Accademia Bizantina

The renowned Italian team, directed by the famous harpsichordist Ottavio Dantone, returns to our country to offer three concerts with the French contralto Delphine Galou. The appointments of the Spanish tour of the Accademia Bizantina will take place in the next few days 19 May at the National Auditorium in Madrid (Baroque Universe – CNDM), 20 May in Úbeda (International Festival of Music and Dance “City of Úbeda”), Y 22 May at the Tenerife Auditorium. on lecterns, an original program with vocal and instrumental repertoire, in which they will present a selection of works, that they have recently recorded on disk.

The Byzantine Academy, Ottavio Dantone and Delphine Galou will perform the well-known aria Debated the blockade by blowing of the oratory Abra triumphans Vivaldi, that gives title to the disc “Agitata” (Alpha Classics), with which they received the "Gramophone Classical Music Award 2018" in the category of best recital. Galou will also share the stage with the musicians of the Accademia Byzantina to approach other well-known sacred and secular works for contralto by Vivaldi (the mournful daughters of Jerusalem, Salve Regina, Cease now cease), besides the aria Returning Prisoner, of the popular oratory "Betulia liberata" by Niccolò Jommelli, and the motet In a storm without a star by Nicola Porpora. The program is completed with several concerts Vivaldi: Concerto per Archi in B flat major RV 167, Concerto for Archi in F major RV 138, and the Violin Concerto in E minor RV 273, Alessandro Tampieri, concertmaster of the Byzantine Academy, solo.

At the end of this month, the Accademia Byzantina and Ottavio Dantone will release the second work record released by his own label HDB Sonus; this is the live recording of the opera Serse Handel. His upcoming commitments include The Triumph of Time and Disillusionment de Handel en el Festival Handel Festival Halle, The return of Ulysses to his homeland by Monteverdi at the Teatro Ponchielli in Cremona, the program musical sacrifice at the Ravenna Festival, Julius Caesar at the Beaune Festival and the program For the Dresden Orchestra at the Innsbruck Festival Weeks of Early Music.

Photograph © Giulia Papetti

Jakub Jósef Orliński

The Polish Countertenor, Jakub Jósef Orliński, presents on his new album the consecrated work of Vivaldi; "Stabat Mater", accompanied by Capella of Krakow, with address Jan Tomasz Adamus.

In CD+DVD format, includes footage taken during lockdown: produced by award-winning production company Effie Dobro Films, this medium length, which has an impressive stage, showcases Orliński's acting chops.

Vivaldi's "Stabat Mater" is the masterpiece that, When I was a student, I dreamed of one day performing with an orchestra. I have heard great performances of that composition for many, many years. Finally, he 8 August 2013 I had the great pleasure of singing the entire piece in a church in northern Poland. I remember it very vividly because this work by Vivaldi has had a great impact on me, as a person and as a musician. After so many years of having this composition in my repertoire, the time has come to show what it means to me and share what I feel in Vivaldi's music”. – Jakub Józef Orlinski.

Antonio Vivaldi

Stabat Mater, RV 621

  1. Stabat Mater dolorosa
  2. Whose soul is mourning
  3. Oh how sad and distressed
  4. Who is the man
  5. Who could not be sad
  6. For the sins of his family
  7. Eia mater, love fund
  8. Make my heart burn
  9. Amen

Jakub Józef Orliński, countertenor.

Capella Krakow

Jan Tomasz Adamus, conductor and organist

Jakub Józef Orliński

eternal life, is the new adventure of the countertenor of Polish origin in which he explores sacred arias and motets of the 18th century. Follow the line of Anima Sacra, published in 2018, announcing the arrival of Jakub Józef Orliński, as described by Gramophone magazine, "A voice with a great future".

Like Sacred soul, the new album includes several world premiere recordings. Jakub is joined again by the instrumentalists of Tomato, directed this time by Francesco Corti. An innovation that we find in this new album is the participation of the choir Il Pomo D´Oro and the presence of another vocal soloist; the captivating soprano Fatma Said, whose recent debut album El Nour caused a worldwide sensation. Fatma se une a Orliński para el brillante motete "I was glad’ by the bohemian composer Jan Dismas Zelenka. The chorus contributes to another motet, and to one of the world premiere recordings, “Boys, give praise, praise the Lord!” by the Neapolitan composer Gennaro Manna.

"Anima Aeterna intends to be a continuation of Anima Sacra”, dice Jakub Józef Orliński. "It offers a kind of dialogue, a conversation between the two programs. I always wanted my solo albums to be artistic statements and feature ideas, telling big and small stories, creating connections and arguments through your programs”.

To conceive and devise this second Soul, Orliński returned to work with the multi-talented musician and musicologist Yannis François. Besides Zelenka (also represented by a virtuous motet solo, ‘Barbara are effera’, composed for the famous castrato Domenico Annibali) and Manna, offers works by Handel, Fux and two composers who, as Manna, they are 'rediscoveries': Francisco António de Almeida and Bartolomeo Nucci. In fact, Yannis François believes that Nucci's aria, from an oratorio on the story of David and Goliath, constitutes the first appearance of the Tuscan composer in the entire recorded catalog. Anima Aeterna LP edition includes bonus track and world premiere recording: “Thank you” by the Neapolitan composer Davide Perez.

"One more time, this album is not so much about the religious side of the show's works as about the emotions they contain ", Orliński continues, “And of the different instruments and voices that present. You can find compositions with totally different orchestrations: with solo trumpet, fiddle, fagot, cello, organ and viola di bordone [a type of viola also known as baryton]. There is also a full motet with choir and the wonderful soprano, Fatma Said.

“All this shows even more the nuances and colors that are heard in the sacred music of the baroque and, the most important, how can they touch people's souls, even today. Eternal life means “eternal soul”, that for me means nature. Something so strong and durable … Something so vital, wild and dangerous, but also so calm, fascinating and healing “.

