{"id":40190,"date":"2026-06-09T09:58:45","date_gmt":"2026-06-09T07:58:45","guid":{"rendered":"https:\/\/www.teatrodonizetti.it\/agnese-ferraro-and-monica-cattarossi-guest-saturday-june-20-at-the-music-center-with-un-siecle-en-rose\/"},"modified":"2026-06-09T09:58:45","modified_gmt":"2026-06-09T07:58:45","slug":"agnese-ferraro-and-monica-cattarossi-guest-saturday-june-20-at-the-music-center-with-un-siecle-en-rose","status":"publish","type":"post","link":"https:\/\/www.teatrodonizetti.it\/en\/agnese-ferraro-and-monica-cattarossi-guest-saturday-june-20-at-the-music-center-with-un-siecle-en-rose\/","title":{"rendered":"Agnese Ferraro and Monica Cattarossi guest Saturday, June 20 at the Music Center with “Un si\u00e8cle en rose”"},"content":{"rendered":"

It is entitled, with a touch of charm, Un si\u00e8cle en rose<\/em> <\/strong>the fifth concert of the new edition of Il Centro della Musica<\/em>, an event promoted by the Donizetti Theater Foundation in collaboration with the Department of Social Policies of the City of Bergamo. The concert, scheduled for Saturday, June 20, in the Ridotto “Gavazzeni” of the Donizetti Theater (5 p.m.) and organized in partnership with the Bergamo Quartet Society, will in fact be in the groove of female musicality and will feature violinist Agnese Ferraro<\/strong> and pianist Monica Cattarossi<\/strong>, the creators of a musical dialogue marked by rigor and interpretative sensitivity. <\/p>\n

Un si\u00e8cle en rose<\/em> promises a journey through French music between the 19th and 20th centuries, built around the voices of some of Europe’s most significant female composers, who have long remained on the margins of the repertoire and are now increasingly recognized in their originality and expressive force. The program juxtaposes pages written between 1850 and 1951, restoring the variety of languages and sensibilities that spanned a century of profound change. From the formal and luminous solidity of Louise Farrenc’s Sonata No. 2 in A major, Op. 39, to the brilliance of C\u00e9cile Chaminade’s Capriccio<\/em> Op. 18, to the evocative and iridescent writing of Lili Boulanger, with its soundscapes suspended between impression and movement. The course finds a synthesis in the Second Sonata for Violin and Piano by Germaine Tailleferre, the sole composer of the Groupe des Six, in which elegance, clarity and a modern spirit come together in essential and lively writing. <\/p>\n

A concert that is both rediscovery and restitution: not an “alternative” repertoire, but an indispensable part of European musical history, capable of speaking with freshness and intensity to the present.<\/p>\n

 <\/p>\n

Agnese Ferraro<\/strong> graduated with Piero Toso from the “C. Pollini” Conservatory in Padua, specializing at the “Mozarteum” in Salzburg with Yair Kless and later at the Hochschule fur Musik “H. Eisler” in Berlin. Winner of several national and international competitions, she began her valuable relationship with the international music world at the age of sixteen, winning auditions to be part of the Bayerischer Rundfunk Orchesterakademie, the Gustav Mahler Jugend Orchester and the European Union Youth Orchestra, playing under the direction of Lorin Maazel, Semyon Bychkov, Kent Nagano, Pierre Boulez, Daniele Gatti, Claudio Abbado, Seiji Ozawa and Vladimir Ashkenazy.
\nShe was first violinist at the Academy of the La Scala Philharmonic Orchestra working under Riccardo Muti, Wolfgang Sawallisch and Yuri Temirkanov, among others, and, at the invitation of Claudio Abbado, she participated in the Academy of the Gustav Mahler Jugend Orchester as concertmaster. For several years he served as First violin soloist of the Strawinsky Chamber Orchestra. In 2005, she won the competition to join the Teatro alla Scala Orchestra on a permanent basis, for which in 2014’s Don Quixote she was First violin backing violin and in 2015’s Cinderella solo violin onstage. She routinely performs at major festivals in Italy and abroad as solo violinist or together with chamber ensembles. <\/p>\n

Monica Cattarossi<\/strong> resides in Milan and works in the field of chamber music and accompaniment, as a performer, chamber musician and teacher. Invited to play at the most important international festivals, she has given concerts in many prestigious halls both as soloist and in duo with Julius Berger, Umberto Clerici, Rocco Filippini, Antonio Meneses, Dora Schwarzberg, among others. With cellist Enrico Dindo, he has created a professional partnership consolidated through collaboration with the Pavia Cello Academy and the Conservatorio della Svizzera Italiana in Lugano. After many significant experiences as a collaborative pianist, <\/em>he is currently the official pianist at the Accademia Chigiana in Siena and the Accademia Stauffer in Cremona. She recorded together with Filippo Farinelli the complete works for two pianos by Andr\u00e9 Jolivet and with violinist Agnese Ferraro a CD dedicated to a century of women composers.<\/em> A professor of chamber music at the Giuseppe Verdi Conservatory in Milan, she has given master classes at Sapporo Music University, the Seoul Chamber Orchestra, and the Gdansk Academy of Music. <\/p>\n","protected":false},"excerpt":{"rendered":"

