NOVEMBER 2024
ARTAMAG
MORE BACH, PLEASE, Naive OP8454
CONCERTO ITALIANO. RINALDO ALESSANDRINI
Naive OP8454
J.S.Bach Partita en D major pour traverso, cordes et basso continuo
(…)La Partita en ré majeure invite un traverso (magnifique Laura Pontecorvo) et dispense une poésie contagieuse, au long de l’Adagio initial décalqué du premier mouvement de la Troisième Sonate pour violon et clavecin, alor que la Suite en Sol majeure se colorera de teintes corelliennes, incroyable comme un rehabillage peut changer la nature d’une musique!(…)
Jean-Charles Hoffelé
NOVEMBER 2024
Theartdesk.com
MORE BACH, PLEASE, Naive OP8454
CONCERTO ITALIANO. RINALDO ALESSANDRINI
Naive OP8454
J.S.Bach Partita in D major for traverso, strings and basso continuo
(…)A five movement Partita in D opens with a delectable baroque flute solo (played by Laura Pontecorvo) taken from the BWV 1016 Sonata for harpsichord and violin. (…) The “Giuge” from the 6thFrench Suite sounds wonderful on flute and strings. (…) A lovely collection.
JANUARY 2020
DIAPASON
JOHANN SEBASTIAN BACH OUVERTURES FOR ORCHESTRA
CONCERTO ITALIANO. RINALDO ALESSANDRINI
Naive OP 30578
(…)C’est la Suite en si mineur avec flûte qui s’avère la plus réussie menée tambour battant (il y a même quelque chose de frénétique dans les Bourrées), avec l’émission limpide et les phrasés aériens de Laura Pontecorvo ; la vision chambriste est évidemment bien venue dans cette partition(..)
Jean-Luc Macia
NOVEMBER 28, 2019
THE CLASSICAL REVIEW
JOHANN SEBASTIAN BACH OUVERTURES FOR ORCHESTRA
CONCERTO ITALIANO. RINALDO ALESSANDRINI
Naive OP 30578
(…) The final movement of the B minor Suite (CD 2, track 18) proves to be an excellent example. Alessandrini’s tempo is perfect, allowing flutist Laura Pontecorvo to incorporate engagingly varied articulation into her performance of her melismatic line. (…) What comes across most clearly in these new performances is a true feeling of consort playing – these are lived in, intelligent and deeply felt interpretations.
David A.McConnell
JANUARY 22, 2019
FANFARE magazine
CD: J.S.Bach Sonate a cembalo obligato e traversiere solo
Arcana A453
Laura Pontecorvo, flute
Rinaldo Alessandrini, harpsichord
(…) The performance by Pontecorvo is clear, bright and finely nuanced in terms of discrete ornaments
and phrasing. She never wavers in her tone, and whether sustaining notes or performing the rather flowing virtuoso lines she is at all times perfectly aware of the needs of Bach’s often tortuous lines. Alessandrini’s accompaniment is supportive when it needs to be and emerges powerfully in solo sections. I like his instinctive sense of registration that offers textural depth. This is the way Bach should be performed. Highly recommended.
Bertil van Boer
DECEMBER 31, 2018
KLASSIK.COM
CD: J.S.Bach Sonate a cembalo obligato e traversiere solo
Arcana A453
Laura Pontecorvo, flute
Rinaldo Alessandrini, harpsichord
Pontecorvo and Alessandrini are a great duo. The two and Bach fit perfectly. Superb sonata art.
The interpretive result of this music proposal is very pleasant overall. The Traverso played by Laura Pontecorvo is harmonious and the sound is beautiful, tuned, transparent and rich at the same time. The flutist cleverly modulates the instrument voice, successfully integrating different registers. Technically, this performance is indisputable; the interaction with the equal-ranking harpsichord is supple. Rinaldo Alessandrini plays virtuoso and with stupendous musical attitudes. Above all, he is a great interpreter of the trio sonata form: the treble is clearly profiled as a second solo voice. The accompaniment is designed as contrast-rich canvas.(…) The tempi are decidedly chosen, but not forced. There is a great deal of plastic play that brings structures to life and, at the same time, leads to a harmonious relationship between constructive and sound-instinctive moments. This corresponds to the technical realization: the result is a nice overall painting, clearly and nobly structured, plastic and animated at the same time. (…) Pontecorvo and Alessandrini are a great duo. The two and Bach fit perfectly. Idiomatically, it is a home game and they express a supreme sonata art.
