Bream himself occupied a pioneering or transitional role, I suppose, in popularising renaissance repertoire - he played a lute which was the equivalent of Landowska's harpsichord, at least at first, and used his nails - he could switch from lute to guitar and back again in the same concert. In later years he played replica vihuelas and renaissance guitars but in a very guitaristic fashion. A whole generation of lutenists who may have started on the classical guitar have since completed the journey, likewise vihuelists and others - North, Lindberg, Ferries, Carter, Barto, Smith to name but a tiny handful. Bream was the first to graciously acknowledge the likes of Nigel North.
Nowadays I thoroughly enjoy playing 16th-18th century music on the guitar for my own and others' amusement, and picking my way through the repertoire, but my listening is entirely to the genuine or HIP article. In any case, there aren't any more guitarists really worth listening to. I found the hype surrounding young Milos profoundly depressing.