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Anna Paradiso’s recordings: http://bis.se/performers/paradiso-anna/ 

“One of today’s leading keyboard players‘ (Musicweb-international) “A phenomenal harpsichordist and world star” (Arvika Nyheter) “Absolute gem of a harpsichordist”; “it’s not very often that a harpsichordist grabs my attention to such an extent that I pick up the booklet again just to see who this astonishing musician is and what background he or she has, but that was my reaction to the extraordinary Anna Paradiso” (Fanfare, USA) “she carries out an authentic baroque phrasing, making of every musical gesture a world in itself … she uses a fantastic rubato” (El Arte de la Fuga, Spain) “This is keyboard musicianship so superlative that I stopped the player after 20 minutes and immediately placed an order for the other volume. It’s that attractive and expressive” (American Record Guide) “Masterly use of the clavichord” (Uppsala Nya Tidningar) “The final of Bach’s F major harpsichord concert (is) more scintillating than ever” (Gramophone UK).”She was an happening in herself. With her body language that gave life to the music, she was the great memorable part of the concert” (Katrineholms Kuriren, Sweden)“She impressed us with her formal perfection and dynamic empathy” (Norrköping Tidn., Sweden)

Recent accomplishments:

Bernadotte sholarship 2019 (Swedish Royal Academy of Music) – Swedish Awards best classical recording  2020  – Opuslistan  2020 (the 20 significant people within the musical field in Sweden during 2020 according to Opusmagasin)

Anna Paradiso (also known as Anna Paradiso Laurin) was born in Bari, South of Italy, in 1976 and received a university education equally oriented towards music and humanities. She moved to Sweden to follow her Swedish husband, recorder virtuoso Dan Laurin. After some years of intense research and teaching as a philologist and latinist at institutions such as Oxford University, she eventually embarked on an international concert activity in 2008. She quickly established herself as a harpsichordist of great individuality and character and today she is one of the most prominent musicians in her adoptive country, as well as internationally praised. She has performed  in many prestigious venues and festivals in Scandinavia as well as in England, Germany, France, Italy, Slovenia, Austria, Finland, Norway, Denmark, Estonia, Spain, Poland, the USA, Japan, Taiwan, Hong Kong and Lebanon. During the past years she has moreover developed a strong passion in performing on clavichord and fortepiano. She is also an accomplished modern pianist and baroque organ player.

Education – Anna studied at the conservatory in Bari, where she gained a solo diploma in piano cum laude in 1998, under the guidance of Angela Annese, Emanuele Arciuli and Pasquale Iannone. While studying harpsichord at the conservatory in Bari and after gaining a solo diploma with full marks in 2002, she took lessons some years with Gordon Murray, professor at the conservatory in Vienna. During 1996-1997, Anna attended a course in musical journalism and criticism at the Scuola Holden of writer Alessandro Baricco in Turin. At the same time, Anna received an MA in humanities, with a specialization in classical philology (2001) and a PhD in Greek and Latin philology (2005) from Università degli Studi di Bari. Christophe Rousset provided important inspiration in the field of harpsichord French music and Enrico Baiano in the field of 17th cent. Italian music. She also received a MA in harpsichord at the Royal College of Music in Stockholm with Mayumi Kamata. Last but not least, her husband Dan Laurin has contributed to her inspiration. Moreover, Anna’s independent  study of original sources on baroque performance practice and thorough-bass has been a most decisive moment in her development. Thanks to this, she has created her own personal style, recognised with international praises.  

Concerts – As a soloist and continuo player, Anna Paradiso has appeared with major Scandinavian ensembles and orchestras (Drottningholm Baroque Ensemble, Copenhagen Soloists, Rebaroque, Drottnigholm Theatre Orchestra, Gävle Symphony Orchestra, Norrbotten NEO, Höör Barock, Baroque Academy Gothenburg Symphony, Norrköping Symphony Orchestra, 1B1, Ostrobothnian Chamber Orchestra, etc.). Both as soloist and continuo-player, she has also performed, among others, with Philarmonia Moment Musical (Taipei), Hong Kong Sinfonietta, Birmingham Conservatory Orchestra, Radovlijca Festival ensemble. Her repertoire as soloist with orchestra spams from baroque to modern harpsichord concertos and to contemporary works.

Musicians – Among the prominent musicians Anna has performed with, there are: Dan Laurin, Hidemi Suzuki,  Nils-Erik Sparf, Elin Rombo, Stefan Temmingh, Mario Caroli, Lena-Susanne Norin, Lorenzo Cavasanti, Jan Björanger, Mikhail Simonyan, Arureliusz Golinski, Francesco D’Orazio, Domen Marincic. Together with symphony orchestras, she performed with Lisa Batiashvili, François Leleux, Lara St John, Jaime Martin, and many more.

