and other Baroque and Classical operas such as Il Burbero di Buon Cuore, Celos aun del aire matan, and Vivaldi’s Farnace and Il Teuzzone.

Their extensive discography has earned accolades such as the Midem Classical Award and the International Classical Music Awards. Their recordings and performances at major international venues have established Le Concert des Nations as one of the premier period-instrument orchestras, adeptly delivering a broad and diverse repertoire that spans from the earliest orchestral music to Romantic masterpieces.

La Jove Capella Reial de Catalunya is a professional vocal ensemble directed by Lluís Vilamajó and co-founded with Jordi Savall, aimed at promoting a new vocal formation composed of young singers specializing in early music performance. The ensemble maintains high artistic and musical standards, deeply exploring the historical interpretation of repertoires from the Renaissance and Baroque to contemporary music, including compositions by Johann Sebastian Bach, Tomás Luis de Victoria, Mateu Fletxa, Edward Elgar, Dietrich Buxtehude, and Patricia van Ness, among others.

With a commitment to reaching a broad and diverse audience, La Jove Capella Reial de Catalunya has performed in prestigious venues such as L’Auditori in Barcelona and participated in renowned festivals like Festival Espurnes Barroques and Festival Emergents. Through their performances, the ensemble actively contributes to the dissemination and revitalization of historical musical heritage, providing a professional platform for its young members.

Accompanied by traditional instruments such as the oud, saz, Maghreb and Middle Eastern percussion, ney, Armenian duduk, and Mediterranean voices, Orpheus XXI presents integrative concerts blending Eastern and Western music. Founded in 2016 by Jordi Savall, EU Ambassador for Intercultural Dialogue in 2008 and UNESCO Artist for Peace, the ensemble comprises professional immigrant and refugee musicians from various countries.

The project integrates refugee and immigrant professional musicians, enabling them to transmit their culture through pedagogical, educational, playful, and creative activities aimed at musically talented youth, fostering integration and intercultural dialogue. Orpheus 21 has performed in countries including Catalonia, France, Germany, and Norway, appearing on stages such as Cité de la Musique in Paris, Mercat de Música Viva de Vic, and Festival de Musique de Besançon (France). Co-directed by renowned Syrian musicians Moslem Rahal (ney) and Waed Bouhassoun (vocals), the ensemble offers vibrant, unforgettable performances that transcend geographical boundaries, conflict, and intolerance.

Ensemble Mediterrània is a musical ensemble composed of musicians from diverse Mediterranean cultures, residing in Valencia and Catalonia. Founded in 2021 by Martí Sancliment and directed by renowned singer Carola Ortiz, the ensemble was initiated by the European Institute of the Mediterranean.

The group brings together distinguished professional performers from across the Mediterranean basin, including Algeria, Syria, Armenia, the Iberian Peninsula, Bulgaria, Israel, Turkey, and the Balkans. Artists such as Neila Benbey, Gani Mirzo, Hovhannes Karakhanyan, and Georgi Dimitrov are part of the ensemble.

Ensemble Mediterrània’s repertoire includes Arabic and Maghrebi music, Bulgarian dances, ancient Sephardic songs, Balkan rhythms, and traditional European melodies. Rich with emotional depth, lively ancestral melodies, and diverse rhythms, the ensemble emphasizes mutual understanding and the cultural connections among Mediterranean peoples. They have performed at events like Mediterranean Day at Saló del Tinell in Barcelona and at the celebration of the Barcelona Process in Brussels (2025).

Pierre Hamon is a French musician, composer, and performer specialized in recorder and various traditional flutes from around the world. His repertoire spans medieval to contemporary music, with a particular emphasis on historical interpretation and sonic experimentation. Initially self-taught, he refined his technique under Walter van Hauwe in Amsterdam. He was part of medieval ensembles like Guillaume de Machaut in Paris and Gilles Binchois. Since the 1980s, Hamon has been pivotal in the development of early music in France, as a member of Ensemble Gilles Binchois and co-director of Alla Francesca. He has collaborated closely with Jordi Savall since 1995 on numerous projects. Driven by a profound interest in early music, Hamon has also immersed himself in musical traditions from Europe and other cultures. In 1998, he became a disciple of Hariprasad Chaurasia, a master of Hindustani music and the bansuri flute. This exploration led him to investigate pre-Columbian flutes and civilizations, as well as the music of Native American peoples. In 1994, he established France’s first recorder class at the Lyon Conservatoire National Supérieur de Musique et de Danse, where he continues to teach. He also conducts masterclasses at institutions such as Schola Cantorum Basiliensis. Hamon composed and directed the original music for Juan Antín’s animated film Pachamama (2018). Notable recordings include Hypnos (2006) and Lucente Stella (1995). He has directed projects like L’amoureus Tourment (2005) and Le Remède de Fortune (2008), focusing on Guillaume de Machaut, and contributed significantly to Alla Francesca’s recordings of medieval and Renaissance music.

