VIVALDI | L'Estro Armonico op. 3 - RedDress 2019

“CD DES TAGES” for Radio Kassik Austria. (Austria, 30/04/2019)

“Compared to the original version, the sound is much lusher, grippier, “down to earth”... The sound quality meets the highest audiophile requirements."
Dr. Ingobert Waltenberger (Online Merker - Germany, 21/05/2019)

“They are rich interpretations, full sound, lively, consciously dynamic and engaging, but also very balanced, because Armoniosa does not emphasize too much, but gives the impression of a free sound, but always controlled. The five musicians have a first-class rhythmic precision, and there is a lot of clarity in their musical production, but they also know how to create the atmosphere and the melodic inspiration to achieve perfect eloquence.”
Remy Franck (Pizzicato - Luxembourg, 26/05/2019)

“A similar spirit of fidelity to Vivaldi's extremely diverse music also characterizes the transcriptions performed by Francesco Cerrato and his ensemble Armoniosa on the double CD to be discussed here. Temperament, fantasy and empathy with the music form a close and fruitful connection here... A successful implementation of the famous first published collection of the prete rosso, as Vivaldi was liked to be called because of his red hair, for chamber ensemble, which does not take over the self-imposed task under any circumstances.”
Detmar Huchting (Klassik Heute - Germany, 31/05/2019)

“Armoniosa succeeds, even with a small ensemble, in rendering the fullness of sound and the richness of timbres, typical of Vivaldi's score."
Arturo Stalteri (RAI Radio 3, Primo Movimento - Italy, 03/06/2019)

“The result is impressive, thanks to the beauty and the sense of play of the ensemble. Each of them offers us a moment of grace that makes us live one of the best pages of master Vivaldi.”
Classique HD (France, 21/06/2019)

“The five instrumentalists combine joy of playing and accurate listening, they watch each other and adjust dynamically with extreme precision - which is not always easy with this line- up. Above all, they succeed in letting the music come to life and thus beat the cliché of the sewing machine baroque.”
Oliver Fraenzke The New Listener (Germany, June 2019)

GRAZIANI | 6 Sonatas - Rubicon Classics 2017

“Stefano Cerrato masters the high technical demands of the six sonatas op. 3 in a sovereign, elegant way and with great sensitivity. His two teammates act with lively impulses and elegant restraint. So the elegant interpretation succeeds excellently.”
Robert Strobl TOCCATA MAGAZINE, May 2018 (Germany)

“These sonatas always have special features in the solo part, which is kept going by the groove (the term from the jazz fits well here) of the two motivated continuo accompanists. The range from the Baroque to the Classical is staked out, integrating spirited dances and lyrical sighs in a stylish way. Here Carlo Graziani is proven as a self-confident individualist former cello music best reference.”
Hans-Dieter Grünefeld MUSIK&THEATER ZURICH, May 2018 (Switzerland)

“Stefano Cerrato expresses the rococo-like elegance of his cello sonatas very well, even better than Gustavo Tavares in the comparison recording (Sanctus Recordings), which goes a little bit more firmly to the point. At the same time, Cerrato notices how far Graziani is pushing the limits of what is technically feasible, especially at high altitudes. The accompaniment of the two-headed ensemble Armoniosa is characterized by a perfect mixture of restraint and awake impulses.”
Matthias Hengelbrock FONOFORUM, March 2018 (Germany)

“... These sonatas by Graziani are excellent pieces of music, which will give much joy to all lovers of the cello, and certainly not only to them. Cerrato’s performances are technically impressive, but his interpretations are not merely demonstrations of his technique or of the requirements of these sonatas. This is music making of the highest level and this set is something you will return to. I should not forget to mention Cerrato’s outstanding partners Marco Demaria and Michele Barchi. This is a splendid set. The fact that these sonatas are little known is an additional reason to label this production Recording of the Month.”
Johan van Veen MUSIC WEB International, November 2017 (UK)

