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Lamentations for Holy Week by Fiocco


Mosteiro de Santo Tirso



Santo Tirso- 9pm



Diana Vinagre - baroque cello and artistic direction

Eduarda Melo - soprano

Marta Vicente - baroque bass

Dani Espasa - organ

This programme follows the Ensemble Bonne Corde's recording of the complete Lamentations for Holy Week by the Belgian composer Joseph-Hector Fiocco (1703-1741), in which we highlight the inclusion of previously unpublished works in a modern premiere, released in November 2022 by the Belgian publisher Ramée | Outhere Music. Of these pieces, written in 1733 in Antwerp, only were known the manuscript sources in the Library of the Royal Conservatory in Brussels. Still, recently, and in the context of her research work on the cello in sacred music, Diana Vinagre identified, in a Belgian archive, unpublished manuscripts of Lamentations by the composer. These works have the peculiarity of including solo parts for one and two cellos in a repertoire that usually uses only the basso continuo to accompany the voice. This characteristic gives these works a dimension of particular beauty and poignant lyricism. Fiocco's writing for the instrument is not only perfectly idiomatic but also extremely elegant and sumptuous, emphasising the intrinsic cantabile nature of the cello. Born into a Venetian family who had settled in Brussels since the end of the 17th century, Joseph-Hector Fiocco (1703-1741) worked in the main cathedrals of Brussels and Antwerp, and his musical output was eminently sacred. His mastery of the Italian and French styles is evident in his work, particularly noticeable in these Lamentations through a fluid and refined fusion of the two types of writing.

Bonne Corde is an early music ensemble that dedicates itself primarily to the cello repertoire of the 18th century, regularly highlighting works of Portuguese composers. Founded by cellist Diana Vinagre, it brings together a group of musicians with a shared passion of rediscovering repertoire from a historically-informed perspective. Following Diana’s doctoral research on the role of the cello as a solo obbligato instrument in vocal music - specifically Portuguese repertoire at the threshold of the 19th century - Ensemble Bonne Corde has directed its attention to the recovery of vocal works in which new textures are explored through the use of bass instruments. In this context, the group has presented the modern première of several 18th century composers. Among the upcoming projects we highlight the recordings for the label Ramée of the complete Lamentations for the Holy Week by Joseph-Hector Fiocco, coming out in November 2022, and António Pereira da Costa’s Concerti grossi, with the support of the Ministry of Culture of Portugal and GDA Foundation, to be released in the Spring 2023.



Antwerp 1733

Lamentations for Holy Week by Fiocco


Joseph Hector Fiocco  (1703-1741)

1 - Lamentatione prima del Mercordi Santo

soprano, cello obbligato and basso continuo

I. Incipit lamentatio Jeremia

II. Beth

III. Ghimel

IV. Daleth

V. Heth

VI. Parvuli ejus

VII. Jerusalem


Antonio Vivaldi (1678-1741)

2 - Sonata in A minor RV

I. Preludio

II. Allegro poco

III. Sarabanda


Joseph Hector Fiocco 

3 - Lettione prima di Giovedì Santo

for soprano, cello obbligato and basso continuo

I. De Lamentatione Jeremiae.

II. Teth. Defixae sunt in terra

III. Caph. Defecerunt prae lacrimis

IV. Jerusalem


Joseph Hector Fiocco

4 - Adagio in G major - Pièces de Clavecin, op. 1



Antonio Vivaldi (1678-1741)          

5 - Largo of Cello Concert in Eb major, RV 408

for cello and basso continuo


Salvatore Lanzetti (1710-1770)

6 - Grave (de Pièces pour le violoncelle)

for cello and basso continuo


Joseph Hector Fiocco

7 - Deuxième Lamentation du Jeudi Saint

soprano, cello obbligato and basso continuo

I. Lamed

II. Mem

III. Prophetae tui

IV. Samech

V. Jerusalem


TIME: 60’