Daniel Claret is a cellist, teacher, and creator of artistic projects. He was born in Barcelona into a family of musicians. His main influences and the people who have most helped him grow through different stages of life are Julius Berger, Jordi Mora, María Muñoz, Pep Ramis, György Kurtág, and his parents, Lluís and Anna. His professional activity unfolds in multiple directions. He is the founder of The Rest Project, a group created with the intention of experimenting with new concert formats. Its first artistic proposal, The Rest is Silence, was created in 2023 and is still performed today in venues and festivals around the world. In December, a new one will premiere: New Beginnings.

Creating personal projects is a constant source of growth for him. Some of these include La Fe, for solo cello, combining texts and music by György Kurtág with Bach’s Suites; the complete works for cello and piano by Ludwig van Beethoven; and more recently, El demà d’ahir, a dance and music performance in duet with dancer Federica Porello. In parallel, he is a cello professor at the Conservatori Superior de Música del Liceu, a role he sees as an enormously enriching process. He feels very fortunate to be part of Inventions and Highlands, shows by the creative group Mal Pelo, which have allowed him to expand his possibilities in interpretation, perception, and understanding of music and stage.

Federica Porello is an Italian dancer, teacher, and choreographer trained at the P.A.R.T.S. school in Brussels. She has worked with choreographers and companies such as Marlene Monteiro Freitas, Albert Quesada, and Tg Stan. In 2012, she co-founded Les Chasseurs Cueilleurs, combining dance and object manipulation. Since 2013, she has collaborated with Mal Pelo in productions like Bach and Highlands. She is part of Group LaBolsa, focused on improvisation, and has collaborated with ZOO/Thomas Hauert. She also participates in interdisciplinary projects with musicians, including Quadres, alongside violinist Joel Bardolet, percussionist Núria Andorrà, and cellist Daniel Claret.

Ricercar Consort is a Belgian instrumental ensemble specializing in Baroque music performance. Founded in 1980 by Philippe Pierlot, Bernard Foccroulle, and François Fernandez, the ensemble aims to revive and perform Baroque repertoire with historical accuracy and period instruments. Initially focused on 17th-century German Baroque music, performing composers like Johann Sebastian Bach, Dieterich Buxtehude, and Heinrich Schütz, the Ricercar Consort expanded its repertoire under Philippe Pierlot’s direction to include broader European works, chamber music, oratorios, and Baroque operas. With over 50 recordings, the ensemble is internationally recognized for its refined and expressive interpretations. Notable projects include Deutsche Barock Kantaten and the complete viola da gamba works of Marin Marais. Ricercar Consort performs in prestigious venues like Théâtre des Champs-Élysées, Amsterdam’s Concertgebouw, London’s Wigmore Hall, and Vienna’s Konzerthaus, and renowned festivals such as Festival de Saintes, Ambronay Festival, and Utrecht Early Music Festival. The ensemble continues to perform globally, merging scholarly rigor with artistic sensitivity to bring Baroque music vividly to life.

Cuarteto Casals is a string quartet founded in 1997 at the Reina Sofía School of Music in Madrid, under Antonello Farulli’s guidance. Its founding members are the Barcelona brothers Abel Tomàs (violin) and Arnau Tomàs (cello), Madrid violinist Vera Martínez Mehner, and American violist Jonathan Brown (since 2002). The quartet honors renowned Catalan cellist Pau Casals. They received training from renowned masters like Walter Levin, Rainer Schmidt, Alban Berg Quartett, and Harald Schoneweg. Internationally recognized after winning competitions in London (2000) and Hamburg (2002), they received Spain’s National Music Prize in 2006. Cuarteto Casals performs in world-renowned venues like Wigmore Hall, Carnegie Hall, Musikverein, Cologne’s Philharmonie, and Berlin’s Philharmonie. Their repertoire ranges from classical composers like Mozart, Haydn, Schubert, and Brahms to 20th-century masters such as Debussy and Ravel. They have recorded extensively with Harmonia Mundi, notably Beethoven’s complete quartets. Committed to contemporary music, they premiere works by composers like Jordi Cervelló and David del Puerto, collaborating with James MacMillan and György Kurtág. They teach at prestigious institutions and have received awards recognizing their contribution to international chamber music.

Marc Hantaï is a specialist flautist in early music performance using period instruments. Educated in France and the Netherlands under Barthold Kuijken, he performs as soloist and with ensembles like Le Concert Français, La Petite Bande, and Ricercar Consort. His acclaimed recordings include sonatas by Bach, Telemann, and C.P.E. Bach. He teaches historical flute at the Escola Superior de Música de Catalunya and across Europe.

Pierre Hantaï is a renowned French harpsichordist acclaimed for his interpretations of Bach and Baroque composers. Initially self-taught, he trained under Gustav Leonhardt. Pierre collaborates with distinguished musicians, performs globally, and has recorded significant works like Bach’s Goldberg Variations. His expressive style and technical precision place him among today’s leading harpsichordists, with numerous awards recognizing his artistry.

Enrike Solinís Azpiazu is an acclaimed Basque guitarist specializing in early plucked-string instruments. Educated in Bilbao and Barcelona, he has won prestigious international guitar competitions. Solinís collaborates with prominent early music ensembles like Hespèrion XXI and Le Concert des Nations. In 2006, he founded Euskal Barrokensemble, releasing praised albums exploring early music innovatively. His fusion of tradition and innovation marks him as an influential figure internationally.