ABOUT & PHOTOS

“The ensemble plays in the best sense of being historically informed—assertively, with a rich tone, and regularly incorporates improvisational elements into the music. The solo passages in some of the arias also highlight the potential of this ensemble.”
GUIDO KRAWINKEL - OPER! MAGAZIN

 

Founded by Boris Begelman in 2014, Arsenale Sonoro quickly gained critical acclaim with its debut album for Sony DHM, Telemann Violin Sonatas, whilst the following monographic recording, Scarlatti Violin Sonatas (Obsidian 2022), explores those harpsichord sonatas by Domenico Scarlatti that show such virtuosic writing, full of leaps and arpeggios, along with large figured bass sections, that suggests they were originally intended for violin and basso continuo.

Performing in formations ranging from chamber setting to full orchestra, Arsenale Sonoro has appeared at festivals including the Elbphilarmonie Festival, Tage Alter Musik Regensburg, Valletta Baroque Festival, Timisoara Early Music Festival, Musik&Kirche Brixen, Mittelfest, Pur ti miro Festival, Urbino Early Music Festival, Amici della Musica di Firenze, Bologna Festival, Roma Festival Barocco,  Concerti del Quirinale, Grand Manège Namur, Festival de musique sacrée et baroque de Froville.

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The ensemble, based in Bologna, is dedicated to rediscovering hidden baroque gems, fulfilling this goal by premiering in modern times La sepoltura di Cristo by Perti/Predieri at Tage Alter Musik in Herne as well as the immense Oratorio a quattro voci "per la Madonna del Rosario" by Leonardo Vinci for the Elbphilarmonie in Hamburg.

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Arsenale Sonoro also recorded for Pentatone (Un'alma innamorata, 2023) and its latest album with Francesca Aspromonte, Vieni o Notte for Aparté, was awarded critic’s prizes such as the Diapason d’Or, the Amadeus d’oro, 5 Stars from Classic Voice and Musica as well as Opera’s Diamant.

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SEPTEMBER 2026​

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“Under the direction of baroque violinist Boris Begelman, Bologna-based ensemble Arsenale Sonoro captivated the audience from the first note of the overture. Vinci’s signature elastic phrasing and ornamentation were rendered with natural ease by the ensemble’s string section. They conveyed a palpable sense of enjoyment and spontaneity throughout, adeptly reflecting the contrasting personalities of the oratorio character.”
Mengguang Huang - OPERAWIRE