Note Etiche
Note Etiche


28/Nov/2016 - Cité de la Musique et de la Danse - 15 novembre 2016

L’ensemble baroque La Risonanza avait laissé dans l’air de la salle de la CMD le souvenir de sa venue en février dernier avec « Didon et Enée » de Purcell, en concert mais malicieusement théâtralisée. Avec sept solistes, dont Raffaella Milanese et Richard Helm, La Risonanza et le chœur Costanzo Porta, la production avait été pour beaucoup le point culminant de la saison musicale 2015-16. Nous allions même en entendre parler à ce concert, alors que Fabio Bonizzoni dirigerait un tout autre programme.

Le concert a débuté par une sinfonia d’une cantate de Bach, ajoutée au programme annoncé, en hors d’œuvre avant le plat principal. Bach a écrit quatre cantates pour voix d’alto, et la mezzo-soprano tchèque Markéta Cucrova allait en chanter deux, « Widerstehe doch der Sünde » et « Geist und Seele werd verwirret ». Entre les deux, Fabio Bonizzoni jouerait un concerto pour orgue de Händel, et la soirée finirait par un concerto pour trois hautbois de Telemann.

La première cantate commence par une dissonance, rare chez Bach, comme pour annoncer le vacarme que provoquent le péché et ses tentations. Une musique sombre pour ce face-à-face entre la faute et la vertu, auquel la voix de la soliste convenait à la perfection.Ensuite, avant de s’asseoir à l’orgue, Fabio Bonizzoni a expliqué la fonction attribuée par Händel à « l’obligé », celle de divertir le public pendant les entractes de ses opéras. L’orgue s’amuse, les autres instruments l’accompagnent sagement. Incités à bavarder comme au 18e, sommes tout de même restés sages aussi.

La seconde cantate présente ce que Bonizzoni appelle « l’indicible  stupéfaction » de l’esprit et l’âme devant la vision divine. C’est une réponse lyrique, presque d’opéra, à l’autre cantate.

Enfin, les trois hautbois du concerto de Telemann nous ont fait atterrir en douceur après cet envol.

Le concert terminé, le lancement a été annoncé du premier disque enregistré pendant un concert dans la salle. D’autres concerts l’ont été pour la radio, des ensembles ont pris la salle pour faire des enregistrements. Mais « le premier disque commercial », selon Jean-Michel Verneiges, directeur de l’Association pour le Développement des Activités Musicales de l’Aisne (Adama), est « Didon et Enée ».

Le CD paraît sous le label néerlandais Challenge Classics.


Denis Mahaffey - Le Vase Communicant

20/Nov/2016 - Dido and Aeneas

There are many good reasons to enjoy this live recording: delightfully pungent playing from La Risonanza, crisply articulated chorus work from Coro Costanzo Porta and some fine solo singing are just some, but what really marks it out is its scholarly approach. Using scores prepared for a 1704 London performance, Fabio Bonizzoni recasta the Sorceress as a bass and the sailor as a soprano. Why? Because the opera was staged with the prologue from Mars and Venus by John Eccles and Godfrey Finger - also heard here - and the vocal parts correlate. And an immaginative reappraisal of original pronunciation makes us listen afresh to the familiar libretto.


