Sara Águeda is one of the most vibrant interpreters of historical harps of these days, and a reference in the baroque music scene in Spain. In high demand, he usually performs with the most prominent international musicians and early music groups.
She began her professional career as a stage musician at the National Classical Theater Company (CNTC), with which she participated in the following productions: Journey to Parnassus by Miguel de Cervantes, Don Gil of the Green Breeches by Tirso de Molina, The White Hands do not Offend by Calderón de la Barca, The Condemned by suspicious, attributed to Tirso de Molina and The Dog in the Manger by Lope de Vega. Her role in these productions was to rescue the extensive repertoire of human tones and instrumental music that was part of the theatrical landscape of the Spanish Golden Century (palatial theater and corral of comedies). With CNTC she toured extensively Spain (Seville, Barcelona, Toledo, Valencia, Bilbao, Coruña, Logroño …) and abroad (Lisbon, Buenos Aires, Montevideo …). This led her to investigate more deeply about the music in the theater, developing her final project on the importance of the harp in the theatrical context of the XVI and XVII centuries in Spain.
She began to study the Arpa de dos órdenes (Spanish double harp) with Professor Nuria Llopis, deciphering manuscripts and original treatises for this instrument (Huete, Ribayaz, Cabezón, MS 2478, MS816, Martin y Coll …). Her interest in the early music took her to the Catalonia College of Music (ESMUC) to complete her historical harps studies with Mara Galassi, with which she worked repertoire of the Italian Renaissance and Baroque (Frescobaldi, Luzzaschi, Monteverdi, Peri, Sigismondo D’India, Trabacci, Ascanio Mayone …) and English (Dowland, Händel, Lawes …). She has also received classes from Pedro Memelsdorff, Manfredo Kraemer, Xavier Díaz-Latorre, Josep Borrás, Lambert Climent, Monica Pustilnik, among others.
She usually plays at the most important festivals in the world and in countries like France, Portugal, Germany, Italy, Belgium, Poland, Spain, Sweden, Latvia, India, USA, Colombia, Mexico, Bolivia, Peru, Argentina, Uruguay. She also collaborates with numerous early music ensembles, such as Musica Ficta, The Capilla Jerónimo de Carrión, LUZ y NORTE, WorkinGOpera, Musica Alchemica, Seville Baroque Orchestra, La Ritirata, Alfonso X el Sabio, Vandalia, Pamplona Chamber Choir, Capella Sanctae Crucis, La Grande Chapelle, Armonía Concertante, Camerata Ibérica, Cantoría Hispánica, Esquivel, Capella de Ministrers, Le Poème Harmonique…
She has been part of the educational project L’Orfeo de Monteverdi at the Teatro Real in Madrid and has made numerous recordings for the labels Glossa, Brilliant Classic, Enchiriadis, Alpha, Panclassic, Dux, Cantus Records, Vanitas, Lauda Music, CMY Barroque, and for radio and television, including RTVE (Spain), France Musique, RTP (Portugal), Stockholm Radio, Catalunya Musica, Mezzo, Arte, etc.
Un Viaje a Nápoles (A Trip to Naples) is her first solo album for historical harps, with the collaboration of LUZ y NORTE. Her second album El Teatro del Arpa (The Harp’s Theatre) was released in March 2017.