Saturday, March 19, 2016, 8pm First Congregational Church L’Arpeggiata , director

Mediterraneo Vincenzo Capezzuto, voice Doron Sherwin, cornetto , chitarra battente, and Baroque guitar David Mayoral, percussion Boris Schmidt, double bass Francesco Turrisi, harpsichord and percussion Christina Pluhar,

Cal Performances' 2015-2016 season is sponsored by Wells Fargo.

_` PROGRAM

Mediterraneo

Maurizio CAZZATI b1616 a1678c / Ciaccona Improvisation

Traditional (greco-salentino) Are mou Rindineddha Vincenzo Capezzuto, vocals

Traditional Pizzica di San Vito Vincenzo Capezzuto, vocals

Athanasius KIRCHER (1602 –1680) napolitana, Tono hypodorico

Nicola MATTEIS (1650 –1714)/ La dia Spagnola Improvisation

Traditional (des Pouilles)/ KIRCHER La Carpinese (Tarantella del Carpino) Vincenzo Capezzuto, vocals

Anonymous/Improvisation Canario

Marcello VITALE b b. 1969c Tarantella a Maria di Nardo

Giovanni Girolamo KAPSBERGER (1580 –1651) Toccata L’Arpeggiata

Traditional (Macedonia) Su maki sum se rodila Vincenzo Capezzuto, vocals

Traditional (greco-salentino) Oriamu Pisulina Vincenzo Capezzuto, vocals

Traditional (Greece)/Improvisation

Traditional Tu bella ca lu tieni (Tarantella) Vincenzo Capezzuto, vocals

Traditional (des Pouilles) Pizzicarella mia (Pizzica) Vincenzo Capezzuto, vocals

Improvisation Sfessania

Pandolfi MEALLI (1630 –1670) La Vinciolina

Traditional Silenzio d’amuri Vincenzo Capezzuto, vocals

Andrea FALCONIERI (1585-1656) La Suave Melodia

Traditional Lu Passariellu (Tarantella Pugliese) Vincenzo Capezzuto, vocals

Tonight’s performance will be performed without intermission.

