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Two years since being recorded, Raffaele Trevisani’s interpretations of Mercadante’s concertos for Flute and orchestra have been released. The CD is particularly valuable because, in addition to its musical qualities, it enriches a somewhat lean discography (even if the concertos recorded are the same three that can be found in almost all anthologies, as in the classic James Galway recording (RCA, with the Solisti Veneti and Claudio Scimone). Trevisani is, amid the many putative disciples of Galway, and the innumerable participants at his masterclasses, Galway’s only real pupil in a strict sense; the only pupil, that is, whose entire formation took place under Galway’s guidance. However, the interpretations of the Italian flautist depart noticeably from those of Galway. For one thing, Trevisani demonstrates a greater fidelity to the text, a fact that underscores broader discrepancies between their musical approaches. Whereas Galway, with the addition of ever more elaborate embellishments in his Mercadante recordings, showcases his virtuosity, Trevisani – keenly backed by the Moscow Chamber Orchestra, directed by Constantine Orbelian – prefers to emphasize the singing nature of Mercadante’s invention; the melodies’ pure profiles, delicately unfurled amid barely perceptible pauses; and the exquisite vocal nature of Mercadante’s musical lexicon. While the technical brilliance of Mercadante’s compositions is preserved in Trevisani’s recording, it is reconstituted within a belcanto framework, and thus Trevisani restores to the writings of this composer from Altamura the very language of melodrama from which the concertos ultimately derive. Musica January 2008

Trevisani’s interpretation has, besides the shining of its sparkling virtuoso, a quality of sound, a fineness of expression, the elegance and the lightness of the phrasing. A musical freshness that makes it fully appreciable. Amadeus December 2004

Raffaele Trevisani has an extraordinary sound, homogeneous and soft, particularly in the lower scale. Its quality never fails, not even in the most acrobatics passages. In this regard the pieces by Doppler, Sarasate and Borne had been a real virtuoso training…. Paola Girardi has proved herself a very sensitive performer of chamber music. Their interpretation conveys a feeling of mutual understanding that goes beyond the music. Charming their performance of the Dvorak Sonatina for the flexibility of the cantabile passages expressed by Trevisani’s flute together with the harmony between delicacy and energy (whereas it is needed) of Girardi’s interpretation. Remarkable the facility with which the flautist overcomes the most inaccessible passages: excellent deftness and clear musical arrangement never obscured by the overflow of notes of certain passages. Concert ended by two unscheduled pieces. L’Arena October 2004

A soft, cantabile flute melody pervaded the Hall Duke Federico Augusto of the Wiesbaden Casino. Raffaele Trevisani and his excellent accompanist introduced to the audience some rare compositions, not usually performed in Concert Halls. The popular, timid, almost resigned tone of Shubert’s Lied (op. 160) gained by his interpretation a virtuoso character which Trevisani mastered with pearly semplicity, changing thus a soft and varied musical language. With a jocose and well-finished wriggle, with a dancing leap, Trevisani dominated the first and the last movement of a tonal Sonata by Hindemith; while the second movement received a more meditative and lyrical outline. He took us back to the Romantic atmosphere performing Undine by Carl Reinecke. The excellent technique of the artist raised the Nymph from the waters through a jocose waving whirl and a fine, picturesque trait among luminescent arpeggios, masterfully supported by Paola Girardi. The Sonata op. 94 by Sergej Prokofiev was dominated by the exciting joy of the most quick movements, whereas the Andante balanced prudence and meditation. The Scherzo proved Trevisani brilliant agility. In the conclusive Andante con Brio a bright sound, colourful, marked and pronounced dominated the musical scene with its sparkling accents. Long applauses and enthusiastic ovations from the enraptured audience at the end of this vital and tense final interpretation, returned then by a generous encore. Wiesbadener Tagblatt December 2004

“…Next was Carl Philip Emanuel Bach’s Concerto for flute and strings in D minor. This gave the orchestra the chance to showcase Raffaele Trevisani, who just arrived from Italy. He played his 14-karat gold Muramatsu flute with such effortless eloquence that at times the sound melded so naturally with the violins that there was no telling the difference. Trevisani’s elegant dance with the cellos was breathtaking, with lightning quick bow action matching the flying fingers on the flute. A triple ovation followed and the intermission allowed audience members to pinch ourselves, wondering how they were so lucky to be witness to such talent.” Lompoc Record, CA gennaio 2004

