"Old music is more often a sensible reconstruction of disappeared sounds, but we feel that the version of La Risonanza at Purell's younger contemporaries would certainly have been appreciated."Kerk & Leven, 16-11-2017
Fabio Bonizzoni is considered one of the leading Italian harpsichordists and organists of his generation. His playing has been defined as “Bright and buoyant, with no tricks […] but plenty of energy and brilliance” (Gramophone).
Having graduated in baroque organ and harpsichord at the Royal Conservatory of The Hague in Ton Koopman’s class, he played for several years with some of the most important baroque orchestras of our times, in particular with the Amsterdam Baroque Orchestra, Le Concert des Nations and Europa Galante. Since 2004, he exclusively devotes himself to his activities as soloist and director, in particular of his own orchestra La Risonanza.
His impressive discography includes works by Claudio Merulo, Giovanni Salvatore, Giovanni Picchi, Francesco Geminiani, Bernardo Storace, Domenico Scarlatti, Johann Sebastian Bach (Goldberg Variations and the Art of Fugue), Girolamo Frescobaldi (First and Second Book of Toccatas).
With La Risonanza he has completed the project of recording all the Italian Cantatas with instruments by G.F. Handel: this project has been named by the Gramophone Magazine the most important of the decade, and 3 of the 7 CDs of the collection have been awarded the prestigious Handel Stanley Sadie Prize. The last disc of this series, Apollo e Dafne, won the Gramophone Award.
Since 2016, he and La Risonanza are recording for Challenge Classics: a Purcell’s Dido and Aeneas and two volumes of Bach harpsichord concertos have appeared so far.
His activity is also enriched by commitments as guest conductor both of baroque and modern orchestras. Since 2014 he is artistic director of Note Etiche, a festival focusing on links between music, ethics and sustainability and, since 2016, he and his orchestra enjoy artistic residency at Palazzina Liberty in their hometown Milan.
Westminster Abbey is not just the place where British monarchs were crowned, it's also the place where many English great men were burried. Among those was also Henry Purcell. This final resting place had a double meaning for him: firstly, with his status as a composer he deserved a spot in the abbey, but secondly this was also the location where he worked during the reign of Charles II and William & Mary. Most people will recognise the last aria of Purcell's beloved opera Dido and Aeneas: "Remember me, but ah! forget my fate." More abstract, but less trenchant are his brilliant Fantasias (for viola da gamba) which Purcell composed in the early 1680s. These are small, at times daringly expirimental works, which he carefully dated. Yet, Purcell mostly developed himself as a composer of vocal music, with numerous odes, 'welcome songs', motets (anthems), songs for domestic use (both sacred and secular, both monophonic and polyphonic) and music for theatre.
Old music is more often a sensible reconstruction of disappeared sounds, but we feel that the version of La Risonanza at Purell's younger contemporaries would certainly have been appreciated.
Kerk & Leven, 16-11-2017
(...) The choruses go well enough, but they are far more convincing sung one-per-part, a I believe Purcell would have expected. (...)
Opera Magazine, 01-4-2017
The result of the emotional and natural singing of the protagonists and the musical refinement of the ensemble is a peculiar music theatre mixture.
Fono Forum, 01-3-2017
The love of Mars and venus proves a delightful postscript.
BBC Music Magazine, 01-3-2017
With a typical British attitude, the critic is a bit surprised and annoyed by the fact that a foreigner dares to play Britsh musical milestones, so he can't help repeating twice the term 'decent' for the performance....
Altogether offers the conductor with his ensemble La Risonanza an extremely colorful, crunchy, exciting interpretation.
Rather interesting and beautiful: the recitatives of Dido in the last scene, the traditional approach of the pronunciation, and more than correct fire from La Risonanza.
Consigliati Da Classic Voice - 09/01/2017
Consigliati Da Classic Voice, 09-1-2017
La Risonanza and Coro Constanza Porta playing with great enthusiasm
The result is a very lively and varied created and especially emotionally touching scenario around Dido…Choir and orchestra are playing utterly brilliant!
OPER! Das Magazin, 02-1-2017
Add Challenge Classics Highlights
Grand as the orchestra La Risonanza and chorus Constanza Porta, in this production on historical instruments are masterfully understand an immersive mood image to create
Ihr Opernratgeber, 27-11-2016
An imaginative reappraisal of original pronunciation makes us listen
afresh to the familiar libretto. Recommended.
The Guardian, 20-11-2016
First release on our label by Fabio Bonizzoni, one of Baroque music performance leading conductors of our time.
EOS Classical News Australia, 17-10-2016