Selected Press

2018

Juan Vásquez en Festival Música Antigua de Gijón

El contratenor cosechó las grandes ovaciones de la tarde con números a solo como “Quién me otorgase” o “Si me llaman, a mí llaman”.

La Nueva España — Julio 2018

También es de destacar la canción para vihuela y contratenor Quién me otorgase, señora, con un sobresaliente trabajo de Ferri-Benedetti, con el que tuvimos el gusto de charlar brevemente al término del concierto acerca de la necesidad de transmisión de los afectos (Monteverdi), que tiene en la música y el canto tan esencial clave movilizadora, sobre todo en los tiempos que corren.”

Diario del Aire — Julio 2018

 

Entrevista en Periódico El Mediterráneo (Castellón)

http://www.elperiodicomediterraneo.com/noticias/cuadernos/cap-cantant-liric-viu-gravar-discos_1124184.html

2017

Monteverdi — San Lorenzo de El Escorial

con Manuel Minguillón (Archilaúd)

Fue un auténtico tour de force para Ferri-Benedetti, al que también, en su desempeño canoro, se le puede aplicar el símil de la esencia de perfume: es menos conocido que otros colegas suyos, pero bastante mejor que casi todos ellos. Tiene una voz realmente bella (algo que no siempre se da en un contratenor), posee una técnica prodigiosa (son muy pocos los que le pueden superar o, al menos, igualar en este apartado) y desarrolla un sentido de la teatralidad —vocal y escénica— que contribuye a que el espectáculo sea realmente eso, espectáculo. Y, sobre todo, conoce a la perfección el material musical con el que trata: Monteverdi fue el padre de la seconda prattica y la seconda prattica exigía aquello de “prima le parole, e poi la musica”, por lo que tanto Ferri-Benedetti como Minguillón pusieron su talento al servicio del texto (Ferri-Benedetti cuenta con una ventaja: es italiano y se entiende todo lo que dice, cosa que no se da con frecuencia en muchos cantantes, incluidos no pocos italianos).”

SCHERZO (online) Feb 2017

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Monteverdi / Schütz

(Los Afectos Diversos, Madrid, Festival Arte Sacro y FEMÀS — Sevilla)

...brillando individualmente la soprano Armelle Morvan y el contratenor Flavio Ferri-Benedetti.”

SCHERZO (online) Mar 2017

Los Afectos Diversos presentó para la ocasión una plantilla formada por dos cantores por parte, entre los que destacaron especialmente la línea de altos formada por Flavio Ferri-Benedetti y Gabriel Díaz –una de las mejores líneas de altus que recuerdo en un conjunto español desde hace mucho–” “Ferri-Benedetti [Bringt her den Herren] –que firmó la actuación a solo más brillante de la velada, mostrando su gran facilidad para el agudo y su expresividad–”

CODALARIO (online) Mar 2017

la muy expresiva y teatral aportación del contratenor Flavio Ferri-Benedetti en Bringt her den Herrn”

Correo de Andalucía 3 de abril de 2017

Entre los solistas brilló con luz propia Flavio Ferri-Benedetti, que se desquitó de su sacrificado papel polifónico –complicada su tesitura– con una proyección de voz y unas agilidades casi operísticas.”

Diario de Sevilla 3 de abril de 2017

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LA MARGARITA (Styriarte 2017)

 

 

 

 

 

 

 

 

Jochen Kupfer singt den König Hesperos mit brummendem Bass und steht im Kontrast zum Altus von Flavio Ferri-Benedetti (Herkules), der vor allem auf kultivierten Klang setzt.”

(Kultref OH Uni Graz)

Altus Flavio Ferri– Benedetti gab dem eitlen Herkules Profil”

(Kleine Zeitung Graz)

Countertenor Flavio Ferri-Benedetti ist ein stimmlich wie darstellerisch wendiger Herkules.”

(Der Standard Austria)

2016

Article en “Periódico Mediterráneo”

(Castelló, 21 de febrer de 2016)

12657380_10153832518818213_3781614517823027971_o 10286861_10153832242553213_7175029342071301094_o

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HÄNDELTESEO (Wiederaufnahme in Karlsruhe)

Als Egeo, König von Athen, wartete der junge italienische Countertenor Flavio Ferri-Benedetti mit starker Bühnenpräsenz auf. Er spielte den eitlen König hervorragend und beeindruckte mit seiner großen stimmlichen Bandbreite.”

Online Merker — Feb 2016

Egeo was sung by another young countenor, Flavio Ferri-Benedetti whose voice is equally sweet if softer grained, and who sings with graceful subtle ornamentation.’”

Opera Britannia

***

Bach and Vivaldi at Eisenach (Bach Festwochen)

Con Forma Antiqva

Thüringer Allgemeine / TLZ 29 March 2016

Carlos Mena had to cancel because of health problems! He was supposed to be the cherry on top of the Festival, and now Flavio Ferri-Benedetti had to replace him — also an alumnus of the Schola Cantorum Basiliensis. With Vivaldi’s “Cessate omai cessate” he won stature, secured the control of breath and phrasing, and then showed in “Nisi Dominus” the capacity to express and shape the music, based on generally secure vocal basis. And in the encore (a subtle, wide, high melody) he finally convinced the audience with the real and thrilling melodiousness of his countertenor voice — here he was able to make use in the first line of all qualities a singer is capable of.” 

Also from other nations we can witness interesting contributions to the modern cultivation of Bach.”

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SONO UN FUMO

(Berlin und Basel) — mit Ensemble il Profondo
Baroque & Contemporary Music — Staged by Aliénor Dauchez

Flavio Ferri-Benedetti ist ein agiler, ausgewogener Countertenor mit wunderbarem Piano, in einzelnen Momenten aber auch sehr geradlinig expressiv; auch darstellerisch stark, in seiner kurzen Hose wirkt er auf der Bühne herzzerreißend allein.”

Hundert11 Berlin

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Flavio Ferri-Benedetti mit kraftvollem, klarem und modulationsfähigem Counter.”

Tagesspiel 17.5.2016

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Article for Handel News #67

article-on-handel-news-67

2015

Emergency substition for the role of CREONTE

Niobe — Agostino Steffani

Niobe Dortmund - Applaus Niobe Dortmund - Applaus 2

KONZERTHAUSDORTMUND 

(With Boston Music Festival Orchestra — Dir. O’ Dette & Stubbs)

Für den erkrankten Maarten Engeltjes ist kurzfristig Flavio Ferri-Benedetti als Creonte eingesprungen. Ferri-Benedetti stattet den Anwärter auf den Thron mit beweglichem Counter aus, dem die Koloraturen in den Höhen wunderbar gelingen. So wird sein großes Liebesduett mit Gauvin, wenn er Niobe mit der Göttin Venus vergleicht, zu einem weiteren Höhepunkt des Abends.”

For M. Engeltjes, who was sick, FFB jumped in at very short notice as Creonte. Ferri-Benedetti presents it with flexible Countertenor voice, and mastered the coloraturas in the high register. Also, his big love duet with Gauvin, when he compares Niobe to Venus, became one of the evening’s highlights.”

www.omm.de — 1 Feb 2015

**

Der dritte Sänger, der mit großer Stimmvirtuosität eine ehemalige Kastratenpartie übernahm, war Flavio Ferri-Benedetti als späterer Thebenkönig Creonte.”

The third singer who undertook, with great vocal virtuosity, a role once written for a castrato, was Flavio Ferri-Benedetti, as the later King of Thebes, Creonte.”

Ruhr Nachrichten — 1 Feb 2015

**

Flavio Ferri-Benedetti, der kurzfristig einsprang, sang den Creonte, der Niobe durch Zauber in Gestalt des Gottes Mars verführt. Er wechselte von Phrase zu Phrase die Masken des Liebhabers und des Gottes ständig durch, eine Freude.”

FFB, who jumped in at short notice, sang Creonte, who seduces Niobe with the use of magics, in the shape of Mars. He changed continually from sentence to sentence the different masks of the lover and the god, a joy to hear.”

NRW Kultur — 1 Feb 2015

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Handel’s Teseo

Händel Festspiele Karlsruhe

20 Feb — 1 Mar 2015

Applaus TeseoEgeo and Medea (Teseo) @ Falk von Traubenberg

(Second photo, with Roberta Invernizzi as Medea, © Falk von Traubenberg 2015)

Brillant die männlichen Solisten: Drei Top-Countertenöre der Extraklasse, weit weg vom Knusperhexen-Sound der frühen Stimmfach-Jahre. Geschmeidig, opulent, virtuos und sehr, sehr ausdrucksstark — alle drei beeindrucken: […] Flavio Ferri-Benedetti als eitler König Egeo, der auch schon mal ins Bass-Register abtaucht.”