It is entitled, with a touch of charm, Un si\u00e8cle en rose the fifth concert of the new edition of Il Centro della Musica, an event promoted by the Donizetti Theater Foundation in collaboration with the Department of Social Policies of the City of Bergamo. The concert, scheduled for Saturday, June 20, in the Ridotto “Gavazzeni” of the Donizetti Theater (5 p.m.) and organized in partnership with the Bergamo Quartet Society, will in fact be in the groove of female musicality and will feature violinist Agnese Ferraro and pianist Monica Cattarossi, the creators of a musical dialogue marked by rigor and interpretative sensitivity. Un si\u00e8cle en rose promises a journey through French music between the 19th and 20th centuries, built around the voices of some of Europe’s most significant female composers, who have long remained on the margins of the repertoire and are now increasingly recognized in their originality and expressive force. The program juxtaposes pages written between 1850 and 1951, restoring the variety of languages and sensibilities that spanned a century of profound change. From the formal and luminous solidity of Louise Farrenc’s Sonata No. 2 in A major, Op. 39, to the brilliance of C\u00e9cile Chaminade’s Capriccio Op. 18, to the evocative and iridescent writing of Lili Boulanger, with its soundscapes suspended between impression and movement. The course finds a synthesis in the Second Sonata for Violin and Piano by Germaine Tailleferre, the sole composer of the Groupe des Six, in which elegance, clarity and a modern spirit come together in essential and lively writing. A concert that is both rediscovery and restitution: not an “alternative” repertoire, but an indispensable part of European musical history, capable of speaking with freshness and intensity to the present.   Agnese Ferraro graduated with Piero Toso from the “C. Pollini” Conservatory in Padua, specializing at the “Mozarteum” in Salzburg with Yair Kless and later at the Hochschule fur Musik “H. Eisler” in Berlin. Winner of several national and international competitions, she began her valuable relationship with the international music world at the age of sixteen, winning auditions to be part of the Bayerischer Rundfunk Orchesterakademie, the Gustav Mahler Jugend Orchester and the European Union Youth Orchestra, playing under the direction of Lorin Maazel, Semyon Bychkov, Kent Nagano, Pierre Boulez, Daniele Gatti, Claudio Abbado, Seiji Ozawa and Vladimir Ashkenazy. She was first violinist at the Academy of the La Scala Philharmonic Orchestra working under Riccardo Muti, Wolfgang Sawallisch and Yuri Temirkanov, among others, and, at the invitation of Claudio Abbado, she participated in the Academy of the Gustav Mahler Jugend Orchester as concertmaster. For several years he served as First violin soloist of the Strawinsky Chamber Orchestra. In 2005, she won the competition to join the Teatro alla Scala Orchestra on a permanent basis, for which in 2014’s Don Quixote she was First violin backing violin and in 2015’s Cinderella solo violin onstage. She routinely performs at major festivals in Italy and abroad as solo violinist or together with chamber ensembles. Monica Cattarossi<\/p>\n","protected":false},"author":7,"featured_media":40189,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1036],"tags":[],"post_folder":[],"class_list":["post-40190","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-news-en"],"_links":{"self":[{"href":"https:\/\/www.teatrodonizetti.it\/en\/wp-json\/wp\/v2\/posts\/40190","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.teatrodonizetti.it\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.teatrodonizetti.it\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.teatrodonizetti.it\/en\/wp-json\/wp\/v2\/users\/7"}],"replies":[{"embeddable":true,"href":"https:\/\/www.teatrodonizetti.it\/en\/wp-json\/wp\/v2\/comments?post=40190"}],"version-history":[{"count":0,"href":"https:\/\/www.teatrodonizetti.it\/en\/wp-json\/wp\/v2\/posts\/40190\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.teatrodonizetti.it\/en\/wp-json\/wp\/v2\/media\/40189"}],"wp:attachment":[{"href":"https:\/\/www.teatrodonizetti.it\/en\/wp-json\/wp\/v2\/media?parent=40190"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.teatrodonizetti.it\/en\/wp-json\/wp\/v2\/categories?post=40190"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.teatrodonizetti.it\/en\/wp-json\/wp\/v2\/tags?post=40190"},{"taxonomy":"post_folder","embeddable":true,"href":"https:\/\/www.teatrodonizetti.it\/en\/wp-json\/wp\/v2\/post_folder?post=40190"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}