Camilo Carrara

Camilo Carrara colabora com a Orquestra Sinfônica do Estado de São Paulo – OSESP, tocando instrumentos como bandolim, violão, guitarra elétrica e banjo!

Sua estreia foi em 1994 com a 7ª Sinfônia de G. Mahler, sob a regência de Eleazar de Carvalho. Desde então, são dezenas de concertos, 2 Turnês Nacionais e gravações com a principal orquestra da América Latina.

Entre os regentes com quem trabalhou na OSESP, destacam-se:

Celso Antunes (Brazil)
Eleazar de Carvalho (Brazil)
Gennady Rozhdestvensky (Russia)
Heinz Holliger (Swiss)
Ira Levin (USA)
Isaac Karabtchevsky (Brazil)
John Neschling (Brazil)
Marin Alsop (USA)
Olaf Henzold (Germany)
Peter Maxwell Davies (England)
Ricardo Bologna (Brazil)
Roberto Duarte (Brazil)
Roberto Minczuk (Brazil)
Victor Hugo Toro (Chile)
Wagner Politschuk (Brazil)
Yan Pascal Tortelier (France)

Abaixo as informações sobre a gravação para o selo escandinavo:

Ottorino Respighi’s Roman Trilogy (the tone poems Pines of Rome, Fountains of Rome and Roman Festivals) holds a very special place in the orchestral repertory, challenging almost any other composition for sheer sonic audience appeal. Spectacular scenes such as Fontana di Trevi in the glitter of the mid-day sun, children playing under the pine-trees of the Villa Borghese or gladiators fighting at Circus Maximus provided the masterly orchestrator with the opportunity to employ the full palette of the large-scale symphony orchestra, to which he added various instruments, including organ, piano, celesta, glockenspiel, mandolin and tambourines. In fact, in the third part of the Pines of Rome Respighi went even further and specified, for the first time ever in classical music, the use of a gramophone, playing a recording of a nightingale singing. As a result, these works glitter, shimmer, blare and thunder: a true feast for the ear which here has found worthy exponents in the São Paulo Symphony Orchestra (OSESP) and John Neschling. Previous releases by this team include recordings of music by Villa-Lobos and his Brazilian colleagues Camargo Guarnieri, Francisco Mignone and Claudio Santoro, and individual discs have been described by reviewers as ‘the most vibrant, colorful, rhythmically vital and virtuosic performances imaginable’ (on website Classics Today.com), ‘an orgy of colours and rhythms’ (in Diapason), and ‘an assured blend of lush colours, pulsating rhythms and supple phrasing’ (in International Record Review.) Such qualities certainly work in the Old World, too – and nowhere better than in Ottorino Respighi’s Rome!