{"id":396,"date":"2013-02-01T17:45:49","date_gmt":"2013-02-01T17:45:49","guid":{"rendered":"http:\/\/www.ferri-benedetti.ch\/?page_id=396"},"modified":"2023-04-12T16:49:45","modified_gmt":"2023-04-12T16:49:45","slug":"cd-reviews-2012-2018","status":"publish","type":"page","link":"https:\/\/www.ferri-benedetti.ch\/?page_id=396","title":{"rendered":"Press CDs"},"content":{"rendered":"

Discography Reviews<\/h2>\n

Ta\u00f1endo con voz sonora<\/h2>\n

 <\/p>\n

\"\"<\/a><\/h2>\n

\"\"<\/a><\/h2>\n

(Scherzo, 2023)<\/p>\n

Superbo del mio affanno (Marcello)<\/h2>\n

\"\"<\/a><\/p>\n

Marcello parece poner mayor \u00e9nfasis tanto en la prosodia<\/strong> como en los aspectos ret\u00f3ricos<\/strong> de los textos puestos en m\u00fasica.\u00a0Justamente es ese el terreno en el que el contratenor nacido en Italia, pero criado en Castell\u00f3n y formado en Espa\u00f1a, destaca de forma especial: los detalles de fraseo<\/strong>, la dicci\u00f3n<\/strong>, el respeto de la prosodia y la pronunciaci\u00f3n, los matices<\/strong> sobre palabras concretas que cargan de sentido a toda la obra. Por supuesto que eso no es suficiente, porque la escritura es de un gran virtuosismo<\/strong>, pero es ese refinamiento en el decir el que da el toque de distinci\u00f3n a sus interpretaciones, que adem\u00e1s apuestan por el m\u00e1s cl\u00e1sico de los acompa\u00f1amientos en el continuo: un clave y un violonchelo. Sin alharacas pero con hondura.<\/p>\n

(Diario de Sevilla)<\/p>\n

Ferri-Benedetti’<\/strong>s projection of the words is exemplary and all six cantatas become mini-dramas in his vivid performances. Lovers of English falsettists might find his baritone low notes controversial, but they are undeniably exciting.<\/p>\n

(The Guardian)<\/p>\n

Flavio Ferri-Benedetti<\/strong> has several recordings of Italian cantatas to his credit, and these were all very convincing. That is the case here as well. Notable is that at several moments he turns to his chest register for the lowest notes, and that is quite effective, for instance in passages about hell. His ornamentation is extensive and stylish, and the recitatives are sung in true declamatory style, as they should.<\/p>\n

(Musica Dei Donum)<\/p>\n

Ferri-Benedetti<\/strong> se enfrenta a estas cantatas […] con la voz en un casi provocativo primer plano, […] volcando con fuerza todo el sentimiento dram\u00e1tico que encierran, fraseando con elegancia y hondura, luciendo su vibrante y carnosa zona media vocal y bajando con naturalidad al registro baritonal. No es m\u00fasica f\u00e1cil, desde luego, pero Ferri-Benedetti la borda.<\/p>\n

(Scherzo)<\/p>\n

Man konzentriert sich automatisch auf den Gesang. Und es lohnt sich Flavio Ferri-Benedetti<\/b> bei seinen Interpretationen genau zuzuh\u00f6ren, denn er singt mit einem angenehm unpr\u00e4tenti\u00f6sen Stil und scheinbar ganz in der Musik aufgehend. Es wundert nicht, dass er 2009 und 2010 jeweils als Nachwuchsk\u00fcnstler des Jahres im Opernwelt?Jahrbuch nominiert wurde. Es macht einfach Spa\u00df, seiner Stimme zu lauschen. Dennoch sollte man Daniel Rosin und Johannes Keller nicht vergessen, denn ihre Begleitung ist passend und unterst\u00fctzt den S\u00e4nger bestens.<\/p>\n

(Musik An Sich)<\/p>\n

Questo nuovo cd del controtenore italiano Flavio Ferri-Benedetti<\/strong>, ora docente di canto barocco alla Universit\u00e0 delle Arti di Zurigo e vocal coach<\/em> alla gloriosa Schola Cantorum Basiliensis oltre che cantante giunto al culmine della sua maturit\u00e0, offre una scelta di sei bellissime cantate, le prime cinque in prima incisione assoluta: \u201cAh, ch\u2019io sento in lontananza\u201d, \u201cArresta, arresta il pi\u00e8\u201d, \u201cCresci col pianto mio\u201d, \u201cCantan lieti ne\u2019 boschetti\u201d, \u201cQual mai fato inumano\u201d, \u201cLa Lucrezia\u201d.
\nFerri-Benedetti non ha nulla da invidiare ai colleghi italiani che oggi pi\u00f9 di lui si ascoltano sui palcoscenici contribuendo a far guadagnare alla scuola italiana una posizione di eccellenza che prima era appannaggio quasi esclusivo di falsettisti di area anglosassone e francese. Lo si ammira per la voce timbricamente bella, calda, intensa e insieme setosa, nel segno dell\u2019eleganza, mai soggetta a compiaciuta sovreccitazione ritmica nel canto melismatico o a uno svaporato abbandono in quello patetico, soprattutto pronta a piegarsi a un arcobaleno di tinte e sfumature che sfociano in arditezze belcantistiche possibili grazie alla solida tecnica. La dizione \u00e8 accuratissima, addirittura ricercata in recitativi davvero miniati, l\u2019intonazione perfetta (qualit\u00e0 non cos\u00ec scontata fra i falsettisti) e l\u2019utilizzo dei vari registri mostra una vocalit\u00e0 che ad arte spazia dalle sonorit\u00e0 di testa a quelle di petto con il giusto m\u00e9lange<\/em> espressivo, sempre al servizio della parola.<\/p>\n

Accompagnato dal clavicembalista Johannes Keller<\/strong> e dal violoncellista Daniel Rosin<\/strong>, entrambi bravissimi, la voce di Ferri-Benedetti si vota in senso totalizzante a sentimenti di dolore, rabbia, vendetta e tormento che fanno parte di amanti abbandonati o offesi, oggetto delle pagine incise. Nella cantata \u201cQual mai fato inumano\u201d troviamo un innamorato che preferirebbe naufragare in una tempesta di sospiri piuttosto che sentirsi dimenticato dal suo bene. Qui, nel malinconico arioso \u201cCara, nel dirti addio\u201d, Ferri-Benedetti sfoggia un calore avvolgente nell\u2019esprimere l\u2019idea di un affetto spezzato, di un cuore infranto colpito da un abbandono che si fa carico di sospiri equilibratamente divisi fra languore e densit\u00e0 di suono, declinati al massimo dei risultati nella magnifica messa di voce che si ascolta nel da capo; un canto concentrato sul dolore con toccante patetismo. Nella sezione finale della cantata poi, \u201cTuoni il ciel e s\u2019apra il mar\u201d, non una sola cadenza bens\u00ec l\u2019aria stessa \u00e8 scritta su due ottave, dal fa grave del contralto al fa acuto, quindi davvero impervia, eppure Ferri-Benedetti vince una sfida tanto complessa da vero virtuoso, utilizzando il canto come espressione sonora delle figure retoriche suggerite dalle parole.<\/p>\n

Si capisce che sia un virtuoso anche ascoltando la parte conclusiva della prima cantata, quando in \u201cMora l\u2019infido\u201d la gioia nell\u2019immaginare la morte del traditore come risoluzione di vendetta si esprime con drammatici salti anche di un nono magistralmente risolti, con un controllo dell\u2019emissione e un dominio fra i diversi registri, dall\u2019acuto al grave, di grande effetto.<\/p>\n

Passiamo alla seconda cantata del cd, \u201cArresta, arresta il pi\u00e8\u201d, dove l\u2019anima dell\u2019amante tradita cerca vendetta e chiede una spada e una face per metterla in atto per poi capire che sar\u00e0 nel cerchio infernale dei traditori, \u201ctra le turbe degli estinti\u201d, a trovare soddisfazione. Qui a sorprendere \u00e8 la cadenza che conclude la terza sezione, dove la voce di Ferri-Benedetti realizza un vero prodigio: un salto di tre ottave che porta la voce dal la acuto al la grave, tutta in un fiato, con scala e arpeggi discendenti.
\nIl capolavoro di questa raccolta \u00e8 la cantata dedicata a Lucrezia. Benedetto Marcello ne scrisse due pensando alla donna romana come simbolo di virt\u00f9, pronta all\u2019estremo gesto del suicidio dopo essere stata vittima della violenza di Tarquinio il Superbo, ultimo dei sette re di Roma. Composta dal compositore sullo stesso testo dell\u2019omonima cantata di H\u00e4ndel, inizia con un recitativo, \u201cO numi eterni, o stelle\u201d, che esprime rabbia e sdegno; segue l\u2019aria \u201cGi\u00e0 superbo del mio affanno\u201d nella quale, dinanzi alla donna attonita per la violenza subita, quasi si coglie lo sguardo di Lucrezia perso nel vuoto, pervaso di infinita tristezza, fino a quando si arriva, sulle parole \u201cparte l\u2019empio, lo sleal\u201d, ad ascoltare un nota emessa in piano e d\u2019un sol fiato, intonata da Ferri-Benedetti con dolcezza quasi ipnotica, cos\u00ec da evocare quello che si racconta fossero le note filate dei cantori evirati. Nel presto finale, il breve arioso \u201cNell\u2019inferno far\u00f2 la mia vendetta\u201d, Lucrezia prima di spirare lancia i suoi strali e conclude la pagina con una lunga nota tenuta che si interrompe d\u2019improvviso sulla morte dell\u2019eroina.<\/p>\n

Questi e altri ricami ancora si colgono in un canto che \u00e8 riflesso di cultura vocale intrisa di conoscenza stilistica del canto barocco in tutte le sue coniugazioni belcantistiche, tali da fare di Ferri-Benedetti un poeta e un abile giocoliere del falsetto, capace di essere cos\u00ec eloquente proprio perch\u00e9 sa utilizzare il belcanto a fini emozionali oltre che vocali, mettendolo al servizio della parola, proprio come voleva Benedetto Marcello, convinto assertore che musica e canto dovessero prima di tutto esaltare i valori espressivi del testo. Ancora una volta, dopo tanti cd passati \u2013 si citino quello dedicato alle cantate italiane di autori diversi, un altro al castrato Domenico Annibali e infine alle arie d\u2019opera di Geminiano Giacomelli \u2013 Flavio Ferri-Benedetti si conferma, con questa nuova registrazione, uno dei pi\u00f9 sensibili, colti e preparati italici profeti del falsetto di oggi, fra tutti forse il pi\u00f9 ricercato sul piano virtuosistico.<\/p>\n

\"\"<\/a><\/p>\n

(Connessi all’Opera – Alessandro Mormile)<\/p>\n

***<\/p>\n

Weihnachtsoratorium (Bach)<\/h2>\n

With Musica Fiorita (Dir. Daniela Dolci) – PAN CLASSICS<\/p>\n

\"\"<\/a><\/p>\n

“The alto, Flavio Ferri-Benedetti, stunning in ‘Schlafe, mein Liebster’…”
\n(EarlyMusicReview.com, December 2018)<\/p>\n

