Even as a young child Alberto Busettini had a deep interest in the Harpsichord and Early Music. His passion for this music became his profession and life. After graduating with highest marks and mention in Italy, he specialized in Harpsichord, Basso Continuo and Baroque Orchestra in The Netherlands and subsequently studied at Chigiana Academy with Christophe Rousset. Giving thousands concerts across Europe, Alberto is an appreciated soloist and conductor, and is widely sought after to perform with many well-known early music groups including Contrarco Baroque Ensemble, Venice Baroque Orchestra and Opera Stravagante; to participate in Early Music Festivals such as Grandezze e Meraviglie, Alte Musik Live Berlin, Festival Monteverdi, Musikfest Kreuth, Wunderkammer, and Festival delle Ville Venete, and perform with renowned artists such as Alfredo Bernardini, Sara Mingardo, Stefano Montanari, Silvia Frigato, Anna Fusek, Sergey Malov, Angelo Manzotti, Michael Radulescu, Filippo Maria Bressan, Gabriele Cassone. Alberto Busettini a highly esteemed soloist, frequently performing on original instruments like the Walter harpsichord (1696) in Tolmezzo (IT) or in Paris on the Collesse 1748 harpsichord.
He is Visiting Professor for Harpsichord, Basso Continuo and Historically Informed Interpretation Praxis at the Early Music Department In the Faculty of Music in Ljubljana (Slovenia), and also holds the position of harpsichordist and “Maestro di Sala” for Early and Baroque Music Projects in the Teatro La Fenice, Venice.
What the Critics say about Alberto:
In XVII Century’s Italian Music “Alberto Busettini shows from the first bars great technical skills and a phrasing adhering Baroque aesthetics based on the wonder and the representation of the affects.”
About performing Scarlatti’s Sonatas “The influences of Spanish folk music that reverberates in Scarlatti are evident, thanks to the clarity of Busettini, his exceptional extremely attention to details of the score, even the less obvious ones.”
“In the French Repertoire the public can admire in the Italian Harpsichordist the great choice of Tempi for the dances and pieces and the richness of the ornaments as Couperin wanted; Rameau and Royer give to Busettini the opportunity to show his technical skills in this real virtuoso style.”
InstArt © Sergio Zolli