PLAYBILL PROGRAM NOTES

The sea does not separate cultures, it connects them…

The Olive Frontier and Our Musical Journey The habitat of the olive tree is commonly ac - cepted as a rough guide to the boundaries of the Mediterranean region; hence reference is some - times made to the “Olive Frontier.” Only a small part of France, Turkey, and sections of North Africa are part of this region, while Portugal and Jordan are considered as belonging to it for cultural and climatic reasons (even though these nations have no Mediterranean coastline). The starting point for tonight’s program was the canti greci-salentini, songs and whose musical roots lie in , but which are sung in Greek by the Greek population living in for many centuries. This fascinating blend of southern Italian and Greek culture prompted us to set out on a musical voyage of discovery in the Mediterranean region and seek further interconnections. Our itinerary takes us from southern Italy eastwards to Greece and on into Turkey, and westwards to Spain (Mallorca Christina Pluhar and ) and Portugal. quickly developed into a bloody civil war. In Canto greco-salentino order to escape this massacre, thousands of The Greeks began to settle in southern Italy in monks left the eastern provinces of the Empire the eighth century BCE. Through this process and moved to the southern regions of Italy, of colonization, Greek culture was exported to , and Sicily, where they founded nu - Italy, where it mingled with the indigenous cul - merous monasteries. These newly colonized re - tures. The Romans called the area comprising gions rapidly became flourishing centers not Sicily “Calabria” and “ ” only of Greek culture, but also of social and eco - because it was so densely populated by Greeks. nomic prosperity, since alongside prayer and Many of the newly founded Greek cities quickly asceticism the monks devoted themselves to became rich and powerful, including cultivating the fields and producing wine and (Neapolis, “new city”), Syracuse, Taranto, Bari, olive oil. and many others. This initial flow of immigration was soon fol - Between the eighth and 11th centuries CE, lowed by another, prolonged wave. In 867, southern Italy was once more strongly Hellen - Emperor Basil I succeeded to the throne of ized, with the establishment of an ethno lin - Constantinople. He had taken it upon himself guistic community that still exists today. In the to fight the Arab invaders in both the western year 727, the Byzantine Emperor Leo III de - and the eastern empires. Large parts of south - creed that holy images and symbols were to be ern Italy had fallen into the hands of the Arabs, destroyed in all provinces of the Eastern Roman whose raids had laid waste to towns and coun - Empire. Serious unrest soon broke out every - tryside. The monks were forced to leave Sicily where, led by monks who refused to obey the and Calabria and sought refuge in Salento. imperial edict. There followed the First Their communities often created new dwellings Iconoclasm, which lasted several decades and in caves that afforded them protection. Most of PROGRAM NOTES these settlements were located in the area of its liturgy in Latin, a language it did not speak. Taranto, where the terrain—with its gorges and As a result, the proportion of Greek-speaking tall cliffs—was favorable to the construction of inhabitants gradually diminished, especially in such protected villages. As a result of this mi - the villages on the Ionian Sea. gration, around 40 villages grew up in the cen - In 1945, Grecia Salentina—the region situ - ter of the Salento region, between Otranto and ated in southern Apulia, on the extreme south- Gallipoli. eastern tip of the Italian peninsula (the heel of The early 11th century saw the first raids by the boot)—still had about 40,000 residents who new invaders from northern Europe: in the spoke fluent Griko, concentrated in the villages space of a few decades, the Normans brought of Calimera, Castrignano, Corigliano, Martano, the power of the Byzantine Empire in southern Martignano, Sternatia, and Zollino. [The term Italy to an end, creating a unitary state there and “Griko” designates not only the Greek- speaking inhabitants of Salento and Calabria, but also their language. The Greek dialects spo - ken today are different from village to village and are interwoven with words from the Salento or Calabrian dialects, which gives them a special musical quality.] There is also a Calabrian Griko region that consists of nine vil - lages in the nearly inaccessible mountainous re - gion of Bovesia, including Bova Superiore, Roghudi, Gallicianò, Chorio di Roghudi, and Bova Marina, and four districts in the city of Reggio Calabria, but its Greek population is considerably smaller than in Salento. After the Second World War, complex socio- economic factors—such as the influence of radio and television, schools, and newspapers— gradually reduced the number of Griko speak - ers still further. Today the surviving proportion is slight, because the language is now spoken chiefly by older people, and then only in the do - mestic environment. In recent years, however, the Griko have developed a new awareness of their origins, history, traditions, and language, which is kept alive above all by music and the Vincenzo Capezzuto old traditional songs that have been handed introducing feudalism. The new rulers were of down over the generations. The Italian Parlia - the Roman Catholic rather than the Orthodox ment has recognized the Griko as an ethnic and faith, but left the Greek population in peace. linguistic minority. However, although there were no religious con - The tradition of Griko music essentially dis - flicts with the Orthodox Greeks in southern plays the stylistic, harmonic, and melodic char - Italy, by the early 15th century Orthodox acteristics of the folk music of southern Italy, monasticism had entirely disappeared and was but also features some Turkish and Arabic in - replaced by Franciscan and Dominican foun - fluences. It is possible to distinguish the follow - dations. After the Council of Trent in 1563, the ing main musical forms: the ninna nanna Greek Orthodox clergy was also supplanted by (lullaby for a newborn infant such as the Christ- Catholic priests, thus obliging the Orthodox child), matinata and serenata (morning and community to hold its services, its prayers, and evening songs for young wooers), stornello (for

