Giacomelli: Cesare in Egitto Arianna Vendittelli, Emőke Baráth, Filippo Mineccia, Margherita Maria Sala, Valerio Contaldo, Federico Fiorio, Accademia Bizantina & Ottavio Dantone

• Geminiano Giacomelli (1692 - 1740): Cesare in Egitto:
• 1 Giacomelli: Cesare in Egitto: Sinfonia 03:45
• Cesare in Egitto, Act I, Scene 1:
• 2 Giacomelli: Cesare in Egitto, Act I, Scene 1: Recitativo. Al sempre Augusto 04:00
• 3 Giacomelli: Cesare in Egitto, Act I, Scene 1: Recitativo. Signor, così tu cambi 01:17
• Cesare in Egitto, Act I, Scene 2:
• 4 Giacomelli: Cesare in Egitto, Act I, Scene 2: Aria. Cadrà quel disumano 03:41
• Cesare in Egitto, Act I, Scene 3:
• 5 Giacomelli: Cesare in Egitto, Act I, Scene 3: Recitativo. Potrebbe il vostro fasto 00:39
• 6 Giacomelli: Cesare in Egitto, Act I, Scene 3: Recitativo. Alla fastosa superba Roma 03:41
• Cesare in Egitto, Act I, Scene 4:
• 7 Giacomelli: Cesare in Egitto, Act I, Scene 4: Recitativo. Morto è Pompeo 00:26
• 8 Giacomelli: Cesare in Egitto, Act I, Scene 4: Aria. A me basta la mia bella 05:05
• Cesare in Egitto, Act I, Scene 5:
• 9 Giacomelli: Cesare in Egitto, Act I, Scene 5: Recitativo. I Natali, il comando del genitor 00:31
• Cesare in Egitto, Act I, Scene 6:
• 10 Giacomelli: Cesare in Egitto, Act I, Scene 6: Recitativo. Moi re 01:46
• 11 Giacomelli: Cesare in Egitto, Act I, Scene 6: Aria. Fier Leon di sdegno acceso 04:47
• Cesare in Egitto, Act I, Scene 7:
• 12 Giacomelli: Cesare in Egitto, Act I, Scene 7: Recitativo. E pure è vero 01:07
• Cesare in Egitto, Act I, Scene 8:
• 13 Giacomelli: Cesare in Egitto, Act I, Scene 8: Recitativo. Fra le gravi mie cure 02:12
• 14 Giacomelli: Cesare in Egitto, Act I, Scene 8: Aria. Questa destra 04:49
• Cesare in Egitto, Act I, Scene 9:
• 15 Giacomelli: Cesare in Egitto, Act I, Scene 9: Recitativo. Santi numi del ciel 01:28
• 16 Giacomelli: Cesare in Egitto, Act I, Scene 9: Aria. Palpita nel moi petto 03:31
• Cesare in Egitto, Act I, Scene 10:
• 17 Giacomelli: Cesare in Egitto, Act I, Scene 10: Recitativo. Qual virtù, qual fortezza 00:20
• 18 Giacomelli: Cesare in Egitto, Act I, Scene 10: Aria. Vibrano i dei talora 03:36
• Cesare in Egitto, Act I, Scene 11:
• 19 Giacomelli: Cesare in Egitto, Act I, Scene 11: Recitativo. Umile il re d'Egitto 01:39
• Cesare in Egitto, Act I, Scene 12:
• 20 Giacomelli: Cesare in Egitto, Act I, Scene 12: Recitativo. Cesare invitto 02:31
• 21 Giacomelli: Cesare in Egitto, Act I, Scene 12: Aria. Lusinga un tiranno 03:12
• Cesare in Egitto, Act I, Scene 13:
• 22 Giacomelli: Cesare in Egitto, Act I, Scene 13: Recitativo. Deh, se il moi amor può ancora 00:51
• 23 Giacomelli: Cesare in Egitto, Act I, Scene 13: Aria. A quelle luci irate 04:44
• Cesare in Egitto, Act I, Scene 14:
