NUMERO UNO - LIVE SOQQUADRO ITALIANO
14 audio tracks, 14 places for a (not just musical) journey. A kind of sentimental grand tour of Italy. It is up to the listener to find possible personal associations between the places and the audio tracks.
We wish you a pleasant journey.
NUMERO ZERO SOQQUADRO ITALIANO
…Vincenzo Capezzuto, dancer, singer with a soprano voice that can be confused with a female voice, so much that it is surprising for the familiarity with which it is proposed, records this “Number Zero” of his research always riding with the popular realities and the virtuosity of a opera. Obviously, for those who are not used to these sounds, it could be difficult to approach a cantato so close to the tradition, however, this research so far from the commercial forms that surround us must be rewarded for the intrinsic value it represents. After all, this is a cultural project which digs into the roots of Italian music and wants to complete it, reconstructing a territory that ranges from ancient to traditional music of our villages, looking for a fusion point with pop and jazz, as if a theatrical event reformulated all the cultural components of the whole. Starting from scratch is an easy to use mathematical form, but it is the whole world of numbers that reveals a passion and a research experienced as an added value. And the numbers are infinite, like their poetry…
Sourtoe Cocktail Club
MUSIC FOR A WHILE L’ARPEGGIATA
…Philippe Jaroussky and Vincenzo Capezzuto in “In vain the am’rous flute” play the love story of a flute and a guitar, a phallic flute and a lascivious female guitar. My Gosh we are playing with gender again and you can imagine the duet with Philippe Jaroussky slightly deeper than Vincenzo Capezzuto who is slightly more boyish if not childish, and there is no longer female and male, but we are playing with age. Is that guitar of age to play with the flute or vice versa? The duet is superb because of this very slight difference of the two voices that are really singing together one on one and in some fugue or canon form. And we do not miss one cue from Philippe Jaroussky to Vincenzo Capezzuto, the older man and the younger boy. Can we think it is more fatherly love than lascivious attraction, or maybe vice versa?
by Jacques Couladeau
… Leading us through the tales, with his twists of mood and outbursts of emotion, was Vincenzo Capezzuto, a ‘male soprano’. Capezzuto is not a classically trained countertenor; his voice has the easeful inflection of the pop balladeer complemented by the nuanced inflection of the singer- actor, and such qualities absolutely enchanted in songs such as ‘Agapimu fidela protini’…
by Opera Today
IL POMO D’ORO
Vincenzo Capezzuto’s genderless pop voice conveys every emotion from joy to melancholy with ease, while his graceful phrasing is at once expressive and insinuating. Various ages, accents, comic voices and dialects are dispatched with commedia dell’arte skill.
by Judith Malafronte
LOS PAJAROS PERDIDOS
…Pluhar’s instrumentalists are top-class and each of the five singers has something special to offer, from Philippe Jaroussky’s sweetly plaintive countertenor to the extraordinarily touching and feminine tones of Vincenzo Capezzuto, and from Luciana Mancini’s dark, youthful passion to the hard-won emotional authority of folk singer Lucilla Galeazzi. ‘Early music’ this isn’t – but it is beautiful music-making.
Even the angels are summoned through the indefinable voice of the Neapolitan tenor Vincenzo Capezzuto on the piece composed by Enzo Gragnaniello entitled Stu criato which closes the album…
by Cher Media