| |
| Il
Giornale, December 2, 2007 |
| ... They were all lucky to listen to
a wonderful and well-balanced orchestra,
conducted very attentively by the young
Giampaolo Bisanti, who even takes control
over the stage, and is never insecure, inert,
or banal, and who greatly enjoys
Mozart. |
| Lorenzo
Arruga |
“Positive
confirmations and pleasant surprises on
the music scene as
well.
|
| Giampaolo Bisanti creates
balance with a secure hand, sensitive to the
dynamics of the score with pertinent choices
and an excellent taste for interpretation;
his attention to the stage, which the young
conductor never loses sight of, is
admirable.” |
| Alessandro
Cammarano |
Salerno,
November 24,
2007
|
| Verdi
Theatre in Salerno delirious about the tenor
Neil Schicoff |
| Padova:
at the Teatro Verdi, once again warm applause
for the undissolvable binomial
“realist” |
|
Cavalleria Rusticana and
Pagliacci
|
By
a lucky flight that took off from Verona
where he had been occupied with Don Giovanni
by Mozart, the young conductor Gianpaolo
Bisanti fleetingly arrives to replace maestro
Daniel Oren, absent for family reasons, to
conduct the orchestra at the “Verdi”
theatre.
The orchestra, conducted by the aforementioned
maestro Bisanti, demonstrated brilliance in the
capacity for an ever---increasing quality of
performance which could masterfully blend with the
precision of the young conductor, destined to be
talked about. |
| Antonio
Nocentini |
L'Opera,
16 October
2005
|
| Love
Means Jealousy |
| Padova:
at the Teatro Verdi, once again warm applause
for the undissolvable binomial
“realist” |
|
Cavalleria Rusticana and
Pagliacci
|
| At
the podium of the Orchestra Filarmonia Veneta
“G.F. Malipiero”, Giampaolo Maria Bisanti
descended to “delays” of tradition, and in
some moments didn’t renounce the instrumental
emphasis. He did, but with good taste,
without falling into the rhetoric of low
profile and without losing view of the
occurences the softened dynamics, the
gradations, the legato. He obtained, in other
words, a balance between incandescence and
lyricism. |
| Roberto
Mori |
| Il
Giornale della Toscana - 11 September
2005 |
| The
Concert |
| Nocentini and the ORT (Tuscan Regional
Orchestra) |
| Neapolitan Serenades Between Applause
and Curtain Calls |
| Ready, effective, even if a
bit uniform, the ORT was conducted by
Giampaolo Bisanti: a young Milanese director,
who was among other things, trained at the
courses of the Chigiana in Siena held by the
late lamented Ahronovich; we already
appreciated him in Siena for his musical
talent, the clearness of his ideas and his
secure gestures. His giftedness was confirmed
on this occasion also, because Bisanti with
his interpretation was able to guarantee a
stringent coherence, vigor and determined
looseness. |
| Francesco Ermini
Polacci |
| Il
Gazzettino - 29 August
2004 |
| Giampaolo
Bisanti Concedes an Encore of “Va
Pensiero” |
| Extraordinary “Nabucco” by
Verdi at the PalaBassano. Public fascinated by
the production. Repeat performance this
evening. |
| Giampaolo Bisanti directed
the Veneta Philharmonic Orchestra with
precision and competence, leaving free space
for the voices, as is strictly necessary in
an opera such as this. Under his guidance the
success of Nabucco has been full and
warm. |
| Matteo
Delle Fratte |
| Messaggero Vento: Album - 8 August
2004 |
| Pieces
by Tchaikovsky and Brahms well directed by
Bisanti. |
| Participation
of the actor Vincenzo Bocciarelli. Great Music
for Peace. Medea applauds Stefan Milenkovic and
the Sarajevo Orchestra. |
| The
International Orchestra of the martyr city of
Sarajevo working well together, prepared in
every section and directed with clear and
eloquent gestures and with participative and
communicative musicality by maestro Giampaolo
Maria Bisanti. |
| Renato
Della Torre |
| Corriere del Teatro - Jan-Feb-Mar
2003 |
| Bassano
del Grappa - Teatro Astra |
| The
Barber of Seville |
| The
City Choir of Padova and the good Filarmonia
Veneta were under the efficient and resolute
guidance of Giampaolo Bisanti, a still young
but definitely valuable musician that – step
by step – confirms his authoritative
personality; attentive investigator of the
scoring and with a good directorial wrist, it
seems to me he was able to render all of the
transparency and the richness of colors of
the gaudy Rossinian
machine. |
| Gilberto Mion |
| L'Opera
- 14 October 2003 |
| Ernesto
and Norina, poor but
beautiful |
| Spoleto: in the
forthy edition of Don Pasquale,
proposed by the Sperimentale at the Teatro
Nuovo, the years of pink neorealism are
relived |
| The
OTLIS (Orchestra del Teatro Lirico
Sperimentale) changes every year a large
number of its elements: the formation of this
year appeared particularly good, also because
it encountered directors capable of spurring
it on and of pulling back on the reins, like
Giampaolo Bisanti, who in fact loves the
strong sensations of rhythms and sonorousness
but who also is able to concede pauses at the
right moment and above all respects the
voices. |
| Mauro
Mariani |
| Il Tipo
- 10 October 2000 |
| The
debut this past Saturday; convincing and
moving; La Bohème as interpreted by
Giampaolo Bisanti |
| Applause from the public of
Bohème confirmed the success of the opera in
its Pavian debut. La Bohème directed
by Giampaolo Bisanti was rich in moments of
pathos that, already present in Puccini’s
score, have their culmination at the end of
the second act and in the finale of the
opera. The arrangement of Bisanti, much
applauded director of Handel’s Messiah last
spring, was not betrayed, at least by most of
the vocal company, as a group at a good
level. |
| Fiorenza Bianchi |
|
|