Stephen Pritchard

The Observer - 20 novembre 2016

20/Dic/2013 - Aci, Galatea e Polifemo
Depuis le premier volume des cantates, La Risonanza a conquis le soyeux, l’assise, le naturel. De ce côté, rien que du plaisir, d’autant que Fabio Bonizzoni devine le pouls et l’équilibre de chaque numéro. Ivan A. Alexandre – Diapason – Octobre 2013
13/Dic/2013 - Aci, Galatea e Polifemo
Jetzt tritt eine Neuproduktion hinzu, die den “State of the Art” markiert und sich damit anschickt, Referenzstatus zu erlangen. […] Das kammermusikalisch klein gehaltene Ensemble (exzellent: La Risonanza) verfügt im „Gebläse“ über eine Oboe, die alternierend mit einer Blockflöte zum Einsatz kommt, und nicht weniger als vier Trompeten. All das sorgt für ein farbenreiches Klangbild, das Zusammen mit der fantasievollen Komposition ein ungetrübtes Hörvergnügen schafft. Arnd Richter - Fono Forum – 01/14
05/Dic/2013 - Aci, Galatea e Polifemo
This disc serves as a coda to Fabio Bonizzoni's excellent recordings of Handel's Italian cantatas. Graham Lock - Early Music Today
01/Dic/2013 - Aci, Galatea e Polifemo
Dazzling playing, intelligent singing and sizzling direction make this a spirited 90 minutes of pure pleasure. Claudia Pritchard - The Independent – 1st December 2013
25/Nov/2013 - Aci, Galatea e Polifemo
Es war eine gute Entscheidung, gerade dieses spezielle Segment aus Händels Ouevre dem Dirigenten Fabio Bonizzoni und seinem Ensemble La Risonanza anzuvertrauen. Bei ihnen kommen viele Musikertugenden zusammen, bleiben kaum Wünsche offen, was Präzision und Spielfreude angeht. Volkmar Fischer – - 25th November 2013
19/Nov/2013 - Aci, Galatea e Polifemo
Dass 'Aci, Galatea e Polifemo' die letzte CD der erfolgreichen Händel-Serie von Fabio Bonizzoni sein soll, ist sehr schade, hat die Reihe doch viele spannende Entdeckungen aus Händels Jugend in brillanter Neuinterpretation bereitgehalten, die jenseits der hundertsten Aufnahme des 'Messias' ein farbiges, unbekannteres Bild von Händel entworfen hat. Hoffentlich finden sich die Musiker bald wieder für neue aufregende Projekte zusammen. Dr. Christiane Bayer – Klassik Magazine – 19th November 2013
10/Ott/2013 - Aci, Galatea e Polifemo
Throughout the singers are finely accompanied by the members of La Risonanza and we get some lovely solos. Bonizzoni directs with clear affection and brings out the lively dancing rhythms of the score. […] If you have the other discs from this series then you will definitely want this one. Even if you haven't, it makes a delightful introduction to Handel's Italian period. - 10th October 2013
01/Ott/2013 - Aci, Galatea e Polifemo
The playing of La Risonanza is lively and supple. Richard Wigmore – Gramophone
01/Ott/2013 - Aci, Galatea e Polifemo
Like Risonanza's previous issues, this deserves to be garlanded with awards. Hugh Canning – Sunday Times Culture – 1st September 2013
01/Ott/2013 - Aci, Galatea e Polifemo
It has a succession of quite wonderful arias which Fabio Bonizzoni and his crack team (who have now recorded all Handel's Italian cantatas) realise with edgy eloquence. Nicholas Kenyon – Observer – 9th September 2013
01/Ott/2013 - Aci, Galatea e Polifemo
Sans doute le meilleur du disque est-il à trouver dans l'accompagnement complice de Bonizzoni, lequel donne tout son poids poétique à ce colloque sentimental où les instruments chantent autant que les voix. Jérémie Bigoire – Classica – October 2013
01/Ott/2013 - Aci, Galatea e Polifemo
Fabio Bonizzoni’s excellent ensemble plays it with terrific verve, and the fabulously free­wheeling arias – Handel before he donned the Hanoverian straitjacket – are dispatched with style and energy by Roberta Invernizzi (Aci), Blandine Staskiewicz (Galatea), and Lisandro Abadie as the love­enraged monster Polifemo. Richard Morrison – The Times – 14th September 2013
01/Ott/2013 - Aci, Galatea e Polifemo
