Regards himself as a dancer, he has performed as a soloist at the San Carlo Opera House in Naples, the English National Ballet, Ballet Argentino Julio Bocca, Michele Merola’s MMcompany and Aterballetto directed by Mauro Bigonzetti. His worldwide dancing career has involved performances choreographed by such eminent figures, as Mauro Bigonzetti, William Forsythe, Roland Petit, Alvin Ailey, George Balanchine and Ohad Naharin. Capezzuto’s numerous awards, mostly for popularising Italian dance and music abroad, include the Leonide Massine award, the Roscigno Danza Best Dancer of 2005 and the Giuliana Penzi Award of 2012.
However, Vincenzo Capezzuto is an excellent singer too. Endowed with a subtle boyish near-alto voice he fits perfectly the aesthetic of L’Arpeggiata, the formation he has been collaborating with since their first joint album Via Crucis in 2010. They continued this relationship on three subsequent records: Los Parajos Perdidos, containing Latin American traditional and Baroque music; the eponymous Mediterraneo; and Music for a While blending jazz improvisations with the music of Henry Purcell that shone completely new light on his compositions. Capezzuto, accompanied by Cecilia Bartoli, also took part in the recording of the album Gondola by the ensemble Il Pomo d’Oro, where he provided a brilliant interpretation of the 18th century songs of Venetian gondoliers.
Vincenzo Capezzuto’s singing career goes beyond his collaboration with L’Arpeggiata and includes singing and dancing collaborations with Accordone at the Salzburg Festival. The following year, Christina Pluhar, the artistic head of L’Arpeggiata, invited Capezzuto to dance and sing with the European Baroque Orchestra in a repertory consisting of Baroque and traditional songs. Vincenzo Capezzuto has also performed on several prestigious stages, including Carnegie Hall in New York, the London BBC Proms and Wigmore Hall and Accademia Filarmonica Romana. Along with Claudio Borgianni, Vincenzo founded Soqquadro Italiano. An artistic project where music, dance and acting are the expressive elements at the service of several programs like 'Da Monteverdi a Mina' 'Who's afraid of baroque and STABAT MATER by Antonio Vivaldi.
Crime novelist, music patron and long-time resident of Venice, Donna Leon presents a delightful look at the gondola as cultural icon, marvel of construction and object of romance and mystery in a new publication from Atlantic Monthly Press. Accompanying the book is a CD featuring anonymous barcaroles and gondolier songs from the eighteenth-century delivered with charming immediacy by singer Vincenzo Capezzuto and the excellent period instrument ensemble Il Pomo d’Oro, under the direction of violinist Riccardo Minasi.
IL PIEDE TIENE IL TEMPO, a fatica si trattiene la gamba che saltella e il fianco che vorrebbe fluttuare liberamente al ritmo della chitarra barocca, terribilmente simile all’accompagnamento di una danza spagnola. Ballare sulla musica del Seicento è un’esperienza nuova, ma, del resto, ci sono i tamburi a cornice, c’è il cajon, il djembé, il salterio, il kazoo; e poi la tiorba di Simone Vallerotonda e il violoncello barocco di Ludovico Minasi, che, per ciò di cui è capace, ci si chiede se sia solo un violoncello o qualcosa di più.
Little Miss Muffet and other arachnophobes would have steered clear of Cadogan Hall for this Proms Chamber Music recital, for the ensemble L’Arpeggiata was celebrating the tarantella – the music said to cure the venom of the tarantula bite.
Wondrous machine, with alto Vincenzo Capezzuto’s light, expressive voice, has a wondrous groove. Quivering African-influenced percussion starts alongside trilling clarinet; guitar and piano improvise together over energetic bass lines.
Il risultato del modus operandi del duo Borgianni-Capezzuto è un coinvolgimento talvolta inatteso, dato l’apparente contrasto di idee che una contaminazione di “colori” così lontani nel tempo potrebbe offrire all’immaginazione comune.