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.

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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.

Byzantine Academy

The next sunday 11 of November, the Byzantine Academy, directed by famous harpsichordist Ottavio Dantone, presents in Barcelona "Marc'Antonio e Cleopatra", serenade for two voices German composer Johann Adolph Hasse, with libreto of Francesco Ricciardi, released in 1725 Naples famous castrato Farinelli with as Cleopatra and contralto Vittoria Tesi as Marc'Antonio. L 'Auditori de Barcelona will host the final round of the European tour of the Accademia Bizantina, after passing through prominent concert halls such as the Kölner Philharmonie or Laeiszhalle Hamburg.

the prestigious ensemble, founded in the Italian city of Ravenna in 1983, It will for the occasion with a duo of singers expert in the interpretation of affections baroque, very present in this work about the loves of Egyptian queen: contralto francesa Delphine Galou (Marc'Antonio), and the Austrian mezzo Sophie Rennert (Cleopatra).

Among the most immediate projects of Accademia Bizantina Ottavio Dantone and its director, highlight the new production of the opera "Rinaldo" and "Serse" Haendel, that soon they will present in prominent theaters in Lombardy and Emilia Romagna, and his American tour with violinist Giuliano Carmignola. further, he 16 November will market his latest album project for the legendary collection The Vivaldi Edition, French label Naïve Classique: the opera "Il Giustino" de Vivaldi, with the voices of Delphine Galou (Giustino), silk Thread (Anastasio) and Emöke Barath (Arianna), among other.

http://www.accademiabizantina.it/

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.

 

Byzantine ccademia

The famous ensemble of baroque music, the Accademia Bizantina, founded in the Italian city of Ravenna in 1983, He has just released his latest album project Decca: “Bach: The Art of Fugue”. Ottavio Dantone, harpsichordist and director of the prestigious Accademia Bizantina, It offers a revamped version of The Art of Fugue, BWV 1080 Johann Sebastian Bach (1685 -1750), of pedagogical, which it aims to understand, from the musical point of view and expressive, such a complex way flight.

"Do not search among contrapuntal interweaving the sublime pleasures and sweet emotions that hide, involves not do justice to the extraordinary work of Bach, unparalleled synthesis of art and science, expressive intensity and intellect. " (Ottavio Dantone)

True to his philosophy of authentic baroque revolution and aiming to bring early music to contemporary public, the Italian ensemble presents a promotional video directed by Marco Boarino, and recorded in the Goldoni Theater, Bagnacavallo (Ravenna)

Agitated

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.

Byzantine Academy

He Sunday 18 from December to 19.30 hours, Universe cycle Baroque Music National Broadcasting Center (CNDM) It presented in the Symphony Hall of the National Music Auditorium of Madrid its last meeting this year. Este concierto navideño estará protagonizado por el Stabat Mater de Giovanni Battista Pergolesi, with the Salve Regina en la menor de este mismo autor y el Concerto grosso nº 5 in D minorde Domenico Scarlatti y Charles Avison para completar el programa. Los encargados de darle vida serán el conjunto italiano Accademia Bizantina, con el clavecinista Ottavio Dantone to the direction and an exceptional vocal cast starring great international voices specialized in this repertoire: soprano Silvia Frigato y la contralto Sara Migardo.

