ABOUT

With an eclectic repertory that spans from the Middle Ages to the 21st century, acclaimed cellist/gambist Caroline Nicolas enjoys an active and multifaceted career as one of the outstanding performers in her field. Noted for her “eloquent artistry and rich, vibrant sound” (Gainesville Times), she has been praised as “one of the finest gambists working today” (Gotham Early Music Scene). She regularly appears with leading ensembles as soloist, chamber musician, and music director, bringing her unique ability to combine emotionally rich interpretations with a historically inquisitive spirit.

Ensembles she has worked with include the English Concert, Trinity Baroque Orchestra, Mercury Chamber Orchestra, Ars Lyrica Houston, Juilliard Baroque, Harmonia Stellarum, Philharmonia Baroque, Pacific MusicWorks, Kammerorchester Basel, New World Symphony, and Sinfonieorchester Liechtenstein. She recently completed her tenure as music director of New Baroque Orchestra. Festival appearances include the Boston Early Music Festival, Indianapolis Early Music Festival, Bach Festival Leipzig, and Styriarte Festival in Austria. Notable venues include the KKL Luzern, Berliner Philharmonie, Alice Tully Hall, Carnegie Hall, and Benaroya Hall. Her performances have been broadcast on KING FM in Washington, KUHF in Texas, WDIY in Pennsylvania, and CCTV in China. Notable collaborations include such eminent musicians as Andrea Marcon, Amandine Beyer, Kristian Bezuidenhout, Jordi Savall, William Christie, Rachel Podger, Harry Bicket, and Stephen Stubbs.

Recent performances include concerts with Philharmonia Baroque, Tempeste di Mare, the Victoria Symphony, Victoria Baroque, Early Music Access Project, Emerald City Music, Sonnambula, Yale Voxtet, the Sebastians, Teatro Nuovo, Night Music, Kaleidoscope Vocal Ensemble, Twelfth Night, the Sebastians, and Parthenia. Her last concert with Emerald City Music was listed in the Seattle Times as a top pick for classical music concerts that season.

Notable distinctions include having been selected as a fellow of The English Concert in America, an award given to young musicians “who appear likely to make significant contributions to the field of early music.”  As the winner of The Juilliard School’s Historical Performance concerto competition, she made her solo debut in Alice Tully Hall, New York City. 

 A passionate educator, Caroline is often invited by early music organizations to lecture on various topics in historical performance practice. She has been a guest teacher at Yale University, the Peabody Conservatory at Johns Hopkins University, the University of Victoria, and at the University of Washington School of Music. As a lecturer, Caroline has led workshops for Pacific Northwest Viols, Cascadia Viols, the Port Townsend Early Music Workshop, and Seattle Historical Arts for Kids. Caroline’s private students have been accepted as music majors to the Royal Academy of Music, the Oberlin Conservatory of Music, the Indiana Conservatory Jacobs School of Music, the San Francisco Conservatory of Music, and the University of Washington, and have attended such summer festivals as the American Bach Soloists Academy and Oberlin’s Baroque Performance Institute. She was also featured in an Early Music America magazine article, discussing historical bowing techniques.

A native of Winnipeg, Canada, Caroline was first introduced to the cello as a young child. Too restless to stick with a single steel strung instrument, she pursued early music studies with Phoebe Carrai at The Juilliard School, and with Christophe Coin and Paolo Pandolfo at the Schola Cantorum Basiliensis in Basel, Switzerland. Caroline resides in New York City, where she serves as Artistic Director of Ars Poetica. When not performing, she can typically be found occupying herself with reading, crosswords, or watching Star Trek with her husband, lutenist Kevin Payne.