Orlando Furioso

The next 17 June the stage of the Royal Theater will be filled with the music of one of the jewels of the Baroque, Orlando Furioso, by Antonio Vivaldi. Performed by the formation Harmony Athena, under the direction of the great specialist in the repertoire, George Petrou, has a cast of great voices led by the countertenor Max Emanuel Cencic in the title role.

The soprano completes the cast Julia Lezhneva (Angelica), mezzosoprano Ruxandra Donose (Alcina), the contralto Jess Dandy (Bradamante), countertenor Philipp Mathmann (Medoro) Y David D.Q. Lee (Ruggiero) and the bass baritone Pavel Kudinov (Astolfo).

Orlando Furioso is an opera in three acts by Antonio Vivaldi, with Italian libreto by Grazio Braccioli, based on the epic poem Orlando Furioso of Ludovico Ariosto. The play tells the story of Orlando, a noble knight brave and in love, although unrequited, trapped on the island of the beautiful sorceress Alcina. The scene, woven with love triangles, tangles and magic, combines various arguments from the original work and composes a love story, jealousy and madness.

The chivalric epic poem written by Ariosto in 1532 contains several main characters, even though only one gives it a name, and has inspired numerous authors, from Lully to Haydn. Years after the premiere of this Vivaldi, would see the light two of the best known titles of Händel: Alcina (1735) Y Orlando (1733).

The first performance of the title took place in Venice, at the Sant’Angelo Theater, in 1727, and it is one of the few that remain from the prolific creation of the Venetian composer. His demanding vocal writing - loaded with arias and recitatives as beautiful as they are difficult-, its complex plot –which makes the characters evolve in their dramatic color- and the extent of the work, requires a set of world-class voices, like the one that now meets at the Teatro Real.

Harmony Athena is a project of the Camerata de Atenas, founded in 1991 at the inauguration of the Megaron concert hall in Athens, where it has its headquarters since then. In autumn 2009, started a regular collaboration with the conductor George Petrou, interpreting with period instruments a wide repertoire that goes from baroque to classicism. In addition to his usual activities with period instruments, the orchestra maintains various projects in the field of opera and contemporary music.

Petrou He is considered one of the world's leading Baroque specialists, but nevertheless, his musical activity is very wide, and includes 20th century and contemporary music.

Photography design © Pep Carrió

Fabio Biondi

He Sunday 28 March at 19 hours, he National Dissemination Center Musical (CNDM) continues its cycle Baroque universe in the Symphonic Hall of the Auditorium with opera Argippo, by Antonio Vivaldi, performed in concert by a truly luxurious team: Europa Galante, with its director and founder Fabio Biondi in front and with an extraordinary vocal cast led by the North American mezzo-soprano Vivica Genaux, with soprano Marie Lys, the mezzosopranos Giuseppina Bridelli Y Delphine Galou and low Luigi de Donato. Together they will give life to this opera recovered in the XXI century and reflected in a recent record work signed by Fabio Biondi and Europa Galante that has garnered great criticism in the most influential specialized media and led rankings such as the recent “Exceptional Record” of Scherzo magazine. It was Fabio Biondi himself who rescued the entire manuscript of this enigmatic work by Vivaldi in Darmstadt. Not for nothing is the Italian musician considered one of the world's greatest specialists in Vivaldi, being his multi-award winning recording of The four Seasons a benchmark in this repertoire. As Biondi himself has underlined, Argippo occupies a relevant place in the work of Vivaldi and is an ideal work to demonstrate the great talent of the composer as an operatic, a late but fruitful side of the Venetian, with 40 titles attributed to his authorship. Argippo arrives in Madrid the day after passing through Seville on Saturday 27 within the framework of FeMÀS, in a concert in collaboration with the CNDM that constitutes the premiere in Spain and in modern times of this opera.


Tickets for the concert of Europa Galante have a general price of 12€ a 40€. They can be purchased at National Auditorium ticket offices Y INAEM network of theaters, in and by phone at the number 91 193 93 21.


Fabio Biondi, style and vision

Driven by a deep cultural curiosity, Fabio Biondi is a versatile musician who constantly seeks a style free of limitations. Since its inception, Biondi has demonstrated his ability to move in very diverse repertoires spanning three centuries of music. In 1990, after extensive work with specialized teams, como The Musicians of the Louvre y The English Concert, Biondi founded Europa Galante, group that has built a very high reputation, breathing new life into baroque repertoires, classic and early romantic on major international festivals and stages. In the last seasons, Biondi has taken on tour Chair from Handel to China and Japan. Recent performances include his concerts with the Chicago Symphony, the Orchestra of the National Academy of Santa Cecilia, the RAI of Turin, la NDR Radiophilharmonie, the Frankfurt Radio Symphony, the Bergen Philharmonic, the Finnish Radio Symphony, the Mahler Chamber Orchestra and the Salzburg Mozarteumorchester. He was Artistic Director of Baroque Music for the Stavanger Symphony Orchestra. Recently, has worked at the Grand Theater de Genève in The kidnapping from the Serailand, Mozart, with the Orchester de la Suisse Romande, o en la State Opera under the Linden de Berlín en The Virgin of Sorrows, de Scarlatti, con la Academy for Early Music Berlin. Likewise, has participated in other important productions of Donizetti operas, Rossini, Haydn he Verdi. As a violinist, is recognized as a virtuoso and performs in recitals around the world. His extensive discography at Warner, Virgin and Glossa has earned him numerous awards. His acclaimed recording with Europa Galante of The four Seasons by Vivaldi was named album of the year in numerous publications and awarded by critics in several countries. He has recorded with performers like Joyce DiDonato, Diana Damrau, Philippe Jaroussky, Vivica Genaux or Rolando Villazón. his album Sonatas for violin & guitar, by Paganini, was Editor’s Choice by Gramophone and BBC Music Magazine. Biondi is an academic at the Accademia Nazionale di Santa Cecilia and an officer of the National Order of Arts and Letters by the French Ministry of Culture. He was an artist in residence in the season 18/19 National Broadcasting Music Center. Toca un Gennaro Gagliano de 1766, owned by his teacher Cicero, granted by the Salvatore Cicero Foundation of Palermo.