• 24 Giacomelli: Cesare in Egitto, Act I, Scene 14: Recitativo. Cleopatra, in questo giorno 01:00
• 25 Giacomelli: Cesare in Egitto, Act I, Scene 14: Aria. Bella, tel dica amore 06:51
• Cesare in Egitto, Act I, Scene 15:
• 26 Giacomelli: Cesare in Egitto, Act I, Scene 15: Recitativo. Seguite pur 00:21
• 27 Giacomelli: Cesare in Egitto, Act I, Scene 15: Aria. Chiudo in petto un cor altero 05:29
• Cesare in Egitto, Act II, Scene 1:
• 28 Giacomelli: Cesare in Egitto, Act II, Scene 1: Recitativo. Già per segrete strade 01:25
• 29 Giacomelli: Cesare in Egitto, Act II, Scene 1: Aria. Al vibrar della mia spada 02:45
• Cesare in Egitto, Act II, Scene 2:
• 30 Giacomelli: Cesare in Egitto, Act II, Scene 2: Recitativo. Se m'arride la sorte 01:10
• 31 Giacomelli: Cesare in Egitto, Act II, Scene 2: Aria. Se il sangue moi tu brami 05:40
• Cesare in Egitto, Act II, Scene 3:
• 32 Giacomelli: Cesare in Egitto, Act II, Scene 3: Recitativo. Numi, a qual ria sventura 01:04
• 33 Giacomelli: Cesare in Egitto, Act II, Scene 3: Aria. Se provi nel core 03:53
• Cesare in Egitto, Act II, Scene 4:
• 34 Giacomelli: Cesare in Egitto, Act II, Scene 4: Recitativo. Grand'è l'impegno 00:36
• 35 Giacomelli: Cesare in Egitto, Act II, Scene 4: Aria. Vendetta mi chiede 04:16
• Cesare in Egitto, Act II, Scene 5:
• 36 Giacomelli: Cesare in Egitto, Act II, Scene 5: Recitativo. Io fui quella, che prima 01:27
• Cesare in Egitto, Act II, Scene 6:
• 37 Giacomelli: Cesare in Egitto, Act II, Scene 6: Recitativo. Nel sonno oppresso 02:08
• 38 Giacomelli: Cesare in Egitto, Act II, Scene 6: Aria. Col vincitor mi brando 04:14
• Cesare in Egitto, Act II, Scene 7:
• 39 Giacomelli: Cesare in Egitto, Act II, Scene 7: Recitativo. Cornelia, il caso tun non merita pietà 01:12
• 40 Giacomelli: Cesare in Egitto, Act II, Scene 7: Aria. Oppressa, tradita 01:21
• Cesare in Egitto, Act II, Scene 8:
• 41 Giacomelli: Cesare in Egitto, Act II, Scene 8: Recitativo. Vuò seguir l'infelice 00:56
• Cesare in Egitto, Act II, Scene 9:
• 42 Giacomelli: Cesare in Egitto, Act II, Scene 9: Recitativo. Numi del ciel 01:09
• Cesare in Egitto, Act II, Scene 10:
• 43 Giacomelli: Cesare in Egitto, Act II, Scene 10: Recitativo. Vedi, Signor 00:35
• 44 Giacomelli: Cesare in Egitto, Act II, Scene 10: Aria. Spose tradite 06:38
• Cesare in Egitto, Act II, Scene 11:
• 45 Giacomelli: Cesare in Egitto, Act II, Scene 11: Recitativo. Achilla non temer 00:59
• Cesare in Egitto, Act II, Scene 12:
• 46 Giacomelli: Cesare in Egitto, Act II, Scene 12: Aria. Quell'agnellin che seco 05:49
• Cesare in Egitto, Act II, Scene 13:
• 47 Giacomelli: Cesare in Egitto, Act II, Scene 13: Corni da battaglia 00:22
• 48 Giacomelli: Cesare in Egitto, Act II, Scene 13: Recitativo. Romani, ecco il nemico 00:23
