During a period in which history and art are constantly being reassessed in terms of colonialism, racism, inequality, and abuse, those of us who work in early music have more questions to ask than most. The answer (although this is not a unanimous opinion) is not to stop looking at Picasso’s paintings or listening to the St. John’s Passion. History, and art, when put into context, can be one of the most effective tools towards understanding.

In fact, in Lucidarium, we are convinced that Early Music can be used as an impetus for social change, and that the cultural heritage of the past should and must be used to learn about the present. Part of its mission is to prove that the artistic expression of the Middle Ages and Renaissance was not limited to European Christian males. Although most of their melodies might have been transmitted orally (rather than written down,) the people who lived in the shadows of the great institutions also made great music. And, even if it takes a little more detective work and a lot more research, we believe that their voices deserve to be heard, now more than ever.

For almost two decades, Lucidarium has been known for its programs that, working between poetry, historical sources, and the oral tradition, try to recreate the soundscapes of Jewish communities from the Middle Ages and the Renaissance (including Sounds from Shylock’s Venice, Ayn neue Lid, Iter Hierosolymitanum, and Ritual Echoes.) Other projects, using a similar blueprint, explore subjects ranging from the life of the common people at the time of the great Burgundian courts (L’Homme Désarmé,) an upcoming project dedicated to Queer culture (A Florence la Joyeuse Cité,) to music and science at the time of Leonardo da Vinci (Macchine.) The group has several multidisciplinary (with dancers and visual artists) and multicultural (with musicians from the contemporary World Music scene) projects, and has made numerous videos, most recently for the Utrecht Early Music Festival, the ShUM cities Artist in Residence Program and the Jüdische Woche Dresden.

Their latest program – Moriscos y Marranos – Songs from Exile, featuring singer and oud player Hussain Atfah, qanun virtuoso Turan Vurgun and ney virtuoso Tayfun Guttstadt, traces the Muslim – Jewish populations, and their music and poetry, in Spanish, Arabic and Hebrew as they fought to survive in Spain and in exile.

Lucidarium prides itself on exploring forgotten repertoires, making every concert a new experience, full of music the audience has never heard before. With a combination of painstaking research, and a joyful, spontaneous performance style, Lucidarium knows how to keep a 21st century public entertained — while sending them home with something to think about.

Avery Gosfield

Recorder, pipe and tabor, research, direction

Was born in Philadelphia into a music-loving family that produced a composer (Annie Gosfield), a virtuoso steel guitarist (Lucky Oceans), as well as one outlier, political artist Josh Gosfield. She attended Oberlin College, the Sweelinck Conservatory and the Schola Cantorum Basiliensis. Active as a performer, director, teacher and researcher, in 2004, a chance discovery of some Jewish-Italian sung poetry allowed her to conjugate her roots with her interest in early music. Since then, she has pursued the early-Jewish link with passion, winning research grants from the EAJC, the Rothschild and Hadassah/Brandeis foundations. Painstakingly reconstructing the music for sung poetry in Yiddish, Giudeo-Italian, Judeo-Catalan and Hebrew, she is now considered one of the foremost authorities on performing this neglected repertoire.

In 2011, she was invited to teach at Yiddish Summer Weimar which catapulted her into the Jewish music scene. Since then, she has been happily bouncing between the two worlds. She has taught master classes in recorder, pipe and tabor, medieval, Renaissance and Jewish music on five continents for international institutions such as the Schola Cantorum Basiliensis, the Early Music Center of the Geneva Conservatory, KlezKanada and the Royaumont Foundation, and regularly speaks in academic conferences, lay and specialized settings. She has written for De Gruyter, Brill and Indiana University Press and is currently pursuing a Doctorate in Artistic Research at the Orpheus Institute through the University of Amsterdam.

In 2016, she co-curated the symposium “Re-inventing a Usable past” for the STIMU foundation and the Utrecht Early Music Festival. In 2017, she organized and directed a Master Class at the Fondazione Cini as part of the EU project “Shakespeare in and beyond the Ghetto.” In 2019 she was a resident at the Bodleian Library, and, in 2022, was the first winner of the prestigious “ShUM Cities Artist in Residence” award, for the music video “Ritual Echoes,” inspired by and filmed in the medieval shaft mikveh of Speyer. She has written and produced two other videos: “Yiddishland,” about four Jewish artists living in Berlin, and “Silent Shadows,” which explores the links between micro and macro-aggressions in the history of antisemitism. From 2020 – 2023 she was director of the Jüdische Woche Dresden.