After completing her studies at the Academia Nacional Superior de Orquestra in Lisbon in the class of Paulo Gaio Lima, her interest in historically informed interpretation over the years led DIANA VINAGRE to the Royal Conservatory of The Hague in Holland. In Jaap ter Linden's class, she obtained her Bachelor's and Master's degrees in Historical Interpreting Practices with distinction and was awarded the Top Talent Scholarship. During his studies, he was a member of the European Union Baroque Orchestra and participated in the Jerwood Project with the Orchestra of the Age of Enlightenment. Since devoting himself to the practice of the historical cello, he has collaborated as a freelancer with various ensembles: Orchestra of the 18th Century, Cappella Mediterranea, L'Arpegiatta, Amsterdam Baroque Orchestra, Le Cercle de l'Harmonie, B'Rock, Ludovice Ensemble, Irish Baroque Orchestra, Holland Baroque, Al Ayre Español and Divino Sospiro. He plays regularly under the direction of musicians such as Leonardo Garcia Alarcon, Ton Koopman, Enrico Onofri, Laurence Cummings, René Jacobs, Bartold Kuijken, Christina Pluhar, Elizabeth Wallfisch, Alfredo Bernardini, Frans Bruggen, Lars Ulrik Mortensen and Chiara Banchini. She has participated in recordings for various labels, such as Alpha, Ricercare, Sony and Winter & Winter.  In 2010 she founded the Bonne Corde Ensemble, which specialises in 18th-century cello repertoire and the revival of Portuguese cello obligatto music. Diana Vinagre also has a doctorate on the cello in Portuguese sacred music from the classical period from the Universidade Nova de Lisboa.

After graduating from Porto’s Superior School of Music and Performing Arts (ESMAE) and a remarkable period at the Opera Studio of Casa da Música, Eduarda joined the prestigious cast CNIPAL in Marseille. Eduardo was awarded with the second prize in the International Singing Competition of Toulouse. Since then she as been invited for numerous festivals in Europe working with directors such Marc Minkowski, Jérémie Rohrer, Ton Koopman, Hervé Niquet, Jean-Claude Casadesus, Antonello Allemandi in prestigious venues (Glyndebourne, Marseille, Lille, Nice, Caen, Dijon, Paris, Lisbon). Eduarda Melo’s roles include  Soeur Constance (Dialogues des Carmelites), La princesse Laoula (L’Étoile), Corinna (Il Viaggio a Reims), Rosina (Il Barbiere di Seviglia), Elvira (L’Italiana in Algeri), Norina (DonPascuale), Musetta (La Bohème), Despina (Cosi Fan Tutte), Erste Dame (Die Zauberflöte), Rinaldo (Armida/Myslivecek), Stéphano (Romeo et Juliette), Frasquita (Carmen), Gabrielle (La Vie Parisienne), Valencienne (La Veuve Joyeuse), Spinalba (Spinalba/Almeida), Fedra (L’Ippolito/Almeida), Ascanio (Lo Frate Nnamorato/Pergolesi), Zemina (Die Feen/Wagner), Vespina (L’Infedeltà Delusa/Haydn) and Elle (La voix Humaine).In contemporary music she has privileged portuguese composers and has participated in several world premières by António Pinho Vargas, Nuno Côrte-Real, Luís Tinoco e Nuno da Rocha. She regularly collaborates with Le Concert de la Loge (Julien Chauvin), Divino Sospiro and Ludovice Ensemble.

