Aisling Kenny (soprano), Yonit Kosovske (Harpsichord), Eamon Sweeney (theorbo/bandora/baroque guitar)
La Fresca Rosa celebrates vocal and instrumental chamber music inspired by the rich imagery and intensely emotional expression that flourished in Italy throughout the first half of the 17th century. Timeless themes of love, innocence, passion and jealousy are explored in a vibrant and varied selection of works by Giulio Caccini, Francesca Caccini, Barbara Strozzi, Claudio Monteverdi, Girolamo Frescobaldi, Luigi Rossi and Luzzasco Luzzaschi.
Barbara Strozzi’s Lagrime Mie forms a moving centrepiece to the programme around which is woven a garland of well-loved classics with lesser known gems about giggling maidens and young nymphs, sweet songs and sorrowful sighs, and lots of musical chattering about the birds, the bees, and budding flowers.
Galway soprano, Aisling Kenny, is a soloist and ensemble singer specialising in early music and art song. Favourite repertoire includes anything by Bach, French baroque, lute songs and Lieder. She has sung as a soloist with Irish Baroque Orchestra, Camerata Kilkenny, Irish Chamber Orchestra, Marlborough Baroque, Luminosa String Orchestra, The Orchestra of St Cecilia, Linden Baroque and the Staatskapelle. Aisling features regularly in the National Concert Hall’s Chamber Music Series, most recently with IBO for their La Donna Barocca project directed by Claire Duff. Other memorable concert experiences include Couperin’s Leçons de ténèbres with Camerata Kilkenny and Sharon Carty, Venetian Splendour, a concert tour of Monteverdi with Resurgam and the English Cornett and Sackbutt Ensemble and performances at many of Ireland’s festivals including Galway Early Music Festival, Sligo Baroque Festival, Ardee Baroque Festival, Kilkenny Arts Festival, Edinburgh Festival Fringe and New Music Dublin. An experienced ensemble singer, Aisling a member of Resurgam, Sestina and Crux, and also sings with Chamber Choir Ireland and Collegium Vocale Gent.
Aisling is a devoted song recitalist and loves singing with harp, lute, fortepiano and guitar. Recent recitals include Dowland’s lute songs with Thomas Dunford in Paris and Kilkenny, a concert of Clara Schumann’s Lieder with Cecily Lock at Lady Margaret Hall, Oxford, and with Siobhán Armstrong as part of Galway’s Winter Festival. Aisling is delighted to perform again at the Galway Early Music Festival with Yonit Kosovske and Eamon Sweeney.
Yonit Kosovske performs as a soloist and collaborative artist on harpsichord, modern piano, fortepiano and chamber organ. At home with repertoire from the Renaissance through New Music, Yonit curates, directs and co-produces projects and festivals that integrate music, text, movement, and painting, as well as her original photography and short film. Chrome Attic, Yonit’s ongoing research-recording-performance project, explores connections between musical chromaticism and chiaroscuro in Baroque painting and contemporary photography.
She recently received a 2020 Arts Council Music Commissions Award for Watershed—a song-cycle for voice and piano to be composed by Ailís Ní Ríain on poetry by Jessica Brown, to be premiered in 2021 in collaboration with contralto Julie Comparini.
Together with Vlad Smishkewych, Yonit co-founded H.I.P.S.T.E.R., an acronym for Historically Informed Performance Series, Teaching, Education and Research, as well as WAVE~LINKS, a new series of explorations in music and artisanry. Yonit is a Lecturer in Music at the Irish World Academy of Music and Dance, University of Limerick.
She has given masterclasses throughout Ireland, the United States, Israel, China, and Colombia. She is the author of “Historical Harpsichord Technique: Developing La douceur du toucher,” (Indiana University Press, 2011), and she holds a Doctor of Music degree from Indiana University Jacobs School of Music, where she studied with harpsichordist Elisabeth Wright.
Eamon Sweeney was awarded the first musicology PhD to be accredited by DIT Conservatory of Music and Drama. His doctoral thesis, The Guitar and its role as an accompanying instrument in seventeenth – and early eighteenth-century France, investigated the five-course guitar’s role as a continuo instrument in the court of Louis XIV, a hitherto unexplored area of French baroque music and early guitar performance practice. Eamon has lectured and given seminars on Baroque guitar performance at Dublin, Dundee and Bath International Guitar Festivals as well as for DIT and UCD. Eamon received his BMus (1st Class) in Guitar Performance from Trinity College, Dublin and DIT Conservatory of Music and Drama and has since performed on stage, radio and television, both as a solo artist and with various ensembles including the National Symphony Orchestra, RTE Concert Orchestra and Opera Theatre Company. Eamon teaches music with Co Wicklow VEC and is part of the duo Tonos (with Roisin O’Grady) who perform music of the 17th century.