(in)sight-reading enlightenment/early music podcast

Darina Ablogina
  • 5.0 (2)
  • Music Interviews

Let's take a closer look behind the concert stage and into the fascinating world of historical performance. I'm your host - traverso player and curator Darina Ablogina, together we will explore how musicians approach the music of the past: from original sources and period instruments to questions of style, aesthetics, and interpretation. A thoughtful and curious space where research meets artistry, inviting both experienced musicians and passionate listeners to discover Early Music from a new perspective.

  1. 2d ago

    Two Composers, One Opera: Francesco Corti on Handel/Telemann's Otto

    Okay, this episode has been such a treat to make. My guest is harpsichordist and conductor Francesco Corti, and honestly, I could have talked to him for three more hours. This mini-series is dedicated to the Telemann Festtage Magdeburg made possible thanks to their wonderfully generous support, and a special thank-you to Fynn Liess, who helped make this whole collaboration happen. So here's the mystery we're unpacking today: an opera called Otto — credited to both Handel AND Telemann. Two composers, one opera? How does that even work? I had so many questions, and Francesco had all the answers (plus a story that's honestly better than I expected). https://telemann.de/event/otto-4 We also get into what it's actually like to stand in front of an orchestra as a conductor, how instrumentation gets built from the ground up, and what the real difference is between a baton and a baguette. (Turns out only one of them is edible. Barely.) Curious, funny, full of insight: this conversation has everything. Come listen! Huge thanks to Arcana recording label for allowing me to frame my episode with their stunning recordings! Recordings for the episode are from Francescos` Spotify channel JS Bach Praeludium BWV 815a https://open.spotify.com/track/2ylClhXiW75PVQrqjcBtD6 #HistoricallyInformedPerformance #HIPP #EarlyMusic #Harpsichord #FrancescoCorti #TelemannFesttageMagdeburg #Telemann #Handel #BaroqueOpera #ClassicalMusicPodcast

  2. 12/29/2025

    Reinoud Van Mechelen: 🌙 From Morning to Night

    🎧 Season finale | (In)Sight-Reading Enlightenment What does it mean to perform Baroque music today? In the final episode of Season 6, I speak with Belgian tenor Reinoud Van Mechelen, founder and artistic director of a nocte temporis, about navigating the early music world between iconic masterpieces and forgotten jewels. We talk about festivals, opera characters, curating programs from morning to night, and how to stay fresh when performing the same repertoire again and again. While editing this episode, one thought kept returning: the audience doesn’t come to check if we are right or wrong — they come for an experience. Simply “playing a concert” is no longer enough. People are ready to receive more. https://www.reinoudvanmechelen.be/en Special thanks for the music intro to the conductor Martin Wåhlberg, nmy beloved Orkester Nord and Reinoud as Sandomir. Check out this wonderful recording where I had a pleasure to take part: https://open.spotify.com/album/19J7sAU0eMMvi3UYxZjUJl 🎶 Episode 12 is out now — and with it, the close of Season 6. Contact me: insightreading.enlightenment@gmail.com #insightreadingenlightenment #earlymusic #baroquemusic #anotcetemporis #reinoudvanmechelen #earlymusicensemble #historicalperformance #baroqueopera #musicprogramming #festivalmusic #classicalmusic #artisticprocess #musicianslife #earlymusicpodcast

    Reinoud Van Mechelen: 🌙 From Morning to Night

  3. 10/08/2025

    Special Series for zamus: Why We Gather – Behind the zamus Symposium

    In this final episode of our zamus mini-series, we meet two of the driving forces behind the “Creating New Spaces” symposium: Charlotte Nachtsheim, organiser of the event, and Mélanie Froehly artistic director of zamus. Together with the artistic director of the festival Midori Seiler they have shaped the structure of the symposium and brought this idea come true. We speak with Charlotte about the meaning of colonialism and decolonialism in the context of early music—how the field is shaped by its history, and what it means to rethink that history in today’s world. Can early music become a space for equity, awareness, and reflection? Then, Mélanie shares her artistic vision and the story behind integrating such an important topic into a festival setting. We talk about structural challenges, curatorial decisions, and the deep personal motivation that connects both women to this work—not just as organisers, but as musicians and advocates for a more inclusive and responsible cultural scene. Together, they explore how music and art can become a safe space—where difficult conversations are welcomed, and new perspectives can flourish. Music in the episode: Florence Price: Symphony No. 1 in E minor Alice Smith (1839-1884) - Symphony in A minor 00:00 – Intro & guest introductions: Charlotte Nachtsheim & Mélanie Froehly 00:53 – Symposium theme: “Creating New Spaces” 02:09 – Colonialism & decolonisation in early music 04:49 – Problematic content & how to handle it 06:10 – Transition to Mélanie Froehly 07:07 – The concept of zamus - Center of Early Music in Cologne 08:58 – How the idea for the symposium emerged, collegial approach 11:14 – Integrating the symposium into the festival 12:40 – Present perspectives & future plans 13:18 – Personal motivation & societal change 15:22 – Sneak peek at the next zamus edition 18:40 – Outro #EarlyMusic#DecolonisingMusic#ColonialHeritage#HistoricalPerformance#CriticalClassics#OperaReimagined#MusicAndSociety#InclusiveArts#MusicHistoryMatters#BaroqueVoices#SoundAndStory#ArtAsResistance#NewSpacesInMusic#CulturalReflection#ListeningDifferently

