Discography

The Sonatas for Violin and Cembalo obbligato Vol. 2

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Fabio Bonizzoni: Performing the complete sonatas for violin and harpsichord is like embarking on a long hike; heavy, difficult, sometimes dangerous. Playing them is not an activity for lazy people: you need to enjoy making an effort. As in the mountains on difficult terrain, every step needs concentration, good balance, the ability to sense danger, to foresee the unstable stone. The complete cycle is like a long hike; one that leaves your legs tired and maybe painful the next day but at the same time one that enriches your eyes and soul with the beauty of ever-changing landscapes. It is like starting from a valley on soft grass and starting to ascend slowly, step by step, reaching the woods, seeing the type of trees changing. Eventually the forest is left behind and we are again on the grass, but more sparse now, and the first rocks are looming closer and closer. The snow is not far away either… There is not a moment or a view that is not memorable, that will not leave a significant imprint in our memory; a gem, a hidden flower, an unexpected harmony, a daring counterpoint, a melancholic melody. And as one does not need to be a geologist or a botanist to be moved by the beauties of the mountains, similarly one does not need to be a musician to listen passionately to these sonatas.

Johann Sebastian Bach was a German composer and musician of the Baroque period. He enriched established German styles through his skill in counterpoint, harmonic and motivic organisation, and the adaptation of rhythms, forms, and textures from abroad, particularly from Italy and France. Bach's compositions include the Brandenburg Concertos, the Goldberg Variations, the Mass in B minor, two Passions, and hundreds of cantatas. His music is revered for its technical command, artistic beauty, and intellectual depth. Bach's abilities as an organist were highly respected during his lifetime, although he was not widely recognised as a great composer until a revival of interest in and performances of his music in the first half of the 19th century. He is now generally regarded as one of the greatest composers of all time.
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The Sonatas for Violin and Cembalo obbligato Vol. 1

Sonate per violino e cembalo obligato

Challenge Classics - Data pubblicazione 12/05/2021

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Johann Sebastian Bach developed a new style, cembalo obbligato, where the right hand of the keyboard plays as a melody instrument and is given the same importance as the violin, flute or other solo instrument. His sonatas for melody instrument and keyboard instrument include works for flute, violin, and viola da gamba. It seems that the obbligato style interested him more than the traditional continuo role for the keyboard. As for the violin, there are two sonatas written with basso continuo and six with harpsichord obbligato. Among these works, the six sonatas in particular were conceived as a set, with a consistent style and a well-considered key distribution. This set is one of the highlights in the catalog of Bach’s chamber music. Bach’s son Carl Philippe Emmanuel Bach writes to Bach’s first biographer, Johann Nikolaus Forkel, in 1774: “The 6 clavier [and violin] trios...are amongst the best works of my dearly beloved father. Even now they sound very good and give me many delights, regardless of the fact that they are over fifty years old.”

The key distribution is somewhat symmetric and this suggests that Bach intended these as a set of pieces for violin, comparable to his unaccompanied sonatas and partitas for violin. Additionally, with the exception of Sonata No. 6, this set of works all follow the church sonata style.

Ryo Terakado: My first performance with Fabio was in 2019. We had been colleagues at the Royal Conservatoire in The Hague for a long time, but we had never actually performed together in concert. We discovered immediately that we shared a common musical language and approached our music similarly, and the collaboration was tremendously successful and rewarding. We now feel that our ensemble as a duo is sufficiently mature that it is our pleasure to present to you these fruits of our collaboration. Bach is a delight in our life.

Johann Sebastian Bach was a German composer and musician of the Baroque period. He enriched established German styles through his skill in counterpoint, harmonic and motivic organisation, and the adaptation of rhythms, forms, and textures from abroad, particularly from Italy and France. Bach's compositions include the Brandenburg Concertos, the Goldberg Variations, the Mass in B minor, two Passions, and hundreds of cantatas. His music is revered for its technical command, artistic beauty, and intellectual depth. Bach's abilities as an organist were highly respected during his lifetime, although he was not widely recognised as a great composer until a revival of interest in and performances of his music in the first half of the 19th century. He is now generally regarded as one of the greatest composers of all time.

J.S. Bach - Harpsichord Concertos Vol. 2

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Here is the follow-up to the critically acclaimed first volume of Bach’s Harpsichord Concertos by Fabio Bonizzoni and his group La Risonanza.

This second volume includes a more varied range of works as it starts with the most famous Brandenburg Fifth, which is the first ever harpsichord concert. After the BWV 1054, we have the rather rare BWV 1057,which is the harpsichord version of the Brandenburg Fourth. To end Bonizzoni’s survey of all Bach’s harpsichord concertos, we find the famous and beloved Triple concerto, with violin and flute.

Some critics’ quotation on first volume.
For a single CD of these four keyboard concertos, there’s no preferable recording available. - Musicweb
Harpsichordist Fabio Bonizzoni does a credible job in integrating the concertos so that they appear not as a soloist versus the ensemble, but rather as an integral part. – Fanfare
Bonizzoni achieves the difficult task of combining subtle artifice and interpretative joie de vivre with a manner that appears natural and uncomplicated […] enticing for its musical strengths. – Gramophone

Brandenburg Concerto No. 5, BWV 1050

Allegro - Adagio - Allegro

Harpsichord Concerto No. 6 in F Major, BWV 1057

[no tempo marking] - Andate - Allegro assai

Harpsichord Concerto No. 3 in D Major, BWV 1054

[no tempo marking] - Adagio e piano sempre - Allegro

Concerto for Flute, Violin and Harpsichord in A Minor, BWV 1044

Allegro - Adagio ma non tanto e dolce - Alla breve

Fabio Bonizzoni - clavicembalo

LA RISONANZA

Marco Brolli* - flauto traverso

Isabel Lehmann*, Margret Eva Görner* - flauto dolce

Jorge Jimenez*, Ayako Matsunaga, Ulrike Slowik - violini

Gianni De Rosa - viola

Caterina Dell'Agnello - violoncello

Marco Lo Cicero - contrabbasso

*solisti

Brandenburg Concerto No. 5, BWV 1050

Allegro - Adagio - Allegro

Harpsichord Concerto No. 6 in F Major, BWV 1057

[no tempo marking] - Andate - Allegro assai

Harpsichord Concerto No. 3 in D Major, BWV 1054

[no tempo marking] - Adagio e piano sempre - Allegro

Concerto for Flute, Violin and Harpsichord in A Minor, BWV 1044

Allegro - Adagio ma non tanto e dolce - Alla breve

J.S. Bach - Harpsichord Concertos Vol. 1

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This is the first volume in a complete survey of Bach’s harpsichord concertos, recorded by La Risonanza in one-to-a-part practice performance.

With his Fifth Brandenburg Concerto of 1719, Bach had created the first ever harpsichord concerto. From 1729, in Leipzig, the opportunity arose to continue this experiment: each week at Café Zimmermann he conducted his Collegium musicum in orchestral concerts that lasted around two hours. In the summer of 1733, he took delivery of “a new harpsichord, the like of which has not been heard before around here”. This magnificent instrument, which featured at the Zimmermann concerts, urgently called for concertos to be played by himself as soloist, and even more so his sons and students. Not only in Saxony but also well beyond, Bach was considered to be the absolute authority in all things harpsichord and organ; he thus had to make his own contribution to the emerging genre of the “clavier concerto”. The manuscript of his six harpsichord concertos BWV1052 to 1057 should therefore be understood as a repertoire collection for his Collegium musicum, and as a compositional manifesto.

Within the six concertos, each work takes on a specific function: The D minor concerto is the longest, most virtuosic and most Italianate of the collection. The stormy and sombre concerto is followed by the serene and cantabile E major concerto which, as Joshua Rifkin has convincingly argued, may well be based on a lost oboe concerto in E flat major
Whilst the concertos in D minor and E major are substantial works, the concertos in A major and F minor are far more compact. Both display noticeable influences of the galant style and were therefore probably not written before 1730.

Harpsichord Concerto No. 1 in D Minor, BWV 1052*

Allegro - Adagio - Allegro

Harpsichord Concerto No. 2 in E Major, BWV 1053

[no tempo marking] - Siciliano - Allegro

Harpsichord Concerto No. 4 in A Major, BWV 1055

Allegro - Larghetto - Allegro ma non tanto

Harpsichord Concerto No. 5 in F Minor, BWV 1056

[no tempo marking] - Largo - Presto

Fabio Bonizzoni - clavicembalo

LA RISONANZA

Jorge Jimenez, Ulrike Slowik - violini

Krishna Nagaraja - viola

Caterina Dell'Agnello - violoncello

Nicola Dal Maso - contrabbasso

*Version according to Bach's autograph score

Harpsichord Concerto No. 1 in D Minor, BWV 1052*

Allegro - Adagio - Allegro

Harpsichord Concerto No. 2 in E Major, BWV 1053

[no tempo marking] - Siciliano - Allegro

Harpsichord Concerto No. 4 in A Major, BWV 1055

Allegro - Larghetto - Allegro ma non tanto

Harpsichord Concerto No. 5 in F Minor, BWV 1056

[no tempo marking] - Largo - Presto

*Version according to Bach's autograph score

Antonio Vivaldi, La Senna festeggiante

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Continuing his captivating survey of the Baroque serenata, Fabio Bonizzoni now focuses on one of the “occasional” works – with music at a magnificently-high level throughout – written by Antonio Vivaldi when in Venice: La Senna festeggiante. What animated Vivaldi to compose a work apparently extolling the virtues of the River Seine in Paris? The story goes, as described by Michael Talbot in his exemplary accompanying essay, that the serenata was written in 1726 jointly to honour the French king, Louis XV (on his name day), Cardinal Pietro Ottoboni (then the Protector of the Affairs of France at the Vatican) and the French Ambassador in Venice, the Comte de Gergy; and bringing in the river to heap Baroque praise on the Sun King’s great-grandson. An unmistakeably Vivaldian score (complete with self-borrowings and “loans” from others), the composer nonetheless makes plentiful musical allusions to his Gallic theme and setting through the music of the three named vocalists – The Golden Age, Virtue and the Seine – and through the instrumental accompaniment, handled deftly and gloriously here by Bonizzoni and La Risonanza. The singers, Yetzabel Arias Fernández, Martín Oro and Sergio Foresti, capture the spirit of the allegorical and fluvial characters superbly in this new Glossa recording, which was made at the Abbaye de Saint-Michel en Thiérache (also the setting for La Risonanza’s earlier recording of Alessandro Scarlatti’s Serenate a Filli). Total playing time 79:12 Recorded in Saint-Michel en Thiérache (France) in June 2011 Engineered by Adriaan Verstijnen Produced by Tini Mathot Executive producer: Carlos Céster Design: Valentín Iglesias Booklet essay: Michael Talbot English – Français – Deutsch – Español