Fiamma vorace (Giacomelli)<\/h2>\n

With Musica Fiorita (Dir. Daniela Dolci) – PAN CLASSICS<\/p>\n

\"\"<\/a><\/p>\n

\"\"<\/a><\/p>\n

(The Sunday Times, 18th March 2018)<\/p>\n

**<\/p>\n

\n
\"\"<\/a><\/div>\n<\/div>\n
\n
\u00a0<\/span><\/div>\n<\/div>\n
\n
\u201cFlavio Ferri-Benedetti gives a virtuosic tour-de-force. His preparation is evident (besides from being a teacher and a fine musicologist \u2013 his are the booklet notes). See, as an example, the twenty-second note in \u201cSpera, s\u00ec, presago in petto\u201d, the thousand cares he demonstrates during the aria, so that his singing (with fiati, excellent messe di voce, etc.) becomes a mirror of the pure belcanto that only a solid technical preparation can allow. The voice is never \u201cfixed\u201d, but it vibrates pleasantly, as soft and warm as possible. In \u201cSposa, non mi conosci?\u201d from Merope the sweetness of emission is loaded with a emotionally-loaded warmth, but always in the context of an expressive style that cares for the word\u2019s meaning and its articulation, with a clear diction. In \u201cMancare, oh Dio, mi sento\u201d has a loving legato that strikes from the very beginning. <\/span><\/div>\n<\/div>\n
\n
\u00a0<\/span><\/div>\n<\/div>\n
\n
It is evident that his singing favours a clean vocal line, rather than nowadays\u2019 ruling \u201cbartolismo\u201d\u2026<\/span><\/div>\n<\/div>\n
\n
\u00a0<\/span><\/div>\n<\/div>\n
\n
Musica Fiorita looks for an elegant, refined sound, even if countercurrent nowadays.\u201d<\/span><\/div>\n
<\/div>\n<\/div>\n
\n
(Magazine L’Opera June 2018, Milano)<\/strong><\/div>\n<\/div>\n
<\/div>\n

**<\/p>\n

“Der Altus Flavio Ferri-Benedetti versteht es mit seinem sinnlichen Stimmklang und grandios ausgeformten Koloraturen, diesen einzelnen Charakteren aus den Werken (Merope, Lucio Papirio Dittatore, Adriano in Siria, Cesare in Egitto) dieses phantastischen Komponisten, leben einzuhauchen. Eine musikalische Vielfalt und eine ausgekl\u00fcgelte Kompositionstechnik machen diese CD zu einem besonderen Erlebnis. Angereichert wird diese CD durch kurze sinfonische St\u00fccke aus den Werken (Gianguir, Merope, Adriano in Siria und Cesare in Egitto) Die Musica Fiorita unter der Leitung von Daniela Dolci zaubern einen herausragenden Klangteppich. Eine CD die von der ersten bis zur letzten Sekunde begeistert.”<\/p>\n

(Ihr Opernratgeber blog<\/em>\u00a0– March 2018)<\/strong><\/p>\n

**<\/p>\n

“E” de EXCEPCIONAL – REVISTA SCHERZO (Madrid)
\n<\/strong>Mayo de 2018<\/p>\n

\"\"<\/a> \"\"<\/a><\/p>\n

“El contratenor italiano (afincado en Castell\u00f3n desde hace m\u00e1s de veinte a\u00f1os y formado en Basilea), ya con cinco discos como protagonista, va consolidando poco a poco, sin prisa pero sin pausa, una de las m\u00e1s loables carreras de entre los de su cuerda, aunque sin el aparato propagand\u00edstico del que se han sabido rodear algunos de sus colegas. Hay pocos contratenores que posean la t\u00e9cnica de Ferri-Benedetti (brillant\u00edsimos agudos y un prodigioso cambio del registro de cabeza a la voz modal). […] Disco absolutamente imprescindible.”<\/p>\n

***<\/p>\n

Ferri-Benedetti has edited some of the material himself and supplies scholarly yet engaging booklet notes […]\u00a0Ferri-Benedetti possesses an agile alto and an appealing, sweet-sounding mezza voce <\/i>[…]\u00a0His coloratura is effective here with its pinprick staccatos. […]\u00a0\u2018Mancare, oh Dio, mi sento\u2019 from Adriano in Siria<\/i> is a graceful siciliana, finely negotiated and elegantly phrased.<\/p>\n

Gramophone May 2018<\/strong><\/p>\n

***<\/p>\n

“Mancare, oh Dio, mi sento is the finest aria on the CD […] admirably suited to the considerable talents of Flavio Ferri-Benedetti, a singer not only gifted with a voice of considerable beauty, but also of a musical intelligence that allows him to capture with perfect sense both the musical and literary syntax of the aria’s agonized opening lines. He is excellent too in three fine arias from Merope […] The singer displays a good technique, with cleanly articulated passaggi and nicely turned ornaments.”<\/span><\/p>\n

Opera (UK) June 2018<\/strong><\/p>\n

***<\/p>\n

“Ferri-Benedetti sings with studied attention and crisp precision in realising the pristine beauty of Giacomelli\u2019s writing, be it the chromatic turns of \u2018Spera, si, presago in petto\u2019 which looks ahead to the Rococo style of the operas of Haydn or early Mozart, or the long, sustained lines of \u2018Sposa, non mi conosci?\u2019.<\/p>\n

…he tends to project the music with a similar steady, mezzo-forte articulation throughout the programme, and controls the timbre and tonal quality of his singing, except to emphasise certain upward leaps in the melody with an audible swoop to create somewhat sensational points of interest, as in \u2018Torbido nembo freme\u2019. He achieves a broadly consistent, smooth, almost disembodied quality of tone, and evinces a marginal sense of contrast by infusing his singing with a modicum more emotion at times, for example through the more private, incisive manner of delivery in \u2018Mancare, oh Dio, mi sento\u2019 which paradoxically attains a greater intensity as a result, or the more nasal, urgent tone adopted both for that aria\u2019s repeated section, and \u2018Sposa, non mi conosci?\u2019.<\/span><\/p>\n

\n

The listener misses, perhaps, a more dramatic dimension to these extracts, despite the ambient acoustic of the recording, and it is true that they are best appreciated in a handful at a time, rather than at one sitting, despite interspersed sinfonias from the same operas, as well as from Gianguir. But Ferri-Benedetti\u2019s artistry is subtle and one should expect to be taken here into the more private world of the characters originally created by the likes of Farinelli, Bernacchi, and Antonio Baldi, rather than confront the more extrovert virtuosity often required by such singers.<\/p>\n

In any case, the spirited playing by Musica Fiorita under Daniela Dolci\u2019s direction offers more colour and exuberance, not only in the sinfonias which avail themselves of a Vivaldian vigour, but also in the supporting role they play in the arias, where they instil a robust energy in the disc\u2019s title aria \u2018Fiamma vorace\u2019, and cultivate the pompous, stately character of \u2018Saggio guerriero antico\u2019 and \u2018Alla fastosa, superba\u2019 Roma for example.<\/p>\n

Giacomelli has received sporadic attention on disc elsewhere, such as by Ann Hallenberg and Vivica Genaux in other contexts, but this is a welcome opportunity to assess his work on its own terms, which is attractive enough and sympathetically espoused by Ferri-Benedetti here. The latter also provides informative notes about the works in the accompanying booklet. The release whets the appetite for a complete recording of an opera by Giacomelli.”<\/p>\n

MUSICWEB-INTERNATIONAL (May 2018)<\/strong><\/p>\n<\/div>\n

******************************************************************<\/p>\n

Venezia (Zanatta-Cavalli-Strozzi)<\/h2>\n

with Musica Fiorita (Dir. Daniela Dolci) – PAN CLASSICS<\/p>\n

\"\"<\/a><\/p>\n

SELECCI\u00d3N DE “\u00d3PERA ACTUAL” (Mayo 2017)<\/strong><\/p>\n

\"\"<\/a><\/p>\n

**
\n“El contratenor Flavio Ferri-Benedetti se muestra en todo momento sereno, contenido, fino y elegante, lo que le permite la m\u00e1s sutil traducci\u00f3n de la m\u00fasica. Expresivo y exquisito por momentos, muestra buena coloratura y control din\u00e1mico.”<\/p>\n

(Scherzo, diciembre de 2017)<\/strong><\/p>\n

************************************<\/strong><\/p>\n

Messiah (Handel)<\/h2>\n

with Musica Fiorita (Dir. Daniela Dolci) – PAN CLASSICS<\/p>\n

\"pc10351_f9166b_rszd_2\"<\/a><\/p>\n

“Momentos verdaderamente memorables; por ejemplo, el aria\u00a0He was despised<\/em>, cantada por Ferri-Benedetti como jam\u00e1s antes se la hab\u00eda escuchado cantar a nadie (hombre o mujer). Muy a lo Alfred Deller. Me atrever\u00eda a decir que esta aria por s\u00ed sola es argumento lo suficientemente s\u00f3lido como para adquirir el \u00e1lbum.”<\/p>\n

SCHERZO (Feb 2017)<\/strong><\/p>\n

“El contratenor Flavio Ferri-Benedetti nos aporta alguno de los mejores momentos vocales, con una He was despised de extraordinaria expresividad, colmada de magn\u00edficos detalles y con un gran manejo del cambio de registro (una de las notas m\u00e1s destacables de su interpretaci\u00f3n es justamente el abundante empleo del registro de pecho).”<\/p>\n

EL ARTE DE LA FUGA (Nov 2016)<\/strong><\/p>\n

“Flavio Ferri-Benedetti, dem Rezensenten bislang nicht bekannt \u2013 eine kaum verzeihliche Nachl\u00e4ssigkeit, wie das Studium diverser Quellen leicht zu zeigen geeignet war \u2013, ist eine echte Entdeckung, setzt mit seinen Beitr\u00e4gen ein vokales Glanzlicht der Produktion: Er singt lyrisch makellos, agiert technisch beeindruckend, ist gesegnet mit einer stupenden dramatischen Autorit\u00e4t \u2013 bietet mithin alles, was seine vor allem im ersten Teil des Messias raumgreifende Partie verlangt.”<\/p>\n

KLASSIK MAGAZIN (Dez 2016)<\/strong><\/p>\n

“Flavio Ferri-Benedetti is so much better in ‘He was despised’ […] he really explores the depth of this aria with his differentiated interpretation.”<\/p>\n

Musica Dei Donum (Apr 2019)<\/strong><\/p>\n

***<\/p>\n

Si no os hubiera mirado (Juan V\u00e1squez)<\/h2>\n

with Los Afectos Diversos\u00a0(Dir. Nacho Rodr\u00edguez) –\u00a0ITINERANT CLASSICS<\/p>\n

\"\"<\/a><\/p>\n

“E” de EXCEPCIONAL – SCHERZO<\/strong><\/p>\n

“En la voz c\u00e9lica de Flavio Ferri-Benedetti y la sensual vihuela de Manuel Minguill\u00f3n constituyen unos de los m\u00e1s irresistibles encantos de esta gema discogr\u00e1fica.”<\/p>\n