PRESS

“None of this would have been possible without the steady, stylish and imaginative support from Caroline Nicolas on baroque cello and Jonathan Oddie. As unshowy in performance as the principals and their equals in nuance and expression both players helped lift the performances to another level.” (Review Vancouver)

“Caroline Nicolas transformed from being supporting continuo player to exploring the grave and thoughtful slow movements with care and insight. The two Allegro movements sent her hands shooting up and down the neck of the instrument to as she built a lively give-and-take between the upper and lower registers.” (Review Vancouver)

“Especially in the first movement the returning musical snippets from the theme repeated almost hypnotically through rich playing by … Caroline Nicolas, cello.” (Review Vancouver)

TEACHING

A passionate educator, Caroline has taught at the University of Washington, the University of Victoria, the Peabody Conservatory at Johns Hopkins University, for Pacific Northwest Viols, Cascadia Viols, the Port Townsend Early Music Festival and the Pietra Ensemble di Musica in Taiwan. She has also served as music director of the New Baroque Orchestra. Her students have been accepted as music majors to such eminent conservatories as the Royal Academy of Music, the Oberlin Conservatory of Music, the University of Washington, and the Indiana Conservatory Jacobs School of Music. She is on faculty at the New York Conservatory of Music. Caroline can be reached for lessons or workshop inquiries via the contact page.

Caroline currently has ONE more spot in her online studio for a viola da gamba and/or Baroque cello student. Inquiries can be made via the contact page on this website.

STUDENT TESTIMONIALS

“...I was immediately impressed that there was no sign of any one-size-fits all approach to her teaching. She met each student where they were at, with carefully tailored next steps for each individual. In fact, she did this so skillfully that I was initially quite puzzled as to how such a young teacher could be so wise. Caroline has clearly attended carefully to learning from her students, improving her teaching skills with the same thoughtfulness and diligence that she applies to her performance skills. Compared to the half dozen violin teachers that I experienced as a youth, several features of Caroline’ s teaching stand out. First, she is very committed to teaching students how to develop efficient and effective practice skills, so she has given me some very valuable tips that I had never encountered in my previous training. She also takes some time to provide specific background on history and music theory that has enriched my understanding of pieces that I have been working on with her.” (M. Pultz)

“Caroline has been the most patient, positive and inspiring teacher I have ever had…Caroline has been consistently encouraging, accurately assessing strengths, weaknesses and goals to help me continue learning….Possibly the greatest gift Caroline teaches is that of the enormous beauty, privilege and potential of music to help our world. She is inspiring as a teacher and a human being.” (L. Harrison)

“I have learned so much from Caroline! She has an amazing passion for both performing and teaching that has rubbed off on me. As a performer she is inspiring and stunning to hear, and as a teacher has such depth of knowledge to pass on, yet an ever present sense of curiosity to learn new things and to discover new ways of thinking to add to her playing and that of her students. This contagious love of learning makes for fun lessons with a good balance between the physical and mental aspects of learning an instrument. 

Also, I appreciate the healthy practice attitude she has helped me find, which is such a huge aspect of having a sustainable performance career. As someone aiming for professional performance, I really appreciate this attention to the mental side of being a musician! Also, the way that she supports students with different goals is also very thoughtful; she is just as engaging to learn from for casual amateur players (like my mom!) and growing professionals.” (T. Roberts)

“She is a very encouraging, well-organized, and creative teacher. Under her tutelage, I have expanded my musical understanding and skills, and have enjoyed every step of the process. Caroline is well-informed in the neuroscience of learning and shares her knowledge with her students to help them understand the complexities of the learning process. She helps students set their own learning goals and create practice programs to measure their own progress. During my time as her student, I have taken both individual and consort lessons with her, and I have been part of an orchestra (the Seattle New Baroque Orchestra) which she directed and conducted. Because she herself is a musician who is constantly learning and often performing, she shares her own learning successes with her students to offer them new ways of experiencing the learning process. Her enthusiasm is always fresh and uplifting.” (A. Crane)

“What I most appreciate about Caroline as a teacher is her ability to be both structured in her approach and tune into what inspires the student. She has helped me completely revamp my practice skills and has given me insight as to how to self-direct what I need to practice and how to analyze my current issues.” (C.Chiong)

Documents:

Teaching Statement

Practice RX

Practice Notes

CONTACT