ANTONIO VIVALDI (1678-1741) La Senna festeggiante Serenata a tre, RV 693 PRIMA PARTE 1-3 Sinfonia [Allegro – Andante molto – Allegro molto] 4 Coro: Della Senna in su le sponde 5 Recitativo: Io, che raminga errante 6 Aria: Se qui pace talor 7 Recitativo: Anch’io raminga errando 8 Aria: In quest’onde 9 Recitativo: Illustri amiche 10 Aria: Qui nel profondo del cupo fondo 11 Recitativo: Sì, sì, già che tu brami 12 Duetto: Godrem fra noi la pace 13 Recitativo: Tutto muor, tutto manca 14 Aria: Vaga perla, benché sia dell’aurora bianca figlia 15 Recitativo: Tal di me parlo ancora 16 Aria: Al mio seno 17 Recitativo: Della ferrea stagion 18 Duetto: Qui per darci amabil pace / Per goder l’antica pace 19 Recitativo: Ma rimirate, amiche 20 Aria: L’alta lor gloria immortale 21 Recitativo: O, di qual melodia 22 Coro: Di queste selve venite o Numi SECONDA PARTE 23 Ouverture [Adagio – Presto – Allegro molto] 24 Recitativo: Ma già ch’unito in schiera 25 Aria: Pietà, dolcezza, fanno il suo volto 26 Recitativo: Non si ritardi 27 Aria: Stelle, con vostra pace 28 Recitativo: Vedrete in quest’eroe 29 Duetto: Io qui provo un sì caro diletto / Qui nel seno ho sì tenero affetto 30 Recitativo: Quanto felici siete 31 Aria: Giace languente 32 Recitativo: Quanto felici siete 33 Aria: Così sol nell’aurora 34 Recitativo: Ma giunti eccone innante 35 Aria: Non fu mai più vista in soglio 36 Recitativo: Per tributarti ancella 37 Coro: Il destino, la sorte, il fato

Reviews

01/Jan/2013 - Classica review La Senna Festeggiante

Bonizzoni tient la bride moins serrée, tirant transparence et légèrité de son ensemble qu’il dirige du clavecin. Le trio vocal se hisse en tête de la discographie par la qualité techinique des vocalises, d’une précision quasi-chirurgicale chez Foresti, ou faisant preuve d’un legato instrumental chez Fernandez. Jérémie Bigorie, Classica 148 (Décembre 2012 / Janvier 2013)

18/Dec/2012 - BBC Music Magazine review La Senna Festeggiante

Lovers of chamber and dramatic cantatas by Handel might already know just how effective La Risonanza’s performances can be. Under Fabio Bonizzoni’s stylish direction, the ensemble once more beguiles our senses with Vivaldi’s hugely appealing serenata. […] Of the five complete recordings of the work, this is the strongest. [...]. This could be the issue that determines your choice. Nicholas Anderson, BBC Music Magazine (18 dicembre 2012)

01/Dec/2012 - Gramophone Review La Senna Festeggiante

[…] laid-back lightness and grace of Fabio Bonizzoni’s reading […]. Bonizzoni’s route through the score is nevertheless sure and sympathetic, and the orchestra performs prettily throughout. Lindsay Kemp, Gramophone (December 2012)

01/Dec/2012 - Musica review La Senna Festeggiante

Con un colore orchestrale castamente limitato alle prescrizioni della partitura e un trio di agguerriti specialisti come Yetzabel Arias Fernández (L'Età dell'oro), Martín Oro (La Virtù) e Sergio Foresti (La Senna), la presente registrazione della celebre serenata vivaldiana potrebbe ambire al riconoscimento di un ipotetico Oscar della filologia musicale. Ma siccome il termine filologia è stato logorato dagli abusi interessati, sarà bene chiarire che in questo caso non è affatto sinonimo di letteralismo o di sterilità emotiva. I caratteri astrattamente allegorici e l'assenza di intreccio drammatico, tipici di siffatti lavori celebrativi, sono qui ravvivati dalla concertazione di Fabio Bonizzoni, attenta alle differenze di livello stilistico e alle cangianti articolazioni della parola non meno che all'arco lungo delle strutture compositive. [...] La Risonanza naviga allegramente in questo vortice d'idiomi. [...] Carlo Vitali, Musica 242 (dicembre 2012-gennaio 2013)

Girolamo Frescobaldi, Toccatas & Partitas

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For as much as Fabio Bonizzoni is drawn to the splendours of Baroque music for voices and orchestra – as demonstrated through his award-winning recordings with La Risonanza – his keyboard-playing instincts are constantly urging him to tackle masterpieces of the keyboard repertory. Most recently having applied his musical insight and virtuosity to Bach’s Die Kunst der Fuge, Bonizzoni now pits himself against another, albeit earlier, Baroque master in Girolamo Frescobaldi. Frequently-cited as being as important for keyboard music as Monteverdi was for vocal and dramatic fare, the genius of the Ferrara-born Frescobaldi was amply recognized when working in Rome and Florence – periods when he published (and revised) the two books of toccatas (but including canzonas and partitas or variations sets) recorded by Bonizzoni here. Frescobaldi’s toccatas allow for – and draw from Bonizzoni – great interpretative flexibility, calling for rhythmic freedom, not to say drama and emotion. Indeed, Bonizzoni, clearly mindful of the new demands of the seconda prattica in Frescobaldi’s time, likens the toccatas to being madrigals without words: poetry lies at the heart of his performances. This new recording from Glossa has Bonizzoni playing on a splendid modern copy of an Italian Baroque harpsichord and on the idiosyncratic organ of the Basilica of Santa Barbara in Mantua. Along the way, Bonizzoni has puzzled out – and describes in the booklet – how best to draw out the sound appropriate for Frescobaldi’s music from this mysterious instrument. Total playing time 78:15 + 78:12 Recorded in Royaumont (harpsichord) and Mantua (organ) in March and May 2012 Engineered by Alban Moraud Produced by Tini Mathot Executive producer: Carlos Céster Design: Valentín Iglesias Booklet texts: Fabio Bonizzoni, Giorgio Carli English – Français – Deutsch

GIROLAMO FRESCOBALDI (1583-1643) CD I First Book Toccate e partite d’intavolatura di cimbalo, libro primo (Rome, 1615/1616/1637) harpsichord 01 Toccata prima 02 Toccata seconda 03 Toccata terza 04 Toccata quarta 05 Toccata quinta 06 Toccata sesta 07 Partite sopra la Monica (1615) 08 Partite sopra la Romanesca (1616) 09 Partite sopra Ruggiero (1616) 10 Toccata settima 11 Toccata ottava 12 Toccata nona 13 Toccata decima 14 Aria detta Balletto [Second Book] CD II Second Book Il secondo libro di toccate, canzone, versi d’hinni, Magnificat, gagliarde, correnti et altre partite d’intavolatura di cimbalo et organo (Rome, 1627/1637) harpsichord 01 Toccata prima 02 Toccata seconda 03 Toccata settima 04 Toccata nona 05 Toccata decima 06 Toccata undecima organ 07 Toccata terza (per l’organo da sonarsi alla levatione) 08 Toccata quarta (per l’organo da sonarsi alla levatione) 09 Toccata quinta (sopra i pedali per l’organo, e senza) 10 Toccata sesta (per l’organo sopra i pedali, e senza) 11 Toccata ottava (di durezze, e ligature) 12 Canzona quinta 13 Toccata undecima [First Book] harpsichord 14 Canzona prima 15 Canzona terza 16 Aria detta la Frescobalda 17 Ancidetemi pur

Reviews

01/Mar/2013 - Early Music Review Frescobaldi - Toccatas & Partitas

There is a real Frescobaldi-fest in this two-discs recording, with over two and a half hours of tocatas, partitas and canzonas […]. Inspired by his discovery of an original print of book two in the François-Lang music library at Royaumont, Fabio Bonizzoni gives striking performances of 22 toccatas, punctuated on CD one with lively variations stes, and on CD two by colourful 1565 Antegnati organ of Santa Barbara in Mantova. Rebecca Tavener, Early Music (March-May 2013)

01/Dec/2012 - BBC Music Mag Review Frescobaldi - Toccatas & Partitas

Bonizzoni can take risks where others can’t, owing to the brilliance of his musicianship matched with intellect that plumbs the dephts of the score. As the liner notes explains, Bonizzoni based his choice of harpsichord and organ on the demands of Frescobaldi’s music. He aggressively exploits the composer’s startling colours, short decay, contrasts of register and nimble action of his keybboards, shaping and shading the gestures throughout. Opening flourishes are commanding and beguiling; contrapuntal relations are gorgeously illuminated; and rhapsodic, wayward musings make the listener want to grin, weep and gape in wonder. Particularly attractive is how he creates an aura around independent passages as they coalesce slowly into an emotional affect, which then suddenly dissolves. Berta Joncus, BBC Music Mag (December 2012)

