01/10/2024
Since the emergence of the Ensemble Diderot or Le Consort in the French baroque scene, I hadn't heard a group as vibrant, full of fire and virtuosic precision, attentive to detail and contrast, as this ensemble, whose energy recalls the legendary Goebel formation.
This is the second album by this ensemble, founded by flutist Taya König-Tarasevich and cellist Bartolomeo Dandolo Marchesi, which has not been very well known in our regions, and the sound recording is so exceptional that it would be worth verifying this excellence live. The repertoire, moreover, is a compilation of very well-known Italian works, so the exceptionality lies in the impressive interpretation.
The dazzling ex*****on of Corelli's Concerto grosso Op. 6 no. 4 is breathtaking, with an opening movement that already cuts the breath, performed by Guglielmo Dandolo Marchesi and Anna Maddalena Ghielmi as solo violins, the aforementioned cellist, a string section formed by Eugenia Ottaviano and Archimede de Martini on violins, Erin Kirby on viola, and a magnificent continuo with Elias Conrad on theorbo, Sergio Gasparella on harpsichord, and Peter Ferretti on double bass.
Verità Baroque also shows its virtues in more intimate works, though full of contrasts, like Vivaldi’s Sonata no. 1 from Op. 1. The Sinfonia a 5 Op. 2 no. 6 by Albinoni becomes majestic in their hands, overflowing with elegance, and they perform the Concerto a 4 no. 1 by Galuppi expressively. Stunning, and with a dose of extravagance, is the thrilling interpretation of Vivaldi’s concert La Notte by soloist König-Tarasevich.
A neo-baroque composition by Nicola Canzano closes the album. The musical lineup for this recording, made in four historic palaces, is completed with André Lislevand, Marco Crosetto, Peter Ferretti, Alexander von Heissen, and Mario Filippini.
⎯ Manuel de Lara Ruiz (Scherzo)
