Michaela Ambrosi is a flute and recorder player, pedagogue and music researcher, who connects all these fields with a great passion. She graduated in modern flute at the Prague Conservatoire in the class of Jan Riedlbauch. In the final year of the conservatoire, she met Jana Semerádová, whose playing enchanted her so much that she decided to study with her playing the baroque flute in the study programme Early Music Performance Practise at the Charles University in Prague, Týn School – Collegium Marianum. Simultaneously with this study, she also improved her recorder playing at the Prague Conservatoire, studying with Jakub Kydlíček. She continued her studies at the Royal Conservatory of The Hague in the well-known class of Wilbert Hazelzet and Kate Clark where she had the opportunity to learn about the interpretation of music on historical transverse flutes – from the Renaissance to Romanticism. She has also consulted on her playing with many world-renowned flutists, such as: Lisa Beznosiuk, Rachel Brown, Jostein Gundersen, Christoph Hungeburth, Karl Kaiser, Barthold Kuijken, Marion Moonen, Michael Posch, Anne Pustlauk, Peter Reidemeister, Michael Schmidt-Casdorff, Ashley Solomon and Jed Wentz. However, the final shape of her flute language was helped to form by Marcello Gatti, with whom she had the opportunity to study at the Conservatorio di Verona “Evaristo Felice Dall’Abaco” and at the Mozarteum University Salzburg within the Erasmus program. Her main sponsorship came from the Endowment Fund of Livia and Václav Klaus – a former president of the Czech Republic. The classical flute was kindly purchased for her by the Adastra, s.r.o.

 

One of the biggest milestones of her career was performing in a school project with the Orchestra of the Eighteenth Century, conducted by the world-famous pioneer of historical interpretation, Frans Brüggen. Shortly afterwards, she had the great opportunity to play with the Amsterdam Baroque Orchestra conducted by Ton Koopman and did a study internship with the Orchestra of the Age of Enlightenment in London, in which she later performed as an invited artist. Last but not least, he also appreciates a cooperation with the European Union Baroque Orchestra (EUBO). As a soloist, chamber and orchestral player, she also performed on many European stages together with ensembles engaged in early music, such as: Ars Antiqua Austria, Camerata Bachiensis, Collegium Marianum, Collegium 1704, Czech Ensemble Baroque, Europa Galante, Feinstein Ensemble, Irish Baroque Orchestra, Musica Florea, {oh!} Orkiestra Historyczna, The Amadè Players, Wroclawska Orkiestra Barokowa, etc. She is a co-founder of the ensembles Musica neglecta, Pro Arte Bohemica and Musica Aldeana. Next to participating on recordings of CDs, she also attended a number of recordings for the radio and television, e.g.: V. Vodička – Flute Sonatas, J. B. Krumpholtz – Sonatas for Harp and Flute, Ch. W. Gluck – Orfeo, S. Moniuszko – Halka, W. A. Mozart: Don Giovanni & Rolando Villazón and others.

 

As part of her research and pedagogical activities, Michaela is often invited as a lecturer in seminars and courses, and also works as an editor of eighteenth-century sheet music. In 2019, she received a doctorate for her work “Jiří Čart – His Life and Works from the Perspective of the Performer” at the Music Faculty of the Janáček Academy of Music and Performing Arts in Brno under the supervision of Barbara Maria