“Gemma Bertagnolli has a bright and clear voice, through which a dramatic edge occasionally shows, but most telling is its vulnerable quality, well suited to the complaints of the injured lovers who populate these imaginative works. An agile technique is also a major boon, enabling her to negotiate Vivaldi’s doleful chromaticisms and dazzling wide leaps, high notes and rapid runs, with equal expressiveness”.
“Gramophone”, (Vivaldi,Chamber Concertos, cd naïve) Gemma Bertagnolli is currently considered one of the reference interpreters of his generation for baroque Italian music.
Her great experience was born from the collaboration with the major specialistsof execution on original instruments including Rinaldo Alessandrini-Concerto Italiano,Giovanni Antonini-Giardino Armonico, Alfredo Bernardini-Zephiro, Fabio Biondi-EuropaGalante, Ottavio Dantone-Byzantine Academy, as well as Ivor Bolton, Christophe Coin,Diego Fasolis, René Jacobs, Ton Koopman, Trevor Pinnock, Christophe Rousset, FedericoMaria Sardelli, Jean-Christophe Spinosi, Andrea Spering, Freiburger Barockorchester,Akademie für Alte Musik Berlin, Montis Regalis Academy. Her young career begins after winning the AsLiCo competition and the Mozart Prize at the Viñas Competition in Barcelona, and she debuts shortly after in major theaters and international music institutions, including Teatro alla Scala di Milano, Maggio Musicale Fiorentino, Théâtre des Champs Elysées, AccademiaNational of Santa Cecilia, Concertgebouw of Amsterdam, Salzburger Festspiele, RossiniOpera Festival, boasting important collaborations (Riccardo Muti, Lorin Maazel, ZubinMehta) with a repertoire ranging from Mozart (Pamina-Zauberflöte, Ismene-Mitridate,Susanna-Nozze) and Rossini (Amenaide-Tancredi) to Richard Strauss (SophieRosenkavalier).
Thanks to the interest in the baroque, she immediately enriched the operatic activity; among the productions that have seen Gemma Bertagnolli as protagonist are: Emira nel Solimano di Hasse with René Jacobs at the Staatsoper unter den Linden in Berlin; The return of Ulysses in homeland and The coronation of Poppea with Ivor Bolton and Luca Ronconi in May Florentine Music; The coronation of Poppea with Rinaldo Alessandrini and Graham Vick at the Comunale di Bologna, and with Ottavio Dantone at the Theaters of Cremona, Como, Ferrara and Pavia; Nero in Agrippina and Maddalena in The Resurrection of Händel with the Garden Armonico and Giovanni Antonini at the Styriarte Festival in Graz; Aristea in the Olympiad of Pergolesi with Ottavio Dantone at the Pergiolesi Festival of Jesi and at the Ravenna Festival; Pleasure ne Händel’s triumph of Time and Disappearance with Concerto Italiano and Rinaldo Alessandrini, and Marc Minkowski at the Opernhaus Zürich; Rosane in The truth in cimento by Vivaldi with Ensemble Matheus and Jean-Christophe Spinosi; Ersilla in Orlando Finto Pazzo; Megacle in the Vivaldi Olympics in Paris at the Théâtre des Champs Elysées and at Teatro Regio di Torino with the Academia Montis Regalis. Her activity concerning concerts is also intense: got to remember the integral of the sacred production of Mozart, in a cycle triennial with the Mantua Chamber Orchestra and Umberto Benedetti Michelangeli, la Symphony n. 4 of Mahler at the Rai of Turin, the Ravson chanson at the Rai of Milan, the collaboration in numerous recitals and recordings with Antonio Ballista. It is the Baroque repertoire that occupies the main place in the vast discography of Gemma Bertagnolli, which boasts numerous critics’ acknowledgments, in particular for the participations in the Vivaldi Edition of naïve, however this does not exclude collaborations with genre boundaries, such as with Dulce Pontes and Ennio Morricone, or piano recitals (Lieder by Mozart, Respighi’s chamber lyrics).
Among the record releases are reported Venus and Adonis with Ensemble Zefiro for Deutsche Harmonia Mundi (2010); Christmas at S.Marco for Berlin Classic (2010); Baroque Passionate Arias for Brillant (2010); Nisi Dominus and Salve Regina by Alessandro Scarlatti for CPO (2010). Gemma Bertagnolli He teaches baroque singing at the Conservatory of Vicenza, at the Hochschule für Künste in Bremen and in numerous seminars and masters in Europe and Japan. He is also a lecturer in the singing courses of the Vivaldi Academy at the Vivaldi Institute of the Cini Foundation of Venice.
Gemma Bertagnolli is a UNICEF ambassador and is committed to supporting and defending music rights and its function in civil society.
Feeling the need of the management and teachers of the Padua Conservatory to form a orchestral group that could undertake the study and performance of music of 600-700 with particular philological address, foreseeing the formation of a team that could play with historical instruments, the Camerata Accademica was born in 2012.