PLAYBILL PROGRAM NOTES pugnacious challenges between peasants), mo - gle couple, but is now also performed in rows roloja (a dirge to accompany funeral proces - of two or as a quadrille. It is intended to repre - sions), tarantella , and pizzica . sent joy, love, courtship, and passion. The phenomenon of the tarantella —a form of music therapy supposed to heal spider The Pizzica scherma (danza dei coltelli) 3 bites—has remained present in Grecia Salentina This dance is performed on the night of right down to our own time. Three different August 15-16, during the celebrations of the forms of tarantella may be distinguished: Feast of St. Rocco at the village of Torrepaduli in the province of Lecce. It is danced by two men, The Pizzica tarantella 1 who at one time carried real knives in their Handed down in written sources since the hands. The dance called for the best tamburello Middle Ages, this is an individual or collective players, since it lasted for hours, indeed gener - dance of healing that was regarded as the only ally the whole night long. Today the knives are remedy for the bite of the tarantula. The possi - replaced by the fingers, with the index and mid - bility that this refers to archaic rites in honor of dle fingers used to give the effect of a threaten - the ancient Greek mythological figure of ing weapon. The movements, gestures, and Arachne cannot be excluded. On June 29—the facial expressions, as well as the offensive and Feast of St. Paul—the sick processed in pil - defensive postures, conform to a certain code grimage to the chapel of the Greek village of of honor. This dance was used to settle disputes Galatina to dance the tarantella on the church and problems of hierarchy in the world of gyp - square and inside the church, thus combining sies and horse traders. archaic and Christian customs. —© Christina Pluhar

The Pizzica de core (della gioia) 2 1 Dance of those bitten by the spider This dance is essentially performed at public 2 Pizzica of the heart (of joy) festivals, weddings, baptisms, and family cele - 3 Fencing pizzica (knife dance) brations. It was originally a fast dance for a sin - TEXTS & TRANSLATIONS

Traditional ( Canto greco-salentino )

Are mou Rindineddha Who knows, little swallow Are mou rindineddha Who knows, little swallow, plea talassa se guaddhi, from where you’ve flown, ce aputte ste’ ce ftazzi, which seas you’ve crossed m’utto kalo cero. to arrive with the fair weather.

Vasta to petton aspro, You’ve a snowy breast, mavre vasta tes ale jet-black wings, stavri kulor de mare a back that’s blue as the sea, ce i kuta en’diu nifti. and a long, forked tail.

Kaimmeno mbro sti talassa I walk along the shore evo se kanono; and watch you lio ngherni, lio kalei as you soar and swoop lio nghizzi to nero. to skim the waves.

Ma su tipo mu lei But not a word do you say to me, ja possa sse roto however much I ask you, lio ngherni, lio kalei as you soar and swoop lio nghizzi to nero. to skim the waves.

Pizzica di San Vito Non c’era da vinì non c’era da vinì, I shouldn’t have come, I shouldn’t have come, non c’era da vinì e so’ vinutu, I shouldn’t have come and yet I’m here. so’ li sospiri tua, so’ li sospiri tua, it was your sighing, your sighing, so’ li sospiri tua, m’hannu chiamatu. it was your sighing that called me here.

Ah uelì, mu lu vecu ti vinì Ah uellì, now I see him on his way, mu lu vecu ti nchianà, now I see him leaving, mi ta la manu e si ni va. he takes my hand and is on his way.

Ah uelì, mu lu vecu ti vinì Ah uellì, now I see him on his way, mu lu vecu ti nchianà, now I see him leaving, mi ta la manu e si ni va. he takes my hand and is on his way.

Sì chiù bella tu, e sì chiù bella, You are lovelier, you are lovelier, e sì chiù bella tu ti na cirasa, you are lovelier than a cherry, iata all’amori tua, iata all’amori tua, blessed is your love, blessed is your love, iata all’amori tua quannu ti vasa. blessed is your love when he kisses you.

Ah uellì uellì uellà, Ah uellì uellì uellà, la pacchianella mea when I call my girl quannu chiamu ata vinì. she has to come. Ah uellì uellì uellà, Ah uellì uellì uellà, la pacchianella mea when I call my girl quannu chiamu ata vinì. she has to come.

