I FURIOSI Baroque Ensemble is one of the world's most innovative Baroque ensembles, comprised of four of Canada's leading early music specialists: soprano Gabrielle McLaughlin, violinists Aisslinn Nosky and Julia Wedman, and cellist/gambist Felix Deak. For 20 years, I FURIOSI's Toronto concert series has been revitalising the face of early music in Canada, inspired by the practice of the Baroque era while invoking the "bizarre and unnatural" aesthetic both cherished and despised in its time.  Thematic programming allows the performers to present Baroque music in a uniquely relevant way.

Gabrielle McLaughlin - Soprano

Gabrielle McLaughlin




Soprano Gabrielle McLaughlin is the singer, programming coordinator and a founding member of I FURIOSI Baroque Ensemble. Previously maintaining a large vocal studio in Toronto, she is under demand as a teacher and stylistic coach.  Gabrielle has worked with Tafelmusik Baroque Orchestra, London Early Opera, Arbor Oak Trio and The Elmer Iseler Singers and can be found gracing the stage with Arcady, Les Violons du Roy, Pax Christi Chorale and La Chappelle de Québec.  

Heard on CBC and BBC radio, her CD of English lute-songs with lutenist Lucas Harris (Swell, Burst and Dye) was released in March of 2011. She was the Choir Director of Calvin Presbyterian and Deer Park United Churches until June of 2017. Gabrielle has two adult daughters and is now a student at the University of Toronto Faculty of Law.

Felix Deak - Cello/Viola da Gamba

Felix Deak







A founding member of I FURIOSI Baroque Ensemble, baroque cellist and gambist Felix Deak showcases his career as a freelance musician with orchestras and chamber ensembles. He performs and tours regularly with Toronto's Tafelmusik Baroque Orchestra, and Montreal-based viol consort Les Voix Humaines. Felix instructs orchestral classes and private students in and around Toronto. He can be heard on CBC Radio Two in performances, and has made recordings for Atma, Sony, and Dorian at home and abroad.

Aisslinn Nosky - Violin

Aisslinn Nosky

Aisslinn Nosky (www.aisslinn.com) was appointed Concertmaster of the Handel and Haydn Society in 2011. With a reputation for being one of the most dynamic and versatile violinists of her generation, Nosky is in great demand internationally as a soloist, leader and concertmaster. Recent collaborations include the Thunder Bay Symphony, the Lameque International Baroque Festival Orchestra, Arion Baroque Orchestra, the Calgary Philharmonic, Collegium Musicum Hanyang, and Tafelmusik Baroque Orchestra.  With the Eybler Quartet, Nosky explores repertoire from the first century of the string quartet literature on period instruments. The Eybler Quartet's latest recording of Haydn's Opus 33 string quartets was released to critical acclaim in 2012.  From 2005-2016 Aisslinn was a highly active member of Tafelmusik Baroque Orchestra and toured and appeared as soloist with this internationally renowned ensemble.

Julia Wedman - Violin

Julia WedmanViolinist Julia Wedman is originally from Saskatoon, Saskatchewan. In 1999, Julia moved to Toronto and played a concert with I FURIOSI. She loved the group immediately and her work with IF continues to challenge her, inspire her and bring great joy to her life. Julia joined Tafelmusik Baroque Orchestra (www.tafelmusik.org) in 2005 and quickly developed a reputation for her solo performances with the group. In addition to being featured regularly on the group's home series in Toronto, she has performed solos on tours throughout Canada, the U.S.A, Germany, Mexico, Puerto Rico, China, Korea, Australia and New Zealand. She is also a member of the Eybler String Quartet (www.eyblerquartet.com), a group that brings life to excellent but underrated Classical music.

Julia's debut CD of Heinrich Biber's Mystery Sonatas has received glowing praise, including a beautiful article in Gramophone Magazine, which said “Rather exceptionally, one suspects, Wedman has approached Biber's music as a true pilgrim, interpreting key moments in the life of Christ thoughtfully, vividly and with evident personal humility and warmth. Her performances exude humanity and have about them a radiance that somehow transcends the sound of her lovely 1694 instrument.”

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