On the stage was Florencia seen in the role of L'Enfant (“L'Enfant et les sortilèges”, Ravel), Osmida (“Didone abbandonata”, Jommelli), Sorceress and 2nd Witch (“Dido and Aeneas”, Purcell), Speranza (“L'Orfeo”, Monteverdi), Dafne and Proserpina (“Euridice”, J. Peri), Rosina Caruccia (“Il Trionfo dell’Onore”, A. Scarlatti) and Aristeo (“Orfeo”, L. Rossi). She sang as a soloist in various oratorios, including Monteverdi's “Vespro della Beata Vergine”, J.S. Bach’s “Johannes Passion”, Pergolesi’s “Stabat Mater”, Vivaldi’s “Stabat Mater” and “Gloria”, C.Ph.E. Bach's “Magnificat”, several masses by Mozart and Saint-Saëns’ “Oratorio de Noël”.

Her specialisation in early repertoire began with the career of Early Music at the Conservatorio de Música Manuel de Falla in Buenos Aires. In 2013 she transferred to Europe to pursue her studies in the Schola Cantorum Basiliensis obtaining the diplomas of Bachelor and Master of Arts in Musical Performance - Early Music, Renaissance-Romantic with Minor in Renaissance in the class of Rosa Domínguez, in addition to one year of School of Excellence in the class of Ulrich Messthaler. She also received important impulses from Margreet Honig and Valérie Guillorit. Currently, Florencia is being coached by Camila Toro.

2025 comes with two significant debuts for Florencia: firstly, her first Mozart Requiem as soloist and secondly, she will begin collaborating with the ensemble Gli Angeli Genève, conducted by Stephan McLeod. In her spare time, Florencia enjoys practicing vihuela, cooking and dancing flamenco.

is a historical trombonist and tenor specialized in Renaissance and early Baroque performance practice from Annapolis USA, based in Freiburg.

Receiving his first musical training on the piano at age 5, Henry began his bachelor studies as a solo pianist at the age of 17. After switching to trombone, Henry completed his bachelor’s degree in solo trombone at the Oberlin Conservatory of Music in 2015. Following his interest in orchestral music, Henry moved to Europe and was a member of the Philharmonic Orchestra of Mainz for the 2015-2016 season, in addition to completing a master’s degree in solo trombone at the Musikhochschule Trossingen in 2018. His specialization in historical performance practice began at the Schola Cantorum Basiliensis in 2015 with Charles Toet, culminating in a Master of Historical Trombone in 2021 with Catherine Motuz and his successful master’s thesis on the diminution practice of the 16th and 17th centuries “Italianische Manier”: the Italian Filiation of Ornamentation Descriptions in Praetorius's Syntagma Musicum III (1619).

In 2023, Henry completed a Specialized Master of Renaissance Studies in Voice at the Schola Cantorum Basiliensis with Katarina Livljanić. Henry’s research project Johann Andreas Herbst’s Musica Practica: Developing a Functional Ornamentation Language was sponsored by the research department of the Schola Cantorum Basiliensis and contains the first English translation of Herbst’s landmark treatise Musica Practica (1642), to be published in 2025.

Currently one of the most sought-after historical trombonists worldwide, Henry was chosen to be an Artist-in-Residence for 2024 at Schloss Weißenbrunn, together with harpsichordist and organist Rafaela Salgado. Their duo Con Gratia e Dispositione explores the written and improvised ornamentation practice of the late 16th and early 17th centuries by composers such as Bovicelli, dalla Casa, Rognoni and Bassano. Henry is also a founding member of the Basel-based ensemble for 17th century music, Celesti Fiori.

Henry plays and sings regularly with important ensembles such as Concerto Scirocco, I Fedeli, Le Miroir de Musique, La Fonte Musica, the Innsbrucker Hofmusik, Castello Consort, Ensemble Peregrina, Capella Helvetica, Ensemble La Chimera, Margaretha Consort, Capriccio Barockorchester, the Augsburger Domsingknaben, European Hanse Ensemble, Les Haulz et les Bas and Cappella Marciana, the professional ensemble of St. Mark’s Basilica in Venice. Henry has appeared in renowned festivals and concert halls such as ReRenaissance, Abendmusik Basel, Narodowe Forum Muzyki Wrocław, Goldberg Festival, Urbino Musica Antica, Wunderkammer Trieste, Festival Radovlijca, AMUZ Antwerpen, Trigonale, the Tiroler Landesmuseum, die Elbphilharmonie, Pierre Boulez Saal and Tage Alter Musik Regensburg. He can be heard on numerous CDs including ‘The Krasinski Codex: 15th Century Music from Cracow’ (Raumklang), ‘Antoine Gosswin: Selected Works (Ricercar)’, ‘Martini: la Fleur de Biaulté (Ricercar) and ‘De Fay: Missa Se la Face ay Pale’ (Amadeus). Henry’s editions are published by Septenary Editions.