PLAYBILL TEXTS & TRANSLATIONS

Ti li capelli tua, ti li capelli, I’ve fallen in love with your hair, ti li capelli tua so nnamuratu, with your hair, with your hair, li vecu ti vulà, li vecu ti vulà, I see it fly, I see it fly, li vecu ti vulà ntallu vientu. I see it fly in the wind.

Occhi cu occhi, An eye for an eye, cu deggi perdi l’occhi, let anyone who speaks ill of us a ci tici mali nuestru scatta lu cori. lose his eyes and have his heart broken. Occhi cu occhi, An eye for an eye, cu deggi perdi l’occhi, let anyone who speaks ill of us a ci tici mali nuestru scatta lu cori. lose his eyes and have his heart broken.

Ti lu ritornu a dì, ti lu ritornu, I’ll tell you again, I’ll tell you, ti lu ritornu a dì pi n’ata fiata, I’ll tell you again and again, alla cumpagnia va, a Santu Vitu va, go to the party, go to St Vitus, alla cumpagnia va sta sirinata. go to the party this evening.

Ah uellì uellì uellà, Ah uellì uellì uellà, n’ata vota statti bona, be well again tu ti me no ti scurdà. but don’t forget me. Ah uellì uellì uellà, Ah uellì uellì uellà, n’ata vota statti bona, be well again tu ti me no ti scurdà. but don’t forget me.

La Carpinese Pigliate la paletta e vae pi’ ffoco, Take the shovel and rekindle the fire, E va’ alla casa di lu ‘nnammurato, Go to your loved one E passa duje ore ‘e juoco, And spend two hours in sport. Si mamma se n’addona ‘e chiste juoco, If your mother shows anger at your sporting, Dille ca so’ state falelle de foco, Tell her your face is red from the fire. E vule di’ e llà, chello che vo’ la femmena fa! Say what you like to her, a woman does as she pleases! Luce lu sole quanno egrave, buono tiempo, The sun shines when the weather is fine, Luce lu pettu tujo, donna galante, Your breasts are radiant, gentle lady, Mpietto li tieni duje pugnali argiento. Your bosom conceals two silver daggers. A chi li tocchi bella, nci fa santo, He who touches them, my beauty, becomes a saint. E ti li tocchi je ca so’ l’amante. And I touch them, I who am the lover. E ’mparaviso jamme certamente, No doubt we shall go to Paradise. E vule di’ e lla, chello che vo’ la femmena fa! Say what you like to her, a woman does as she pleases!

please turn page quietly TEXTS & TRANSLATIONS

So maki sum se rodila I was born with agonies So maki sum se rodila (rodil jas), I was born with agonies, so z˘alosti jas kje si umram. I will die with griefs. Makite da mi gi napi s˘ete, (I want) (you) to write my agonies odozgora na grobot moj. up on my gravestone.

Kje se ka c˘am na planina, I will climb on a mountain, kje vlezam v’ temni pe s˘teri. I will get down in the dark caves. O˘cite da mi paraldisaat, My eyes to extinguish sonceto da ne go vidam. not to be able to see the sun.

Kje slezam dolu v’ gjul bav c˘i, I will get down in the garden, po toj mi alov katmer karanfil. to those dewy flowers. Po toj alov katmer karanfil, To that scarlet rose, po toj ran, bel bosilok. to that early white basil.

Oriamu Pisulina Oriamu Pisulina ce kalanta My sweet and pretty Pisulina, kerumeni pu panta you always make fun of me ipai jelonta and laugh at me. kerumeni pu panta You always make fun of me ipai jelonta n’inella. and keep laughing at me.

Emmiazzi tto ngarofeddhu sti kianta You’re like the sunflower puddhai sti primavera or a little bird of spring, ipai petonta you fly away, pu ttai sti primavera like a bird of spring, pai petonta n’inella. you fly away.