Brilliant male soloists: 3 top deluxe countertenors, far from the awful sound of the early countertenor era. Opulent, virtuosic and very, very expressive, all three impress […] FFB a vain king Egeo who sometimes even dives into bass register.”

Südwestpresse — 23 Feb 2015

***

Gesanglich steht der Abend auf allerhöchstem Niveau. […] Der Countertenor Flavio Ferri-Benedetti wechselt für einzelne Basstöne immer wieder in seine Bruststimme, um Egeos Hass auf Medea Nachdruck zu verleihen.”

The singing level of the evening was excellent. […] Countertenor FFB changes for some bass notes to his chest voice in order to give more expression to Egeo’s hate for Medea.”

Badische Zeitung — 23 Feb 2015

***

Aber Medea und auch Athens König Egeo lassen sich als komplexere Persönlichkeiten darstellen, was “Teseo” spannend macht. Egeo, von Flavio Ferri-Benedetti von der Kopfstimme bis ins Bassregister hinein stimmig verkörpert, ist ein auffalend schwacher Herrscher. Sein prunkvolles Gewand und die Krone können darüber nicht hinweg täuschen, dass Egeo die Beliebtheit von Teseo fürchtet, MEdeas Hexenkünste fürchtet, eigentlich so ziemlich alles fürchtet, aber unbedingt Agilea erobern will — die Solisten sind glänzend disponiert und lassen die Koloraturen funkeln…” “Das herrlich bissig angelegte “Geh doch, ich liebe eh einen anderen” Duett von Medea und Egeo zeigt den Sinn für Humor, den es im deutschen Regietheater leider nur selten gibt.”

But Medea and Athens’ king Egeo also allow for more complex personalities, which makes “Teseo” exciting”. Egeo, COHERENTLY EMBODIED by FFB from head voice down to bass register, is an evidently weak ruler. His flashy dress and crown cannot fake his fear towards the popularity of Teseo or the witchcraft of Medea. Egeo actually is afraid of everything and everybody, still wants to conquer Agilea —- The soloists shine and deliver sparkling coloraturas…” “The superbly snappy Medea/Egeo Duet ‘You can go, I love another one’ shows humour that is rarely seen in German Regietheater”

Badisches Tagblatt — 23 Feb 2015

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Handel’s Orlando

1951278_1_swp-8143050_20150616_4C_ORLANDOBI_X925075329X

 Ulm & Ravensburg

10–14. Juni 2015

Kontratenor Flavio Ferri-Benedetti gab einen Titelhelden zwischen zarter Romantik, wilder Entschlossenheit und irrwitzigem Wahn, manchmal fast schon das Absurde streifend, der ganz der anfänglichen Aufforderung Zoroastros Folge leistete: “Erhebe Dein Herz zu großen Taten!”

Countertenor FFB delivered a tite-role hero between sweet romantic, wild determination and mad delirium, sometimes already at the edge of absurd, following Zoroastro’s order at the beginning of the opera: “Ergi il tuo cor alle grand’opre!”

SWP 16 Jun 2015

***

With countertenor FFB one can only marvel at the range of colours that reflect sadness, rage, desperation, resignation and madness. Inner lines, flaming coloraturas, outbursts where the singer also quickly switches to chest register and the phrasing felt up to the fingertips — give the audience the impression that he has incorporated the role completely.”

Bei dem Kontratenor FFB in der Hauptrolle kann man schließlich nur staunen über die Fülle an Farben, die Trauer, Wut, Verzweiflung, Resignation und Raserei spiegeln. Innige Linien, flammende Koloraturen, Ausbrüche, in denen der Sänger im Vorübereilen auch mal schnell ins Brustregister springt, und die bis in die Fingerspitzen erfüllte Gestaltung geben das Publikum das Gefühl, er habe die Rolle ganz und gar verinnerlicht.”

Schwäbische Zeitung

2014

L’Opera Magazine (Italy)

March 2014 — Article on Italian countertenors

L'Opera Marzo2014

Almost unkonwn in Italy is the 31-year old reggiano (more precisely from Scandiano) FFB, who recently sang at Wigmore Hall in London the modern premiere of Conti’s and Metastasio’s Issipile, of which opera FFB prepared the critical edition. Countertenor doted with a huge cultural background, musicologist and “baroque stylist” of undoubted refinement, FFB graduated at the Schola Cantorum Basiliensis — where he now teaches Italian diction — and became in a few years one of the hopes of Italian “countertenorism”; he is an example of one who left Italy at a young age and perfected his baroque style following the “philological” way. After being finalist in competitions [...] he imposed himself in baroque opera, especially in “drag” roles like Linfea in Cavalli’s Calisto, but also like Narciso in Agrippina or Enea in Hasse’s Didone Abbandonata (Munich 2011). In 2012 he was an excellent Tigrane (A. Scarlatti) at the Opéra de Nice. Convinced that a countertenor should not worry about repertoire limitations, FFB faces also 19th century music in concert, going from Lied to Italian chamber song (he is a sensitive interpreter of Tosti), showing always good taste and stylistic pertinency to the different styles — which confirms him as a sensitive and eclectic musician. One of his best goals has been a CD with cantatas by Scarlatti, Bononcini [...] where the tradition of the great Neapolitan vocal school lives again through a countertenor voice that chisels the expressive meaning of each word, giving to the rhetorics of baroque affects (and effects) a subtle richness of very surprising colours and shades.”

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Scarlatti — Passio Domini nostri Jesu Christi

Preview before the concert (3rd April 2014)

BZ 3 April 2014 (PDF)

BZ 3Apr2014 Thumbnail

***

Mit viel Gefühl interpretiert Flavio Ferri-Benedetti den Evangelisten. Seine Diktion, sein klarer Altus, vom fortissimo bis zum pianissimo optimal zu verstehen, lässt diesen Part leben und überzeugt auch durch seine “darstellerische”, die Passio ist ja ein Konzert, Fähigkeit. Seine Klage am Ende “Et inclinato capite, tradidit spiritum” berührt den Zuhörer, die Zuhörerin bis ins Innerste und setzt Massstäbe für viele Interpretationen des Evangelisten, in welcher Passio auch immer.”

Nach dem Schlusssatz des Evangelisten” Videbunt in quem transfixerunt” und den Schlussakkorden der Musiker herrscht atemlose Stille. Dann bedanken sich die zahlreich erschienen Zuhörer mit langanhaltendem Applaus für die hervorragende Leistung aller Künstler.” “Flavio Ferri-Benedetti als Initiant des Abends gilt mein besonderer Dank. Es braucht viel Mut, künstlerische Kraft und Überzeugungsarbeit einen Abend, wie ich ihn geniessen konnte, auf die Beine zu stellen und auch das finanzielle Risiko zu tragen.”

With great feeling, FFB interpreted the Evangelist. His diction, his clear alto voice, optimally understandable from fortissimo to pianissimo, brings this role to life and convinces also through his “acting” capabilites — for the Passio is, after all, also a concert. His lament at the end, “Et inclinato capite, tradidit spiritum” touched the audience to the innest and set a standard for many interpretations of the Evangelist, in whichever Passion.”

After the last Evangelist phrase ‘Videbunt in quem transfixerunt’ and the last chord, there was a breathless silence. Then, the numerous audience thanked with breathtaking applause the excellent performance of all artists involved.” “I have to thank FFB especially as initiator of this evening. It needs lots of courage, artistic strength and belief to bring to life an evening like that we enjoyed — also taking the financial risk.”

Der Neue Merker APRIL 2014

**

“Die zentrale Partie des Evangelisten übernahm Ferri-Benedetti selber. Er gestaltete die Passionserzählung plastisch und überaus textverständlich. Seine farbenreiche, agile Stimme setzte er facettenreich ein, vom schneidenden Forte bis zum zarten Pianissimo beim Tod Christi. Wenn Jesus geohrfeigt wird, machte er das Ungeheuerliche dieses Vorgangs hörbar; dem Dialog zwischen dem Gekreuzigten, dessen Mutter Maria und dem Jünger Johannes verlieh er zärtliche Intimität. Das Publikum reagierte mit begeistertem Applaus.” –
“The central role of the Evangelist was performed by Ferri-Benedetti himself. He shaped the narration of the Passion plasticly and making the text extremely comprehensible. He used his agile voice, full of colours, in a multi-faceted way, from cutting forte to sweet pianissimo during the death of Jesus. When Jesus is slapped, he made the iniquity of this scene audible; he gave sweet intimacy to the dialogue between the crucified, Maria and the young John. Audience reacted with convinced applause.”
 BASELLANDSCHAFTLICHEZEITUNG 7. April 2014

Issipile by Metastasio/Conti (1732)

London debut at Wigmore Hall with La Nuova Musica

FIVE STARS - The Independent (UK)

Countertenor Lawrence Zazzo’s translucent timbre was balanced by Flavio Ferri-Benedetti’s extraordinary combination of falsetto fruitiness and baritonal sulphur.”