Europa Galante, a musical adventure

After its founding in 1990 by Fabio Biondi, Europa Galante quickly established itself as the leading instrument ensemble of the Italian period., breathing new life into the baroque and classical repertoire. The ensemble initially specialized in the Italian composers of the 17th and 18th centuries and, after the publication of his first album dedicated to Vivaldi concerts, the set has received worldwide recognition, consistently earning the highest level of critical acclaim, including the Gold Fingerboard de l’Année and the Choc de Musique. Europa Galante now performs a variety of well-known repertoire and uncovers hidden gems from Handel's opera to Bach's orchestral suites., from Rossini's opera to Boccherini's chamber music. Since it was founded 30 years, Europa Galante has made numerous international tours, performing in many of the world's leading concert halls and theaters, like the Teatro alla Scala in Milan, el Theater des Champs Elysées, the Academy of Santa Cecilia de Roma, the Concertgebouw in Amsterdam, el Wiener Musikverein, Lincoln Center and Carnegie Hall in New York, the Suntory Hall in Tokyo and the Sydney Opera House. The latest contributions to his discography with Warner Classics, Virgin and Glossa include the Violin Concertos ‘Dell’addio’ or Violin Concertos ‘La bohemia’ by Vivaldi, Capulets and Montecchi Bellini and Macbeth in Verdi, as well as various operas by Vivaldi: Bajazet, The oracle in Messenia Y Hercules on Thermodon, recovered by Warner Classics with the prominent participation of Joyce DiDonato, Diana Damrau, Philippe Jaroussky, Vivica Genaux or Rolando Villazón, among others. And in 2019 the recording of Argippo, Vivaldi, in Naive. Europa Galante is the resident orchestra of the Fondazione Teatro Due in Parma.

The young Polish countertenor Jakub Józef Orliński in the last five years it has become one of the great sensations of international baroque scenes. Al National Auditorium will arrive this time with a group also Polish, founded in Krakow eight years ago, to pose a bloodless battle between vocal and instrumental repertoires involving two of the composition heroes of the first half of the 18th century , Haendel Y Vivaldi. The duel will be played between opera arias (the majority, German) and Venetian violin concertos.

Sunday 17 January at 19:00 hours, Symphony hall.


Heroes. Battle between the instrument and the voice

Antonio Vivaldi (1678-1741)
Symphony-Allegro by L'Olympics, RV 725 (1733)
Allegro del Violin Concerto in E minor, RV 273
'I feel inside', from Giustino, RV 717 (1724)
Length of Violin Concerto in E minor, RV 273
Allegro del Violin Concerto in D minor ‘Per Pisendel’, RV 242 (1725)
Violin Concerto in D major ‘Il grosso mogul’, RV 208
Andante (Weather in Ciaccona) of the Violin Concerto in D major, RV 222
George Frideric Haendel (1685-1759)
'In spite of an ungrateful face', from Tamerlano, Gorge 18 (1724)
'We are close to the port', from Rinaldo, Gorge 7 (1711)
'Furious the wind blows', from Partenope, Gorge 27 (1730)
From Tomoleo, king of Egypt, Gorge 25 (1728)
‘Silent love’
‘Come back alone for a moment’
'Unjust heaven'
'Shaken by fierce storms', from Riccardo I, king of England, Gorge 23 (1727)

Photograph: Jiyang Chen

Philippe Jaroussky

He Teatro Real had announced a recital in which the absolute protagonist was to be the French countertenor Philippe Jaroussky. In two sessions, one at 19:00 and another at 21:30 hours (You have to use your imagination to get around the capacity restrictions caused by covid-19). But what we found was a whole baroque concert, somewhat peculiar, but quite a concert. that if, Jaroussky's leading role was shared by the high quality of the rest of the performers and the orchestra.

Sweet works of Vivaldi, between arias and fragments of operas, they were distributed among the four interpreters. Three for each one, somewhat mechanically, came on stage one after another. I suppose that as a consequence of the urgency of the two sessions, so the effort of theater and interpreters must be valued,

Despite these unusual situations, product of the time we live, the artistic and musical result was at a very high level. It began with the aria from La trusted nymph "Do not storm that the trees prune", played by the German tenor, of Chilean origin, Emiliano González Toro. Volume and colorature are often not compatible and, in the case of González Toro, the first is sacrificed, clearly, for the benefit of the second, at least in this first work, because in his two subsequent interventions he surprised with a bright and well-timbred voice, an elegant and clean singing line that he knew how to show off especially in the last of his arias, the delicate "You would like with your tears", the Griseelda, where he showed an exquisite expressiveness.

The vocal pyrotechnics was reserved for the Hungarian soprano Emóke Baráth. He made a great display of coloratura in his first two arias, "Arm torch and Angus", from Abra triumphans Y "Soul oppressed by cruel fate", by La fida ninfa. But it was also in the dramatic "He proudly sees the wave", by Griselda, where he exhibited a very well modulated vocal delicacy.

The contralto Lucile Richardot has a beautiful and original timbre. He has a good vocal range that he demonstrated in the turns towards the low register, from powerful and sharp highs. She showed off both in coloratura and in the most dramatic and delicate moments. Quite a surprise since his first intervention with "Often the sun", from Andromeda Liberata or the second “Frema pur”, from Brass in the villa.

The best known and expected was, definitely, Philippe Jaroussky. As usual, the French countertenor offered in his three interpretations the nuanced expressiveness and delicacy that are his hallmark. It started with the best known piece "I will see with my beloved" from The Justin, after "Cold in every vein", of Il farnace and ended his brief speech with "If in every look", from Orlando faking mad.

