Filippo Mineccia

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Filippo Mineccia

countertenor
representation zone: General Management - World

Highlights

-  Cavalli’s Calisto (Endemione) - Opéra National du Rhin, Strabourg - C. Rousset/M. Clément

-   Handel’s Agrippina  (Ottone) – Teater an der Wien – T. Hengelbrock / R. Carsen

-   Handel’s Lucio cornelio Silla (Title Role) Halle Handelfestspiele – Opernhaus Halle – S. Lawless /E. Onofri

-    Handel’s Giulio Cesare (Tolomeo) Versailles festival, Accademia Bizantina – O. Dantone

-    Orff’s Carmina Burana (Swan) teatro dell’opera di Roma – M. Van Oeke/D. Coleman

-    Gasparini’s Bajazet (Tamerlano) Festival Opera Barga – P. Rota – Auser Musici – C. Ipata

-    Handel’s Amadigi (Dardano) Halle Handelfestspiele – Kammerorchester Basel – O. Dantone

-    Handel’s Rodelinda (Unulfo) Opera Rara festival Krakow – Capella Krakoviensis – J. T. Adamus

-    Pergolesi’s Stabat Mater (Alto) Opera Royal Versailles – Styriarte Ensemble – M. Hofstetter

BIOGRAPHY

Born in Florence, countertenor Filippo Mineccia, quickly gained an internationally recognition as being one of the greatest specialist in the repertoire of the great castrato era.

As a child, he begins his singing studies at the school of music of Fiesole, joining its polyphonies Choir. He then pursues his training as a cellist and a singer, graduating from the Luigi Cherubini music conservatoire in Florence, studying with Gianni Fabbrini and Donatella Debolini.

Whilst a student, Filippo Mineccia distinguishes himself by winning prizes both from national and international singing competitions. He also begins to collaborate with ensembles such as Il Complesso Barocco, La Capella della Pietà de Turchini, Collegium Marianum, Capella Krakoviensis, Accademia Bizantina, Divino Sospiro, I Barocchisti, La Folia Barockorchester, Zucker Kammerorkestera, Auser Musici.

He is also trusted very early by conductors such as the late Alan Curtis, Ottavio Dantone, Diego Fasolis, Antonio Florio, Michael Hofstetter, Ruben Jais, and Enrico Onofri with whom he still collaborates regularly.

Operatic roles include title role Giulio Cesare and Tolomeo with Accademia Bizantina and Complesso Barocco, Telamone Ercole sul Termodonte by Vivaldi, Nerone Ottavia Restituita al Trono by  Scarlatti, Purcell The Fairy Queen (Hagen Stadt Theater), Alessandro Tolomeo Re d’Egitto, Unulfo Rodelinda with Capella Cracoviensis with the conductor Adamus,  Dardano Amadigi with Kammerochester Basel under Ottavio Dantone (Versailles, Basel and Halle), Tamerlano  Bajazet by Gasparini working with Carlo Ipata.

Very much on demand on the Oratorio platform, repertoire comprises Passione and Stabat Mater by Francesco Provenzale with La Capella de Turchini (Misteria Paschalia Festivalin Krakow), San Pietro Passione by Caldara (La Chaise Dieu Festival, France), Handel Dixit Dominus, Purcell Te Deum with Orchestra Barroca Catalana, and Haydn Missa Cellensis with conductor Filippo Maria Bressan.

Recent and future engagements include Carmina Burana at the Teatro dell’Opera in Rome, title role Silla conducted by Enrico Onofri (Handel festival in Halle), Ottone Agrippina in a new Robert Carsen production, conducted by Thomas Hegelbroock (Theater an der Wien), Endimione La Calisto (Strasbourg) with Christophe Rousset and Mariame Clément for the staging, Ottone L’Incoronazione di Poppea with Jean-Christophe Spinosi (Liceu, Barcelona), and concerts of Les sept Péchés capitaux with Leonardo Alarcon and Cappella Mediterranea on Tour.

His discography is marked by a flourishing collaboration with the label Glossa, recording three Oratorios by Gaetano Veneziano L’adorazione dei Magi, Il Tesoro di San Gennaro, and La Santissima Trinità with the ensemble I Turchini di Antonio Florio, as well as Bajazet. Filippo also records Giulio Cesare (title role) and Tolomeo with Accademia Bizantina and Complesso Barocco (Naïve recording), Ercole sul Termodonte by Antonio Vivaldi (DVD with Dynamic).

Last edited June 2017

 

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