Los Temperamentos


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The En­sem­ble

Los Tem­pera­men­tos, found­ed in 2009, em­braces the mu­sic of the 17th and 18th cen­turies. Un­der the di­rec­tion of Colom­bian cel­list and arranger Nés­tor Fabián Cortés Garzón, the en­sem­ble spe­cial­izes in re­dis­cov­er­ing and res­onat­ing the re­la­tion­ships be­tween the seem­ing­ly op­pos­ing worlds of baroque mu­sic in Latin Amer­i­ca and Eu­rope. In their the­mat­i­cal­ly di­verse pro­grams, the artists blend dif­fer­ent styles, com­posers and cul­tures, thus re­peat­ed­ly demon­strat­ing the live­li­ness and im­mense rich­ness of col­ors of what is now sim­ply called “ear­ly mu­sic”.

Pre­vi­ous en­gage­ments in­clude the con­cert hall Glocke (Bre­men), the Ho­hen­lo­her Kul­tur­som­mer (Schwäbisch Hall), Alte Musik in Fürsten­feld (Mu­nich), the Barock­fes­ti­val St.Pölten (Aus­tria), Juil­let Mu­si­cal de Saint Hu­bert, Mubafa, Au­tomne Mu­si­cal de Spa (Bel­gium), the Col­lège des Ber­nar­dins Paris, the Fes­ti­val Em­baro­que­ment Im­mé­di­at (France), the Mon­tever­di Fes­ti­val and the Mer­an­er Musik­wochen (Italy). The en­sem­ble has al­so per­formed at the Kas­teel­con­certen (Nether­lands), the Fes­ti­val Cis­ter­mu­si­ca, Fes­ti­val des Artes (Por­tu­gal), Fes­ti­val In­ter­na­cional de Mu­si­ca An­tigua (Pe­ru), Fes­ti­val In­ter­na­cional de Mu­si­ca An­tigua (Chile) and Fes­ti­val de Mu­si­ca Sacra Quito (Ecua­dor), as well as the fes­ti­val IM­PUL­SO and Fes­ti­val de Músi­ca An­tigua y Bar­ro­ca Los Fun­dadores (Mex­i­co).

In April 2018 the en­sem­ble per­formed sev­er­al con­certs with the in­ter­na­tion­al­ly renowned baroque vi­o­lin­ist Ryo Ter­aka­do (e.g. Bach Col­legium Japan) as a part of the Fes­ti­val In­ter­na­cional de Músi­ca Re­na­cen­tista y Bar­ro­ca Mi­siones de Chiq­ui­tos in Bo­livia.

Af­ter their de­but al­bum, De la Con­quista y otros De­mo­ni­os, which re­ceived ex­cep­tion­al re­views from the NDR among oth­ers, El Galeón 1600 was re­leased in 2015. The al­bum Amor y Locu­ra (2017) al­so re­ceived out­stand­ing re­views by WDR 3, HR 2, Ra­dio Stephans­dom Wien and NDR Kul­tur. Amor y Locu­ra and El Galeón 1600 were both nom­i­nat­ed for the In­ter­na­tion­al Clas­si­cal Mu­sic Award. In 2020 Los Tem­pera­men­tos’ new al­bum En­tre dos Tiem­pos was re­leased.

The members

Néstor Cortés Garzón

Nés­tor Fabián Cortés Garzón

Baroque Cello

Nés­tor Fabián Cortés Garzón learned to play var­i­ous per­cus­sion and gui­tar in­stru­ments at a young age with per­cus­sion­ist Car­los Ar­turo Rendón and at the Con­ser­va­to­rio de la Uni­ver­si­dad Tec­nológ­i­ca de Pereira in Colom­bia. He stud­ied mod­ern cel­lo at the Con­ser­va­to­rio de la Uni­ver­si­dad Na­cional de Colom­bia in Bo­gotá, where he grad­u­at­ed with hon­ors in 2008. Ini­tial­ly, baroque cel­lo was his sec­ondary in­stru­ment, but his love for ear­ly mu­sic grew steadi­ly, es­pe­cial­ly through nu­mer­ous projects at the Schola Can­to­rum Basilien­sis in Bo­gotá and mas­ter class­es; for ex­am­ple, with the Acad­e­my for Ear­ly Mu­sic Berlin.

