Krijn Koetsveld

“Monteverdi XL is literally a childhood dream come true. I was first exposed to Monteverdi’s remarkable music when I was only 17; it was truly love at first sight – or sound? Together with the extremely talented and motivated musicians of Le Nuove Musiche, we have embraced this grand adventure, exploring the bewitching combination of fluid lines and sensual poetry.”

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Jennifer van der Hart

“Seizing the magic of the moment is the most exhilarating aspect of performing, setting out on a musical adventure with your audience. Adventure can be found in all performance, whether it is re-creating old masterworks or in experimental premieres; completely focused on minimal music or playing Singing Mermaid to a boatful of toddlers; premiering a brand-new composition or re-interpreting the genius of Monteverdi.”

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Wendy Roobol

“The most moving and meaningful aspect of Monteverdi’s works is the ultimate symbiosis of music and text. Somehow, he fuses them in such a way that the whole is greater than the sum of its parts. His music is always noble, complex and dramatic; it is such an honour to be able to explore these multi-layered depths. The chance to perform this music with such a fantastic ensemble is a dream from which I hope never to wake!”

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Hugo Naessens

“My love for Monteverdi is sadly unrequited, as he wasn’t actually a big fan of the alto voice. As a tenor or soprano, you’re golden, but his alto parts are notorious for being low and awkward. Nevertheless, the ensemble sound is so beautiful and the text settings so brilliant that I embrace my line with gusto.”

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Falco van Loon

“Is there anything more fantastic than making beautiful music with outstanding musicians? The warmth of Monteverdi’s music is an invitation to making music together, so that it suddenly seems that music and mankind become one. Performing is such a wonderful profession…”

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Bas Ramselaar

“I must have been about 17 when I saw the famous television production of Orfeo with Nicolaus Harnoncourt. It made a huge impression on me; since then, I am continually made aware that ‘Early’ music (Renaissance and Baroque) is closest to my heart. What I have discovered, many years later, is that you don’t have to be old-fashioned to sing old music! We’re always re-creating the compositions, bringing a new approach and sound to light. We are occupied with the Here and Now in our interpretation of the madrigals of Monteverdi.”

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Cassandra Luckhardt

“When I first heard ‘Il Combattimento di Tancredi e Clorinda,’ I was moved to tears; Clorinda’s final note as she ascends to the heavens is one of the most beautiful moments in all of Western classical music. Recording that piece 20 years later with Le Nuove Musiche was a most remarkable closing of the circle.”

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