SINFONIA VIRTUAL – Febrero de 2018<\/strong><\/p>\n

“la luminosa voz de Flavio Ferri-Benedetti<\/strong> (alto)” — “destaca poderosamente la impresionante voz del ya citado Flavio Ferri-Benedetti.<\/strong> Nuestro solista masculino acomete la nada f\u00e1cil tarea de interpretar en este magn\u00edfico arreglo, esencialmente, la voz (especialmente aguda) del Tiple <\/em>(original),por lo que se hace necesario estar en posesi\u00f3n de una buena t\u00e9cnica vocal y un excelente dominio del registro agudo o de falsete<\/em> \u2013como es el caso de Flavio<\/strong>– y, por consiguiente, ser capaz de emitir limpiamente las notas m\u00e1s agudas, haciendo uso \u2013que no abuso- de un timbre filado<\/em> y muy liviano<\/em> cuando as\u00ed se requiere,\u00a0mostrando un dominio de la t\u00e9cnica en ese registro agudo<\/em> que pudiera recordar a lo que leemos de los antiguos castrados” — “las cualidades vocales del gran contratenor Flavio Ferri-Benedetti<\/strong>, y en especial al uso que \u00e9ste hace del citado timbre filado” — “A las cualidades del solista, se\u00f1aladas ya en el p\u00e1rrafo anterior, cabr\u00eda a\u00f1adir la ausencia absoluta de nasalizaciones indebidas, una dicci\u00f3n clara y limpia, su estupenda utilizaci\u00f3n de los resonadores craneales y un timbre rico en matices \u2013el color vocal-. — “<\/em><\/p>\n

Flavio nos ofrece una clase magistral de canto en las repeticiones, donde a\u00f1ade algunos ornamentos y ligeros tr\u00e9molos, sin aspavientos, que enriquecen la interpretaci\u00f3n.<\/p>\n

La versi\u00f3n de Enr\u00edquez de Valderr\u00e1bano<\/strong> aqu\u00ed propuesta tampoco es desde\u00f1able, ya que presenta una dif\u00edcil y rica escritura en el registro agudo, que incluye adornos y algunos giros, obligando al solista a hacer un notable uso del registro agudo o de falsete<\/em>, bien timbrado. Aqu\u00ed se hace a\u00fan m\u00e1s patente que en casos anteriores la gran importancia de contar con un buen fiato <\/em>y una emisi\u00f3n segura -requisitos que re\u00fane Flavio-, dada la gran cantidad de notas mantenidas y de largos fraseos.<\/p>\n

Tambi\u00e9n debemos se\u00f1alar que, a tenor de lo escuchado en este vibrante CD, este cantante masculino \u2013muy en particular- ha comprendido a la perfecci\u00f3n la importancia capital de la capacidad expresiva en la m\u00fasica de V\u00e1squez<\/strong>. Precisamente para enfatizar ciertas palabras del texto y reforzar las diversas emociones subyacentes a la m\u00fasica, Flavio Ferri-Benedetti<\/strong> aporta gran cantidad de matices est\u00e9ticos (ornamentos) y din\u00e1micos en todas sus interpretaciones e, indudablemente, logra emocionar al oyente.”<\/p>\n

**<\/p>\n

MEL\u00d3MANO DE ORO y\u00a0<\/strong>“R” de RITMO<\/strong><\/p>\n

***<\/p>\n

Arias for Domenico Annibali<\/h2>\n

The Dresden Star Castrato – PAN CLASSICS<\/h3>\n

\"Annibali\"<\/p>\n

“E” de SCHERZO (Espa\u00f1a) — DISCO EXCEPCIONAL!<\/strong><\/h3>\n

\"12963585_10153968409783213_7978683689284419797_n\"<\/p>\n

“The excellent countertenor FFB – born Italian but raised in Spain since a child and an alumnus of the Schola Cantorum Basiliensis — all chosen arias (and the duet) are brutally beautiful – with the astonishing performance by FFB and Il Basilico, baroque ensemble he created in Basel together with Daniel Rosin (Cello) and Seung Min Lee (Cembalo) — believe me if I tell you this is one of the best things I have heard in a long time!” — April 2016<\/span><\/span><\/p>\n

L’OPERA <\/strong>\u00a0(Italy) – April 2016<\/strong><\/div>\n

\"12983387_10153978095363213_274992920250895660_o\"<\/p>\n

<<Among the Italian countertenors who have \u201cemigrated\u201d to study baroque singing and try to succeed in a repertoire that is more loved abroad than in Italy, Flavio Ferri-Benedetti can be counted among the most significative and well-prepared. Well-read, interested in matters of style and a cultivator of falsetto-singing who is gifted with a rare sensitiveness, he has a very wide musical culture and that pinch of character brilliance, a bit divo, that makes him a special singer-musician. [\u2026] \u201cVado a morir\u201d from Arminio, which requires perfect breath support and an outstanding legato. In the aria from Feo\u2019s \u201cAndromaca\u201d, Ferri-Benedetti shows a surprising range, making his falsetto descend, in one of the cadenze, into chest voice with imperious insolence. [\u2026] Flavio Ferri-Benedetti shows a soft, warm timbre, gifted with affable charme, an admirable diction put to the service of a very accurate expressiveness. He not only can sing the most complex passages, always resolved with wise know-how, but he also phrases with great abandon in the pathetic arias, where he touches moments of real poetry, like in Ristori\u2019s \u201cLe Fate\u201d, or Handel\u2019s \u201cArminio\u201d \u2013 he trills and performs state-of-the-art staccati, showing his domain of the technique and the sovereign knowledge of the style. Il Basilico, guided by Eva Saladin, in perfect symbiosis with Ferri-Benedetti\u2019s singing, which is not a mere expression of per-se virtuosism, but becomes a mirror for baroque affetti and their poetics, through the technical-expressive alchemy of a voice that really makes all it can in order to instill emotions which do not cause mere virtuosic surprise but real soul feelings. Mission accomplished, also this time, for this fearless countertenor who, nowadays, is divided between stage, concert halls and teaching.>><\/p>\n

\"12928279_10153948544198213_7825360827441776230_n\"<\/p>\n

MDR KULTUR<\/strong><\/p>\n

“Mit seiner jungen, aber schon erstaunlich ausgereiften Stimme erschlie\u00dft Flavio Ferri-Benedetti dieses wunderbare musikalische Erbe.”
\n“With his young but astonishingly matured voice, Flavio Ferri-Benedetti opens up with wonderful musical heritage (of Domenico Annibali)”<\/p>\n

L’APE MUSICALE:<\/strong><\/p>\n

“Per parafrasare Aristofane, si potrebbe anche per Ferri-Benedetti usare l\u2019epiteto \u201cbocca di miele\u201d, come il commediografo l\u2019us\u00f2 per Sofocle: questa voce naturalmente melliflua, calda, eppur robusta nei bassi, vibrante, \u00e8 argilla madida per l\u2019interprete, che la plasma di volta in volta a seconda dell\u2019effetto che vuole rendere.”<\/p>\n

“\u00abBellezze adorate\u00bb, dove il controtenore d\u00e0 soprattutto prova sublime del suo raffinato fraseggio, della florida pienezza delle sue note\u00a0centrali, mostrandoci magistrale resa della tradizionale figura barocca dell\u2019amante languente. \u2026 \u00abA vostro dispetto\u00bb, dove Ferri-Benedetti sciorina tutto il suo virtuosismo, fatto di impeccabili fioriture. … \u00abCervo al bosco\u00bb Ferri-Benedetti staglia egregiamente tutti i suoi talenti: trilli, fioriture, salti, quanto di pi\u00f9 raffinato mandasse in visibilio il pubblico dell\u2019epoca (e quello d\u2019oggi). Di Hasse Ferri-Benedetti canta anche l\u2019aria di Niceforo dall\u2019Irene,\u00abPerfidi, sul mio core\u00bb, in cui ci mostra una fibra nerboruta in grado di sorreggere un canto che spesso tocca le vette pi\u00f9 alte come pure lambisce la compagine dei bassi. \u2026 \u00abD\u2019esser gi\u00e0 parmi\u00bb, ancora un\u2019aria d\u2019amore, dove le calde ornamentazioni (eseguite con tecnica facile e spigliata) descrivono lo struggimento amoroso con una metafora arborea \u2013 la voce di Ferri-Benedetti, inoltre, si sposa particolarmente bene con l\u2019orchestrazione argentina e contrastata scelta da Porpora.\u00a0<\/span><\/p>\n

\n

Dalla Berenice Ferri-Benedetti interpreta un duetto (\u00abSe il mio amor fu delitto\u00bb) con la brava Carla Nahadi Babelegoto: le loro voci si sposano deliziosamente nelle proiezioni delle varie e articolate ornamentazioni. Dall\u2019Andromaca di Francesco Feo il controtenore italiano interpreta l\u2019aria dello sfortunato Astianatte, \u00abQuel nocchier che vana ogn\u2019opra\u00bb, di un cristallino virtuosismo verticale che descrive la disperazione di Astianatte: da notare l\u2019impressionante discesa a note praticamente tenorili nel massimo della tensione drammatica, fatto che dimostra la tecnica smagliante di Ferri-Benedetti.<\/p>\n

\u00abCos\u00ec geloso un angue\u00bb, ancora brillantemente virtuosistica (brevi messe di voce, fulminei portamenti, fioriture ad libitum). Eva Saladin dirige un\u2019eccellente ensemble, il Basilico (peraltro co-fondato dal Ferri-Benedetti), che d\u00e0 prova di un impareggiabile gusto per l\u2019esecuzione della scrittura d\u2019accompagnamento vocale d\u2019epoca barocca.<\/p>\n

Un CD certamente di grande valore, non solo per la presenza di rarissime gemme del sempre ricco Barocco altrimenti difficilmente ascoltabili, ma anche per l\u2019interpretazione elegante, colta, raffinata, di Flavio Ferri-Benedetti.”<\/p>\n<\/div>\n

EARLY MUSIC REVIEW:<\/strong><\/p>\n

“Flavio Ferri-Benedetti gives us a good taste of Annibali\u2019s great artistry. He is at his mellifluous best in the slower pieces \u2013 try the opening Ristori \u2018Belleze Adorate\u2019, or Handel\u2019s stately \u2018Vado ad Morire\u2019 (track 4) with its continuo-accompanied opening, the band being held back until the music moves to the dominant, creating a remarkable sense of spaciousness. He is joined in further Handel (from Berenice) by Carla Nahadi Babelegoto\u2019s graceful soprano. In the faster and\u00a0especially the more dramatically urgent pieces, he displays remarkable agility, though his tone becomes a little harder; from time to time his breathing between phrases has also been rather closely miked for comfort. For me, the most enjoyable track was the last one, from G. A. Ristori\u2019s Componiment per musica, with its extended accompagnato (note the lovely pastoral drones) and firecracker of an aria.<\/span><\/p>\n

\n

Throughout, Il Basilico play like angels \u2013 there is a jaw-dropping display of solo horn (Olivier Picon) and solo theorbo (Ori Hannelin) in Hasse\u2019s \u2018Cervo al Bosco\u2019 from Cleofide, and the strings produce tremendous dash and attack under Eva Saladin\u2019s excellent leadership.”<\/p>\n<\/div>\n

