Founded by Fabio Bonizzoni in 1995 La Risonanza began as a vocal and instrumental group before expanding its forces to become one of today’s major period instrument baroque chamber orchestras. The group began recording for Glossa in 2002.
Particular focus is given to music in the Italian style composed between the end of the 17th and the first half of the 18th centuries, exemplified by a seven volume series currently in progress for Glossa to record all the secular-texted Italian Cantatas with instrumental accompaniments written by Georg Frideric Handel. Joining La Risonanza for this (and other) projects are many of the current talented specialist guest vocalists, including Roberta Invernizzi, Nuria Rial and Emanuela Galli. The first volume in the series, Le cantate per il Cardinal Pamphili, was awarded The Stanley Sadie Handel Recording Prize for 2007.
Leading European festivals where La Risonanza have performed in recent years include the Festival Oudemuziek (Utrecht), Quincena Musical (San Sebastián), Semana de Música Religiosa (Cuenca), Lufthansa Festival of Baroque Music (London), Festival Internacional de Santander, Rheingau Musik Festival, MDR Musiksommer, Musica e Poesia a San Maurizio (Milan), Teatro San Carlo (Naples), Arsenal (Metz), Styriarte Festival (Graz), Accademia di Santa Cecilia (Rome) and the Società del Quartetto (Milan).
Since 2007 La Risonanza has been the orchestra-in-residence of the French département of l’Aisne.
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Aside from directing La Risonanza the Milanese harpsichordist and organist Fabio Bonizzoni (he also teaches at the Royal Conservatory of The Hague, the Conservatory of Trapani and the Conservatorio della Svizzera Italiana in Lugano) has introduced us to his view on Glossa of keyboard Sonatas by Domenico Scarlatti and to a thrilling reading of Bach’s Goldberg Variations, among other recordings.
Initial studies in Italy were continued under Ton Koopman, being his only student graduating both in baroque organ and as a harpsichord soloist. His concert activities take him to concert halls throughout Europe (such as to the Auditorio Parco della musica, Rome, Arsenal, Metz, Teatro Real, Madrid, Salle Gaveau, Paris) as well as to the major early music festivals.
Fabio Bonizzoni’s instinct for honing in on the music of the great Baroque composers, such as Bach and Handel, and finding each time a fresh and inspirational response (proving once more, if needed, their greatness), now turns to two contrasting Italian masters in two separate recordings released on Glossa, which are devoted to the music of Antonio Vivaldi and Girolamo Frescobaldi. As the director of La Risonanza, Bonizzoni has demonstrated a rare understanding for the ever-evolving nature of Handel’s response to changing working stimuli. He also has an innate response to the depths of Italian musical expression as a keyboard player. So, there is no better musical direction for Bonizzoni’s journey to head off towards than the music of Girolamo Frescobaldi. By way of an introduction to both his new Frescobaldi and Vivaldi recordings Fabio Bonizzoni here touches upon certain key issues regarding his Italian musical forebears. [read more...]
Roberta Invernizzi is very clearly one of the finest sopranos to be heard today in the Baroque - and especially the Italian Baroque - repertory, as evidenced by the beauty that she brings not only to operatic roles and vocal roles which have been essayed by many other famous singers both on record and in performance, but also by her sense of clarity in and characterization of unknown music from the 17th and 18th centuries. The rediscovery of so much Italian music is a reflection of the labour and artistry of numerous musical minds but as a kind of prima donna inter pares the Milanese soprano stands out from many others for the intensity of her approach, to the point that she is emerging as a new muse for other distinguished modern-day practitioners of the Italian Baroque such as Fabio Bonizzoni and Antonio Florio who contribute here their own thoughts on the artistry of Roberta Invernizzi, adding to the soprano’s own considerations about her musical life.[read more...]
As talented as Fabio Bonizzoni is in performing music from across the Baroque spectrum – witness his Glossa recording of Bach’s Die Kunst der Fuge – he has become increasingly celebrated for his interpretations of music from Italy. This embraces not only the music of native composers such as Alessandro Scarlatti (the Serenate a Filli album) but, of course, the series of Handel Cantatas in Italian, Lully’s Ballets et récits italiens and now there is a pastiche opera with music by André Campra (born in Aix-en-Provence, but whose father was from Turin). The new recording, Gli strali d’Amore sees Bonizzoni and La Risonanza joined by haute-contre Cyril Auvity and bass Salvo Vitale as well as Bonizzoni’s fellow Milanese musician, the soprano Roberta Invernizzi, whose career as a solo star – as opposed to as her being an ensemble singer – is now starting to blossom (as they say, watch this space...). [read more...]
Fabio Bonizzoni’s series, with La Risonanza, of Handel Italian cantate con stromenti for Glossa has now come to a conclusion with seven volumes recorded, but not before the group were awarded the 2010 Stanley Sadie Handel Recording Prize for the fifth instalment, Clori, Tirsi e Fileno (with sopranos Yetzabel Arias Fernández and Roberta Invernizzi and contralto Romina Basso in the three named roles). In commending the disc the jury of the Recording Prize made the following comments, “La Risonanza produces a delightful performance that presents all of the strengths and virtues we have come to associate with their recent explorations of Handel’s music. [read more...]
In the third instalment in Fabio Bonizzoni’s survey of the secular cantatas with instrumental accompaniment composed by Georg Frideric Handel during his stay in Italy, come a quartet of works associated with the Venice-born maecenas Pietro Ottoboni – including the substantial Ero e Leandro, the libretto for which is plausibly considered to have been written by the Cardinal Ottoboni himself. As well as the seldom-performed cantata for bass, Spande ancora a mio dispetto and Ah! Crudel, nel pianto mio scored for soprano solo, Bonizzoni also directs the Spanish-texted No se emendará jamás.[read more...]