...I couldn’t really hope to hear a more engaging, more deeply touching, and more understanding reading of this incredible music. Very great honour to the Aroha Quartet and to Andrew Joyce for giving us such a memorable experience....
(Peter Mechen - Middle C)
Imogen Granwal - cello

Imogen started cello with James Tennant in Auckland. After six inspiring years, Imogen moved to Australia to study at the Sydney Conservatorium of Music, and by 1998 she had completed a Post Graduate Diploma in Performance Cello with the late, legendary Lois Simpson.

Imogen has now relocated back to NZ and settled in Wellington in mid 2016. She has built a thriving cello studio there and welcomes students of all ages and cello stages.

Imogen currently work as a freelance musician on modern cello, baroque cello and viola da gamba (the bass of the viol family) and is currently enrolled at the Sydney Conservatorium pursuing a Masters degree on viola da gamba with Daniel Yeadon.

She has had an eclectic musical career and while studying classical music, she has delved into the world of Latin American Song for more than two decades resulting in numerous concert collaborations.

In 2013, Imogen's interest in Latin American Music and Historical Performance Practice (HIP) came together. She directed a wonderful concert of Latin American Baroque music with Baroque Iluminata, a group which she hopes to present again in the future.

In 2014 she joined with colleague, Tara Hashambhoy, to form the Pearl and Dagger Company with a mission to produce and perform entertainment that provides a snapshot of musical and theatrical life from other eras. Their first production was the C17th masque Cupid and Death, written by Shirley, with music by Matthew Locke and Orlando Gibbons. With a cast of nearly 20 singers, musicians, dancers and actors, this was a unique and challenging undertaking. The following year the Pearl and Dagger Company produced The Raven, parlour entertainment from the turn of the C20th. This programme included chamber music from the time, a corny Victorian skit and two melodramatic settings of brooding Edgar Allan Poe poems to piano, one of which was, of course, The Raven.