Arcangelo New Ensemblists


The Arcangelo New Ensemblists programme was founded in our 10th anniversary year to support the next generation of outstanding ensemble instrumentalists dedicated to period performance.

The programme aims to address the lack of professional gateway training in this specialist area, bridging the difficult transition from conservatoire education to an exciting, rewarding and sustainable performing career.

Over a two-year period, programme members receive fully-remunerated performance experience as Arcangelo members, bespoke skills and creative training through academies, creative retreats and ongoing mentoring, and substantial professional profile and career development including personal investment funds and allowances and a showcase recital.

New Ensemblists 2022-24

Cristina Prats-Costa


“One of the most important things for us is to have the opportunity to learn from great musicians, and Jonny, and the whole team are giving us something that we don’t get in school which is playing at a professional level, in professional concerts, and having this support and knowing that they trust in us and believe in us… that we are not left on our own to explore professional life and that we have this nice family that you (Arcangelo) created for us.”

Cristina is a graduate of both Guildhall School Music and The Royal Academy of Music, and is currently studying historical performance at The Julliard School in New York on a full scholarship. She has performed with the Orchestra of the Eighteenth Century, Holland Baroque, and L’Harmonie des Saisons, among others. She is a founding member and first violinist of the Alauda Quartet and was awarded an Associate of The Royal Academy of Music in 2019.

Image (c) Nathan Giorgetti

Madeleine Renée Bouïssou


“This is a wonderful way to meet musicians… and the kind of musicians that I want to play with. This is very important because when you move somewhere new (I come from Connecticut) you kind of test out a lot of things… I met Jonny in 2018 and from the moment I saw him directing I thought I want to play with him someday…”

Madeleine is a graduate of The Juilliard School and The Royal Conservatoire of The Hague, where she recently obtained an Artist Certificate Diploma specialising in Baroque Cello and Historically Informed Performance Practice. Madeleine has performed with the Boston Early Music Festival, the Orchestra of the Eighteenth Century, and the Theatre of Early Music. 

image (c) Ruiqi Ren

Yaoré Talibart


I’m super excited because there are many concerts I see coming… and I am really looking forward to them! I think I came to one of the Arcangelo concerts a year ago and thought I would really like to play with these people…”

Yaoré is a graduate of the Conservatoire National de Paris and most recently (July 2022) The Royal Academy of Music, where she specialised in Baroque Violin with the Historical Performance Department and obtained a Professional Diploma. She was the first prize winner at the Vatelot Competition and has been concertmaster of the Ensemble Apassionato, founded by Mathieu Herzog.

Image (c) Maxime de Bollivier

New Ensemblists 2020-22

Sophia Prodanova Image (c) Alexander Bogdan Thompson

Sophia Prodanova


“As a result of the exposure as an Arcangelo New Ensemblist, I have had the joy of working with groups such as Ensemble Pygmalion in France, the Dunedin Consort, Benedetti Baroque Orchestra in the UK.”


“I will remember each individual Arcangelo project extremely vividly, the reason for this being Jonny’s incredible way of working, shaping, demonstrating, leading, trusting, playing, which can only make one 100% present in the space and time. 

Confirmed future projects include working with the Balthasar-Neumann Ensemble in Germany and Helsinki Baroque in Finland. I have received invitations from Il Pomo d’Oro, The Mozartists, Solomon’s Knot, Orchestra of the Age of Enlightenment and English Baroque Soloists. I wholeheartedly believe that it is mainly thanks to the exposure and, in a way, partly the confidence, that the Arcangelo New Ensemblist role has given me, that I have received all these brilliant opportunities.”

Sergio Bucheli Image (c) Jessie Rodger

Sergio Bucheli


“I cannot make enough emphasis on how much my membership to the New Ensemblists has contributed towards the successes I have had. As Arcangelo was the first period orchestra I played with, I first met many of my colleagues there. This allowed me to start building a network of musicians.”


“Apart from the immediately hugely improved professional status within the industry that the New Ensemblists offers, the musical gains have also been enormous. I actually switched my main continuo instrument just over a year ago as I thought the archlute suited Arcangelo’s sound world and repertoire better than a traditional theorbo. The first day that we did the Academy was my first day playing archlute continuo and I had quite helpful discussions with Jonny about my sound production and roles within the section. I feel very fortunate that I got to learn many aspects of my role as an archlute continuo player while playing with only exceptional continuo players around me. This is another crucial difference to conservatoire education…where it is not at all common to be surrounded by players like Jonathan Manson or Jonny Cohen whilst actually learning repertoire. What I mean by this is that there was an amazing clarity of the level and refinement I should be striving for in the wider industry. I find this to be a subtle but very significant difference; I learned so much about phrasing and rhythm from Jonathan and other Arcangelo cellists which shifted the way in which I built up my technique and continuo playing.”

Ismael Campanero Image (c) Michael Novak

Ismael Campanero

Double Bass

“In November 2019 when I auditioned for Arcangelo I had just finished my bachelor studies in Madrid and I was looking forward to play with lots of great musicians around Europe, but I didn’t know how to do it. This audition was a turning point.”


“Since I joined Arcangelo I also started to play with other important groups in London and Germany – The English Concert and Balthasar-Neumann Ensemble – and I have had a successful audition in Paris for Thomas Dunford’s Ensemble Jupiter. I also started to play in new groups in Spain where I live. Talking about personal projects, I made my first solo CD recording, THE NEW VIOLONE. It’s the first recording with the G violone as protagonist, and it will be released soon. I am also co-founder of a new group in Spain with two other exceptional musicians, OBNI. Now I’m focused in new recording projects. I think that Arcangelo helped me somehow in all these achievements. I believe that perhaps the most important point in this is the open-mindedness that I have gained here. Traveling is always enriching to see what people do in other places, other ways of being. Playing here has also inspired me, it gives you new ideas.”

Video Diaries

Second cohort – 2022-24

Episode 1 – Getting Started

Our three 2022-24 Arcangelo New Ensemblists share their thoughts about joining the programme. Mentors Sophie Gent and Jonathan Cohen discuss methods of tuition, and why “just playing” is such a valuable approach.

First cohort – 2020-22

Episode 1 – Repertoire Hack

The New Ensemblists work through a mountain of repertoire with Jonathan Cohen, Kati Debretzeni and Jonathan Manson.

Episode 2 – Ornamentation

The New Ensemblists explore the evolving practices of ornamentation with Jonathan Cohen and Bojan Cicic. 

Episode 3 – Accompaniment

The New Ensemblists learn about the craft of accompanying sung text with Jonathan Cohen and Nicholas Mulroy.

Programme Supporters

Arcangelo is most grateful to Clive Potter and Harry Lee, and to the Garrick Charitable Trust, the Idlewild Trust, the D’Oyly Carte Charitable Trust and the Marchus Trust for their generous and essential support of the Arcangelo New Ensemblists programme.