GRAMOPHONE (UK)
\n<\/strong><\/p>\n

Domenico Annibali (c<\/i>1705-c<\/i>1779) was employed at the Dresden court opera from 1730 until his retirement in 1764 \u2013 but from time to time he was given leave of absence to appear in Rome (in 1732 and 1739) and London (1736 37). Eleven arias from his repertoire are explored in a cleverly varied recital by Flavio Ferri-Benedetti (an alumnus of the Schola Cantorum in Basel) that helps us to see the bigger picture.<\/p>\n

The graceful \u2018Bellezze adorate\u2019 from Ristori\u2019s\u00a0Le fate<\/i>(Dresden, 1736) is sung with eloquent tastefulness, whereas Alexander the Great\u2019s \u2018Cervo al bosco\u2019 from Hasse\u2019s\u00a0Cleofide<\/i>\u00a0(Dresden, 1731) has florid singing that is both precise and shaded poetically \u2013 and Olivier Picon\u2019s brilliant horn obbligato and Ori Harmelin\u2019s nimble theorbo flourishes are reminders that the Dresden court orchestra was without equal in Europe. Il Basilico\u2019s strings are virile in the title-role\u2019s flamboyant description of a furious whirlwind in Porpora\u2019s\u00a0Germanico in Germania<\/i>\u00a0(Rome, 1732), which is contrasted immediately with Handel\u2019s sublime depiction of Arminio\u2019s tender farewell to his beloved as he anticipates his execution by Roman invaders (\u2018Vado a morir\u2019); Ferri-Benedetti\u2019s softly emotive\u00a0messa di voce<\/i>and elegant embellishments are delightful.<\/p>\n

Less immediately convincing is some extravagant ornamentation descending deep into the baritone register in Feo\u2019s \u2018Quel nocchier che vana ogn\u2019opra\u2019 from Andromaca (Rome, 1730). The concluding set-piece \u2018A vostro dispetto\u2019 from Ristori\u2019s Componimento per musica (Warsaw, 1736) is a thrilling tour de force \u2013 although the cadenza finishes up the octave in a manner that I personally find a bit clumsy (others may find it energetic). Nevertheless, this diligent exploration of mostly unfamiliar music is an auspicious debut from these talented performers.<\/p>\n

DIAPASON (FR)<\/strong><\/p>\n

“FFB’s voice is of enough size not to get lost in the clothes of this castrato —- Ristori’s first aria reveals a comfortable middle register, good not only for mystery but also for vehemence. He shows similar virtues in the splendid “Vado a morir” from Arminio. Also virtuosity is no problem for our countertenor, judging from the expert articulation of the coloraturas in RIstori’s “A vostro dispetto”: such dexterity on the repeated notes, such reflexes in the joining of melodies on the go!<\/p>\n

We hope FFB will be able to conquer us with his next program, better fit for his undeniable talent.”<\/p>\n

FANFARE (USA)<\/strong><\/p>\n

“As for the performances themselves, countertenor Flavio Ferri-Benedetti performs this sometimes dizzying series with accuracy and feeling. His intonation is very good, and the voice has a nice depth that one finds appealing in this repertory. Whether doing the tortuous roulades of the often dangerous coloratura or gently flowing along with more lyrical lines, his interpretations are nicely done. Add to this the secure and sensitive playing of the Il Basilico period instrument group and one has a fine disc that would do Annibali proud. Now, if only we could get the recordings of complete operas in context, we would have an excellent foundation for the opera seria of the time.”<\/span><\/p>\n

EL PA\u00cdS (Cultura) (Oct 2016)<\/strong><\/p>\n

“No sabemos ni sabremos c\u00f3mo cantaba Annibali m\u00e1s all\u00e1 de sus afinidades estil\u00edsticas, su registro, su versatilidad de “can\u00edbal”, su reputaci\u00f3n documentada, pero Ferri-Benedetti se atreve a \u201cinvocarlo\u201d en una grabaci\u00f3n de gran belleza y sensibilidad. Tanto impresionan los pasajes pirot\u00e9cnicos como lo hacen los momentos de quietud. Y predomina un ejercicio de intuici\u00f3n musical y de exhuberancia que convierten al contratenor italiano en el m\u00e9dium de una sesi\u00f3n de espiritismo.”<\/p>\n

MUSICA DEI DONUM (web, Mar 2018)<\/strong><\/p>\n

…The “whirlwind” is effectively depicted by the coloratura, brilliantly sung by Flavio Ferri-Benedetti. He also does very well in the fiery aria ‘Perfidi, sul mio core’ from Hasse’s Irene<\/i> and in ‘A vostro dispetto’ from Ristori’s serenata Componimento per musica<\/i>. …\u00a0Ferri-Benedetti is a natural opera singer. He is in particular better suited to stuff like rage arias where the singer needs to have a really theatrical personality. Ferri-Benedetti has that, and that comes off very well here.<\/p>\n

*****<\/p>\n

LA PAZZA – Second solo recital!<\/strong><\/h2>\n

\"La<\/a><\/h3>\n

\"5_diapason_2\"<\/a>CINQ DIAPASONS!<\/strong><\/h3>\n

\"10330296_10153539844588213_4687380382688322564_n\"<\/a><\/h3>\n

“Un programme aussi original qu’astucieux… un certain nombre de pages […] que Flavio Ferri-Benedetti se r\u00e9approprie et transfigure litt\u00e9ralement. Le contre-t\u00e9nor asseoit sur un belle technique (les vocalises fulminantes de Ferrari!) un fort temp\u00e9rament, qui \u00e9volue sans cesse entre le\u00a0tragediante\u00a0<\/em>et le\u00a0commediante<\/em>. Soutien magistral, profus et color\u00e9 d’Il Profondo… Rarement folie a \u00e9t\u00e9 plus s\u00e9duisante, plus \u00e9loquente, et surtout plus r\u00e9jouissante.”<\/p>\n

“An original, clever program… a certain number of pieces […] reconquered and literally transfigured by Flavio Ferri-Benedetti. The countertenor owns a good technique (e.g. the fulminating vocalisations in Ferrari!), a strong temperament which evolves non-stop between tragic and comic. Il Profondo supports magistrally, richly and with many colours… Rarely madness has been as seducing, eloquent and rejoicing as it is here.”<\/p>\n

Diapason Sept 2015<\/strong><\/p>\n

CINQUE STELLE on RIVISTA “MUSICA” – ITALY!<\/strong><\/h3>\n

\"musica<\/a><\/p>\n

February 2015<\/strong><\/p>\n

\"La<\/a><\/p>\n

“Really interesting concept” [\u2026] “The effective protagonists of this itinerary are the countertenor Flavio Ferri-Benedetti and the Ensemble Il Profondo (on period instruments), all stylistically passionate and fully responsive to the variety of expressions present in this complex repertoire: the Italian singer stands out for his substantially smooth and pleasant voice, used with great sensitivity and flexibility in the context of a theatrical conception, particularly effective with regards to the character of the pieces. This also enhanced by a sufficiently clear diction [\u2026] The attention to detail and the variety of accents song after song was duly endorsed by the nine instrumentalists, thanks to which the bass \u00a0line was\u00a0able\u00a0to rely on a variety of combinations and mixtures of timbre, thus creating an ever-changing sound texture, soft and compact, avoiding the risk of monotony or repetitiveness. “<\/p>\n

MUSICA – Febbraio 2015<\/strong><\/p>\n

*****<\/p>\n

\"12697365_10153813091608213_4036728087587709719_o\"<\/p>\n

A LITTLE MIRACLE OF BELCANTO…<\/strong><\/p>\n

“One of the most well-read and skilled countertenors working nowadays … FFB’s performance approach starts from the text – the word is at the centre of the communication – sometimes fluent, sometimes joyous, sometimes melancholic. The whole range of his voice is involved – never as a farce – and approaches madness with flexible singing —- great diction and the ability to move his falsetto with flexible charm, never giving the impression of forcing …. always between tragic accents and comedy …. Rarely it happens to find a countertenor with such attention to the meaning of the words, painted in all nuances, sensitiveness, irony, elegance .. A LITTLE MIRACLE OF BELCANTO AT THE SERVICE OF BAROQUE RHETORICS …. Instrumental support is impeccable and varied, with a basso continuo that gives all necessary colours so that the music can appear flexible and fresh…”<\/span><\/p>\n

L’OPERA – Milano – Febbraio 2016<\/strong><\/p>\n

*****<\/p>\n

“Los art\u00edfices de tan exquisito recital son el contratenor italo-espa\u00f1ol Flavio Ferri-Benedetti, formado en la Schola Cantorum Basiliensis y con una fulgurante carrera actualmente. Dir\u00eda que estamos, probablemente, ante su mejor registro como protagonista. Su l\u00ednea de canto destila elegancia, el timbre es realmente hermoso, muy homog\u00e9neo y delicado. Su canto es fluido, incluso nos regala algunos momentos con su voz \u00abnatural\u00bb de bar\u00edtono. El agudo est\u00e1 bien asentado, y se muestra muy preparado en el \u00e1mbito dram\u00e1tico, como es habitual en \u00e9l. Ferri-Benedetti es un gran cantante, pero tambi\u00e9n un gran actor, capaz de meterse muy dentro de los personajes que encarna. Adem\u00e1s, su dominio de los idiomas \u2013no solo como cantante, sino como Doctor en Lenguas y Literaturas que es\u2013 hace que su acercamiento siempre tenga un plus de conocimiento y rigor, del que se aprende mucho. Es, por lo dem\u00e1s, un cantante realmente expresivo, muy dotado para la escena, tanto por su vis c\u00f3mica, como por su faceta m\u00e1s tr\u00e1gica, de lo que da buenas muestras en este recital \u2013de ambas\u2013. Encarna en la actualidad, sin duda, uno de los mejores ejemplos del cantante completo, aquel que a\u00fana todas las facetas m\u00e1s importantes para conseguir expresar con su voz y su presencia.”<\/span><\/p>\n

Codalario.com – Junio 2015<\/strong><\/p>\n

*****<\/p>\n

“El contratenor castellonenc d\u2019origen itali\u00e0… Flavio Ferri-Benedetti no solament interpreta amb una gran eleg\u00e0ncia sin\u00f3 que tamb\u00e9 investiga el repertori del segle XVII. I escoltant aquest disc, ens adonem que \u00e9s un m\u00fasic de s\u00f2lid ofici i d\u2019un talent indiscutible. Les seves interpretacions ho corroboren.”<\/p>\n

“The Italian-born countertenor from Castell\u00f3n… FFB not only interprets with great elegance but also researches and edits the repertoire of the 17th century. Hearing the CD, one can notice he is a solidly formed musician and has indisputable talent. His interpretations confirm this.”<\/p>\n