As a final gift, the four interpreters offered an encore together, "De’ll aura when whispering" from The trust nymph, a kind of adaptation that Vivaldi made of his Primavera.

The Lodge Concert, group not well known in Spain, pleasantly surprised by the hand of its conductor and violin Julien chauvin, who led musicians of extraordinary quality with great dynamism and a baroque accent.

Photograph: Javier del Real

Philippe Jaroussky

The appointment will take place next 5 October, As planned, double session at 19.00 and to the 21.30 hours

The subscribers of the Grandes Voces cycle and the buyers with tickets for this concert will be relocated according to the guidelines of the sanitary protocol and at a new schedule

Under the titleLong live Vivaldi ! a program consisting of arias and excerpts from operas by the Venetian composer will be offered

Jaroussky will be accompanied by the soprano Emóke Baráth, the contralto Lucile Richardot and tenor Emiliano González Toro, next to The Lodge Concert with musical direction of the violinist Julien chauvin

The bond of Philippe Jaroussky with the Teatro Real has always been related to artistic success and the enormous affection that the public of Madrid professes for him since his debut on this stage in the year 2000 with Jealousy air even kill, by Juan Hidalgo. His quick and brilliant career, that has placed him among the best countertenors in the world, points to the Madrid coliseum as a witness to great lyrical nights.

For this reason, and given the current situation caused by COVID-19, the French artist and the Royal Theater have decided to offer the concert planned for the next 5 October, in a double session, to 19.00 and to the 21.30 hours, that allows to relocate the public with tickets for this appointment in the best conditions of sanitary security.

Jaroussky will perform at this appointment with a selection of arias and opera excerpts from his fetish composer, Antonio Vivaldi, accompanied by baroque training The Lodge Concert, conducted by the violinist Julien chauvin. Along with them will participate the soprano Emóke Baráth, the contralto Lucile Richardot and tenor Emiliano González Toro.

The concert title says it all, Long live Vivaldi!. The works of the Venetian composer are the place where Jaroussky's voice best exhibits his virtuosity and sensitivity, endowing each fragment with an undeniable beauty.. The unmistakable timbre of your voice will be assembled, in some moments of the program to those of Emóke Barát and Emiliano González Toro to interpret the trio of The truth at stake, “Placid and serene aura” or share the passionate notes of Il Giustino with Emiliano to contrast the dramatic and melodic intensity of this opera that contains some of the composer's roundest arias such as "I'll see with my beloved" e "The pleasure of revenge".

The Royal Theater will contact all the subscribers of the Grandes y Voces cycle and with the buyers with tickets for this concert to inform them of the time change and the relocation to new places, in order to guarantee the health safety distance that allows you to enjoy an unforgettable evening.

Teatro Real

The Academy Byzantine y Alessandro Tampieri

The famous Italian ensemble Accademia Bizantina, directed by harpsichordist Ottavio Dantone, just launched to the market its eighth album in the legendary collection “The Vivaldi Edition”, French label Naïve Classique. This is the volume 62, and meets the RV concerts 389, RV 257, RV 371, RV 273, RV 367, y RV 390.

Under the title Violin Concertos VII – To the castle, the new album by Ottavio Dantone and Accademia Bizantina collected six of the fifteen concerts for violin collection, a month before his death, Vivaldi It malvendió in Vienna Count Vinciguerra Thomas Collalto (1710-1769), a Venetian nobleman who lived in his castle in Brtnice, Moravia (he castello that gives name to the disc).

In these late violin concertos, Vivaldi adapted to the demands of the galant style, Fashion from 1725, without losing any of his usual verve and imagination. With an extremely refined and virtuosic writing soloistic, Vivaldi fully exploits the broad expressive range of the violin, displaying a rich ornamentation and exceptional creativity.

Since 2011, Alessandro Tampieri, It is first violin and concertmaster of the Accademia Bizantina. After receiving unanimous acclaim from critics in 2018 with his solo recording of Concerts for viola d'amore (Volume 56), Alessandro Tampieri though with suma Violin Concertos VIITo the castle the distinguished violinists list Collection The Vivaldi Edition Naïve, in which they include performers such as Fabio Biondi, Riccardo Minasi, Dmitry Sinkovsky o Enrico Onofri, among others.

The Byzantine Academy, which always accompanies their records with original videos that aim to bring baroque music to contemporary audiences, It presents a new video for the film director Italian Daniele Quadrelli, grabado en la localidad Italian Riviera dei Pini - Tagliata di Cervia, one Ravenna, Alessandro de natal province Tampieri.

More information

After the extraordinary success of "Agitated", awarded 2018 con el prestigioso Gramophone Classical Music Award in the category of best recital, the Byzantine Academy, Ottavio Dantone, and the French contralto Delphine Galou, They approach their second album joint project: two albums in which they interpret sacred and secular vocal music by Vivaldi for contralto, that show connections between repertoires.

These volumes 59 Y 60 the legendary collection The Vivaldi Edition French label Naïve in Classique: "Sacred music for alto" (vol. 59), besides the known Salve Regina, It includes two introdutioni, "Afflicted daughters of Jerusalem" Y "is not in the meadow", he O “God of your soldiers”, with the participation of tenor Alessandro Giangrande, and the Concerto in D major "To the Most Holy Virgin Mary Assontione", interpretado por Alessandro Tampieri. Y "Arias and cantatas for alto" (vol. 60), with cantatas cease, henceforth cease, O my most beautiful purples, What golden rain, and arias from operas Tito Manlio, Tieteberga, The Candace them or are true friends, The truth in trial e The Giustino.

The famous Italian team, which in recent years has decided to bet on the audiovisual language to accompany their records and thus bring baroque music to contemporary audiences, presents, Besides, videos, Rocchetta Mattei recorded and directed by film director Daniele Quadrelli.