01/Dec/2012 - Frescobaldi, Toccate & Partite - Choc de Classica

Pour Fabio Bonizzoni, à la fois claveciniste, organiste et chef de l' ensemble La Risonanza, Frescobaldi est tout ensemble un père et un guide. En témoigne ce très bel album, reflet de l'attraction exercée sur l'exécutant par celui qui fut maître de tribune à Saint-Pierre de Rome. En tout cas, mobilité de pensée et d'invention vont de pair dans cette approche captivante. Un cheminement comme à mi-voix, alternant phrasés aériens et fluides et figurations suspensives. En d'autres termes, une nouvelle manière de concevoir les rapports du musicien avec l'instrument apparaît là, d'où naîtra une nouvelle sensibilité chez les interprètes. Roger Tellart CLASSICA No. 148 (December 2012 - January 2013)

25/Nov/2012 - Observer Review Frascobaldi - Toccatas & Partitas

Who said that the harpsichord was not expressive? Under the nimble fingers of Fabio Bonizzoni, sonorously recorded, this copy of a 1694 instrument resonates with colour and warmth. Frescobaldi’s two books of zany, quasi-improvised toccatas and partitas are here recorded compete. […]. The big surprise comes in the second book, with seven superb pieces for organ, played on an original 1565 instrument in Mantua whose non-well-tempered tuning has to be heard to be believed. Nicholas Kenyon, Observer (25.11.2012)

André Campra, Gli strali d'amore

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André Campra Gli strali d’Amore Divertimento immaginario Fabio Bonizzoni has come up with another imaginative and enticing programme for his latest Glossa release, creating an Italian “pastiche” drama with music by André Campra and with the starring presence of soprano Roberta Invernizzi. This is the next new hit from La Risonanza to follow on discs devoted to music by Handel, Lully and Alessandro Scarlatti. André Campra, a major figure in the world of French opera between Lully and Rameau, was clearly not very impressed by the former’s discouragement of Italian musical practices inside France when he was elevated to the post of surintendant de la musique du roi. In many of Campra’s French opéras-ballets and comédies-lyriques written by him as the 18th century was emerging out of the 17th (the period of the summit and the waning of the reign of Louis XIV) are to be found interpolated many dashing arias with texts in Italian (Campra’s father was Italian-born like Lully padre e figlio) and from some of these Fabio Bonizzoni and Angela Romagnoli have chosen and concocted Gli strali d’Amore (Love’s Arrows), thereby, curiously, following in the footsteps of Campra himself – who was a dab hand at this activity himself, as demonstrated by his own Les Fragments de Mr. De Lully. Joining Bonizzoni and Invernizzi (Glossa has recently issued a “Portrait” album involving the Milanese soprano) in this delightful sequence of recitatives and da capo arias recorded in Tuscan Brunello are the impressive Cyril Auvity and Salvo Vitale, and a sprightly La Risonanza, together with an informative booklet essay from Barbara Nestola. La Risonanza Ana Liz Ojeda, violin Claudia Combs, violin Caterina Dell’Agnello, basse de violon Gabriele Palomba, theorbo Fabio Bonizzoni, harpsichord & direction Total playing time: 65’46 Recorded in Brunello, Italy, in November 2010 Engineered by Roberto Meo Produced by Sigrid Lee Executive producer: Carlos Céster Design: Valentín Iglesias Booklet essay: Barbara Nestola English - Français - Deutsch - Español

GLI STRALI D’AMORE Italian arias by André Campra Recitatives by Angela Romagnoli (text) and Fabio Bonizzoni (music) Interludes by Louis-Nicolas Clérambault Louis-Nicolas Clérambault (1676-1749) 01 Sonata II in G major, La Félicité (C.52), for two violins and basso continuo: Lentement - Allegro André Campra (1660-1744) 02 Recitativo (Lelio): Ah, che d’amor la gioia 03 a 2 (Lelio, Il Dottore): D’un geloso core - Recitativo (Il Dottore): D’amorosi mirti 04 Aria (Lelio): Amanti godete 05 Recitativo (Leonora): Alle vaghe lusinghe 06 Aria (Leonora): All’incanto d’un bel riso 07 Recitativo (Lelio): Adorata Leonora Louis-Nicolas Clérambault 08 Sonata II in G major, La Félicité (C.52): Allegro - [Gavotte] - [Gigue] - Lent André Campra 09 Recitativo (Leonora): Come, come dar fede 10 Aria (Leonora): La farfalla intorno ai fiori 11 Recitativo (Lelio): Idolo mio, t’arresta 12 Aria (Leonora): Pargoletti faretrati 13 Recitativo (Lelio): Idolo mio, già l’alma 14 a 2 (Lelio, Il Dottore): Vezzosette care pupillete 15 Recitativo (Leonora): Non rispondere, Amore 16 Aria (Leonora): Vuo’ vendetta 17 Recitativo (Leonora): Ma, Leonora, che pensi? 18 Aria (Leonora): Lungi da me martiri 19 Recitativo (Leonora): Ma ecco, che la quiete 20 a 2 (Il Dottore, Lelio): Luci belle 21 Recitativo (Leonora): Ecco che già il riposo 22 Aria (Leonora): Amor diletto 23 Recitativo (Il Dottore): La mia amata Leonora 24 a 2 (Il Dottore, Leonora): Bell’idolo d’amore 25 Recitativo (Leonora): Molesto mi è Il Dottore 26 Aria (Leonora): Amor te’l giuro affé Louis-Nicolas Clérambault 27 Sonata V in D major, Chaconne (C.55), for violin and basso continuo André Campra 28 Recitativo (Leonora): L’unico ben 29 Aria (Leonora): Non si puo’ vede 30 Aria (Leonora): Si scherzi si rida 31 Recitativo (Lelio): Se l’amata Leonora 32 Aria (Leonora): Ch’io viva senza te 33 Contre-danse 34 a 3 (Leonora, Il Dottore, Lelio): Tutti lieti festeggiate

Roberta Invernizzi - Handel in Italy

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ROBERTA INVERNIZZI Handel in Italy Roberta Invernizzi, soprano La Risonanza Fabio Bonizzoni Label: Glossa (GCD P10002) 2 CDs - digipak (compilation) — Performing artists Roberta Invernizzi, soprano Romina Basso, alto Thomas E. Bauer, bass La Risonanza Fabio Bonizzoni, harpsichord & direction — Production details Recorded in Saint Michel en Thiérache (France) and Chiesa di San Salvatore (Rodengo Saiano, Brescia, Italy) between 2005 and 2009 Recording engineer: Adriaan Verstijnen Recording producer: Tini Mathot Executive producer: Carlos Céster Cover photograph: Nicola Dal Maso Design: Valentín Iglesias Booklet essay: Stefano Russomanno English Français Deutsch Español Given Roberta Invernizzi’s notable successes on stage (and on recordings) in portraying some of Handel’s more famous female characters from the operas of his maturity, it was an inspired choice of Fabio Bonizzoni to involve the Milanese singer in his series of Le Cantate Italiane di Handel, and Invernizzi appeared on no less than five of the seven discs in that greatly-admired series. This two-disc Portrait album draws on those recordings to highlight the delicious characterizations of Invernizzi in Handel’s vivid and visceral portrayals of nymphs and goddesses such as Diana, Cloris, Amarilis, Lidia and Fili, Arcadian characters one and all but nonetheless human in personality. Alongside the opportunity to experience the “feminine” viewpoint explored through arias from Handel’s Italian Cantatas there is a chance also to enjoy with this new release the instrumental qualities of players found in Fabio Bonizzoni’s La Risonanza.

GEORG FRIEDRICH HANDEL (1685-1759) Arias from Italian Cantatas CD I [60:46] from Le Cantate Italiane di Handel, Vol. 1: Tra le fiamme, HWV 170 01 Tra le fiamme 02 Pien di nuovo e bel diletto 03 Voli per l’aria Pensieri notturni di Filli, HWV 134 04 Giacché il sonno a lei dipinge 05 Ha l’inganno Il delirio amoroso, HWV 90 06 Sonata (instr.) 07 Un pensiero voli in cielo 08 Per te lasciai la luce 09 Lascia ormai le brune vele 10 In queste amene Figlio d’alte speranze, HWV 113 11 Troppo costa 12 Sia guida, sia stella 13 Brillava protetto from Le Cantate Italiane di Handel, Vol. II: Diana cacciatrice, HWV 79 14 La Marche (instr.) 15 Alla caccia, alla caccia 16 Foriera la tromba CD II [61:23] from Le Cantate Italiane di Handel, Vol. V: Clori, Tirsi e Fileno, HWV 96 01 Ouverture (instr.) 02 Cor fedele 03 Quell’erbetta 04 Fermati! No, crudel 05 Tra le fere la fera più cruda 06 Un sospiretto d’un labbro pallido 07 Vivere e non amar, amare e non languir from Le Cantate Italiane di Handel, Vol. VI: Olinto, pastore arcade, HWV 143 08 Sonata (instr.) 09 Oh! Come chiare e belle 10 Al suon che destano 11 Alle voci del bronzo guerriero from Le Cantate Italiane di Handel, Vol. VII: Apollo e Dafne, HWV 122 12 Felicissima quest’alma 13 Ardi, ardori e preghi 14 Una guerra ho dentro il seno 15 Come in ciel benigna stella 16 Deh, lascia addolcire Agrippina condotta a morire, HWV 110 17 Orrida, oscura 18 Renda cenere il tiranno 19 Se infelice al mondo 20 Su, lacerate il seno