The Independent
23rd Jan 2014

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FOUR STARS - The Guardian (UK)

The score, meanwhile, remained buried in a library in Vienna until it was discovered by countertenor and academic Flavio Ferri-Benedetti during his research for a doctoral thesis on Metastasio. He went on to edit the score, then to play Learchus in this knock-out performance … Lawrence Zazzo’s exquisite grace as Jason contrasted sharply with Ferri-Benedetti’s flamboyance as his rival.”

The Guardian
23rd January 2014

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Stellar set of soloists made for a thrilling musical evening...

Learchus is an anti-hero of Iago-like proportions. His intrigues and machinations were superbly rendered by countertenor Flavio Ferri-Benedetti; his relentless evil — conveyed by stunning vocal leaps from crystalline heights to resonant depths — was riveting, while his conceited pouting and strutting, embellished with tightly pulsating trills, entertained. The final scene in which Learchus, mid-way through his assassination-abduction mission, recognises his own erroneousness and imprudence and stabs himself in self-chastising remorse, was gripping. (Ferri-Benedetti is clearly the man to go to if you want to learn about Conti: currently completing a doctoral thesis on Metastasian heroines, the countertenor both prepared the edition of the score and provided the English translation of the libretto which was projected onto the wall of the Wigmore Hall cupola.)

And, what a treat for the audience to have two countertenors of such star quality to beguile them. The devil may have all the best tunes, but Lawrence Zazzo, as Giasone, equalled Ferri-Benedetti in the posing and strutting department.

Opera Today
25th Jan 2014

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Counter-tenor Flavio Ferri-Benedetti had the most. He played the treacherous villain of the piece, Learchus –the heroine’s spurned lover turned pirate, with a band of men so nasty (so the surtitles told us) that they were even “feared by sailors”. If Ferri-Benedetti displayed a proprietorial air as he swanned about, grinning with braggadocio, mischievously juggling his vocal registers, the air was deserved. For it was Ferri-Benedetii who blew the dust from the score at Vienna’s national library, edited the manuscript, and made it the subject of his doctoral thesis.”

Theartsdesk.com
23rd Jan 2014

***

Just to round it off, we’ll introduce the Wigmore audience to Flavio Ferri-Benedetti, who’s not just the go-to guy for scholarship with this work, but he’s also a fabulous counter-tenor who’s almost in the Zazzo league when it comes to strutting. [...] It’s the countertenors’ show, though, and Ferri-Benedetti stole it – but given this cast, it was a close-run thing.”

Musicomh.com
24th Jan 2014

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Las lágrimas del ángel

Handel y Vivaldi en el Real Coliseo de Carlos III
(San Lorenzo de El Escorial)

Con Impetus (Ensemble Barroco de Madrid)

SCHERZO Magazine — Marzo 2014

Scherzo Marzo2014

A veces no somos conscientes de los tesoros que nos rodean, pero hoy por hoy Ferri-Benedetti es, por la belleza de su voz, por su formación técnica, por sus conocimientos musicológicos y por sus dotes para actuar, uno de los mejores contratenores del mundo (y sólo tiene 30 años). Con el cartel de “no hay entradas”, Flavio e Ímpetus llevaron al coliseo escurialense al borde del paroxismo.”

Sometimes we aren’t conscious of the treasures that are near to us, but nowadays Ferri-Benedetti is, for the beauty of his voice, for his technical preparation, for his musicological knowledge and his acting talents, one of the best countertenors in the world (and he is only 30). With a “sold out” sign, Flavio and Ensemble Impetus drove the audience to the edge of paroxysm.”

Del BLOG DE PECHO de Rubén Amón:

Igual que hay públicos demoledores y anorgásmicos, también hay públicos que sacan lo mejor de los artistas, que los incitan y los estimulan, como sucedió el sábado con Flavio Ferri-Benedetti, soberbio contratenor italiano cuya extravagancia redunda en los deberes del impacto escénico al que obedece el primer mandamiento del barroco.

Se entiende y se justifica así la teatralidad con que se desenvuelve el artista. Y no como una impostura, sino como una implicación dramatúrgica. No se trata de encadenar arias a semejanza de un menú de comida rápida, sino de identificarse con ellas en la palabra y en la música para concederles la necesaria e imponente corpulencia artística.

Fue lo que hizo Ferri-Benedetti sin distinción de los pasajes de bravura o los de “grazia”. El refinamiento  y la pulcritud con que concibió  la “Cara sposa” de “Rinaldo” cohabitaron con el virtuosismo de “Giulio Cesare” y con los alardes pirotécnicos en el trance inaugural (“Admeto”) de una primera parte dedicada al repertorio de Handel.

La segunda parte, sin lugar al descanso,  tuvo como protagonista a Vivaldi. En particular la sensibilidad y la creatividad con que el contratenor italiano afincado en Castellón concibió y resolvió la complejísima cantata “Cesate, ormai cesate”.

Tanto hacía falta un actor competente como un cantante virtuoso, así es que Ferri-Benedetti asumió el desafío desde la equidistancia. Que no desde la especulación. Decía Alfredo Kraus que un cantante nunca debe cantar con el capital, sino con los intereses. Discrepo, al menos como espectador. Y creo que discrepa Ferri-Benedetti, toda vez que su entrega absoluta venía a identificarse con la entrega del público.”

http://www.elmundo.es/blogs/elmundo/blogdepecho/

Febrero 2014

Ferri-Benedetti mostró su brillante técnica vocal, su control de la dinámica y su cuidada emisión en las arias “Aure, deh, per pietà”, de Julio César, y “Cara Sposa”, de Rinaldo, y afrontó con gran valentía la cantata RV 684 de Vivaldi pese a su gran dificultad. Todo ello, unido a su gran sensibilidad, pasión y personalidad que desplegó en su improvisada escenografía, encandiló a un abarrotado teatro.” 

FB showed his brilliant vocal technique, his dynamic control and his precise emission […] and faced with great courage the Vivaldi cantata, despite its difficulty. All that together with his great sensitiveness, passion and personality, which he showed in his improvised stagings — thus exciting the fullhouse.”

RITMO — Abril de 2014

2013

Castrati and unknown Venetian baroque repertoire
with Musica Fiorita — Basel, 7. December 2013

BZ Dez2013

Star of the craft — During the second part of the soirée, a young man appeared who seemed to fulfill the previously described stereotype: baroque costume, slightly affected manners and a high speaking voice. It was countertenor FFB, a star of his craft and what nowadays can be understood as approximation to the castrato voice. Together with Musica Fiorita he sang baroque pieces that hadn’t been heard for 300 years. The sound and the intensity of his performance touched immensely. He gently reserved himself in the Strozzi cantata, then developed in the Lamento di Apollo his full expressiveness. Then, in the Marcello “Lettera per Vittoria Tesi” he went to the comical genre, and finally in the Zanatta cantata, showed expression and shaping in top form.
In the end notes he sometimes changed to chest voice — and the awesomeness of his bell-clear alto voice was evident. It is actually so that it looks magic when a man sings those passages. The facial expressions and the interpretation make a big part too. So, on this evening it was really evident, how fascinating castrato voices must have been. Especially, one asked himself, why was castration actually necessary…”

Der Star der Zunft — Als es zum zweiten Teil des Abends ging, begegnete einem ein junger Mann, der dem beschriebenen Stereotyp ganz zu entsprechen schien. Barockkostüm, leicht affektierte Art und eine hohe Sprechstimme. Es war der Altus Flavio Ferri-Benedetti, ein Star seiner Zunft und das, was man heute als Annäherung an die Kastratenstimme verstehen kann. Zusammen mit dem Ensemble Musica Fiorita sang er einige Barockstücke, die seit 300 Jahren nicht mehr zu hören waren. Der Klang und die Intensität seiner Darbietung berührten ungeheuerlich. Hielt er sich bei der Kantate «Presso un Ruscello Algente» von Barbara Strozzi noch vornehm zurück, so entwickelte er beim «Lamento di Apollo» seine ganze Ausdruckskraft, schwenkte in der Briefvertonung «Lettera die C. A. Benati per Vittoria Tesi» über ins komische Fach, um schliesslich bei «Sorta è la notte opaca» zu absoluter Höchstform an Ausdruck und Gestaltung zu finden.
Bei den letzten Tönen wechselt er ins Brustregister und die Ungeheuerlichkeit seiner glockenklaren Altusstimme wird offenbar. Es ist tatsächlich so, dass es magischer erscheint, wenn ein Mann diese Passagen singt. Grossen Anteil hat aber auch das Mienenspiel, die Interpretation. So lässt sich an diesem Abend wirklich nachvollziehen, was das Faszinierende an den Kastratenstimmen gewesen sein muss. Allerdings fragt man sich auch, wozu die Kastration eigentlich genau nötig war.”