Cortés Garzón then com­plet­ed a post­grad­u­ate and master’s de­gree in the class of the in­ter­na­tion­al­ly known baroque cel­list Vi­o­la de Hoog at the Hochschule für Kün­ste Bre­men. In ad­di­tion to his elab­o­rate con­cert sched­ule, the Colom­bian mu­si­cian has been in­ten­sive­ly re­search­ing baroque mu­sic from South and Cen­tral Amer­i­c­as and thus suc­cess­ful­ly re­con­struct­ing and ar­rang­ing works from var­i­ous codices, as well as mu­si­cal tra­di­tions. The cel­list, who now lives in Bre­men, al­so spe­cial­izes in the or­na­men­ta­tion prac­tice of the 17th and 18th cen­turies. Con­cert tours with var­i­ous or­ches­tras and en­sem­bles have tak­en the young cel­list all over Eu­rope and Latin Amer­i­ca. Nés­tor Cortes is al­so the founder and artis­tic di­rec­tor of the Bre­men Baroque Or­ches­tra, which was es­tab­lished in 2014. The or­ches­tra is par­tic­u­lar­ly known for its orig­i­nal and di­verse pro­gram se­lec­tions, and reg­u­lar­ly col­lab­o­rates with well-known mu­si­cians, such as Dorothee Ober­linger, Ryo Ter­aka­do, Dmit­ry Sinkovsky or Mi­dori Seil­er.

Swantje Tams-Freier

Swan­t­je Tams Freier


The Ham­burg-born so­pra­no Swan­t­je Tams Freier stud­ied ear­ly mu­sic singing with Prof. Har­ry van der Kamp, Prof. Stephen Stubbs, Nele Gramß and Clemens Löschmann, as well as choral con­duct­ing with Prof. Friederike Woe­bck­en at the Uni­ver­si­ty of the Arts in Bre­men. She re­ceived fur­ther train­ing from Rosa Dominguez, Wil­fried Jochens, Su­sanne Schlegel, Howard Crook and Bet­ti­na Pahn.

As a soloist, in ad­di­tion to an en­sem­ble and choir singer, she has giv­en con­certs in coun­tries such as Bel­gium, Den­mark, France, Is­rael, Italy, Japan, Aus­tria, Poland, Rus­sia, Switzer­land, Slove­nia and the USA, among oth­ers. She has sung with the Son­der­jyl­lands Sin­fonieorch­ester, the Phil­har­monie Novosi­birsk, El­bipo­lis, La Strav­a­gan­za Cologne, Con­cer­to Farinel­li, En­sem­ble Weser-Re­nais­sance, the Bre­mer Barock Con­sort and the WorldY­outh­Choir. Baroque opera pro­duc­tions in­clude per­for­mances at the fes­ti­val Im­pul­so in Mex­i­co, the Dahlheimer Som­mer fes­ti­val and in Cavalli’s La Di­done at The­ater Bre­men.

Swan­t­je Tams Freier re­ceived schol­ar­ships from the Tesdorpf’schen gemein­nützi­gen Stiftung, the Os­car und Ve­ra Rit­ter-Stiftung, the Ro­tary Club Ham­burg­Stein­tor and the Ed­uard-Witt-Stiftung. In 2015 she was hon­ored with the ti­tle of “Ideen­macherin” from the Ideen­losten in Bre­men for her in­no­v­a­tive man­age­ment of Los Tem­pera­men­tos.

Nadine Remmert

Na­dine Rem­mert


Harp­si­chordist and or­gan­ist Na­dine Rem­mert ini­tial­ly stud­ied church mu­sic at the Hochschule für Musik und The­ater Ham­burg. She then grad­u­at­ed from the Hochschule für Kün­ste Bre­men with de­grees in harp­si­chord and con­tin­uo play­ing, study­ing with Prof. Carsten Lo­hff and Ludger Rémy.

She con­tin­ued her stud­ies in ear­ly mu­sic with Prof. Pieter van Dijk at the Con­ser­va­to­ri­um van Am­s­ter­dam and in nu­mer­ous mas­ter class­es with spe­cial­ists, such as Wolf­gang Zer­er, Edoar­do Be­lot­ti, Men­no van Delft, Skip Sem­pé and Frédéric Haas.

The young mu­si­cian reg­u­lar­ly per­forms as a soloist, as well as with var­i­ous or­ches­tras and en­sem­bles na­tion­wide. She has had the priv­i­lege of play­ing with renowned en­sem­bles, such as the En­sem­ble Weser-Re­nais­sance and Ely­ma, and is a per­ma­nent mem­ber of the Bre­men Baroque Or­ches­tra. She has al­so par­tic­i­pat­ed in sev­er­al CD and ra­dio record­ings for Ra­dio Bre­men.