• 49 Giacomelli: Cesare in Egitto, Act II, Scene 13: Battaglia di Cesare e Tolomeo & Recitativo. Oppressa dalla forza 01:15
• 50 Giacomelli: Cesare in Egitto, Act II, Scene 13: Aria. Scende rapido spumante 04:54
• Cesare in Egitto, Act III, Scene 1:
• 51 Giacomelli: Cesare in Egitto, Act III, Scene 1: Recitativo. Tiranno, traditore 02:02
• Cesare in Egitto, Act III, Scene 2:
• 52 Giacomelli: Cesare in Egitto, Act III, Scene 2: Recitativo. Signor ritorno tinto del sangue 01:07
• 53 Giacomelli: Cesare in Egitto, Act III, Scene 2: Aria. Taci, non v'è più speme 01:08
• Cesare in Egitto, Act III, Scene 3:
• 54 Giacomelli: Cesare in Egitto, Act III, Scene 3: Recitativo. Udisti? Ah, se non sdegni 01:09
• 55 Giacomelli: Cesare in Egitto, Act III, Scene 3: Aria. Nel sen mi giubila 03:15
• Cesare in Egitto, Act III, Scene 4:
• 56 Giacomelli: Cesare in Egitto, Act III, Scene 4: Recitativo. Quanto Achilla t'inganni 00:47
• 57 Giacomelli: Cesare in Egitto, Act III, Scene 4: Aria. Son qual nave da due venti 04:24
• Cesare in Egitto, Act III, Scene 5:
• 58 Giacomelli: Cesare in Egitto, Act III, Scene 5: Recitativo. Desti luogo nell'alma 00:50
• 59 Giacomelli: Cesare in Egitto, Act III, Scene 5: Recitativo accompagnato. Vanne, mio figlio 00:28
• 60 Giacomelli: Cesare in Egitto, Act III, Scene 5: Recitativo. E nutre la tua Roma 00:15
• 61 Giacomelli: Cesare in Egitto, Act III, Scene 5: Recitativo accompagnato. Anima mia 00:21
• 62 Giacomelli: Cesare in Egitto, Act III, Scene 5: Recitativo. Figlio! Che? Tu sospiri 01:40
• Cesare in Egitto, Act III, Scene 6:
• 63 Giacomelli: Cesare in Egitto, Act III, Scene 6: Recitativo. Così appunto favella 01:23
• 64 Giacomelli: Cesare in Egitto, Act III, Scene 6: Aria. Tu m'ami, lo vedo 02:19
• Cesare in Egitto, Act III, Scene 7:
• 65 Giacomelli: Cesare in Egitto, Act III, Scene 7: Recitativo. Numi voi che reggete 00:16
• 66 Giacomelli: Cesare in Egitto, Act III, Scene 7: Aria. Scorre per l'onde ardito 04:10
• Cesare in Egitto, Act III, Scene 8:
• 67 Giacomelli: Cesare in Egitto, Act III, Scene 8: Recitativo. Ecco l'atrio 00:47
• 68 Giacomelli: Cesare in Egitto, Act III, Scene 8: Aria. A un cor forte 04:03
• Cesare in Egitto, Act III, Scene 9:
• 69 Giacomelli: Cesare in Egitto, Act III, Scene 9: Recitativo accompagnato. Ombra del caro sposo 01:05
• 70 Giacomelli: Cesare in Egitto, Act III, Scene 9: Recitativo. Giorno è questo di feste 01:02
• Cesare in Egitto, Act III, Scene 10:
• 71 Giacomelli: Cesare in Egitto, Act III, Scene 10: Recitativo. Mora l'indegno 01:31
• Cesare in Egitto, Act III, Scene ultima:
• 72 Giacomelli: Cesare in Egitto, Act III, Scene ultima: Recitativo. Vedi, Cleopatra 01:48
• 73 Giacomelli: Cesare in Egitto, Act III, Scene ultima: Coro. Dal seno di giove 00:39
• Total Runtime 02:43:59

