I am a vocalist and harpist specialising in historical performance.
has recently completed her masters at the Guildhall School of Music and Drama under Dr. Andrew Lawrence-King, Jon Banks, William Lyons and Mhairi Lawson receiving scholarships from the Guildhall Trust and the Nomura Foundation.
She was originally inspired to perform after studying Gregorian chants under Dr. Godehard Joppich and Veronika Chikako Hashimoto. She also studied historical performance and singing at Trinity College of Music, where she won the Ella Kidney Prize for early music and received LTCL Diploma with distinction.
Since 2009, Rie has lived in London and performed at many major venues, such as Greenwich International Early Music Festival, Utrecht Early music festival the Netherlands, Early Music Festival Pyrenees Spain, International Gregorian chant Festival Hangary, Southbank centre, Handel House, the National Gallery, London and the Caurtauld Gallery. As well as she has made Live solo performances on BBC radio 3 and Resonance FM.
Like the relentless Tramontana wind, our music crosses Europe, stirring emotions. Ensemble Tramontana specialises in the music of medieval and Renaissance Europe. Tramontana* is the name of a northern wind that sweeps across Europe, through the French and Spanish Pyrenees and the Italian Alps, before reaching the Mediterranean Sea. According to local legends, the howling wind, bitterly cold, dry and relentless, has the power to induce madness. The word itself means 'across the mountains' and was used to refer to the northern direction, but also to anything or anyone strange or foreign. From as early as the late 13th century, it was also an alternative name for the North Star, a pivotal navigation aid of the times.
While exploring the far-ranging changes in medieval and Renaissance artistic style and worldview, we see that this whole era was a time of revival, discovery, and growth. It was the era of courtly love, the Crusades, trade routes and of course Columbus’ epic voyage of 1492. We relish connecting seemingly random elements within the historical and social context of the music, then building on them to create a sense of the people of this time and place. We use viols, recorders, medieval harp, percussion, and voices, and experiment with blending timbres to evoke the spirit of the time.