Matthias Lange
DECEMBER 14, 2018
AMERICAN RECORD GUIDE
CD: J.S.Bach Sonate a cembalo obligato e traversiere solo
Arcana A453
Laura Pontecorvo, flute
Rinaldo Alessandrini, harpsichord
(…)A beautiful tri-fold case includes two pictures of the source flute, a one-keyed boxwood and ivory instrument that seems to date from the 1720s. We hear a reproduction of this instrument, the only one traceable to the manufacturing of Pierre-Gabriel Buffardin and his son. (…)This discovery from the distant past has a full, clear, robust sound, seems to play easily, and is better able to play loudly or to take harder blowing than other flutes of the time. The flute and harpsichord are balanced as equals. Although I’m not fond of the legato interpretation of the slow movement to the Bminor Sonata, the rest is done very well indeed. People interested in historic instruments will certainly want to have a copy of this release for its rare documentation in addition to the chance to hear what Buffardin might have sounded like, as far as we can know.
Todd Gorman
NOVEMBER 2018
MUSICA magazine
CD: J.S.Bach Sonate a cembalo obligato e traversiere solo
Arcana A453
Laura Pontecorvo, flute
Rinaldo Alessandrini, harpsichord
valutazione: *****
(…) everything plays at the best also for performers mastery and stylistic relevance of interpretation of these not easy works (…)Laura Pontecorvo was an authentic surprise for virtuosity, perfect matching with Alessandrini, discretion of the added ornamentation, sensitivity revealed in slow movements. (…) Overall, it’s a very pleasant recording, rich of rousing moments, well balanced between the two instruments, flute and harpsichord and very well recorded.
Claudio Bolzan
NOVEMBER 2018
AMADUES, magazine
CD: J.S.Bach Sonate a cembalo obligato e traversiere solo
Arcana A453
Laura Pontecorvo, flute
Rinaldo Alessandrini, harpsichord
Artistico ***** Tecnico *****
(…) Well-balanced, noble and fascinating approach to Bach’s music: almost from another time
Massimo Rolando Zegna
28 NOVEMBRE 2018
MUSIKZEN.FR
CD: J.S.Bach Sonate a cembalo obligato e traversiere solo
Arcana A453
Laura Pontecorvo, flute
Rinaldo Alessandrini, harpsichord
Un son étrange venu d’ailleurs:
Une interprétation prenante de Bach sur une flûte exceptionelle
(…) L’impression est d’autant plus forte que l’instrument utilisé par Laura Pontecorvo
possède une sonorité exceptionelle, originale, ronde, chartreuse, enveloppante.(…) cet album est le fruit de quelques petits bonheurs de l’existence.
Gérard Pangon
1 DICEMBRE 2017
PLATEIA MAGAZINE
Review by Diego A.Civilotti
about the concert held on November 29th 2017 at Palau de la Musica in Barcellona.
Programm: J.S.Bach Musical Offering, Concerto Italiano (R.Alessandrini)
“ (…) …como pertinente también fue la exquisita musicalidad de la flautista Laura Pontecorvo,
vibrante y precisa en los tiempos rápidos.(…)”
https://www.plateamagazine.com/noticias/3657-rinaldo-alessandrini-y-el-concerto-italiano-
con-obras-de-bach-en-el-palau
MUSICA, magazine
April 2017
Luca Rossetto Casel
valutazione: ****
The disc collects Carl Philipp Emmanuel Bach chamber music compositions with flute (…).
Their execution is entrusted to Helianthus ensemble: the flutist Laura Pontecorvo,
the violinist and violist Elisa Citterio, the cellist Francesco Galligioni and the harpsichordist
Guido Morini. (…) In the beautiful readings proposed, a scrupulous work of analysis matches
with a lively, playfully dreary expression … (…) Initially, the themes are defined with a safe trait (…)
to be launched into a game of unbridled transformations (… ) that the interpreters do not lack
to prepare with fine agogic deviation, made with elegant simplicity. (…) The contours of musical
phrases are moved from time to time, internally reshaped, the accents move in a continuous mood
change, reveling an ever-new humanity.
