08.09. La Cetra & Roberta Invernizzi

Friday 8.09.2017 - 7.30 PM  

St. Trinity Church - Św. Trójcy 4 Street Gdańsk

La Cetra (Switzerland) & Roberta Invernizzi (Italy) soprano
  • Eva Borhi - I violin
  • Peter Barczi - II violin
  • Joanna Bilger - viola
  • Melanie Beck - cello
  • Mirko Arnone - theorbe
  • Alina Ratkowska - harpsichord
  • Roberta Invernizzi - soprano



Claudio Monteverdi (1567-1643)
“Tempro la Cetra” from
Settimo libro de madrigali (Venezia, 1619) for Soprano, Strings & B.c.

Biagio Marini (1594-1663)
Sonata 24 a quattro from
Per ogni sorte di strumento musicale (Venezia, 1655) for 2 Violin, Viola & B.c.

Claudio Monteverdi

Disprezzata Regina” from L'Incoronazione di Poppea (1642) for Sopran & B.c.

Dario Castello (ca. 1600-1658)
Sonata XV from
Sonate concertate in stil moderno, libro secondo (Venezia 1629) for 2 Violin, Violoncello & B.c.

Claudio Monteverdi

Ohimè ch’io cado” for Soprano & B.c.

Dario Castello (ca. 1600-1658)
Sonata II from
Sonate concertate in stil moderno, libro secondo (Venezia 1629) for Violin Solo und B.c.

Claudio Monteverdi

Signor quell'infelice" from L’Orfeo (Venezia, 1609) for Soprano & B.c.


Marco Uccellini (1603 - 1680)
Aria quinta sopra la Bergamasca from „Sonate, arie et correnti, Op. 3“

Barbara Strozzi (1619-1677)
“Tradimento” from
Diporti di Euterpe Op.7 (Venezia, 1658) for Soprano & B.c.

Tarquinio Merula (1594 - 1665)
Ballo detto Pollicio from
Canzoni overo sonate concertate per chiesa e camera, Op. 12, Book 3 for 2 Violin, Violoncello & B.c.

Barbara Strozzi (1619-1677)
“Sino alla morte” from
Diporti di Euterpe Op. 7 (Venezia, 1658) for Soprano & B.c.

Biagio Marini (1594-1663)
Passacalio a quattro from
Per ogni sorte di strumento musicale (Venezia, 1655) for 2 Violin, Viola & B.c.

Benedetto Ferrari (1603-1681)
“Amanti ch’io vi so dire” from
Musiche varie a voce sola, libro III (Venezia, 1641) for Soprano und B.c.

La Cetra Barockorchester was founded in 1999 at the initiative of Dr. Peter Reidemeister, then Director of the Schola Cantorum Basiliensis and rapidly became recognized internationally as one of the leading ensembles in historically informed performance practice. The name La Cetra is taken from the title of Antonio Vivaldi’s collection of 12 violin concertos op. 9 first published in Amsterdam in 1727. La Cetra refers to the ancient lyre or zither.
Most of the musicians are graduates of the Schola Cantorum Basiliensis, the Swiss elite training centre for early music. The ensemble collaborates with the research department of the Schola Cantorum offering the possibility for musical programming and preparation supported by the most recent musicological findings. The discovery of works of composers such as Brescianello, Venturini or Paisiello have enriched the orchestra’s repertoire. This ranges from the early seventeenth century works of Monteverdi through to symphonies of the classical and early romantic periods.
La Cetra’s Artistic Director since 2009 is Andrea Marcon, internationally known as one of the preeminent conductors of Baroque and early Classical repertoire.  He has brought new impulses and a fresh approach to the rich and often rediscovered repertoire of the period. Most recently, for example, Antonio Caldara’s La Concordia de’ pianeti was brought to life for the first time in nearly 300 years and recorded for the Deutsche Grammophon label.
Over the years, La Cetra has worked regularly with a number of well-known guest conductors, among them Jordi Savall, René Jacobs, Attilio Cremonesi or Gustav Leonhard, as well as soloists such as Andreas Scholl, Vivica Genaux, Magdalena Kožená, Patricia Petibon or Giuliano Carmignola, to name a few. The repertoire and the occasion determine the size of the orchestra which can go from a smaller Consort to a full-fledged orchestra with chorus and soloists. The La Cetra Vokalensemble was established in 2012 at the initiative of Andrea Marcon and appears regularly with the orchestra in opera and oratorio, as well as on its own.
La Cetra’s mission is to bring to life the music of the past with a fresh, dynamic and contemporary approach. Resounding public and critical acclaim in the major international festivals, in Europe’s leading concert halls and through a wide range of broadcast and CD productions give testimony to the orchestra’s brilliance.

