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Dana Karmon – fagotti storici

Fagottista italo-israeliana, specializzata in strumenti d’epoca: fagotto barocco, classico e romantico.

Laureata all’Accademia di Musica e Danza di Gerusalemme in composizione e, sotto la guida del  M° Richard Paley, in fagotto storico, prosegue gli studi presso la Scuola Civica di Milano con il  M° Alberto Grazzi, figura che tuttora rappresenta per lei un punto di riferimento e d’ispirazione, professionale e personale. Nel 2007 ottiene il diploma in fagotto barocco e classico. Il perfezionamento ha luogo sotto la guida di Donna Agrell, presso la Schola Cantorum Basiliensis. Ha oltre partecipato a Masterclass tenuti da noti fagottisti, tra i quali Lorenzo Alpert, Lyndon Watts e Marc Vallon.

Con un vasto repertorio barocco, classico e romantico, ha collaborato con le più importanti orchestre europee, tra cui Europa Galante, Koelner Akademie, Ensemble Zefiro, Les Musiciens du Louvre, Les Talens Lyriques, La Divina Armonia, Academia Montis Regalis, La Risonanza, ensemble Cordia, con le quali ha registrato svariati CD.

Nata a Haifa, Israele, e trasferitasi in Italia nel 2003, si esibisce regolarmente in Europa, Canada, Argentina, USA e nelle più famose sale da concerto a livello internazionale, come il Teatro Bolshoi di Mosca e il Carnegie Hall di New York.

Formazione scolastica

  • 2008: Perfezionamento presso la Schola Cantorum Basiliensis sotto la guida di Donna Agrell.
  • 2003 – 2007: Studi e Diploma in fagotto barocco e classico con il M. Alberto Grazzi, Scuola Civica di Milano.
  • 1999 – 2003: Studi e Laurea in fagotto barocco presso l’Accademia di Musica e Danza di Gerusalemme sotto la guida del M. Richard Paley.
  • 1999 – 2003: Studi di Composizione presso la facoltà di Composizione, Direzione ed educazione musicale dell’ Accademia di Musica e Danza di Gerusalemme.
  • 1998: Formazione e diploma in didattica, dipartimento dell’educazione dell’esercito Israeliano.
  • 1992 – 1997: Scuola media musicale e liceo musicale a Haifa, Israele, esame di maturità e diploma in teoria musicale e cembalo.

Esperienza orchestrale

  • Europa Galante, Fabio Biondi
  • Koelner Akademie, Michael Alexander Willens, Colonia, Germania
  • Ensemble Zefiro, Alfredo Bernardini
  • Les Musiciens du Louvre, Marc Minkowski, Francia
  • Les Talens Lyriques, Christophe Rousset, Francia
  • La Divina Armonia, Lorenzo Ghielmi
  • Academia Montis Regalis, Alessandro De Marchi
  • La Risonanza, Fabio Bonizzoni
  • Capriccio Basel, Basilea, Svizzera
  • Ensemble La Fontaine, Friburgo, Svizzera
  • Opera 2day, Hernan Schwazman, L’Aia, Olanda/Buenos Aires, Argentina
  • Ensemble Cordia, Brunico, Stefano Veggetti
  • Barucco, Salisburgo, Austria
  • Musica Aeterna, Teodor Currentzis

