Europa Galante (Fabio Biondi)
Europa Galante was founded in 1990 by its musical director Fabio Biondi, who wanted to form an Italian period instrument ensemble to play both, the baroque and classical repertoire. The ensemble has a varying structure and often performs chamber music, such as the string sonatas of Italian composers of the seventeenth century.
The ensemble’s repertoire includes operas of Handel, such as Agrippina and Imeneo, as well as Vivaldi, including Bazajet, Ercole sul Termodonte, Oracolo in Messenia and many pre-eighteenth century instrumental works. The orchestra is widely known for its performances of the works of Alessandro Scarlatti, such as the oratorios (Maddalena, La Santissima Trinità), serenatas (Clori, Dorino e Amore) and operas including Massimo Puppieno, Il Trionfo dell’Onore, La Principessa Fedele and Carlo Re d’Allemagna. Europa Galante regularly collaborates with the Fondazione Santa Cecilia in Rome to rediscover and restore eighteenth-century Italian operas, such as Antonio Caldara’s La Passione di Gesù Cristo, Leonardo Leo’s Sant’Elena al Calvario or Gesu sotto il peso della Croce by F. di Mayo. Last season in Rome, the ensemble presented La Foresta Incantata by Francesco Geminiani, together with an animated film by Fabio Biondi and the director Davide Livermore.
Europa Galante performed in many of the world’s major concert halls and theatres, including La Scala in Milan, Accademia di Santa Cecilia in Rome, Suntory Hall in Tokyo, Concertgebouw in Amsterdam, the Royal Albert Hall in London, Musikverein in Vienna, Lincoln Center in New York and the Sydney Opera House. The ensemble also toured throughout Australia, Japan, Europe, Canada, Israel, the USA and South America.
Reviews Farewell Concerts (U.S. January 2018):
“(…) Biondi was at his daredevil best in the brash and breathless fast movements. In his hands for this concert was a 1730 Guarnerius violin once owned by Fritz Kreisler and now in the collection of the Library of Congress. In the gorgeous, mostly violins-only slow movement – again without the percussive interference of the harpsichord–one most sensed the spirit of Kreisler looking down.”
– Charles T. Downey, Washington Classical Review, 13, January 2018
“Biondi was a wizard on his violin. On top of his astounding technique, he excited listeners by playing just a little bit ahead of the ensemble. He had hearty support from his musicians, all of whom sounded authoritative on their period instruments.”
– Christian Hertzog in The San Diego Union Tribune, 8, January 2018
“The Disney Hall concert showed once more that Fabio Biondi is truly a transcendent virtuoso of our time. With his calm deliberation, staggering technique, and comprehensive knowledge of – and feel for – period authenticity, Biondi paid homage to Vivaldi in concertos that challenged the greatest virtuosos of his day, and of any day – with devastating results.”
– Por Laurence Vittes, bachtrack.com, 12, January 2018
“I will certainly be looking out for any future releases he (Fabio Biondi) cares to record.”
– Telemann: 12 Fantasias for Solo Violin_CD Kritik_Lynn René Bayley auf The Art Music Lounge
German newspaper Weser-Kurier about “I Capuleti e i Montecchi” at Musikfest Bremen 2016