Forthcoming Concerts

Tuesday 5 May 2015, 8:15pm
Trinity College Chapel

LA VENEXIANA, directed by CLAUDIO CAVINA, in Trinity College Chapel


Monica Piccinini, soprano

Francesca Cassinari, soprano

Claudio Cavina, alto and harpsichord

Raffaele Giordani, tenor

Salvo Vitale, bass

Gabriele Palomba, theorbo



‘Ohimè il Bel Viso’ (Libro VI, 1614)
‘O Come Sei Gentile’ (Libro VII, 1619)
‘Lamento di Arianna’ (Libro VI, 1614)
‘Gira il Nemico Insidioso’ (Libro VIII, 1638)
‘Batto, Qui Pianse Ergasto’ (Libro VI, 1614)
Romanesca: ‘Ohimè dov’è il Mio Ben’ (Libro VII, 1619)
‘Lamento Della Ninfa in Genere Rappresentativo’ (Libro VIII, 1638)
‘Addio Florida Bella’ (Libro VI, 1614)
‘Misero Alceo’ (Libro VI, 1614)
‘Non è di Gentil Core’ (Libro VII, 1619)
‘Parlo Miser, O Taccio’ (Libro VII, 1619)
'T’amo Mia Vita’ (Libro V, 1609)
‘Zefiro Torna’ (Libro VI, 1614)

Please note the special prices for the concert by La Venexiana in Trinity College Chapel on Tuesday 5 May 2015:

Band A: £25 (Concessions £19), Chapel Premium (first half of the stalls, closest to the stage)

Band B: £20 (Concessions £15), Chapel (second half of the stalls)

Please also note that all seats are in the Chapel proper and with a view of the stage; no seats are located in the Antechapel, or have a view obscured by the organ screen.


La Venexiana has established a new style in Italian early music performance: a warm, truly Mediterranean blend of textual declamation, rhetorical colour and harmonic refinement, in marked contrast to the English choral tradition. Founded by the countertenor Claudio Cavina, they take their name from the anonymous comedy La Venexiana (‘The Venetian Girl’) of c.1537.  They aim to incorporate the theatrically, attention to language, and exultation of contrasts between refined and popular, sacred and profane, which abound not only in this comedy, but in the madrigal repertoire of  Sigismondo d'India, Luzzasco Luzzaschi, Luca Marenzio, Barbara Strozzi, Gesualdo da Venosa and Claudio Monteverdi.

Acclaimed for their interpretations madrigals and opera alike, they have been the recipients of the Cannes Classical Award, Preis der deutschen Schallplattenkritik, BBC Classical Music Award Gramophone Award (in both 2001 and 2008) and Gramophone's Editor Choice.


'In their Monteverdi Editions, La Venexiana bring a dramatic delivery of the words and a uniquely Italian blend of solo voices to this glorious music, unrivalled on disc.'  The Sunday Times

''The performances crackle with theatricality, the ensemble playing is first rate and the outstanding.'  The Guardian

Saturday 13 June 2015, 7:30pm
Peterhouse Theatre


Generously sponsored by Mr Fred Shahrabani
The F-A-E Sonata (1853)
Sonata No. 1 in G major, Op. 78
Sonata No. 2 in A major, Op. 100
Sonata No. 3 in D minor, Op. 108

Isabelle Faust is one of Europe's most distinguished violinists, a prodigious talent who has won five-star reviews for her concert performances and recordings alike. Faust captivates her listeners through her insightful and faithful interpretations, based on a thorough knowledge of the historical context of the works as well as her attention to current scholarship. After winning the prestigious Leopold Mozart and Paganini competitions early in her career, she was soon invited to appear with the world's leading orchestras, including the Berlin Philharmonic, the Orchestra of the Age of Enlightenment, the Boston Symphony Orchestra and the NHK Symphony Orchestra Tokyo. She continues to be one of the most sought-after violinists in the world, having worked with renowned conductors such as Frans Brüggen, Mariss Jansons, Giovanni Antonini, Philippe Herreweghe, Daniel Harding and Bernard Haitink.

Her recording of the Beethoven and Berg violin concertos with the late Claudio Abbado and Orchestra Mozart received a Diapason d'or'(France), Echo Klassik (Germany), Gramophone Award 2012 (UK) and the Record Academy Award (Japan).  Faust has made over a dozen critically-acclaimed recordings for Harmonia Mundi, spanning concertos, quartets, quintets and solo recitals. I n 2010, her recording of Bach's Sonatas and Partitas for solo violin was awarded a Diapason d'Or de l'Annee. She also won a Diapason d'Or and a Gramophone Award for her recording of Beethoven's Sonatas for Piano and Violin with recital partner Alexander Melnikov.


Alexander Melnikov graduated from the Moscow Conservatory under Lev Naumov. His most formative musical moments in Moscow include his early encounter with Svjatoslav Richter, who thereafter regularly invited him to festivals in Russia and France. As a soloist, Melnikov has performed with orchestras including the Royal Concertgebouw Orchestra, Gewandhausorchester Leipzig, Philadelphia Orchestra, NDR Sinfonieorchester, HR-Sinfonieorchester, Russian National Orchestra, Munich Philharmonic, Rotterdam Philharmonic, BBC Philharmonic and the NHK Symphony, under conductors such as Mikhail Pletnev, Teodor Currentzis, Charles Dutoit, Paavo Järvi, Philippe Herreweghe and Valery Gergiev.  His recording of the complete Preludes and Fugues by Shostakovich was awarded the BBC Music Magazine Award, Choc de classica and the Jahrespreis der Deutschen Schallplattenkritik, and was also named by the BBC Music Magazine as one of the '50 Greatest Recordings of All Time'.