Fabio Bonizzoni and La Risonanza ravish the ear with this latest addition to their Handel series. […] Bonizzoni propels the action forward in defiance of a somewhat halting sotry line. The deftness of tempos, sweetness of variations, detailing of dynamics, and above all the musicians’ total investment in the drama are irresistible. […] This is a benchmark recording of Aci, Galatea e Polifemo. Berta Joncus – BBC Music Magazine
16/Lug/2013 - York concert, 8th July 2013
La Risonanza's concert of Corelli's vocal works may have seemed to be a misprint given that he didn't actually write any. Yet Corelli - whose tercentenary was celebrated by the festival - was such a trendsetter in early 18th-century Rome that his disciples adapted many of his pieces for singers. The interplay between Yetzabel Arias Fernandez and Elena Biscuola demonstrated that Corelli produced some spectacular chamber duets, literally without even trying. *Alfred Hickling - The Guardian, 10th July 2013
16/Lug/2013 - York concert, 8th July 2013
The festival’s delightful Italian invasion continued on Monday with a further exploration of Baroque works from the Eternal City, Rome. But this was more than a mere tribute to Arcangelo Corelli, who died there exactly 300 years ago after effectively ruling over Italian music for three decades. We were introduced to Corelli’s vocal music. Given that none is known to have survived, this was surprising. It turns out that an obscure itinerant cellist­composer, Antonio Tonelli, added well­known religious texts to several Corelli sonatas for teaching purposes. They proved a revelation. La Risonanza consists of the normal trio sonata personnel, two violins and a cello, with Fabio Bonizzoni conducting from the harpsichord.For the Corelli/Tonelli pieces, Cuban­born soprano Yetzabel Arias Fernandez combined her cool, straight tone with the warmer sounds of Elena Biscuola, a genuine contralto. This unlikely duo worked remarkably well in four adaptations, shedding new light on Corelli’s compositional approach. The singers were equally lustrous in two secular Handel duets, one written as late as the 1740s. Corelli’s purely instrumental imagination shone brightly in a four­part Ciaconna. Two lively trio sonatas, designed for liturgical use, were given vivid foundation by Caterina Dell’Agnello’s agile cello. *Martin Dreyer – The Press – 11th July 2013
16/Lug/2013 - York concert, 8th July 2013
BBC Radio 3 will be broadcasting highlights from La Risonanza concert in York on the Early Music Show this Sunday at 1pm. The programme will also be available here:
16/Lug/2013 - Reims concert, 1st July 2013
En jeu, des artistes italiens du plus haut niveau : l’ensem- ble « La Rizonanza » qui, sous la férule de son chef le claveci- niste Fabio Bonizzoni, incarne le dynamisme du mouvement baroque italien actuel. L’ensem- ble se propose d’animer avec le maximum d’authenticité et de vie la musique italienne des XVIIe et XVIIe siècles. […] Impressionnés, nous le fûmes également par la précision, la justesse, l’ardeur et les lumi- neuses sonorités de l’orchestre. Les fougueux « virtuosi » don- naient deux grands concertos de l’opus VI de Corelli. Deux concerti pour cordes éblouis- sants, dont la pureté du style, l’équilibre des dialogues suscitaient l’admiration de tous. Un large effectif (19 instrumentis- tes) déployait un jeu enflammé, un sens précis du discours, de l’ornementation et du con- traste, bien caractéristiques de l’éloquence italienne. Mais, ô surprise ! deux trompettes et un trombone se mêlaient aux cordes ! Génial coup d’audace... pour colorer les tutti et souligner le continuo, comme il était courant de le faire en Italie, selon les lieux. Palpitant ! Surtout dans une basilique... *Francis Albou – L’Union – 2th July 2013
16/Lug/2013 - Boston concert - 12th June 2013