Almost 20 years after their landmark album in honor of Vivaldi, Cecilia Bartoli the composer uses for his new solo recording, 'Antonio Vivaldi'. The album will be released on 23 of November and is a collection of arias interpreted by the French Baroque Orchestra Ensemble Matheus directed by Jean-Christophe Spinosi. Ten of the most beautiful arias of Vivaldi presented in this project, nine of them taken from operas that do not appear in the album 1999. This new album is a testament to the passion of Bartoli for making music at the highest level and the desire to support a new generation of artists, which enshrines one of the most amazing artists of a generation.

Cecilia Bartoli redefined its status as an artist when 1999 He edited 'The Vivaldi Album', He is praised both for her role as a passionate researcher musical performer. Italian extolled this album as a composer of vocal works, which was a revival of his operas, reaching 700.000 copies sold in five years.

In his thirtieth year on Decca, Cecilia Bartoli not only launches new album 'Antonio Vivaldi', but also his first box, ‘The Rossini Edition’, and a new label 'Mentored by Bartoli’ to boost the career of notable artists, as the Mexican tenor, Javier Camarena.

Fabio Biondi

Fabio Biondi founded Europa Galante in 1990. The next year, He recorded with a version of the set The four Seasons Vivaldi such a daring that revolutionized the vision not only of that work, but the whole baroque concert genre. Nearly three decades later, with another recording in between which meant a new twist on the genre, that look can be contrasted with this new interpretation of the seasons. Before, and in the company of two great stars of the baroque opera, Biondi infrequent visit Gloria and Hymen, written for the wedding of Louis XV he came to Vivaldi serenata 1725 the style of French music.

Born in Palermo, Fabio Biondi began his international career very young driven by an early cultural and musical curiosity led him to meet the pioneers of the new Baroque school.

In 1990 founded Europa Galante, in a few years, thanks to an extended concert activity worldwide and an incredible record success, He became the Italian side, specializing in early music, most famous and internationally awarded. With Fabio Biondi Europa Galante has performed in major concert halls and theaters in the world: from Teatr or alla Scala in Milan to the Accademia di Santa Cecilia in Rome, from the Suntory Hall in Tokyo to Amsterdam Concertgebouw, from the Royal Albert Hall in London to Lincoln Center in New York, from the Théâtre des Champs-Elysées in Paris to Sydney Opera House.

In a few years the group sold nearly a million albums, receiving major international record awards. Fabio Biondi embodies today the symbol of a perpetual search for a free style influences Dogmatic and interested in finding an original language. This inclination led him to collaborate as soloist and bandleader collaborating with the Santa Cecilia Orchestra in Rome, the operad Halle, the Chamber Orchestra of Zurich, the Chamber Orchestra of Norway, Salzburg Mozarteum Orchestra, the Mahler Chamber Orchestra and the Chicago Symphony Orchestra.
Fabio Biondi, violin and direction

Vivica GENAUX, mezzo soprano

Sonia PRINA, mezzo soprano

National Auditorium (Symphony) | October Madrid7, 19:00

Entrevista Ottavio Dantone1


Entrevista Ottavio Dantone2


Entrevista Ottavio Dantone3


Entrevista Ottavio Dantone4


Entrevista Ottavio Dantone5



His project is called "Revolution". What is the real revolution of Baroque music?

Revolution Baroque music in the last fifty years has experienced various stages, as the stage of rediscovery of ancient instruments, the language and its communication to the general public. Our project wants to extend the temporary space of early music this term extending until the nineteenth century, in order to show that the music of the nineteenth century is still nourished by many gestures and expressive codes from centuries past, that the listener can reveal today still hidden aspects and details, capable of producing new emotions, already forgotten.

Venetian composers Albinoni, Marcello, Vivaldi y Galuppi. What each brings special baroque?

All these composers, along with many other, They have helped create a style that in the eighteenth century Venice attracted musicians and music lovers from all over Europe. A rhythmic style that presents solutions, melodic and harmonic characteristics, product of influences from the many cultures that crisscrossed in a multiform and multifaceted city as the Venice of the time. A style, Besides, who has had a great influence on many musicians; first of all, J. S. Bach.

Why express baroque music in such a precise feelings and passions?

The link between the composer of Baroque music with the executing agency and ultimately the listener is characterized by an aesthetic that conceives emotions and passions in an order that determines the moments, in certain sensations are experienced. Definitely, we are talking about musical rhetoric, whose application enables us to understand this time and relive the emotions and passions stronger and sincere.

Do you think the codes currently used to transmit and receive baroque music are different from those used at the time of its composition? How it is evolving musical language?

In my opinion, Today is absolutely necessary to use the same codes then, because it is the only way we have to get as close as possible to what was in the mind of the composer and getting, so, the musical and emotional result is stronger and more communicative. What changes today from the past is perhaps the sound perception in relation to the spaces, with the consequent risk of distorting the meaning of the musical material.

Delving into the knowledge of Baroque music opens an infinite universe of communication and knowledge, no solo musical. After many years of career and a thorough study, semiotic cases, Baroque music, What is your diagnosis for this genre today?

I have spent over forty years studying ancient music and all aspects that characterize, not only music, but also historical, philosophical, sociological, etc. All this has allowed me to understand how much remains to be done to understand and learn new things that can be transmitted to others. It has also helped me to realize that this music still gets talk, and now seem despite the passage of time.

What we can expect is his new album: "Concerts for Strings III and concertos for viola d'amore" para prestigious Vivaldi Edition (classical naïve)?

Our last recording aims to highlight the extraordinary ability to tell Vivaldi always something new and original, albeit through a brief and seemingly stereotyped as Concerto for Strings. We wanted to delve, in deep, in the details, sometimes, hidden, that make these wonderful "miniatures", to make emerge the thousands of different solutions that are able to implement this great composer, while maintaining its recognizable and unique style. The Concertos for Viola d'amore They represent a body of work unique in its kind, allowing us to better understand the timbral and expressive possibilities of this mysterious and little-known instrument.

