Stefano Canestrari

Works by the famous theorbo virtuoso Kapsberger have often been recorded, but little space has so far been given to repertoire drawn directly from manuscript sources. Kapsberger maintained a privileged relationship with his city of birth throughout his life. The Venice of Willaert, Gabrieli and Monteverdi, however, is not just a magnificent past: it is still alive today and continues its musical tradition in the so-called Second Venetian School of Malipiero, Maderna, Nono and whose most recent protagonist is Claudio Ambrosini (1948-), winner of the Prix de Rome and the Leone d'Oro at the Venice Biennale, whose works have already been recorded, among others, on the Kairos and Stradivarius labels. Kapsberger, Secret Pages reveals an astonishing instrumental challenge between lesser-known works by Kapsberger in which we admire ideas and creative intuition, and Ambrosini's unpublished works, which contain equal amount of creativity and unexpected possibilities for the instrument.

This is an interesting title in the wake of the notion that Stefano Battaglia composed most of these pieces and has performed them on earlier recordings – both solo and with various groups – and that Tony Oxley is such a renowned improviser…

The laus perennis that the monks every day in their psalmody offer to the Lord, is adorned with hymns, antiphons and responsories; all chants drawn from the ancient gregorian repertory. With this daily practice and custom, the monks become almost the only custodians and specialists of this patrimony of the highest religious, cultural and artistic merit that is gregorian chant. The monks of Montecassino – always faithful cultivators of this venerable chant, proper to the lit- urgy of the Church – with the present CD want to make these melodies, which are an elevated form of prayer, resound also outside of the monastery walls. The recording was completed at the Tomb of St. Benedict and is intended as an affectionate hymn of sons towards their father and master: in fact, a good part of the liturgy of the Solemnity of St.Benedict of the traditional date of March 21 was performed.

The Italian saxophonist pays tribute to the great Ennio Morricone, who passed away last summer. The album features Morricone’s most famous works (Once Upon a Time in America, The Mission, The Great Silence etc.) as well as an unpublished song dedicated to Stefano, who had the chance to work with the Maestro in his later years.
Ennio Morricone’s film music provides an infinite treasure trove of creative thinking, associated with the most varied of images. It is also extremely versatile, just waiting to be delved into, reworked and rediscovered - his compositions would still be equally enjoyable and perfectly recognisable performed by a Bulgarian choir or a quintet of ocarinas. But throwing jazz into the mix takes things to a whole new level, creating what feels like a perfect match, a natural, perhaps even inevitable partnership…

This full-length album from Italian jazz group Stefano Bollani Trio features jazz piano renditions of your favorite American standards.
Italy's Stefano Bollani is a globally renowned jazz, classical, and pop pianist and composer celebrated as much for his entertaining stage demeanor as his dazzling technical prowess. He is also an esteemed broadcaster and writer. Bollani has recorded dozens of albums as a leader in many configurations, from piano solo to big band. Mentored by Italian trumpeter Enrico Rava, he has cyclically collaborated with the elder musician since appearing on 1999's Rava Plays Rava.

Sheik Yer Zappa represents Stefano Bollani’s hommage to an authentic rock icon. Recorded live during a tour, this cd includes songs of Frank Zappa’s, plus three pieces composed by Bollani’s himself and inspired by the rock star. Bollani is a jazz artist, and this means that Zappa’s songs are reworked and elaborated with his personal touch: he is producing a musical cocktail with his personal shaker (from this comes the title, which also plays on Zappa’s own words). So the results can be in some cases different from the original, but the attitude remains: the typical attitude, and the artistry with which Frank Zappa was able to capture and blend music from all over the world.

Staged for the first time at Teatro Nuovo in Naples in 1826, Don Gregorio is the Neapolitan version of one of Donizetti’s earliest masterpieces, L’ajo nell’imbarazzo (1824). This is the first representation in Italy in modern times, and a world premiere recording. Director Roberto Recchia sets the performance in the 1920s, at a time when restrictions and false morality were strongly linked with Italian political and social situation. In its new adaptation, the work differs from the original version in several aspects, the most important being the insertion of spoken dialogues in Neapolitan dialect in place of the recitatives. But Donizetti’s musical verve remains unchanged as he underlines the very enjoyable farcical situations of this comic work. The characters are inspired by Italian Commedia dell’Arte, but possess at the same time a deeper psychological and human dimension.

The libretto, written by Cardinal Giulio Rospigliosi (the future Pope Clement IX), tells the story of saintly sacrifice: on his wedding night Alessio departs alone for the Holy Land in search of sanctity. Years later he returns unrecognised as a beggar to his family home, where his father, mother and wife still mourn him. A demon tempts Alessio to reveal his true identity and so end his family’s grief, but an angel keeps him on the sacred path. The dying Alessio leaves a letter explaining the truth and an angelic chorus bids his family to rejoice rather than mourn, since he has been received into heaven. This strange, solemn and elevated story is leavened with comic scenes in the commedia dell’arte vein, adding to the rich musico-dramatic variety of the entire opera.