User:Mk6778/sandbox

= Federico Bardazzi = Federico Bardazzi (born April 7, 1962, in Florence) is an Italian conductor and musician, specializing in early, baroque music, and Gregorian chant. He is also a choir director.

Biography
Born into a family of music enthusiasts, Federico Bardazzi began his musical journey at the age of 6, studying piano, organ, and guitar. In 1975, he became a choir director and organist at the Pieve di Sant'Alessandro in Giogoli, where he conducted his first Gregorian chant Mass. In 1976, he assumed the role of organist and choir director at the Certosa of Florence. During the same period, he commenced his cello studies at the Cherubini Conservatory in Florence under the guidance of Giovanni Bacchelli, eventually earning his diploma [1]. In 1981, he co-founded the Florence Chamber Orchestra (Orchestra da Camera Fiorentina). In 1987, he inaugurated a new season of concerts at the National Central Library of Florence, which had been suspended after the 1966 flood, a project he continued over the years thanks to his collaboration with Maria Adelaide Bacherini Bartoli [2], the director of the Music Hall.

During the same year, he began collaborating with various ensembles, including the Toscanini Orchestra of Parma, the ORT - Orchestra della Toscana, the Abruzzo Symphonic Institution, and the orchestral groups of the Fiesole School of Music. In 1987, he continued his studies with André Navarra at the Chigiana Music Academy in Siena. In 1989, he began studying composition with Carlo Prosperi and Roberto Becheri, as well as choral direction with Roberto Gabbiani and Peter Phillips. At the Chigiana Academy, he studied orchestral direction with Myung Whun Chung [3]. In 1993, he obtained his degree in orchestral direction and delved into the study of Baroque music, following the productions of Philippe Herreweghe with the Collegium Vocale Gent and the La Chapelle Royale Orchestra. He studied Gregorian chant at the AISCGre in Cremona under Nino Albarosa, Johannes Göschl, and Franz Praßl. Concurrently, he pursued studies in choral music, choir direction, and the viola da gamba at the Cherubini Conservatory and the University of Tor Vergata in Rome [1]. In 1993, he founded the Choir and Orchestra of the Accademia San Felice, later known as Ensemble San Felice. In 1995, he collaborated as a choir director on Jacopo Peri's Euridice, a co-production between the Teatro Comunale of Florence and the Province of Florence, under the direction of Alan Curtis and directed by Luciano Alberti. From 1997, following the loss of his five-year-old son Emanuele, he dedicated himself to sacred music for a decade and embarked on an artistic path focused on medieval music and Gregorian chant. During the 2000s, a core group of instrumentalists and soloists, including flutist Marco Di Manno, harpsichordist Dimitri Betti, multi-instrumentalist Fabio Tricomi, lutenist Giangiacomo Pinardi, Baroque violinist Fabrizio Cipriani, organist Elena Sartori, sopranos Barbara Zanichelli and Giulia Peri, and tenor Leonardo De Lisi, was established within Ensemble San Felice. In 1995, Bardazzi directed Acis and Galatea [4][5] in co-production with Kammeroper Frankfurt and directed by Reiner Pudenz. The opera was also performed at the Astronave of the Centro Popolare Autogestito Firenze Sud. In 2000, he directed Handel's Tamerlano in San Gimignano, staged by Giancarlo Cauteruccio, while in 2008, he directed Rodrigo [6][7] by the same composer at the Lufthansa Festival in London. The production, directed by Luciano Alberti and featuring artists such as Susanna Rigacci, Leonardo De Lisi, and Laura Cherici, was presented in 2009 at the Teatro della Pergola in Florence. In 2010, he directed Handel's Giustino [8] in Genoa and Brescia. In 2013 and 2014, he directed Pergolesi's Il Flaminio in co- production with the Teatro Verdi in Pisa, directed by Marcello Lippi. In the same year, at the Teatro Goldoni in Florence, he directed Purcell 's Fairy Queen [9][10] for the Maggio Fiorentino Formazione.

In 2015, he directed Scarlatti's Il trionfo dell'onore and Gazzaniga's Don Giovanni o sia il convitato di pietra [11] at the Teatro Verdi in Pisa. In the same year, he directed Puccini's Suor Angelica and Il barbiere di Siviglia with direction by Ellen Williams. In 2018, he worked on the opera Motezuma by Galuppi, for which he was responsible for the transcription along with Veronica Nosei. The opera was performed at the Puccini Festival and the Mozarteum in Salzburg with the Mozarteumorchester Salzburg. In 2019, he directed Monteverdi's L'incoronazione di Poppea [12] with direction by Marcello Lippi. In 2020, in co-production with the Cantiere Internazionale d'Arte in Montepulciano, he presented Mozart's Don Giovanni - Gazzaniga [13], based on the Parisian version edited by Luigi Cherubini.