Through videos of his latest work we realize the importance of image and staging. How important is the aesthetic audiovisual communication as an element of his art?

I believe the visual element is, definitely, important to communicate and convey emotions quickly and effectively at all listening levels. Let us not forget that at the time baroque, the look "synesthetic", even music, It was very important. sounds, colors, effects, choreography or visual spectacle fascinated the listener and strongly conditioned the perception.

Is it a contradiction to say that Baroque music takes us back to the future?

Modern man, unlike previous centuries, look at the art and so also the music, moving elements of the past to contemporary aesthetics and sensitivity. Y, evidently, past and future are intertwined with researching their roots, and aesthetic requirements and future.

What makes Ottavio Dantone when not making music?

I relax in my house with my family, although the music does not leave me practically never.


Accademia Bizantina

The Byzantine Academy; the celebrated ensemble founded in the Italian city of Ravenna in 1983, It presents his new recording project for the Naïve label: a double CD, entitled "Concerts for Strings III and concertos for viola d'amore", Alessandro Tampieri, concertino de la Byzantine Academy, solo.

This is the vol. 56 the prestigious Vivaldi Edition, the ambitious musical project created in 2000 by the Italian musicologist Alberto Basso, which she has brought to light an extensive collection of works composed by Antonio Vivaldi, conservadas en la Biblioteca Nazionale Universitaria di Torino, many of whom had never heard before. With a total of 450 works, this extraordinary collection, with original manuscripts, It is the largest collection of sheet music composer there. Without her, We would have an incomplete picture of that, undoubtedly, It was the most important Italian composer of his time.

Ottavio Dantone, musical and artistic director of the Accademia Bizantina, describes these Concerts for Strings III as "musical miniatures in which, there is also room for syncopated rhythms, breaks own writing intervals Venetian, dances from multiple sources, and echoes of distant cultures that inspire dynamics and phrasings, often, atypical and surprising ".

Dantone, says: "the Concerts for viola d'amore Vivaldi represent abnormal corpus, unique and, most likely, the first in the field of solo concert form. These five compositions, that make up the second disc of this double album of the Accademia Bizantina, They offer us, According to the director of the Accademia Bizantina, "A comprehensive picture of the technical possibilities and timbres of the viola d'amore, an instrument prized for its sweet and soft sound, able to evoke effects orientalizantes, thanks to its string resonance ".

With the aim of bringing Baroque music to contemporary audiences, the famous Italian baroque ensemble presents, Besides, an original video clip RV concert 167 in B flat major, directed by Daniele Quadrelli, and the participating plotters Parkour.


The famous baroque music ensemble the Accademia Bizantina, founded in the Italian city of Ravenna in 1983, It presents his new recording project "Agitated". Ottavio Dantone, harpsichordist and director of the prestigious Accademia Bizantina and French contralto Delphine Galou, interpretan motets, cantatas and extracts oratorios, in the course of the seventeenth and eighteenth centuries they were influenced by the genre of opera. A CD full of unpublished works, in which, in addition to the well-known aria "agitata Infidu Flatty" oratorio Abra triumphans from Vivaldi, We can hear the aria from another Judith, "Prigionier who returns" of the popular oratorio "Betulia Liberata" de Niccolò Jommelli, the Lamentations from Alessandro Stradella O, among other works, the motet "In procella sine stella" of Nicola Porpora.

"This program offers a varied sacred music tour for solo voice in dialogue with instruments, trying to highlight the expressive component and the use of affections, rhetoric that characterized key texts of religious argument. Our idea is to present music from purely sacred inspiration that was played in churches, like Lamentations de Stradella or sung de Torelli, and the oratorio, in the eighteenth century it was greatly influenced by the opera, as you can be seen in the works of Porpora and Jommelli. ", Ottavio Dantone notes, musical and artistic director of the Accademia Bizantina.

True to his philosophy of authentic baroque revolution and aiming to bring early music to contemporary public, the prestigious Italian side presents, Besides, the video for "agitata", the famous aria of the oratorio Abra triumphans Vivaldi, that title track. Directed by Marco Boarino, he film It is recorded in the Convento di San Francesco in the Italian city of Bagnacavallo (Ravenna), in which the art installation "About Dreams" of Collettivo shown Magma.

Bejun Mehta
He Sunday 23 of April to 19.30 hours, the cycle Baroque universe National Broadcasting Music Center (CNDM) presents his penultimate appointment in the Symphony hall of the National Music Auditorium of Madrid with “Cantata” countertenor recital Bejun Mehta accompanied by the reputed Academy for Ancient Music Berlin. Mehta returns to the baroque season of the CNDM after his splendid Orfeo from Gluck three seasons ago and following his recent success as Bertarido in the opera Rodelinda from Haendel programmed in the Teatro Real in Madrid. Mehta, one of the most refined counters on his string, presents a program that will bring us closer to the peak of the castrati, recreating a multifaceted universe containing arias from Handel's English oratorios along with sacred and profane cantatas from Bach Y Vivaldi. A journey that will transport us to the musical heart of the 18th century.

Considered one of the most reputable current countertenors, Bejun Mehta He is a regular guest of the main international opera and concert halls. The American is, during this season, Resident Artist at the Dresden Philharmonic, where he is demonstrating his artistic versatility with four different shows as a singer and director, in which he presents arias from the great operas and oratorios of Haendel Y Mozart in addition to the work Dream of the Song from George Benjamin, cantata written for him and already premiered in France and the United States. In the operatic scene he has just achieved great success at the Teatro Real in Madrid as Bertarido in Rodelinda Haendel.