There were five fine singers on stage in Jordan Hall on Wednesday evening, only one of whose lips moved. Fabio Bonizzoni brought a small contingent of his Italian early music group, La Risonanza, for an almost all-Handel program as part of the currently unfolding Boston Early Music Festival. Two violinists, a cellist and Bonizzoni at the harpsichord played with electrifying style and beauty, and they sang through their instruments as surely as the remarkably gifted soprano Roberta Invernizzi did through hers. […] Bonizzoni’s La Risonanza has a large history with Handel’s Italian cantatas and it showed. This vast repertoire is still too little known by the continually expanding audience for Handel’s operas and oratorios. However, with Invernizzi on hand, joined by the extraordinary violinists, Ana Liz Ojeda and Claudia Combs, and the seemingly joined-at-the hip continuo of cellist Caterina Dell’Agnello and keyboardist Bonizzoni, we were blessed with an ensemble of equals where all breathed the same air of experience and ability. […] A hearty thank you to Bonizzoni, Invernizzi and their spirited colleagues. Come back, please, and bring a few more of your colleagues next time. *Donald Teeters – The Boston Musical Intelligencer – 14th June 2013
07/Lug/2013 - Napoli concert - 9th May 2013
Bel programma, bel gruppo, bel suono, bel contesto: inevitabilmente bello il concerto che la Fondazione Pità de’ Turchini ha offerto, nello storico Palazzo Zevallos Stigliano, riaprendo le porte ai solisti dell’ensemble “La Risonanza”. […] A rendere davvero gradevole la performance […] è la capacità di connotare, attraverso la musica, il gusto e l’immagine di un’epoca, passando per la cura dei dettagli ma anche – o soprattutto – per la scelta di un linguaggio capace di disgiungere l’arditezza formale dal piacere salottiero. Stefano Valanzuolo – Il Mattino – 17 maggio 2013
05/Lug/2013 - Napoli concert - 9th May 2013
Si sono esibiti i raffinatissimi solisti de „La Risonanza“ [...] Di loro è difficile dire se più sia da lodare il controllo del volume o la sapienza concertante o il raffinatissimo fraseggio con la delicatezza dell’attacco di ogni nota nel suono cristallino. Gli artisti sono stati applauditi intensamente e quasi ci si imbarazzava di fare baccano con il batter di mano dopo un’esperienza così squisita e rarefatta. Sicuramente i compositori in locandina avranno desiderato ai loro tempi esecuzioni così tornite e piene di nouances. E qui si celebrava un incredibile connubio tra competenza musicologica, che studia e scopre i testi, con la perizia nella prassi intensamente comunicative. Mli – Roma, 21 maggio 2013
02/Giu/2013 - Washington concert
Here is the link to listen to La Risonanza's "stellar debut" in the U.S.:
30/Mag/2013 - Concert in Badia Polesine - Haendel's duets, 31st May 2013
Concert in Badia Polesine - Haendel's duets «Grande successo di pubblico venerdì sera per il concerto dell'ensemble La Risonanza, una delle orchestre italiane su strumenti originali di maggior successo internazionale, che ha portato sul palco del teatro sociale "Eugenio Balzan" di Badia Polesine 'Haendel's duets', considerato dalla critica musicale il miglior progetto discografico haendeliano del decennio. Lo spettacolo, inserito nella rassegna di musica danza e teatro Musikè, promossa e organizzata dalla fondazione Cassa di Risparmio Padova e Rovigo, ha visto l'ensemble, diretto da Fabio Bonizzoni,affiancato dalle voci prestigiose del soprano Roberta Invernizzi e del mezzosoprano Marina de Liso in un programma dedicato alle cantate italiane di Haendel. [...] Straordinarie le due musiciste Roberta Invernizzi, fra le più incisive voci di soprano del repertorio barocco ed il mezzosoprano Marina de Liso che ha sfoggiato il suo splendore vocale, riscuotendo applausi ed ovazioni dal pubblico dopo i due bis dedicati a Monteverdi. [...] Dopo aver registrato vari CD dedicati a Frescobaldi, Sammartini e Haydn, ha intrapreso la registrazione integrale delle cantate di Haendel, composizioni che proprio grazie alla Risonanza hanno riacquistato la notorietà che meritano».
20/Mar/2013 - BBC Clandon House concert
Here is the link to listen again to the wonderful concert at Clandon Park on Sunday:
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)
14/Gen/2013 - Le Matin des musiciens, lundi 14 janvier 2013, 11h