Opera
In 1995, he directed Acis e Galatea [4][5], a co-production with Kammeroper Frankfurt, under the direction of Reiner Pudenz. The opera was also performed at the Astronave of the Centro Popolare Autogestito Firenze Sud. In 2000, he directed Handel's Tamerlano in San Gimignano, staged by Giancarlo Cauteruccio. In 2008, he directed Rodrigo [6][7] by the same composer at the Lufthansa Festival in London, directed by Luciano Alberti and featuring, among others, Susanna Rigacci, Leonardo De Lisi, and Laura Cherici. The production was presented in 2009 at the Teatro della Pergola in Florence. In 2010, he directed Handel's Giustino [8] in Genoa and Brescia.

In 2013 and 2014, he directed Il Flaminio by Pergolesi in co-production with the Teatro Verdi in Pisa, under the direction of Marcello Lippi. In the same year, at the Teatro Goldoni in Florence, he directed Purcell 's Fairy Queen [9][10] for the Maggio Fiorentino Formazione. In 2015, he directed Scarlatti's Il trionfo dell'onore and Gazzaniga's Don Giovanni o sia il convitato di pietra [11] at the Festival Don Giovanni by Marcello Lippi at the Teatro Verdi in Pisa. In the same year, he directed Puccini's Suor Angelica and Il barbiere di Siviglia with direction by Ellen Williams. In 2018, he was involved in the opera Motezuma by Galuppi, for which he was responsible for the transcription along with

Veronica Nosei. The opera was performed at the Puccini Festival and at the Mozarteum in Salzburg with the Mozarteumorchester Salzburg. In 2019, he directed Monteverdi' s L’incoronazione di Poppea with the direction of Marcello Lippi. In 2020, in co-production with the Cantiere Internazionale d'Arte in Montepulciano, he presented Mozart's Don Giovanni - Gazzaniga [13], based on the Parisian version edited by Luigi Cherubini.

With the onset of the pandemic, he dedicated himself to the digital transition in the opera sector and developed the Virtual Stage [14] concept by Carla Zanin for a new format of production, research, and training in the opera theater, supported by the European Union. The main productions realized include L'Orfeo (2021), Il ritorno di Ulisse in patria by Claudio Monteverdi (2022/2023), Don Giovanni (2021), Le nozze di Figaro by Mozart (2022), La Cenerentola by Rossini (2022), and L’elisir d’amore by Donizetti (2022). In 2023, he directed Orfeo & Lwanda in Nairobi as part of the European Project CAPHE-Communities and Artistic Participation in Hybrid Environment, which relates the myth of Orpheus and the legend of Lwanda Magere from the Luo community in a show with VR experiments that are live-streamed in a virtual environment on Second Life.[15]

Sacred and Baroque Music
In 1995, he retrieved works by an anonymous 17th-century author from the archives of the National Central Library of Florence, San Filippo Neri. He transcribed and directed these works in their premiere performance for the 400th anniversary of the saint's death, alongside Oratorio by Andrea Cavallari. From 1996 onwards, he devoted himself to Bach productions with Baroque instruments, including the Mass in B minor and the complete Motets.[16] In 1997, he encountered the composer Arvo Pärt[17][18], drawing inspiration from him for a program centered around the Magnificat. The repertoire included Pärt's Sieben Magnificat Antiphonen and Magnificat from the Armenian and Georgian Middle Ages, progressing through Palestrina,  Monteverdi, Gabrieli, contemporary works by Pärt and Andrea Cavallari. The program was performed during a tour in Germany.

Also in 1997, he produced Andrea Cavallari's Apocalypse with choreography and dance by Virgilio Sieni and conducted Mozart's Requiem[19][20] in a version curated through the analysis of Joseph Eybler's historical version and contemporary versions by Richard Maunder, Franz Beyer, and Robert Levin. The score was presented in tandem with Andrea Cavallari's Requiem for a Friend and installations by the Steinerian artist Simona Lotti. In 1998, he began work on Carissimi's oratorios[21]. In 1999, he proposed the project of medieval music El cant de la Sibilla. Also in 1999, he was invited to conduct in the Florence Baptistery the Mass on the Aria di Fiorenza by Frescobaldi for O flos colende, a Sacred Music festival of the Opera di Santa Maria del Fiore.

Subsequently, he conducted Johann Sebastian Bach's Kirchenmusik: in 2003 and 2004, the Lutheran Masses in F major and G minor; in 2004, he performed the Berliner Messe in orchestral version in Florence with the Puchheimer Jugendkammerorchester at the Auditorium Santo Stefano al Ponte, and in the same year, in the Basilica di Santa Trinita, in the organ version with Cristina Bagnoli with the reconstruction of the Gregorian liturgy. In 2005 and 2007, he worked on the Johannespassion, in 2006 and 2008 on the Weinachts oratorium and the Öster oratorium. In 2008, he proposed the first modern performance of the Vespers of Stiava once again with the reconstruction of the liturgy of the time in Gregorian chant; the concert took place in the Basilica di San Lorenzo for the Friends of Music of Florence and was replicated in Brescia.