Il Pomo D'oro
The orchestra Il pomo d’oro was founded in 2012 by Gesine Lübben and Giulio d’Alessio, uniting a group of young musicians who are among the best to be found worldwide for authentic interpretation on period instruments.
The orchestra Il pomo d’oro was founded in 2012 by Gesine Lübben and Giulio d’Alessio, uniting a group of young musicians who are among the best to be found worldwide for authentic interpretation on period instruments. They form an ensemble of outstanding quality, combining stylistic knowledge, the highest technical skills, and artistic enthusiasm. From 2016 on, the chief conductor of Il pomo d’oro is the young Russian Maxim Emelyanychev, who is also a harpsichordist, fortepianist and cornettist.
The orchestra has a special focus on recording, performing and rediscovering opera masterpieces from the Baroque to the Belcanto period, and for this, as well as for solo recitals, collaborates with worldclass singers. With its own instrumental soloists, and additional guests, it also performs and records a variety of instrumental music in various formations. Il pomo d’oro is a regular guest in prestigious concert halls and theatres, such as the Théâtre Royal in Versailles, Wigmore Hall, Theater an der Wien, Théâtre des Champs Elysées, and hosts its own concert season in Venice in collaboration with the Venetian Center for Baroque Music.
With violinist Riccardo Minasi at the helm, Il Pomo d'Oro has recorded with Philippe Jaroussky (Handel's opera Partenope) and Edgar Moreau (Giovincello).
The name of the orchestra refers to the title of an opera by Antonio Cesti, composed for the wedding of Emperor Leopold I of Austria and Margarita Teresa of Spain in Vienna in 1666. The opera was the grand finale in an imperial celebration of incredible spectacle and splendour, starting with fireworks of 73,000 rockets and a equestrian ballet of 300 horses. With its 24 different stage sets and stunning special effects like collapsing towers, flying gods and sinking ships, Il Pomo d’Oro was probably the most excessive and expensive operatic production in the history of the fledgling genre. It called for 50 singers and lasted ten hours – ten hours of magnificent spectacle and beautiful music.