14 janvier 2013, h 11:00 Le Matin des musiciens, lundi - Madrigaux sans mots: les toccatas de Frescobaldi, avec Fabio Bonizzoni France Musique The podcast will be available for one month.
01/Gen/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/Dic/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/Dic/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/Dic/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/Dic/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)
01/Dic/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)
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)
16/Nov/2012 - Herne's Caino
"Das Ensemble La Risonanza erweckte das 1707 in Venedig uraufgeführte Oratorium unter Leitung von Fabio Bonizzoni mit sattem und farbenreichem Spiel zum Leben." "The ensemble La Risonanza revived the 1707 oratorio first premiered in Venice under the direction of Fabio Bonizzoni with a rich and colourful game to life." Christian Wildhagen, FAZ (Frankfurter Allgemeine Zeitung für Deutschland)
23/Ott/2012 - Royaumont, Les Toccatas et partitas de Frescobaldi
Fabio Bonizzoni excelle dans l'art d'interpréter le texte des toccatas et d'y apporter sa touche, infiniment sensible. Il lui offre ce surcroît de constante surprise qui porte ces pages généreuses dont la liberté de chaque instant, sur le plan rythmique et métrique, se nourrit de retards, d'anticipations, de décalages (on pensait à Cortot dans Chopin !) : vie ardente et grâce à l'état pur, stylées. [...] On croise les doigts pour avoir un jour le bonheur de les réentendre, au disque, dans l'interprétation de Fabio Bonizzoni : ce que l'on a entendu à Royaumont était d'anthologie. Michel Roubinet,
01/Lug/2012 - Fono Forum review Vivaldi Opera Arias
Das sitzt und perlt! Selbst die tückischsten Verzierungen und Koloraturen singt Roberta Invernizzi mit beflügeldner Leichtigkeit … Dieser Vivaldi klingt frisch und befreit, auch dank des agilen Orchesters. Fono Forum - July 2012
01/Lug/2012 - Gramophone review Vivaldi Opera Arias
[...] Another winner for La Risonanza and a triumph for Invernizzi. Richard Wigmore - Gramophone, July 2012
23/Giu/2012 - Artdesk review Vivaldi Opera Arias
[...] Invernizzi's lightning delivery matched by Fabio Bonizzoni's sizzling accompaniments. [...] Totally compelling. Graham Rickson - Artdesk, 23 June 2012
22/Giu/2012 - Musikzen review Vivaldi Opera Arias
En voilà une qui mériterait d’être reconnue plus qu’elle ne l’est aujourd’hui : une voix claire et agile dans tout son registre, une diction de qualité, une prosodie subtile. […] Fabio Bonizzoni et l’ensemble La Risonanza complètent le plaisir d’écouter ce disque fait d’une rigueur musicale jamais pesante. Albéric Lagier -, 22 June 2012
14/Giu/2012 - SWR2 Alte Musik review Vivaldi Opera Arias
Ich bin ganz hin und weg … Roberta Invernizzi ist perfekt für die Achterbahn der Gefühle geeignet, die uns in Vivaldis Welt begegnet, nachgezeichnet mit seiner unvergleichlichen Art, Emotionen dramatisch einzufangen. Und La Risonanza hüllt ihren Gesang wie mit einem perfekt sitzenden Kleid ein. SWR2 Alte Musik -14 June 2012
01/Giu/2012 - Rondo review Vivaldi Opera Arias
Man spürt in jedem Moment ihre schlafwandlerische Sicherheit und tiefe Verwurzelung mit diesem Repertoire. Das ist Barockgesang in Vollendung! Rondo
01/Giu/2012 - Opernglas review Vivaldi Opera Arias
Es ist bewundernswert, wie diese begnadete Sängerin den verschiedensten Rollen und Situationen gerecht wird, wie sie halsbrecherische Koloraturen ebenso meistert wie die ausdrucksvoll-lyrischen Passagen. Opernglas - June 2012
01/Giu/2012 - Amadeus review Vivaldi Opera Arias
Ennesimo bel cd dell'ensemble La Risonanza del clavicembalista Fabio Bonizzoni che, con questa registrazione vivaldiana, festeggia il ventesimo album e omaggia il talento drammatico di Roberta Invernizzi, fra le più incisive voci di soprano del repertorio barocco che col complesso è cresciuta collaborando a svariate incisioni. [...] Qui è una vera e propria star: assecondata con grande acume stilistico dall'esperienza del direttore milanese, Roberta affronta un florilegio di arie d'opera difficilissime e ammalianti [...]. Nicoletta Sguben - Amadeus - June 2012
