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Mary Bevan MBE

Dame Emma Kirkby DBE

Sir Roger Norrington CBE

Rachel Podger
Baroque Violinist



David Hill MBE
Musical Director, The Bach Choir

Dr Berta Joncus
Senior Lecturer, Department of Music, Goldsmiths

Lindsay Kemp
Artistic Director, Baroque at the Edge Festival  

Catherine Mackintosh
Baroque Violinist, teacher, founder member of the Purcell Quartet

Joseph McHardy
Director of Music at HM Chapel Royal, St James Palace



Robert Binyon
Non-Executive Director and Adviser

Riitta Hirvonen
Executive and Finance Manager, European Union Youth Orchestra

Vincenzo Tuozzo
Business Affairs Manager, Apple

Stephen Uhlig

Economist and Financial Adviser

Tina Vadaneaux
Founder and CEO
Benedict Vanderspar
Partner, McKinsey & Co.

Tom Weisselberg KC




Praised by Opera for her “dramatic wit and vocal control”, British soprano Mary Bevan is internationally renowned in baroque, classical and contemporary repertoire, and appears regularly with leading conductors, orchestras and ensembles around the world. She is a winner of the Royal Philharmonic Society’s Young Artist award and UK Critics’ Circle Award for Exceptional Young Talent in music and was awarded a MBE in the Queen’s birthday honours list in 2019. 
Mary enjoys fruitful artistic relationships with the many orchestras with whom she regularly performs, including the OAE, AAM, The English Concert, La Nuova Musica, Concerto Copenhagen, Gabrieli Consort, CBSO, RPO, BBC Philharmonic, BBCSSO, amongst others. She has performed at the ROH, ENO (Harewood Artist), Royal Danish Theatre, Teatro Real Madrid, Carnegie Hall, RAH, Concertgebouw, Elbphilharmonie, Theater an der Wien, and performs regularly as a recitalist at Wigmore Hall and other concert and operatic venues around the world. (Photo © Andrew Staples)



Dame Emma Kirkby has dedicated her career to Early Music, as an artist and mentor for several generations of musicians. She is still at the forefront of early music performance as a soprano and is recognised worldwide for her elegant and intelligent musicianship. To date, Dame Emma has made well over a hundred recordings of all kinds, from sequences of Hildegarde of Bingen to madrigals of the Italian and English Renaissance, cantatas and oratorios of the Baroque era, and works of Mozart, Haydn and J. C. Bach. In 1999 Dame Emma was voted Artist of the Year by Classic FM Radio listeners; in 2000 she received the Order of the British Empire, and 2007 saw her appointed a Dame Commander of the Order of the British Empire. She was delighted in June 2008 to return to her alma mater, Oxford University, and receive an Honorary Doctorate of Music. In 2011, Dame Emma was awarded the Queens Medal for Music. 



Renowned British conductor Sir Roger Norrington is known as a ‘period-instrument legend.’ In 1962, he founded the Schütz Choir, in 1965 the London Baroque Players, and in 1978 the period-instrument London Classical Players, remaining their Musical Director until 1997 when they were absorbed into the Orchestra of the Age of Enlightenment. For 15 years from 1969 he was Music Director of Kent Opera, and throughout the 1980s and 1990s Sir Roger also worked as a guest conductor  at Covent Garden and ENO, with the BBC Symphony and Philharmonia orchestras, and was Chief Conductor of the Bournemouth Sinfonietta. In Europe he appeared regularly with the Berlin Philharmonic, Vienna Philharmonic, Royal Concertgebouw Orchestra, Orchestre de Paris, and in America with New York, Washington, Boston, Chicago, Cleveland, Philadelphia, San Francisco and Los Angeles orchestras. From 1998 Sir Roger was Chief Conductor of the Radio Symphony Orchestra Stuttgart and of the Camerata Salzburg, and from 2006 Principal Conductor of the Zurich Chamber Orchestra. With these three modern orchestras he established the same historically aware style of playing which is his trademark. With all his different ensembles he has made hundreds of recordings.



Rachel Podger, “the unsurpassed British glory of the baroque violin” (The Times), has established herself as a leading interpreter of the Baroque and Classical music periods. She was the first woman to be awarded the prestigious Royal Academy of Music/Kohn Foundation Bach Prize in October 2015, Gramophone Artist of the Year 2018, and Ambassador for the REMA Early Music Day 2020. A creative programmer, she is the founder and Artistic Director of the Brecon Baroque Festival and her ensemble Brecon Baroque. Rachel was thrilled to be one of the Artists in Residence at the renowned Wigmore Hall throughout the 2019/2020 season. As a director and soloist, Rachel has enjoyed countless collaborations including with Robert Levin, Jordi Savall, Masaaki Suzuki, Kristian Bezuidenhout, Christopher Glynn, VOCES8, Robert Hollingworth & I Fagiolini, Armonico Consort, European Union Baroque Orchestra, English Concert, Orchestra of the Age of Enlightenment, Academy of Ancient Music, Holland Baroque Society, Tafelmusik, the Handel and Haydn Society, Berkeley Early Music, and Philharmonia Baroque. Rachel is a dedicated educator and holds an honorary position at both the Royal Academy of Music and the Royal Welsh College of Music and Drama. She is also a Historical Performance Artist in Residence at The Juilliard School in New York. Rachel is managed worldwide by Percius. (Photo © Theresa Pewal)