Info zu Giacomelli: Cesare in Egitto

Die Oper Cesare in Egitto von Geminiano Giacomelli (1692-1740) mit einem Libretto von Domenico Lalli und einem jungen, noch nicht 30-jährigen Mitarbeiter, Carlo Goldoni, wird von dem italienischen Dirigenten Ottavio Dantone mit neuem Leben erfüllt. "Cesare in Egitto" gilt als Giacomellis Meisterwerk; seine drammi per musica waren in Parma, Venedig, Mailand, Rom, Turin und Graz ein großer Erfolg. Er beeinflusste auch die bedeutendsten Musiker seiner Zeit: Vivaldi verwendete beispielsweise Arien von Giacomelli in seinem Pasticcio "Bajazet". Die vorliegende Weltersteinspielung mit der Accademia Bizantina und erstklassigen Solisten wurde bei den Innsbrucker Festwochen aufgenommen; Ottavio Dantone ist seit 2024 Musikdirektor der Festspiele.

Arianna Vendittelli, Sopran
Emőke Baráth, Mezzosopran
Filippo Mineccia, Countertenor
Margherita Maria Sala, Alt
Valerio Contaldo, Tenor
Federico Fiorio, Sopran
Accademia Bizantina
Ottavio Dantone, Dirigent

Arianna Vendittelli
Born in Rome, Arianna Vendittelli showed a great interest in music from a very young age. She first studied violin before focusing exclusively on singing. She graduated with highest honours from the Conservatorio Antonio Buzzolla in Adria and she is currently perfecting her singing with Mariella Devia.

Her unique timbre and her wide vocal range enabled her at an early age to approach the great roles of the operatic repertoire.

She was a prize winner at the following International Singing Competitions: Sacred Music in Rome, Marcello Giordani Competition in Catania, Handel Competition in London. She also received the Audience Award in the Cesti Competition at the Innsbruck Festival of Early Music.

Romana di nascita, fin dai primi anni di vita manifesta grande interesse per la musica intraprendendo, inizialmente, lo studio del violino, per poi dedicarsi esclusivamente al canto. Diplomata con il massimo dei voti presso il Conservatorio “Antonio Buzzolla” di Adria, attualmente si perfeziona sotto la guida di Mariella Devia.

Il suo timbro unico e la grande estensione vocale le hanno permesso in giovane età di avvicinarsi ai grandi ruoli del repertorio operistico, è stata inoltre il terzo premio al “Concorso internazionale di Musi a Sacra 2008”, vincitrice del ruolo di Norina presso il “Concorso internazionale Marcello Giordani 2011”, vincitrice del Publikumpreis presso il “Concorso internazionale di opera barocca Pietro Antonio Cesti 2015”, vincitrice del ruolo della Contessa d’Almaviva per la Ópera Estudio de Tenerife 2015, vincitrice del secondo premio presso il “London Handel Competition 2017”.

Emőke Baráth
Hungarian soprano Emőke Baráth began her musical education studying the piano and the harp. She began singing at the age of 18 with Professor Julia Paszthy at the Franz Liszt Academy in Budapest. She also studied at the Luigi Cherubini Conservatory in Florence.

In 2009, she received Third Prize at the 44th Antonín Dvořák International Competition (Czech Republic). In 2011, she won the First Prize and the People’s Choice award at the Second International Singing Competition for Baroque Opera in Innsbruck (Austria). The same year, she won the Grand Prix of Verbier Festival Academy (Switzerland).

She has sung in several masterclasses, notably with Barbara Bonney, Kiri Te Kanawa, Sylvia Sass, Laszlo Polgar, Nancy Argenta, Deborah York and Masaaki Suzuki.

