One of the world’s leading period instrument orchestras, the Orchestra of the Age of Enlightenment (OAE) took their name from the era which the core of their repertoire is based on: the Age of Enlightenment.
Brilliant and original, these musicians have turned their music into a story that is surprising, funny, profound and universal. To date, they have worked with some of the most distinguished musicians around the world, including Sir Simon Rattle, Vladimir Jurowksi, Sir William Christie, Sir Roger Norrington and Sir András Schiff.
Headquartered at Kings Place, OAE is a resident orchestra of London’s Southbank Centre and an associate orchestra at Glyndebourne Festival Opera.
A historical keyboard specialist, Steven Devine is the co-principal keyboard player for the Orchestra of the Age of Enlightenment, as well as the principal keyboard player for The Gonzaga Band, Apollo & Pan and the Classical Opera Company.
Following his early musical training at Chetham’s School of Music, Steven read music at Oxford University. In 1993, he won the Broadwood Harpsichord Competition, and went on to make his London recital debut shortly afterwards.
Steven’s career has led him to perform all over the world as a harpsichord soloist. He has directed repertoire with a wide range of groups, from 16th century polyphony to new commissions. His Chandos recording of the Goldberg Variations was hailed by Gramophone magazine as “one of the best”.
Passionate about the role of music in education, Steven serves as an early keyboard consultant to the Royal Birmingham Conservatoire and Royal Welsh College of Music & Drama. He also teaches harpsichord and fortepiano at Trinity Laban Conservatoire of Music and Dance.
British soprano Charlotte Beament is a first-class honours graduate of The Guildhall School of Music. She is also a Rising Star of the Enlightenment for the Orchestra of the Age of Enlightenment, with whom she features regularly as a soloist in major events in both London and international venues for the 2017/18 season.
Charlotte’s operatic roles and covers include Tytania (A Midsummer Night’s Dream, Glyndebourne Festival Opera), Zerlina (Don Giovanni, GTO), Berenice (Berenice, LHF), Belinda (Dido and Aeneas, Brighton Festival), Michal (Saul, GTO), Lucia (The Rape of Lucretia, GFO) and Barbarina (Le Nozze di Figaro, GFO).
Other roles and covers are Serpetta (La Finta Giardiniera, GFO), Une Pastourelle (L’enfant et les Sortileges, GFO), La Priestess (Hippolyte et Aricie, GFO), Eve (Fairy Queen, GFO), Enone and Proserpine (La Descente D’Orfee Aux Enfers, GFO Jerwood) and Teresa (The Yellow Sofa, GTO).
Her recent concert performances include Haydn’s Creation, Harmoniemesse and Nelson Mass, Mozart Requiem and Vesperae Solemnes de Confessore, Handel’s Semele, Israel in Egypt, Dixit Dominus, Villa Lobos’ Bachianas Brasilieras, Mozart’s Exsultate Jubilate, Mahler’s Fourth Symphony, Strauss’ Vier Letzte Lieder and Bach’s Christmas Oratorio.
Making her Cadogan Hall debut, she sang Handel’s Messiah, and in the same month, sang the title role in the Handel Festival’s performance of Berenice with David Bates and La Nuova Musica. In addition, she has performed alongside Dame Ann Murray for Purcell’s Dido and Aeneas, toured Europe with Paul McCreesh and The Gabrieli Consort, and performed a solo concert tour around China with the London Chamber Arts Orchestra.
Daniel Edgar attended Chetham’s School of Music, taking modern violin lessons with Richard Milone and Ben Holland. He later studied baroque violin with Simon Jones at the University of York. Both Daniel’s MA and PhD in performance practice were funded by the Arts and Humanities Research Council.
In 2013, Daniel was appointed principal second violin of The Orchestra of the Sixteen. He enjoys a busy orchestral and chamber performing schedule with many of the UK’s leading early music ensembles, including the Orchestra of the Age of Enlightenment, The King’s Consort, the Dunedin Consort, Classical Opera Company, The English Concert, The Gabrieli Consort and Yorkshire Baroque Soloists.
As a member of one of the University of York’s ensembles-in-residence, he also teaches baroque violin and is joint director of the University Baroque Ensemble.
Daniel plays on a violin by Gennaro Gagliano from 1767, generously loaned by a private collector.
Kinga Ujszászi moved to London to study at the Royal Academy of Music after graduating from the Franz Liszt Academy of Music in Budapest. Since graduating, she has been playing with many of the leading period performance groups of England and Europe. She is a member of The English Concert and the Orchestra of the Age of Enlightenment, and often appears with the Academy of Ancient Music, English Baroque Soloists and the Dunedin Consort. She has led numerous ensembles, including the Irish Baroque Orchestra, European Union Baroque Orchestra, Floreligium, Ambronay Academy and Barokkbandið Brák in Reykjavik.
Her first solo album, Assassini, Assassinati with baroque duo, Repicco features violin music from the very turbulent 17th century Italy. The album received high praise from international critiques, including 5 diapasons from the prestigious French music magazine, Diapason.
Kinga enjoys playing chamber music and runs her own groups, including Spiritato!, which has released two albums, Bella Dama and the first ever recording of Daniel Purcell’s The Judgement of Paris.
Dear guest, if you want to enjoy the concert to its fullest,
follow these etiquette tips.
Kindly turn all of your electronic devices before the performance begins. This will prevent any interruption to the performers and any inconvenience for other audience members who are trying to enjoy the show.
Curtain Calls and Encores
At the end of the programme, the conductor and soloist usually return to the stage several times, while the audience continues to show appreciation by applauding. If the audience applauds very enthusiastically, the orchestra may give a brief encore performance.
Sit back, relax, and enjoy the concert