About the Concert
The Süddeutsche Zeitung describes Julia Lezhneva as a “magician” who can make her voice vanish into thin air, only to unleash a “firework display of garlands and ludicrous vocal feats” the very next moment. Perfect conditions for a program centered entirely on the “Golden Age.”
At the end of the 16th century, scholars and musicians in Florence (the Florentine Camerata) believed that in ancient Greece, dramas were not spoken but sung in their entirety. They regarded antiquity as the “Golden Age” of human culture. Their goal was not merely an invention but a rebirth (Renaissance), a musical perfection once thought lost. Around the same time, opera was born—composers moved away from complex polyphony in favor of solo singing with simple accompaniment (thorough bass). The strict rules governing the basso continuo gave singers the freedom to express emotions as passionately as one imagined the heroes of antiquity did.
Giulio Caccini laid the theoretical foundations with his collection “Le Nuove Musiche” (1601). Despite their apparent simplicity, Claudio Monteverdi’s “Scherzi musicali” reveal intense passions that draw their musical power from the clash of contrasting emotions. In High Baroque music, such as that of Antonio Vivaldi, these emotions are intensified through extreme intervals and chromatic lines, culminating in a virtuoso “Wutarie.” Pietro Paolo Melli’s lute music offers a haven of calm amid this emotional battle.
Program
Julia Lezhneva, Soprano
Artist in Residence 2026
Luca Pianca, Theorbo
Giulio Caccini (1551–1618)
“Dolcissimo sospiro,” aria
“La bella man vi stringo,” madrigal
“Amarilli mia bella” (ornamented), aria
“Belle rose porporine,” aria IX
Claudio Monteverdi (1567–1643)
“Ecco di dolci raggi il sol armato” SV 249
“Quel sguardo sdegnosetto” from “Scherzi Musicali” SV 247
Victor de Montbuisson (1598–1627):
Prélude, Ballett, Courante & Branle de la cornemuse for lute
Domenico Mazzocchi ( 1592–1665)
“Con ghirlanda di rose,” cantata
Giacomo Carissimi (1605–1674)
“Tu m’hai preso a consumare,” cantata
Intermission
Antonio Vivaldi (1678–1741)
“Sorge vermiglia in ciel la bella aurora,” Cantata RV 667
Goëss-Ebethal Manuscript (16th century):
Prélude, Allemande, Gigue, Sarabande, and Chaconne for lute
Giovanni Paisiello (1740–1816):
Variations on “Nel cor più non mi sento”
Duration: 110′ (including intermission)
The Artists
About the venue: Chiesa di San Martino, Ronco sopra Ascona
The Chiesa di San Martino, expanded in the 16th century from a 15th-century oratory, as shown in drawings attributed to Giovanni Beretta, features a remarkable variety of styles: a medieval nave and chancel, a 16th-century tower and Baroque elevation, and a 19th-century facade. Its elevated position above Lake Maggiore makes it an ideal venue for concerts in our Concerts of Excellence series.
Arrival by public transportation: Tram/bus stop nearby: Ronco Sopra Ascona, Chiesa
Arrival by car: Car parks at the venue