CD: Carl Philipp Emanuel BACH Chamber music with transverse flute. Helianthus Ensemble
(Laura Pontecorvo transverse flute, Elisa Citterio violin, viola, Francesco Galligioni cello, Guido Morini harpsichord)
BRILLIANT CLASSICS 94884
Febbraio 2017
CLASSIC VOICE
Carlo Vitali
valutazione: *****
Wq 93-95 Quartets, Philipp Emanuel swansong, are the tough highlight offered by Laura Pontecorvo,
transverse flute,Elisa Citterio, viola, Francesco Galligioni, cello, and Guido Morini, harpsichord,
in one of the two possible formats, (…) Repertoire to taste leisurely, bathing in the great river of
history and delectable dialogue of four interpreters who wonderfully master their historical instruments.
As good friends without ever raising their voices over the top.
CD: Carl Philipp Emanuel BACH Chamber music with transverse flute. Helianthus Ensemble
(Laura Pontecorvo transverse flute, Elisa Citterio violin, viola, Francesco Galligioni cello, Guido Morini harpsichord)
BRILLIANT CLASSICS 94884
March/April 2015, Vol. 38, n.4
FANFARE
Bertil van Boer
(…) In any case, Bach’s use of flute and viola is a nice match of timbres and the tone
is suitably soft and at points rather richer than one might expect. (….)
The real beauty of this disc lies in the sensitive and well nuanced performance.
Laura Pontecorvo’s flute playing is rich, sonorous, and particularly well adapted to Bach’s style.
Her sense of ornamentation is precise without being too flowery, thus allowing the stylistic
details of Bach’s often quirky lines to shine forth. Her foil is violinist/violist Elisa Citterio,
whose playing is equally rich and facile. Harpsichordist Guido Morini fills out the trio
(though in the trio sonata Francesco Galligioni adds a discrete cello to the continuo).
His playing is excellent, and he instinctively knows when to drop back a tad and
when his often complex lines need to come out.(…) In short, this is precisely the way
Bach should be interpreted; emotional, sensitive, with a good blend of timbres, and a
delightful sense of phrasing. This is a worthy birthday give for the Bach tercentenary,
and one disc that would be an excellent addition to one’s collection.
CD: Carl Philipp Emanuel BACH Chamber music with transverse flute.
Helianthus Ensemble (Laura Pontecorvo transverse flute, Elisa Citterio violin, viola,
Francesco Galligioni cello, Guido Morini harpsichord)
BRILLIANT CLASSICS 94884
March/April 2015, Vol. 38, n.4
FANFARE
Henry Fogel
(…) Again, the performances are spectacular. Pontecorvo plays with a rich, beautiful tone, and one which she varies considerably. She and the other players are clearly listening to each other,reacting to each other in a manner that makes clear that these are not read-throughs, but well thoughtout and prepared performances. Recorded sound and notes on the disc are exemplary. (…….) Pontecorvo’s technique on her 2011 Martin Wenner copy of a transverse flute by Carlo Palanca is simply breathtaking (no pun intended), and her ensemble partners—Elisa Citterio (viola in the quartetto and violin in the E-Minor Duo and A-Major Trio Sonata); Francesco Galligioni, cello; and Guido Morini, harpsichord—play with such unanimity of phrasing, articulation, dynamics, and espressione, that they often sound like a single instrument.
CD: Carl Philipp Emanuel BACH Chamber music with transverse flute. Helianthus Ensemble(Laura Pontecorvo transverse flute, Elisa Citterio violin, viola, Francesco Galligioni cello,Guido Morini harpsichord)
BRILLIANT CLASSICS 94884
MAY 26, 2014
JOHAN VAN VEEN
http://www.musicweb-international.com
(…) I have enjoyed these performances (…) the performers play them beautifully, and the ensemble
is excellent. I have not missed the cello; the bass part comes off well in Guido Morini’s hands.