Sonograma.com – Julio 2015<\/strong><\/p>\n

*****<\/p>\n

“Alejando un tanto del desmedido y a veces esperp\u00e9ntico oropel que acompa\u00f1a a los grandes divos del actual star-system contratenoril, la carrera profesional de Ferri-Benedetti se levanta sobre los cimientos del rigor musical, del rigor musicol\u00f3gico (adquiridos ambos en sus a\u00f1os de aprendizaje en la Schola Cantorum Basiliensis), del buen gusto y de la modestia, algo esto \u00faltimo que empieza a ser una virtud escasa en algunos de sus colegas. Sin embargo, nadie que haya seguido de cerca su trayectoria podr\u00e1 negarle el m\u00e9rito de estar en ese selecto ramillete de contratenores que han normalizado, primero, y dignificado, despu\u00e9s, esta cuerda canora, reducida hasta hace no mucho tiempo y no en pocos casos a un puro morbo, a algo parecido a una exhibici\u00f3n de feria tipo\u00a0Freaks.<\/em><\/p>\n

El disco es un maravilloso elogio a la locura por parte de Ferri-Benedetti, no s\u00f3lo a la hora de cantar, que lo hace de manera sublime, sino tambi\u00e9n a la hora de seleccionar las obras. Le acompa\u00f1an sus compa\u00f1eros (y, sin embargo, amigos) de la \u00e9poca de Basilea, agrupados en el Ensemble Il Profondo, que, como su propio nombre indica, est\u00e1n especializados en los instrumentos propios del bajo continuo: viola de gamba, violone, contrabajo, tiorba, archila\u00fad, guitarra barroca, colach\u00f3n, arpa y, por supuesto, clave. Se incluye tambi\u00e9n una ins\u00f3lita mandolina barroca, que dicho sea de paso posee un sonido incre\u00edble. Entre canto y canto a la locura, Il Profondo incluye varias piezas instrumentales de Giovanni Maria Trabacci y alguna romanesca an\u00f3nima para clave, ejecutada extraordinariamente por Johannes Keller.”<\/p>\n

EL ARTE DE LA FUGA – Eduardo Torrico – Diciembre de 2014<\/strong><\/p>\n

***<\/p>\n

“Vielleicht k\u00f6nnte man Ferri-Benedetti als Charakter-Counter bezeichnen. Zwar verf\u00fcgt er \u00fcber bet\u00f6rend verstr\u00f6mende, glockenklare T\u00f6ne, neigt mitunter aber zu einer gewissen Sch\u00e4rfe, die er freilich meist geschickt in seine Interpretation einzubauen wei\u00df.” “die besondere Gabe Ferri-Benedettis: n\u00e4mlich zu charakterisieren, einen Text in all seinen Facetten in musikalische Gesten zu \u00fcbersetzen. Wer den Counter einmal auf der B\u00fchne erlebt hat, z. B. in Basel oder Frankfurt, konnte sich von seinem umwerfenden kom\u00f6diantischen Talent \u00fcberzeugen .”<\/p>\n

“Maybe one could define FFB as ‘Character-Counter’. He owns crystal-clear, beguilingly exuding notes, but tends sometimes to a certain sharpness that he freely and consciously mixes in his interpretations. The special gift of FFB is to characterize, to translate in musical gestures a text in all its facets. Anyone who has experienced him once on stage, like in Basel or Frankfurt, could enjoy his stunning comic talent.”<\/p>\n

SWR Germany<\/strong><\/p>\n

***<\/p>\n

\"Fluri<\/a><\/p>\n

“Mit Souplesse und bezaubernder Leichtigkeit vollf\u00fchrt der spanisch-italienische Countertenor FFB singend den Tanz des Liebenden. Unerwartet wechselt er vom Alt in seine tiefere, nat\u00fcrliche Stimme, nimmt so ironisch Distanz. Das ist grosse Lied- und Erz\u00e4hlkunst, mit der der S\u00e4nger erfreut (der Altist, der an der Schola studiert hatte\u2026) [\u2026] Er gibt mit seiner sich leichtf\u00fcssig in sch\u00f6nsten H\u00f6hen bewegenden Stimme jedem Wort, jeder Verzierung Gehalt. Er dringt in die Tiefen von Musik und Dichtung ein, gibt ihrer Sinnlichtkeit Klang. [\u2026] Ferri-Benedetti l\u00e4sst keck die Stimme tanzen, f\u00e4llt in einen tiefen Seufzer\u2026 wieder wechselt er \u00fcberraschend in die tiefere Naturstimme. Er schl\u00fcpft aus der Rolle der Frau und wird zum Erz\u00e4hler.”<\/p>\n

\u201cWith subtlety and charming ease the Spanish-Italian countertenor FFB performs the dance of the lover. Unexpectedly he changes from alto to his natural, deep voice, thus taking ironic distance. This is great art of singing and narrating, with which the singer delights (an alto who had studied at the Schola\u2026) [\u2026] He gives a value to every word and every ornament with his voice, light-flowing to the beautiful high notes. He penetrates the depths of music and poetry and gives sound to their sensuality. [\u2026] Ferri-Benedetti lets the voice dance cheekily, falls into deep pain\u2026 then surprisingly changes again to the natural low voice\u2026 he slips out of the woman role and becomes a narrator.\u201d<\/p>\n

BZ – 24 Jan 2015<\/strong><\/p>\n

***********************<\/p>\n

\u00a0“Suggestives Theater f\u00fcr das Ohren…”<\/em><\/h2>\n

CD DEBUT<\/strong> “Passo di pena in pena…” (with Ensemble Il Profondo)<\/p>\n

\"Cover<\/a>
Cover of “Passo di pena in pena…”
CANTUS RECORDS @ 2012<\/figcaption><\/figure>\n

“Magn\u00edfico despliegue de belleza y honestidad”
\n[Fantastic display of beauty and integrity]
\n<\/strong><\/h4>\n

CODALARIO.COM – August 2013<\/p>\n

*************************************************<\/p>\n

\"5_diapason_2\"<\/a>CINQ DIAPASONS!<\/strong><\/h3>\n

\"Diapason<\/a><\/p>\n

“”Magnificient first recital, with a program of great coherence [\u2026] warm, soft timbre [\u2026] The italo-spanish countertenor masters perfectly the most formidable and feared techniques: messa di voce (the Scarlatti arioso is anthological), trilli (with insolent ease in the Vivaldi), passaggi (in the aggressive “Navicella” of Bononcini), legato (in the Porpora), never sacrificing the expressiveness and the elocution, founding elements of belcanto’s nobility. [\u2026] Here is a pure-singing countertenor, agile and attentive to the smallest inflections of the poetic text.”<\/p>\n

DIAPASON AVRIL 2014<\/strong><\/p>\n

*************************************************<\/p>\n

\"musica<\/a><\/p>\n

FIVE STARS! CINQUE STELLE!<\/strong> RIVISTA “MUSICA” (Italia) – March 2013<\/strong><\/p>\n

“Flavio Ferri-Benedetti, controtenore iberico di origini emiliane qui alla sua prima incisione da solista, non \u00e8 una sorpresa totale per chi lo avesse gi\u00e0 udito dal vivo in alcuni piccoli ruoli operistici, ma si pu\u00f2 ben definire una rivelazione […] questo allievo di Gerd T\u00fcrk\u00a0possiede un organo brillante e rotondo nei passi di agilit\u00e0, appassionato nei movimenti lenti, elegante con un pizzico d\u2019ironia dove serve per sottolineare l\u2019enfasi improbabile di certi luoghi comuni d\u2019Arcadia. Soprattutto, controllando il fiato come comandano i Santi Padri del Bel Canto, riesce ad articolare il fraseggio in base alla semantica del testo<\/strong>.”<\/p>\n

“Flavio Ferri-Benedetti, Iberian countertenor born in the Aemilia (Italy), makes here his solo debut CD – not a surprise for those who have already seen him in small operatic roles, but one can say he is a revelation. […]\u00a0This student of Gerd T\u00fcrk owns a bright and round instrument in the coloratura, passion in the slow movements, elegance with a pinch of irony where some Arcadian clich\u00e9s have to be underlined… Especially thanks to his control of the fiato how the Holy Fathers of Belcanto prescribe, he is able to articulate the phrasing according to the meaning of the text.”<\/strong><\/p>\n

*************************************************<\/p>\n

L’OPERA (Milano)<\/strong> Febbraio 2013<\/strong><\/p>\n

\"Critica<\/a><\/p>\n

[\u2026] it is interesting how F. F. B. himself describes the \u201cjob\u201d of a singer as if it were a \u201cmission\u201d [\u2026] A vision of the singer who does not only care about correct vocal emission and virtuosism per se [\u2026] but also tries to express a meaning also through the dramatic expressiveness of the recitativo, the idea of a musical language that totally absorbs the singer, turning him into a \u201ccommunicator\u201d of emotions put into music, while the act of singing is at the service of the words\u2019 meaning.<\/p>\n

[\u2026] What Ferri-Benedetti well does, he communicates with such emotion as is the result of an absolute knowledge of the baroque vocal style [\u2026] This is why this CD fascinates the listener from beginning to end, confirming F. F. B. ready to be counted among the most expressively and stylistically prepared countertenors nowadays [\u2026] His technique is secure and complete, his timbre is pleasant and beautiful, but what is more important, he has the wisdom that only belongs to real musicians, capable of taking meticulously care of each embellishment\u2019s meaning, purely expressively. And, if once countertenors were accused of monochromatic timbre, Ferri-Benedetti\u2019s singing is a proof of the opposite: messe di voce, trills, coloratura, prodigious fiato, exquisite dynamics\u2026 it is all in the hands of this young extraordinary falsettist: a communicator of emotions who does not just sing, but also enters carefully the galant feeling of these cantatas with infinite love and passion for what he does, very well accompanied by Ensemble Il Profondo, a group formed in 2008 by instrumentalists who studied together at the Schola Cantorum Basiliensis. The recording is good and the format is very tasteful. This is a CD on which one can meditate and think for a long time, with ever-growing surprise: a true act of love for the purest and most authentic baroque style.<\/b><\/p>\n

[\u2026] interessanti mi sembrano le brevi note in cui Ferri-Benedetti descrive di suo pugno il \u201cmestiere\u201d di cantante inteso come vera e propria missione [\u2026] Una visione del canto che va al di l\u00e0 della corretta emissione vocale e del virtuosismo fine e se stesso [\u2026] e si adopera per trasmettere, anche attraverso l’espressivit\u00e0 drammaturgica del recitativo, l’idea di un linguaggio musicale che assorbe totalmente il cantante, rendendolo comunicatore di emozioni in musica attraverso il canto messo al servizio del significato della parola.<\/p>\n

[\u2026] come sa ben fare Ferri-Benedetti, comunicare un’emozionalit\u00e0 che \u00e8 frutto di una presa di coscienza assoluta delle stile vocale barocco\u00a0 [\u2026] Ecco perch\u00e9 questo cd affascina dalla prima all’ultima nota e conferma come Flavio Ferri-Benedetti sia ormai pronto per imporsi fra i controtenori pi\u00f9 espressivamente e stilisticamente preparati [\u2026] La tecnica \u00e8 scaltra e completa, il colore di voce morbido e bello, ma soprattutto c’\u00e8 la sapienza del musicista di razza, capace di soffermarsi con meticolosit\u00e0 certosina sui valori delle fioriture in funzione puramente espressiva. E se un tempo ai controtenori veniva rimproverata la monocromia timbrica, il canto di Ferri-Benedetti smentisce categoricamente questo limite. Messe di voci, trilli, agilit\u00e0, tenuta prodigiosa dei fiati, dinamiche ricercatissime sono pane per i denti per questo giovane fuoriclasse del falsetto, comunicatore di emozioni che canta non tanto per farlo, ma entra con il microscopio nell’intimo sentire galante di queste cantate con amore e passione infinite per quello che fa, accompagnato assai bene dall’Ensemble Il Profondo, complesso che nacque nel 2008 su iniziativa di un gruppo di strumentisti che studiavano alla Schola Cantorum Basiliensis. Buona la registrazione e veste grafica del cofanetto assai curata. Un cd sul quale meditare e ragionare a lungo, con crescente stupore; un vero atto d’amore al pi\u00f9 puro e autentico stile barocco.<\/p>\n

