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Gramophone May 2021 : CD Bach Kavierwerke
….Alessandrini is a solid Bach-player in the positive sense of having a good understanding of his subject and the strength of technique and musicality to realise it. He caresses the music’s contours, allowing it to breathe with well judged ritardandos at crucial moments, and uses unobtrusively spread chords to accentuate an interesting dissonance or neatly smooth an angular corner. His textures are clean and transparent, and his crisp articulation lets light into the fugues…  Lindsay Kemp – Review in full

The Arts Desk 27/03/2021 : CD Bach: Klavierwerke Rinaldo Alessandrini (Naïve)
… A continual delight is the care and attention which Alessandrini lavishes on the smallest of pieces, a work like the tiny BWV 90 D minor prelude packing a disproportionate punch.
That the harpsichord sound is so colourful is another bonus, Alessandrini playing a 1984 copy of an 18th century original. I love the springiness he brings to the faster numbers, the triplet rhythms of the first WTC’s D minor prelude irresistibly bouncy, Bach’s bass line bouncing along. … Alessandrini is superb in the finale, the different voices perfectly characterised. You’re continually surprised at Bach’s originality, the sudden C major cadence ending an extract from The Musical Offering a delicious surprise. A clever, joyous collection. Graham Rickson – Review in full

Artamag’ 2/07/2020 : le disque du jour – Eloquence - Suites pour clavecin de Louis Couperin
Rinaldo Alessandrini au clavecin
La langue roide de Louis Couperin trouva son meilleur avocat dans le grand geste du clavecin de Blandine Verlet, il faudra désormais lui adjoindre les danses altières et les récits lyriques que Rinaldo Alessandrini contraste avec tant de véhémence sur le clavecin roide qu’il aura choisi pour cet album sévère et rayonnant à la fois. …
Au centre du disque, une lecture aux couleurs tragiques de la Suite en fa majeur, grandiose par ses phrasés, ardente dans ses danses (les deux Courantes, pleines de gestes impérieux), phrasée avec un art de la diction tout au long d’une Sarabande d’anthologie.  Jean-Charles Hoffelé -  Article

The Times14/09/2019 : CD Louis Couperin - Suites
Louis Couperin, short-lived uncle of the more celebrated François, was a composer, a musician at Louis XIV’s court, inventor of the unmeasured prelude (where the performer has absolute rhythmic freedom) and author of about 200 unpublished keyboard pieces. Alessandrini has gathered some of them, and a few by other composers, into three suites, performing them on a rich-sounding harpsichord with the requisite Gallic liquid elegance. SP

ClassiqueNews.com 31/01/2017: Mozart, Beethoven,Schubert : Symphonies  ; Orch. National du Capitole / Rinaldo Alessandrini - Un concert tout en équilibre
…L’équilibre orchestral est parfait, tous les plans sont mis en lumière, les tempi, sont raisonnables. Les nuances sont sans surprise et l’orchestre semble jouer avec plaisir sous la direction rigoureuse du chef Italien.  De la belle musique sans heurts.
Pour la quatrième symphonie de Franz Schubert, les cors sont augmentés et les couleurs dites « tragiques » peuvent se dévoiler. Rien de bien particulier dans la direction de Rinaldo Alessandrini : il laisse les belles sonorités de l’orchestre de déployer. Hubert Stoecklin - Article

The Australian 9/03/2017 : L’Orfeo: Concerto Italiano’s benchmark for authentic Monteverdi
… During the past few years, Concerto Italiano has placed itself at the forefront of Monteverdi performance with Alessandrini’s burst of research into the composer, including a new critical edition of L’Orfeo.
And how indescribably beautiful this performance sounded: acutely sensitive to word, full of movement and anima, and ravishing in its sweep of sounds. …This was a concert performance, not a staged production, but that proved no disappointment. Concerto Italiano’s 11 singers and 24 instrumentalists delivered a full sense of the work’s drama with such sophistication that they rendered any extra trimmings almost unnecessary.
One feels Alessandrini has discovered a lot more that is implicit in the music, and rather than following what others have done he has created a new benchmark for how L’Orfeo may originally have sounded. Graham Strahle - Full article                                                                                      