22/Mag/2012 - hr CD-Tipp review Vivaldi Opera Arias
Virtuosität allein hebt Roberta Invernizzis neue Vivaldi-CD noch nicht aus der Masse hervor, denn Stimmakrobatik gehört in diesem Repertoire zu den Grundvoraussetzungen. Mitreißend wird ihre Darbietung durch Gestaltungskraft, dramatische Schwingungen, die selbst an technisch heiklen Stellen stets hör- und spürbar bleiben. Diesen Eindruck noch zu potenzieren vermag das fabelhafte Ensemble La Risonanza, das seinem Namen voll gerecht wird und mit Fabio Bonizzoni am Pult in minimaler Besetzung ein Maximum an griffigem Klang erzeugt. hr CD-Tipp – 22 May 2012
14/Mag/2012 - review Vivaldi Opera Arias
Bezaubende Klänge und wunderbare Stimme Fabio Bonizzoni und sein Ensemble La Risonanza sind mehr als bloße Begleiter. Die Instrumentalisten durchleben die Emotionen der Musik gemeinsam mit der Sängerin und setzen immer wieder eigene Impulse. Ab und an treten einzelne Instrumente für kurze Soli aus dem Ensemble hervor, um sich gleich wieder in den Gesamtklang einzufügen oder an die Sopranstimme anzuschmiegen. Die 14 Musiker von La Risonanza und Fabio Bonizzoni spielen wie auf Zehenspitzen und geben Roberta Invernizzi damit viel Raum. Den nutzt die Sängerin für viele feine Nuancen und magische Momente. Schwer, sich von diesen Klängen und der wunderbaren Stimme nicht bezaubern zu lassen, auch falls man eher kein Vivaldi-Fan ist. Aber solche Vorbehalte haben sich mit dieser CD sowieso erledigt. Weil Roberta Invernizzi einfach süchtig macht. Da ist es fast schon egal, was sie singt. Marcus Stäbler - - 14.05.2012
06/Mag/2012 - rbb kulturradio review Vivaldi Opera Arias
Vivaldis Musik erstrahlt in einer Schönheit, die selbst eingefleischte Barock-Kenner verblüffen dürfte. Invernizzis Technik ist von atemberaubender Perfektion. Ihre Koloraturen perlen scheinbar mühelos. rbb kulturradio CD der Woche - 6 May 2012
30/Apr/2012 - mdr Figaro review Vivaldi Opera Arias
Roberta Invernizzi hat dafür die perfekte Stimme. Sie hat die Virtuosität, die Technik und auch das Lyrische, das man braucht, um die ganze barocke Pracht zu entfalten. Dazu ein klangsinnliches, schön transparentes Ensemble wie La Risonanza, das mit altem Instrumentarium erstaunlich frisch klingt. mdr Figaro – 30 April 2012
13/Apr/2012 - New CD release: 'Vivaldi - Opera arias'
We are happy to announce a new CD release by La Risonanza in collaboration with Roberta Invernizzi: 'Vivaldi - Opera arias' will be published on May. More info on
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.
14/Dic/2011 - Vespro Monteverdi, Verona
Fabio Bonizzoni ha dato alla sua lettura un taglio rigoroso e allo stesso tempo pieno di vivacità. Il gruppo strumentale, formato da due cornetti, tre tromboni, due violini e il continuo era di assoluto valore: i fiati, in particolare, si sono fatti apprezzare per la perfezione nell´agilità e nelle ornamentazioni (cornetti) e per la misura sonora e il magnifico impasto (tromboni). All´apparato strumentale si aggiungevano dieci interessantissime voci, che hanno arricchito l´esecuzione in modo determinante, soprattutto nei mottetti, dove appaiono in grande evidenza sostenute solo dal continuo. I due soprani, Laura Antonaz dal colore cristallino, e Yetzabel Arias Fernandez dal timbro pieno sull´intera estensione, hanno eseguito perfettamente il «Pulchra es»; il tenore Raffaele Giordani, strepitoso nel «Nigra sum», accanto ai bravi Giuseppe Maletto e Gianluca Ferrarini nell´impervio «Duo Seraphim»; i due bassi Sergio Foresti e Marco Scavazza, dalle voci piene e potenti, i contralti Jean Francois Lombard, Elena Carzaniga e il tenore Cristian Bugnola a completare gli organici e nei frequenti doppi cori. La bravura di tutti questi artisti che ci è piaciuto menzionare, è stata quella di sapersi trasformare essi stessi in altri strumenti, nelle mani di Bonizzoni, in grado di modulare perfettamente i volumi (...), di respirare insieme, di avere, insomma una visione globale davvero comune e «concertante» nel senso più profondo del termine. Al termine la Cattedrale gremita si è sciolta in quasi dieci minuti di applausi che hanno dato la misura dell´impatto emotivo sul pubblico.
