New Ensemblists 2020-22

Arcangelo New Ensemblists 2020-22

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.”

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.”

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.”

Programme highlights


Participation in: Bach with Alina Ibragimova; London (March 2021), Pergolesi with Carolyn Sampson and Iestyn Davies; London (March 2021), Haydn with Liza Ferschtmann; London (June 2021), Bach St Matthew Passion at the BBC Proms (September 2021) Haydn with Barnabas Kelemen; Budapest (September 2021), Vivaldi and Bach with Avi Avital; London and Gran Canaria (October 2021), Schuetz Christmas Story; Ghent and London (December 2021) Bach with Carolyn Sampson and Tim Mead; Bath and London (February 2022), Purcell and Handel; Bilbao (March 2022) Mozart and Haydn; London and Suffolk (May-June 2022), Graduation Recital at Wigmore Hall (July 2022)


Participation in Arcangelo recording sessions for Bach Alto Cantatas with Iestyn Davies (October 2020), ‘Tiranno’ with Kate Lindsey’ (October 2020), Boccherini Cello Concertos Vol.1 with Nicolas Altstaedt (April 2021) and ‘Sacroprofano’ with Tim Mead (July 2021)


Repertoire Hack with mentors Jonathan Cohen, Kati Debretzeni & Jonathan Manson • Accompanying Voice and Improvisation & Ornamentation with mentors Jonathan Cohen, Nicholas Mulroy & Bojan Cicic

Video diaries

Episode 1

Repertoire Hack

In this first video diary, Sophia and Sergio enjoy a ‘Repertoire Hack’ with Arcangelo’s Artistic Director Jonathan Cohen and guest mentors Kati Debretzeni and Jonathan Manson.

Film by Will Hazell

Episode 2


In this second video diary, Sophia and Sergio explore the theme of ornamentation with Arcangelo’s Artistic Director Jonathan Cohen and guest mentor Bojan Cicic.

Film by Jessie Rodger

Episode 3


In this third video diary, Sophia and Sergio work on accompaniment of voice and text with Arcangelo’s Artistic Director Jonathan Cohen and guest mentor Nicholas Mulroy.

Film by Jessie Rodger

Programme supporters

The Arcangelo New Ensemblists 2020-22 programme was generously supported by Clive Potter and Harry Lee.