In ad­di­tion to her per­for­mances, Rem­mert has coached mul­ti­ple in­ter­na­tion­al pro­duc­tions, mas­ter cours­es and au­di­tions – in­clud­ing sum­mer cours­es of the Mozar­teum Salzburg and the Balthasar Neu­mann Choir. Since 2014, Na­dine Rem­mert has been a lec­tur­er for harp­si­chord, con­tin­uo and cham­ber mu­sic at the Hochschule für Musik und The­ater Ham­burg.

Hugo Miguel De Rodas Sanchez

Hugo Miguel de Ro­das Sanchez

Archlute, Baroque Guitar

Lutenist and gui­tarist Hugo Miguel de Ro­das Sanchez was born in Mex­i­co City, where he orig­i­nal­ly stud­ied clas­si­cal gui­tar at the Uni­ver­si­dad Na­cional Autóno­ma de Mex­i­co.

In 2004 he won the Rosa Mist­i­ca, a gui­tar com­pe­ti­tion in Cu­ri­ti­va, Brazil, be­fore he be­gan fo­cus­ing on his­tor­i­cal lute in­stru­ments and per­form­ing ear­ly mu­sic prac­tice.

He at­tend­ed nu­mer­ous mas­ter class­es and was in­vit­ed by the Freiburg Baroque Or­ches­tra to en­hance his stud­ies in Eu­rope in 2008. He then stud­ied lute in­stru­ments and baroque gui­tar with Lee San­tana and Joachim Held at the Hochschule für Kün­ste Bre­men.

He has per­formed un­der well-known con­duc­tors, such as Gabriel Gar­ri­do, through­out many coun­tries in Eu­rope, Cen­tral and South Amer­i­ca with var­i­ous en­sem­bles and or­ches­tras, in­clud­ing the Deutsche Kam­mer­phil­har­monie Bre­men, Kn­aben­chor Han­nover, Bre­mer Barock­o­rch­ester and Orkies­tra His­to­rycz­na.

He reg­u­lar­ly gives mas­ter class­es in Mex­i­co. In 2020 he pre­sent­ed his first edi­tion re­con­struc­tion of a Mex­i­can man­u­script of Fol­lia by Ar­can­ge­lo Corel­li for gui­tar with Tree Edi­tion.

Felipe Egaña Labrin

Fe­lipe Max­i­m­il­iano Egaña Labrín

Transverse Flute

Fe­lipe Max­i­m­il­iano Egaña Labrín was born in San­ti­a­go de Chile. He stud­ied art, mu­sic and flute at the Uni­ver­si­dad de Chile and trans­verse flute with Wilbert Hazelzet at the Konin­klijk Con­ser­va­to­ri­um in The Hague. The Chilean flautist con­tin­ued his train­ing with a master’s de­gree and con­cert ex­am with Marten Root at the Hochschule für Kün­ste in Bre­men.

Fe­lipe Egaña has giv­en con­certs with mul­ti­ple ear­ly mu­sic en­sem­bles and or­ches­tras, such as the Bach Choir and Or­ches­tra of the Nether­lands, Le con­cert d’Apollon, La dol­cez­za, The Nether­lands Bach So­ci­ety, and the Bre­men Barock­o­rch­ester. In ad­di­tion to per­form­ing with Los Tem­pera­men­tos, he is al­so an ac­tive mem­ber of var­i­ous cham­ber mu­sic en­sem­bles, such as Les points car­dinaux and Can­crizans duo.

He per­formed cham­ber mu­sic and or­ches­tral con­certs in Chile and Mex­i­co with the baroque or­ches­tra Nue­vo Mun­do. En­gage­ments, such as the Académie Baroque Eu­ropéenne d’Ambronay un­der the di­rec­tion of Sigiswald Kuijken, have tak­en the tra­verse flutist to many Eu­ro­pean coun­tries.

Fe­lipe Egaña has been heard at in­ter­na­tion­al fes­ti­vals and con­cert se­ries through­out Ger­many, Bel­gium, the Nether­lands, France, Italy, Mex­i­co and Chile, among oth­ers.

Tomoe Badiarova

To­moe Ba­di­aro­va

Baroque Violin

To­moe Ba­di­aro­va stud­ied mod­ern vi­o­lin with Takayoshi Wana­mi at the To­ho Uni­ver­si­ty of Mu­sic in Tokyo and baroque vi­o­lin with Ryo Ter­aka­do at the Konin­klijk Con­ser­va­to­ri­um in The Hague. In 2007 she made her de­but as a vi­o­lin soloist with the Hi­bi­ki Cham­ber Or­ches­tra un­der Masahi­ro Ari­ta. Soon fol­lowed by per­for­mances with the Bach Col­legium Japan, the Tokyo Bach Mozart Or­ches­tra and the en­sem­bles Les Bore­ades, La Pe­tite Bande, Il Gardeli­no, Har­monie Uni­verselle and Les Es­prits An­i­maux. She has giv­en con­certs with The Hague Pi­ano Quin­tet in the Mi­natomi­rai Hall in Tokyo and the Am­s­ter­dam Con­cert­ge­bouw.