Alessandro Scarlatti, Serenate a Filli

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ALESSANDRO SCARLATTI (1660-1725) ‘Serenata à Filli’ a 3 con stromenti (Tacete, aure, tacete) Serenata for 2 sopranos, alto and orchestra Label: Glossa By the time that Alessandro Scarlatti was writing the two serenatas recorded here by Fabio Bonizzoni and La Risonanza and inaugurating an exciting new series on Glossa, that celebratory cantata form, often employing allegorical characters, had been in existence for a mere half century. Scarlatti, as Bonizzoni says, “was one of the main sources of inspiration for Handel whilst the latter was in Italy, and this creates a real continuity with what we have been doing in the recent past”; notably the much-admired septet of recordings devoted to the Saxon composers Italian chamber cantatas. That sense of continuity extends to the fact that the two works on this new disc – Serenata a Filli and Le muse Urania e Clio lodano le bellezze di Filli – were written in Rome in 1706 and probably for the same patron in Francesco Maria Ruspoli who furthered Handel’s own career. Fresh from his harpsichord recording of Bach’s Die Kunst der Fuge, Fabio Bonizzoni now, with the subtle and stylish instrumentalists of La Risonanza, is not only choosing to illuminate an unexplored genre on record, but is also shedding light on an unknown facet of Alessandro Scarlatti’s own prodigious output. Here, the serenatas are given dramatic vitality by regular partners in Bonizzoni’s artistry: sopranos Emanuela Galli and Yetzabel Arias Fernández and countertenor Martín Oro. As well as the elder Scarlatti producing examples of these courtly “dramatic cantatas” future releases on this new series will demonstrate the quality of the contributions in the serenata form by Handel himself and also by Antonio Vivaldi. Nicholas Robinson, Silvia Colli, Ulrike Fischer, Ana Liz Ojeda, violin I Carlo Lazzaroni, Rossella Borsoni, Ulrike Slowik, violin II Gianni de Rosa, Livia Baldi, viola Caterina Dell’Agnello, Claudia Poz, cello Davide Nava, double bass Gabriele Palomba, theorbo Fabio Bonizzoni, harpsichord & direction Total playing time: 63’40 Recorded in Saint-Michel en Thiérache (France) in June 2010 Engineered by Adriaan Verstijnen Produced by Tini Mathot Executive producer: Carlos Céster Design: Valentín Iglesias Booklet essay: Nicolò Maccavino English Français Italiano Deutsch Español

1 Sinfonia 2 Recitativo (Fileno): Tacete, tacete aure 3 Aria (Fileno, Niso): A ragion 4 Recitativo (Niso): Dormite pur 5 Aria (Fileno, Niso): Al mio cordoglio 6 Recitativo (Doralbo): Ah no! Luci, stelle 7 A 2 (Fileno/Niso, Doralbo): Deh! fugate 8 Aria (Doralbo): Se da Filli 9 Recitativo (Doralbo): Ma stolto 10 A 2 (Fileno, Doralbo): Con durissimi legami 11 Recitativo (Fileno): Dunque se fian 12 A 3 (Fileno, Niso, Doralbo): Se v’aggrada 13 Recitativo (Niso): Lasso, che i miei sospiri 14 Aria (Niso): Ombre voi 15 Recitativo (Fileno): Dove si vidde mai 16 Aria (Fileno): No, non m’ingannate 17 Aria (Doralbo): Quell’ardor 18 Recitativo (Doralbo): Folle, ma che deliro! 19 A 3 (Fileno, Niso, Doralbo): Svegliati o bella ‘Le Muse Urania e Clio Lodano le bellezze di Filli’ a 3 con stromenti (O mie figlie canore) Serenata for 2 sopranos, alto and orchestra 20 Introduzzione 21 Recitativo (Sole): O mie figlie canore 22 A 3 (Sole, Urania, Clio): Viva, viva 23 Recitativo (Clio): Sì, sì stupor non fia 24 Aria (Urania): Sua guancia vezzosa 25 Recitativo (Sole): Io, io che il Sole sono 26 Aria (Clio): O che serri 27 Recitativo (Sole): E la bellezza 28 Aria (Sole): Se rivolge 29 Recitativo (Urania): Per celebrarla 30 Aria (Urania): Dunque in lei 31 Recitativo (Clio): Anzi, se virtù 32 Aria (Clio): Questa sì ch’in petto 33 Recitativo (Sole): Cor, se invan s’affatica 34 Aria (Sole): Parto o bella 35 A 3 (Sole, Urania, Clio): Dormi o bella

Reviews

07/Feb/2012 - Early Music review Serenate a Filli (Michael Talbot)

La Risonanza’s recording, under Fabio Bonizzoni, of Alessandro Scarlatti: Serenate a Filli [...] gives us exactly what it says on the tin: two fairly short, encomiastic serenatas written in Rome in 1706 in honour of a lady going under the Arcadian pseudonym of Filli and probably identifiable as the wife of Scarlatti’s occasional patron Prince Ruspoli. In these highly attractive works Scarlatti, with three voices and a string orchestra at his disposal, shows unfailing resource- fulness in the variety of his scoring patterns. Like Bonizzoni’s impressive series of recordings of Handel cantatas and serenatas for Glossa, this is a musicologically informed project, as Nicolò Maccavino’s erudite booklet text makes clear, but the lively, precise and excellently recorded per- formances are anything but academic.

01/Aug/2011 - Gramophone review Serenate a Filli

“Time and again, La Risonanza’s softly affectionate performances are subtly nuanced and beautifully stylish.” David Vickers – Gramophone – August 2011

01/Jul/2011 - Diapason review Serenate a Filli

“Parfait continuiste, [Bonizzoni] excelle à flatter l’atmosphère bucolique de ces partitions arcadiennes, et la façon dont ses excellents violonistes épousent la rhytmique complexe de Scarlatti confère beaucoup de naturel, de suavité à une écriture qu’on a connue plus anguleuse. […] Une belle réussite musicale…” Olivier Rouvière – Diapason – juillet 2011

01/Jun/2011 - Early Music review Serenate a Filli

“The playing of La Risonanza’s strings i sas accomplished as the singing, the CD making for a fully worthy adjunct to the ensemble’s universally praised Handel cantata cycle. Dare one hope this is the first of another series?” Brian Robins – Early Music – June 2011

01/Jun/2011 - Musica review Serenate a Filli

“La lettura di Bonizzoni e della Risonanza […] si dimostra molto rispettosa del testo poetico e delle sue valenze emotive, ma piacevole è anche il colore strumentale che scaturisce dall’affiatamento dell’ensemble e della prassi esecutiva barocca. Ne deriva un linguaggio ricco di sfumature, di sottolineature psicologiche, di umori, di affetti, che rende onore a un padre fondatore della moderna musica europea.” Lorenzo Tozzi – Musica – giugno 2011

21/May/2011 - lietofinelondon.wordpress.com review Serenate a Filli

In short they are stunning. These performers clearly loved performing these works and it shows. Bonizzoni clearly ranks as one of the most intelligent and thoughtful baroque interpreters around today, and his ensemble, La Risonanza are faultless. This music is not easy to perform. Scored simply for strings and continuo it’s simplicity belies the challenge to deliver performances of subtlety, colour and verve. They deliver it in buckets. The playing is articulate, crisp, with a real sense of rhythm and gesture. Yet from the very start they achieve a rare feat – of balance. Balance between the singers and the instrumentalists but also the fine balance of emotions between the individual numbers. Without a doubt, this is a disc to buy for yourself and your friends. http://lietofinelondon.wordpress.com, 21st May 2011

24/Apr/2011 - Scarlatti, Serenate a Filli, CD of the Week, Sunday Times

One of the elder Scarlatti's periods of employment in Rome (1703-08) coincided with Handel's visit to the eternal city. Opera languished under a papal ban, but there was plenty opportunity for both to write quasi-operatic works in the guise of cantatas or serenatas, performed in concert but with a dramatic thread and discernible characters. Handel wrote cantatas for three voices and instruments - Clori, Tirsi e Fileno and Aci, Galatea e Polifemo - and they may have used those of Scarlatti, the foremost Italian opera composer of this day, as models. The Serenata a Filli (Serenade to Phyllis) and Le Muse Urania e Clio Lodano le Bellezze di Filli (The Muses Urania and Cleo praise the Beauty of Phyllis) are contrasting works from 1706: the former a dark, nocturnal sequence of languishing arias, duets and trios sung by two sopranos and an alto in male roles; the latter the muses' brighter meditation on the nymph's beauty, inspired by the personification of the sun (Il Sole). In both cases, these roles would have been sung by castrati; Bonizzoni uses two sopranos and a countertenor. If the music is not quite on the level of Scarlatti's best cantatas - Il giardino d' amore (The Garden of Love) and Endymion and Cynthia are overdue for modern recordings - he always makes a speciality of intertwining high voices. Svegliati, o bella (Awake, my beauty) is ravishingly sung by Emanuela Galli, Yetzabel Arias Fernandez and Martin Oro. Like La Risonanza's award-winning Handel series, this is irresistible. HC

Johann Sebastian Bach, Die Kunst der Fuge

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JOHANN SEBASTIAN BACH Die Kunst der Fuge Fabio Bonizzoni Mariko Uchimura The fact that Bach may have been working on Die Kunst der Fuge up until the point that he died and the fact that the work’s concluding contrapunctus may have been left incomplete are just two factors which have subsequently allowed posterity’s imagination to operate in full flight. When Bach passed away, without further delay his sons busied themselves preparing this score work for printing and were the first in nurturing the legend that Bach, incapable of completing the final contrapunctus, dictated a four-part chorale on his deathbed in order to compensate for the abrupt end and as a way of saying farewell... In any case, what we are left with is a unique composition which for a great deal of time has been considered as a purely theoretical exercise and one which was not intended to be performed. Nowadays, however, many experts think otherwise and among them is Fabio Bonizzoni, who is convinced that this is music written for a keyboard instrument, and very likely for a harpsichord. Our musician has opted with his recording for the structure of Bach’s first autograph version, the so-called P200 manuscript, making use thereby of an additional harpsichord for four of the contrapuncti, something which was suggested by Bach himself in that manuscript. Bonizzoni, whose artistry is currently particularly being appreciated on account of his memorable series of recordings of Handel’s Italian cantatas, presents with this album one of his own most personal projects; but one which also acts as a punctuation point prior to Bonizzoni embarking upon a new set of adventures with his ensemble La Risonanza. Fabio Bonizzoni, harpsichord Mariko Uchimura, harpsichord (tracks 13-17) Total playing time: 63:32 Recorded in Bunnik, Netherlands, 09/2008 Engineered by Adriaan Verstijnen Produced by Tini Mathot Executive producer: Carlos Céster Design: Valentín Iglesias Booklet texts: F. Bonizzoni, A. Hartinger English-Français-Deutsch-Español