Marta Vicente was born in Lisbon. She began her music studies at the Fundação Musical dos amigos das Crianças, in the double bass classes of Professors Adriano Aguiar and Pedro Wallenstein. She also studied with Alejandro Erlich-Oliva and Duncan Fox. She graduated in Double Bass and Violone at the Department of Ancient Music and Historical Interpretation Practices at the Royal Conservatory in The Hague (Netherlands), in the class of Professor Margaret Urquhart. She attended masterclasses with Rainer Zipperling, Margaret Urquhart, Sigiswald Kuijken, Mieneke van der Velden, Ton Koopman, Jacques Ogg, Patrick Ayrton, Charles Toet, Richard Gwilt, Peter Holtslag and Daniël Brüggen. She is the founder and artistic director of Real Câmara Baroque Orchestra, together with Diana Vinagre, having Enrico Onofri as the principal conductor. She collaborates with specialized international groups such as La Grande Chapelle, Ludovice Ensemble, Ensemble Bonne Corde, Bando do Surunyo, Concerto Campestre, Sete Lágrimas, Capella Patriarchal, Divino Sospiro, Luthers Bach Ensemble, New Dutch Academy, Wallfisch Band, Opera2Day and La Suave Melodia. She has performed at several festivals and countless concerts in Portugal, Spain, France, Italy, Belgium, Netherlands, Germany, Poland, Bulgaria, Czech Republic, Romania, Finland, Malta, Brazil, Mexico and Japan. She plays regularly with the string orchestra Sinfonietta de Lisboa and performed with the Orquestra Gulbenkian, Orquestra Metropolitana de Lisboa, Orquestra Sinfónica Portuguesa and Bremen Kammerphilharmonie. She worked under the direction of Enrico Onofri, Rinaldo Alessandrini, Harry Cristophers, Alfredo Bernardini, Chiara Banchini, Cecilia Bernardini, Massimo Spadano, Elizabeth Wallfisch, Vittorio Ghielmi, Alberto Grazzi, Kenneth Weiss, Ketil Haugsand, Riccardo Doni, Vanni Moretto, Marc Hantaï, Marc Hantaï, Marc Hantaï Peter Van Heyghen, Albert Recasens and Michel Corboz. She recorded about two dozen discs for record labels such as Naxos, Lauda, Dynamic, Pan Classics, Nichion, among others, as well as for Antena 2 and Radio France radios, and the television channels Mezzo and RTP.

Born in La Canonja, Dani Espasa is an eclectic musician with a myriad of interests and very diverse artistic activities: he is a pianist, a harpsichordist, an accordionist, a conductor, a composer, an arranger, a producer, a teacher … His career goes down surprising roads, and it is equally possible to find him in theatre plays (he has worked with Lluís Pasqual, Calixto Bieito, Josep Maria Flotats, Joan Ollé, Sergi Belbel and Jordi Prat i Coll), conducting his Baroque ensemble Vespres d'Arnadí, collaborating with Maria del Mar Bonet and Lídia Pujol or at the Escola Superior de Música de Catalunya (ESMUC) teaching improvisation techniques or chamber music. After studying harpsichord and basso continuo at the ESMUC with Béatrice Martin, he started an intense activity in Baroque, Renaissance and medieval music ensembles, like com Hespèrion XXI, Le Concert des Nations, L'Arpeggiata, Mala Punica, La Hispanoflamenca, The Rare Fruits Council, Les sacqueboutiers de Toulouse, La Caravaggia or MUSIca ALcheMIca. It was not long, however, before he started expanding his operational range and soon it was possible to see him conducting the Barcelona Symphony and Catalonia National Orchestra (OBC), with which he also collaborates as a pianist and harpsichordist, the baroque ensemble of the orchestra of the Gran Teatre del Liceu, the National Classic Orchestra of Andorra (ONCA) o the contemporary music ensemble Bcn216. As an instrumentalist, he has premiered and recorded piano works by Joan Albert Amargós and Enric Granados, and he has made more than 40 recordings for the labels Aparté, Alia Vox, Erato, Passacaille, Pan Classics, Naxos, Harmonia Mundi i BIS Records. Espasa has been on stage together with artists of very different styles: Joan Albert Amargós, Eliseo Parra, Sílvia Pérez Cruz, Sting, Paul Simon, John Cale, Ute Lemper, Rolando Villazón, Philippe Jaroussky, Mayte Martín, Judit Neddermann, Dulce Pontes, Nina, Alfonso Vilallonga, Kepa Junquera, Maria Farantouri, Santiago Auserón, Maika Makovski, Nigel Kennedy, Maya Plisetskaya or Blaumut... In 2020 he was awarded a Butaca prize for the best composition for the stage for the music of La Rambla de les Floristes (National Catalonia Theatre). He currently combines his artistic activity with teaching at the ESMUC and as a member of the Historical Interpretation Programme at the Escuela Superior de Música Reina Sofía de Madrid, where he teaches harpsichord and basso continuo. He is also the artistic director of the concert cycle at the Reial Monestir de Santa Maria de Pedralbes. Dani Espasa, the musician that almost became an architect, is an undeniable referent in the early music field in Catalonia and the world.

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