Henry is an in demand pedagogue and has given workshops at Alte Musik in Hof, Urbino Musica Antica, the Escola de Música da Sé de Évora and Cantare et Sonare. When not performing concerts, he is also the conductor of the Grenzacher Kantorei. Henry maintains a teaching studio in Freiburg.

Florencia Menconi

is an Argentine mezzosoprano specialised on Early Music, based in Basel, Switzerland. Although she focuses on 16th and 17th century repertoire, her artistic interest and versatility lead her to participate in projects ranging from ars antiqua to new music.

Both as a soloist and ensemble singer, Florencia has been involved in projects under the direction of conductors such as Björn Schmelzer, Ton Koopman, Andrea Marcon, Paul Van Nevel, Giorgio Paronuzzi, Ivor Bolton and Daniela Dolci. She is a member of Graindelavoix, La Cetra Basel, Da Tempera Velha, Domus Artis and Le Filigrane, and
collaborates regularly with ensembles such as Huelgas Ensemble, Voces Suaves, La Boz Galana, Innsbrucker Hofmusik, Il Fuoco Eterno and La Grande Chapelle. She has sung in festivals around Europe and Latin America, such as Festival d'Ambronay, Festival Oude Muziek Utrecht,
Laus Polyphoniae, Festtage für Alte Musik Basel, Forum Alte Musik Zürich, Festival Internacional de Arte Sacro and Tage Alter Musik Regensburg.

Organist, continuo player, and concertmaster, Alberto Gaspardo graduated in Organ from the Conservatory of Udine under the guidance of Luca Antoniotti, also studying with Manuel Tomadin, Matteo Imbruno, and Ludger Lohmann. A significant part of his training took place at the Schola Cantorum Basiliensis, where he earned a Master’s degree in Organ with Wolfgang Zerer, in addition to a Master’s in Basso Continuo and Ensemble Direction with Jörg-Andreas Bötticher. In 2018, the Swiss Government awarded him the ESKAS – Swiss Government Excellence Scholarship in recognition of his outstanding achievements in music.

A prize-winner in many organ competitions including Premio Nazionale delle Arti, ‘D. Herz’ in Bressanone, and ‘J. P. Sweelinck’ in Amsterdam, he won the First Prize at the 20th Paul Hofhaimer International Organ Competition in Innsbruck, also earning the title of ECHO (European Cities of Historical Organs) Organist of the Year 2023. As a solo-organist, he is regularly invited to perform at leading European festivals.

Alberto collaborates as a soloist, continuo player, and conductor with some of the most renowned ensembles in the international baroque music scene, including Pulcinella Orchestra, La Fonte Barockorchester,

Il Pomo d’Oro, and La Centifolia. He performs in prestigious venues across Europe, Asia, the United States, Canada, and South America including the BBC Proms, Wigmore Hall, Vancouver Chan Center, Bing Concert Hall Stanford, Opéra Royale Versailles, Philharmonie de Paris, Concertgebouw, Berlin Philharmonie, Elbphilharmonie, Gulbekian Lisbon, KKL Luzern, Odeon of Herodes Atticus Athens, Warsaw Philharmonic, National Center for Performing Arts Bejing, Hong Kong City Hall, Incheon Arts Center and Teatro Colón Buenos Aires. As a maestro al cembalo, he has recorded for labels such as Aparté (‘A Night in London’, ‘Napoli’) and Warner Classics – Erato (‘Beyond’), working with artists such as Jakub Jozef Orlinski, Joyce DiDonato, Ophélie Gaillard, and Leila Schayegh.

Alberto serves as Organist and Music Director at the Reformierte Kirche Herrliberg and teaches organ at the Conservatory of Messina.