Evò se kanò ndeka kronu panta I’ve been watching you for ten years, ce ndeka kronu pai and I’ve known you for eleven, ipai jelonta but you laugh at me. ce ndeka kronu panta I’ve been watching you for ten years, ipai jelonta n’inella. but you just laugh at me.

Tu bella ca lu tieni Tu bella ca lu tieni lu puttu tundu My beauty of the rounded breast, Nun sacciu ci su menne o su cutugna. Breasts or apples, I know not which. Maria ti chiammi u, ci bellu nommi Your name is Mary, what a pretty name! Stru nommi ti l’ha mmisu la Madonna. ‘Tis the name of the Madonna. Stateve citte, stateve ‘nzulenzia, Hush, be silent, Vogghiu ca vuje sintiti lu mia cantare. I would like you to hear my song. Bellu è lu mare e bella la marina, The sea is fair and fair is the shore, Bella è la figlia di lu marinaru. And fair is the sailor’s daughter La ni la ninina la ninena, La ni la ninina la ni ninena,

PLAYBILL TEXTS & TRANSLATIONS

Ha dettu l’amuri miu staseri vena. My love told me she would come tonight. Marange e marangelle vogghui chiantari I shall plant oranges large and small, Nu limoncellu pi lu béni mia And a lemon for my love. Bella dintr’a li belle tu bella sei, You are the fairest of the fair, Ca de li belle tu puorti la palma. You win the prize for beauty. Tu rondine ca rundini lu mare, You are a swallow skimming o’er the sea. Ferma quandu ti dicu doje parole. Stop, that I may say a few words to you…

Pizzicarella mia (Pizzica Tarantata) My little scallywag Pizzicarella mia, pizzicarella My little scallywag, lu camminatu to’ la li li la The way you walk, la li li la, lu camminatu to’ pare ca balla The way you walk is like dancing…

A du te pizzicau ca no te scerne? Where were you pinched, that you never stop? sutta lu giru o la li li la Beneath the band, o la li li la, sutta lu giru giru di la suttana. Beneath the band of your petticoat…

Quantu t’amau t’amau lu core miu Oh how my heart loved you: mo nun tte ama chiù la li li la But now it loves you, la li li la, mo nun tte ama chiù se ne scerrau. Now it loves you no more, it is shut.

Te l’ura ca te vitti te ‘mmirai Ever since I set eyes on you, I admired you, ‘nu segnu fici a la li li la And I made a mark, a la li li la, ‘nu segnu fici a mmienzu a ll’occhi toi. I made a mark between your eyes.

Ca quiddu foì nu segnu particolare And it was a special sign cu no’ te scerri a la li li la So you would not shut, a la li li la, cu nu te scerri de l’amore toi. So you would not shut your heart to love.

Amore amore ce m’hai fattu fare Oh love, love, what you make me do! de quindici anni a la li li la, For fifteen years, a la li li la, de quindici anni m’hai fatto impazzire. For fifteen years you’ve been driving me mad.

Pizzicarella mia, pizzicarella My little scallywag, lu camminatu to’ la li li la The way you walk, la li li la, lu camminatu to’ pare ca balla The way you walk is like dancing…

