3. Monteverdi-Madrigal-Week 2021
S. Agnese - Gesuati, Venice
Sunday, 18.7.2021 til Friday 23.7.2021 Choirs - Ensembles - Masterclass
During the 3rd Monteverdi Madrigal Week Venice, singers will have the possibility, for the first time, to sign up for a masterclass.
The Masterclass is aimed at professional singers or students who want to work for a week with an experienced, internationally renowned singer and improve their vocal performance, madrigal singing and their technique.
Their are only limited places available for the Masterclass. For the participation an application with a sound recording is necessary. (Please add 'Masterclass' when you indicate your voice in the registration!) The sound recording must be sent as a mp3-file to firstname.lastname@example.org or, if necessary, a link for downloading the mp3-file.
For more information (organization, price, ..) click here
(*) = required,
Please transfer the course fee to the account:
IBAN: AT61 47150 329653 00000
'Monteverdi Week Masterclass 2020'
Once the fee transfer has been registered, your place on the course is secured.
'It was a wonderful week, and if it works, I'll be back next year. What a nice idea to play Monteverdi's music in 'her birth city'. I already told you that I am enthusiastic about your workshop.' (Dagmar Ziegner, Königswinter)
after the final concert
Lisandro Abadie (Buenos Aires, Argentina) Bass-Baritone, Masterclass
Lisandro Abadie was born in Buenos Aires, Argentina, where he began his musical studies. He graduated at the Schola Cantorum Basiliensis and the Musikhochschule Luzern. He was awarded the Edwin Fischer Gedenkpreis in 2006.
He has sung under the direction of William Christie, Laurence Cummings, Václav Luks, Philippe Herreweghe, Facundo Agudin, Rubén Dubrovsky, Jordi Savall, Paul Agnew, Paul Goodwin, Giovanni Antonini, Fabio Bonizzoni, Skip Sempé, Vincent Dumestre, Simon-Pierre Bestion, Hervé Niquet, Geoffroy Jourdain, among others.
In the field of opera, his wide repertoire extends from Monteverdi to contemporary music and particularly includes Handel and Viktor Ullmann. In 2010 he created the title role of the opera Cachafaz by Oscar Strasnoy, staged by Benjamin Lazar. He has collaborated with ensembles like Les Arts Florissants, Collegium 1704, Orchestra of the Age of Enlightenment, Les Talens Lyriques, Le Poème Harmonique, La Tempête, Le Concert Étranger, Ensemble Inégal, La Risonanza.
He collaborates with the lutenist Mónica Pustilnik and with the pianist and composer Paul Suits. He regularly performs at the Handel Festivals in London, Karlsruhe, Göttingen.
Among his numerous recordings: Handel’s Music for Queen Caroline, Airs sérieux et à boire (Bien que l’amour, Si vous vouliez un jour), Handel’s Siroe, the complete Monteverdi Madrigals and Vespro, Hayes’ The Passions, Handel’s Aci, Galatea e Polifemo, Gilles’ Messe des Morts, Marais’ Sémélé, Lalande’s Grands Motets, Schumann’s Der Rose Pilgerfahrt, Bach Mirror, The Tempest, and the DVDs of Handel’s La Resurrezione, and Lully’s Phaëton.
Since 2019, Lisandro teaches singing, musical and literary sources, in the Master of Advanced Studies, AVES (Advanced Vocal Ensemble Studies) at the Schola Cantorum Basiliensis. He is invited to give masterclasses with William Christie and Les Arts Florissants, at the Mozarteum Salzburg, and in the Venice Madrigal Weeks.
Lisandro is the author of numerous translations, and regularly collaborates as a dramaturgical researcher with the stage director Benjamin Lazar. His research on the manuscript of Viktor Ullmann’s opera Der Kaiser von Atlantis is reflected in the recent recording for IBS records.
Presently he is preparing a book on his current research topic: “vibrato” –oscillations, pulsations, undulations– as documented by historical sources and organ stops in Europe and in the New World since the 16th century.
'It is a lot of fun to work with you on the madrigals! You are a great team and you transfer your enthusiasm to the group. The Madrigal Week is a great experience - a wonderful interplay of the unique atmosphere of Venice, the great music of Monteverdi and the good mood of the group during the rehearsals - and also outside the rehearsals.' (Britta Heiermann, Rommerskirchen)