Basellandschlaftlicher Zeitung
9 Dez 2013

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Clemenza di Tito — GLUCK — Leverkusen
(L’Arte del Mondo) *** 
3 nov 2013

La Clemenza di Tito

Flavio Ferri-Benedetti stattet den Vertrauten Titos in beiden Arien mit weichem Countertenor und sauber geführten Spitzentönen aus.”

[FFB provides both Publio’s arias with smooth countertenor voice and cleanly-executed high notes.”]

[Online Musik Magazine.de]

Der zweite Countertenor Flavio Ferri-Benedetti als Publio beeindruckt mit enormem Volumen in seinen zwei Arien.”

[Second countertenor FFB as Publio impresses with huge volume in his two arias.”

[www.opernnetz.de]

 

Passo di pena in pena” — Nº1 on Basler Zeitung TOP CLASSICS

June/July 2013

TOP 1 - BAZ(Basel)(20Jun13)

Interview on Basellandschaftlicher Zeitung

17 April 2013

Flavio Interview - BLZeitung 17Apr2013

 

(Flavio Interview — BLZeitung 17Apr2013 –> PDF ARTICLE)

English Translation

The singer is a messenger of the passions”

Countertenor Flavio Ferri-Benedetti published his first CD, Passo di pena in pena.

By Christian Fluri

The Italian-Spanish Countertenor Flavio Ferri-Benedetti is an artist who goes his own pathways, a baroque singer who also moves in the fields of classical and romantic. Thus, at his Masters’ recital at the Schola Cantorum Basiliensis in the autumn of 2010 (which he accomplished cum laude) he sang Brahms together with baroque pieces, causing sensation. He followed the steps of other countertenors like Andreas Scholl, who convincingly approach the art of romantic Lied with their own touch.

Ferri-Benedetti, whose big passions are music and literature, especially poetry, has just published his first solo CD with Italian cantatas of the late Baroque – he is accompanied on this fantastic CD by Ensemble “Il Profondo”, founded by former students of the Schola in Basel.

The countertenor is well known to the music fans in Basel (and not only) due to his role of Linfea in Jan Bosse’s funny staging of Cavalli’s Calisto (May/June 2010). Virtuosic and teasing, he took the drag role and found himself a real comedian. “This role brought me many good things but one inconvenience;” tells Ferri-Benedetti during our coffee-talk: “I was widely known and vowed for it, but at the same time I was being reduced to the role of comedian and drag-queen.” He feels almost more at home in dramatic, serious roles. “I am actually quite a melancholic person.”

The Italo-Spaniard received many engagements with first-class ensembles for baroque Italian repertoire. Recently he sang his first Bach passion, Johannespassion, with Ensemble Orlando Fribourg under Laurent Gendre. In our conversation it really shows how deeply he feels for the Passion’s music, how he is moved by it.

 Knowledge of poetry is vital

His interpretation of Alessandro Scarlatti’s cantata Ombre tacite e sole on his CD, a real treasure of baroque literature, makes clear how touchingly Flavio Ferri-Benedetti sings the betrayed, hurt lover and how great he is at shaping song. Here one can hear the “tear in the voice”, la lacrima nella voce, which has been mentioned in our meeting. “It isn’t easy to find it – it needs some experience. You know the feeling if you have cried in life.” As a singer, you have to allow strong emotions and, at the same time, be able to control them.

To him the shaping of the text is of big importance. One can transmit the contents of a song only if the poetical text is fully understood and fathomed. Prima le parole, poi la musica – this is the law for this countertenor. “I always study the text first, then the music.” Diction, phrasing, ornamentation – it all depends on the text. “The singer must bring along a thorough knowledge of the poetry.” This is part of what Ferri-Benedetti, who gives courses at the Schola, explains to his students.

The singer takes ideally a role “that is one of hardest roles of his life, a role he sometimes forgets: messenger, sailor, confessor, reporter or the small and big human passions,” writes Ferri-Benedetti in his beautiful text accompanying the CD, where he explores the role of the singer, the descendant of Orpheus. And he quotes the important baroque poet and librettist Pietro Metastasio: “He who wants to move, should try to move himself first.” And Ferri-Benedetti knows well: “If you give the audience, you receive back.”

One hears in each and every word that Ferri-Benedetti is a fully passionate singer and also a teacher. Also in this role he considers the teacher to be a messenger who brings the art of singing to young people – learning a lot about himself and his profession as well.

 He always wanted to come to Basel

He wanted to be a singer very early, actually a baroque singer. Born in the Italian Aemilia, he moved at the age of 11 with his family to Spain. The young boy, while studying piano, heard all baroque albums and was fascinated by the high male voice. “Countertenor and conductor René Jacobs was my teenage hero.” When he read an interview with Jacobs at the age of 13, when Jacobs was a teacher at the Schola, he told his mother: “I want to study Early Music and Singing in Basel!” – and it happened.

From 1994 to 2004 he studied Piano and Theory at the Conservatorio de Vila-real. After, he studied Translation and Interpretation from 2000 to 2005 at the Universitat Jaume I (Castelló) and now doctorates at the Universidad de Valéncia in Literature about Classical Tradition and Metastasio.

He was accepted, then, at the Schola. He is still extremely happy to have studied in Basel especially with Gerd Türk, whom he treasures extraordinarily as an artist, a teacher and a friend: “The Schola and the city of Basel are my second home. The Schola is really my Alma Mater and the Basler are my favourite audience.”

This talented man has incorporated the spirit of the Schola: he is not only a baroque musician with big historical knowledge, he is also a researcher and an editor of works that he discovers. Now he is busy with the pieces of his second CD – again with Ensemble Il Profondo – this time with a huge continuo group. This time he goes back to the birth of baroque in Italy around 1600, with pieces by Monteverd, Strozzi, Caccini and “an anonymous Lament that I have discovered”. La Pazza, this is the name of the CD, where all variations of madness are displayed. These laments and this madness/follia he will present on Sunday at the Zinzendorfhaus in Basel.

 CD:

[…] Four cantatas from 1716 to 1733 were chosen by the countertenor for his debut CD – they are mini-dramas that sign of betrayal, soul-pain and hope. Indeed, the one suffering for love goes “from pain to pain” (di pena in pena) like the one in Vivaldi’s Amor hai vinto.

Ferri-Benedetti’s sensual, radiant high voice gives touching expressivity to the love’s desperation in Scarlatti’s Ombre tacite e sole. One can feel the pain, the abysmal pain where the soul of the unhappy lover falls. The countertenor shapes his recitativi in a trhilling way, shapes every word and enchants with deeply felt configuration of the arias, as a master of ornamentation. With a sound-discourse full of passion and colours, the strings and continuo group of Il Profondo accompany excellently. […]

The inner struggle finds, here, its dramatic shaping. A wonderful CD that communicates stirring passions.

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Vivaldi Sacro

Nisi Dominus / Sum in medio tempestatum

With Stella Maris Orchestra — Dir. Cristoforo Spagnuolo
Wettingen/Seon/Bad Zurzach March 2013

Wettingen 2. Mar 2013

 

(Photo: M. Steimer — Aargauer Zeitung)

Dem Dirigenten ein “Bravo” entlockt“
Flavio Ferri-Benedetti ungekünstelt und technisch brilliant.
Leidenschaft lautete das Thema des Konzertes. Dahin gehend optimal war die Altus-Besetzung mit Flavio Ferri-Benedetti. Selten vermag es ein Solist derart ungekünstelt Emotionen auszudrücken und gleichwohl technisch zu brillieren. Die Koloraturen perlten in aller Lockerheit, die Spannungsbögen schienen kein Ende zu nehmen, der Altus schwitzte vor gebanntem Publikum bis zur Zielnote. Ferri-Benedetti entlockte sogar dem Dirigenten Spagnuolo ein spontanes «Bravo!».”

Even the conductor says ‘bravo’”
Flavio Ferri-Benedetti: genuine and technically brilliant.
Mesmerized audience: “Passion” was the topic of the concert. So, having Flavio Ferri-Benedetti as the alto soloist was an optimal cast. It is seldom to see a soloist being able to express such genuine, unaffected emotions and, at the same time, shining technically just as well. The coloraturas “fizzed” in all ease, the suspension bows seemed to be endless and the singer sweated in front of the mesmerized audience up to the goal note. Ferri-Benedetti even elicited a spontaneous “bravo!” out of the conductor Spagnuolo.