The beauty of the sound of Raffaele Trevisani’s golden flute, accompanied by the intelligent musical sensitivity of pianist Paola Girardi, guided the audience through a fascinating itinerary of a repertoire dedicated to the flute. The duo’s interpretation of Bach’s sonata was consciously “modern” in the choice of timing and sonority. The harmony between the two performers and the extraordinary rich timbre of Trevisani’s flute were outstanding. They even brought to life the inspirational freshness of Dvorak’s sonatina. Trevisani expressed the spirit of bel canto virtuosity magnificently in Donizetti’s sonata and in Massenet’s Meditation. The concert ended with a performance of Prokofiev’s sonata op.94. An extremely demanding piece, both technically and musically, that the performers faced with absolute mastery and with special attention to the singable quality and clarity of the sound even in the more difficult passages, with a total emotional involvement. The audience, enthralled, responded with an enthusiastic round of applause. Il Biellese – August 2002

Prodigious flute……. Vivace and ‘romantic’, the first part of the concert opened with the Variations on ‘La Follia’ by Corelli, a delightful piece due to its overwhelming charm: it seemed purposefully arranged to disclose the Milanese flautist’s sensibility: urging and at times overwhelming, Mozart’s Sonata K 296 confirmed this impression, but also imposed the skill of the pianist that knew, during the entire programme, how to compliment her extraordinary partner with charm and undoubted class. The togetherness of this duo was shown even more in the Introduction and Variations on ‘Trockne Blumen’ by Schubert which closed the first part, and in the second part the Sonata by Donizetti which was followed by Prokofieff’s elegant Sonata op.94. The long applause and the many encores demonstrated the extraordinary mastery and sensitivity of the flautist and the evening was one that you would want never to end. Corriere Adriatico (Ancona) 30 July 2000

“A romantic duo in the San Valentino Church of Kiedrich. Romantic because the colours of the sound of the two instruments created a lyrical and poetic atmosphere even if the compositions belonged to other eras. The public became involved in these moods and was enthusiastic about the sensitive and skillfull musical game of the two instruments. The programme was vast and represented various periods. Rossini and Saint-Saens were particularly virtuosic and were performed with a vast array of colours. Donizetti, instead, seemed to be an aria of ‘belcanto’….. The way that the performers were able to transmit the ebb and flow of the waves in Debussy’s ‘en bateau’ was marvellous. In the Harty, the dialogue between the two artists was strong but at the same time light and relaxed with folkloric elements and in the Handel it was flexible and tasteful. The entire programme was a perfect combination of technique and the sweet and elegant sound of Trevisani and the bright and exuberant sound of Prandina. Wiesbadner Tagblatt (Wiesbaden) Germany 2000

The concert on the 28th of July, with Raffaele Trevisani – flute and Paola Girardi – piano, brought to light the technical and interpretive abilities of Raffaele Trevisani: an impeccable sound, also in the virtuosic passages, always of the highest quality in all registers and extremely fluid and coloured phrasing. The flute is an exceedingly charming instrument but sometimes is portrayed as secondary to the piano, but played by a great performer such as Raffaele this is certainly not the case. Corriere Adriatico (Ancona) 10 August 2000

“Maestro Trevisani immediately demonstrated his greatest talent with perfect breathing technique, articulation and phrasing. Moreover he was able to bring alive on the flute Corelli’s “violinistic” way of thinking. Trevisani spellbound us with his brilliant technique… The magic of the duo and the high interpretation quality made the unforgettable evening one of the highpoints of the Postdam concerts.” Potsdamer Neue Nachrichten (Potsdam) Germany 1999

“Sparkling, turbulent, talented: Raffaele Trevisani interprets Italian music… Brilliant technique in Corelli, in the turbulent Rossini’s sonata ‘La Tempesta’, in Donizetti’s Sonata in G and at the end in the solo of Demerssman’s ‘Concerto Italiano’, that he played with pathos and ‘bravura’… melodic dialogue between the solo instrument and the piano… the togetherness with the sensitive Paola Girardi at the piano emerged in the interpretation of Rota, Busoni, and Briccialdi. The young Italian flutist has the utmost control on his instrument: his correct breathing allows him to colour the phrases, with elegiac sounds and expressive voice. He can move through the various styles of different epochs with extreme ease.” Markische Allgemeine (Potsdam) 1999

“The duo, Raffaele Trevisani and Paola Girardi, gave an excellent performance …” Frankfurter Zeitung (Frankfurt) 1999

“…London debut of an Italian flautist taught by an Irishman: Raffaele Trevisani is one of the very few pupils of James Galway. Signor Trevisani has inherited many of his qualities and added some of his own… His programme of Corelli, Donizetti, Mozart and Schubert displayed his thrilling sound and splendid technique to best advantage… Trevisani performed Schubert’s musical embroideries with a nonchalant ease which failed to camouflage his obvious virtuosity… a performance of electrifying clarity… every nuance of Prokofiev’s beautifully lyrical writing (they played the Sonata in D major, Op. 94 n.d.r.), from melancholy beginning to brutal conclusion, was sculpted with great artistic precision. The applause and cheers which followed were more appropriate to La Scala than La Wigmore.” Pan (Londra) England 1998