Early on in her career, she was invited to perform as soloist at festivals and venues as renowned as the Palace of Arts and the Budapest State Opera in Hungary, the Theater an der Wien, Amsterdam’s Concertgebouw, the Théâtre des Champs-Elysées, the Opéra Royal de Versailles and the Verbier Festival in Switzerland; the Nikolaisaal in Potsdam, the Braunschweig Staatstheater, and the Brandeburger Theatre in Germany, and the Concert Hall of the Tchaikovsky Conservatory in Moscow, Russia.

The late Alan Curtis was one of the first conductors to discover her talent, giving her the opportunity to sing in prestigious productions of works by Handel – Giulio Cesare (Sesto, alongside Karina Gauvin and Marie-Nicole Lemieux), Admeto (Antigona), Amadigi di Gaula (Oriana), Arianna in Creta (Alceste), and in prestigious venues such as the Theater an der Wien, Auditorio nacional in madrid and the Théâtre des Champs-Élysées. Handel occupies an important place in her repertoire: she has sung Messiah (Detroit Symphony Orchestra and National Symphony Orchestra Washington, Nathalie Stutzmann conducting), Almirena in Rinaldo (Il Pomo d’Oro and riccardo minasi), Armindo in Partenope (Il Pomo d’Oro and Maxym Emelyanychev, with a recording on Erato), Morgana in Alcina (Accademia Bizantina and Ottavio Dantone, with Inga Kalna and Philippe Jaroussky) and Asteria in Tamerlano (Les ambassadeurs and Alexis Kossenko). In April 2014, she sang the soprano part in Duello Amoroso, a pasticcio after Handel, with Nathalie Stutzmann conducting the ensemble Orfeo 55 at the Bordeaux Opera (with Jean-Louis Grinda as stage director).

Emőke Baráth regularly sings Bach’s masterpieces: the Mass in B Minor (Les musiciens du Louvre and Marc Minkowski), Saint Matthew Passion (Liverpool Royal Philharmonic with Nathalie Stutzmann), the Christmas Oratorio (successively with the Freiburger Barockorchester, Göteborg Symphony Orchestra, the French ensemble accentus and Emmanuelle Haïm with Le Concert d’Astrée). She has also performed cantatas with Accademia Bizantina conducted by Andreas Scholl (Festival de Beaune).

She is in demand in repertoire by the composers of the Seicento, having sung the title-role in Elena by Cavalli (Cappella Mediterranea conducted by Leonardo García Alarcón, with Jean-Yves Ruf as stage director – Festival d’Aix-en-Provence), Romilda in Xerse by the same composer (Le Concert d’Astrée, Emmanuelle Haïm, with a staging by Guy Cassiers – Lille Opera, Théâtre de Caen, Theater an der Wien). She took on the title-role of Monteverdi’s L’Incoronazione di Poppea at the Innsbruck Festival and the Budapest Opera, and the same composer’s Euridice in L’Orfeo (Les Talens Lyriques and Christophe Rousset, Claus Guth as director). She sang Monteverdi’s Selva morale e spirituale with Concentus musicus Wien conducted by Pablo Heras Casado.

Emőke Baráth is increasingly in demand in Mozart’s works: she was a highly acclaimed Susanna in Le Nozze di Figaro (Les Musiciens du Louvre and Marc Minkowski, with Director Felix Breisach), Tamiri in Il Re Pastore (Verbier Festival Chamber Orchestra and Gábor Takács-Nagy – Verbier Festival), Zerlina in Don Giovanni and Despina in Così fan tutte (Budapest Opera). In 2016, she sang the Mass in C Minor on 3 occasions: with the Bergen Philharmonic, the Verbier Festival Chamber Orchestra and the São Paulo Symphony Orchestra.

In 2017/2018, she sings the role of the Angel in Messiaen’s Saint François d’Assise with Sylvain Cambreling and the Yomiuri Symphony Orchestra Japan, Bach’s Magnificat and Handel’s Dixit Dominus with Emmanuelle Haïm and Le Concert d’Astrée and Bach’s Mass in B minor with Concentus Musicus Wien. Following the release of the recording of Gluck’s Orfeo ed Euridice (Erato), she performs in the work at the Théâtre des Champs-Élysées and in Versailles alongside Philippe Jaroussky and Patricia Petibon, under the baton of Diego Fasolis and with a staging by Robert Carsen.