He “sublime poema del dolor

Como recuerda el musicólogo José María Domínguez:”Para Vincenzo Bellini el Stabat Materde Giovanni Battista Pergolesi (1710-1736) era un `sublime poema del dolor´. El Romanticismo encontró en esta obra y en la fama de su compositor un emblema de la escuela napolitana, por analogía con Mozart y su Requiem. Según la leyenda, el doloroso carácter del Stabat procedía del amor imposible de Pergolesi por su alumna, la noble María Spinelli, en cuyas exequias dirigió la obra, ya moribundo. Actually, según la hipótesis más plausible, he Stabat fue encargado en 1734 por una cofradía napolitana para sustituir la homónima composición de Alessandro Scarlatti con una obra más moderna, inspirada en una religiosidad intimista y subjetiva. Aquella leyenda fue creada por Francesco Florimo, el estudioso amigo de Bellini que fabricó una identidad común para la legión de compositores de fama internacional forjada en Nápoles desde siglos atrás, inventando el concepto de escuela napolitana, cuyo máximo exponente sería Alessandro Scarlatti. Pero el fundamento histórico de la propuesta de Florimo ha sido cuestionado desde hace décadas. Es imposible distinguir la música napolitana de la escrita en Roma o en Venecia sobre bases estilísticas. Y, but nevertheless, algo de escuela hay en el origen de la obra religiosa de Pergolesi. He Stabat está de hecho hoy en el centro de la agenda musicológica internacional interesada por los métodos didácticos que se utilizaban en los prestigiosos conservatorios de la ciudad. Se trata de los partimenti, ejercicios para aprender los fundamentos de la composición a través de la práctica. A modo de puzzle, los partimenti eran esquemas de bajo continuo que encerraban diversas posibilidades combinatorias. Las obras religiosas de Pergolesi, como las sonatas de Domenico Scarlatti, son producto de una form of entrenada en el método de enseñanza de los conservatorios de Nápoles, verdadera apoteosis de la escuela napolitana.

Accademia Bizantina se fundó en Rávena en 1983 con la intención de “interpretar música como un gran cuarteto”. Desde entonces el grupo se gestiona de forma autónoma gracias a sus miembros, garantizando así el enfoque de la música de cámara en sus interpretaciones, que es lo que siempre les ha distinguido. Una serie de personalidades destacadas del panorama musical internacional apoyaron el desarrollo y crecimiento de la orquesta, entre otros Jorg Demus, Carlo Chiarappa, Riccardo Muti y Luciano Berio. A lo largo de los años también han disfrutado de la colaboración de varios músicos importantes, como Stefano Montanari, que ha sido un miembro fundamental de la orquesta durante más de 20 years. Esto ha permitido al conjunto, que toca instrumentos de época, especializarse aún más en los repertorios de los siglos XVII, XVIII y XIX. Gradualmente, la orquesta desarrolló una voz distinguida por adoptar su propio estilo interpretativo basándose en un idioma común y una forma de interpretar compartida, reflejando la tradición más noble de la música de cámara italiana. In 1989, Ottavio Dantone se unió a la orquesta como clavecinista y en 1996 fue nombrado director musical y artístico, garantizando así el prestigio y la calidad artística del grupo. Bajo su experta dirección, Accademia Bizantina incorporó la investigación filológica y un enfoque estético a la interpretación de la música del período barroco. Las habilidades de Dantone, su imaginación y sofisticación se han combinado con el entusiasmo y la empatía artística de cada miembro de la banda, dando a sus interpretaciones la profundidad que les convierte en uno de los conjuntos más prestigiosos de la escena musical internacional actual. In 1999, Accademia Bizantina puso en escena su primera ópera, Giulio Sabino de Giuseppe Sarti. La orquesta se ha ido especializando en el redescubrimiento e interpretación de óperas barrocas, desde grandes obras hasta óperas que nunca se han interpretado en los tiempos modernos. El conjunto actúa en salas de conciertos y en festivales de todo el mundo. Sus muchas grabaciones, principalmente para Decca, Harmonia Mundi y Naïve, han recibido numerosos galardones, incluyendo el Diapason d’Or, Midem y una nominación a los Grammy de la música por “O Solitude” de Purcell con Andreas Scholl. De especial relevancia son sus colaboraciones con los violinistas Viktoria Mullova y Giuliano Carmignola y con el contratenor Andreas Scholl, con quien han realizado las principales giras internacionales y proyectos de grabación (para Onyx, German Grammophon, Harmonia Mundi y Decca). Entre las nuevas producciones inerpretadas por la orquesta durante 2016 han estado la L’incoronazione di Dario by Antonio Vivaldi, Alcina Y Belshazzarde Haendel y The Art of Fugue J. S. Bach.

tickets, with an overall price of 12 € to 30 €, and discounts up 60% for those under 26 and unemployed (entries “Last minute”, with purchase from one hour before the concert hall box office) and are on sale at the box office of the National Auditorium and INAEM theaters, plus online sales www.entradasinaem.es and by phone at 902 22 49 49.