Reviews

“Begeisternd waren die sängerische und instrumentale Brillianz verbunden mit dem Temperament und der Spielfreude der vier Damen und acht Herren des Concerto Romano (mit Andrea Inghisciano als herausragendem Zinkenisten)”

Werner Fritsch, 2013 (Concert with Concerto Romano, Bad Arolsen)

 

“Magnifica la sonorità del cornetto, uno strumento talvolta dimenticato, resa esemplarmente, con tecnicismo e melodiosità, da Andrea Inghisciano”

Corriere del Ticino, Alberto Cima, 2014 (Concert with I Barocchisti)

 

“Un cornet suave vient parfois souligner la partie de soprano (Illumina faciem tuam), ou s’adonne à d’époustouflantes diminutions virtuoses au-dessus du choeur”

Diapason, Denis Morrier, 2014 (Carlo Gesualdo da Venosa: Sacrarum Cantionum Quinque  Vocibus, Odhecaton, Ricercar)

 

“Da waren Stücke des malerischen Genres der Battaglia, staatstragend und rauschend, wie Gobelins, klanglich unheimlich dicht gewobene Bläserensembles (beeindruckend vor allem der bravouröse Zinkenist Andrea Inghisciano)”

Magazin Klassik, Tobias Roth, 2015 (Concert with Il Giardino Armonico, Berlin)

 

“Die Antwort darauf folgt auf dem Fuss, bzw. mit strahlendsten Kornettgirlanden!”

“Andrea Inghischiano vom La Cetra Barockorchester Basel dreht zunächst auf dem Kornett sensationelle Pirouetten” 

Rondo, Guido Fischer, 2016 (Magdalena Kozena: Monteverdi, La Cetra, Archiv Produktion)

 

“He also incorporates into several numbers a virtuoso cornettist, Andrea Ingischiano, who romps and riffs like a Baroque Louis Armstrong”

Fanfare, Joshua Cohen, 2016 (Magdalena Kozena: Monteverdi, La Cetra, Archiv Produktion)

 

” Andrea Inghischiano gets into some funky improv on his trumpet-like cornet while Kozena and soprano Anna Prohaska, in their fluttering ornamentation, are as much soul divas as the operatic equivalent”

NZ Herald News, William Dart, 2016 (Magdalena Kozena: Monteverdi, La Cetra, Archiv Produktion)

 

“A languid tempo sets a sensuous mood for “Zefiro torna,” while dazzling improvisations from Andrea Inghischiano’s cornetto leap and dance around the repeating chords and join into the exuberant vocalism with catchy glee”

Opera News, Judith Malafonte, 2016 (Magdalena Kozena: Monteverdi, La Cetra, Archiv Produktion)

 

“Similarly, she and soprano Anna Prohaska make a meal of “Zerfiro torna”, which starts the recital, their voices cascading and intertwining to marvelous effect, with some spectacular riffing from the cornettist”

Classics Today, Robert Levine, 2016 (Magdalena Kozena: Monteverdi, La Cetra, Archiv Produktion)

 

“Degno di menzione anche il bravissimo Andrea Inghisciano, impeccabile e virtuoso al cornetto”

Amadeus, Alessandro Tommasi, 2017 (concert with Dramatodia, Bolzano)

 

“One thing stands out, though – the use of ornamentation, chiefly from the two soprano cornettists Gawain Glenton and Andrea Inghisciano. Hollingworth quite rightly sings their praises in his accompanying notes, and their effortless passagework is truly spectacular – right from the very first antiphon, in which Inghisciano really struts his stuff over the top of the choir’s broad chords”

Presto News, 2017 (Monteverdi: The Other Vespers, I Fagiolini, Decca)

 

“Viadana’s response Domine ad adiuvandum (1612) is adorned with liberal embellishments from cornettist Andrea Inghisciano”

David Vickers, Gramophone, 2017 (Monteverdi: The Other Vespers, I Fagiolini, Decca)

 

“Their elaborate divisions and elaborations are a key feature of this recording, as evidenced by the very first piece with its wild cornett flourishes”

Andrew Benson-Wilson, Andrew Benson-Wilson Blog, 2017 (Monteverdi: The Other Vespers, I Fagiolini, Decca)

 

“The rapid bravura trills and runs on cornets and flutes which opened the rollicking Galliard battaglia from Ludi musici by Samuel Scheidt were a perfect example of Il giardino armonico’s astounding overall virtuosity”

“There were a number of stand-out performances including virtuoso cornett playing by Andrea Inghisciano and Gawain Glenton in Nicolas Gombert’s “La Rose” from Canzon per sonar and in the Sonata XII a otto voci from the Canzoni e Sonate by Giovanni Gabrieli”

Jonathan Sutherland, Bachtrack, 2017 (Concert with Il Giardino Armonico, Wroclaw)