*************************************************<\/p>\n

“De timbre ajustado, poderoso y elegante, se muestra tremendamente seguro en los pasajes m\u00e1s ornamentados -fabuloso en los da capo-, pero fascinante sobre todo en las arias lentas<\/strong>, en las que nos ofrece su mejor faceta. El texto es paladeado en cada s\u00edlaba<\/strong>, consiguiendo una dicci\u00f3n extremadamente l\u00edmpida y todo un ejemplo de c\u00f3mo debe cantarse el italiano<\/strong> -su formaci\u00f3n en lenguas aflora aqu\u00ed en su m\u00e1ximo esplendor. La l\u00ednea de canto es fluida, c\u00f3moda, natural<\/strong> -en un contratenor es esencial […] Destaca, sobre todo, la gran expresividad<\/strong> de la que hace gala el italiano, mostrando una empat\u00eda brutal con cada palabra del texto<\/strong> que interpreta.”<\/p>\n

[With a close-fitting, powerful and elegant timbre, he shows extreme security in the most ornamented passages – fabulous da capi – but he is especially fascinating in the slow arias, where he is at his best. The text is savoured in each syllable, obtaining an extremely clear diction and an example of how Italian has to be sung: his linguistic background is clearly evident. The singing line flows comfortably and naturally – which is essential in a countertenor […] It is to highlight the great expressiveness that the Italian singer shows, with a brutal empathy on each word of the interpreted texts.]<\/p>\n

CODALARIO.COM *** Agosto 2013<\/strong><\/p>\n

*************************************************<\/p>\n

“La voz de Flavio Ferri-Benedetti que, con su perfecta dicci\u00f3n y su impecable articulaci\u00f3n<\/strong>, permite acercarnos a la l\u00edrica singular que ofrece esta colecci\u00f3n de cantatas profanas editadas por Cantus Records… Este conmovedor \u00e1lbum… No s\u00f3lo el matiz de las palabras, Ferri-Benedetti canta con pasi\u00f3n y sentimiento<\/strong>, sino tambi\u00e9n del fraseo musical del conjunto Ensemble il Profondo… Ferri-Benedetti las embellece y las adorna con naturalidad, sin forzar el color ni los afectos.”<\/strong><\/p>\n

[Flavio Ferri-Benedetti who, with his perfect diction and impeccable articulation,<\/strong> lets us approach the peculiar poetry featured in these secular cantatas… moving album…<\/strong> It is not only word-colouring: FFB sings with passion and feeling<\/strong> – and Il Profondo’s musical phrasing… FFB adorns these cantatas in a natural way, without forcing either colour nor affects…<\/strong>]<\/p>\n

Sonograma Magazine – April 2013<\/strong><\/p>\n

http:\/\/www.sonograma.org\/suplement-de-discos\/passo-di-pena-in-pena\/<\/p>\n

*************************************************<\/p>\n

MUSIK UND THEATER (CH) – April 2013<\/strong><\/p>\n

“Mit Liebesschmerz in allen Schattierungen stellt sich der Altus Flavio Ferri-Benedetti auf seiner ersten CD vor […] FFB setzt die Musik (der Kantaten) ausdrucksvoll um. Der dreissigj\u00e4hrige Italiener, Absolvent der Schola Cantorum Basiliensis, besitzt eine sicher gef\u00fchrte, individuell gef\u00e4rbte Stimme mit leichter, leuchtender H\u00f6he, einer substanz- und farbenrichern Mittellage<\/strong>, aber auch einem markanten Registerbruch in der Tiefe […] Er singt nicht nur sauber und stilsicher, er verf\u00fcgt auch \u00fcber eine reiche Palette an gestalterischen Nuancen,<\/strong> die er klug einsetzt. […] Schimmernde Geigen-Linien […] Wie etwa S\u00e4nger und Musiker zu Beginn der Scarlatti-Kantate die Schrecken der Nacht h\u00f6rbar machen, ist suggestives Theater f\u00fcr die Ohren<\/strong>.”<\/p>\n

(English): “Countertenor Flavio Ferri-Benedetti presents himself on his first CD with love’s pain in all its shades […] FFB performs the music expressively. The 30-year old Italian, Schola Cantorum graduate, owns a secure voice with an individual colour, light, shining high register, substantial and colour-rich middle register<\/strong> but also a striking break in the low register […] He sings not only clean and stylistically sure, but also employing a rich palette of artistic nuances, which he applies cleverly.<\/strong> […] Shimmering violin-lines […] The way the singer and the musicians translate into sounds the dread of the night is suggestive theatre for the ears.”
\n<\/strong>
\n*************************************************<\/p>\n

\"\"<\/a><\/p>\n

Review of “Passo di pena in pena”<\/strong> Magazine “M\u00fasica Perfecta” (Spain)<\/strong><\/p>\n

Excerpts in English:<\/strong><\/p>\n

Mark: 10 (Interpretation: 10 \/ Sound: 8 Libretto: 10 \/ Presentation: 10)<\/p>\n

Among the most extraordinary surprises offered by the complete catalogue of the Spanish label Cantus [\u2026] we find this impressive recording of Italian cantatas sung by the magnificent Italian countertenor Flavio Ferri-Benedetti, beautifully accompanied by Ensemble Il Profondo, whose members have studied at the prestigious Schola Cantorum Basiliensis [\u2026]<\/p>\n

Watch out: this is not \u201cyet another\u201d album of baroque arias, like many nowadays. It is the presentation of FFB, who will be soon a big star of early music. FFB has everything in order to succeed: a consistent countertenor voice which he can use with precision and huge expressivity, and, moreover, has a beautiful colour, so much more personal and attractive than that of many other countertenors<\/strong> who have a flat, white, effeminate voice. For this CD, his debut as a soloist, FFB has perfect allies in the Ensemble Il Profondo, very refined and with a beautiful sound in the instrumental moments. This Ensemble usually invites the soloists they want to work with, not the other way around: their work for years with Ferri-Benedetti translates into a natural feeling and a mutual knowledge that makes everything sound exactly as expected: with precision, firmness in the quick passages and endless sweetness in the melancholic moments. As an example, play the first track of the CD and let yourself fall in love (be enraptured): the prodigious instrumental introduction to the Scarlatti cantata is performed in an amazing way – followed by an impressive messa di voce with which FFB underlines the great singer that he is. From here on, we are facing one of the best, if not the best album of Italian cantatas recorded to this day: there haven\u2019t been Italian countertenors among the \u201cbig ones\u201d, and it seems like Ferri-Benedetti goes the right way to become it: he has not only the technical quality, but also the logical and natural knowledge of the text, the naturalness of his most beautiful diction and the perfect way with which he gives the exact meaning to each word. […] This album deserves our highest mark: for almost 70 minutes we get a splendid example of the best way to make music: the way that appears when talent, knowledge, capacity and passion come together.<\/strong> It contains endless gems. My personal favourite is the beginning of the CD, of an almost disturbing beauty \u2013 but also the final aria of the Bononcini cantata [\u2026] sung by FFB with an unsurpassable sensuality. […] As usual with Cantus, presentation and design are marvellous [\u2026] the libretto by Jos\u00e9 Carlos Cabello tells us everything we need to know about the cantatas and their context. The sound is beautiful [\u2026] with very good clarity and strength.\u00a0 […] In short, it is a debut that will be remembered forever, because this album is one of those that receives the adjective of: \u201cessential\u201d.\u00a0<\/strong><\/p>\n

*************************************************<\/p>\n

\u201cEl protagonista canoro de este CD es el contratenor Flavio Ferri-Benedetti, que tambi\u00e9n en reflexiona en el texto de la carpetilla sobre la fenomenolog\u00eda del canto como arte de mediar, conmover, enfurecer, purificar, sentir y hacerse sentir. Su voz trasluce refinamiento, exquisitez y sensualidad, mediante un timbre muy agradable, una din\u00e1mica segura y un fiato<\/em> que no admite la m\u00e1s m\u00ednima fisura. El solvente, eficaz e inspirado acompa\u00f1amiento corre a cargo del Ensemble Il Profondo, ocho antiguos alumnos de la Schola Cantorum Basilensis <\/em>especializados en m\u00fasica barroca.\u201d<\/p>\n

[The singing protagonist of this CD is countertenor Flavio Ferri-Benedetti, who also writes in the libretto his reflections about the phenomenology of singing as the art of linking, moving, enraging, purifying, feeling and being felt. His voice is full of refinement, exquisiteness and sensuality through a very pleasant timbre, secure dynamics and a perfect fiato<\/em>. The efficient and inspired accompaniment is performed by Ensemble Il Profondo, composed by eight ex students of the Schola Cantorum Basiliensis<\/em>, specialized in baroque music.]<\/p>\n

SINFONIAVIRTUAL.COM [January 2013]<\/strong><\/p>\n

*************************************************<\/p>\n

\"Diario<\/a><\/p>\n

“El debut en solitario del joven contratenor \u00edtalo-espa\u00f1ol Flavio Ferri-Benedetti, que se aproxima, con el soberbio acompa\u00f1amiento de los tambi\u00e9n j\u00f3venes integrantes del Ensemble Il Profondo, a cuatro cantatas de otros tantos grandes maestros italianos del Barroco […] Ferri-Benedetti tiene una bella voz, a\u00e9rea, limpia, brillante, muy \u00e1gil en los agudos y con la suficiente consistencia en los graves como para sacar el mejor partido de lo que, para m\u00ed, es lo mejor de su trabajo: la perfecta dicci\u00f3n, la impecable articulaci\u00f3n de cada frase y su implicaci\u00f3n expresiva.<\/strong> Cada palabra est\u00e1 admirablemente matizada en s\u00ed misma y engarzada perfectamente a la vez en el conjunto. Los pasajes m\u00e1s virtuos\u00edsticos est\u00e1n finamente resueltos, pero es en las piezas lentas donde su estilo luce con m\u00e1s fuerza: la m\u00fasica respira honda y emotivamente en sus labios, resultando antol\u00f3gica a este respecto Ombre tacite e sole<\/i> de Alessandro Scarlatti.”<\/p>\n

[The solo debut of the young Italo-Spanish countertenor Flavio F. B. who performs, together with the excellent accompaniment of the young Ensemble Il Profondo, four cantatas of four great masters of the Italian Baroque […] Ferri-Benedetti has a beautiful, aerial, clean, brilliant voice, very agile in the high register and with enough consistency in the low register – all in order to make the most out of the best feature of his singing, in my opinion:<\/strong>\u00a0 the perfect diction, the impeccable articulation of each phrase and its expressive implication. <\/strong>Each word is splendidly nuanced in itself and also perfectly merged into the ensemble. The most virtuosic passages work well, but it is in the slow pieces where his style shines more evidently: the music breathes deeply and emotionally in his lips. Thus, Ombre tacite e sole<\/em> by Scarlatti is a role model.]<\/p>\n

