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.
The collective artistic endeavours of Glossa have recently been recognized with an award of Label of the Year for 2014 by a Europe-wide panel of classical music media organizations – print and online magazines, as well as radio broadcasters – who form the International Classical Music Awards (ICMA) jury. This is to be presented at the Award Ceremony and Gala Concert in the Philharmonic Hall in Warsaw in April 2014. The Glossa adventure began back in 1992, led by two pioneering Spanish instrumentalists – brothers José Miguel Moreno and Emilio Moreno – who set about creating a treasure trove of recorded excellence, notably in the ever-developing field of “early music”. To this day, the label remains focused on its artists, supporting their musical journeys and inclinations, with the artistic direction entrusted to Carlos Céster. With a small team around him Céster operates from San Lorenzo de El Escorial, surrounded by the abundant natural riches of the mountains around Madrid and with an austere Monasterio in sight to ever encourage him in the rigour of his work. [read more...]
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...]
Having entranced audiences across Europe with their performances of the music which Georg Frideric Handel wrote during his time in Italy – mainly in Rome – between 1706-9, and having also delighted record buyers with the seven-volume series of “Le Cantate Italiane di Handel”, released on Glossa, Fabio Bonizzoni and his singers and musicians of La Risonanza have now gone on to impress the jury of the 2011 Gramophone Classical Music Awards. On October 6, at a ceremony held in The Dorchester hotel in London, the British magazine bestowed upon the Italian musicians a prestigious Gramophone Award in the Baroque Vocal category, for the final volume in the Handel series, Apollo e Dafne (a recording which contains two further cantatas, Agrippina condotta a morire and Cuopre talvolta il cielo as well as the title work). The singers on this disc were soprano Roberta Invernizzi and the two basses Thomas E. Bauer and Furio Zanasi. [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 attention on record to the music of Handel - which has, thus far, yielded seven discs devoted to the early Italian-texted cantatas - has just now had the good fortune to receive this year’s Stanley Sadie Handel Recording Prize for Apollo e Dafne, the final release in the present series for Glossa. This is the third time that Bonizzoni and his period-instrument ensemble La Risonanza have won this prestigious prize for their series of “Le Cantate Italiane di Handel” (previous winners were the first release, Le Cantate per il Cardinal Pamphili and the fifth, Clori, Tirsi e Fileno); three other recordings have also featured as runners-up. [read more...]