Foto Ribaltaluce Studio



The Italian Soprano Roberta Invernizzi is today one of the most sought after soloists in the field of baroque and classical music and internationally recognized as a point of reference of style and baroque singing.
Born in Milan, she studied piano and double bass before turning to singing, studying with Margaret Heyward.

She has sung in many of the most important theatres in Europe and the United States, working with conductors such as Nikolaus Harnoncourt, Claudio Abbado, Ivor Bolton, Ton Koopman, Gustav Leonhardt, Franz Brüggen, Jordi Savall, Alan Curtis, Giovanni Antonini, Fabio Biondi, Antonio Florio, Rinaldo Alessandrini, Gustavo Dudamel and Ottavio Dantone and collaborating regularly with ensembles like: Concentus Musicus Wien, Orchestra Mozart, Accademia Bizantina, Il Giardino Armonico, Cappella de la Pieta dei Turchini, Concerto Italiano, Europa Galante, Ensemble Matheus, Venice Baroque Orchestra, Barocchisti etc..
She has been acclaimed twice recently in La Scala di Milano as Armida in Rinaldo with O. Dantone and staged by P. Pizzi and Monteverdi’s Orfeo under the baton of R. Alessandrini and staged by R. Wilson.

In 2012 the Konzerthaus in Vienna celebrated 20 years of the Resonanzen Festival with a recital “Roberta Invernizzi and friends” and in November 2012 Nikolas Harnoncourt chosed her as soloist for the celebration of the 200 anniversary of the Musikverein Wien with Mozart’s version of Alexander’s Feast.

Among her prestigious engagement have been: Mozart recitals at the Queen Elizabeth Hall and Cleopatra in Handel’s Giulio Cesare with the Orchestra of the Age of Enlightenment; Nerone in Handel’s Agrippina with A. Curtis at Teatro Real in Madrid; Scarlatti’s La Santissima Trinità and Vivaldi’s Ercole sul Termodonte at the Théâtre des Champs-Elysées in Paris; title role of Statira by Cavalli at Teatro San Carlo in Napoli; Vagaus in Vivaldi’s Juditha Triumphans with Orquesta Nacional de España; Maddalena in Handel’s La Resurrezione with N. Harnoncourt in Vienna Musikverein; Galuppi’s Olimpiade with A. Marcon in Teatro La Fenice in Venice..

She appears regularly in symphonic repertoire, recently: Mozart’s Waisenhausmesse under the baton of C. Abbado at the Salzburg Festival; Mozart’s C Minor Mass and Davide Penitente at the Musikverein in Vienna and Styriarte Festival with N. Harnoncourt.

She sings regularly at the Salzburg Festival: title role in Sant’ Elena al Calvario with F. Biondi; a baroque recital with Il Giardino Armonico at the Mozartheum; Aci, Galatea and Polifemo again with G. Antonini; Handel’s Trionfo del Tempo with M. Haselböck and Mozart’s C minor Mass with G. Dudamel; Isacco by Jommelli with Diego fasolis.

Future and recent engagements include: Dido and Enea (title role) in Verona; Rinaldo (Armida) with O. Dantone in Ravenna and Ferrara; European Tour with music from Pergolesi with Bernarda Fink and Il Giardino Armonico; another tour of Handel’s Arie e duetti with Philippe Jaroussky and Anima Aeterna; Gluck’s Orfeo at the Teatro de la Maestranza in Sevilla with Orquestra Baroccca of Sevilla; Vivaldi’s Gloria with Alessandrini at the Théâtre des Champs Elysées etc.

Roberta Invernizzi has made over 70 recordings many of them world première with labels like: Sony, Deutsche Grammophon, EMI/Virgin, Naïve, Glossa, Opus 111, Symphonia, many of which have been recognized by the musical press with awards like Diapason D’Or de l’Année, Choc du Monde de la Musique, Goldberg’s Five Stars, Grammophone Awards and Deutsche Schallplatten Preis.
She also won the renowned Midem Classical Awards 2007 and the Stanley Prize. In 2010 her solo-cd of Handel “Italian Cantatas” for Glossa won again the prestigious Stanley Prize as “best Handel recording of the year”.
Recently her recordings: “Vivaldi Album” and “Faustina Bordoni” and “La Bella più Bella” recordings for Glossa were acclaimed by the international critique.