DIARIO DE SEVILLA, 5th January 2013<\/strong><\/p>\n

*************************************************<\/strong><\/p>\n

\"Scherzo<\/a><\/p>\n

“Surely among the best albums of baroque vocal music of 2012 […] The excellence in performance of the singer and the ensemble, all of them ex students of the Schola Cantorum Basiliensis […] FFB makes here his CD solo debut […] Apart from his beautiful timbre, phrasing and coloratura, he also own a not-so-frequent quality among early music colleagues: an exquisite musicality, perfect diction and a loving treatment of recitativo […] After listening to the CD I couldn’t help thinking of the Cukor movie’s title: “A star is born”. His name is Flavio Ferri-Benedetti.”<\/p>\n

Scherzo Magazine (Spain)<\/strong><\/p>\n

February 2013<\/strong><\/p>\n

(original Spanish version in the image)<\/p>\n

*************************************************<\/p>\n

“The interpretation is impressive and is an indication of what is to come. Flavio Ferri-Benedetti has a beautiful voice which he uses intelligently and effectively at the service of text expression. He shows a strong sensitivity towards the text: words and phrases are singled out through the colouring of the voice, dynamic contrast and ornamentation, all according to the affetti which need to be conveyed. His voice can sound sweet and fluent, but also sharp, angry and agitated. The instrumental ensemble displays the same amount of dramatic flair, which comes especially to the fore in the accompanied recitatives. The trials and tribulations of the protagonist in this cantata are perfectly communicated.” […] “His vocal agility is demonstrated in the second aria. Here he also makes use of his chest register which is quite effective.” […] “Ferri-Benedetti masters it impressively, and the whole performance of the first aria has a nice gentle swing. I notice with satisfaction that he resists the temptation to sing the top notes with full power as happens too often. The words “sospiri” (sigh) and “deliri” (rave) are coloured differently.” […]<\/p>\n

“I have gone into some detail in this review because I have heard here various things which I consider as indispensable in this kind of repertoire, and which I sorely miss in many recordings. Firstly, Flavio Ferri-Benedetti acts as a true narrator in the recitatives and puts the text in the centre. He does so by obeying to the metrical flexibility which was expected from interpreters. His delivery is excellent; every word is understandable which is not common in recordings of cantatas and operas.<\/strong> Secondly, one of the positive features of these performances is the treatment of dynamics. There is a clear dynamic shading and a differentiation between good and bad notes. The stressed syllables and notes are marked through dynamic accentuation, even in case of a swift tempo. As a result the rhythmic pulse is also clearly exposed. Thirdly, there is a modern trend to exaggerate in regard to ornamentation. In the dacapos complete lines are virtually rewritten in such a way that the original is almost unrecognizable. These performers have avoided that. They add quite a lot of ornaments, but always in a tasteful way.<\/p>\n

Lastly, this disc shows that it is perfectly possible to deliver expressive and theatrical performances of baroque music without an incessant and obtrusive vibrato. Obviously Ferri-Benedetti makes use of vibrato, but then as an ornament, not as a way of singing. This production is rounded off by an exemplary booklet with an informative essay and interesting personal notes by Ferri-Benedetti. From whatever angle you look at it: this is an exceptionally fine disc by exceptional artists. We shall hear more from them in the years to come, that’s for sure.”<\/strong><\/p>\n

Musica-Dei-Donum.org — February 2013<\/strong><\/p>\n

*************************************************<\/p>\n

“Espectacular debut en solitario del joven contratenor \u00edtalo-espa\u00f1ol Flavio Ferri Benedetti con un CD que incluye cantatas de Scarlatti padre, Bononcini, Porpora y Vivaldi. M\u00e1s all\u00e1 de la exquisitez en la dicci\u00f3n, del control cuidadoso sobre todas las dificultades t\u00e9cnicas es un ardor desbordante el que impulsa un trabajo de pasiones inflamadas y expresividad a flor de labios.”<\/p>\n

[Spectacular solo debut of young countertenor Flavio Ferri Benedetti with a CD that includes cantatas of A. Scarlatti, Bononcini, Porpora and Vivaldi. Apart from the exquisiteness of the diction, of the precise control of all technical difficulties, his overflowing passion creates a work whose main features are inflamed passions and immediate expressiveness.]<\/p>\n

Pablo V. Vay\u00f3n on barrock.cl (February 2013)\u00a0<\/strong><\/p>\n

*************************************************<\/p>\n

Cantado con pasi\u00f3n, con sentimiento, haciendo uso de una t\u00e9cnica vocal limpia e impecable, lleno de pasajes de virtuosismo, con unas coloraturas ejecutadas magistralmente y un control de la din\u00e1mica con brillantes ejemplos de messa di voce y recitativos de dicci\u00f3n perfecta y dramatismo contenido perfectamente resueltos. […] Realmente este cantante DICE, expresa, llega, conmueve y cada comp\u00e1s es un prodigio de comunicaci\u00f3n sincera.<\/p>\n

[Sung with passion and feeling, making use of a clean, impeccable vocal technique, full of virtuosic passages, masterly performed coloraturas and a wide control of dynamics, with brilliant examples of messa di voce, perfect diction in the recitativi, perfectly resolved dramatic contents. […] This singer really SAYS, expresses, reaches, moves. Each bar is a prodigy of sincere communication.]<\/p>\n

El Blog de la Creatividad al Piano (enero 2013)<\/strong><\/p>\n

*************************************************<\/p>\n

Four stars on Operanederland.nl!<\/strong><\/h3>\n

\"Juni<\/a><\/p>\n

[…] In de aria \u201cCon piede errante\u201d geeft de countertenor een goed contrast aan tussen woorden als \u201classo\u201d en \u201corror\u201d, zingt hij fraaie versieringen en benadrukt hij het expressieve passages.<\/strong> Luister ook naar de pijn en melancholie van de Siciliana \u201cAllor d\u2019intorno a te\u201d. De lijnen zijn mooi gezongen en de tekst met twijfel en angst is bijna gedeclameerd vol onderbrekingen.<\/strong> De cantate \u2018Ecco, Dorinda, il giorno\u2019 van Giovanni Bononcini (1670 – 1747) biedt een interessant contrast met Scarlatti. Het werk is conservatiever en introvert, maar prachtig melodieus en gracieus gezongen door Ferri-Benedetti.<\/strong> In het centrum van de cantate de buitelingen van \u201cNavicella che lungi dal porto\u201d, waarin Ferri-Benedetti laat horen hoe beheerst hij de registerwisselingen uitvoert.<\/strong> De cantate \u2018Venticel che tra le frondi\u2019 van Nicola Porpora (1686 – 1768) is van latere periode. Het verschil met de vroege cantates is evident. Luister naar de uitgebreidere, maar toch eenvoudige lyriek zonder expressiviteit van de openingsaria begeleid door violen. En de gedetailleerdere en bewerkelijkere virtuositeit met trillers en lange voorslagen van de syncopische slotaria \u201cD\u2019un cor che tace\u201d. Ferri-Benedetti vertolkt het prachtig.<\/strong> Maar het hoogtepunt van de CD is de cantate \u2018Amor hai vinto\u2019 van Antonio Vivaldi (1678 – 1741). Ferri-Benedetti zingt de lastige versieringen van de titelaria van het album \u201cPasso di pena in pena\u201d fris en sprankelend als de golven die zij beschrijft.<\/strong> […] Het 7-koppige Il Profondo speelt halverwege de CD nog de \u2018Sonata a 3\u2019, die Pietro Antonio Locatelli (1695 – 1764) in Amsterdam componeerde. Het ensemble speelt en begeleidt kleurrijk en ontvankelijk voor elk detail. \u2018Passo di pena in pena\u2019 is de eerste solo-CD van Flavio Ferri-Benedetti en de countertenor toont zijn vermogen tot communiceren en boeien met een zekere stem in alle registers, een eigen kleur en virtuositeit.<\/strong><\/p>\n

[In the aria “Con piede errante” the countertenor gives a good contrast to words such as “lasso” and “orror”, he sings beautiful ornamentations and he emphasizes the expressiveness of the passages.<\/strong> Listen also to the pain and melancholy of the Siciliana “Allor d’intorno a te”. The lines are well sung and the text, concerning doubt and fear, is almost declaimed, full of interruptions.<\/strong> The cantate “Ecco, Dorinda, il giorno’of Giovanni Bononcini (1670 – 1747) offers an interesting contrast to Scarlatti. The work is more conservative and introverted, but beautifully melodious and graciously sung by Ferri-Benedetti.<\/strong> In the centre of the cantata are the somersaults of “Navicella che lungi dal porto” in which Ferri-Benedetti demonstrates how well he executes the changes of vocal register.<\/strong> The cantata “Venticel che tra le frondi” of Nicola Porpora (1686 – 1768) is of a later period. The difference with the early cantatas is evident. Listen to the more elaborate, yet simple lyric without the expressiveness of the opening aria accompanied by violins. And the more detailed and laborious virtuosity with thrills and long appoggiature of the syncopic final aria “D’un cor che tace”. Ferri-Benedetti interprets it beautifully.<\/strong> But the peak (climax) of the CD is the cantata “Amore hai vinto”of Antonio Vivaldi (1678 – 1741). Ferri-Benedetti sings the difficult ornamentations of the title arie of the album “Passo di pena in pena” fresh and sparkling as the waves it describes.<\/strong> […] The ensemble plays and accompanies colourfully and is receptive of every detail. “Passo di pena in pena” is the first solo CD of Ferri-Benedetti and the countertenor shows his ability to communicate with a secure voice in all registers, his own personal colour and virtuosity.]<\/strong><\/p>\n

OPERANEDERLAND.NL
\nJuni 2013<\/strong><\/p>\n

*************************************************<\/p>\n

FOUR STARS on Klassiek Central (Belgium)<\/strong><\/p>\n

Het pure fluweel en de mildheid waarmee hij met gemak zingt, is schitterend. Het Italiaanse palet en temperament \u00a0geven een extra dimensie. Dit album is nog maar het begin van een glansrijke en boeiende carri\u00e8re. We wachten af.<\/div>\n
<\/div>\n
www.klassiek-centraal.be<\/strong><\/div>\n
July 2013<\/strong><\/div>\n
<\/div>\n
*************************************************<\/div>\n

