Musician, Harpsichordist and Teacher. I like to play solo and in a group or orchestra. Improvisation allows me to explore and improve my skills and clear my mind sometimes. Teaching helps me to grow as a musician and as a person and has been a pleasure to do the best for my students. I am also working hard to become a better performer. Facing my own difficulties and overcome them everyday has been interesting and challenging so far.
Catarina Amante Trigo was born in Lisbon in 1993. She began studying music in 1998, at Academia de Música de Santa Cecília.
In 2002 she procceed her piano studies at Instituto Gregoriano de Lisboa and in 2007 she started playing harpsichord with Cristiano Holtz.
In 2007 she participated in Conservatório de Música do Porto’s Harpsichord Contest, and in 2008 she participated in Instituto Gregoriano de Lisboa’s Harpsichord Contest. In both, she was given the second prize.
In 2011, she started studying with Ana Mafalda Castro in Escola Superior de Música de Lisboa (ESML). In the academic year of 2013-2014, she went to Escola Superior de Música e Artes do Espectáculo (ESMAE), in Oporto, through the mobility program Vasco da Gama. During this period, she participated in Euroclassical Festival (February 2014) and she had the opportunity to play with the baroque orchestra Norte do Sul in Oporto (March 2014) and in Mafra’s Basilica (April 2014).
She participated in VIII, IX, X, XI and XII editions of the International ESMAE/ESML's Early Music Course, in 2011, 2012, 2013, 2014 and 2015, respectively.
In orchestra and chamber music, she worked with several musicians, such as Pedro Couto Soares, Ana Mafalda Castro, Pedro Castro, Pedro Sousa Silva, Hugo Sanches, Xurxo Varela, Marco Ceccato, Magna Ferreira, Benjamin Chernier, Alberto Roque, Miguel Henriques and Carlos Marecos. She also studied figured bass with the harpsichordist Joana Bagulho and the theorbist Ronaldo Lopes.
Over the last years, she participated and attended harpsichord masterclasses with Jacques Ogg, Elisabeth Joyé, Tony Millán and Hans Knut Sveen.
From her participation in concerts, it is to highlight presentations with the Baroque Orchestra Norte do Sul, namely the opening and the final concerts of the XII International ESMAE/ESML's Early Music Course in April 2015 at the National Palace of Mafra; collaborations with Orquestra Sinfónica Juvenil, in rooms such as the Belém Cultural Center, Foz Palace and S. Carlos National Theater (2015); collaborations with the Orquestra de Sopros da ESML and the Ensemble de Violas da ESML; premiere of the contemporary pieces for harpsichord VIII Bits of Music, by Pedro F. Finisterra and Subtilezas para Cravo, by Hugo Vasco Reis (May 2015); participation in Música em S. Roque program, in both chamber music and orchestra (November 2015); collaborations with Camerata de Cordas Gareguin Aroutiounian, among others.
She’s currently finishing her Master’s Degree in Music Teaching, with specialization in harpsichord, at ESML.
Between September 2014 and July 2017, she was the harpsichord teacher of Escola de Música do Orfeão de Leiria. She has also taught piano and musical expression in several Portuguese schools and privately.
She recently moved to Eindhoven, the Netherlands with the main goal of developing as a musician. She is working on several projects such as Camerata 2.6, Les Maresiennes and solo repertoire. She is currently working on periodical recordings, concerts' planning and proposals, and looking to have lessons/masterclasses with some musicians. She is also teaching harpsichord, piano and keyboard privately and at Muziekonderwijs.
Camerata 2.6 is a group of early music young interpreters who seek the realization of the baroque repertoire through historically informed practice.
The group, formed by two flutes, harpsichord and different plucked string instruments, was created in Oporto (Portugal) more than a year ago, having one of its first appearances in the Prémio Jovens Músicos competition organized by Radio and Television of Portugal (RTP) and celebrated in the summer of 2015, in which the group obtained the second prize.
Through the participation in the competition, Camerata 2.6 had the opportunity to perform in prestigious venues in Portugal, such as Casa da Música and the Auditório Vianna da Mota of Escola Superior de Música de Lisboa.
Depending on the repertoire, Camerata 2.6 usually chooses a viola da gamba or a cello collaborator to participate in its projects.