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Renowned for his fine musicianship, David Hill is widely respected as both a choral and orchestral conductor. His talent has been recognised by his appointments as Musical Director of The Bach Choir, Music Director of Leeds Philharmonic Society, Associate Guest conductor of the Bournemouth Symphony Orchestra and Principal Conductor of Yale Schola Cantorum. He was Chief Conductor of the BBC Singers from September 2007 to September 2017 and is a former Music Director of Southern Sinfonia. Born in Carlisle and educated at Chetham’s School of Music, of which he is now a Governor, he was made a Fellow of the Royal College of Organists. Having been Organ Scholar at St John’s College, Cambridge, David Hill returned to hold the post of Director of Music from 2004-2007. His other appointments have included Master of the Music at Winchester Cathedral, Master of the Music at Westminster Cathedral and Artistic Director of the Philharmonia Chorus. He holds an Honorary Doctorate from the University of Southampton for Services to Music.

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Berta Joncus is Senior Lecturer in Music at Goldsmiths, University of London. Prior to joining Goldsmiths in 2009, Berta spent ten years at Oxford University, first as a DPhil student under the supervision of Reinhard Strohm and then as a post-doctoral research fellow and lecturer. Berta’s focus as a scholar has been on eighteenth-century vocal music and the star performer. Her monograph Kitty Clive, or The Fair Songster (2019) is a bold re-reading of Clive’s music as a medium of the singer-actor’s onstage artistry. Berta's 2020 edition for Bärenreiter of the 1762 pastiche opera Love in a Village is the first-ever critical hybrid score – that is, a bound publication with notes and digitized primary sources online – of an English work. More recently, pursuing her interest in lost and marginalised voices, Berta has started researching, writing and presenting on pre-1800 transatlantic Black music. Berta is a critic for BBC Music Magazine and a regular guest on BBC Radio 3, as well as a member of the Handel Institute Council and co-editor of Music & Letters.



Founder and Artistic Director of the Baroque at the Edge Festival in London, Lindsay Kemp is also an Artistic Adviser to the York Early Music Festival, and was the founder-director of the London Festival of Baroque Music. For 30 years, he was a Producer for BBC Radio 3, where the many programmes he has made include Music Restored, Spirit of the Age, CD Review, Hear and Now, The Early Music Show and the award-winning Late Junction and Words and Music. Most recently, he had lead-producer responsibility for the Radio 3 Lunchtime Concert, and before that the Radio 3 New Generation Artist scheme. He has also worked as a freelance recording producer, and written widely on music, not only as a regular reviewer for Gramophone but also for publications such as The Guardian, BBC Music Magazine, Musical Times and Early Music.



A pioneer of early music, Catherine Mackintosh began playing the treble viol in consorts and translated this knowledge to the baroque violin and was a champion of the viola d'amore. She led a number of period-instruments orchestras, including the Academy of Ancient Music and the Orchestra of the Age of Enlightenment, which she co-founded. Catherine was also a founder member of the Purcell Quartet, with whom she recorded and performed around the world. She has taught generations of violinists, viol players and other instrumentalists at the Royal College of Music, the Royal Conservatoire of Scotland and the Royal Conservatoire The Hague. In 2020, Catherine received the York Early Music Festival’s Lifetime Achievement Award recognising major figures who have made a significant difference to the world of early music. 



Joseph McHardy has been the Director of Music of HM Chapel Royal, St James’s Palace, since 2017. Born in Scotland to Congolese and English parents, he moved to London to study at the Royal Academy of Music, having graduated from the University of Edinburgh. On graduating from RAM with distinction, a last-minute vacancy on a production of Handel’s Alcina at the Komische Oper, Berlin, led Joseph to a decade of work in baroque opera as a keyboard player and conductor, working with companies such as English National Opera, Glyndebourne, Teatro Real (Madrid), Garsington Opera and English Touring Opera. As a continuo harpsichordist and organist, he appears on several award-winning recordings, and has performed with Chineke!, La Nuova Musica, Gabrieli, La Serenissima, Royal Philharmonic, Berlin Philharmonic and Royal Scottish National Orchestra, amongst others. He is based at City of London School, the choir school for Chapel Royal, where he also serves as Co-ordinator for Diversity and Inclusion. He is currently involved in editing for performance Vicente Lusitano’s 1555 collection of motets, which represents the earliest known music published in Europe by a person of African descent. (Photo © Nick Rutter)





