Diego Fasolis

Biography

Country: Switzerland  
Diego Fasolis is among the more important conductors associated with Baroque music and early music performance in general. He is primarily a choral conductor and is especially known for his interpretations of cantatas and other sacred works by J.S. Bach. His repertory also includes large chunks of the sacred outputs of Handel, Palestrina, Vivaldi, Buxtehude, and many other Baroque composers. But Fasolis has also led performances and recordings of Read more sacred music by Cherubini and Liszt and even the folk song arrangements of Beethoven. He is a multifaceted musician: as an organist he has been active and quite prolific in Europe in a range of repertory that includes the complete outputs of Buxtehude, J.S. Bach, Mozart, Mendelssohn, Liszt, and Franck. In addition, the busy Fasolis has also composed film scores and works for organ and for voices with orchestra. He has made over 50 recordings that have appeared on a variety of labels, including EMI, Naxos, Chandos, Claves, Arts Music, Amadeus, Divox, and several others.

Born in Switzerland, Fasolis studied music at the Zurich Conservatory and the Zurich Musikhochschule. His most important teachers at these schools included Jürg Vintschger (piano), Erich Vollenwyder (organ), Carol Smith (voice), and Klaus Knall (conducting). Fasolis later studied organ in Paris with Gaston Litaize and had further instruction in Cremona with Michael Radulescu, who schooled him in early music performance.

Fasolis' first important post came in 1986 when he began a long relationship with the Radiotelevisione Svizzera di Lingua Italiana (RTSI) as a musician and (part-time) conductor. In 1993 he was appointed permanent conductor there, a post that included oversight and conducting of several vocal and instrumental ensembles serving under the RTSI, among which was the Coro della Radio Svizzera.

In 1995 Fasolis founded Ensemble Vanitas in Lugano, a historic-instrument group largely devoted to Baroque repertory. He has remained the ensemble's principal conductor over the years. In 1998 Fasolis accepted the appointment of principal conductor of another historic-instrument ensemble committed to Baroque music, I Barocchisti.

In the new century Fasolis has remained active not only with I Barocchisti, but as a freelance conductor with several European ensembles, including the Orchestra and Chorus of La Scala, the Berlin RIAS-Chamber Choir, and other groups in Italy, Germany, and Switzerland. Among Fasolis' more recent recordings are a pair of 2007 releases on the Arts Music label containing the Bach Brandenburg Concertos and the Tripelkonzert, BWV 1044. Read less
Galuppi: Il Mondo Alla Roversa / Fasolis, Et Al
Release Date: 09/25/2001   Label: Chandos  
Catalog: 676   Number of Discs: 2
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There are 6 Diego Fasolis recordings available.

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Biography

Country: Switzerland  
Diego Fasolis is among the more important conductors associated with Baroque music and early music performance in general. He is primarily a choral conductor and is especially known for his interpretations of cantatas and other sacred works by J.S. Bach. His repertory also includes large chunks of the sacred outputs of Handel, Palestrina, Vivaldi, Buxtehude, and many other Baroque composers. But Fasolis has also led performances and recordings of Read more
WORKS ALBUMS
TITLE/COMPOSER
LABEL
Act I: Sinfonia
Act I Scene 1: Presto, presto, alla catena (Quickly, quickly, back to your chains) (Chorus)
Act I Scene 1: Recitative: Ite all'opre servili (Haste to your humble tasks) (Tulia)
Act I Scene 1: Presto, presto, alla catena (Quickly, quickly, back to your chains) (Chorus)
Act I Scene 2: Recitative: Poiche del viril sesso (Now that we have subdued) (Tulia)
Act I Scene 3: Recitative: Aurora, ah non vorrei (Aurora, I would not like) (Tulia)
Act I Scene 3: Aria: Fiero leon, che audace (A fierce lion that once boldly) (Tulia)
Act I Scene 4: Recitative: Che piacer, che dilerro (What pleasure, what delight) (Aurora)
Act I Scene 4: Aria: Quegl'occhietti si furbetti (Those little eyes, so mischievous) (Aurora)
Act I Scene 5: Recitative: Oh che gusto, oh che gusto! (Oh joy, oh joy!) (Graziosino)
Act I Scene 5: Aria: Quando gli augelli cantano (When the birds are singing) (Graziosino)
Act I Scene 6: Arietta: Madre Natura (Mother Nature) (Giacinto)
Act I Scene 6: Recitative: Questa parucca, in vero (This wig, in very truth) (Giacinto)
Act I Scene 6: Aria: In quel volto siede un nume (In that face resides a spirit) (Giacinto)
Act I Scene 7: Recitative: Oh, quanto mi fan ridere (Oh, how they make me laugh) (Cintia)
Act I Scene 7: Aria: Se gli uomini sospirano (If the men are miserable) (Cintia)
Act I Scene 8: Recitative: Ma io, per dir li vero (But, to tell the truth) (Tulia)
Act I Scene 8: Aria: Cari lacci, amate pene (Dear bonds, beloved travail) (Tulia)
Act I Scene 9: Recitative: Dov'e, dov'e chi dice (Where, where is he who says) (Rinaldino)
Act I Scene 9: Aria: Gioje care, un cor dubioso (Dear joys, come flood) (Rinaldino)
Act I Scene 10: Recitative: O Diana mia gentile! (O my amiable Diana!) (Giacinto)
Act I Scene 10: Recitative: Con Aurora Giacinto? (Giacinto with Aurora?) (Cintia)
Act I Scene 10: Finale I: Venite, o ch'io vi faccio (Come along, or you shall have) (Cintia)
Act III Scene 2: Aria: Fino ch'io vivo adorero (As long as I live I shall adore you) (Tulia)
Act III Scene 3: Recitative: Io rido come un pazzo (It makes me laugh like mad) (Ferramonte)
Act III Scene 3: Aria: Le donne col cervello (Women use their wits) (Ferramonte)
Act III Scene 5: Recitative: Non ne vuo piu sapere (I want no more to do with you) (Graziosino)
Act III Scene 5: Aria: Che bel regnar contenta (How sweet to rule contented) (Aurora)
Act III Scene 6: Recitative: Colui di Ferramonte (That chap Ferramonte) (Graziosino)
Act III Scene 6: Aria: Giuro ... Signora si (I swear ... Indeed, madam) (Graziosino)
Act III Scene 7: Recitative: Ah, ch'e un piacere soave (Ah, it is a delicious feeling) (Cintia)
Act III Scene 7: Duet: Eccomi al vostro piede (Behold me kneeling at your feet) (Cintia)
Act III Scene 8: Finale III: Pieta, pieta di noi (Mercy, have mercy upon us!) (Chorus of Women)
Act III: Epilogue
Vexilla regis prodeunt
Station I: Jesus wird zum Tode verdammt
Station II: Jesus tragt sein Kreuz
Station III: Jesus fallt zum ersten Mal
Station IV: Jesus begegnet seiner heiligen Mutter
Station V: Simon von Kyrene hilft Jesus das Kreuz tragen
Station VI: Sancta Veronica
Station VII: Jesus fallt zum zweiten Mal
Station VIII: Die Frauen von Jerusalem
Station IX: Jesus fallt zum dritten Mal
Station X: Jesus wird entkleidet
Station XI: Jesus wird ans Kreuz geschlagen
Station XII: Jesus stirbt am Kreuze
Station XIII: Jesus wird vom Kreuz genommen
Station XIV: Jesus wird ins Grab gelegt


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