Aargauer Zeitung
4th March 2013

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Das Stella Maris Orchestra hat mit Sänger Flavio Ferri-Benedetti und Werken von Vivaldi und Haydn einen wahren Begeisterungssturm ausgelöst — Sauber und klar war auch der Gesang von Flavio Ferri-Benedetti. Die Altus-Stimme von Flavio Ferri-Benedetti wusste in allen Lagen zu überzeugen, ohne je an Reinheit zu verlieren. Wie er scheinbar ohne jegliche Anstrengung sang, machte Eindruck. — Der «Unwettersturm» hatte sich längst gelegt und machte nun einem wahren Begeisterungssturm des Publikums Platz, das seine Freude mit einer stehenden Ovation zum Ausdruck brachte.”

[Stella Maris Orchestra and singer Flavio F. B. have caused a big reaction of enthusiasm — The singing of F. F. B. was clean and clear — His alto voice convinced in all registers without losing any pureness. It impressed how he seemed to sing without any struggle or effort. — Standing ovation.]

DIE BOTSCHAFT
18. March 2013

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2012

LA TISBE (1718)Brescianello — World Premiere
With Il Gusto Barocco — Liederhalle (Stuttgart)

Unter den engagiert und stilsicher agierenden Solisten [...] ragte der Altist Ferri-Benedetti in der Kastratenpartie der Licori hervor — nicht nur, weil ihm die meisten Arien zufielen, sondern weil er als Einziger seinen Gesangsphrasen bis in die Verzierungen hinein jenen deklamatorisch-sprechenden Gestus gab, den der barocke Gesangs-Theoretiker Pier Francesco Tosi forderte.”

[Among the committed and stylistically confident soloists […] countertenor FFB stands out in the castrato role of Licori – not only because he had most of the arias, but especially because he was the only one who gave to his singing (even to his ornaments) the declamatory-expressive/speaking gestures that were required by baroque singing-theorist Pier Francesco Tosi.]

OPERNWELT — November 2012

Der junge Countertenor Flavio Ferri-Benedetti gestaltet sie (die Rolle von Licori) gestisch, mit feurigen Blicken, keck und höchst musikalisch...”

[The young countertenor FFB shapes the role of shepherdess Licori physically, with fiery/ardent looks, being daring and funny and superlatively musical...]

SWR October 2012

Der ausdrucksstarke, das Komödiantische seiner Travestie-Rolle als Schäferin Licori voll ausschöpfend Countertenor Flavio Ferri-Benedetti... Nina Bernsteiner und er verfügen über geläufige, koloraturgewandte und wandlungsfähige Stimmen und ernten zu Recht viel Beifall.”

[Countertenor FFB, strongly expressive and fully exploiting the comedy of his drag role as shepherdess Licori... Soprano Bernsteiner and he counted on fluent, agile-coloratura and versatile voices, gaining much applause.]

Stuttgarter Zeitung — 4 October 2012

Flavio Ferri-Benedetti überzeugte vor allem durch die komödiantische Gestaltung seiner Alt-Partie.”

[FFB was convincing especially for the comical shaping of his alto role.]

Stuttgarter Nachrichten — 2 October 2012

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Porpora and Vivaldi
With Ensemble Musica Fiorita

Der Altist Flavio Ferri-Benedetti, ein Theatermensch durch und durch. Aus Porporas Kantate “Dal povero mio cor” machte er eine veritable Opernszene, ausdrucksstark und mit all den Nuancen, die ihm seine stupende Technick erlaubt. In einer Opernarie von Vivaldi mit obligatem Cello setzte er sich effektvoll und mit selbstironischem Witz als Starsänger in Szene. Wie Pesek und er in stetem Blickkontakt dieses Stück gemeinsam gestalteten, jeder auf die Spielnuancen des anderen einging, das war ein Höhepunkt des Programms.

[The countertenor FFB, a stage animal to the core. He turns the cantata by Porpora, “Dal povero mio cor”, into a real operatic scene, strongly expressive and with all the nuances that his stupendous techinque allows him. In the opera aria by Vivaldi with cello obbligato he presented himself effectivly and self-ironically as an opera star on the stage. The way he and cellist Pesek shaped this piece, keeping always eye-contact, and adopted each other’s nuances — that was a highlight of the concert.]

Basel-Landschaftlicher Zeitung — 20. August 2012

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Passo di pena in pena...“
With Ensemble Il Profondo

RHEINVOKAL FESTIVAL (5th August 2012)

LIEBESLEID IN DEN HÖCHSTEN TÖNENDer 43-jährige deutsche Countertenor Andreas Scholl feiert derzeit bei den Salzburger Festspielen an der Seite von Cecilia Bartoli wahre Triumphe in der Titelrolle von G. F. Händels Oper “Julius Caesar”. Sein 16 Jahre jüngerer Kollege Flavio Ferri-Benedetti bestätigte am Wochenende im Rahmen des Festivals RheinVokal, dass es der Disziplin des kunstvollen Gesangs mit Kopfstimme an hochkarätigem Nachwuchs nicht mangelt. Der Italiener entzückte in der Kirche der Herrnhuter Brüdergemeinde Neuwied mit seinen Interpretationen von Kantaten Antonio Vivaldis und Alessandro Scarlattis. Seit einigen Jahrzehnten erlebt die Countertenor-Technik seit gut zwei Jahrzehnten eine neue Blüte. Und noch jedesmal entfaltet der Männergesang in der Frauenlage wieder seine faszinierende Wirkung. “Ombre tacite e sole”, verschwiegene einsame Schatten: mit einem langen, beseelten Sphärenton intoniert der Sänger die gleichnamige Kantate von Alessandro Scarlatti. Von diesem Moment an hat der stattliche schwarzbärtige Mann die gespannte Aufmerksamkeit des Auditoriums. Er singt von Leid, von Liebesleid, von Gram eines Betrogener — ganz weich giesst er bald bodenlose Schwermut in den Raum, erhebt bald scharf akzentuierte Vorwürfe gegen die Treulose. Der Herzschmerz schwingt sich in der Arie zur finalen Frage auf: “Warum hast du mich verraten, warum mich verlassen?” Gesungen im italienischen Original erfährt das mehrfach wiederholte “perché” (Warum?) mannigfache Interpretation. Mal lässt Ferri-Benedetti es auf den Lippen explodieren, mal inniglich aus tiefer Brust aufsteigen, mal verzweifelt dorthin versinken.

Das ist Gesang nicht nur des schönen Klangs wegen, sondern stets aufs Feinste differenziert nach Sinn und Stimmung des Textes. Das Publikum erlebt in der gut besetzten Kirche Countertenor-Gesang der besten Art. Flüssig, leicht, in schillernder Reinheit erheben sich die hohen Töne der Kopfstimme, wirken nie gequetscht, nie erzwungen. […]”

ENGLISH TRANSLATION:

PAIN OF LOVE IN THE HIGHEST TONESThe 43-year old German countertenor Andreas Scholl celebrates now a real triumph as Cesare in Händel’s Giulio Cesare at the Salzburger Festspielen together with Cecilia Bartoli. His 16-year younger colleague Flavio Ferri-Benedetti (!) confirmed this weekend at the RheinVokal Festival that the discipline of artistic singing in head voice is not lacking of top-class talents. The Italian singer enchanted at the Herrnhuter Brügergemeinde church in Neuwied with his interpretation of Scarlatti and Vivaldi. During the last two decades, Countertenor-Technique has experienced a new flowering. And every time and again the male singing in female tessitura unfolds its fascinating effects. Ombre tacite e sole, “Solitary and silent shadows”: with a long, inspired note from the spheres, the singer begins this Scarlatti cantata. From this very moment, the well-built, handsome dark-bearded man steals the attention of the audience. He sings of sorrow, of love’s pain, of the affliction of a betrayed man – he softly pours abysmal, incredible melancholy in the hall, then raises sharp, strong reproaches against the unfaithful. The heart’s sorrow soars in the aria up to the final question: “Why did you betray me, why did you leave me?” – Sung in the original Italian, the often repeated “Perché?” (Why?) offers multiple interpretations. Sometimes Ferri-Benedetti lets it burst out of his lips, sometimes raise dearly from the deepest of his chest, sometimes desperately sink in again.

This is not only singing for the sake of beautiful tone and sound – it is singing that is always diversified at its finest depending on meaning and character of the text. The audience, in the quite-full church, experienced countertenor singing at its best. Flowing, light – the high notes of the head voice raise in shimmering purity and never sound squashed, never forced. [...]”

