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.
\nMusica January 2008
\n
\n
\nTrevisani\u2019s 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.
\nAmadeus December 2004
\n
\n
\nRaffaele 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….
\nPaola Girardi has proved herself a very sensitive performer of chamber music. Their interpretation conveys a feeling of mutual understanding that goes beyond the music.
\nCharming their performance of the Dvorak Sonatina for the flexibility of the cantabile passages expressed by Trevisani\u2019s flute together with the harmony between delicacy and energy (whereas it is needed) of Girardi\u2019s 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.
\nConcert ended by two unscheduled pieces.
\nL\u2019Arena October 2004
\n
\n
\nA 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\u2019s 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.
\nWiesbadener Tagblatt December 2004
\n
\n
\n“…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.”
\nLompoc Record, CA gennaio 2004
\n
\n
\nThe beauty of the sound of Raffaele Trevisani\u2019s 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\u2019s interpretation of Bach\u2019s sonata was consciously “modern” in the choice of timing and sonority. The harmony between the two performers and the extraordinary rich timbre of Trevisani\u2019s flute were outstanding. They even brought to life the inspirational freshness of Dvorak\u2019s sonatina. Trevisani expressed the spirit of bel canto virtuosity magnificently in Donizetti\u2019s sonata and in Massenet\u2019s Meditation. The concert ended with a performance of Prokofiev\u2019s 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.
\nIl Biellese \u2013 August 2002
\n
\n
\nProdigious flute\u2026\u2026. Vivace and \u2018romantic\u2019, the first part of the concert opened with the Variations on \u2018La Follia\u2019 by Corelli, a delightful piece due to its overwhelming charm: it seemed purposefully arranged to disclose the Milanese flautist\u2019s sensibility: urging and at times overwhelming, Mozart\u2019s 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 \u2018Trockne Blumen\u2019 by Schubert which closed the first part, and in the second part the Sonata by Donizetti which was followed by Prokofieff\u2019s 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.
\nCorriere Adriatico (Ancona) 30 July 2000
\n
\n
\n\u201cA 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 \u2018belcanto\u2019\u2026.. The way that the performers were able to transmit the ebb and flow of the waves in Debussy\u2019s \u2018en bateau\u2019 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.
\nWiesbadner Tagblatt (Wiesbaden) Germany 2000
\n
\n
\nThe concert on the 28th of July, with Raffaele Trevisani – flute and Paola Girardi \u2013 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.
\nCorriere Adriatico (Ancona) 10 August 2000
\n
\n
\n“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\u2026 The magic of the duo and the high interpretation quality made the unforgettable evening one of the highpoints of the Postdam concerts.”
\nPotsdamer Neue Nachrichten (Potsdam) Germany 1999
\n
\n
\n“Sparkling, turbulent, talented: Raffaele Trevisani interprets Italian music\u2026 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\u2026 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.”
\nMarkische Allgemeine (Potsdam) 1999
\n
\n
\n“The duo, Raffaele Trevisani and Paola Girardi, gave an excellent performance \u2026”
\nFrankfurter Zeitung (Frankfurt) 1999
\n
\n
\n“\u2026London 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\u2026 His programme of Corelli, Donizetti, Mozart and Schubert displayed his thrilling sound and splendid technique to best advantage\u2026 Trevisani performed Schubert\u2019s musical embroideries with a nonchalant ease which failed to camouflage his obvious virtuosity\u2026 a performance of electrifying clarity\u2026 every nuance of Prokofiev\u2019s 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.”
\nPan (Londra) England 1998
\n
\n
\n“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.”
\nDiario do Grande ABC (San Paolo) Brazil 1998
\n
\n
\n“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.”
