Carina studied at the Royal College of Music and the Koninklijk Conservatorium in The Hague, and specialises in historical bass instruments and the violone. She performs with ensembles worldwide and has toured extensively with groups including Les Siècles, Vox Luminis, L’Orchestre des Champs-Élysées, The English Concert, Apollo’s Fire and The Orchestra of The Age of Enlightenment. Carina's performances are featured on numerous recordings, including with Channel Classics and Florilegium, Avie Records with La Serenissima and Linn Records with Dunedin Consort and Ensemble Marsyas. Recently, Carina was awarded a grant by Arts Council England to further develop her creative practice. In 2024, she will focus on researching and performing lesser known music from a historical performance perspective with the Sabi Ensemble. Their first recording is due for release in 2025.

Earliest musical memory?

My mum teaching me how to play pop songs on my first instrument - I’d been given a bright red recorder by my uncle and wouldn’t put it down!

What is your greatest fear?

That there might be a recording of me playing that bright red instrument. Nobody needs that.

What is your superpower/superhero ability?

I mean if I could have one it would probably be an invisibility cloak, hiding behind a bass will have to suffice for now!

What is it that you most dislike? Feel free to explain why, or not!

Really milky tea, or, to call it by its proper name, cold milk water.

You have worked across many different styles of music, with artists ranging from Massive Attack to the BBC Symphony Orchestra. What makes you come back to period instrument performances?

Playing in different ensembles really helps all the different facets of my performing life. All these various environments and groups bring different elements of performing into focus. I love the variety, it helps my music making!

Who is your favourite composer, and why?

I can’t pick a favourite! But I do love that I’m still finding out about lots of composers and performers that I haven’t heard of before, or haven’t heard enough of, it’s a constant source of inspiration!

Back in 2022, Joseph McHardy wrote a beautiful article for The Guardian about the music and life of 16th century musician Vicente Lusitano, the first black composer to have his music published. Until 2020, I’d never heard of Lusitano, let alone listened to his music. The Marian Consort have a beautiful recording of his Motets, absolutely worth a listen!

More recently, I was introduced to the playing of Wanda Landowska, a pioneering harpsichordist who was at the heart of the early musical revival in the early part of the 20th century, again, someone whose playing I hadn't heard until this year… I hang my head!

What made you choose the double bass?

To be honest, what led me to the double bass was a series of happy accidents, but sticking with it was easy! I love the sound, I love the roles it plays, and I had some wonderful teachers and coaches when I first started out who just made attempting to play it a completely joyful experience.

You are a professor of Baroque bass at the Royal College of Music. What do you enjoy most about teaching?

All of my students, past and present, from beginners right through to conservatoire students, have all taught me so much!

It’s a gift to work with young players, and to see them develop a curiosity and a love of making music, whether they go into music professionally or not, is a reward in itself. And, it seems to me that all the students I’ve met are phenomenally good players and inquisitive musicians!

Would you like to shine a spotlight on a teacher, mentor or ensemble who has had a significant impact on your journey so far, and why?

There are so many, I would certainly leave out some very special people…. Having said that, I have to thank Peter Buckoke who guided me at the RCM for several years and at some really pivotal moments, and also Maggie Urquhart who inspired, prodded, and soothed me with chats and tea at all the crucial moments whilst I was studying in The Hague, and for which I will always be grateful. Two of the finest musicians, teachers and people you could ever have in your life!

Describe a particularly challenging or rewarding moment in your musical journey.

The London Underground, in rush hour, with a double bass.