JOHANN SEBASTIAN BACH (1685-1750) Die Kunst der Fuge (BWV 1080, after P200) One keyboard 1 Contrapunctus 1 2 Contrapunctus 2 3 Contrapunctus 3 4 Contrapunctus 4 5 Contrapunctus 5 [alla Duodecima] 6 Contrapunctus 6 7 Contrapunctus 7 [in Stylo Francese] 8 Contrapunctus 8 [per Augment et Diminut] 9 Canon in Hypodiapason 10 Contrapunctus 10 11 Contrapunctus 11 12 Canon al roverscio et per augmentationem Two keyboards 13 Contrapunctus 13 [recto] 14 Contrapunctus 13 [inversus] 15 Contrapunctus 14 [recto] 16 Contrapunctus 14 [inversus] Appendix 17 Fuga a tre soggetti

G.F. Händel, Apollo e Dafne, vol. 7

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GEORG FRIEDRICH HAENDEL (1685-1759) Apollo e Dafne Le Cantate Italiane di Handel VII Napoli, 1708 - Hannover, 1710 Label: Glossa Awards: Prix Stanley Sadie Handel 2011 Grammophone Award 2011 for Baroque Vocal Music For the final volume in Fabio Bonizzoni’s survey of cantatas written by Georg Friedrich Handel during his stay in Italy, the background scenery moves – like a reflection of the Grand Tour – from Rome to Naples; probably the troubled times in a Rome besieged by Imperial troops during the War of the Spanish Succession may have encouraged the young, itinerant Saxon musician to consider that heading down south was safer and more conducive for his overall career prospects. It was a time when Handel was conceiving the three highly-charged cantatas to be heard on this disc and he would have been aware that Naples was blest with a bass singer, Domenico Antonio Manna, possessed of a prodigious vocal range, encompassing two octaves and a fifth. And maybe, Handel wrote two of the pieces performed on this disc – Apollo e Dafne and Cuopre tal volta il cielo – with Manna in mind, even if the former cantata was perhaps completed once Handel later had reached Hannover. Carlo Vitali’s engaging booklet essay colourfully helps to summon up early 18th century Neapolitan culture and Handel’s potential place within it. Joining Fabio Bonizzoni and La Risonanza for these modern-day realizations of the Baroque Italian musical world experienced by Handel are Furio Zanasi and Thomas Bauer for the bass roles, as well as soprano Roberta Invernizzi, an integral feature of this revelatory and much-praised Handel series since its inception. Andrea Mion, Elisabeth Baumer, oboe Marco Brolli, traverso Dana Karmon, bassoon Nicholas Robinson, Silvia Colli, Ana Liz Ojeda, Carlo Lazzaroni, Rossella Borsoni, Barbara Altobello, violins Gianni de Rosa, viola Caterina Dell’Agnello, Marco Testori, cello Nicola Barbieri, double bass Fabio Bonizzoni, harpsichord Total playing time: 71’51 Recorded in the English Church, Den Haag (Holland), and in Saint-Michel en Thiérache (France) in January 2007 and June 2009 Engineered by Adriaan Verstijnen Produced by Tini Mathot Executive producer: Carlos Céster Design: Valentín Iglesias Booklet essay: Carlo Vitali English Français Deutsch Español

1-18 Apollo e Dafne (La terra è liberata) [HWV 122] 19-28 Agrippina condotta a morire (Dunque sarà pur vero) [HWV 110] 29-32 Cuopre tal volta il cielo [HWV 98]

Reviews

23/Apr/2011 - Apollo e Dafne wins the Stanley Sadie Handel Prize

We are delighted to award first prize to Fabio Bonizzoni, La Risonanza and Glossa for their recording of Handel‟s dialogue cantata Apollo e Dafne. Probably started in Venice but completed at Hanover in 1710 in the months shortly after Handel left Italy, the enchanting tale of the braggart Apollo falling head over heels in lust with the reluctant nymph Dafne inspired some of the composer‟s most attractive and emotionally diverse early writing. The cantata has rightly become established as one of Handel‟s most popular “Italian” compositions, and this captivating performance by La Risonanza forms a fittingly essential conclusion to Fabio Bonizzoni‟s ambitious project to record all of Handel‟s Italian-period cantate con stromenti for the Spanish early music label Glossa. Thomas E. Bauer and Roberta Invernizzi are to be praised for their outstanding singing, which is always aptly characterised and suavely stylish, and the playing of La Risonanza is gently dramatic and always beautifully detailed. The disc also includes an excellent performance of the dramatic soprano monologue Agrippina condotta a morire and the seldom-recorded bass cantata Cuopre tal volta il cielo (the latter sung by Furio Zanasi). The seventh and final volume of La Risonanza‟s “Le cantate Italiane di Handel” is the third of the series to be awarded the Stanley Sadie Handel Recording Prize (and another three were also runners-up in recent years); the panel of judges hopes that the critical and artistic success of this special project encourages La Risonanza, Fabio Bonizzoni and Glossa to continue exploring this repertoire.

30/Oct/2010 - Apollo e Dafne, Gramophone, CD of the month

“Every so often a series comes along where every issue is worthy of inclusion as an Editor’s Choice. More than that, it seems an injustice not to include it. This has certainly been the case with Bonizzoni’s scintillating Handel traversal. And, with the sense of drama that has been its hallmark, this last instalment may be the best yet. [...] Apollo e Dafne [...] is given, surely, as sublime a performance as any on disc. Usually at this point I would reel off a list of the soloists and their individual merits, but the overwhelming sense of this recording and that of the whole series is of a musical and dramatic collective – one in which the players are characterful soloists every bit as much as the singers and the vocalists are an integral part of the instrumental fabric. [...] There is a sense of glory in spontaneous musik-making, just as there is beauty in every bar.” David Vickers, Gramophone, October 2010

01/Sep/2010 - Musica review Apollo e Dafne

“Bonizzoni guida l’ensemble La Risonanza in equilibrio impeccabile fra passione e cantabilità di gusto italiano” Giovanni Andrea Sechi, Musica, Settembre 201

16/Jul/2010 - The Irish Times review Apollo e Dafne

“The singers are fully up to the challenges. The instrumentalists of La Risonanza are a delight to match.” Michael Dervan, The Irish Times, July 16, 2010

G.F. Händel, Olinto Pastore, vol. 6

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GEORG FRIEDRICH HAENDEL (1685-1759) Olinto pastore Le Cantate Italiane di Handel VI Rome, 1708 Label: Glossa Awards: Gramophone Editor’s Choice 2010 The Accademia degli Arcadi - that thought-provoking and ideas-creating literary circle set up by a group of poets, composers, aristocrats and churchmen, which championed a return to classical (and pastoral) ideals and one of whose keenest members was the Marquis Francesco Maria Ruspoli, Handel’s patron in Rome - forms the aesthetic background for this sixth and penultimate release in the series of Italian cantatas by the Saxon composer which Fabio Bonizzoni and La Risonanza are making for Glossa. In an engrossing essay written by Carlo Vitali (which additionally benefits from the counsels of Michael Talbot), the listener/reader is introduced to the social and political references contained within the pastoral texts of Olinto, pastore arcade, Duello amoroso and Alpestre monte, the three Handel cantatas which make up this CD. For this disc Bonizzoni turns again to three of his regular singers (the sopranos Roberta Invernizzi and Yetzabel Arias Fernández and the mezzo soprano Romina Basso) as well as counting upon the services of his exceptional first violinist, the young Swiss Leila Schayegh, an up-and-coming player whose talent is beginning to be an open secret... The spring of 2010 is anticipated as seeing the conclusion of this Handel collection, the grand finale being that marvellous cantata Apollo e Dafne. Matthias Champon, trumpet Leila Schayegh, solo violin Carlo Lazzaroni, Rossella Borsoni, Silvia Colli, Raffaello Negri, Elena Telò, violins Caterina Dell’Agnello, cello Davide Nava, double bass Total playing time: 68’35 Recorded in Saint-Michel en Thiérache, France, in June 2008 Engineered by Adriaan Verstijnen Produced by Tini Mathot Executive producer: Carlos Céster Design: Valentín Iglesias Booklet essay: Carlo Vitali English Français Deutsch Español

1-19 Olinto, pastore arcade (Oh! Come chiare e belle) [HWV 143] 20-31 Duello amoroso (Amarilli vezzosa) [HWV 82] 32-35 Alpestre monte [HWV 81]

Reviews

01/Aug/2010 - Musica review Olinto Pastore

“La chiave del successo della collana discografica che Fabio Bonizzoni e il suo ensemble dedicano alle Cantate italiane di Händel risiede nella naturalezza con cui gli interpreti aderiscono al dettato testuale, assecondando le richieste delle partiture con una facilità che deriva dalla confidenza con l’autore e con il suo stile, e che consente al musicista di rendere con cura anche le atmosfere, le sfaccettature psicologiche, il microcosmo che l’Autore disegna e fa vivere in questi piccoli melodrammi. Di fronte a pagine piuttosto complesse sotto il versante della tecnica (sia vocale che strumentale) il risultato di apparire spontanei, facendo dimenticare lo sforzo esecutivo, è davvero un raggiungimento notevole.” Mario Marcarini, Musica, Luglio-Agosto 2010