  4. 10/08/2025

    Special Series for zamus: Troubled Texts, Critical Questions – Inside Critical Classics

    In this second episode of our zamus mini-series, we take a deep dive into the work of Critical Classics—an initiative that rethinks how we perform historical operas and oratorios by addressing racism, exoticism, and other forms of discrimination embedded in the original texts. We’re joined by Leyla Ercan, co-initiator of the project, and Änne-Marthe Kühn, dramaturge and researcher, who reflect on how theatre can both reveal and reproduce harmful narratives. Together, they share the origins of the project, their guiding principles, and what it means to reframe canonical works like The Magic Flute in a way that speaks to our current world. We discuss strategies of sensitivity reading, the role of text and subtext, and how audiences respond when difficult truths are brought to light. What does it mean to preserve tradition—and when does that tradition need to be questioned? 🎭 More about the project: criticalclassics.org/downloads🎼 With music from Orkester Nord, courtesy of Aparte label: Watch here Timecodes: 00:00 – Introduction of guests: Leyla Ercan & Änne-Marthe Kühn 01:10 – “I dislike theatre” – the critical power of the stage 02:02 – Änne-Marthe Kühn: background & why she joined Critical Classics 03:09 – Leyla Ercan: the roots of theatre criticism 04:15 – Aims & mission of Critical Classics 07:15 – Audience reactions & communication 09:49 – Theatre tools & character portrayal 12:44 – Strategies for working with texts 15:25 – Technical methods: how Critical Classics handles opera material 18:17 – Finding inner conflicts that speak to today 19:18 – Why we still need these old stories 20:21 – Historical context of classical opera theatre 22:04 – Outro #EarlyMusic#DecolonisingMusic#ColonialHeritage#HistoricalPerformance#CriticalClassics#OperaReimagined#MusicAndSociety#InclusiveArts#MusicHistoryMatters#BaroqueVoices#SoundAndStory#ArtAsResistance#NewSpacesInMusic#CulturalReflection#ListeningDifferently

  5. 10/08/2025

    Special Series for zamus: Decolonial Futures and Forgotten Origins

    In this opening episode of our special series with zamus for the “Creating New Spaces” Decolonisation Symposium, we explore the colonial shadows cast over the world of early music. Historian and activist Dr. Rahab Njeri speaks about decolonial aesthetics and the need to reclaim artistic spaces through marginalized and indigenous forms of knowledge. https://frauengeschichtsverein.de/2023/08/22/dr-des-rahab-njeri/ We then turn to musician and researcher Jorge Silva, who guides us through the African and South American origins of familiar Baroque dances. What colonial narratives are hidden in the elegant sarabande—and what happens when we start to listen differently? https://www.jorgesilvahpd.com/ Timecodes 00:00 – Intro & ZAMUS collaboration 01:18 – Dr. Rahab Njeri: Picasso & African art 03:01 – Cultural appropriation spectrum 04:31 – Critical diversity 06:15 – Institutional change 07:35 – Power vs. African philosophy 09:11 – Empathy & decoloniality 11:24 – Gaze into the future 13:00 – Jorge Silva: Baroque dance & origins 14:27 – Hidden narratives in dance 16:19 – The sarabande’s transformation 18:40 – Performance & research 20:52 – Lundu & Brazilian sources 23:45 – Generational trauma & music 26:23 – Layers of history in Baroque 27:40 – Being a musician today 28:35 – Outro Music in this episode from the playlist of Midori Seiler: https://youtube.com/playlist?list=PLQt6ev5eI6q_ZyMJrIyN898Fd0RGuxkug&si=h6sx4-49tD48Ugr4 #EarlyMusic#DecolonisingMusic#ColonialHeritage#HistoricalPerformance#CriticalClassics#OperaReimagined#MusicAndSociety#InclusiveArts#MusicHistoryMatters#BaroqueVoices#SoundAndStory#ArtAsResistance#NewSpacesInMusic#CulturalReflection#ListeningDifferently

  6. 09/30/2025

    Taste of Dissonance – Rachel Brown (Part 2)