RHEIN-ZEITUNG — 7th August 2012

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TIGRANE
A. Scarlatti — Opéra de Nice (June 2012)

Nel ruolo del protagonista, l’ottimo controtenore Flavio Ferri– Benedetti [...] Questo giovane falsettista ha fatto passi da gigante dagli inizi della sua parabola formativa di alcuni anni or sono. Uscito dalle fila della prestigiosa Schola Cantorum Basiliensis, Ferri-Benedetti possiede oggi tutte le carte in regola per affrontare un ruolo così impegnativo. [...] Fin dalla sua impervia aria di ingresso, “All’acquisto di gloria” subito si impone per la timbratura piena e morbida della voce, da vero contraltista, per il dominio delle agilità e per lo stile impeccabile che fa di lui un virtuoso di tutto rispetto. Ma è nella scena della prigione del terzo atto, che è anche uno dei vertici musicali dell’opera, dove lo stile e il dominio della tecnica fanno ammirare in lui una maturità espressiva e un perfetto controllo delle emissioni di petto che colorano di tonalità calde il suo falsetto, rendendolo pertinente al grado di alta temperatura drammatica del momento, dove lo sconforto dell’eroe in catene si traduce in un canto patetico di commossa partecipazione emotiva.”

[“In the main role, the excellent countertenor FFB [...] This young countertenor has made huge steps since his first educational years. After a diploma at the prestigious Schola Cantorum Basiliensis, FFB has all what it takes to face such a demanding role. [...] From his complicated entrance aria, “All’acquisto di gloria”, his full, pleasant timbre is evident — like a true contraltist — as are his mastering of the coloratura and his impeccable style: all this makes a fully respectable virtuoso of him. But it is in the prison scene during the third act (a musical highlight in the opera too) where his style and his mastering of the technique allow the audience to admire his expressive maturity and a perfect control of the chest voice emissions, which colour in warm tones his falsetto — which matches the dramatic high temperature of the moment: the desperation of the hero in chains is translated into a “canto patetico” full of moving emotional participation.”]

L’OPERA (Milano) — [July/August 2012]

‎“Flavio Ferri-Benedetti est un Tigrane héroïque et stoïque, qui équilibre grandeur et fragilité, avec une vaillance digne d’éloges.”

[FFB is a heroic and stoic Tigrane who balances grandeur and fragility, with a bravery/soundness worth of praise.]

ODB-OPERA.COM [June 2012]

Flavio Ferri-Benedetti, Tigrane vigoureux et incisif, représente l’exemple même du contre-ténor héroïque...”

[FFB, a vigorous and incisive Tigrane, represents the example of a heroic countertenor]

CONCERTCLASSIC.COM [June 2012]

On admire la performance de Flavio Ferri-Benedetti...”

[FFB’s performance was admired.]

Nice Matin [June 2012]

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Passo di pena in pena...“
With Ensemble Il Profondo

BASEL — 18th April 2012

Er war der Star des Abends: Begeistert feierte das Publikum den Altisten Flavio Ferri-Benedetti [...] Im Grossen Saal der Musik-Akademie sang er nun Kantaten von Vivaldi und Alessandro Scarlatti, dazu eine Arie aus Vivaldis Oper «Tito Manlio». Ferri-Benedetti besitzt eine individuell timbrierte, volle, runde Stimme mit berückender Höhe [...] er führt sie leicht und sicher, mit perfekter Atemtechnik in den langen Legatolinien und mit agilen Verzierungen. Zudem ist er ein temperamentvoller, expressiver Gestalter, der über die Rampe kommen und dem Publikum etwas vermitteln will [...] Ein erster Höhepunkt des Programms war die Schluss-Arie des gleichen Stücks, wo der Sänger die zahlreichen Wiederholungen immer wieder neu einfärbte und nuancierte. [...] In Vivaldis Kantate «Amor hai vinto» schliesslich stellte er sein Können ganz in den Dienst des Ausdrucks, lud jeden Ton mit Bedeutung auf – und strahlte dabei eine Freude am Singen aus, wie sie sonst nur Cecilia Bartoli vermittelt. [...] Bei den Zugaben ist Ferri-Benedetti immer wieder für eine Überraschung gut: Diesmal bewies er seine stilistische Vielseitigkeit mit dem sehr idiomatisch gesungenen Broadway-Hit «My funny Valentine»; der Kontrabassist Federico Abraham begleitete.”

[He was the star of the evening: countertenor FFB was enthusiastically celebrated by audience (...) FFB owns a voice that has an individual timbre, is round, full, with fascinating high notes (...) Moreover, he leads the voice with ligthness and security, with perfect breathing technique in the long legato lines and agile ornamentations. Plus, he is a temperamental, expressive performer who likes to come to the forestage and communicate something to the audience (...) The first highlight of the evening was the final aria of the Scarlatti cantata, where the singer was able to colour and nuance each of the countless repetitions always in a different way. (...) In the Vivaldi cantata “Amor hai vinto”, eventually, FFB put all of his abilities at the service of expressivity — loading every note with meaning and, when singing, he oozed out such joy, as only Cecilia Bartoli is able to do. (...) When encores are to come, FFB always has a surprise in stock: this time he demonstrated his stylistic versatility with the very idiomatically sung Broadway-hit “My funny Valentine” — accompanied at the Contrabass by Federico Abraham.

BASELLANDSCHAFTLICHE ZEITUNG — 21. Apr 2012

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DIDO AND AENEAS (Purcell) — Oviedo and Castellón (Spain)
April 2012 — with FORMA ANTIQVA | Dir. Aarón Zapico

El contratenor Flavio Ferri-Benedetti dio [...] una lección de buen canto, ganándose al público en lo vocal y lo escénico.”

[Countertenor FFB gave a lesson in good singing, winning the applause of the audience both for his voice and acting.]

LA NUEVA ESPAÑA — 25. April 2012

A la hora de los aplausos destacó sobre todos el contratenor Flavio Ferri-Benedetti, quizá por el exotismo de su voz [...] Y ya en el segundo acto el contratenor Flavio Ferri-Benedetti, como la Hechicera, cautivó al respetable a juzgar por los aplausos finales.”

[When applause came, countertenor FFB was the highlight, maybe due to the exotism of his voice (...) In the second act, FFB as the Sorceress captivated the audience, judging from the final applause.]

LA NUEVA ESPAÑA 15. April 2012

El trabajo más impactante fue sin duda el del contratenor Flavio Ferri-Benedetti, que ofreció una verdadera lección de cómo pasar de interpretar a un personaje tan grotesco como la Hechicera al más templado del Espíritu, con un talento escénico y vocal asombroso.”

[ The most astonishing work was that of countertenor FFB, who offered a real lesson on how to go from the interpretation of such a grotesque role like the Sorceress — to the more tempered Spirit, with an amazing acting and vocal talent.]

LA VOZ DE ASTURIAS, 16. April 2012

El contratenor afincado en Valencia Flavio Ferri-Benedetti creo que fue el más aclamado no ya por una exquisita técnica sino por el enorme trabajo que supuso pasar del coro a convertirse en una Hechicera realmente creíble (parecía magia la transformación) además del Espíritu creíble en este drama tomado de Virgilio.”

[The countertenor, based in Valencia, was the most acclaimed, not only for an exquisite technique, but also for the huge work required to go from choir to Sorceress, a really credible one [the transformation seemed magic] — and also a credible Spirit...]

PABLO ÁLVAREZ FERNÁNDEZ [http://pablosiana.blogspot.com.es/] — 15. April 2012

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STABAT MATER (Pergolesi) — Wettingen / Seon (Mar 2012)
With Stella Maris Orchestra | Dir. Cristoforo Spagnuolo

Der Altus begeisterte mit seiner sehr klaren, feinen und trotzdem überaus starken Stimme”

[The countertenor delighted with his very clear, fine and yet overall strong voice.]

AARGAUER ZEITUNG 6. March 2012

2011

CALISTO (Cavalli)

Oper Frankfurt (Dec 2011/Jan 2012)

(Flavio as Linfea — Calisto — Oper Frankfurt 2011/2012
Photo by Barbara Aumüller)

Der italienische Altus, Flavio Ferri Benedetti überzeugte mit kraftvoller und zugleich beweglicher Stimme und scheinbar anstrengungslosen Höhen gab eine starke Vorstellung als Linfea.”

[The Italian countertenor, FFB, was convincing, giving a strong performance of Linfea with powerful yet flexible voice, and apparently effortless high register.]

DEROPERNFREUND.DE — 25 DEC 2011

Unter den hohen Männerstimmen ragt Flavio Ferri-Benedetti hervor, der mit dramatischem Timbre, Wuschellocken und Leopardenfähnchen die heiratsgeile Nymphe Lynfea gibt und auch mal Musikchef Curnyn erfolgreich vom Cembalo vertreibt.”