please turn page quietly TEXTS & TRANSLATIONS

Silenzio d’amuri T’amaju di quanny stavi dintr’a la naca, I have loved you since you were in the cradle, T’addivaj ducizza a muddichi a muddichi I have given you tenderness morsel by morsel. Silenziu d’amuri ca camini intr’a li vini Silence of love flowing in the veins, Nun è pussibili staccarimi di tia. I cannot tear myself away from you. Nun chiangiti no albiri d’alivi Weep not, ye olive trees: Amuri e beni vengunu di luntanu, Love and tenderness have come a long way. Dilizia amata mia, sciatu di l’alma mia, My beloved joy, my soul’s inspiration, Dammi lu cori ca ti dugnu la vita. Give me your heart, I give you my life. Vacanti senza culura tengu lu senzu My mind is empty and devoid of color; Quanno na mamma si scorda a so’ figliu, Only when a mother forgets her own child Tannu mi scordu d’amari mia. Will I forget my love for you. Vulati acidduzi iti ni ll’amata I love you, my little one… Cantantici mentri nc’è morte e vita Swallows, fly to my beloved And sing for her in life and death. Comu tuttu lu munnu esti la campagna, These rustic parts are like the whole world, Tu si a Riggina e ju ‘u Re di Spagna. You are the queen and I am the king of Spain.

Lu Passariellu O re, re, lu passariello ‘nta ll’avena, Beware the sparrow’s in the oats! E si nun lu va’ a parà If we don’t drive it away, Tutta ll’avena se magnarrà It’ll eat the lot!

‘O riavulo, stanotte The devil, last night E mugliereme è caduta da lu liette; My wife fell out of bed

‘O riavulo stanotte The devil, last night La jatta s’è magnata li cunfiette. The cat scoffed all the cakes E si prima eremo a tre a ballà la tarantella, And if we weren’t three to dance the tarantella before,

Mo’ simmo rimaste a dduje Now we are only two, E mugliereme quant’è bella. And my wife is the fairest.

Santo Michele sarva ogne Christiane St Michael, save all Christians moniche, monicelle e artigiane. Nuns, monks, craftsmen.

O re, re, lu passariello ‘nta ll’avena, Beware, the sparrow’s in the oats! E si nun lu va’ a parà If we don’t drive it away, Tutta ll’avena se magnarrà . It’ll eat the lot!

PLAYBILL ABOUT THE ARTISTS

L’Arpeggiata was founded in 2000 by director to be granted an artistic residence at Carnegie Christina Pluhar. Its membership is comprised Hall. of a selection of today’s finest soloists and the group also regularly collaborates with acclaimed Christina Pluhar (theorbo and director) studied singers from the Baroque and traditional music guitar in her home city of Graz, and with worlds. The Paris-based ensemble’s aim is to re - Toyohiko Satoh at Royal Conservatory in The vive an almost unknown repertoire by focusing Hague. She was awarded honors at the Schola its artistic work on music from the beginning of Cantorum Basiliensis, where she worked with the 17th century. . She then studied with Mara Since its founding, L’Arpeggiata has enjoyed Galassi at the Scuola Civica di Milano. In 1992, considerable popular and critical success. The Pluhar won first prize at the International Old group’s first album, La Villanella, dedicated to Music Competition of Malmö, with the ensem - the music of Giovanni Girolamo Kapsberger, ble La Fenice. was considered especially noteworthy, earning Pluhar has lived in Paris since 1992, where instant acclaim and going on to win the Premio she performs regularly as a soloist and continuo Internationale del Disco per la Musica Italiana. player in prestigious festivals, and with groups L’Arpeggiata’s second CD, Homo fugit velut such as La Fenice, Concerto Soave, Accordone, umbra, was devoted to the music of Stefano Ensemble Elyma, Les Musiciens du Louvre, Landi, and was singled out for praise by the Ricercar, La Grande Ecurie et la Chambre du BBC, Amadeus (Italy), and Pizzic ato (Luxem - Roy, Concerto Köln, and in groups directed by burg). La Tarantella and All’Improv viso won René Jacobs, and Ivor Bolton. Her repertoire kudos from France Musique, Opéra Inter- includes solo and continuo works from the 16th national, and Toccata (Germany), and the to 18th centuries for Renaissance lute, Baroque group’s recording of Rapressentatione di Anima guitar, archlute, theorbo, and Baroque harp. et di Corpo by Emilio de’ Cavalieri won the top Pluhar has conducted master classes at Graz prize of the Academie Charles Cros. Other al - University, and since 1999 has served as profes - bums include collaborations with The King’s sor of Baroque harp at the Royal Conservatory Singers and flamenco guitarist Pepe Habi- in The Hague. chuela. Teatro d’Amore , featuring music by Throughout the 1990s, Pluhar steadily devel - with the singers Philippe oped her performance career and in 2000 she Jaroussky and , won the Echo Classic founded L’Arpeggiata. Consisting of about 10 Prize (Germany) in 2009 as well as the Edison members, the group performs on original in - Classic Prize (Holland) in 2010. struments and with some of the finest artists in More recent recordings include Via Crucis , Europe as members. Pluhar led L’Arpeggiata to with the participation of the Corsican vocal en - virtually overnight success with the release of semble Barbara Furtuna, and Monte verdi’s the CD La Villanella (a collection of Giovanni Vespro della Beate Vergine . The album Los Kapsberger vocal works), issued to great acclaim Pájaros Perdidos (2012) is devoted to traditional the year the ensemble was founded. and of Latin America and the Since 2007, Pluhar has led L’Arpeggiata in album Mediterraneo (2013) features fado star joint concerts with such ensembles as the Misia. Music for a While—Improvisations on Australian Brandenburg Orchestra, The King’s Henry Purcell , in collaboration with coun - Singers, and the vocal ensemble Barbara tertenor Philippe Jarous sky, was released to wide Furtuna. Among Pluhar’s more acclaimed acclaim in 2014. recordings are the albums La Tarantella, L’Arpeggiata has appeared at music festivals All’Improvviso , Los Impossibles (with The King’s in cities including , Utrecht, Belgium, Singers), as well as the Virgin Classics CDs Collogne, Potsdam, Istanbul, Hong Kong, Teatro d’Amore (with and Tokyo, and New York, among my others. In Nuria Rial), Via Crucis (with Barbara Furtuna), 2012, the group was the first Baroque ensemble Monteverdi’s Vespro della Beata Vergine , Los ABOUT THE ARTISTS

