Born in Bogotá Colombia, Laura Fierro received her first years of musical training and continued her higher education at the conservatory of the National University of Colombia.

In the expansion of her training and professional career she moved to Venezuela where as a member of the National Philharmonic Orchestra and under the baton of international conductors, she had the opportunity to get to know the symphonic repertoire as well as the orchestral and chamber repertoire of Latin American composers of the last century. In Venezuela she was also part of the Camerata Barroca de Caracas where she performed and recorded several pieces representative of the repertoire of the Latin American cathedral archives. During this period her great interest in historical performance grew and this field became her new horizon of artistic and professional exploration.

After returning to Colombia for a period of time and having completed her first Bachelor of Music with emphasis on violin, she decided to continue her studies in early music in Germany. At the University of the Arts in Bremen she completed her second Bachelor's degree followed by a Master's degree, both in baroque violin. In her training as a violinist in the field of historical performance she has been under the tutelage of the masters Veronika Skuplik, Stéphanie Paulet, Thomas Albert and Evgeny Sviridov. Likewise, different academic and professional encounters have led her to receive classes with the masters Sigiswald Kuijken, Stanley Richie, Richard Gwilt, Viola de Hoog, Marten Root, Hille Perl, among others.

Laura performs on the early music scene in Germany and Europe in orchestras and ensembles such as Le Concert d'Apollon, Concerto Imperiale, Neue Hofkapelle Osnabrück, la Dolcezza, Concerto Bremen and her own ensemble Les Points Cardinaux. Her activities as an artist have led her to perform at festivals such as the Utrecht Oude Musik Festival, Avant Mars Festival and the Potsdam Sanssouci Music Festival.

Currently, her great interest and commitment to interdisciplinary artistic proposals and projects with social and ecological purposes have taken her to develop ideas where music is mixed with other languages that complement the rhetorical discourse.  Bridges between early music and the dilemmas of the contemporary world. 

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