[Among the high male voices stands out FFB, who sings the marriage-horny Linfea with dramatic timbre, mop-locks and leopard skimpy dress — even succeeding in getting maestro Curnyn out of the cembalo.]

GIESSENER ALLGEMEINE ZEITUNG — 27 DEC 2011

Wenn Diana-Dienerin Lynfea, eine Nymphomanin, ihr Recht auf liebevollere Töne einklagt... Der durchtriebene Flavio Ferri-Benedetti gibt ihr starkes komödiantisches Profil, erster unter den Möchtegern– und echten Countertenören.”

[When Linfea, Diana’s servant, a nymphomaniac, claims her due for love-tones... the penetrating FFB gives her a strong comic profile, being the first among wannabe– and real countertenors...]

OFFENBACH POST — 27 DEC 2011

Der die komische Alte Linfea ergötzlich verkörpernde Countertenor Flavio Ferri-Benedetti erwies sich erneut als alterfahrener Vertreter dieser Kunst.”

[Countertenor FFB, delightful as the comic old Linfea, proves again to be a veteran representative of this art.]

FRANKFURTER RUNDSCHAU — 27 DEC 2011
BERLINER ZEITUNG  — 27 DEC 2011

FFB entzückt als geil werdende keusche Linfea.”

[FFB enchants as the chaste Linfea who becomes horny...]

BILD Frankfurt — 27 DEC 2011

Hinreißend komisch ist auch in Frankfurt wieder der italienische Counter Flavio Ferri-Benedetti in der Rolle der liebestollen Linfea.”

[Ravishingly comical is the Italian Countertenor FFB (also to be seen again in Frankfurt after Basel) in the role of the love-crazed Linfea.]

OMM.de — 23 DEC 2011

FFB, der mit seiner Countertenorstimme ebenfalls überrascht”

[FFB, who also surprises with his countertenor voice.]

HANAUER ANZEIGER — 27 DEC 2011

...eine ausnehmend rauchige Stimme...”

[...FFB, with an exquisitely smoky/husky voice...]

DARMSTAEDTER ECHO — 28 DEC 2011

herrlich liebestoll schmachtet Flavio Ferri-Benedetti als ausdrucksstarke, agile Linfea”

[Splendidly love-crazed, the craving FFB as expressive, agile Linfea.]

KULTURFREAK.DEDEC 2011

...aussergewöhnliche Countertenöre...”

[...exceptional countertenors...]

MAIN-ECHO — 2. JAN 2012

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ESTHER (Händel)

Graz — June 2011

Countertenor Flavio Ferri-Bendetti und Irma Mihelic fesselten das Publikum.”

[Countertenor FFB and soprano IM captivated the audience.]

KLEINE ZEITUNG  7. Juni 2011

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DIDONE ABBANDONATA — J. A. Hasse

Prinzregententheater Munich — May/June 2011

Flavio Ferri-Benedetti, musikalisch souverän.“
[FFB, musically sovereign.]

TOCCATA 54/2011

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Als Gast sang der italienische Countertenor Flavio Ferri-Benedetti den trojanischen Krieger Enea mit starker Bühnenwirksamkeit und oft heldisch anmutender Stimme”

[As guest singer, the Italian countertenor FFB sang the role of the warrior Enea with strong effectiveness on stage and often with a heroic-sounding voice.]

DER NEUE MERKER (Wien-München) June 2011

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Enea gewann durch Flavio Ferri-Benedettis „heldischere“ Counter-Töne auch stimmlich ganz eigenes Profil. ”

[Iarba’s rival Enea acquired, also vocally, a profile of his own, through FFB’S “more heroical” countertenor sounds.]

(MERKUR 23 Mai 2011)

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Zwei exzellente junge CT sangen die männlichen Hauptrollen — als Ersatz für die Kastraten der damaligen Zeit.”

[Two excellent CT replace the castrati in the 2 main male roles.]

Flavio Ferri-Benedetti gibt den Enea als Gast ebenso heldische Züge, wie er ihn, gemäß der Musik, in seiner letzten Arie als eitlen, egozentrischen Geck entlarvt.”

[FFB sings with heroic traits — as well as when he, according to the music, unmasks a proud, egocentrical dandy.]

KLASSIKINFO.DE 23 Mai 2011

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[...] “glänzen die Counter-Tenöre Flavio Ferri-Benedetti als Aeneas und Valer Barna-Sabadus als Jarba mit Prachtstimmen und einer Bühnenpräsenz, die fasziniert.”

[Countertenors FFB as Enea and VBS as Iarba shine with beautiful voices and a fascinating stage presence]

TZ / Passauer NP und andere 23 Mai 2011

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Die effektvoll balzenden Counter-Helden (Valer Barna-Sabadus, Flavio Ferri-Benedetti).”

[The effectively crooning counter-heroes (VBSFFB)]

Abendzeitung 25. Mai 2011

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Bei ihm [Hofstetter] stand ein blutjunges Sängerensemble hervorragend zur Seite: vor allem die Kastratenrollen waren mit den beiden Countertenören FFBund VBS derart glanzvoll besetzt, dass man sich um das heikle, heute aber boomende Fach auch in Zukunft nicht sorgen muss.”

[Besides the conductor was an excellent and very young ensemble of singers: especially the castrato roles were sung brilliantly by both countertenors FFBand VBS — in a way that one does not have to worry anymore in the future about this delicate/precarious (yet booming) vocal-fach.]

Frankfurter Allgemeine 27-Mai-2011

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ENDIMIONE e CINTIA — A. Scarlatti

Basel/Zürich February 2011

Ferri Benedetti [...]  gestaltete seine Partie nuancenreich, phrasierte leicht und elegant und setzte die breite Farbpalette seiner Stimme mit viel Witz ein.”

[F. B. shaped his role rich of nuances, phrased lightly and elegantly and employed the wide colour-palette of his voice in a witty way.]

(Basellandschaftliche Zeitung, Feb 2011)

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2010

LA CALISTO — F. Cavalli

Theater Basel — May + June 2010

OPERNWELT — Jahresbuch 2010
Poll of 50 Critics, Tom Sutcliffe selects:

As Revelation Artist of the Year:
“Countertenor Flavio Ferri-Benedetti
as Linfea in Cavalli’s La Calisto “.

D’une distribution de belle tenue, cinq excellents chanteurs se dégagent :
Nikolay Borchev, Geraldine Cassidy, Xavier Sabata. Luca Tittoto,
et, encore un ton au-dessus, le contre-ténor Flavio Ferri-Benedetti.”

(Of a nice cast, five singers stand out: ... and, one tone higher, countertenor F. F. B)

(Ópera Magazine July/August 2010)

Le contre ténor prodigieusement souple de Flavio Ferri Benedetti en Linfea.”

(Scènes Magazine (Genève) — July 2010)

Der Counter Flavio Ferri Benedetti schließlich liefert als Dianas Diener“in“ Linfea
eine ganz besonders abgedrehte, heißblütige Show.”

[Countertenor FFB finally delivers as Diana’s “maid“servant a turned-in, hot-blooded Show.]

(Online Musik Magazin — Juni 2010)

...Linfea (der großartige Counter Flavio Ferri Benedetti)...“
(Linfea, the great countertenor Flavio Ferri Benedetti)

( SÜDDEUTSCHE ZEITUNG 25. Mai 2010)

Der andere Altus, Flavio Ferri Benedetti mit kraftvoller und zugleich
beweglicher Stimme und scheinbar anstrengungslos in der Höhe kann
als Entdeckung des Abends gelten.”

[The other countertenor, F. F. B., with powerful and at the same time
flexible voice, and apparently effortless in the high register, can be
considered the discovery of the evening.]

(Der Opernfreund.de 5. Juni 2010)

So setzt sich die Dienerin Linfea zwischendrin auch mal ans Cembalo.
«Voglio essere goduta», ich will genossen werden, singt sie
beziehungsweise er — die Stimme von Flavio Ferri Benedetti
darf man als Entdeckung feiern.”

[“The voice of F. F. B. can well be celebrated as a discovery”]

(Tages Anzeiger 27. Mai)

Virtuos gibt Countertenor Flavio Ferri-Benedetti die Linfea”

(F. F. B. delivers Linfea virtuously)

(BZ Sonntag — 23. Mai 2010)

oder wenn die Nymphe Linfea (besetzt mit dem Counter Flavio Ferri-Benedetti,
wohl die komischste Partie in dieser Produktion) unter dem weißen,
klassisch-antikisierenden Kleid einen Leopardenfummel trägt und so
das Ganze in die Nähe einer Transvestiten-Show führt, an der auch
der abgefeimte, fulminant singende Jupiter (Luca Tittoto) seinen Anteil hat. ”

(...Linfea, casted with the countertenor F. F. B., by far the most comical
role in this production, who under her white, classical Dress wears a
kinky leopard dress and carries out something like a drag-show...)

