With an equal focus on contemporary and baroque music, Tabea Debus’ burgeoning career has taken her across Europe, to Colombia, Asia and the USA.
Highlights include recitals at the Wigmore Hall, at the London and York Early Music Festivals, Baroque at the Edge, Edinburgh International, Schleswig Holstein, and Brecon Baroque Festivals, among many others. Tabea has collaborated with leading musicians and ensembles including Rachel Podger, Laurence Cummings, The English Concert, Dunedin Consort, La Serenissima, LSO Soundhub, English Chamber Orchestra, and WDR Rundfunkchor, and has appeared live on the BBC Radio 3’s In Tune and Early Music Show. In 2019 she released her fourth CD Favourites, a follow-up to the highly acclaimed XXIV Fantasie per il Flauto.
Born in Würzburg, Germany, Tabea studied at the Frankfurt University of Music and Performing Arts and the Royal Academy of Music graduating with the Principal’s Prize, and continued her association with the Academy as 2016-17 Meaker Fellow. Awards include 1st Prize in the 2014 Johann Heinrich Schmelzer and 2011 Hülsta Woodwinds International Competitions, and SJSS, Handel House and CMF Young Artists Schemes. She has been represented by YCAT since 2018.
Tabea teaches recorder at Wells Cathedral School and leads workshops at the Royal Academy of Music and Cambridge University.
“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