With an equal focus on contemporary and baroque music, Tabea Debus’s burgeoning career has taken her to renowned concert halls such as the Konzerthaus Vienna, Tonhalle Zürich, and Wigmore Hall. She has also played in prestigious UK festivals including the London Festival of Baroque Music, Baroque at the Edge, and the York Early Music Festival, as well as festivals in Germany, Japan, Malaysia, Singapore, and the United States.
Tabea has collaborated with leading musicians and ensembles including Rachel Podger, Laurence Cummings, The English Concert, Dunedin Consort, La Serenissima, and the English Chamber Orchestra, and has appeared live on BBC Radio 3’s In Tune and Early Music Show. In 2018 she released her third solo CD featuring twelve newly commissioned pieces based around Telemann’s XXIV Fantasie per il Flauto (TYXart).
After graduating from the Royal Academy of Music in 2017 ‘with distinction’ and the Principal’s Prize, Tabea was appointed a Meaker Fellow for 2016-17. Winner of the 2nd hülsta woodwinds and 8th Johann Heinrich Schmelzer competitions, she has been a SJSS Young Artist (2015-16), Handel House Talent (2016-17) and 2016-18 CMF Artist, and was selected by YCAT in 2018.
Since 2017 she has taught recorder at Wells Cathedral School and Millfield School and leads workshops at the Royal Academy of Music.
“Tabea Debus is one of the most exciting young musicians in the early music world…she’s challenging perceptions of the instrument”– Classic FM
“Tabea Debus’ eloquence of phrasing and unfailingly intelligent musicianship, together with a charismatic virtuosity rare in any branch of music making, brings life to all of this music, whatever its epoch, whatever the approach.“ – Recorder Magazin
“Another exceptional instrumental moment was the Act I scene in a garden. As Almirena sings “Augelleti”, birds chirp around her, and one of them breaks into simply magical song. This was played by recordist Tabea Debus, and was so full of beauty and deep, natural musicality that one listened with more than a little awe.” – New York Classical Review