L'Italo-Americano

L'Italo-Americano THURSDAY, DECEMEBER 19, 2013 www.italoamericano.com 19 Interpreti Veneziani: Baroque music from Venice sILvIA sIMONEttI The 2013 international tour of the Italian ensemble Interpreti Veneziani, including several dates in South America, Japan, and India, has finally reached the United States with two performances in early December at the Broad Stage in Santa Monica and in Tucson, Arizona. The show in Los Angeles was a great success, also thanks to a rich program featuring renowned pieces by Antonio Vivaldi, Niccolò Paganini, Arcangelo Corelli, J.S.Bach, and G.F.Handel. Many representatives of the Italian American community and of the Institutions were in attendance to enjoy the Baroque, Classical, and Modern repertoire interpreted with typical Italian brio and enthusiasm, proving that 17th and 18th century music can still attract the contemporary public. A few days after the performance, we asked Maestro Paolo Cognolato to tell us more about his group of talented musician and their artistic project. Who are the Interpreti Veneziani? Interpreti Veneziani debuted in 1987 and gradually became an ensemble known for its emotional and energetic virtuosity. This is our 24th Concert Season in San Vidal Church in Venice, each season offering 320 con- certs to an audience of 70.000 supporters and music lovers. In order to manage both the shows in Venice and the international tours, the ensemble includes 18 the whole concert - more interesting, varied, and dynamic. Do you usually change your repertoire according to the different publics or the coun- Is there a particular performance that you remember with fondness? Of course, there is more than one I can think of. In the United From left to right Nicola Granillo, Giacobbe Stevanato, Pietro Talamini, Davide Amadio, Giuliano Fontanella, Angelo Liziero, Guglielmo De Stasio, Sonia Amadio, Paolo Cognolato, Paolo Ciociola musicians, all of them capable of playing also as soloists. What do you think is the point of strength of your music? The fact is that we don't have a music director, but each artist plays according to his personal perception of music. This makes every piece - and consequently tries where you perform? Actually, we don't need to do that as our program is complete and multifaceted. Vivaldi – who was a virtuoso – and his music can be perfectly combined with works by authors the likes of Paganini, Rossini, De Sarasate, De Falla, and many others of the 19th and 20th century. States, for example, over the years we have presented more than fifty concerts in several venues. Perhaps, we owe something to those who have invited us first and still love us: the University of Florida, Performing Arts, in Gainesville. What kind of feedback have you received by the Italian American public? I would say extremely positive. The American public has always welcomed us warmly, and also in Venice it represents one of the most important segments of our audience. Americans come to the shows and get excited about our music. We really like to play for them. What is exactly the Museum of Music that you have founded in Venice? It is a collection of 100 exquisite musical instruments of the '700 and '800. Most of them are property of Maestro Artemio Versari from Bologna, who collaborates with us to promote classical music and to support the traditional art of lute making. The instruments manufactured by artists like Stradivari, Guarneri, or Amati are real works of art of priceless value, and the quality of their sound is unbelievable. Do you have future projects after this international tour? The Interpreti Veneziani are planning to organize a festival of Baroque music, whose first edition will probably be in December 2014. Afterwards, we would like to repeat it in Japan from September 30 to October 6, and in Tucson. We look forward to it, as it will be an extraordinary exhibition of Italian music, art, and musical instruments.

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