Aaron Carpene

Aaron Carpene


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“Directing from the harpsichord, the Australian-born, Italian-based Aaron Carpenè shaped a superb account of Handel's most effusively lyrical score.
”Opera - John Allison (Handel’s Acis and Galatea, October 2011, Macau)

“Handel’s irresistible little English opera “Acis and Galatea,” seemed to be from another world entirely. It was given a fine performance by Western soloists and the excellent Akademie für Alte Musik Berlin, artfully led from the harpsichord by Aaron Carpenè.”
The New York Times - George Loomis (Handel’s Acis and Galatea)

“It was beyond the beyond, one of those rare moments in life when one is thrilled to be alive for the privilege of hearing/seeing/feeling a genius of a creation. Aaron Carpenè succeeded in producing an opera that links antiquity with modernity with a seamless result that lifts the soul as with the greatest art.”The Hudson Review - Paula Deitz (Japan Orfeo, October 2016 Kamakura)

Aaron Carpenè, conductor, harpsichordist, organist, pianist and early music specialist, has forged a unique path in today’s music performance panorama. The combination of a profound knowledge and performance experience in 17th and 18th century European music and the desire to interact with some of the world’s great and unique performing arts traditions has led to the creation of the pioneering projects Opera Bhutan, a critically acclaimed intercultural operatic performance of G. F. Handel’s Acis and Galatea in the Royal Kingdom of Bhutan that incorporated traditional Bhutanese music, dance and costume and Japan Orfeo, an integration of Monteverdi's first operatic masterpiece and Noh Theatre, Nihon Buyo and Gagaku music. He is currently engaged as musical director in a transcultural production of Mozart's Zauberflöte that will incorporate traditional Cambodian Performing arts and music to be premiered in early 2019 at the magical setting of the Chau Say Tevoda Temple in Angkor. For Spoleto Festival USA 2015 Carpenè created the performance score and conducted the first production in modern times of Francesco Cavalli's opera Veremonda, l'amazzone d'Aragona.

Born in Perth, Australia, Aaron Carpenè studied at the University of Western Australia and the Conservatory of Music of Venice. In Italy he continued studies in early keyboard technique with the English master Christopher Stembridge, specializing in the repertory for harpsichord and organ in Italy in the 16th, 17th and 18th centuries. He became musical assistant to Alan Curtis, completing his formation in the areas of vocal music, vocal and orchestral accompaniment and conducting.

Carpenè combines the discipline of philological research with publications, recordings and performance, in projects that begin with the rare manuscript and end on the concert stage, in print or on record. He is active as conductor, soloist and ensemble member. Recent research and performance projects include Handel’s Acis and Galatea with the Akademie für Alte Musik from Berlin as conductor, with director Stefano Vizioli (Macau International Music Festival 2011); Handel’s Imeneo for Festival Baroque Australia (2011); Sigismund Neukomm and F. J. Haydn for the Haydn Festival in Eisenstadt 2011; Alessandro Scarlatti’s Il Trionfo dell’Onore, the Stabat mater and the Concerti Sacri Opera Seconda for International Sacred Music Festival of Oslo; Baldassare Galuppi’s sacred motets Confitebor tibi Domine and A rupe ad vallem; Niccolò Jommelli’s intermezzo L’Uccellatrice; the world-premiere recording of Giuseppe Sigismondo’s intermezzo La prosuntuosa delusa; the Italian keyboard works from the Jagiellonian Library of Krakow; and Giovanni Bononcini’s Cantatas for solo voice, instruments and basso continuo.

As musical assistant and maestro al cembalo to Alan Curtis, Carpenè has performed in the recordings and theater productions of Fernando, Re di Castiglia (Virgin Records, Teatro di São Carlos, Lisbon) by G. F. Handel, Motezuma (Deutsche Gramophon, European tour) by A. Vivaldi, Il ritorno d’Ulisse in Patria (Oslo) by C. Monteverdi, and Artaserse (Harmonia mundi K617, Barcelona) by D. Terradellas. Carpenè performs extensively in Europe and abroad as a soloist keyboard interpreter of early music. He has recorded the world premier recording of the keyboard works by Paolo Quagliati for Tactus records. As musical editor he has published the critical edition of the complete organ magnificats by Hans Leo Hassler for the Istituto dell’Organo Storico Italiano.

He is frequently invited to hold specialist masterclasses in Early Performance Practice and has a special interest in the Middle and Far East as artist-in-residence at the Conservatory of Music in Damascus and the Academy of Performing Arts in Hong Kong.

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