Bactrack 8/03/2017 : Concerto Italiano’s classy L’Orfeo thrills in Adelaide’s Town Hall
Concerto Italiano impresses with its class. The ensemble is on a world tour honouring the 450th anniversary of Monteverdi’s birth and the 410th anniversary of the first performance of L’Orfeo. Since director Rinaldo Alessandrini, who also conducts, plays the harpsichord and the organ, founded Concerto Italiano in 1984, it has become one of the premier Baroque ensembles in the world. …This was a very authentic performance, capturing the vision of four hundred years ago. I found it an intensely satisfying experience.  Brian Angus - Article

BroadwayWorld 24/02/2017 : What's Really Old is New Again, with POPPEA from Concerto Italiano at Carnegie Hall
Monteverdi's L'Incoronazione de Poppea is considered the oldest opera in existence, but the version performed by Concerto Italiano at Carnegie Hall the other night, as part of the La Serenissima Festival (celebrating all things Venetian), showed it is also one of the freshest.
…Concerto Italiano, led by Alessandrini from the harpsichord, gave an immaculate performance that put the singers--and Maestro Monteverdi--first, putting together an outstanding group of singers for the evening, starting with Persson, who was glamorous both musically and physically in her roles. … a beautiful evening. Richard Sasanow - Full article

The Age.au 26/12/2016: Classical Year in Review: Passion, high-quality performances in superior efforts
…Setting up high expectations in February, Concerto Italiano presented a splendid reading of Monteverdi's 1610 Vespers, director Rinaldo Alessandrini giving his 23 executants every encouragement while investing the richly-coloured score with generous vigour. Several bodies have worked through this pivotal work over past decades, but none with as much devotion and pinpoint clarity. Clive O'Connell - Full article

www.ft.com 4/01/2016: Neujahrskonzert, Philharmonie Berlin: ‘A fine sense of balance’
…RIAS Kammerchor and the Akademie für Alte Musik have established a noble tradition of performing real music well on New Year’s Day in Berlin. Rinaldo Alessandrini never forced the tempi, preferring a mellow, stylish approach to the fast-is-good credo favoured by many of his peers. There was no grotesque exaggeration, and there was always a fine sense of proportion and balance. Shirley Apthorp

BBC Magazine November 2015: Recording Preludes & Fugues
Not for Rinaldo Alessandrini another version of the ‘48’ to swell a much-recorded corner of the repertoire. Having established his Bachian credentials with a refreshing rethink of the Brandeburg Concertos in 2005, his first solo disc in five years fashions a bespoke collection of preludes and fugues spiced with keen intelligence from sundry movements. ..A ‘divertissement’ is how Alessandrini describes the result, though this is to undersell a project that proves thought-provoking in its coupling and in the questions it asks about the relationships between preludes and fugues.
It’s also illuminating in the way didactic miniatures blossom into life, and a stylish exemplar demonstrating the art of free-spirited embellishment  ….Throughout, an unimpeachable suavity and debonair breeziness informs Alessandrini’s playing which is unfailingly sensitive to Bach’s ‘direction of travel’, be ‘it galant’, learned or songful. Paul Riley

Gramophone.co.uk 6/11/2015 : CD JS BACH Preludes and Fugues
…, Rinaldo Alessandrini has in fact assembled an ingenious miscellany – a compendium often coupling same-key preludes and fugues never previously ‘attached’, but following a practice more common than one might imagine.
The principal pleasure of this ‘divertissement’ is how a simple conceit is eloquently identified in Alessandrini’s logical and attractive readings. Since the majority of these pieces are not highly wrought contrapuntal essays, the effect is often a sunny journey through Bach’s early melodic proofs and cathartic figuration, exquisitely caressed … Messe pour les couvents, is a rare but wonderfully satisfying concert piece, and so too those odd sketches of uncertain authorship refashioned by Alessandrini with stylistic astuteness. … A thoughtful volume of Bach vignettes, sensitively mined and performed with devotion.  Jonathan Freeman-Attwood