16/Feb/2010 - BBC Music review Olinto Pastore

“All three singers are seductive [...]. In all three works the instrumental playing and intimate, luminous recording, approaches perfection. Outstanding Italian Händel, then, so much so that this writer is sad to hear that the series is almost at an end, with just one more volume to come. Here’s hoping they think again.” Andrew McGregor, BBC Music - 16th February 2010

07/Feb/2010 - Grammophone review Olinto Pastore

“The [sonata] features joyous playing from La Risonanza, and Fabio Bonizzoni's accompaniments for his three excellent singers are meticulously realised and crafted. La Risonanza's subtle and cultivated style produces a revelatory performance..” Gramophone – March 2010

07/Feb/2010 - The Sunday Times review Olinto Pastore

“Bonizzoni's direction and the superb playing of La Risonanza are state-of-the-art Handel” The Sunday Times - 7th February 2010

Jean-Baptiste Lully, Ballets & récits italiens

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JEAN-BAPTISTE LULLY (1632-1687) Ballets & récits italiens Label: Glossa Nowadays, little introduction on record is needed for the dramatic output of Jean-Baptiste Lully: his style has become unquestionably associated with French music of the 17th century. But long before he became the all-conquering composer of tragédies en musique at the court of Louis XIV, Giovanni Battista Lulli, during his early years in Paris and encouraged by the also Italian-born Cardinal Mazarin, helped to spread the music from his native country into the French court. Lully’s own initial compositions - forging his unmistakable style - focused on music for ballets de cour and for these his instrumental entrées were combined with vocal sections in Italian such as arias and Le Florentin’s early treatment of recitative. Not just transalpine composers were welcomed in Paris but singers too. Breaking off briefly from their ongoing grand survey for Glossa of another young itinerant Baroque composer - the Handel of the chamber cantatas with Italian texts - Fabio Bonizzoni and La Risonanza draw us into the Italianate world of Paris of the 1650s and 1660s before leaving us at the gates of Lully’s collaboration with Molière in Le bourgeois gentilhomme and his own entrance into the tragédie en musique. Leila Schayegh, violin Ana Liz Ojeda, violin Caterina Dell’Agnello, basse de violon Gabriele Palomba, theorbo Fabio Bonizzoni, harpsichord & direction Total playing time: 72’03 Recorded in Brunello, Italy, in October 2008 Engineered by Roberto Meo Produced by Sigrid Lee Executive producer: Carlos Céster Design: Valentín Iglesias Booklet essay: Barbara Nestola (CMBV) English Français Deutsch Español

Arias, recitatives, duos, trios and instrumental pieces from: Ballet de la Raillerie, LWV 11 Psyché, LWV 45 Ballet d’Alcidiane, LWV 9 Ballet des Nations, LWV 43 Ballet de l’Amour malade, LWV 8 Ballet de Flore, LWV 40 Ballet des Amours déguisés, LWV 21

Reviews

30/Sep/2010 - www.sverigesradio.se/P2 review Ballets and récits italiens

Lully's Ballets and récits italiens has received the highest possible votes in Sunday’s Radio program in P2: Five stars from each of four music-experts! Furthermore, this CD will be nominated as “The record of the Year 2010” by The Swedish Radio. www.sverigesradio.se/P2

08/Feb/2010 - Musica review Ballets and récits italiens

“Protagonisti di questo inedito itinerario sono il soprano Emanuela Galli […] e alcuni strumentisti dell’ensemble La Risonanza diretto con la consueta pertinenza stilistica da Fabio Bonizzoni.” Claudio Bolzan – Musica – Febbraio 2010

13/Sep/2009 - The Sunday Times review Ballets and récits italiens

“An attractive disc for lovers of the byways of the high baroque” The Sunday Times - 13th September 2009

Michel Corrette, Concertos pour orgue, Noëls

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Harmonia Mundi distribution TEM 316039 1 CD - 79'44 Tempéraments, Musique classique, Radio France Orgue Jean Boizard (1714) de l'Abbaye de Saint-Michel-en-Thiérache Michel Corrette [1707 – 1795], fils de l’organiste (Gaspard Corrette) traverse le XVIIIe siècle avec l’aisance professionnelle et l’opportunisme esthétique d’un homme aux dons multiples, perméable à toutes les tendances de son époque, soucieux de sa réussite et Michel Corrette a fait évoluer la musique d’orgue des austères versets écrits par son père jusqu’aux pages les plus libres de ce qu’il est convenu d’appeler le style rococo aux confins du classicisme, entremêlant sans hiérarchie la musique italienne vers laquelle ses goûts l’inclinaient et la tradition française qu’il avait génétiquement acquise. Il n’est donc pas surprenant que les six concertos pour l’orgue datés de 1756, mais probablement antérieurs de quelques années, portent l’empreinte de ces influences conjuguées. Leur forme, calquée sur le prototype italien en trois mouvements vif/lent/vif, admet quelques licences : deux gavottes prennent place en guise de mouvement lent dans le premier concerto, une aria à variations dans le cinquième, quatre séquences au lieu de trois dans le troisième. La partie d’orgue se distingue par la virtuosité déployée : Corrette est aux commandes de son instrument et ne se prive pas d’en tirer les effets les plus marquants, jouant sur les contrastes sonores des claviers qu’il parcourt d’arpèges rapides tout en maintenant le parfait équilibre avec les instruments accompagnants. Quant aux noëls, Corrette laisse toute latitude aux interprètes comme le rappelle Fabio Bonizzoni. Ensemble La Risonanza : Marco Brolli, flûte traversière Fiorenza De Donatis, Elin Gabrielsson, Elena Telò, Silvia Colli, violons Gianni Maraldi, alto Caterina Dell'Agnello, violoncelle

Michel Corrette 01-03 Concerto pour orgue Op.26 n.1 in Sol majeur 04-06 Concerto pour orgue Op.26 n.2 in La majeur 07 Noël: Les Bourgeois De Chastres 08 Noël: Bon Joseph Ecoute Moy 09-12 Concerto pour orgue Op.26 n.3 in Re majeur 13-15 Concerto pour orgue Op.26 n.4 in Ut majeur 16 Noël: Un jour Dieu se résolut 17 Noël: Vous qui désirez sans fin 18-20 Concerto pour orgue Op.26 n.5 in Fa majeur 21-23 Concerto pour orgue Op.26 n.6 in Re majeur

G.F. Händel, Aminta e Fillide, vol. 4

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GEORG FRIEDRICH HAENDEL (1685-1759) Aminta e Fillide Le Cantate Italiane di Handel IV Rome, 1707-1708 Label: Glossa Awards: Gramophone Editor’s Choice 2008, Sunday Times' Classical CD of the week Two new voices join Fabio Bonizzoni's project of recording the entirety of the cantatas with instrumental accompaniment which Handel composed when in Italy: sopranos Nuria Rial and Maria Grazia Schiavo enter the compan of Roberta Invernizzi, Emanuela Galli, Raffaella Milanesi and Salvo Vitale, the singers who we have been able to hear in the first three volumes of the collection. In this fourth instalment (out of a total of seven CDs planned for release up to the end of 2009), we rediscover the patronage of the Marquis Francesco Maria Ruspoli, which lay behind the important cantata a due entitled Aminta e Fillide; this was a work which was to provide the composer with a veritable seam of musical material for use, as "borrowings", in his operas Agrippina and Rinaldo - one of the reasons perhaps why this cantata has been rarely performed and even less recorded. Both Aminta e Fillide and the extensive cantata for soprano, Clori, mia bella Clori, which rounds off this new disc, had their origins in the special environment of the Accademia degli Arcadi, that literary society founded by a group of aristocrats, cardinals, poets, thinkers and composers in 1690, which used to hold its meetings in idyllic spots around Rome. Karl Böhmer's informed notes contained in the CD booklet suggest a number of stimulating points of view about the meaning and significance of these works for the Arcadians. Carlo Lazzaroni & Elin Gabrielsson, solo violins Barbara Altobello, Elena Telò, Silvia Colli, Giacomo Trevisani, violins Gianni de Rosa, viola Caterina dell’Agnello, cello Davide Nava, double bass Fabio Bonizzoni, harpsichord Recorded in Saint Michel en Thiérache, France, in June 2007 Engineered by Adriaan Verstijnen Produced by Tini Mathot Executive producer: Carlos Céster Design: Valentín Iglesias Booklet essay: Karl Böhmer English Français Deutsch Español

1-22 Aminta e Fillide (Arresta il passo) [HWV 83] 23-30 Clori, mia bella Cloria [HWV 92]

Reviews

31/Dec/2009 - Aminta e Fillide: The panel of judges of The Stanley Sadie Handel Recording Prize 2009

“The panel of judges also congratulates this year's close runner-up: Aminta e Fillide by La Risonanza, directed by Fabio Bonizzoni (Glossa). In any other year La Risonanza’s captivating performance of Handel's early Roman cantata might have comfortably won 1st prize, and the panle gives a special commendation to La Risonanza's lovingly prepared series of Handel's Italian cantatas with instruments.” The panel of judges of The Stanley Sadie Handel Recording Prize 2009

01/Mar/2009 - Musica review Aminta e Fillide

“…con soli dieci agguerriti strumentisti Bonizzoni ne realizza una lettura lucida, sostenuta dalla volontà di esaltare il senso drammatico del libretto, consentendo alle due interpreti di scandire con agio ogni sillaba, in virtù di tempi meditati e sempre tesi alla realizzazione di bel canto e bel suono. Obiettivi pienamente raggiunti anche nella spendida cantata Clori, mia bella Clori. […] partecipe e vigile cura della Risonanza, in cui spiccano la fantasia e la grazia di Bonizzoni, che ci ricorda praticamente ad ogni passo concertato ed in ogni recitativo la sua origine di clavicembalista solista.” Mario Marcarini – Musica – Marzo 2009

