Scarlatti, Handel and Bononcini arias, virtuoso flute and a sovereign vocal line: Bruno de Sá, Dorothee Oberlinger and Ensemble 1700 celebrate an Italian Baroque in which everything proceeds from song, even the instruments conceived as voices. 
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Few singers are capable of matching the range of the castrati; today, Bruno de Sá possesses one of their natural equivalents. In Ambronay, he alternates fearsome arias with suspended melodic lines, while Dorothee Oberlinger’s flute extends this vocal aesthetic so characteristic of the Italian Baroque.
Italian immersion
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