Sunday 2nd August 2026

Cappella Felsinea

A feast from Bologna

Celebrated as a centre of musical excellence in the Baroque era, Bologna produced a unique style characterised by emotional depth and instrumental virtuosity. This concert presents a curated selection of works from this golden age, bringing together the sacred and the theatrical.

The programme highlights the intricate interplay between the human voice and the cello—an instrument that found its solo voice in Bologna. Countertenor Francesco Giusti, baroque cellist Norah O’Leary, and organist Thomas Charles Marshall unite to explore this repertoire, weaving together vocal agility with rich instrumental textures to illuminate the vibrant acoustic landscape of the Baroque.

Why Bologna?

In the late 17th century, Bologna was arguably the most important musical laboratory in Europe. While Rome was the seat of power and Venice the centre of opera, Bologna—specifically the Basilica of San Petronio—was where the "modern" orchestra and instrumental virtuosity were born.

The Birth of the Cello

Bologna is widely considered the birthplace of the solo cello. Before the 1660s, the cello was largely a "basement" instrument used only for a simple bass line. However, Bolognese luthiers and players (like Domenico Gabrielli) began experimenting with wire-wound strings, which allowed for a smaller, more agile instrument with a powerful sound. This innovation turned the cello into a solo star capable of competing with the human voice.

The Accademia Filarmonica

Founded in 1666, Bologna’s Accademia Filarmonica became the "Harvard" of Baroque music. To be a member was the ultimate badge of prestige (even a young Mozart travelled there to take their rigorous entrance exam). This academic rigour, combined with the city's wealth, created a "Bolognese School" style:

• Stately and Grand: designed to fill the massive acoustics of San Petronio.
• Contrapuntal Mastery: a sophisticated weaving of independent musical lines.
• Vocal Brilliance: a focus on the Bel Canto style, where the countertenor voice and the cello often mimic one another’s phrasing and ornaments.