\nStuttgarter Nachichten (Stuttgart) 1998<\/p>\n
“Trevisani\u2019s performance of the Mozart Concerto K 314 was virtuoso, elegant and full of nuances…”
\nStuttgarter Zeitung (Stoccarda) Germany 1998<\/p>\n
“Trevisani has a very rich sound, especially in the low register, that gives him a smooth expression suitable for the romantic repertoire\u2026 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”
\nL\u2019Arena (Verona) 1997
\n
\n
\n“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”
\nR.N.Zeitung (Stoccarda) Germany 1997
\n
\n
\n“Magnificent performance\u2026 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\u2026 but it was the Piern\u00e9’s Sonata that put to the test the magnificent musicianship of these two artists, able to actualise the composer’s “natural versatility”\u2026 a large audience gave them an endless, warm and intense applause”
\nIl Cittadino (Monza) 1996
\n
\n
\n“A highly professional Italian duo \u2026 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\u2026 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 Piern\u00e9’s Sonata the duo demonstrated once again the stylistic versatility; with Schubert and Sarasate the immense virtuosity of the flutist was evident”
\nNeue Luzerner Zeitung (Lucerna) Switzerland 1996
\n
\n
\n“Trevisani revealed to be a refined performer with a beautiful sound and an elegant phrasing\u2026 very incisive and communicative with the audience\u2026 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”
\nGazzetta del Sud (Messina) 1996
\n
\n
\n“An enchanting flute\u2026 the two performers demonstrated an almost perfect harmony\u2026 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\u2026 from the beginning his perfect intonation and sound production was always convincing. A spectacular conclusion with a Carmen Fantasy” and warm applause”
\nL\u2019Isola (Catania) 1995
\n
\n
\n“Flute and piano in stylistic symmetry – Raffaele Trevisani’s and Paola Girardi’s performance was characterised by a coherent and balanced style. Trevisani\u2019s 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\u2026 the interpretation of this duo is highly expressive but always respectful towards the composer’s intention\u2026 the quality of Trevisani\u2019s tone was always polished, sweet and precious”
\nGazzetta del Sud (Messina) 1995
\n
\n
\n“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\u2026 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.”
\nDer Bund (Berna) Switzerland 1994
\n
\n
\n“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.)\u2026 in a fantastic ensemble with Trevisani”
\nThe Flute (Tokyo) Japan 1994
\n
\n
\n“Complete success and a full hall for I Cameristi della Scala and Raffaele Trevisani: a flutist with a noble and pure sound\u2026 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”
\nLa Notte (Milano) 1993
\n
\n
\n“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\u2026 ”
\nBrescia Oggi (Brescia) 1993
\n
\n
\n“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\u2019s 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”
\nOkinawa News (Naha) Japan 1993
\n
\n
\n“In Villa Lobos\u2019s Aria no.5 of Bachianas Brasilieras, Trevisani knew how to transmit the intense suggestion of the “saudade”.”
\nCorriere di Novara (Novara) 1993
\n
\n
\n“Dreamy flute and harp at “Settembre Musica”\u2026 wonderful soloists\u2026 Trevisani revealed himself as a solid and very musical flutist\u2026 the accord between the two soloists was excellent\u2026 thunderous applause”
\nLa Nazione (Firenze) 1992
\n
\n
\n“A very pleasant concert \u2026 a young harmonious duo\u2026 Massenet’s Meditation, played by Trevisani with particular musical sensibility, was suggestive and highly communicative\u2026 excellent performance\u2026”
\nLa Gazzetta di Pesaro (Pesaro) 1992
\n
\n
\n“The interpretation of the young Trevisani is notable: we could love the precision and clearness of the sound in all its nuances \u2026 the technical aspect was at a very high level”
\nIl Cittadino (Monza) 1991
\n
\n
\n“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\u2026 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”
\nIl Giornale (Milano) 1991
\n
\n
\n“The Flutist Raffaele Trevisani and harpist Luisa Prandina are a young duo whose interpretations are characterised by enthusiasm, attention to detail and stylistic elegance”
\nLa Provincia (Como) 1991
\n
\n
\n“A crowded Teatro Donizetti\u2026 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.”
\nIl Giornale di Bergamo Oggi (Bergamo) 1991
\n
\n
\n“A beautiful concert for flute and harp with Raffaele Trevisani and Luisa Prandina. The artists demonstrated a high quality of interpretation\u2026excellent performance.”
\nIl Resto del Carlino (Bologna) 1991
\n
\n
\n“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.”
\nIl Giornale (Milano) 1990
\n
\n
\n“The concert was a continual surprise\u2026The performance of “I Solisti Veneti” was very lively, helped by the excellent soloists Clementine Hoogendorn and Raffaele Trevisani.”
\nIl Gazzettino (Vicenza) 1989
\n
\n
\n“The concert with Raffaele Trevisani and Maxence Larrieu was a sellout\u2026 Trevisani\u2019s authoritative expression, his precise tone quality and agile technique was greatly appreciated\u2026 Trevisani also played impeccably the Telemann sonata in F minor.”
\nL\u2019Unit\u00e0 (Milano) 1988<\/p>","protected":false},"excerpt":{"rendered":"
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<\/p>","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_monsterinsights_skip_tracking":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_post_was_ever_published":false,"_links_to":"","_links_to_target":""},"categories":[1],"tags":[],"class_list":["post-2265","post","type-post","status-publish","format-standard","hentry","category-uncategorized"],"aioseo_notices":[],"aioseo_head":"\n\t\t\n\t\n\t\n\t\n\t\n\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t