01/Mar/2009 - Sunday Times review Aminta e Fillide

“another collector’s item from Bonizzoni and his dazzling ensemble.” Hugh Canning – Sunday Times – March 2009

01/Dec/2008 - Gramophone review Aminta e Fillide

“La Risonanza once again show that Handel’s youthful Italian compositions are breathtaking masterpieces of considerable refinement, subtlety and quality.” David Vickers – Gramophone – December 2008

01/Oct/2008 - The Sunday Times review Aminta e Fillide

“...this must-have series remain eminently collectable, not only for the quality of Handel’s youthful music for his patrons on his grand tour of the Italian peninsula (1706-09), but for the flair and verve of the performances... Schiavo and Rial both have bright, agile voices, and sing the words with real bite. La Risonanza accompanies in immaculate style. ” The Sunday Times – October 2008

G.F. Händel, Le Cantate per il Marchese Ruspoli: Armida Abbandonata ed altre, vol. 2

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GEORG FRIEDRICH HANDEL (1685-1759) Le Cantate Italiane, vol. II Rome, 1707 Label: Glossa Awards: Times 27.7.07 Classical cd of the week Geoff Brown Sunday Times Hugh Canning 5 stelle Prelude Classical Music Awards 2008 Luca Marzana, trumpet Nick Robinson, solo violin Carlo Lazzaroni, violin Elena Tel ò, violin Barbara Altobello, violin Elisa Citterio, violin Livia Baldi, violin Caterina Dell’Agnello, cello Vanni Moretto, violone Playing time: 74’03 Recorded at Chiesa di San Salvatore, Rodengo Saiano, Brescia (Italy), in October 2005 Engineered by Adriaan Verstijnen Produced by Tini Mathot Executive producer: Carlos Céster Editorial assistant: María Díaz Art direction & design: oficina tresminutos 00:03:00 Booklet essay: Karl Boehmer Booklet in English-Français-Deutsch-Español

1-7 Armida Abbandonata (Dietro l’orme fugaci), HWV 105 8-14 Diana Cacciatrice (Alla caccia), HWV 79 15-23 Tu Fedel? Tu Costante?, HWV 171 24-31 Notte Placida e Cheta, HWV 142 32-37 Un’Alma Innamorata, HWV 173

Reviews

01/Oct/2007 - Scherzo review Le Cantate per il Marchese Ruspoli

“Bonizzoni ofrece interpretaciones articuladas con agilidad y fraseadas con gusto y elegancia.” Pablo J. Vayón – Scherzo

01/Oct/2007 - Gramophone review Le Cantate per il Marchese Ruspoli

“The Italian ensemble again deliver delectable performances at an unmatched level of thoughtful preparation, penetrating programming and artistic interpretation. La Risonanza play with spirited elegance. Fabio Bonizzoni nurtures performances that illustrate the rethorical power in Handel's music without ever over-egging the pudding: for instance, Galli's expression is more convincing than I have heard before, and the softly duelling violins are nothing short of perfection.” David Vickers – Gramophone – October 2007

01/Sep/2007 - Musica review Le Cantate per il Marchese ruspoli

“…lettura ineccepibile della rara Diana cacciatrice HWV 79. […] Armida abbandonata, affrontata con intensità e commovente immedesimazione. Esaltante in particolare l’intesa con il cembalo di Bonizzoni nell’aria «Ah, crudele!» ma sempre eccellente nel complesso l’affiatamento fra voce e strumenti, tesi a ricreare con successo il clima di colto intrattenimento di cui Händel seppe essere geniale interprete nella Roma di trecento anni fa.” Mario Marcarini – Musica – Settembre 2007

01/Jul/2007 - The Times review Le Cantate per il Marchese Ruspoli

“Almost any CD that ditches the jewel case for a cover you want to stroke gets my vote. Especially a CD of Handel; especially a further volume in the series launched last year by Fabio Bonizzoni's group La Risonanza and the Spanish label Glossa. Directing from the harpsichord, Bonizzoni encourages direct and bouncy playing from the instrumental forces. This is a CD mounted with true musicianship and love, and I commend it into your care.” Geoff Brown – The Times – July 2007

01/Jul/2007 - The Sunday Times review Le Cantate per il Marchese Ruspoli

“The first volume of this delightful series, featuring Invernizzi, and Bonizzoni's period ensemble, ran away with the prestigious Stanley Sadie proze for this year's best Handel recording. This is even better. A superlative disc.” Hugh Canning – The Sunday Times – July 2007

G.F. Händel, Le Cantate per il Cardinal Ottoboni, vol. 3

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GEORG FRIEDRICH HANDEL (1685-1759) Le Cantate Italiane, vol. III Rome, 1707 Label: Glossa Awards: ffff Télérama 10 di De Luister Mike Fentross, baroque guitar Andrea Mion, oboe Rey Ishizaka, oboe Nick Robinson, solo violin Carlo Lazzaroni, violin Barbara Altobello, violin Rossella Borsoni, violin Silvia Colli, violin Fabio Ravasi, violin Gianni De Rosa, viola Caterina Dell’Agnello, cello Olaf Reimers, cello Vanni Moretto, violone Playing time: 66’32 Recorded at the English Church, Den Haag, Holland, in January 2007 Engineered by Adriaan Verstijnen Produced by Tini Mathot Executive producer: Carlos Céster Editorial assistant: María Díaz Art direction & design: oficina tresminutos 00:03:00 Booklet essay: Livio Marcaletti Booklet in English-Français-Deutsch-Español

1-7 Ero e Leandro (Qual ti riveggio), HWV 150 8-10 No se emendará jamás, HWV 140 11-13 Spande ancora a mio dispetto, HWV 165 14-19 14-19 Ah! Crudel, nel pianto mio, HWV 78

Reviews

01/Aug/2008 - Gilles Macassar on Raffaella Milanesi

“La soprano italienne Raffaella Milanesi s'ébroue dans ce répertoire haendélien en séduisante sirène. Inutile de lui résister.” Gilles Macassar

01/Aug/2008 - Le Monde de la Musique review Le Cantate per il Cardinal Ottoboni

“Fabio Bonizzoni et son équipe [...] savent evoquer une tempête sentimentale ou une intense déploration. Raffaella Milanesi et Salvo Vitale intègrent ce projet où rayonnent les chaudes couleurs de la Risonanza.” Philippe Venturini – Le Monde de la Musique – juillet-août 2008

20/Jun/2008 - Review: G.F. Händel, Le Cantate per il Cardinal Ottoboni, vol. 3

"Raffaella Milanesi's singing is as emotionally raw as possible while remaining impeccably stylish and melodically suave as she describes the anguished Hero's discovery of her drowned lover Leander's body. Fabio Bonizzoni ensures that the performances crackle with dramatic tension or plumb the depths of desolate melodic melancholy according to what Handel's music demands, but the most impressive aspect of these performances is the conductor's awareness of story-telling and judicious moulding of the musical flow. The short cantata No se emenderá jamás – Handel's only composition with Spanish words – has been recorded before but never with the rapturous effect achieved here. The bass cantata Spande ancor a mio dispetto also receives a benchmark performance. The concluding work, Ah!crudel nel pianto mio, presents conflicting emotions between elation and misery in love: the long introductory sonata is joyously played, with each musical gesture superbly executed, and Milanesi's singing is by turns chilling, sensitive, spirited or tender. This disc is further testament to the marvellous subtlety and richness of Handel's Roman music and contains Handel-singing, playing and direction of the absolute highest order.” –Gramophone 2008

G.F. Händel, Le Cantate per il Cardinal Pamphili, vol. 1

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GEORG FRIEDRICH HANDEL (1685-1759) Le Cantate Italiane, vol. I Rome, 1706-1707 Label: Glossa Awards: Prix Stanley Sadie Handel 2007 Isabel Lehmann, recorder Emiliano Rodolfi. oboe & recorder David Plantier, solo violin Oliva Centurioni, violin Elena Telò, violin Gianni de Rosa, viola Caterina Dell’Agnello, cello & viola da gamba Rebecca Ferri, cello Vanni Moretto, violone Playing time: 66’14 Recorded in Brescia, Italy, in 2005 Engineered by Adriaan Verstijnen Produced by Tini Mathot Executive producer: Carlos Céster Editorial assistant: María Díaz Art direction & design: oficina tresminutos 00:03:00 Booklet essay: Ellen T. Harris Booklet in English-Français-Deutsch-Español

1-7 Tra le fiamme (Il consiglio), HWV 170 8-11 Pensieri notturni di Filli (Nel dolce dell’oblio), HWV 134 12-22 Il delirio amoroso (Da quel giorno fatale), HWV 90 23-28 Figlio d’alte speranze, HWV 113

Reviews

07/Mar/2007 - STANLEY SADIE HANDEL RECORDING PRIZE 2007

“This year we are delighted to congratulate Roberta Invernizzi, La Risonanza and Fabio Bonizzoni upon the award of first prize for their exemplary disc Le Cantate per il Cardinal Pamphili. This is La Risonanza’s first volume in what the group hopes will be a complete series of the ‘cantate con strumenti’ (i.e. cantatas accompanied by instruments in addition to basso continuo) that the young Handel composed during a fertile period working in Italy (1705-10). The programme’s coherence, Invernizzi’s authoritative yet delightful singing, and La Risonanza’s theatrically coloured playing have raised the performance standard for Handel’s Italian cantatas. Bonizzoni’s refreshing direction is entirely devoid of the coolly dispatched detachment or mannered feyness often found in this repertoire. The early indication is that this lovingly prepared series will be of the utmost important to Handel lovers, and we offer our utmost encouragement to La Risonanza for its endeavours to complete the project in time for the 250th anniversary of Handel’s death in 2009. We congratulate all performers involved and the pioneering Spanish early music label Glossa for producing a lovingly prepared recording, and acclaim it as the finest testament of Handel’s genius produced on CD during 2007.” –STANLEY SADIE HANDEL RECORDING PRIZE 2007

