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Alon Sariel

Philharmonic hall, not jazz podium; Mozart festival not cult TV rock programme – back then, Alon had not foreseen how things would develop: back then, in 1994, when his music teacher told the eight-year-old that the mandolin and the electric guitar were “basically the same thing”. This was a momentous deception that was to deliver to the world of music one of the most versatile mandolin players, lutenists and ensemble directors of the present day. In his concert programmes, Alon uses the lute, Baroque guitar, oud and other plucked instruments to give his audiences the most diverse musical experiences. The mandolin, which has survived the centuries and found its place in the most varied of music styles and cultures, occupies a very special place in his heart.

His many acclaimed recordings of Renaissance and Baroque works – his album “Telemandolin” was recognised in 2018 with an OPUS Klassik award – have firmly established him in the public eye as a specialist for early music. His work with international soloists and ensembles such as Emma Kirkby, Andreas Scholl, Lautten Compagney, Norway’s Barokksolistene, PRISMA, Concerto Foscari and many others attests to his reputation. That said, Alon’s guiding principle is a changing perspective. In other words: giving new life to existing material, as well as creating completely new works.

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