^{FIRST PUBLISHED 06 AUG 2025}

Sardinia-born and London-based lutenist and composer Emanuele Addis has a repertoire spanning from the Renaissance to contemporary classical and folk music. In 2023, he graduated from the Royal Academy of Music, where he studied historical performance with Elizabeth Kenny. At the Royal Academy, he took part in projects with the Academy of Ancient Music, Orchestra of the Age of Enlightenment, toured France, and performed in Purcell’s The Fairy Queen, conducted by Laurence Cummings. In 2022 he founded Londinium Consort, a period ensemble that explores both contemporary and Renaissance repertoire, and works closely in collaboration with composers to create new work for period instruments.

What is your earliest musical memory?

I think it was hearing Sardinian folk music in the main square of my hometown, Sassari, very lively and full of character. But I also vividly remember listening to a vinyl of the Academy of Ancient Music at my grandparents’ house. That stuck with me, too.

How has classical music influenced your life outside of performing?

It’s opened up so many friendships. Music has this amazing way of helping people connect, even across countries and cultures. Being able to talk about music with someone and truly connect is a gift.

Would you like to put the spotlight on a teacher or mentor?

Absolutely. Liz Kenny has had a huge influence on me. She’s incredibly open-minded and has always encouraged me to explore beyond the traditional path. I was really drawn to contemporary music on period instruments, and she completely supported that curiosity. She was also Londinium Consort's main coach at the Royal Academy of Music for a whole year, and really helped us find our artistic voice.

Describe a particularly rewarding or challenging moment in your musical journey.

Moving to London to study at the Royal Academy of Music was a huge leap. I’d never lived in a big city before, and getting on that plane with no return ticket was both terrifying and thrilling. It felt like stepping into a whole new life.

How did you get into historical performance practice?

Funnily enough, all of my guitar teachers also played the theorbo or lute, so it felt kind of inevitable. It was only a matter of time before I started diving into it more seriously.

As a member of Londinium Consort, what do you enjoy most about your role, and how do you face challenges?

Founding Londinium Consort in 2022, as part of my professional diploma at the Royal Academy, was a truly energising experience. I wanted a creative outlet that was entirely my own. When challenges come up, I try to reconnect with the original inspiration behind the project that drive to make something new. Lately, we’ve been exploring electronics, and it’s opening up all sorts of exciting directions. I also wanted to write original music and arrangements, because I saw my friends in the jazz department doing it all the time, and I thought, why not us, too? We try to be performer-composers, not just interpreters.

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^{Londinium Consort recording 'Crossing Paths'}

Londinium Consort explores the intersection between old and new music. Can you tell us more?

The idea actually came from walking around the City of London, where ancient buildings sit right next to glass skyscrapers. I found that contrast so inspiring! I’ve always loved both Early and contemporary music, and bringing them together felt natural. It’s an ongoing journey that keeps evolving in really exciting ways.

Londinium Consort recently made its Wigmore Hall debut after winning the New Elizabethan Award. What stood out from that experience?

Playing at Wigmore was unforgettable. It’s such a legendary venue, and to be there presenting our music was incredibly validating. I remember dreaming about applying to the NEA two years earlier. To stand on that stage with the project we’d built from scratch was emotional and empowering.

Your debut album, Crossing Paths, supported by Continuo Foundation, was recorded earlier this year – any special moments?

Recording with Chiaro Audio was a dream. They were so insightful and supportive throughout the process. One standout moment was during a Scottish dance; we had the recorder player physically move toward the mic from a distance to create this really cool spatial effect. It’s those little experiments that made the whole project feel magical.

What’s the balance between solo and chamber performance for you?

Founding the group was, in part, a response to doing mostly solo gigs. I really missed chamber music, but I wanted it to be my own project, not just playing anything. With Londinium, I get to shape the artistic vision and collaborate with others while still staying true to my own ideas.

I will go back to a more intense solo project soon: In 2026, I will start playing the Bach Lute Suites live on the lute, hopefully I can bring it to many places!

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^{Emanuele Addis | JS Bach – Prelude, BWV 998}