In an imaginary conversation between “claudio” and “Claudio”, Cavina wrote to Monteverdi “Listen to me, it’s my view that no-one before you has ever achieved such a perfect fusion between music and text, a combination as inseparable as it is magical…”.
La Venexiana was founded in 1997 by Claudio Cavina who directed it with a fierce passion and dedication until 2016. After the retirement of Claudio Cavina, very same musicians continue to serve up to the public the results of the extraordinary musical experiences fashioned with him in the preceding years, alongside the momentum of a beckoning new season.
The musical production experienced during years of intense activity involving both concert work and recording is precisely what has made the group a significant if not indeed absolute reference point within the panorama of vocal and instrumental performance between Renaissance and Baroque, incorporating memorable portraits by composers such as Luzzasco Luzzaschi, Sigismondo d’India, Luca Marenzio, Gesualdo da Venosa, and of course Claudio Monteverdi, with the Monteverdi Edition promoted by Glossa, and most recently celebrated with the re-releasing of Orfeo (CHOC de Le Monde de la Musique, the First Choice of the BBC Classical Music and Gramophone’s Editor Choice 2007, the GRAMOPHONE AWARD 2008 – Baroque Opera) accompanied by the complete re-issuing of the madrigals (2017). And then of course the sacred and theatrical music of Scarlatti, Haendel, Steffani, Cavalli, in interpretations never bland, but rather troubled and vivace like the composers themselves. The fundamental philosophy is that in music it is always better to take risks that to remain half-hearted: a route followed by Round M, a recording Project which takes in both Monteverdi and Jazz, or indeed the Utopian and visionary project re-introducing the public of today to Arianna di Monteverdi (2016). The Venexiana musicians manage to maintain the momentum, verve and audacity of musical performances that they have created together, and in relation to the needs of a single, particular project they entrust the direction to members of the ensemble. A singularly original challenge was the staging of the Monteverdiana trilogy at Schwetzingen produced with an extraordinary and unique vocal cast, which was able within the space of just a few days to give voice to the many different characters present in Monteverdi’s works, transforming them into a single, profound story. The acknowledgements of the critics pay handsome tribute to the Venexiana musicians in this new season, and audiences who are participating enthusiastically at each concert certainly seem to share with them a passion and an equal nostalgia.