Rafaela Salgado

Harpsichord

Rafaela Salgado has collaborated with various ensembles and orchestras, including the Orquestra Barroca Casa da Música, Collegium Marianum Prague, Orquestra Sinfónica do Porto Casa da Música, the FrauMusika Orchestra, and the Orquestra de Câmara Portuguesa, under conductors such as Laurence Cummings, Andrea Marcon, Christian Zacharias, Nils Schweckendiek, and others.
Her concert career has taken her to several renowned European early music festivals, including the 2025/26 tour of the Festival Oude Muziek Utrecht, the Resonanzen Festival at the Vienna Konzerthaus, the MA Festival Brugge, the Bachfest Leipzig, the International Handel Festival Göttingen, Fel!x Originalklang at the Cologne Philharmonie, the Festival de Printemps by Les Arts Florissants, and the Innsbruck Festival of Early Music.

She has won awards at international competitions with various ensembles, including second and third prizes at the International Van Wassenaer Competition, the Wiener Konzerthaus Special Prize at the 2023 International H.I.F. Biber Competition, the Audience Prize at the 2023 XXIV Biagio Marini Competition, the Audience Prize at the 2024 Göttingen Handel Competition, among others.

She earned her bachelor’s degree in early music at the Royal Conservatory in The Hague, where she studied with Jacques Ogg (harpsichord) and Patrick Ayrton (thorough bass and improvisation). In 2020, she moved to Basel to study at the Schola Cantorum Basiliensis, where she earned her master’s degree in performance under the guidance of Andrea Marcon. In 2024, she also completed the master’s program in “Thoroughbass and Ensemble Conducting” in Jörg-Andreas Bötticher’s class.

Bettina Messerschmidt

Violoncello

Bettina Messerschmidt, a cellist based in Basel, has focused primarily on historical Baroque performance practice since 2000, following her studies and concert activities in Berlin, Schwerin, and Frankfurt/Oder. In her quest for the most authentic interpretation of the works, she places great importance on selecting the appropriate instruments, including the bows. Thus, she performs her concerts on the “modern,” classical, or Baroque cello (or on the violoncello piccolo). Depending on the period in which the work was composed, she holds her bows in the French or Italian underhand grip.

In 2021, a CD featuring Bettina Messerschmidt as soloist was released on the cpo label, featuring the two cello concertos by Johann Wilhelm Hertel (1727–1789) (with the Merseburger Hofmusik). The cellist is regularly engaged in projects with the J. S. Bach Foundation and DomMusik St. Gallen, among others. With La Scintilla, she performed in numerous Baroque operas at the Zurich Opera House from 2003 to 2017. As a member of the J. S. Bach Foundation Orchestra, Bettina Messerschmidt participates in performances and recordings of J. S. Bach’s vocal works (including BWV 106, Actus tragicus). Bettina Messerschmidt regularly participates in CD recordings of chamber and orchestral music. Most recently, in 2023, the label cpo released a recording of the cycle “Liebliche Krafftblümlein” by Samuel Scheidt (1587–1654), in which she appears as a soloist and continuo player. Chamber music is becoming increasingly important to Bettina Messerschmidt. Since 2009, she has been performing in the Baroque concert series of DomMusik St. Gallen (programming and direction: Michael Wersin). messerschmidt-cello.ch

Mojca Gal

Violin, direction

Mojca Gal studied violin at the Academy of Music in Ljubljana, the Bern University of the Arts, and the Schola Cantorum Basiliensis. She plays in ensembles such as Ad Fontes, Arabesque, Grenzklang Barockensemble, Musica Cubicularis, instrumental ensembles of the Basel Madrigalists and Ensemble Orlando, chamber orchestras such as the Freitagsakademie Bern, Neues Mannheimer Orchester, and Opéra de l’Impératrice Payerne. Notable recordings include: Pregon del cantante vagabundo (Ars Productions), Secret Charms (Coviello), Army of Generals (Das neue Mannheimer Orchester).

Konstanze Waidosch

Violoncello

Konstanze Waidosch grew up in a violin and lute-making household in rural Lower Bavaria and became familiar with the history and stories of old musical instruments at an early age. She studied baroque cello and viola da gamba at the University of the Arts in Bremen and at the Conservatorium van Amsterdam (NL) with Viola de Hoog, Prof. Hille Perl, and Mieneke van der Velden.
As a continuo player and soloist, she explores the timbres of various bass and tenor instruments, including the basse de violon and the five-string violoncello piccolo.
Her versatility is evident in her work as a member and guest musician with renowned ensembles such as the Amsterdam Baroque Orchestra, the Academia Montis Regalis, the Collegium Vocale Gent Academy, the Händelfestspielorchester Halle, the Nieuwe Philharmonie Utrecht, the Bremer Barockorchester, the Göttinger Barockorchester, the Elbipolis Barockorchester Hamburg, and her own award-winning ensemble Marsyas Baroque. Her repertoire ranges from early 17th-century music to the Romantic period.
A passionate teacher, Konstanze Waidosch was a lecturer in Baroque cello at the University of Catholic Church Music and Music Education in Regensburg and gives courses in early music throughout Germany.
(Photo: Theresa Pewal)

Marie Delorme

Transverse flute

Marie Delorme studied contemporary dance at the CRR in Chalon-sur-Saône, sound engineering at the CNSMD in Paris, transverse flute at the HEM in Geneva, and Renaissance flute and singing at the Schola Cantorum Basiliensis.
Her artistic activity focuses mainly on Renaissance and Baroque repertoires, dance music, vocal music, Irish music and traditional music. In 2019, she co-founded the Basel-based ensemble Les Esprits Libres with Thys Grobelnik, and collaborated with Les Soirées Amusantes on reconstructions of 18th-century salons. Since 2023, she has been hosting Renaissance balls as a musician and dance teacher. She also makes recordings for early music labels.
In 2025, she taught in various interdisciplinary contexts, worked with wood, leather and parchment in an organ-building workshop, trained in cultural management, and performed in concerts and balls with the ensembles Polhymnia, Tissage, Choeur3, Les Esprits Libres and Les Soirées Amusantes.
(Photo: Gregoire Fillion)