Filippo Mineccia
Born in Florence, Filippo Mineccia gained international recognition being considered by many as one of the greatest specialists in the repertoire of the glorious castrato era.

As a child, he studied singing at the Fiesole School of Music, joining its Polyphonic Choir. After graduating in voice and cello from the Luigi Cherubini Music Conservatory in Florence, he studied with Gianni Fabbrini and Donatella Debolini.

Filippo recently made his Teatro alla Scala debut as Titta Castagna in Vinci’s Zite ‘ngalera in the new Andrea Marcon/Leo Muscato production and gained wide attention for the concerts he performed in Ravenna, Jerash, Pompei under the baton of Riccardo Muti.

He has performed numerous Handel opera roles including Tolomeo in Giulio Cesare at both the Versailles Royal Opera and the Beaune Festival, Ottone in Agrippina at the Paris Seine Musicale and in a Thomas Hengelbrock/Robert Carsen production at the Theater an der Wien (issued on DVD by Naïve). For the Handel Festspiele in Halle, he appeared as Demetrio (Berenice), Dardano (Amadigi) and sang the title role in Lucio Cornelio Silla.

Filippo Mineccia reunited with Ottavio Dantone for Giacomelli’s Cesare in Egitto (Achilla) in Innsbruck, for the title role in Vivaldi’s Il Tamerlano at the Theater an der Wien (issued on CD by Naïve) and for a new Chiara Muti staging of Giulio Cesare (Tolomeo); after its premiere at the Teatro Alighieri in Ravenna, the production went on an extensive Italian tour visiting Modena, Piacenza, Reggio Emilia and Lucca.

He was seen on stage as Caino in A. Scarlatti’s oratorio Il primo omicido alongside Philippe Jaroussky at the Salzburg Mozarteum and Montpellier Opera, as Ottone in Monteverdi’s Incornazione di Poppea conducted by Jean-Christophe Spinosi at both the Liceu Barcelona and Teatro Colón in Buenos Aires, and as Ruggiero in Vivaldi’s Orlando furioso at the Paris Théâtre des Champs-Elysées.

Filippo performed the title role in Gluck’s Orfeo ed Euridice at the Teatro Massimo in Palermo, Osmida in Galuppi’s Didone abbandonata under Ulises Illán at both the Auditorio Nacional de Música in Madrid and the Potsdam Festival, and was the Swan in Carl Orff’s Carmina Burana for the Rome Opera and, under the baton of Michele Spotti, for the 101st Arena di Verona Opera Festival.

He has also appeared in rare and lesser-known operas, starring as Achille in Francesco Sacrati’s Finta pazza with Leonardo García Alarcón in Geneva, Versailles, Amsterdam, and as Anassandro in the first modern performance of Riccardo Broschi’s Merope conducted by Alessandro De Marchi in Innsbruck and Vienna.

Filippo Mineccia has issued a dozen of solo albums dedicated to unknown composers such as Attilio Ariosti, Leonardo Vinci, Niccolò Jommelli, Francesco Gasparini and Johann Adolph Hasse. Mezzo has filmed the Stabat Mater by Pergolesi and Vivaldi he presented at the Chapelle Royale de Versailles.

The 2025/2026 sees Filippo return to the Innsbruck Festival for Caldara’s Ifigenia in Aulide (Teucro) under Ottavio Dantone and reprise the role of Tolomeo in Giulio Cesare at both the Teatro Petruzzelli in Bari (Stefano Montanari/Damiano Michieletto) and the Maggio Musicale Fiorentino (Gianluca Capuano/Davide Livermore).

