Diana Vinagre is a researcher and cellist specializing in historically informed performance. She holds a PhD in Historical Musicology from NOVA University of Lisbon (2021), funded by FCT, with a dissertation on The Cello in Sacred Music in Portugal (1750–1834). She is currently an Integrated Researcher at INET-md (NOVA FCSH). Her work focuses on the recovery, study, and performance of Portuguese repertoire from the eighteenth and early nineteenth centuries, combining archival research, source-based analysis, and historically informed performance practice. She began her musical studies at the Braga Conservatory and continued at the National Superior Orchestra Academy in Lisbon, in the class of Paulo Gaio Lima. She later specialized in early music at the Royal Conservatoire in The Hague under Jaap ter Linden, where she completed Bachelor’s and Master’s degrees with distinction and was awarded the Top Talent Scholarship. She was a member of the European Union Baroque Orchestra and participated in the Jerwood Project of the Orchestra of the Age of Enlightenment. Her artistic and research activities are closely interconnected. In 2009, she founded Ensemble Bonne Corde, of which she is artistic director and cellist. The ensemble develops research-driven projects dedicated to the critical study, editing, and performance of previously unedited repertoire, articulating historically informed performance with archival and source-based research, and incorporating spoken performance practices where relevant. Within this framework, she has led several recording projects. These include the identification and modern performance of previously unknown works by Joseph-Hector Fiocco, discovered in the Royal Library of Antwerp and recorded in the complete Lamentations for Holy Week; the first recording of the Concerti Grossi by António Pereira da Costa; and the recording of António de Pádua Puzzi’s Messa a quattro voci. A forthcoming release features a Portuguese anonymous early nineteenth-century version of Mozart’s Requiem, preserved in manuscript at Évora Cathedral, employing the characteristic instrumentation of the Portuguese court studied in her doctoral research. Ongoing projects include the critical edition and complete recording of the string quartets by João Pedro de Almeida Mota, developed in collaboration with MPMP – Movimento Patrimonial pela Música Portuguesa. In parallel, she collaborates with leading early music ensembles and performs regularly in major European venues and festivals. In 2021, she co-founded the Lisbon-based baroque orchestra Real Câmara, dedicated to the recovery and dissemination of Portuguese musical heritage. She is also a professor of Baroque cello at ESMAE – School of Music and Performing Arts, Porto.