She is convinced that the Arts can be used for social change and that Early Music is one of the best ways to celebrate the deep, and continuous contributions that minorities, women, and all those who lived in the shadows of the great institutions have made to European culture, at the same time as it emphasizes how close the injustices and inequalities of the past are to those still here today. She is the director of “Spielen gegen Antisemitismus”, an association that attempts to fight against xenophobia, racism and misunderstanding by organizing grass roots events and bringing people into contact with Jewish and other minority artists and Arts, and, in her spare time, plays with the anti-fascist demonstration band, “Fiatelle Brasstiraden”.



Enrico Fink graduated with a degree in Physics in 1994. In 1996, he renounced a scholarship to continue his studies in astrophysics in the United States in order rto follow a career path centered around music, theatre, writing, Jewish culture and the promotion of cultural diversity. Since then, he has carried out his music and musical research interests together with his ongoing rabbinical studies, and often sings as a cantor in his home synagogue in Firenze. He is one of the founders and coordinators of the Online Thesaurus of Italian Jewish Music, the most important international project devoted to the study of Italian Jewish musical repertoires. As a musician, he has devoted himself to new interpretations of the Jewish cultural tradition, finding a path between “radical” and traditional, which uses both music and musical theater as means of expression.  

During the past 20 years he has toured extensively throughout his native Italy, Europe, North and South America, in theatres as well as in schools and universities, synagogues and Jewish centers, working as a musician, lecturer, and guest cantor, bringing to audiences worldwide the repertoires of Italian Jewish synagogue song. These include his own renditions, arrangements and compositions, in a number of diverse musical genres, from jazz to early music as member of Ensemble Lucidarium, from classical to contemporary, collaborating with leading groups and orchestras, but also giving classes, workshops, and participating in service leading. In recent years one of his main activities has been writing scores for the stage; he has been collaborating for over a decade with Tony Award winner Stefano Massini for many of his Italian productions composing for shows that go from the first version of “Lehmann Brothers” to his recent “L’interpretazione dei Sogni.” He has composed the music and worked as musical director and performer for a series of productions with the celebrated Italian actress Ottavia Piccolo, touring extensively, with close to 200 performances to date in mainstream theaters throughout Italy. He also composes occasionally for the screen (most recently he wrote a “Mourners’ Kaddish” for a film on Anne Frank with Helen Mirren), and has been the musical director of Orchestra Multietnica di Arezzo since its 2006 founding.

Enrico Fink Website

Carla Nahadi Babelogoto grew up in Italy, where she studied engineering at the Politecnico of Milan and singing, trombone and piano at the “Accademia internazionale della musica di villa Simonetta” in Milan.

She studied Baroque and Belcanto singing in masterclasses with Sara Mingardo, Rinaldo Alessandrini and Luciana D’intino and studied vocal technique with Marina de Liso, Thomas Michael Allen and John Norris.

She sings and has sung with many of the most important Early Music groups, including Collegium Vocale Gent, Capella de La Torre, graindelavoix, Concerto Romano, Nederlands Bach Vereniging, Club Medieval and Ensemble Lucidarium.

She has performed in numerous festivals and concert halls including the Herne, Basel and Regensburg Early Music Days, the York, Montalbane and Utrecht Early Music Festivals, The Edinburgh Festival, the Warsaw Chopin Festival, Lincoln Center New York, BAM Brooklyn, the Concertgebouw Amsterdam, De Doelen Rotterdam, etc. 

Roles include “Melissa” in Ristori’s Le fate at the Ekhof festival, Pulcheria Handel’s Riccardo Primo in Ulm, and the role of San Bernardo in Pergolesi’s sacred work San Guglielmo d’Aquitania. by Pergolesi.

She works regularly as a singer and performer for music theater companies such as LOD and Silbersee, and has collaborated with choreographer Anne Teresa de Keersmaeker for the contemporary dance projects Cesena and En Atendant

In recent years she has begun singing important roles in contemporary operas: in 2021 as “Sista Leopard” in Neo Muyanga’s Anansi scheduled for a reprise in 2025 for the Dutch National Opera; “Sama” in Bushra El-Turk’s duo-opera Woman at point zero, premièred in Aix en Provence in July 2022, followed by performances which won rave reviews in the international press at the Concertgebouw Brugge, Luxembourg Theatre and Royal Opera House. In 2024 and 2025 she will be singing the role of “The climate refugee” in the opera The Shell trial by the Pulitzer Prize winning composer Ellen Reid.

Carla Nahadi Babelogoto website

Massimiliano Dragoni is a percussionist and multi-instrumentalist with a degree in the History of Medieval Philosophy. In his research, he deals with the relationship between oral and written culture and between early music and philosophy, in particular in the works of Boethius and Jacobus of Liège.