“The invited soloist, the Italian flutist Raffaele Trevisani, set the tone and worked as inspiration for Maestro Flavio Florence to build a homogeneous and attractive programme. Thus, the first piece, the flute concerto of Armenian composer Aram Khachaturian (1903-1978) was there since it is a transcription of the original violin concerto done by James Galway, not coincidently Trevisani’s teacher. Originally dedicated to the Russian violinist David Oistrakh, this work demands a lot to the soloist, and Trevisani played it very well, especially in the last movement, a colourful “Allegro vivace.” Diario do Grande ABC (San Paolo) Brazil 1998

“Raffaele Trevisani performed the flowing melodies of Mozart’s Concerto in D major with a full bodied sound and alive, expressive vibrato. The soloist and the orchestra played together brilliantly.” Stuttgarter Nachichten (Stuttgart) 1998 “Trevisani’s performance of the Mozart Concerto K 314 was virtuoso, elegant and full of nuances…” Stuttgarter Zeitung (Stoccarda) Germany 1998 “Trevisani has a very rich sound, especially in the low register, that gives him a smooth expression suitable for the romantic repertoire… Paola Girardi is a secure pianist that confronts without hesitation the most dangerous passages and at the same time has a beautiful and rich sound” L’Arena (Verona) 1997

“The soloist Trevisani demonstrated his musicality playing the Mozart Concerto K314 with a great musicality and an intense sound, allowing to shine through from beginning to end a lively dancing character” R.N.Zeitung (Stoccarda) Germany 1997

“Magnificent performance… two musicians of immense skill. We were able to enjoy Trevisani’s beautiful tone, expertly and sensitively accompanied by the pianist P. Girardi from the very first moments of Bach’s Suite; the harmony of this duo was evident also in Mozart’s Sonata K 296 and in Schubert… but it was the Pierné’s Sonata that put to the test the magnificent musicianship of these two artists, able to actualise the composer’s “natural versatility”… a large audience gave them an endless, warm and intense applause” Il Cittadino (Monza) 1996

“A highly professional Italian duo … the pianist P. Girardi was much more then a simple accompanist, she realised a perfect tonal equilibrium during the concert, with precise touch and a good use of the pedals… it is difficult to say which piece most impressed the audience: the eloquence of Bach’s Suite in C minor, the gracious singing of Mozart’s Sonata K 296 or the “belcantistico” style of Donizetti’s Sonata. With the rarely played Pierné’s Sonata the duo demonstrated once again the stylistic versatility; with Schubert and Sarasate the immense virtuosity of the flutist was evident” Neue Luzerner Zeitung (Lucerna) Switzerland 1996

“Trevisani revealed to be a refined performer with a beautiful sound and an elegant phrasing… very incisive and communicative with the audience… certainly the mastery of Trevisani is perceptible: his profound interpretation is rich of intense lyrical moments. The same is valid for the pianist Paola Girardi: her interpretation was excellent and she demonstrated a broad spectrum of tone colours” Gazzetta del Sud (Messina) 1996

“An enchanting flute… the two performers demonstrated an almost perfect harmony… and everybody heard how the voices of the two instruments chased, developed and walked together, side by side, with extreme ease. Trevisani exhibited a lovely, clear sound, and everybody knows how difficult this is for a flutist… from the beginning his perfect intonation and sound production was always convincing. A spectacular conclusion with a Carmen Fantasy” and warm applause” L’Isola (Catania) 1995

“Flute and piano in stylistic symmetry – Raffaele Trevisani’s and Paola Girardi’s performance was characterised by a coherent and balanced style. Trevisani’s performance of Mozart’s K296 gave a light and divine atmosphere and the accompaniment of Paola Girardi was appropriately Mozartian, with a pearly sound and an elegant phrasing… the interpretation of this duo is highly expressive but always respectful towards the composer’s intention… the quality of Trevisani’s tone was always polished, sweet and precious” Gazzetta del Sud (Messina) 1995

“The young Trevisani is a real master of his instrument. He has a perfect breathing technique, a rich, flexible sound, an impeccable finger technique and his intuition for poetry and dramatic moments is very convincing. It is a real pleasure to listen to him: the legato phrases breathe, the colours expand… you cannot in any way doubt of the artist’s skill and immense musicality. At the piano, the pianist Paola Girardi, demonstrated to be a partner of equal value and a secure performer, full of personality and able to differentiate between musical styles.” Der Bund (Berna) Switzerland 1994