Incisioni discografiche

  • Vivaldi, Ercole sul Termodonte – Europa Galante, Fabio Biondi – (Virgin Classics)
  • Händel, Apollo e Dafne – La Risonanza, Fabio Bonizzoni – (Glossa) – disco vincitore del Stanley Sadie Prize 2011
  • Wolfgang Amadeus Mozart, Piano concertos K 491, K 503 – primo fagotto
    Kölner Akademie, Michael Alexander Willens, Ronald Brautigam – fortepiano (Bis)
  • Musiche di Händel e Caldara – Academia Montis Regalis, Alessandro De Marchi, (Deutsche Harmonia Mundi)
  • Telemann, Flavius Bertaridus – Academia Montis Regalis, (Deutsche Harmonia Mundi)
  • Vivaldi, Dixit Dominus – Ensemble “Pian&Forte”, Francesco Fanna (Stradivarius)
  • Musiche di Cherubini – Auser Musici, Carlo Ipata, Maria Grazia Schiavo, soprano
  • Christoph Graupner – Suite de Suites – Ensemble Antichi Strumenti, Tobias Bonz (stradivarius)
  • Musiche di J.D Zelenka – Capriccio Basel
  • Handel,Organ concertos vol 2 – La Divina Armonia, Lorenzo Ghielmi,(Passacaille)
  • J.S. Bach, Weihnachts Oratorium – Academia Jacobus Stainer Innsbruck

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leggi - The New York Times | Febbraio 2014

Blowing This Way and That
Europa Galante Brings Vivaldi to Zankel Hall
By CORINNA da FONSECA-WOLLHEIMFEB. 12, 2014

articolo New York Times

 

 

 

 

 

Europa Galante The violinist Fabio Biondi leading his period-instrument ensemble at Zankel Hall in a program that interwove movements from Vivaldi sonatas with natural themes. Credit Michelle V. Agins/The New York Times

Few violin concertos are as tightly scripted as those making up Vivaldi’s “Four Seasons.” Four sonnets chronicling the agricultural calendar — possibly by Vivaldi himself — accompany the music. Their lines are written into the score like stage directions, instructing the player to evoke the sounds of buzzing gnats on a hot summer day, hunting calls in autumn or the motion of someone walking gingerly on ice. Additional labels identify particular kinds of birds — a finch, a cuckoo, a turtledove — and barking dogs.

Given this meticulous specificity, it never ceases to amaze and delight me how different this deservedly popular music sounds from one interpretation to the next. On Tuesday evening, the zesty Italian period-instrument ensemble Europa Galante presented an all-Vivaldi concert at Zankel Hall that included memorably temperamental renditions of parts of “The Four Seasons.” Led by the group’s director, Fabio Biondi, who played the principal part in the concertos for violin, the program offered a collage of works inspired by nature.

Only one of them — the violin concerto nicknamed “La Caccia” (“The Hunt”) — was played in its entirety. The opening Allegro from “Spring” was followed by the Cantabile and Allegro from a flute concerto nicknamed “Il Gardellino” (“The Goldfinch”), played with a full-bodied, luminous sound by Marcello Gatti. The first and third movements of “Summer” framed the Largo and Allegro from “La Pastorella,” (“The Shepherdess”), a concerto for recorder (here flute), oboe, violin and bassoon, which featured fine solo playing by the oboist Paolo Grazzi and the mellow-toned bassoonist Dana Karmon. “Winter” was interspliced with movements from the violin concerto “La Tempesta di Mare” (“The Storm at Sea”).

The wind-tossed program proved a perfect fit for Europa Galante. The ensemble’s fresh sound owes much to its vivid, gusty crescendos, in which the sound seems to gather not only in volume, but in density, too. On Tuesday evening, those crescendos took shape as spring showers, August hailstorms and maritime tempests. “Winter” opened with a jolt, as if someone had kicked open a door to send a blast of icy air into the auditorium. Sweetly lyrical moments like the slow movement from “La Pastorella,” in which Mr. Gatti’s lilting solo meshed beautifully with the tender theorbo playing by Giangiacomo Pinardi, offered welcome respite.

Mr. Biondi’s violin solos abound with embellishments and sudden changes of tempo that give them an improvised feel but can sometimes come across as somewhat precious. But there was a very Baroque flavor to the bracing changes and sudden surprises that echoed Vivaldi’s seasons, where hail showers interrupt the torpor of a hot afternoon, and the merriment of harvest revelers contrasts with the terror of the hunted prey.

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