Robert Binyon’s interest in period performance was first kindled during his time at Christ Church, Oxford, where he studied Modern History, and has continued throughout his career. After graduation, he joined the merchant bank Morgan Grenfell and, in nearly two decades there, served many years overseas in Geneva and Tokyo, when traditional Japanese music and theatre also became a great interest. Since the mid 1990s he has been working in the emerging markets promoting investment in small businesses and micro-finance banks as a way of encouraging sustainable economic development in the private sector. The challenges of finding financial support for these businesses and nurturing them on the management side has been a major theme of his work for the last 20 years. Robert was the Treasurer of the Royal Society of Literature in London for many years and still serves as a trustee of various charities and trusts in the UK and as a non-executive director of a number of SME businesses and SME focussed funds and banks in Asia and Europe.
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Riitta Hirvonen has been the Executive and Finance Manager of the European Union Youth Orchestra (EUYO) since 2013, operating in their London offices prior to the headquarters’ move to Ferrara, Italy in 2018. The EUYO is the Cultural Ambassador of the European Union and works each year with young, talented musicians from each 27 Member States. Previously she was the General Manager of the Monteverdi Choir & Orchestra, looking after their management and administration for nine years. Working with Sir John Eliot Gardiner and his three ensembles sparked the love of baroque music and performances by uniquely talented period instrumentalists. She has lived in London for over 25 years and comes from Finland. Prior to life in the Arts, Riitta had a career in travel stretching back almost two decades, in Helsinki and London.


Vincenzo advises on consumer-facing content, IP rights, and the intersection of marketing and technology. With experience in both the finance and film industries, he has successfully managed film acquisitions, distribution and financing. He holds a Master of Law in IP Law and a Bachelor of Science in International Management and Economics. As an active contributor to the field of open innovation through his research, Vincenzo has focussed on the importance of collaboration between startups and larger businesses. He firmly believes that innovative ways and the right incentives will engage new audiences for early music to allow it to thrive.


Stephen was a Foundation Scholar at Queens’ College, Cambridge. He is currently working as an independent Financial Adviser to Governments and Corporates in Europe and beyond, as well as directing and teaching a project and infrastructure finance post-graduate course at the University of Surrey. He has worked in both the public and private sectors on corporate structuring and restructuring, fund-raising and project finance. Stephen began his career at Morgan Grenfell (now Deutsche Bank), where he worked for 20 years in International Banking leading teams in London and Frankfurt. Following this, he became Head of the Advisory Services Group at DEPFA Bank before becoming an independent adviser. Stephen has recently completed an eight year term on the Advisory Board of Golding Capital, Munich.
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Tina Vadaneaux is the Founder and CEO of Continuo Foundation, and is responsible for its day to day running. She does not draw a salary,

Tina began her professional career in Corporate Finance on Wall Street, having also been educated in the US. Following a move to London in 1992, she had a fifteen year career in various leading City firms. Subsequently, she completed post-graduate studies at Kings College London in English and Art History, before working on a pro-bono basis with the European Union Youth Orchestra. For four years until Covid-19 caused the closure of music venues in March 2020, Tina was active in audience engagement for The Mozartists, a period-instrument orchestra and opera company. She has been dedicated to raising awareness of the innovative programming and artistic excellence which are the hallmarks of historical performance.  


Ben is a Partner at McKinsey & Co. He spends his time building and scaling new digital businesses primarily in media and technology. Prior to his career in management consulting, Ben worked in investment banking and before that he read Politics Philosophy and Economics at Keble College, Oxford where he was a music scholar. He feels fortunate to be part of a family of musicians, and is an accomplished violinist who studied with Natasha Boyarsky. Ben enjoys spending time supporting classical musical organisations on a pro bono basis and is passionate about engaging new audiences for classical music. He is excited about using the power of technology to help the period performance sector flourish, and enhancing the lives of musicians and the general public. 


Tom Weisselberg KC is a barrister specialising in Commercial and Public Law. He studied Modern History at Merton College, Oxford and then trained as a lawyer. As a Media lawyer, he has wide experience of copyright law and has practised as a music lawyer for over 20 years. He has acted in a wide range of music related disputes, including for iTunes, Spotify, Onward Music, Jonas Kaufmann, the BBC, Fat Cat Records, Microsoft, Blue and Oasis. As a Public lawyer, he deals with a wide range of human rights issues. And as a Commercial lawyer, he has assisted both individuals and businesses. He has also undertaken a wide variety of volunteer and charitable roles, including working with “Lawyers in Schools”, the Guy Fox History Project, the Alexander Maxwell Law Trust and the Independent Monitoring Board of HMP Wormwood Scrubs. He has a great love for Baroque music and is also a Trustee of Early Opera Company. 
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