In ad­di­tion to the vi­o­lin, To­moe Ba­di­aro­va has al­so mas­tered the vi­o­la and the ex­tra­or­di­nary cel­lo da Spal­la, with reper­toire rang­ing from ear­ly baroque to the ro­man­tic era. Per­for­mances have tak­en her to nu­mer­ous well-known fes­ti­vals, in­clud­ing the Fes­ti­val d’Ambronay, MA Fes­ti­val, Bruges, Ghent Fes­ti­val, Göt­tin­gen Han­del Fes­ti­val, La Folle Journée and the Banchet­to Mu­si­cale Vil­nius Fes­ti­val. To­moe Ba­di­aro­va al­so col­lab­o­rat­ed on sev­er­al pro­duc­tions for lead­ing in­ter­na­tion­al ra­dio sta­tions such as the BBC, Musiq‘3, the Con­certzen­der and Ra­dio France.

Alice Vaz

Al­ice Vaz

Baroque Violin

The vi­o­lin­ist and vi­o­list Al­ice Vaz grew up in Lis­bon, Por­tu­gal. She came to Ger­many in 2008 to study vi­o­lin and vi­o­la with Prof. Thomas Klug and Prof. Es­ther Van Stralen at the Hochschule für Kün­ste in Bre­men. Ad­di­tion­al­ly, she stud­ied baroque vi­o­lin with Veroni­ka Sku­p­lik and mod­ern mu­sic with Prof. Bar­bara Mau­r­er at the Folk­wang Uni­ver­sität der Kün­ste in Es­sen. Al­ice Vaz ex­pand­ed her knowl­edge through var­i­ous mas­ter class­es with Stéphanie Paulet, Mi­dori Seil­er, Jane Rogers and Garth Knox, among oth­ers.

She was a mem­ber of the or­ches­tra of the Hanseat­ic City of Lübeck and the or­ches­tra of the Old­en­burg State The­ater and has giv­en con­certs in sev­er­al Eu­ro­pean coun­tries. In the field of ear­ly mu­sic, she plays with well-known en­sem­bles such as L’Arpeggiata, La Dol­cez­za, Hol­land Baroque, the Bre­mer Barock­o­rch­ester, De Nieuwe Phil­har­monie Utrecht, Weser Re­nais­sance and Oltremon­tano. She can be heard on mul­ti­ple ra­dio and CD record­ings, in­clud­ing Ra­dio Bre­men and the Ar­can­tus la­bel.

Miguel Altamar de la Torre

Miguel Al­ta­mar de la Torre


Per­cus­sion­ist Miguel Án­gel Al­ta­mar de la Torre was born in Bar­ran­quil­la, Colom­bia. He grew up sur­round­ed by trop­i­cal mu­sic, where el­e­ments of African, Eu­ro­pean and pre­Columbian cul­tures merged and sig­nif­i­cant­ly in­flu­enced the de­vel­op­ment of his mod­ern per­for­mance prac­tice. In Colom­bia, Miguel Al­ta­mar learned to play the dou­ble bass and com­pre­hen­sive­ly stud­ied Columbian folk mu­sic, along with the tra­di­tion­al per­cus­sion in­stru­ments of the Caribbean and Pa­cif­ic coastal re­gions of the coun­try, such as the Palenque. Al­ta­mar then ex­pand­ed his mu­si­cal reper­toire in Eu­rope, ex­plor­ing var­i­ous gen­res such as jazz and pop mu­sic.

He com­plet­ed nu­mer­ous tours with well-known artists in the in­dus­try, in­clud­ing Culcha Can­dela and Jupiter Jones, and al­so took part in mul­ti­ple clas­si­cal pro­duc­tions by the Bre­men Barock­o­rch­ester, the en­sem­ble Cel­losound and the Deutsches The­ater Göt­tin­gen. With var­i­ous artists he record­ed al­bums for the la­bels Neuk­lang, MIR, Ar­can­tus, Melt­ing Pot and Uni­ver­sal Mu­sic. The mu­si­cian, who lives in Cologne, is al­so in de­mand as an in­stru­men­tal teacher. In ad­di­tion to pop, rock and jazz, he is par­tic­u­lar­ly in­ter­est­ed in the quin­tes­sen­tial rhythms of Latin Amer­i­can mu­sic and its tra­di­tion­al in­stru­ments, such as the ca­jón.