“... Cerrato gives himself completely to the music and plays the Sonatas op. 3 by Graziani very vitally and with exuberant fantasy, so that the nearly one and a half hour long program becomes real listening pleasure.”
Remy Franck PIZZICATO, November 2017 (Luxembourg)

“The cellist Stefano Cerrato plays with his Ensemble Armoniosa the Sonatas as imaginatively and variedly as they were composed. The curve of tension is always upright, the listener can dive into this mysterious land of sounds that feeds from any subterranean sources from Italy over France to northern Germany. Most entertaining, they take us on this journey from the playful, austere-austere and dancer baroque into the more sensitive Rococo. Balsam for stress-swept ears and souls.”
Dr. Ingobert Waltenberger DER-NEUER-MERKER.EU, October 2017 (Austria)

PLATTI 6 Sonatas | VIVALDI "La Stravaganza" op. 4

“...The Cerrato brothers are well matched, technically assured partners and realize their ‘period’ interpretations with flair, musicianship and style. They converse fluently in imitation, shape phrases with unanimity and include tasteful ornamentation as appropriate. Their continuo support ranges from just a cello through various combinations to a ‘full set’ of cello, harpsichord and chamber organ.”
Mr. Robin Stowell THE STRAD, October 2017 (UK)

“The exquisite chaconne from the final concerto of Vivaldi’s La stravaganza may be worth the entry price alone. But this second set of 12 concertos for violin and strings with continuo – published, like the hugely influential 1711 set L’estro armonico, by Estienne Roger of Amsterdam – positively o’er brims with further musical delights. So it’s hard to believe it was
less well received than its predecessor, especially when performed by such persuasive advocates of Vivaldi’s bravura originality as Italian period instrument band Armoniosa and violinist/director Francesco Cerrato. Cerrato and Armoniosa enter, well, if not a crowded field then one distinguished more by quality than quantity, and among my enduring favourites are the suavely elegant Monica Huggett with the Academy of Ancient Music under Hogwood, the characterful Rachel Podger with Arte dei Suonatori and the ardently stylish Fabio Biondi with Europa Galante (Virgin, 7/11 – though the latter’s is not a complete recording). But the new kids on the block – Cerrato founded Armoniosa only in 2012 – have convincingly staked their claim with this debut recording for MDG. An impressive debut indeed.”
William Yeoman GRAMOPHONE, August 2015 (UK)

“This is an extremely elegant, beautifully poised and nuanced rendering of Vivaldi’s Op. 4. The performances are also exceptional. The first violin (Cerrato) is a truly wonderful player, with such delicate nuance in every phrase. His understanding of Vivaldi is exceptional, and he truly balances that festivity and solemnity always at odds in Vivaldi’s corpus. I would buy this pair of discs just to hear him play. It is the most impressive rendering of Vivaldi’s string work I have heard for a very long time. In all, this is one to buy immediately, and not just if you like Vivaldi: if you fancy something richly detailed and complicated, but something moving and fun, then buy this over any other recent recording of Vivaldi or other Venetian Baroque. It is stunning.”
Dan Sperrin FANFARE MAGAZINE, Mar – Apr 2015 (USA)

“The charms of the musical composition can be so exquisite, because the violinist Francesco Cerrato, the cellist Stefano Cerrato and the other musicians (Marco Demaria, Cello, Michele Barchi, harpsichord, Daniele Ferretti, organ) painstakingly illuminate every detail. It is particularly striking that, unlike the trend of historically orientated specialists, especially from Italy, the ensemble is increasingly researched, made more and more playful, and the re- discoveries of (instrumental) singing are taking place: the cantilenas breathe the elegance and elegance of the line unfold with an always substantial sound of the finest edible melt. The Cerratos are not purists, but they form the singing lines, which they know how to decorate airily, sometimes also with a vivid vibrato, so that the violin and the cello come close to human singing, but also play the very richest qualities of the string instruments the sound.”
Florian Schreiner KLASSIK.COM, 8th September 2017 (Germany)