La Monella
Margherita Pupulin | il violino fantastico vol.3
The Naughtiest Sonatas
FROM THE 17TH CENTURY
How far can the violin be pushed? This question used to consume the minds of many of the most illustrious musicians of the 17th century.in the 17th century.
In the chaotic and fascinating experimentalism that characterised that phase in the history of the violin, some of the most bizarre and ironic compositions saw the light of day: sonatas representing dogs and birds, sonatas imitating the sounds of an entire orchestra, sonatas with the violin out of tune, sonatas for two violins… played by one!
La Monella is a sensational collection of violin effects and tricks, the third volume of Il Violino Fantastico project by Margherita Pupulin, dedicated to the discovery and dissemination of the Baroque violin repertoire.
Discover the full story:
ABOUT
US
Margherita Pupulin Egüez
Margherita was initiated into the world of the baroque violin as a child by Riccardo Minasi.
Through masterclasses and seminars with maestros such as Bruno Giuranna, Enzo Porta, Rachel Podger and others, she then deepened her repertoire ranging from Renaissance Polyphony to Luigi Nono, and eventually made Early Music her permanent home.
She specialised with Fabio Biondi at the Turin Conservatory, where she graduated with honours.
She is regularly invited as a concertmaster, solo, chamber or orchestral player by ensembles such as l’Arpeggiata (Christina Pluhar), I Gemelli (Emiliano Gonzalez Toro), Café Zimmermann (dir. Pablo Valetti and Céline Frisch), La Chapelle Harmonique (dir. Valentin Tournet), La Chimera (dir. Eduardo Egüez), Pulcinella (dir. Ophelie Gaillard), with whom she has performed in important European seasons and halls (Opera de Versailles, Teatro Real de Madrid, Salle Gaveau, Barbican Centre London, Innsbrucker Festwochen der Alten Musik, Festival Oude Muziek Utrecht, Radio France, Concertgebouw Bruges, Auditorium de Lyon…).
With the recitals Il Violino Fantastico and Violin in Love she has been invited to to relevant institutions such as the Innsbruck Festwochen her Alten Musik, the Festival de Musica Antigua de Ubeda Y Baeza, the Pietà dei Turchini Foundation in Naples, the Pergolesi Theatre in Jesi among others.
Carlotta Pupulin Egüez
At the age of four Carlotta Pupulin began studying the harp with Simona Marchesi at the Suzuki Centre in Varese. In 2006 she enrolled at the Music Conservatory of Turin where she followed Gabriella Bosio’s lessons and then moved to the Music Conservatory of Milan under the guidance of Professor Patrizia Radici.
In 2017 Carlotta began studying the baroque harp under the guidance of Mara Galassi at the Civica Scuola di Musica “Claudio Abbado” in Milan and then continued with Christina Pluhar at the Koninklijk Conservatorium in The Hague, where she obtained her Master’s degree.
Carlotta collaborates regularly with the Ensemble la Chimera with whom she recorded three albums (“Misa de indios” in 2013, “Gracias a al vida” in 2017 and “Iguazu” in 2020: two with modern harp and the third with spanish baroque harp). She collaborates also with the ensemble l’Arpeggiata and with Ivor Bolton, in theatres such as the Wiener Opera and the Teatro Real in Madrid. Carlotta participates in projects both with the Italian triple harp and the Spanish double,
and carries out an intense concert activity at European level (Austria, Belgium,
France, Italy, Luxembourg, Netherlands, Spain).
Carolina Egüez
Carolina Egüez was born in Varese on 6 October 1998.
She began her cello studies at the age of 4 at the Suzuki Centre in Varese. She continued her studies in Turin under the tutelage of maestro Antonio Mosca until the age of 12.
In 2011 he took her first conducting courses with Reta Kazarian. She then continued with intense activity under the guidance of maestros Susan Siman, Arturo Márquez, Pablo González and Oscar Argumedo.
Carolina began her viola da gamba studies at the Turin Conservatory under the direction of Sabina Colonna-Preti and then continued her studies at the Schola Cantorum Basiliensis under the direction of Prof. Paolo Pandolfo where she graduated in 2023.
In 2014, in close collaboration with Jhonny Gómez and Naybeth García, she began training as a conductor of the Manos Blancas choir, a project that focuses on the inclusion of children with special needs in the choir, through sign language.
As a gambist, she collaborates with Ensemble La Chimera, Coro Maghini and Ensemble Theatro Cervelli, Ensemble Elyma and Ars Longa.
Leon Serafin
Leon Serafin Jänicke (2000) studied lute instruments with Rolf Lislevand. He works with several artists for baroque music on theorbo, archlute and baroque guitar (Das Kolorit, Theatre dei Cervelli, Collegium 1704, Musiktheater Goldstaub). He took part in a CD recording with Theatro dei Cervelli in 2022 and develops some own projects focusing on crossover, such as lute&electro duo with sound artist Luis Miehlich. Currently based in Basel, he is specializing in Seicento and Renaissance music.