He began collaborating with Lucidarium while still a teenager, and soon afterwards, began working with numerous other important Italian and international ensembles. He has performed in Austria, Belgium, Bosnia, Croatia, Finland, France, Germany, Holland, Hungary, Lithuania, Poland, Portugal, Slovenia, Spain, Switzerland, the UK, Egypt, Argentina, Brazil, Colombia, Uruguay, Chile, the USA, Canada. For the last two decades, has been considered one of the foremost experts in Early Percussion, performing with ensembles like Micrologus, Ensemble Dramsam, la Cappella della Pietà dei Turchini, ensemble Barocco (dir. A. Curtis), Mediva (GB), Gorzanis Project (SLO), Cantar Lontano (dir. M. Mencoboni, IT), Concerto Romano (dir. A. Quarta), la Piffaresca, Ensemble Odhecaton (dir. P. Da Col), Sonidumbra, the Orchestra Multietnica of Arezzo, Lucidarium etc.

He is co-founder of the ensemble Anonima Frottolisti (IT), Artistic director of the festival Musica dalla Torre di Marciano della Chiana, and and co-director of thr Festival DeMusicAssisi. As a teacher, he collaborates and has collaborated numerous institutions, including the Conservatory of Geneva, the University of Perugia, the Giorgio Cini Foundation (Venice), and the Fondation Royaumont (FR). He is a co-founder of the Resonars Arts Academy in Assisi specialising in the teaching of early music. As a member of the Officine della Cultura cooperative in Arezzo, he participates in numerous didactic projects and musical and theatrical productions. He has recorded over 30 CDs and performs frequently for radio and television, and has curated and performed a number of soundtracks for film and television. As a researcher, he has published numerous articles on folk traditions, theatre and music. He is currently pursuing a PhD in Musicology at the University of Tours (FR).

Massimiliano Dragoni website

Élodie Poirier got her diploma in cello at the Conservatory of Grenoble, followed by a degree in baroque cello with Bruno Cocset at the Department of Early Music at the Conservatory of Geneva. While at the conservatory, she did not limit herself to baroque music, but played vielle, nyckelharpa, and gamba as well with a number of different groups.

Alongside her studies of Classical and Early Music with Anne Delafosse, Dominique Vellard, Hilary Metzger, Bruno Cocset and others, she pursued her interest in singing, traditional and contemporary music. An eclectic musician, she enjoys improvising and exploring a wide range of styles and genres with different instruments from the bowed string family – cello, nyckelharpa, vielle and gamba.

She plays with numerous early music groups, as well as in pop-folk (for example, with singer-songwriter, Laurent Fellot), in a project uniting Baroque and Indian Music with Ensemble Lilanoor, in concert and in performances for young people. She performs dozens of concerts yearly in duo with harpist Anthony Castin (Ensemble Niseïs) and has recently begun a world-electric project as a singer-songwriter-instrumentalist called Seleynora.

Élodie Poirier website

For many years, Fabio Accurso has carried out an intense musical career, performing numerous medieval, Renaissance and Baroque ensembles, amongst them: Accordone, Laboratorio ‘600, Janas, Al Qantarah, Sarband, Dramsam, Lucidarium, and Costantinople.

His concert activities led him throughout the whole of Europe, North America, Japan and Australia. He has performed at many international festivals, such as the Accademia Chigiana, Siena; Istanbul Festival; Tokyo Summer Festival, Flanders Festival, the York, Montalbane and Utrecht Early Music Festivals, Resonanzen (Vienna), Zamus (Köln), Tage Alter Musik Regensburg, Festival de Sablé.

As lutenist he has taken part in many recordings with the above-mentioned groups. As soloist, he recorded the integral works of the Italian Renaissance lutenist Hyerolamo Ferrutio together with the integral works of Domenico Bianchini.

Hussain Atfah: voice, oud (Moriscos y Marranos)

Tayfun Guttstadt: ney (Moriscos y Marranos)

Svetlana Kundish: voice (Ritual Echoes, Moriscos y Marranos)

Simone Marcelli: voice, organetto (Macchine, L’Homme Désarmé)

Jacob Mariani: gamba (L’Homme Désarmé)

Ludovico Mosena: dulcian, hurdy gurdy (Macchine, L’Homme Désarmé)

Luca Piccioni: voice, lute (Iter Hierosolymitanum)

Thabet Azzawi: oud

Craig Judelman: violin

Sasha Lurje: voice

Sarah Meyerson: voice, percussion

Sanne Möricke: accordion

Ilya Shneeweys: accordion, multi-instrumentalist

Eléonore Weill: voice, recorder, multi-instrumentalist