(Frankfurter Allgemeine — 23. Mai 2010)

Da wird die Travestie mit stimmlichen Mitteln überaus lustvoll weitergeführt,
wie auch bei der Linfea des Countertenors Flavio Ferri Benedetti oder dem
Satirino von Alice Boricani.”

(The travesty was performed also vocally with a lot of fun...)

Südostschweiz Graubünden Kultur (23. Mai 2010)

Eine Entdeckung ist der junge Altus Flavio Ferri-Benedetti (Linfea),
dessen bezaubernde, klare Stimme von achtenswerter Intensität
ist und der darüber hinaus sagenhafter Schauspieler ist.

(A discovery is the young alto F. F. B as Linfea, whose enchanting,
clear voice is of noticeable intensity and, on top of that, is a fabulous actor.)

http://www.operapoint.com (22. Mai 2010)

Das kann auch zu Komik führen, wenn die mannstolle Jungfer Linfea
(brillant: Flavio Ferri Benedetti) Dirigent Marcon vom Cembalo
verscheucht und sich selbst bei der Ausrufung ihres sexuellen
Notstandes begleitet.”

(...when the nymphomanic spinster Linfea — by the brillian F. F. B. -
scares the conductor
away from his cembalo and accompanies
herself singing out her sexual needs...)

BADISCHE ZEITUNG — 25. Mai 2010

Countertenoral und auch am Cembalo hinreissend: Flavio Ferri-Benedetti“
(F. F. B., ravishing both as a countertenor and at the cembalo)

BASLER ZEITUNG — 25. Mai 2010

der Counter Flavio Ferri-Benedetti als wunderbare Fummeltrine Linfea“
(countertenor F. F. B. as fantastic cheap-chick Linfea...)

Südkurier — 26.Mai 2010

Aber auch die Zuschauerplätze werden mit einbezogen,
wenn die männergeile Jungfer Linfea (zum Brüllen komisch:
Flavio Ferri-Benedetti) ihren potenziellen Liebhaber unter
den Zuschauern sucht...

(Comical to the point of screaming: F. F. B.)

(Stuttgarter Nachrichten — 26. Mai 2010)

Die männergeilen Linfea aus Dianas Gefolge (Lachnummer und
komischer Höhepunkt: der Countertenor Flavio Ferri-Benedetti)

(Good laugh and comical highest point of the evening: countertenor F. F. B.)

SENIORWEB.CH — 30. Mai 2010

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2009

OPERNWELT — Jahresbuch 2009

Poll of 50 Critics, Birgit Pauls selects:

As Rediscovery of the Year: “Scarlatti’s Penelope la Casta performed by
the Opera-Class at the Schola Cantorum Basiliensis under Andrea Marcon”

As Revelation Artist of the Year: “Countertenor Flavio Ferri Benedetti,
among other things as Lutezio in Scarlatti’s Penelope la Casta”.

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Melk, Austria (Händel + Porpora concert with Musica Fiorita)

31. May 2009

WIENER ZEITUNG , 1./2. June 2009

[...] Tags darauf stellte das ausgezeichnete Basler Ensemble Musica Fiorita zwei neapolitanische “Agrippina”-Opern von Nicola Porpora und Händel einander gegenüber – keine Frage, dass da der “Caro Sassone” dem Italiener an genialer Erfindung turmhoch überlegen war. Hier dominierten der helle Sopran von Graciela Oddone und der strahlende Altus von Flavio Ferri Benedetti. [...]”

[...] The clear soprano voice of Graciela Oddone and the shining alto voice of Flavio Ferri Benedetti dominated.”

Franz Szabo (franzszabo.fastmail.fm)

Der bewegliche und dramatische Altus von Flavio Ferri Benedetti, unter anderem großartig im virtuosen Duo mit der Sopranistin Graciela Oddone, wie auf Flügeln getragen von den Klängen des Cellos.”

The flexible and dramatic alto voice of Flavio Ferri Benedetti, among other things sublime in the virtuoso duet with soprano Graciela Oddone, like transported on wings by the sound of the cello.”

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Basel, Switzerland (Penelope — Scarlatti — Premiere 28. May 2009)

FRANKFURTER ALLGEMEINE, 23. June 2009:

allen voran die Sopranistin Gunhild Alsvik [...]
und der vielversprechende Contratenor Flavio Ferri-Benedetti [...]”

(Especially the soprano Gunhild Alsvik [...]
and the very promising countertenor Flavio Ferri-Benedetti [...])

Basler Zeitung , 2. June 2009:

[...] Allen voran bei den oft so heiklen Countertenören tratenmit dem strahlend hohen Leandro Bermúdez und dem geborenen Komiker, in schönstem Italienisch parlierenden Flavio Ferri Benedetti zwei stimmgewaltige Darsteller hervor, auf deren Karriere man gespannt sein darf.”

([...] especially compared to the often weak countertenor voices, appeared two strong-voiced performers, the shining-high Leandro Bermúdez and the born comedian, in the nicest spoken talian, Flavio Ferri-Benedetti.)

Basel-Landschlaftlicher Zeitung, 30. May 2009:

Der expressiv gestaltende Altus Flavio Ferri Benedetti, ein echtes Bühnentemperament [...] gab Lutezio scharfes, komisches Profil.”

The expressively shaped alto Flavio Ferri Benedetti, a real stage temperament [...] gave the character of Lutezio a sharp, amusing profile.”

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La Cetra — Special Concert 18. March 2009 — BASEL (CH)

Basel-Landschlaftlicher Zeitung (English translation):

«Flavio Ferri-Benedetti shaped [his pieces] with softly flowing, flexible alto voice»

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2008

Bad Säckingen, Germany (Handel Recital — 4. May 2008)

Südkurier (English translation):

«The Italian countertenor Flavio Ferri-Benedetti enchanted the audience with his voice. [...] The young countertenor Flavio Ferri-Benedetti, a young Italian with a high voice who was able to capture the audience from the very first note. [...] The young singer filled the aria of Ottone from “Agrippina” with a lot of musical and dramatic passion. Also in the portrayal of the other characters, one could well imagine him on an operatic stage. Benedetti has a big emotion and his voice predestinates him directly to those Handel operas, for it has a nice timbre, pure as bells, secure in the coloratura and in the high notes. [...] In the Amadigi aria, [...] the voice of Benedetti rose in beautifully shining high notes. [...] When the last aria finished and the countertenor had shined once again with virtuosistic vocal technique and the most beautiful art of ornamentation, the church exploded in a big applause.»

Badische Zeitung (English translation):

«The voice of the countertenor Flavio Ferri-Benedetti rose in shining high notes. [...] The star and the favourite of the audience was clearly the Italian singer Flavio Ferri-Benedetti, who with his incredibly subtle and immaculately emitted voice, very high and secure in the coloratura, and with his instinct for the musical drama [...] converted the church almost into an operatic stage. The countertenor sang the arias from “Imeneo” and “Agrippina” enchantigly beautifully with his vocal timbre, full of expression in the portrayal of the operatic characters and their pain, their desires of love, their hopes... [...] It was sensitive baroque singing as well as charged with affetti, and it was really worth all the bravi! the way Benedetti faced the high notes and the coloratura with effortless lightness and elaborate ornamentations. His voice rose pure and angelic in the Ode for the Birthday of Queen Anne....»

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Arcifanfano Re dei Matti — Galuppi

GOTHA (GERMANY) — 14.–24. August 2008

OPERA GAZET (Belgium) 30. August 2008:

«In the role of Garbata, the Italian countertenor Flavio Ferri-Benedetti
gave a dazzling performance. This singer is definitely destined to go far
in the Baroque genre»

Märkische Allgemeine (English translation):

21. August

«Soprano Iris Eggler and Countertenor Flavio Ferri-Benedetti are to highlight.»

Thüringer Allgemeiner (English translation):

18. August «So sang Flavio Ferri-Benedetti, who drew the funny Madama Garbata
with his agile countertenor voice as a femme fatale of dubious femininity»

20. August «Countertenor Flavio Ferri-Benedetti, a pure vocal-wonder à la Farinelli
and unusually capable of modulation for a countertenor, is at ease both in the warm
Baritonregister and in the highest of the alto. As regards the interpretation, he is
always present physically and in his gestures.»

Thüringer Landeszeitung (English translation):

16. August «Countertenor Flavio Ferri-Benedetti has evidently a lot of fun
while singing and acting, in the role of the happy and light-hearted Madama
Garbata [...] Garbata, the incredibly funny countertenor Flavio Ferri-Benedetti »