Brescianello\u00a0– La Tisbe (CPO)<\/em><\/h2>\n

\"Brescianello<\/a><\/p>\n

“Ad alzare il livello provvede il controtenore Flavio Ferri-Benedetti, Licori. Lui s\u00ec che d\u00e0 anima alla parola, la intona sulla linea belcantistica, che spesso porta il suo falsetto caldo e ricco di colori a scendere nelle note gravi e poi a salire in acuto con una musicalit\u00e0 e una padronanza tecnica dello strumento vocale di alta classe stilistica. E lo fa in tutte le sue arie, soprattutto nell’aggraziato tocco di calore donato a “L’amore \u00e8 follia” e nei salti d’ottava fra registro acuto e grave della brillante aria “Van del pari e l’onda, e il foco”.<\/div>\n
<\/div>\n
“The niveau is raised by countertenor Flavio Ferri-Benedetti, Licori. He really does give a soul to each word, he sings on a real belcanto line, often bringing his warm and colourful falsetto down to low chest voice and then up again with a musicality and a technical domain of the instrumental of the highest stylistical class. And he shows this in all of his arias, especially with the graceful touch of warmth he gives to “L’amore \u00e8 follia”, and the octave jumps from head to chest voice in the brillian “Van del pari e l’onda e il foco””.<\/div>\n
<\/div>\n
L’OPERA (Milano)
\n<\/strong>Aprile 2015<\/strong><\/div>\n
<\/div>\n
***<\/div>\n
<\/div>\n
“Dejo para el final al rutilante Ferri-Benedetti, el cual nos brinda aqu\u00ed una espl\u00e9ndida muestra de esa opulencia canora que le ha convertido por derecho propio, a pesar de su juventud, en uno de los m\u00e1s conspicuos \u00a0contratenores de nuestros d\u00edas.”<\/div>\n
<\/div>\n
“Finally, the sparkling Ferri-Benedetti, who gives here a splendid example of his singing opulence, which has converted him, despite his youth, in one of the most prominent countertenor nowadays”.<\/div>\n
<\/div>\n
El Arte de la Fuga – Octubre 2014<\/strong><\/div>\n
<\/div>\n
***<\/div>\n
<\/div>\n
“Flavio Ferri-Benedetti hat die von Brescianello f\u00fcr Kastraten bestimmte zweite weibliche Rolle \u00fcbernommen \u2013 der in Italien und Spanien aufgewachsene Altus zeigt untr\u00fcgliches Stilgef\u00fchl und bemerkenswerte Virtuosit\u00e4t.”<\/div>\n
<\/div>\n
“FFB takes the second female role, written for castrato – the countertenor, grown up in Italy and Spain, shows infallible feeling for the style and notable virtuosity”.<\/div>\n
<\/div>\n
Klassik Heute – Oktober 2014<\/strong><\/div>\n
<\/div>\n
\u00a0***<\/div>\n
“Quatuor de chanteurs, domin\u00e9 par le\u00a0Licori\u00a0de\u00a0Flavio Ferri-Benedetti, berg\u00e8re coquine”<\/div>\n
<\/div>\n
“Four singers dominated by Flavio Ferri-Benedetti’s Licori, a\u00a0naught shepherdess<\/strong>” \ud83d\ude09<\/div>\n
<\/div>\n
Artalinna – Fevrier 2015<\/strong><\/div>\n
<\/div>\n
***<\/div>\n
<\/div>\n
“Plus cordiale \u2013\u00a0vis comica\u00a0<\/em>oblige ! \u2013 la partie de Licori est bien tenue par le contre-t\u00e9nor Flavio Ferri-Benedetti, particuli\u00e8rement expressif. Les contrastes entre les appuis de poitrine et un\u00a0falsetto\u00a0<\/em>g\u00e9n\u00e9reux donnent un fac\u00e9tieux relief au personnage. Le plaisant\u00a0L\u2019amore \u00e8 follia\u00a0<\/em>fait ici figure de petit bijou, sans oublier les truculents hoquets du final de l\u2019Acte I.”<\/div>\n
<\/div>\n
Anaclase.com – Janvier 2016<\/strong><\/div>\n
<\/div>\n
*************************************************<\/div>\n

GLUCK – Clemenza di Tito<\/em> (DHM)<\/h3>\n

\"Gluck<\/strong><\/h3>\n

“Flavio Ferri-Benedetti in der Partie des Publio soll nicht unerw\u00e4hnt bleiben. Seine beiden Recht originellen Arien pr\u00e4sentiert er mit schmiegsamen Countertenor als kleine Juwelen.”<\/p>\n

“Flavio Ferri-Benedetti in the role of Publio should not remain unmentioned. His both arias, really original, are presented by him with flexible Countertenor voice, as two jewels.”<\/p>\n

Das Opernglas Juni 2014<\/h3>\n

*************************************************<\/h3>\n

HASSE – Didone Abbandonata <\/em>(Naxos)<\/strong><\/h3>\n

\"Didone<\/a><\/p>\n

“…listening to Flavio Ferri-Benedetti\u2019s Aeneas, we have one of the finest young counter-tenors for period opera<\/strong> I have encountered. He has a vocal quality identical to that of a female alto, and performs vocal acrobatics with much ease and with immaculate intonation<\/strong>.”<\/p>\n

David Denton’s “David’s Review Corner” – February 2013″<\/strong><\/p>\n

***<\/p>\n

“Il controtenore Flavio Ferri-Benedetti, figlio della nuova generazione controtenorile italiana, \u00e8 Enea. Vera star della produzione, dalla voce calda e melliflua, \u00e8 delicatissimo nei recitativi (alcuni momenti sono memorabili per intensit\u00e0 e pathos) ed \u00e8 un buonissimo fraseggiatore. Il tutto si palesa gi\u00e0 nella sua prima aria, \u201cQuando saprai chi sono\u201d (I atto), dov\u2019\u00e8 energico, tecnicamente ineccepibile; continua nella sua aria-finale I \u201cA le mie amorose follie\u201d \u2013 \u201cSe resto sul lido\u201d, scolpendo il sofferto recitativo e eseguendo un\u2019aria di gran difficolt\u00e0, cesellando il tutto con tocchi e abilit\u00e0 tecniche; abbellisce la sua ultima aria, \u201cA trionfar mi chiama\u201d (atto III), lungamente articolata, tirando fuori numerosi picchiettati.”<\/p>\n

[Countertenor FFB, coming from the new generation of Italian countertenors, sings Enea. True star of the production, gifted with a warm, mellifluous voice, he is delicate in the recitatives (some moments are memorable for their pathos and intensity), and he is excellent with phrasing. All is to be seen in his first aria already, “Quando saprai chi sono”, where he is energic, technically immaculate; then his aria finale of Act 1 “Se resto sul lido”, where he sculpts the passionate recitative and performs a very difficult aria, decorating everything with technical abilities; he ornaments his last aria “A trionfar mi chiama”, largely articulated, with several picchiettati<\/em>“.<\/p>\n

GBOPERA.IT [January 2014]<\/strong><\/p>\n

***<\/p>\n

CD OF THE MONTH – CD DES MONATS<\/p>\n

“Hinreissendes Ensemble — dem Enea gibt Flavio Ferri-Benedetti feste Kontur”
\n[Fantastic ensemble of singers… FFB shapes Enea solidly].<\/p>\n

Die Deutsche B\u00fchne – Mai 2013 <\/strong><\/p>\n

***<\/p>\n

“Ferri-Benedetti touches baritonal notes at the bottom of his voice two or three times and he can inject a hard sound when the situation warrants, yet he is fluent in the scalework.”<\/p>\n

John T. Hughes – International Record Review – May 2013<\/strong><\/p>\n

***<\/p>\n

“Mit seinem sch\u00f6n abgerundeten, dunkler gef\u00e4rbten Countertenor gestaltet Flavio F. B. den Enea als zupackenden, virilen Siegertyp<\/strong>, dem die Melancholie der Didone v\u00f6llig fremd ist.”<\/p>\n

[With his nice round, dark-coloured Countertenor voice, Flavio F. B. shapes the role of Enea as a hands-on, virile vanquisher who totally ignores the melancholy of Didone…]<\/p>\n

Opernglas – March 2013<\/strong><\/p>\n

***<\/p>\n

“Countertenors Flavio Ferri-Benedetti and Valer Barna-Sabadus, on the other hand, handle their parts with considerable ease and a nice sense of phrasing.”<\/p>\n

Fanfare – July 2013<\/strong><\/p>\n

***<\/p>\n

“Among the cast are two-rising star countertenors, whose voices and musical personalities contrast effectively. […] Flavio Ferri-Benedetti’s rounded, mellow voice, along with his impeccable musical taste, captures Aeneas’s nobility and poise<\/strong> in the proud, majestic arias “Quando saprai” and “A trionfar,” and Ferri-Benedetti’s witty rendition of “Se resto sul lido,” where he plays with timing, silences and witty cadenzas while singing with energy and verve, is one of the disc’s high points<\/strong>.”<\/p>\n

OperaNews.com – July 2013<\/strong><\/p>\n

***<\/p>\n

“It says much for the performances of the major roles that distinctive personalities are conveyed, and both Theresa Holzhauser as Dido and the counter-tenor Flavio Ferri-Benedetto as Aeneas emerge with great credit<\/strong>.”<\/p>\n

MusicWeb-International – July 2013<\/strong><\/p>\n

***<\/p>\n

“Both Flavio Ferri-Benedetti and Valer Barna-Sabadus display great agility as well as voices of real beauty.”<\/p>\n

American Record Guide – July 2013<\/strong><\/p>\n

***<\/p>\n

“El equipo de cantantes es de nivel notable, distingui\u00e9ndose en el rol de Enea el emergente contratenor<\/strong> Flavio Ferri-Benedetti.”<\/p>\n

[The cast is high quality – with emerging countertenor Flavio Ferri-Benedetti standing out in the role of Enea.]<\/p>\n

\u00d3pera Actual – Marzo 2013<\/strong><\/p>\n

***<\/p>\n

“Deze live-opname met uitstekende solisten sprankelt en is een absolute aanrader.”<\/p>\n

[This live recording with outstanding soloists shines and is an absolute must.]<\/p>\n

Mania Klassiek – March 2013<\/strong><\/p>\n

***<\/p>\n

“Die S\u00e4ngerinnen und S\u00e4nger erweisen sich als recht souver\u00e4ne Interpreten”<\/p>\n

[The singers on this recording prove to be absolutely sovereign interprets]<\/p>\n

Pizzicato Germany – April 2013<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

Discography Reviews Ta\u00f1endo con voz sonora   (Scherzo, 2023) Superbo del mio affanno (Marcello) Marcello parece poner mayor \u00e9nfasis tanto en la prosodia como en los aspectos ret\u00f3ricos de los textos puestos en m\u00fasica.\u00a0Justamente es ese el terreno en el que el contratenor nacido en Italia, pero criado en Castell\u00f3n y formado en Espa\u00f1a, destaca de forma especial: los detalles de fraseo, la dicci\u00f3n, el respeto de la prosodia y la pronunciaci\u00f3n, los matices sobre palabras concretas que cargan de sentido a toda la obra. Por supuesto que eso no es suficiente, porque la escritura es de un gran virtuosismo,<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":11,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-396","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/www.ferri-benedetti.ch\/index.php?rest_route=\/wp\/v2\/pages\/396","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.ferri-benedetti.ch\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.ferri-benedetti.ch\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.ferri-benedetti.ch\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.ferri-benedetti.ch\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=396"}],"version-history":[{"count":0,"href":"https:\/\/www.ferri-benedetti.ch\/index.php?rest_route=\/wp\/v2\/pages\/396\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.ferri-benedetti.ch\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=396"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}