The Guardian 28/09/2015: Orlando review – WNO's musically restorative evening
With some distinguished singing, and conductor Rinaldo Alessandrini and the orchestra of WNO bringing well-defined character and an often aching beauty to the score, it also makes for a musically restorative evening.  Rian Evans

www.utmisol.fr 12/04/2013 : Le triomphe du classicisme
L’anima del filosofo ossia Orfeo ed Euridice de Joseph Haydn. Très dramatique, tendue comme un arc, elle permet à ce chef aux options interprétatives tranchées de poser les jalons de ce qui sera sa vision tout le long du concert: tempi rapides, climats contrastés, tension interne mais hédonisme sublimé.
Haydn Symphonie nr 39 -  Rinaldo Alessandrini en donne une lecture idéale, alliant légèreté et fougue, hauteur de vue et effets orchestraux spectaculaires. L’Orchestre National du Capitole de Toulouse lui apporte et sa virtuosité et sa cohésion pour magnifier cette vision..
Mozart Symphonie nr 39 - …Brillante, d’une stupéfiante énergie rythmique, merveilleusement expressive, elle s’impose ici, grâce à cette baguette d’une intelligence rare, comme peut-être jamais. L’Orchestre du Capitole semble transformé et comme renouvelé ; la musique de ces deux géants, elle, est transcendée. Jean-Félix Marquette

www.sfcv.org 23/02/2012: Alessandrini's Mighty Haydn and Mozart
Alessandrini is a forceful, dynamic leader, and Thursday’s concert, which repeats through Saturday evening, served as an impressive introduction to his skills.
Haydn’s “London” Symphony - The conductor gathered his forces in the brooding introduction, establishing firm tempos, pinpoint dynamics, and an unmistakable sense of portent. The first movement Allegro was stirringly dramatic; Alessandrini, a specialist in Italian Baroque opera, shaped the lyrical music with warmth, intensity and spaciousness. The strings produced wiry, well-defined sound; the horns were muscular, the woodwinds crisp and edgy. …The exuberant performance of the third movement Minuet was especially fine, with Alessandrini eliciting richly colored, enveloping sound; the conductor set an uncommonly brisk tempo for this music, yet it felt right, not rushed. The galloping finale can easily lapse into disarray, but Alessandrini delivered it in bracingly clear, articulate terms. Mozart’s Symphony No. 39 - … in a performance of great style… Thanks to Alessandrini, a program of warhorses yielded a performance to remember. The Bay Area’s music organizations should engage him for a return appearance as soon as possible. Georgia Eorgia Rowe

Examiner.com 23/02/2012: Energetic Haydn and Mozart at Davies
This week’s guest conductor of the San Francisco Symphony at Davies Symphony Hall is Rinaldo Alessandrini, making his debut appearance. Alessandrini is one of those conductors who effectively engages his entire body in a highly energetic delivery.
Haydn’s final symphony - … In that opening Adagio we were given our first indications of his ability to shape Haydn’s rhetoric through sonority, as well as tempo and dynamics. To be fair Haydn was the one deploying those affective sonorities, but Alessandrini knew how to encourage our awareness of them in ways that seem to elude too many other conductors. The result was a relatively brisk account of all four movements of the symphony, often seasoned with broad gestures from the podium but never uncertain in its direction.
Mozart’s K. 503 piano concerto in C major - …This results in a journey through melodies and harmonies that never really repeats itself; and, when repeats are indicated, Alessandrini found ways to “change the lights” during the iteration.  Stephen Smoliar