That is also due to the very good recording. The trio sonata and the duet belong to the lesser-known
part of Bach’s oeuvre, and their inclusion is most welcome. (…)
CD: Carl Philipp Emanuel BACH Chamber music with transverse flute. Helianthus Ensemble
(Laura Pontecorvo transverse flute, Elisa Citterio violin, viola, Francesco Galligioni cello,
Guido Morini harpsichord)
BRILLIANT CLASSICS 94884
APRIL 24, 2013
ANGELO FORMENTI
www.cdclassico.com
…the first notes by Laura Pontecorvo, but especially the music that comes from the CD player,
will guide us in understanding and appreciating Buonamente and his artistic world.
A recording absolutely not to be missed.
CD: BUONAMENTE “L’e’tanto tempo hormai: sonatas, canzonas and sinfonias”
Helianthus ensemble (E. Bianchi dulcian, O.Centurioni, violin, M.Ceccato cello,
E.Mascardi theorbo, J.Melendez cornett, G.Morini organ)
BRILLIANT CLASSICS 94478
FEBRUARY 27, 2013
PAUL BALLIK
www.expeditionaudio.com
“….The inquisitive musician and sometimes detective was Laura Pontecorvo, founder of the
Helianthus ensemble heard on this recording.(…) This might be the best sound quality that
I’ve heard from Brilliant Classics, and the musicians – who have appeared with Concerto Köln,
the Amsteram Baroque Orchestra, Concerto Italiano and Le Concert des Nations – are superb (…)”
CD: BUONAMENTE “L’ è tanto tempo hormai: sonatas, canzonas and sinfonias”
Helianthus ensemble (E. BIanchi dulciana, O.Centurioni, violino, M.Ceccato violoncello,E.Mascardi tiorba, J.Melendez cornetto, G.Morini organo)
BRILLIANT CLASSICS 94478
DECEMBER 2012
STEPHEN CASSIDY
Early music review n. 151
“We are lured into this disc by a relaxed and seductive theorbo opening, leading us towards
the next voice. This, a luscious flute, makes it obvious that we are listening to instruments of
unusually low pitch, lending the whole disc a distinctive aura…..It is very good to hear a group
with such integrity presenting an interesting new angle, and so convincingly catching the ear”
CD: BUONAMENTE “L’ è tanto tempo hormai: sonatas, canzonas and sinfonias”
Helianthus ensemble (E. BIanchi dulciana, O.Centurioni, violino, M.Ceccato violoncello,
E.Mascardi tiorba, J.Melendez cornetto, G.Morini organo)
BRILLIANT CLASSICS 94478
DECEMBER 30, 2010
URY EPPSTEIN
Jerusalem post
“ Matters improved when one could enjoy Pontecorvo’s caressing sound”
The Jerusalem Baroque Orchestra 2010 Season, Jerusalem 21 /12/ 2010
DECEMBER 28, 2010
PAMELA HICKMAN
Israel early music scene
“…..Soloists in the JBO performance of this work were Laura Pontecorvo (Italy)-traverso,
Boris Begelman-violin and David Shemer performing harpsichord. Pontecorvo gives life
and shape to each phrase. (…) In the following aria – an expression of sincerity and goodwill -
she is joined by Pontecorvo’s brilliant and tasteful flute obbligato, surely a high point
of the performance.”
