'Bach’s music is often described as being, in essence, about dance. You only had to watch the double bass player, Rosie Moon, so free and expressive...to understand what is meant.'
- Fiona Maddocks, The Observer

'The double bassist was within arm's reach as she despatched Handel's tempestuous figuration with historically informed panache. The proximity was thrilling.'
- Flora Wilson, The Guardian

'These arias were given vivid character and drama by the instrumentalists...(including) Rosie Moon's energised double bass...and were as much participants in the drama as were the singers with whom they conversed.'
- Claire Seymour, Opera Today 

Working as a musician with historically informed instruments has led Rosie to playing bass violin, violone in G and 16-foot (double) bass for a variety of concerts and ensembles. 

As a regular performer with Florilegium, she has recorded Bach’s complete Brandenburg Concertos live on BBC Radio 3 at the York Early Music Festival, performed at Wigmore Hall and recorded Haydn’s symphonies, Le Matin, Le Midi and Le Soir as soloist. In 2022, Rosie recorded flute concertos with Ashley Solomon on original instruments with Channel Classics. She is currently a continuo player (on violone in G and double bass) for the Oxford Bach Soloists; an ensemble which aims to perform all of Bach’s works in a twelve year period and is gaining calibre and recognition in the UK.

Rosie has played at many festivals in the UK and Europe including Festival Bach de Lausanne, Valletta Baroque Festival and Brighton Early Music Festival with Dame Emma Kirkby, Flauguissmo Duo and Consone Quartet. As a continuo player she has worked with David Hill, Richard Egarr, Laurence Cummings, Steven Devine (performing on basse de violon for Purcell's Dido and Aeneas) and Pavlo Besnosiuk (on violone for Corelli's violin sonatas). She was recently part of The London Handel Festival's 'The Realms of Sorrow' which was directed by Adele Thomas and received critical acclaim.

Rosie has performed with The Gabrieli Consort and Players, and La Nuova Musica (both as principal and tutti), Opera Settecento and The Feinstein Ensemble. In 2019 she toured Vivaldi’s ‘Griselda’ with Irish National Opera and Irish Baroque Orchestra under the direction of Peter Whelan and performed Bach Concertos with Rachel Podger in Oxford and Cambridge with IBO. She has been invited to play with The Sixteen, The King’s Consort, The Hanover Band and The Hampstead Collective. 

During her Masters at Geneva Conservatoire she participated in The Orchestra Of The Age Of Enlightenment’s scheme. Rosie studied the bass with Peter Buckoke during her undergraduate at The Royal College of Music.

rosiemoon.com

"Orfeo is a huge role, and that Carver sang it so well and held us so spellbound is a great credit and I look forward to seeing far more of him."
- Robert Hugill, Planet Hugill, November 2017 

British tenor Rory Carver studied for an undergraduate degree in Psychology at the University of Warwick before completing a Masters in Vocal Performance at the Royal College of Music in 2018. Rory was a competitor in the 2019 Wigmore Hall/Independent Opera International Song Competition; a finalist in the 2018 Oxford Lieder Young Artist Platform; a finalist in the RCM Joan Chissell Schumann Competition; commended in both the London Song Festival and RCM Lieder competitions; and is a former Monteverdi Choir apprentice.

In 2019/20, Rory was a member of Le Jardin des Voix, the young artist programme of Les Arts Florissants, where he received direction from William Christie, Paul Agnew and Sophie Daneman, with performances as Il Podestà in Mozart’s La finta giardiniera in Europe, Asia and Australia. In 2019 Rory joined the Garsington Opera Alvarez Young Artist programme for performances of Smetana’s The Bartered Bride and Monteverdi’s Vespro della Beata Vergine.

Rory has a keen interest in early baroque music; and, after performing the title role in Monteverdi’s L’Orfeo (dir: Thomas Guthrie) at the Brighton Early Music Festival in 2017, formed chamber ensemble Dramma per musica to explore early seventeenth century repertoire for voice and continuo further. Recent and future plans with the group include recitals at Chapel Royal, Hampton Court Palace; Lake District Summer Music; Barnes Music Festival; and St John’s Smith Square in early 2020. Rory returned to the Brighton Early Music Festival as both Ovid and Apollo in da Gagliano’s La Dafne in February 2020.

Further recent highlights include the roles of 2nd Priest/1st Augur for a recording of John Eccles’ Semele with Cambridge Handel Opera and the Academy of Ancient Music; being part of a solo octet for performances of Mendelssohn’s Elijah with the Orchestra of the Age of Enlightenment conducted by Masaaki Suzuki; tenor arias in a performance of J. S. Bach's St John Passion in Wells Cathedral with the Musical and Amicable Society conducted by Richard Laing; Henry Crawford in Dove’s Mansfield Park (dir: James Hurley) for Opera South; a performance of Debussy songs with Simon Lepper for Oxford Lieder; and joining the Brighton Early Music Festival's Early Music Live! mentoring and development scheme.

Rory’s studies at the Royal College of Music were supported by a full scholarship as a Douglas and Hilda Simmonds scholar. His roles for the RCM International Opera School included Monsieur Lacouf in Poulenc's Les mamelles de Tirésias (dir: Stephen Unwin) and Damone in the 1732 version of Handel's Acis and Galatea (dir: Lawrence Zazzo). He has recently received generous support from the Exuberant Trust.

rorycarver.com