The solid career of Alessia Pintossi the delicate vivacity of Giovanni Rossi

Do you want to advertise on this site?

Music, art and faith. Spirituality and beauty are at home at the Paolo VI Institute in Concesio and even more so yesterday, on the occasion of the delivery of a double recognition:he “Paul VI” prize to the artist Giovanni Rossi And the “Giulio and Giulio Bruno Togni” award to the soprano Alessia Pintossi.

The evening, organized as part of the initiatives promoted by the Tovini Foundation in memory of Giuseppe Camadini ten years after his deathafter the welcome of the president of the Foundation, Michele Bonetti, saw the intervention of the president of the Opera for Christian education Pierpaolo Camadini, who underlined «the constant commitment of the Operafor a long time under the sensitive guidance of the notary Camadini, in favor of the new generationsto face the challenges of modernity starting from a common social conscience ».

The president of the Art and Spirituality association, Giovanni Maria Seccamani Mazzoli, he recalled in the words of Pope John Paul II the ability of artists to express the mystery of faith, to highlight the importance of the Paul VI Collection as a place of human and spiritual growth.

After the speeches by Egidio Tempini, president of the Togni Cantoni Marca Foundation, and by the president of the Paolo VI Institute, don Angelo Maffeis – who underlined the relevance of Camadini’s lesson, a synthesis of religious faith and civil passion – to the artist Giovanni Rossi, the youngest winner ever, the “Paul VI” Prize was awarded for «linguistic delicacy and vivacity», as stated in the explanations read by Paolo Sacchini, director of the Collection. Paolo Bolpagni, director of the Ragghianti Foundation in Lucca, on the other hand, read the reasons for the award given to the soprano Alessia Pintossi for «a solid and already blossomed career, which will only flourish further in the future».

The singer from Brescia, accompanied on the piano by Nicola Morello, she then performed in an all-Mozart concert, opened by the Exultate Jubilate K165. Page written for the castrato Venanzio Rauzzini, it hides the heartbeats of melodrama under the sacred text, often pushing the voice towards acute texture, with a virtuosity that Alessia Pintossi illuminated with grace and vivid expressiveness.

From the light of the sacred Mozart to the shadows of the profane Mozart, the concert continued with the Fantasia for piano K 475, of which Morello highlighted the dramatic tension between contemplative sections and the whirling of ferocious restlessness. Pintossi closed the short program with two famous arias: “Here’s the point, O Vitellia … No more flowers”, from “La clemenza di Tito” – rendered with serene composure and robust dramatic air – and “Cruel, ah no my good … Non mi mi bell’idol mio “, aria from” Don Giovanni “, in which the soprano’s voice has found both softness and casual agility. Convinced applause from all present, rewarded by an encore from Puccini, “O my dear babbino.”