The Jerusalem Baroque Orchestra 2010 Season, Jerusalem 21 /12/ 2010
BIBLIO.NET 2007
MUSICA CLASSICA
(…) Laura Pontecorvo, flautist with the Quartetto Raro, a young group composed also of
the outstanding Alessandro Tampieri on the violin, Diego Mecca on the viola and Andrea Fossà
on the cello, gives us a sound experience which is uncommon in the world of today (…)
CD: Ferdinand Ries, Quartets op. 145 Quartetto Raro (L.Pontecorvo, A. Tampieri,
D.Mecca, A. Fossa’ with original instruments), Inedita, 2005
NOVEMBER 12, 2006
WWW.CIAO.IT
(…)the crystal purity of the Cimarosa musical line is made evident, also due to the skill
of the two flautists Laura Pontecorvo and Marta Mazzini (…)
CD: Domenico Cimarosa “Concert, Sestetti e Quartetti” Andrea Coen,
L’Arte dell’ Arco, Federico Guglielmo, Stradivarius, 2003
NOVEMBER 2006
GIORGIO DE MARTINO
MUSICA, magazine
valutazione ****
(…) Something still more evident thanks to the performance choice by the Quartetto Raro
of period instruments, a young group (composed of flautist Laura Pontecorvo, violinist Alessandro
Tampieri, violist Diego Mecca and cellist Andra Fossa`) which approaches the three quartets
with awareness and with good, substantial dialogue (…)
CD: Ferdinand Ries, Quartets op. 145 Quartetto Raro (L.Pontecorvo, A. Tampieri,
D.Mecca, A. Fossa’ with original instruments), Inedita, 2005
MARCH/ APRIL 2006
DANIEL CHAFFEE
American Record Guide
(…) With its period instruments, this recording is a great place to begin grappling with
the large question of Ries‘s place in history and Quartetto Raro give a very convincing performance.
CD: Ferdinand Ries Quartets op. 145 Quartetto Raro (L.Pontecorvo, A. Tampieri,
D.Mecca, A. Fossa’ with original instruments), Inedita, 2005
MARCH 10, 2005
ANGELO FOLETTO
La Repubblica
(…) With the exception of the flutes (Laura Pontecorvo’s transverse flute and the
recorders of Pietro Meldolesi and Maria De Martini), reliable for intonation,
in a nice harmony of intentions and color with the ‘soli’ and ‘tutti’ (…)
Milan, Sala Verdi , Societa’del quartetto, March 8, 2005
MARCH 9, 2005
EDWIN ROSASCO
Il Secolo XIX
(…) But the Concerto Italiano is a group of excellent individual personalities and
many were the moments in which these individual characteristics offered truly a
dmirable performances. We recall, among others, the flute of Laura Pontecorvo (…)
The GOG Season 2005, Genoa
JULY 7, 2004
FRANZ GRATL
Glücksfall
(…) The famous program concerto for flute ‘La notte’ receives an intense
performance in which nothing seems left to chance or hurried.
How to play in a differential, refined manner various trills, one after the other,
is what Laura Pontecorvo (Flauto) has us listen to in the first movement of the concerto (…)
CD : “Bach, Vivaldi, Marcello, concerti italiani” Concerto italiano (Rinaldo Alessandrini),
Naive classique, 2004.
Laura Pontecorvo performs “La Notte, Concerto per flauto e archi op.X n.2” by Antonio Vivaldi
MAY 28, 2004
GILBERTO PONCE
El Mercurio Santiago Chile
(…)In the sinfonie of the Cantatas, we were able to savor the musical and
expressive interpretation of the excellent Laura Pontecorvo on the Baroque transverse flute,
in stupendous dialogues with first violinist Francesca Vicari, in the sinfonia of Cantata 209 (…)
The Season of the Teatro Municipal de Santiago, Chile, May 27, 2004
MAY 18, 2004
FABIANO GONÇALVES ” UM OCEANO DA MELHOR MÚSICA”
Portal movimento.com
(…) With the entrance of the recorders and the transverse flute,
a sweetness comes to save the second part of the performance, composed of
Concertos n.4 in G Major (BWV 1049), n. 5 in D Major (BWV 1050) and n. 2 in F Major
(BWV 1047) (…) Laura Pontecorvo played her transverse flute beautifully in N. 5,
filling the concert hall with lyricism (…)
The Season of the Teatro Municipal de Rio de Janeiro, May 17, 2004
DECEMBER 20, 2003
MYA TANNENBAUM
“THE NEW BACH ERA” Corriere della sera
(…) It followed however, the brief Sinfonia taken – magically – from the Cantata “Non sa che sia dolore”
in which the pleasure of listening was, surprisingly, in the “mezzoforte” register held by
the strings and in the unusual qualities of Laura Pontecorvo,
the imaginative soloist of the transverse flute. When they say talent. (…)
The Accademia Filarmonica Romana Concert Season, Rome, December 18, 2003