12/Dic/2011 - Vespro Monteverdi, Vicenza
Fabio Bonizzoni ha proposto di questo monumentale capolavoro un´interpretazione nella quale il puntiglio filologico non esclude e anzi determina una vivacità e una ricchezza comunicativa davvero coinvolgenti. Grazie alla qualità di un gruppo di esecutori - strumentisti e cantanti - di altissimo livello, l´esecuzione, quasi costantemente giocata "in parti reali" (cioè con un esecutore per linea musicale), è vissuta di una straordinaria varietà di accenti, sempre molto scandita ritmicamente ma anche pronta ad arrotondare la frase nei melismi più suadenti, impeccabile nei passaggi di virtuosismo, accentuati anzi con scioltezza accattivante. Brillantezza e meditazione, eleganza e rigore hanno creato così, a loro volta, una particolare e vivace polifonia, con suono e linee vocali sempre magnificamente nitidi. A San Felice, pubblico discretamente numeroso e avvinto. E alla fine, successo trionfale.
07/Ott/2011 - La Risonanza wins the Gramophone award 2011
La Risonanza is the winner of the Gramophone Award 2011 for Baroque Vocal Music. The award is for Apollo e Dafne, last recording of Handel italian cantatas. To read more,
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
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.
28/Mar/2011 - Fabio Bonizzoni at Teatro alla Scala
L'orgia di una Casanova al femminile scuote la Scala Lunedí 28.03.2011 10:52 - Applausi interminabili e scroscianti ieri sera alla Scala, per un piccolo capolavoro di musica e balletto, costumi e luci,scene e regia.C'era la prima de L'altro Casanova, con l'impareggiabile ballerina russa Polina Semionova, brillantemente spalleggiata da un non meno bravo Gabriele Corrado.Sublimi le musiche settecentesche, da Malipiero, ad Albinoni a Bach,Boccherini e Schnittke.Ma soprattutto a Vivaldi, nei cui concerti si sente "schiumare" l'indole femminile. Perfetta l'esecuzione del giovane direttore Fabio Bonizzoni.
28/Gen/2011 - La Risonanza, Vespro della Beata Vergine - Madrid
28/01/2011 Auditorio Nacional, Sala Sinfónica. La Risonanza. Director: Fabio Bonizzoni. Vespro della Beata Vergine. Claudio Monteverdi. Destacable en la interpretación fue el marcado gusto e inquietud por el detalle, cualidad que ante el cuidado meticuloso de las pequeñas trivialidades, se va construyendo y edificando –nuevamente– una determinada visión de la obra, una versión, llegando a obtener un resultado final grandioso. Es así como el director Fabio Bonizzoni concilió y entretejió los diferentes rasgos de expresión de los ejecutantes, en una única sonoridad que denotaba un empaste meditado y muy particular. Continuando con esta preocupación por la minuciosidad expresiva, tanto los diálogos entre los cantantes, como entre los instrumentistas, estuvieron acompañados de efectos visuales y de distribución en el espacio, detalles que clarificaban el fraseo y el juego de ecos existentes en la creación. De este modo, una propuesta interesante y muy bien tramada, en la que la perfecta unión estilística de la prima y seconda pratica intrínsecas en la obra, equivale a la fusión interpretativa de voces e instrumentos que realizó La Risonanza.
30/Ott/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
20/Gen/2009 - BBC Music Magazine on La Risonanza's project of Handel's Italian Cantatas
"The recording project of Handel's Italian Cantatas is the first listed in the ESSENTIAL UNKNOWN HANDEL – 10 MUST-HEAR WORKS by BBC Music Magazine for the 250th anniversary of the composer's death. Fabio Bonizzoni is recognized as one of the 10 World's Handelians." –BBC Music Magazine
20/Giu/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
“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
02/Ott/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/Ago/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