Laurence Cummings is a distinguished conductor and harpsichordist, specialising in historically informed performance. He currently serves as Music Director of the Academy of Ancient Music and the Orquestra Barroca Casa da Música (Porto). Previously, he led the Internationale Händel-Festspiele Göttingen (2011–2021) and the London Handel Festival (1999–2024). Renowned for his dramatic flair and interpretive rigour, he has conducted operas at venues such as Covent Garden, Opernhaus Zurich, Théâtre du Châtelet (Paris), and Opéra de Lyon, collaborating with stage directors including David McVicar and Peter Sellars. A frequent guest conductor, he works with both period-instrument and modern orchestras, such as the Orchestra of the Age of Enlightenment and the Handel and Haydn Society (Boston).

[Altea Guevara & Laurence Cummings — December 23rd 2025, Porto]

How did you first come to work at Casa da Música, and what has your journey within the institution been like?

I was invited when Porto was the European Capital of Culture to play in a concert. That was in 2001, I believe. I came to perform with the symphony orchestra, playing continuo, with Harry Christophers conducting. The programme was Almeida's La Giuditta.

I worked closely with the orchestra because Harry was busy and could not attend all the rehearsals, so I had the opportunity to rehearse with them. I fell in love with the city. In fact, I had been here once before in the 1990s with a touring company from Ireland, the Opera Theatre Company. We did a production of Handel here, but only for one or two nights. I had loved the city already, but in 2001, I met various people, including António Jorge Pacheco, who later became the artistic director of Casa da Música.

In 2004, I was invited to direct an opera, La Spinalba, ovvero Il vecchio matto. The plan had been to stage it in the concert hall, but it was not ready in time, so we performed in a local theatre at Campo Alegre. At that point, there was an opera studio, so we worked with the opera studio singers. This project also marked the beginning of the Remix Ensemble, which initially was the Remix Ensemble Baroque Orchestra. They played on modern instruments with baroque bows and modern wind instruments.

Several years later—probably four or five, though I do not recall the exact year—we made the switch to gut strings. I was keen for as many of the original players as possible to stay with the orchestra, even if they did not have experience with gut strings or historical wind instruments. One of the principles I have always valued, and I am pleased it has been maintained, is that the core players come from Porto, from Portugal.

There are many Baroque orchestras across Europe, and I will not name names, but some carry the name of a city despite the fact that none of the players are actually from that city. Everyone is brought in, and that seems a shame to me, because so much of what we do is about historical context and about the music belonging to the people. It is important that the orchestra is rooted in a place.

Of course, I am not permanently based there myself, so I come in as something of an outsider, but that is how it all began. I have been involved since 2004. I am not exactly sure when it formally became a title, but at some point I became the orchestra’s Musical Director.

What really distinguishes it, as you rightly say, is that it is attached to an institution that presents a regular concert series. We are guaranteed six projects a year. Naturally, it would always be nice to have more, but this is a unique position among ensembles in Portugal, and, to be honest, it is fairly rare internationally as well.

For example, my other orchestra, the Academy of Ancient Music, has a residency at the Barbican Centre in London, but we are not a Barbican Centre ensemble. In contrast, this is the Casa da Música Baroque Orchestra, exactly as the title suggests. From that point of view, I think it is very special.

The players, for the most part, often come from Porto, and the majority are Portuguese. So yes, it is a unique situation. I find it quite remarkable that the institution has managed to sustain it for so long, because finances are always challenging and the political landscape changes frequently. Some politicians are more supportive of the arts than others, and many feel that funding should be directed elsewhere, since the arts do not always produce an immediately tangible result.

For all these reasons, I think it is truly impressive that the institution has been able to continue in the way that it has.

So, your main contact with the Portuguese early music scene is here at Casa da Música, and you haven’t really worked elsewhere in Portugal—is that correct?

Personally, yes, that’s right. I think because I’m so closely associated with Porto, I’m not often invited to work in Lisbon… which is fine, because in many ways, I feel very much at home in Porto. That said, in the past, I did quite a lot of work in Lisbon, particularly at the Teatro Nacional de São Carlos, though I’m talking about a much earlier period—mainly in the 1990s.

Interestingly, what I’ve been working on this morning is a production of Monteverdi’s Il ritorno d’Ulisse in patria. The very first time I conducted that opera was in Lisbon, at São Carlos, and with all its maritime themes, it was extraordinary to be so close to the sea.

In recent years, most of my activity has been linked to Casa da Música, and any touring has generally taken place under that framework. We have done some touring—including bringing the orchestra to London some time ago—and the orchestra has also performed in Luxembourg and elsewhere. So yes, it has had a touring life, albeit on a relatively modest scale.

And does your role here at Casa da Música as Artistic Director also involve designing the programmes and selecting the repertoire for each project?

I work closely with André Quelhas, head of management here at Casa da Música, and he often shares ideas with me. The institution frequently proposes thematic frameworks, and we try to align our programmes with those themes, although this is not always possible. In the past, for example, there have been seasons focused on specific countries, which can be an enjoyable and stimulating approach.

Next year, there will be a project centred on the Folia, so we are preparing a programme that incorporates many folia elements. We have also presented some particularly interesting programmes in collaboration with the Remix Ensemble, combining Baroque and contemporary music within the same concert. In fact, next year we will be undertaking a project in which we will perform together, which I think will be especially interesting.