He will make his debut in the title role of Orlando in a Pier Luigi Pizzi staging conducted by Ottavio Dantone at the Ravenna Festival, appear as Egisto in Pelopida by Girolamo Abos for the Valletta Baroque Festival, revive Gassmann’s L’Opera Seria (Caverna) under Christophe Rousset at the Theater an der Wien and perform in a Tito Ceccherini/Damiano Michieletto production of Francesco Filidei’s Il Nome della Rosa at the Teatro Carlo Felice di Genova.

Valerio Contaldo
Born in Italy, Valerio Contaldo grew up in Switzerland. After training as a classical guitarist in Sion and Paris, he studied with Gary Magby at the Haute Ecole de Musique de Lausanne where he obtained a Master degree in singing performance. He has been among the finalists of the Leipzig Bach Competition in 2008 and attended masterclasses with Christa Ludwig, Klesie Kelly, David Jones and Julius Drake.

Very active and versatile, his oratorio repertoire includes the most important works of sacred music from Monteverdi to Frank Martin, including Bach (Passions, Cantatas), Mozart (Requiem, Davide Penitente, C minor Mass), Haydn (The Creation, The Seasons), Rossini (Petite Messe Solennelle, Stabat Mater).

He performs in major European Festivals and concert halls such as Carnegie Hall in New York, Musikverein in Vienna, Beaune and Ambronay festivals, Mozartwoche in Salzburg, Les Folles Journées in Nantes, Bilbao, Warsaw and Tokyo, MA Festival in Bruges, Oude Muziek Festival in Utrecht and at the opera, on the stages of the Opéra de Paris, the Théâtre des Champs Elysées, the theaters of Biel/Solothurn, the Opéra de Nice, the Opéra de Bordeaux, the Teatro La Fenice in Venice, as well as at the Festivals of Edinburgh, Aix-en-Provence and Graz (Styriarte).

In 2017, he has had the chance to perform the title role in L'Orfeo by Monteverdi, with Concerto Italiano (R. Alessandrini) in Barcelona, ​​Adelaide, Shanghai and Beijing, as well as with the Cappella Mediterranea (L. García Alarcón) in Brussels, Amsterdam, Rotterdam, Paris (Festival Saint-Denis), and on tour in South America (Teatro Colón in Buenos Aires, Rio de Janeiro, São Paulo).

Recently, he has also been heard at the Opéra de Bordeaux and the Opéra Comique in Mârouf, Savetier du Caire by Henri Rabaud, as well as L'Orfeo by Monteverdi, in Budapest, Vicenza and Geneva in a version by Iván Fischer or in Beethoven's 9th Symphony and in Haydn's Creation at the Gulbenkian Foundation in Lisbon, under the baton of Leonardo García Alarcón.

Between 2021 and 2023 his performances include: Testo in Monteverdi’s Il Combattimento di Tancredi e Clorinda (Festival d’Aix-en-Provence), the title role in Monteverdi’s Il Ritorno di Ulisse in Patria at the Opéra Royal de Versailles, the Evangelist in Bach's Matthäus Passion, Morphée in Lully’s Atys at the Grand Théâtre de Genève, as well as Damon in Handel’s Acis and Galatea, in Paris and Amsterdam (Concertgebouw).

He works under the baton of conductors such as: Leonardo García Alarcón, Rinaldo Alessandrini, Marc Minkowski, Michel Corboz, William Christie, Alfredo Bernardini, John Nelson, Philippe Herreweghe, Philippe Pierlot, Stephan MacLeod, Sébastien Daucé, Stéphane Fuget, Peter van Heyghen, Jean-Marc Aymes…

Among his recent notable recordings: Monteverdi's L’Orfeo with La Cappella Mediterranea (Alpha), Monteverdi’s Il Ritorno di Ulisse in Patria (CVS), Bach's B minor Mass with Gli Angeli Geneva (Claves) or Dafne in Lauro by Fux with the ensemble Zefiro (Arcana), Monteverdi’s Il Setttimo Libro de’ Madrigali (Naïve) all highly acclaimed.

Booklet für Giacomelli: Cesare in Egitto