Claudio Cavina began his vocal studies in Bologna with Candace Smith, and continued his training with Kurt Widmer and Renè Jacobs at the Schola Cantorum Basiliensis. He performes regulary with many early music groups such as Clemencic Consort, Huelgas Ensemble, La Colombina, Elyma Ensemble, Concerto Italiano, Europa Galante, Al Ayre Espanol, Le Parlement de Musique, Fitzwilliam Ensemble, and has performed as guest artist in many prestigious festivals in Europe (Madrid, Barcelona, Paris, Ambronay, Geneve, Brugge, Antwerp, Utrecht, Amsterdam, London, Glasgow) and throughout the world (Tel Aviv, Tokyo, Mexico City).
With the Oratorio Gesù al Sepolcro by G.A. Perti, conducted by Sergio Vartolo, he has toured in France (Metz, Lille, Lourdes, La Chaise Dieu) and in Italy (Teatro La Fenice in Venice, and Teatro La Scala in Milan). His operatic career has led him to sing in Monteverdi's Orfeo at the Arena di Verona (1990) and at the Opera di Roma, and also in J.J. Fux's Costanza e Fortezza at the MusikVerein in Vienna, he has sung in La Purpura de la Rosa by Torrejon y Velasco at the Teatro Comunale di Bologna and in Messina, and in A. Vivaldi's Atenaide, conducted by Fabio Biondi. In 1994 he toured with Concerto Koln conducted by G. Leonhardt.
Claudio Cavina has been featured in more than 60 CDs released by such with well-known labels as Duetsche Harmonia Mundi, Sony Classical, Opus 111, Arcana, K 617, Stradivarius, Glossa, Accent and Cantus. Many of these recordings have won prestigious awards, including the Gramophone Award 1994, Diapason d'Or 1995, Prix Cecilia 1993, Deutsche Schallplattenkritik 1994, Palmares des Palmares 1994, Cannes Classical Award 1996, and Grand Prix du Disque 1994. His CD of baroque German music entitled De Vita Fugacitate (Glossa) has been welcomed with great enthusiasm by the specialized international press.
He teaches at the Corsi Internazionali di Belluno in Italy. Source: La Venexiana
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Italian Madrigals of the Renaissance and Baroque
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Scarlatti: Cantate e Duetti
Durante: 12 Duets for Soprano and Alto
De Vitae Fugacitate -Laments, cantatas and arias Concerto delle Viole
Agistino Steffani: Duetti da Cameraa
Benedetto Marcello : La Stravaganza
Francesco Gasparini: Amori e Ombre
Barbara Strozzi: Primo libro di madrigali
Handel : Italian Duets
Sigismondo D'India: Terzo libro di madrigali
Monteverdi : Settimo Libro di Madrigali 1619
Luzzasco Luzzaschi: Quinto Libro di Madrigali, 1595
Marenzio : Nono libro di madrigali, 1599
Gesualdo da Venosa: Il Quarto Libro dei Madrigali, 1596
Sigismondo D'India: Libro Primo dei Madrigali, 1606
Luca Marenzio: Il Sesto Libro dei Madrigali, 1594
Claudio Monteverdi: Terzo libro dei madrigali
Giaches de Wert: La Gerusalemme Liberata Mantova, ca. 1595
La Venexiana live ! Madrigali di Claudio Monteverdi
Claudio Monteverdi: Secondo libro dei madrigali, 1590
Claudio Monteverdi: Quarto libro dei madrigali, 1603
Claudio Monteverdi: Settimo libro di madrigali, 1619
Claudio Monteverdi: Sesto libro dei madrigali, 1614
Gesualdo da Venosa: Quinto libro dei madrigali, 1611
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Nous vivions une période de la musique où beaucoup de choses se mélangent. Pour vous, peut-on tout expérienter, ou y a-t-il des limites à ne pas franchir ?
Claudio Cavina : Il est vrai qu'en ce moment, il y a trop de mélanges. Mais pour moi, il est plus important d'avoir la connaissance de ces musiques, car on en ressort que plus riche, toujours. Je crois que le mélange le plus important, c'est le jazz. Nous nous faisons de la musique qui est écrite, où un compositeur a écrit exactement de qui doit être joué, mais avec un peu d'improvisation quand même, des changements de rythme. Alors, pour nous, il est impossible de jouer des madrigales avec un trio de jazz, par exemple, alors que certains le font. Mais je crois que c'est la mode d'aujourd'hui, de faire tout comme ça. ( AbsoluCorse Richard Ignazi)
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La Venexiana/Claudio Cavina
Viale del Lavoro 56
47101 Terra del Sole (FO)
tel/fax. (+39) 335 5232151
eMail
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