A musical salon with two voices and a harpsichor.

Intimate music by B. Strozzi, C.  Monteverdi, S. Le Camus and other Italian and French Baroque composer…

Elisabeth Belgrano & Anna Nyhlin, voices

Peter Lönnerberg, Harpsichord




An idea...


In 1636 Nicolò Fontei, a Venetian musician published the second book of songs for one, two and three voices with continuo entitled Bizzarrie Poetiche poste in musica. These songs reflect the spirit of one the most luminous Venetian musical circles of the time – at the home of Giulio Strozzi. The songs are dedicated to Barbara Strozzi, and Giulio himself provided the poetry.


In 1637 Giulio Strozzi created an academy, the Accademia degli Unisoni, designed to exhibit his daughter's talents to a wider audience...


In Paris salons flourished...


The significance of the salons and academies…


The aim of this evening will be to recreate a meeting in the spirit of Italian and French 17th century Accademie and salons.

Uncovering the sensuous curiosities of voices in dialogue,

in the light of a contemporary exploration of human vocal expression as meaning making processes.






2 December 2018

at 20:00


Welcome to our salon!

Preliminary program for two voices with continuo:


Barbara Strozzi                              Lagrime mie                                               

(1619-c 1664)

                                                       Begli occhi                                               


Luigi Rossi                                     Vorrei scoprirti un di


Joseph de La Barre                        Due labra di rose fan guerra al mio cuore


Jean-Baptiste Lully                        'Gentil Music Francese...'

(1632-1687)                                    Dialogue entre la 'Musique Française' et 'La Musica Italiana'


                                                       Cede al vostro beltà


Sebastien Le Camus                      Delices des Estez


Tarquino Merula                             Canzonetta spirituale sopra alla nanna


Michel Lambert                              Douce felicitez

                                                       Dialogue entre La Felicité et La Paix 

                                                       (from Ballet des Arts, 1663)


Claudio Monteverdi                        O come sei gentile

(1567-1643)                                    Non e di gentil cuore                                                                                                                            Ohimè dove il mio ben

                                                       Romanesca à 2. Quatro parti.


                                                       harpsichord- solo




ANNA NYHLIN sings music from the 12th century up to contemporary music, with emphasis on the Baroque and Classical era. She has performed throughout Europe with ensembles such as The New Dutch Academy, Drottningholms Baroque Ensemble, The Swedish Baroque Orchestra, Stockholm Baroque Orchestra, REbaroque, Helsinki Baroque Orchestra and The New York Bach Ensemble. In 2004 Anna made her opera debut in Gluck’s “Orfeus ed Eurydice”. She has performed as a soloist in staged performances, as both a singer and a dancer, with for example The New Dutch Academy and Barcelona Barroc. Anna studied baroque voice performance at the Guildhall School of Music in London with Emma Kirkby and at the Royal University College of Music in Stockholm with Susanne Rydén. She has also studied historical dance at The College of Dance in Stockholm, which has led to numerous engagements where music, dancing and theatre from the 17th and 18th century have been combined. Anna has been awarded with scholarships in Baroque Voice Performance from among others The Swedish Royal Academy of Music and The Scandinavian Bach Academy. She has also received a scholarship from the Swedish Institute which led to a month’s stay in Paris in order to study French baroque music performance practice, dance and gesture and to pursue research at the Bibliothéque Nationale.


ELISABETH BELGRANO is an independent vocal performer / artistic researcher with a special interest in vocal crossings between 17th and 21st centuries. She is currently researching the practice of 17th century vocal ornamentation as a method and a model for communicating and creating trust applicable to multiple scales and spacetimes, such as in environmental, social and political relations. She has been working as a guest teacher at the Faculty of Fine, Applied and Performing Arts at the University of Gothenburg and is currently co-supervising a doctoral fellow at the academy of Music in Oslo. Belgrano is regularly presenting her research at conferences and festivals globally. Her doctoral thesis was the first on to be presented in Sweden in the field of Performance of Theatre and Music Drama.  


Peter Lönnerberg har studerat cembalo och generalbasspel för bland andra Lars-Ulrik Mortensen i Köpenhamn. Han är cembalist och organist i Rebaroque, kvartetten Stockholm Barock och barockorkestern Tre Kronor och förekommer flitigt som frilansmusiker i många andra sammanhang. Peter har också intresserad undervisat och har t.ex. varit gästlärare vid musikhögskolan i Belgrad. Bland åtskilliga CD-inspelningar hörs tidig italiensk barockmusik för violin och cembalo med Kroatiska Barockorkesterns konsertmästare Laura Vadjon (Aquarius Records) och ”Telemannia”, musik av Telemann med Rebaroque (Proprius).