Accademia Bizantina: Venedig im Herzen, Streicher zur Hand

By Jens Klier, 13 December 2020

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“ein venezianischer Odem des Genusses und Florierens”

Reviewed at Teatro Goldoni, Bagnacavallo on 13 December 2020

Vivaldi, Concerto for strings in B flat major, RV 167

Vivaldi, Violin Concerto in E minor, RV 273

Vivaldi, Concerto for Strings in A minor, RV 161

Vivaldi, Concerto for Strings in C minor, RV 118

Vivaldi, Viola d'amore Concerto in D minor, RV 393

Vivaldi, Concerto for strings in F major, RV 138

Accademia Bizantina

Alessandro Tampieri, Violin, Viola d'amore, Conductor

Barrie Kosky's Agrippina is finally crowned at DNO

Eleanor Knight, 13th January

The Australian director's 2019 production of Handel's satirical comedy-thriller arrives in Amsterdam, with a cast led by the fabulous Stéphanie d'Oustrac.

****1

Sacred, secular... and stylish: Accademia Bizantina celebrates Vivaldi

Mark Pullinger, 9th April

Two concerts at Milton Court intersperse The Four Seasons with concertos from L'estro armonico and sacred cantatas featuring countertenor John Holiday.

****1

Enescu Festival sheds light on another 18th-century gem

Edward Sava-Segal, 8th September

In the Bucharest performance, the individual vocal contributions were consistently good, with some really standing out.

****1

Giulio Cesare in concert: Lawrence Zazzo and Emőke Baráth came, saw and conquered Vienna

Orsolya Gyárfás, 18th October

An outstanding cast under Ottavio Dantone at the Theater an der Wien was headed by Lawrence Zazzo and Emőke Baráth.

****1

Intimate devotion to a lamenting mother

Olivia Bell, 14th March

Joined by the exquisitely subtle Accademia Bizantina led by Alessandro Tampieri, Scholl brought little-known but no less great devotions to the Virgin Mary to life with impetus and intimacy.

****1

Writing on walls: Handel’s Belshazzar in Oslo

Aksel Tollåli, 7th March

Ottavio Dantone, the Accademia Bizantina and the Norwegian Soloists' Choir gave a strong performance of Handel's oratorio Belshazzar.

****1

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Jens Klier

Vor seinem Rechtswissenschafts-Studium in Bayreuth und Bonn widmete sich Jens Klier seit frühester Kindheit musikalisch der Violine (Repertoire vom 17. bis 20. Jahrhundert). Während er zudem mit Gesang und dem Leben im Orchesterbetrieb groß wurde, entwickelte sich ein besonderes Interesse an der sogenannten 'Historischen Aufführungspraxis' und authentischen Instrumenten. Diese Leidenschaft hält sich hartnäckig, sodass er sie mit Vorliebe für das Barocke anstatt mit Finger und Bogen nun in Form der Musikkritik zu Gehör bringt. U.a. Telemann-Fan, Liebhaber J. S. Bachs Genies und Entdecker neuerer, seltenerer 'Alter Musik'.

Accademia Bizantina: Venedig im Herzen, Streicher zur Hand, Sterne im Sinn