Other productions have led him to play Farnace in Mitridate by Mozart in the Royal Opera House in London, the title role of Haendel's Tamerlano in Milan's Teatro alla Scala and Oberon in A Midsummernight’s Dream from Britten. His highlights from recent seasons include the world premiere of Stilles Meer by Toshio Hosokawa for the Hamburg Staatsoper (Stephan's role), that will be performed again in the season 17/18, and a new production of Orfeo ed Euridice by Gluck under the direction of Daniel Barenboim at the Berlin Staatsoper. In addition to her work as a singer, Mehta is boosting his role as a director with a couple of commitments per season, case of his work with the Dresden Philharmonic, and is offering master classes in Singing, such as those given within the Young Singers Project of the Salzburg Festival. Mehta has a wide catalog of records, among which are What Puro Ciel, a collection of classical arias with the Akademie für Alte Musik Berlin and René Jacobs, published in the fall of 2014 by Harmonia Mundi and winner of Le Diamant d'Opera Magazine and Choc de Classica and George Benjamin's Dream of the Song live album with the Amsterdam Concertgebouw Orchestra and George Benjamin conducting, published in 2016 within the RCO Live series, Horizon7 of said orchestra.

George Frideric Haendel (1685-1759)
You are dewy roses (1711/12)
Cantata My heart throbs (ca.1709)
Antonio Vivaldi (1678-1741)
Concerto for strings in D minor ‘Madrigalesco’ (that. 1720)
Johann Sebastian Bach (1685-1750)
Cantata I have enough (1727)
Johann Christoph Bach (1642-1703)
Cantata (lament) Oh that I had enough water to cry
A. Vivaldi
Cantata Plants, sighs and ask for mercy
Antonio Caldara (1670-1736)
From The Passion of Jesus Christ our Lord
Symphony for Strings and Continuous No. 12 in the minor (1730)
Melchior Hoffmann (1679-1715)
Hit it, desired hour (attributed to J.S. Bach)
G.F. Haendel
I will magnify Thee (1717/18)

Fabio Biondi

Fabio Biondi addresses the soprano Roberta Invernizzi and the contralto Sonia Prina in "Gloria and Imeneo", from Vivaldi, in the concert offered by the Orchestra of Valencia this Thursday, 6 October, at Auditorium of the Palau de les Arts Reina Sofia.

Les Arts receives first two of the great divas of the Baroque, who also sing in the second part of the evening another work of Vivaldi, his famous "Gloria RV 589", together with the mezzosoprano Placido Domingo Nozomi Centre Kato and the Cor de la Generalitat Valenciana.

The concert is part of the II Preseason with popular prices Les Arts, with locations between 10 Y 20 euros.

Vivaldi's work is strongly linked to the path of Fabio Biondi since revolutionized in 1990 the market and critical edition of "The Four Seasons". The extensive discography of musical director of Les Arts on the repertoire of 'The Red Priest' He has received applause from the press: "Vivaldi's concertos" was worthy of awards such as the 'Award Cini' of Venice; 'Choc de la Musique', cinco ‘Diapasons d’Or’, 'Diapason d'Or of the Year of Telerama y el' Prix du Disque 'in Francia; or the Prize of the German RTL, besides the opera "Bajazet", nominated 2006 Grammy Awards US.

the soprano Roberta Invernizzi is one of the great voices of classical and baroque repertoire. The Milanese diva has sung in the most prestigious theaters, directed by teachers as Claudio Abbado, Rinaldo Alessandrini, Fabio Biondi, Franz Bruggen, Ottavio Dantone, Nikolaus Harnoncourt, Gustav Leonhardt and Jordi Savall. Collaborates regularly with the Concentus Musicus Wien formations, Accademia Bizantina, Il Giardino Armonico, Cappella della Pietà dei Turchini and Europa Galante, among other. He has recorded nearly seventy albums for major record labels.

Meanwhile, Sonia Prina It is considered one of the best contralto of her generation. Trained at the Academy of young singers from the Scala, his distinctive voice soon began to grasp the interest of theaters and auditoriums worldwide. Among his most acclaimed performances include titles such as "Orlando" (Théâtre des Champs Elysées Ópera y Sídney), “Rinaldo” (Scala and Zurich), “Tamerlano” (Munich), "Julius Caesar" (Ravenna, Genoa and Lille), Polinesso in the role of "Ariodante" (Festival of Aix en Provence) or "Ascanio in Alba" (Salzburg Festival).

Gloria and Imeneo "

Gloria and Imeneo "Vivaldi is a custom to the French ambassador in Venice, Jacques Vincent languishes, Count of Gergy, on the occasion of the betrothal of Louis XV with the Polish princess Maria Leszcynska. The work was performed in an organized party in the gardens of the embassy 12 September 1725.

His two allegorical characters represent the god of marriage, Hymenaeus, and Glory, who plays for the occasion to the French royal house. It should be noted that Antonio Vivaldi established between these characters no action, but look for them solely to sing a paean to newlyweds, where it seems, maybe, both figures, equipped with soprano and contralto voice, compete for the exaltation of the radiant future of the French monarchy, represented by two real boyfriends, in a succession of short and animated lyrical recitatives and large expansions of beauty recognizably Vivaldi.

La Cetra

In the last decades, the public image of Antonio Vivaldi has completely changed: Copyright almost exclusively a brilliant instrumental music has become also considered an extraordinary composer of operas, genre that is dedicated to fruition. Andrea Marcon will offer one of his best-known maturity titles, The trust nymph, work that served in 1732 for the inauguration of Verona Philharmonic Theater. María Espada, Carlos Mena, Karina Gauvin, Romina Basso O Topi Hardwood these are compelling reasons to think that the proposal will be a new success for the Vivaldi opera in Madrid.

The Zither Barockorchester was founded in 1999 at the initiative of Dr. Peter Reidemeister, then director of the Schola Cantorum Basiliensis, and quickly came to be recognized internationally as one of the leading ensembles in historical interpretive practice. The name of La Cetra has been taken from the title of the collection of 12 violin concertos op 9 by Antonio Vivaldi, first published in Amsterdam in 1727. "La Cetra" refers to the ancient lyre or zither.