In terms of programming, I take into account the fact that I have known many of these musicians for years, and consider carefully the strengths of the team. We also try to offer solo opportunities, for example to the oboists, by selecting appropriate concertos. In that way, we aim to keep everyone engaged and artistically stimulated.

The orchestra’s main activity takes place here, with programmes presented in this auditorium. We do not tour extensively, partly because of the nature of the repertoire, although there have been occasions when we have performed elsewhere.

We do not do this as often as we would like, but it is something we are keen to develop. Before Covid, we were touring more regularly, and then everything came to a halt. It is always a pleasure to revive programmes, and repeating them can be very rewarding.

We have performed at several local commemorative events, in places such as Ovar and Lamego, among others. Those occasions are always particularly satisfying, as they allow us to connect more directly with the surrounding communities.

What about programming Portuguese early music repertoire? How does Portuguese identity—beyond the compositions and history of Portugal—shape the way you programme and present this repertoire?

Over the years, we’ve included a considerable amount of Portuguese early music in our programmes. For instance, we performed La Spinalba some time ago, as well as works by João José Baldi and others.

There are definitely plans to programme more Portuguese repertoire, particularly since there are libraries full of manuscripts still waiting to be explored. However, funding remains a significant barrier. As I mentioned earlier, the financial situation is extremely challenging, and this directly impacts our ability to programme, perform, and record this music.

There are many musicologists and scholars in Portugal who are actively working on these manuscripts and producing editions. But the next step—actually programming and performing this repertoire—requires real commitment from both institutions and performers. We have done some of this work, and it would be marvellous to do more.

In rehearsing the Bach and Locatelli pieces, along with Telemann’s Magnificat, I observed a very positive atmosphere, with strong interaction among the musicians and an environment where they felt comfortable sharing their ideas. How do you view this dynamic? Do you believe the musicians contribute to the overall artistic vision, and if so, how does that influence the rehearsal process?

Yes, I do. I believe Baroque music should be approached in a collaborative manner. That said, at some point, someone has to make the final decision—and that responsibility ultimately lies with me. I can listen to everyone and take their views into account, but in the end, I must say, “We’ve heard you; this is the direction we’re taking.”

Rehearsal time is limited, and while the music can be interpreted in many ways, a decision must be made. Nevertheless, I always aim to ensure that everyone has the opportunity to express their thoughts, and I think this approach works very well.

In a sense, yesterday’s rehearsal was already quite advanced, as we had already done most of the groundwork in the studio rehearsals. Yet it was still a very productive session, as we made significant adjustments to one of the pieces—the second one—and the musicians responded very positively to that process.

I was considering an idea related to your earlier point about Casa da Música’s connection to Porto and the involvement of both the Portuguese public and local musicians. What are your thoughts on the possibility of fostering stronger relationships with local music students—perhaps by offering masterclasses or engaging more actively with other regional or national institutions—to share these approaches and further develop the early music ecosystem?

I think that’s an excellent idea.

Has it ever been explored? Yes, we’ve already held masterclasses, and students have participated in projects. Earlier this year, for instance, we performed a concerto for three harpsichords and invited a student from Lisbon, as well as a Portuguese student currently studying in the Netherlands or Germany, to join us as the third harpsichordist. It was a very positive experience.

We’ve also hosted masterclasses, and I believe engaging with the next generation in this way is a highly effective approach. What gives me real hope for the future of early music is the extraordinary talent emerging among young musicians.

Is there anything else you’d like to share or reflect on regarding the dynamics of the early music scene in Portugal, particularly in comparison to the situation abroad?

The most significant change over the course of my career is that early music has shifted from being a cutting-edge, pioneering movement to something far more mainstream. In the UK, for example, performing Messiah or a major Bach work on modern instruments is now the exception rather than the rule. When I began, of course, the opposite was true.

This shift presents its own challenges. While we no longer need to justify our existence, as was once the case, we must now demonstrate that we remain worthy of support. The current climate is difficult: government funding is far less available than it once was, and there’s a real risk that early music could become perceived as an elite activity. I’m determined to prevent this, as I want our concerts to feel accessible to everyone.

The challenge, then, is to reach as broad an audience as possible while preserving the research that keeps the field vibrant. For example, my orchestra in the UK has recently revived a long-term project to record Haydn’s symphonies—a series that began in the 1990s but was paused when funding dried up. We’re now continuing this work, partly to illustrate how performance practice has evolved over the past thirty years.

Revisiting the research on string technique has been fascinating, as has the opportunity to experiment with ideas rather than simply applying quick fixes or focusing solely on technical accuracy. This process of exploration has been deeply rewarding, and I believe it points the way forward for all of us: to retain that spirit of discovery.

As for the present and future of early music practice in Portugal, I’m confident it will continue to thrive. There’s also an important point to be made about audience engagement. For instance, we performed in Cascais just two days ago, and the audience there were not your typical classical concertgoers. They applauded between movements, which I found wonderful—it’s far closer to eighteenth-century practice.

Breaking free from rigid nineteenth-century conventions, which often prioritise formality over musical spontaneity, is a positive step. Of course, there are moments when holding a phrase or a pause is appropriate, but these must be earned, not imposed.

If an audience feels moved to applaud, that’s a sign of dialogue—not monologue—and I think that’s something to celebrate.