    In this second part of my conversation with the internationally acclaimed flutist, researcher, and author Rachel Brown, we continue our journey into the world of 18th-century flute culture. We speak about the flute makers who shaped the sound of our time, the virtuoso players of the 18th century and their repertoire, and the surprising way dissonance can be described in terms of taste experiences. Our conversation also touches on the role of historical clothing and why women were often excluded from playing wind instruments, and Rachel shares her own creative voice as a composer, including her projects inspired by Telemann’s Twelve Fantasias for solo flute. This episode of (In)Sight-Reading Enlightenment is kindly supported by the Christoph Merian Stiftung. 💌 I’d love to hear from you: write me at insightreading.enlightenment@gmail.com. #RachelBrown #Quantz #Telemann #BaroqueFlute #Traverso #EarlyMusic #HistoricalPerformance #Bach #FlutePodcast #BaroqueMusic #18thCenturyMusic #WomenInMusic #ChristophMerianStiftung

  7. 08/31/2025

    Quantz’s Many Voices – Rachel Brown on Flutes, Colours, and Character (Part 1)

    In this episode of (In)Sight-Reading Enlightenment, I sit down with the brilliant flutist and researcher Rachel Brown(Rachel’s website). We explore the world of original Quantz flutes and discover their surprising personalities — not unlike the Three Tenors, each with their own temperament and flair. Our conversation also touches on the colours and expressive power of tonalities such as E-flat major, G minor, and F minor, and the fingering quirks and possibilities they reveal on the traverso. The music featured in this episode is Rachel Brown’s recording of Johann Joachim Quantz’s Sonata in B-flat major, QV 1:272 — listen here: YouTube link This is part one of our conversation — part two will follow with even more insights into Quantz’s world and the art of the flute. ✨ If you enjoyed this episode, don’t forget to follow, rate, and share the podcast — it really helps others discover it. And I’d love to hear your thoughts! You can always reach me at insight insightreading.enlightenment@gmail.com #Quantz #Traverso #EarlyMusic #RachelBrown #FlutePodcast #HistoricalPerformance #BaroqueFlute #InsightReadingEnlightenment

  8. 07/31/2025

    Feminale Conversations: Female Rage, Pink Quotas, and Shared Responsibility

    In this episode, I speak with Margalith Eugster and Elisa Rumici about the first edition of the Feminale Festival Basel, held in April 2025. We talk about how this student-led festival at the Hochschule für Musik FHNW brought attention to female composers, institutional structures, and the necessity of sharing both responsibility and space in the musical landscape. From blind concerts to panels on gender quotas and parenthood, from curating with care to navigating helplessness and female rage — we reflect on what it means to stay constructive, collaborate meaningfully, and imagine the future of a festival like Feminale. 🕒 Time Codes:00:00 Intro music from JAHRE DORA PEJAČEVIĆ – EINE FEMMAGE02:44 Organising Feminale & Christmas story time07:11 The idea of Femmage07:40 Music excerpt: Scherzo No. 2, Op. 14 by Clara Schumann, performed by Elisa Rumici👉 https://www.youtube.com/watch?v=ku1azFsRgHo10:05 Discussing quotas, stereotypes & parenthood14:02 Composers and collaboration — the geographical aspect16:14 Lili Boulanger, Germaine Tailleferre, Clara Schumann, Fanny Hensel, and others18:20 Music excerpt from JAHRE DORA PEJAČEVIĆ – EINE FEMMAGE20:45 Blind concerts22:30 Helplessness as a present feeling — building islands24:09 Personal motivation: female rage and dignity27:57 Thoughts on the future of the Feminale29:32 Outro music from FEMINALE Hamburg – Hedwig Janko Trio Jazz Concert 🎶 Music featured in this episode:– https://www.youtube.com/watch?v=ODUz5_7RrrA– https://www.youtube.com/watch?v=ZL7tuhKGNeY 📩 Feedback & contact: insightreading.enlightenment@gmail.com📸 Instagram: @insight_reading_enlightenment #feminalebasel #feminale2025 #femalecomposers #genderinmusic #insightreadingenlightenment #elisarumici #margalitheugster #quotendiskussion #parenthoodinmusic #femalerage #musicaldignity #clarschumann #dorapejacevic #liliboulanger #fannyhensel #inclusivemusicmaking #blindconcerts #stayconstructive #buildingislands #festivalmaking

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5
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About

Let's take a closer look behind the concert stage and into the fascinating world of historical performance. I'm your host - traverso player and curator Darina Ablogina, together we will explore how musicians approach the music of the past: from original sources and period instruments to questions of style, aesthetics, and interpretation. A thoughtful and curious space where research meets artistry, inviting both experienced musicians and passionate listeners to discover Early Music from a new perspective.

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