01/Nov/2006 - Musica review Le Cantate per il Cardinal Pamphili

“L’ascolto è entusiasmante, grazie alla maestria di Bonizzoni che dal cembalo guida un ensemble affiatato” Mario Marcarini – Musica – Novembre 2006

01/Nov/2006 - BBC Music Magazine review Le Cantate per il Cardinal Pamphili

“...plenty to admire and to enjoy.” Nicholas Anderson – BBC Music Magazine

01/Nov/2006 - Le Monde de la Musique review Le Cantate per il Cardinal Pamphili

“Roberta Invernizzi fait cependant valoir un itlien impecable, de fraiches coulours et une souple ligne mélodique. La Risonanza lui répond par des uberbes solos, un discours convaincu et finemenet articulé.” Philippe Venturini – Le Monde de la Musique – Novembre 2006

02/Oct/2006 - Gramophone on Roberta Invernizzi and Le Cantate per il Cardinal Pamphili

“This splendid disc raises performance of Handel's cantatas to a new level. Roberta Invernizzi [...] brings the dramatic sentiments of the poetry fully to life, while also delivering inch-perfect coloratura and stylish phrasing. Her blend of spectacular singing and emotional substance [...] is possibly the most satisfying interpretation on disc.” –David Vickers, Gramophone, October 2006

15/Aug/2006 - The Times review Le Cantate per il Cardinal Pamphili

“The soprano Invernizzi sings with a larynx of steel on this stunning disc of early Handel Italian Cantatas. [...] The band sound inspired. Stunning.” –Rick Jones, The Times, August 2006

14/Apr/2006 - Sunday Times review Le Cantate per il Cardinal Pamphili

"Here is joyful news for Handelians: La Risonanza and Glossa plan to record all Handel’s early Italian cantatas with chamber-orchestra accompaniment, a body of 30-plus works, some of which have never been recorded before. [...] Invernizzi has a fresh, bright soprano that supplies constant delight, and the playing of La Risonanza is unfailingly stylish." –Sunday Times

Johann Sebastian Bach, Goldberg Variations

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THE GOLDBERG VARIATIONS Johann Sebastian Bach Fabio Bonizzoni In this new stage we have begun at Glossa this year, where we exclusively present recordings that contribute something new while aspiring to last in the music lover’s memory and evade the implacable onslaught of the new market rules –in other words, where we raise even higher our already demanding quality standards–, introducing a new version of the Goldberg Variations would seem a risky venture, to say the least. But we assure you that, were we not certain of its success, we would not have launched thisproject. The recording speaks for itself, and it is only a matter of months before it shares the Olympus of the Goldberg with Gould, Leonhardt, Tureck, and Hantaï. This is so because, difficult as it may seem, Bonizzoni manages to offer a new perspective which avoids all straining after effects and extravagance to present a magical, intelligent, subtle, solid, coherent, and current version. And everything cooperates to induce with this masterpiece the intellectual pleasure which only the greatest works of art can prompt: the music, the performance, the sound, the presentation (being featured in Platinum, our most contemporary collection, is quite a statement in itself), the essays... essays deserving a mention of their own, because both Stefano Russomanno and Reduán Ortega also achieve the almost unattainable: to further enrich the magical halo surrounding the best composition of all times. Fabio Bonizzoni, harpsichord Playing time: 79’05 Recorded at Chiesa del Colletto, Roletto (Italy), in May 2004 Engineered by Adriaan Verstijnen Produced by Tini Mathot Executive producer: Carlos Céster Editorial assistant: María Díaz Cover design & illustrations: oficina tresminutos 00:03:00 Booklet essays: Stefano Russomanno and Reduán Ortega Booklet in English-Français-Español-Deutsch

JOHANN SEBASTIAN BACH (1685-1750) Goldberg Variations, BWV 988 aria variatio 1 variatio 2 variatio 3 - canone all'unisono variatio 4 variatio 5 variatio 6 - canone alla seconda variatio 7 - al tempo di giga variatio 8 variatio 9 - canone alla terza variatio 10 - fughetta variatio 11 variatio 12 - canone alla quarta variatio 13 variatio 14 variatio 15 - canone alla quinta variatio 16 - ouverture variatio 17 variatio 18 - canone alla sexta variatio 19 variatio 20 variatio 21 - canone alla settima variatio 22 - alla breve variatio 23 variatio 24 - canone all'ottava variatio 25 - adagio variatio 26 variatio 27 - canone alla nona variatio 28 variatio 29 variatio 30 - quodlibet aria da capo

Domenico Scarlatti, The last sonatas

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THE LAST SONATAS Domenico Scarlatti Label: Glossa Awards: 5 stelle Amadeus Eccezionale Scherzo 5 stars Goldberg Generally, the CDs dedicated to Domenico Scarlatti’s harpsichord sonatas are made to include the widest possible sampling of different aspects of the composer’s work, from the youthful pieces, full of vitality, to the mature compositions which give priority to melodic qualities, by way of the works which feature daredevil virtuosity. This is not the case here. After years of preparing his incursion into the world of Scarlatti, the exquisite Fabio Bonizzoni concentrates on the late works of the composer, in the belief that it is there that the real masterpieces are to be found. Extremely beautiful, profound, deeply felt and introspective music on a disc which clearly standsout in every respect. We have decided to include this recording in the new Glossa Platinum collection because of the aesthetic affinities between Scarlatti’s production and our contemporary world, some of which are mentioned in the excellent essay written by Stefano Russomanno for the liner notes. Moreover, this CD sees the light in the context of a new phase of Bonizzoni’s work for Glossa, following years of bringing to the fore unjustly forgotten music from the Italian Baroque repertory. This year will not only witness the release of this marvellous jewel of Scarlatti’s, but will also mark the beginning of an ambitious exploration of the world of Bach, in a solo setting as well as with La Risonanza. Playing time: 74’33 Recorded in Utrecht (Maria Minor), Holland, in June 2003 Engineered by Adriaan Verstijnen Produced by Tini Mathot Executive producer: Carlos Céster Editorial assistant: María Díaz Cover design & illustrations: oficina tresminutos 00:03:00 Booklet essays: Fabio Bonizzoni and Stefano Russomanno Booklet in English-Français-Español-Deutsch

DOMENICO SCARLATTI (1685-1757) Keyboard sonatas 1 Sonata in si b maggiore K 550 2 Sonata is si b maggiore K 551 3 Sonata in sol minore K 546 4 Sonata in sol maggiore K 547 5 Sonata in mi b maggiore K 507 6 Sonata in mi b maggiore K 508 7 Sonata in fa maggiore K 540 8 Sonata in fa maggiore K 541 9 Sonata in re minore K 552 10 Sonata in re minore K 553 11 Sonata in fa maggiore K 542 12 Sonata in fa maggiore K 543 13 Sonata in si b maggiore K 545 14 Sonata in si b maggiore K 546 15 Sonata in si minore K 87

Discography

The Sonatas for Violin and Cembalo obbligato Vol. 2

The Sonatas for Violin and Cembalo obbligato Vol. 1

J.S. Bach - Harpsichord Concertos Vol. 2

J.S. Bach - Harpsichord Concertos Vol. 1

Henry Purcell: Dido and Aeneas

G. F. Haendel: Duetti e Terzetti italiani

G.F. Handel, Duetti da Camera

G.F. Handel, Aci, Galatea e Polifemo HWV 72

Antonio Vivaldi, La Senna festeggiante

Girolamo Frescobaldi, Toccatas & Partitas

Antonio Vivaldi, Opera arias

André Campra, Gli strali d'amore

Roberta Invernizzi - Handel in Italy

Alessandro Scarlatti, Serenate a Filli

Johann Sebastian Bach, Die Kunst der Fuge

G.F. Händel, Apollo e Dafne, vol. 7

G.F. Händel, Olinto Pastore, vol. 6

Jean-Baptiste Lully, Ballets & récits italiens

G.F. Händel, Clori, Tirsi e Fileno, vol. 5

Michel Corrette, Concertos pour orgue, Noëls

G.F. Händel, Aminta e Fillide, vol. 4

G.F. Händel, Le Cantate per il Marchese Ruspoli: Armida Abbandonata ed altre, vol. 2

G.F. Händel, Le Cantate per il Cardinal Ottoboni, vol. 3

G.F. Händel, Le Cantate per il Cardinal Pamphili, vol. 1

Johann Sebastian Bach, Goldberg Variations

Franz Joseph Haydn, Concerti per organo

Luigi Rossi, Cantate a tre voci

Domenico Scarlatti, The last sonatas

Giuseppe Sammartini, I concerti per organo

Barbara Strozzi, Arias & cantatas

Giovanni Picchi e la scuola veneziana

Bernardo Storace, Selva di varie compositioni

Francesco Geminiani, Pièces de Clavecin

Johann Caspar Kerll: Missa "Non sine quare"

Giovanni Salvatore, Messa Della Domenica

Johann Sebastian Bach, Flötensonaten

Claudio Merulo, Toccate, Ricercari, Canzoni d'Intavolatura d'Organo

Girolamo Frescobaldi, Opere vocali e strumentali

Andrea Gabrieli, Pass'e mezzo e altre musiche per tastiera

Sigismondo d'India, Arie e Lamenti

Baldassarre Galuppi, Sonate per Clavicembalo e Organo