Most of the musicians are graduates of the Schola Cantorum Basiliensis, the Swiss elite training center for ancient music. The group collaborates with the research department of the Schola Cantorum that allows the process of musical creation to be accompanied by the latest advances in musicological research. The discovery of works by composers such as Brescianello, Venturini O Paisiello have enriched the repertoire of the orchestra, which ranges from the first works of Monteverdi from the 17th century to the symphonies of classicism and early romanticism.

Since 2009, La Cetra's artistic director is Andrea Marcon, internationally known as one of the most prominent conductors of the baroque and early classical repertoire. He has brought new impulses and a new approach to the rich and, often rediscovered, repertoire of the time. Recently, for example, La Concordi de ’pianeti by Antonio Caldara was performed for the first time in almost 300 years and was recorded by the Deutsche Grammophon label.

Antonio Vivaldi (1678-1741): The trust nymph, RV 714

Drama for music en tres actos with libreto by Francesco Scipione (1732)

La Certrabarockorchester Basel

Andrea MARCON, director

Carlos MENA, Osmino / Tirsi

Franziska GOTTWALD, Elpina

Ismael ARRÓNIZ, Eolo

Luca TITTOTO, Oralto

Mary Sword, potions

Roberta INVERNIZZI, Morasto

Romina BASSO, Juno

Topi HARDWOOD, Arete

Sunday 19 of April, 18.00h.

National Music Auditorium in Madrid

Symphony hall

isa Marcello

The last Sunday 23 of March, at 18pm, he National Dissemination Center Musical (CNDM) He is closing the current edition of its cycle BAROQUE UNIVERSE Symphony Hall in the National Music Auditorium with an unprecedented program in Spain: the version written in Rome 1720 Opera Tito Manlio from Vivaldi. To this end, it has had some of the leading voices of national and international baroque scene, he Concerto de´Cabalieri, directed by Marcelo on Lisa and voices Maria Espada, Ann Hallenberg, Vivica Genaux, Magnus Staveland Y Nerea Berraondo.
The recovery of a lost opera Tito Manlio (Version of Rome, 1720)
As it very well says Frédéric Delamea , "During Carnival 1719, being maestro di cappella of the Austrian prince Philipp von Hess-Darmstadt, governor of Mantua, Vivaldi composed the music for an opera to be performed at the Teatro de la Villa de Mantua. The opera was titled Tito Manlio and was composed on a libretto by the poet Matteo Noris. this booklet, which he was put to music for the first time 1696 in Villa de Pratolino Florence, He had already obtained a huge success by the theaters of Venice, Ferrara, Livorno, Naples, Genoa, Verona, Reggio or Turín.
The success of the work was due both to music and to the libretto, which cast a whole new light on the tragic opposition between the Roman consul and his son Tito Manlio, as it narrated by Livy, through a frame cleverly constructed around the shadows and highlights of Vertus romaines, founding and unifying values ​​of the young Republic. Thus, It was almost natural for the following year, 1720, the Teatro della Pace in Rome made to Vivaldi, and Red Priest, his first Roman custom, to compose a new opera Tito Manlio on, based on the same libretto by Matteo Noris music but totally new and different from the composite Mantua.
The invitation was received by Vivaldi, anyway, particular conditions: Vivaldi accepted, but according to common practice of the time the opera was written in collaboration with two brilliant Roman composers, Gaetano Boni and Giovanni Giorgi, who made important contributions to opera. Vivaldi was commissioned to write the music for the third Act of this new Tito Manlio, but he certainly supervised the other two acts, respectively entrusted to Boni and Giorgi.
Unlike the Mantua score, the music of Tito Manlio of Rome was unfortunately lost, but its musical wake has come down to us through a recent discovery of three collections of arias in Rome copied and kept in various libraries in Europe that made it possible to revive the opera. Today it is possible to identify more than twenty arias, two duets and a choir, that offer a vivid and enthusiastic image of this work and allow its reconstruction in the form of a recital of arias and ensembles, respecting the dramatic chronology of the libretto.
The representation of this magnificent lost and recovered work is the occasion to reveal the last dramma per musica still unpublished by Vivaldi. This also allows, thanks to the reputation and fame of the famous Venetian, rescue from the shadow two brilliant Roman musicians forgotten but of whom, thanks to this collaboration, we can show his enormous talent. "
Although the work as a whole is extraordinary, without a doubt the genius was Vivlaldi, and so it is reflected in the significant differences between the first two acts, Boni and Giorgi, and the third, composed Vivladi. The arias, of extraordinary beauty and complexity in this third act, pose a challenge for interpreters.
Maria Espada, who played Vitellia, It has a uniform technically voice, high strength and expressiveness. Extremadura thrilled with some of the most beautiful arias of the work. A clear voice, smooth and full of nuances.
Alaskan-born mezzo-soprano Vivica Genaux played Manlio. It is one of the strongest voices in the universe Baroque. His first aria was excessive reverberation, but it was less to more and gave a dramatic aria in the third act of great emotion. Mastered his instrument with great ease.
Ann Hallenberg, as Servilia, demonstrated mastery of acute records also demanded the character. Like the rest of the cast, he looked more in the arias of the third act, more complex and elaborate.
Norwegian tenor Magnus Staveland, He recreated a somewhat intemperate Tito to the beginning. Tuning their problems were resolved over the work until a final aria of great emotion.
Nerea Berraondo played Lucio. It was the surprise of the night. It has a long record, bright treble and bass cavernosa. Too bad his voice low volume, especially in agility, and the second of his two arias where little was heard. Is this an aspect, the voice volume, which can affect the career of a singer. Let's hope that is not the case with Nerea Berraondo since she has a beautiful instrument.