Pájaros Perdidos , and Mediterraneo (with the Along with Claudio Borgianni, Capezzuto fado singer Misia). created Soqquadro Italiano, a musical project exploring the common interest in music, the - Vincenzo Capezzuto, voice ater, and Italian production at the turn of the Vincenzo Capezzuto has worked both as a 16th and 17th centuries. Always looking for new dancer and a singer with the Accordone experiences, he appeared in the movie En Ensemble at the Mozarteum in the Salzburg Présence (Piedad Silenciosa ), directed by Nino Music Festival. In 2010, he was invited to per - Laisné, in which he performs traditional songs form with the European Baroque Orchestra, from Venezuela. Capezzuto also participated on directed by Christina Pluhar, singing Italian the famous recording of “Ti amo anche se non traditional and Baroque songs. For several years, so chi sei,” with the prestigious Italian singers he has appeared as a guest vocalist with Franco Battiato, Lucio Dalla, Massimo Ranieri, L’Arpeggiata, and he is featured on the ensem - Gianni Morandi, and Roberto Ferri. ble’s recordings Via Crucis (2010), Los Pájaros Vincenzo Capezzuto has appeared as a Perdidos (2012), Mediter raneo (2013, Virgin principal dancer with San Carlo Opera House Classics), and Music for a While (2014, Warner). of Naples, English National Ballet, Julio Bocca’s Capezzuto has toured with L’Arpeggiata to Ballet Argen tino, Michele Merola’s MMcom - many international music festivals and venues, pany, and Aterballetto, performing all over including the Hong Kong Festival, Carnegie the world in choreography by Mauro Bigonzetti, Hall, and the BBC Proms in London. He also William Forsythe, and Ohad Naharin, among performs as guest singer with the Pomo d’Oro others. ensemble, interpreting Baroque Venetian music of the 18th century.

PLAYBILL