Recordings and awards – With Dan Laurin, she has formed a duo that tours internationally and which has recorded several CDs for the international label BIS.
With BIS, Anna records also as a soloist. Her two recordings of the keyboard sonatas by the Swedish baroque composer Johan Helmich Roman have received enthusiastic praises buy the international critics (vol. 2 was also awarded the American Record Guide Critics Choice 2016). Her new recording, which came out in June 2020 and contains the sonatas by Pietro Domenico Paradisi, received raving reviews, including being on the ‘recommended list’ of Gramophone and putting Anna on the list of the most significant music-makers in Sweden in 2020 according to Opus magazine. She has also been praised by the Swedish and the international critics for her clavichord and fortepiano performances contained in these 3 solo-recordings. As a soloist, she has obtained critical acclaim also recording the virtuosic harpsichord concerto by Bach BWV 1057, a contemporary harpsichord concerto by Vito Palumbo with Gävle Symphony Orchestra and, for Barn Cottage Records, a recital with a repertoire that spans from Frescobaldi to a modern concerto by Walter Leigh. Moreover, the internationally acclaimed first complete recording of JH Roman’s Golovin Suite, which features Anna as continuo-player, and in which Dan Laurin, as musical and artistic director, invited to perform the period orchestra Höör Barock, received a Swedish Grammy in 2020. For BIS and with Dan Laurin, she has also successfully recorded all flute sonatas by Roman, 20th-century English sonatas with harpsichord and piano, French baroque chamber music, orchestral music by Vivaldi, Corelli and Telemann. Together with Paradiso Musicale, a Swedish baroque ensemble co-funded by Anna, she made an acclaimed début recording featuring music by Telemann, J. S. and C. P. E. Bach, which was ‘Record of the Month’ on BBC Music Magazine. Newly released is a recording of flute sonatas by the Danish composer Morten Ræs with recorder player Clara Guldberg Ravn, where Anna plays continuo on harpsichord and fortepiano. Her continuo realization in this recording has bees praised both in Sweden and abroad. Next on the line are Telemann’s recorder sonatas with Dan Laurin, two recordings of Neapolitan baroque music and a vol. 2 with Guldberg-Ravn. 

Contemporary music – Anna has commissioned several new works, for instance from the Italian composer Vito Palumbo, whose work Nostos, written for her, was performed by Anna in a solo-tour with the ensemble Norrbotten NEO in 2014. Composers such as Daniel Börtz, Fredrick Österling, Ingvar Karkoff, Christofer Elgh and Kjell Meijering have also written for Anna and / or for her duo with Dan Laurin. She has also performed with the jazz-trio ‘Trio-X of Sweden’ and she is currently involved with her Estonian-Swedish cross-over group The Bright Future Ensemble with music written for the ensemble by Helena Tulve and Britta Byström.
Teaching – Anna is  regularly invited to teach master-classes on baroque-music at the Royal College of Music of Stockholm. Recently, she has been invited to cover for a period part of the position held by harpsichord teacher Mayumi Kamata. Moreover, she has taught at the conservatories in Trento, Bolzano, Avellino, Salerno, Trinity College in London, Birmingham Conservatoire, Grieg Academy in Bergen, Beirut, Hong-kong, as well as at other international courses in Europe, Japan, Lebanon and Taiwan. She also gives seminars and workshops around the world on the connections between classical rhetorics and baroque music, improvisation, ornamentation, etc.

Research and scholarships – In 2019, the Royal Academy of Music of Sweden awarded her with a prestigious post-doctoral scholarship handed by the king of Sweden within the ‘Bernadotte Programme’, with a project that deals with the connections between 18th century Neapolitan music and the rhetorical, poetical and philosophical movements in 18th century Naples. Anna is moreover researching on unknown Swedish keyboard repertoire between 1770-1860, with particular focus on female home music-making. 

Anna’s career as musician has been awarded many scholarships, such as those from the Swedish Arts Grants Committee and the Swedish Arts Council. Before 2008, when she decided to dedicate her life completely to music, Anna has had an international career as PhD doctor in classical philology, teaching and researching, to name a few institutions, at Oxford University, at the Royal College of Technology in Stockholm, at the university of Bari,  Freiburg, and others.

Instrumentarium – Neapolitan harpsichord by Masao Kimura (Zao 2012) after Onofrio Guarracino (c. 1650); French harpsichord by Francois Paul Ciocca (Riccia 2008) after Nicolas & Francois Blanchet (1730); original Swedish square piano by Mathias Petter Kraft (Stockholm 1797); original Swedish clavichord (1792); original fortepiano Broadwood (1802); up-right piano Erard (1858).

All original instruments are restored by Dan Johansson.