Since its birth it has been concerted by Paolo Faldi, professor of Flute Dolce at the same Patavian conservatory. In recent years it has performed numerous concerts both in the city-regional context that in other Italian concert associations, especially with the Galuppi Festival of Venice. The repertoire performed ranges from the famous pages of baroque and pre-classical musicians to absolute novelties, like the Missa Paschalis by J.D.Zelenka which will be carried out during the Easter period of 2017. The Academic Camerata is formed in such a way as to give space to the young musicians of perform as soloists, assisted by internal and external teachers. It often makes use of the collaboration of the Conservatory Choir, for the most prestigious performances, directed by Maestro Mariano Dante. La Camerata Accademica will perform during 2016/2017 the pages of J.S.Bach, like the cantata BWV 106 and BWV 103), the G.Ph. Magnificat Telemann (Christmas 2016), Missa Pashalis of Zelenka (Easter 2017), with the collaboration of external professors such as Susanne Scholz and Michael Hell of the Hochschule in Graz (Austria). In this most welcome opportunity it has the privilege of accompanying the beautiful and famous contralto Sara Mingardo.
Born in Venice, Mingardo studied singing with Franco Ghitti in her hometown at the Benedetto Marcello Conservatory. She won the first prize at the international singing competition Toti Dal Monte and the Giulietta Simionato Award at the 23rd Vienna Competition At the Teatro alla Scala in Milan he made his debut in 1989 as Md.lla Dangeville in the first performance of Adriana Lecouvreur with Ivo Vinco, Mirella Freni and Fiorenza Cossotto, in 1994 she plays Ozias in Juditha triumphans devicta Holofernis barbarie with Ganassi and Bernadette Manca of Nissa with I Solisti Veneti conducted by Claudio Scimone and is the Nutrice / Family of Seneca / Love III in the premiere of The Coronation of Poppea with Anna Caterina Antonacci and William Matteuzzi, in 2009 Messaggera / Speranza in the premiere of L’Orfeo directed by Ottavio Dantone with Roberta Invernizzi and Robert Wilson (director) of which there is a video and broadcast by Rai 5, in 2011 Penelope in the premiere of Il ritorno d ‘Ulysses at home and in 2015 is on the bill for February 1 as Otto in the premiere of The Coronation of Poppea. She made her professional operatic debut in 1987 as Fidalma in The Secret Marriage of Domenico Cimarosa in Avezzano. Her career developed rapidly and in 1989 she had already made appearances at the Salzburg Festival, at the Teatro Regio in Turin and at the Teatro di San Carlo. Mingardo appeared at the Festival of Aix-en-Provence, at Bregenzer Festspiele, at Carnegie Hall in New York, at the Festival de Beaune, at the Festival of Valle d’Itria (Martina Franca), at La Monnaie / De Munt, at the Gran Teatre del Liceu, at the Montreux-Vevey Festival, at the Opera de Lausanne, at the Opéra de Montpellier , at the Schwetzingen Festival, the Semperoper, the Théâtre des Champs-Elysées, the Teatro Comunale di Bologna, the Teatro de la Zarzuela (Madrid), the Teatro Lirico di Cagliari, the Teatro Massimo Vittorio Emanuele and the Teatro Real. She also sang in concert with many important orchestras such as the Berliner Philharmoniker, the Boston Symphony Orchestra and the London Symphony Orchestra.
Her discography is very wide and he likes to remember in particular Beethoven, Mass in C with Sir Colin Davis / London Symphony Orchestra, Mozart / Requiem- Abbado BPO. Vivaldi The coronation of Darius – Ottavio Dantone.
Graduated in Oboe, Baroque Oboe and Recorder, he perfected himself in Baroque Oboe at the Royal Hague Conservatory (The Netherlands). In 1988 he won the position of First Oboe and Flute in the Baroque Orchestra of the European Community (ECBO) directed by Ton Koopman and Roy Goodman, making tours all over Europe and radio recordings in all CEE countries. He is a founding member of the groups L’Astrèe, Triple Concordia, Cantilena Antiqua. He is also founder and director of the Baroque Orchestra of Bologna.
From 1989 to 2013 he played with Hesperion XX, La Cappella Reial and Le Concert de Nations directed by J. Savall, performing concerts all over the world. He recorded for Astrée-Auvidis, Nuova Era, Symphonia, Stradivarius, Bongiovanni, Tactus and Opus 111, with which he recorded the complete Vivaldi chamber concerts with the Astreèe ensemble from Torino.
He teaches sweet flute at the C.Pollini Conservatory of Padua where he was in charge of concerting and directing the Camerata Accademica.
Dalla Sonata n.3 in Re
maggiore Terzo tempo
In furore iustissimae irae
per soprano e archi
Dal Nisi Dominus RV608 per
alto e archi
Stabat Mater per soprano,
alto e archi
Full price Euro 25.00 - Reduced Euro 20.00
Euro 15.00 - Concert September 30th
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