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“Un’alma innamorata” is a program Just another recital about love.Well, not exactly.

This time nobody is trying to condemn the little arrow-shooting kid. Poor Cupid...he is no tyrant, no cruel god, no sadist playing darts with human flesh. We are the ones to blame!
Through the series of fortunate and unfortunate events of life, love is one of the most beautiful, yet complicated experiences humans face. And how do we deal with it? We enjoy holding Love itself accountable for our feelings, singing incredibly beautiful arias, long lyric laments, desperate, angry coloratura...but still arguing we are the victims of the one little master of evil.

“Love made me do it!” No. It’s time to take responsibility, time to choose if infatuations and heartbreaks are going to define how we live our lives. The abandoned, rejected, or betrayed lovers starring these cantatas, in an all-Handel line-up, actually lead us along the way, and through their singing, it seems to hear them say: “I’m in love...and I must handle it”.

Yes, silly pun intended!!!



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"...Begelman is technically precise and full of fun, constantly feeding the ear delicious new colouristic and timbral details..."

Charlotte Gardner, GRAMOPHONE

 "...A dazzling ray of sunshine..."

Nicholas Anderson, BBC MUSIC

 "...the solo writing is both shamelessly virtuosic and constantly inventive, challenges Begelman tackles with aplomb before topping them off with a suitably extrovert cadenza..."
Tim Homfray, STRAD

"...Le soliste de ce délicieux programme, dont la richesse musicale est nourrie de multiples sentiments qui traduisent la personnalité aux facettes kaléidoscopiques de Vivaldi, est Boris Begelman...  Il apporte à ces concertos de Vivaldi une virtuosité lumineuse et chaleureuse, tout en veillant à traduire les nuances de ces « nouvelles perspectives » auxquelles le compositeur se consacre aux approches de la cinquantaine..."


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"...Full, strong and vibrantly toned, technically superb and beautifully ornamented, these are fresh and immensely human-sounding…Dance movements energetically propulse forwards, never losing sight of the rhythmic metre even when giving it a playful tweak. Then there are the truly introvert movements..."
Charlotte Gardner, GRAMOPHONE

"...Begelman musiziert sehr originell und flexibel, mit relativ zügigen Tempi und doch ohne Show- Virtuosität, weil sich sein ernsthaftes Musizieren aus darbieterischer Tiefe speist..."

Remy Franck, PIZZICATO

"...El sonido de Begelman es más lírico que dramático, sin vibrato, limpio, un punto seco si se quiere, pero de una transparencia extraordinaria. Su arco es ágil, preciso e incisivo, y la claridad y distinción con la que hace sonar cada nota son asombrosas, incluso en los pasajes más rápidos y filigranescos..."

Pablo J. Vayón, SCHERZO


The place of Domenico Scarlatti in the history of 18th century music is certainly exceptional. This exquisite and imaginative group of works is included in the fourteenth volume of Scarlatti’s manuscript sonatas preserved in the Marciana Library in Venice. Although known as keyboard sonatas, research reveals that they were very likely to have been conceived for performance on the violin – multi-movement works, often showing the presence of figured bass accompaniment, rapid changes of register and numerous passages better suited to a violin than a keyboard instrument all support the theory. This is flashy and virtuosic writing for violin at its finest.

”…Boris Begelman’s playing is every bit as fleet and agile as this music sometimes requires, but is also tonally rich and various. He is by turns thoughtful and energetic, being equally capable of tenderness or forcefulness. He and the continuo instruments complement one another perfectly….”

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"...Begelman, che suona un violino Louis Moitessier del 1790 dalle sonorità intime e luminose, restituisce all’ascolto la familiarità colta e ricca di fantasia del Telemann da camera, senza mai cedere a compiacimenti narcisistici, anzi puntando su una lettura raccolta e sempre ben meditata che pone comunque sempre nel giusto risalto l’ornamentazione in stile italiano che caratterizza, qui ancor più che altrove, la produzione del Magdeburghese..."

Alessandro Cammarano, LE SALON MUSICAL

"...Boris Begelman offers highly accomplished readings of seven of Telemann’s sonatas for violin and basso continuo, four of which are claimed to be world premiere recordings. Fleet of finger and with sparing use of vibrato, he overcomes the challenging figuration with precision, shapes phrases expressively and captures the varying characters of Telemann’s ‘mixed style’ with skill and flair..."

Robin Stowell, THE STRAD

"...Er tritt mit einem kräftigen Ton und großen Gesten auf, strahlt ein starkes Selbstbewusstsein aus, beweist aber auch eine hohe Sensibilität für das lyrische Potential und die atmosphärischen Nuancen dieser Musik..."

Matthias Hengelbrock, FONO FORUM


Francesca Aspromonte, soprano
I Barocchisti
Diego Fasolis
Boris Begelman, solo violin

"...Wonderful work, too, from violinist Boris Begelman in the intricate dialogue with voice in 'Cor imbelle a due nemici' from Bononcini's La Conversione di Maddalena..."

Katherine Cooper, PRESTOMUSIC


Imaginarium Ensemble
Enrico Onofri
Boris Begelman, violin solo


Abchordis Ensemble
Andrea Buccarella
Boris Begelman, concertmaster


Concerto Italiano
Rinaldo Alessandrini
Boris Begelman, violin solo, concertmaster


Concerto Italiano
Rinaldo Alessandrini
Boris Begelman, concertmaster

Concerto Italiano
Rinaldo Alessandrini
Boris Begelman, concertmaster

Concerto Italiano
Rinaldo Alessandrini
Boris Begelman, concertmaster

Anne Sofie Von Otter
Sandrine Piau
Cappella Mediterranea
Leonardo Garcia Alarcon
Boris Begelman, concertmaster

Concerto Italiano
Rinaldo Alessandrini
Boris Begelman, concertmaster

Kammerorchester Basel
Riccardo Minasi
Boris Begelman, concertmaster


S. Kermes
Amici Veneziani
Boris Begelman, concertmaster

Julien Martineau
Concerto Italiano
Rinaldo Alessandrini
Boris Begelman, concertmaster

Il complesso barocco
Alan Curtis
Boris Begelman, concertmaster

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