“Mr. Trevisani enchanted the full audience with excellent technique and incomparable tone. Playing the most difficult Bach’s Partita he succeeded in making the controlled nobility of the melody. In Mozart’s K 296 he created a thick and affectionate sound space. From the encores, the most impressive was M.Miyagi’s Haruno Umi, played with a pure sound. A fine pianist (Paola Girardi n.d.r.)… in a fantastic ensemble with Trevisani” The Flute (Tokyo) Japan 1994

“Complete success and a full hall for I Cameristi della Scala and Raffaele Trevisani: a flutist with a noble and pure sound… he revealed his brilliant technique in C. Ph. E. Bach’s Concerto and interpreted the operatic style of Mercadante’s Concerto with refined tone colours” La Notte (Milano) 1993

“Beautiful technique of the flutist Trevisani, perfect also in the fast passages, such as the last movement of Dvorak’s Sonatina and in the sarcastic Scherzo by Prokofiev. Trevisani showed his immense virtuosity in the Carmen Fantasy, performed with extreme confidence. The concert of the two young artists (R. Trevisani and P. Girardi n.d.r.), blending of excellent technique and musical expression, was very greatly appreciated… ” Brescia Oggi (Brescia) 1993

“Elegance and poetry are watchwords for the flutist Trevisani. His recital with Paola Girardi, Thursday night in the Okinawashi Civic Auditorium presented music from Mozart to Borne. Every moment was polished and delivered with sensitivity. The ensemble’s interpretation was wonderfully balanced throughout the evening. Trevisani’s tone was silvery, beautifully controlled and the phrases flowing and immaculate. His tone is warm and inviting, always appropriate, never shrill in the upper registers and in the vibrato. Italian sense of taste and proportion: his dynamics are not exaggerated for easy effect and his phrasing is never overdramatized for the sake of sentiment. It was rather wonderful to have the opportunity to listen to this promising Italian flutist in the role of a soloist” Okinawa News (Naha) Japan 1993

“In Villa Lobos’s Aria no.5 of Bachianas Brasilieras, Trevisani knew how to transmit the intense suggestion of the “saudade”.” Corriere di Novara (Novara) 1993

“Dreamy flute and harp at “Settembre Musica”… wonderful soloists… Trevisani revealed himself as a solid and very musical flutist… the accord between the two soloists was excellent… thunderous applause” La Nazione (Firenze) 1992

“A very pleasant concert … a young harmonious duo… Massenet’s Meditation, played by Trevisani with particular musical sensibility, was suggestive and highly communicative… excellent performance…” La Gazzetta di Pesaro (Pesaro) 1992

“The interpretation of the young Trevisani is notable: we could love the precision and clearness of the sound in all its nuances … the technical aspect was at a very high level” Il Cittadino (Monza) 1991

“Raffaele Trevisani and the harpist Luisa Prandina demonstrated an astonishing harmony. The dialogue was excellent, the greatest moment was that of the refined cadenzas of the Concerto K299, where the two soloists shone for their depth, involvement and tone quality. Trevisani enraptured the audience with his sound… afterwards the public called back on stage many times and obliged the two soloists and “I Solisti Veneti” conducted by Scimone to repeat the last movement of Mozart’s Concerto K 299 for flute and harp” Il Giornale (Milano) 1991

“The Flutist Raffaele Trevisani and harpist Luisa Prandina are a young duo whose interpretations are characterised by enthusiasm, attention to detail and stylistic elegance” La Provincia (Como) 1991

“A crowded Teatro Donizetti… The concert for flute, harp and orchestra showed the harmony of the two soloists above all in the Andantino, thanks to Trevisani’s consistent and sustained singing quality.” Il Giornale di Bergamo Oggi (Bergamo) 1991

“A beautiful concert for flute and harp with Raffaele Trevisani and Luisa Prandina. The artists demonstrated a high quality of interpretation…excellent performance.” Il Resto del Carlino (Bologna) 1991

“Flutist Raffaele Trevisani and harpist Luisa Prandina as well as having excellent technique, were able to be on the same wavelength obtaining excellent results with strong communication.” Il Giornale (Milano) 1990

“The concert was a continual surprise…The performance of “I Solisti Veneti” was very lively, helped by the excellent soloists Clementine Hoogendorn and Raffaele Trevisani.” Il Gazzettino (Vicenza) 1989

“The concert with Raffaele Trevisani and Maxence Larrieu was a sellout… Trevisani’s authoritative expression, his precise tone quality and agile technique was greatly appreciated… Trevisani also played impeccably the Telemann sonata in F minor.” L’Unità (Milano) 1988