Fábio Zanon


"…one of the true stars of the 21st century guitar."
Classical Guitar, UK, June 2007 (Paul Fowles)
Domenico Scarlatti – Sonatas (Musical Heritage)

Uma das figuras dominantes no cenário internacional de violão clássico, como solista ou camerista, Fábio Zanon tem se apresentado por toda a Europa, América do Norte, América do Sul, Austrália e Oriente Médio, e é convidado regular de teatros como o Royal Festival Hall e Wigmore Hall em Londres, Carnegie Recital Hall em Nova York, Sala Verdi em Milão, Sala da Filarmônica de Varsóvia, Musikhalle em Hamburgo, Ateneo em Madri, KKR em Lucerna e todos os maiores teatros do Brasil.

Venceu por unanimidade dois dos maiores concursos internacionais: o 30° Concurso "Francisco Tarrega" na Espanha e o 14° Concurso da Fundação Americana de Violão (GFA) nos EUA. A essas vitórias seguiu-se uma turnê de 56 concertos nos EUA e Canadá e o lançamento de seus primeiros CDs.

Sua gravação da obra completa de Villa-Lobos, pelo selo americano Music Masters, é considerada uma referência e o CD Guitar Recital/Naxos, sendo escolhido pela revista Gramophone como o melhor de 1998: “Técnica fluente, grande beleza e variedade de som, resposta emocional finamente controlada, sensibilidade estilística”.

Desde 2008 é professor visitante da Royal Academy of Music de Londres. Em 2013 assumiu a coordenação artística e pedagógica do Festival Internacional de Inverno de Campos do Jordão.


With the 20th-century items the full, formidable range of his artistry emerged, beginning with Lennox Berkeley's by now core-classic

Sonatina, Op 51, in the angular slow movement of which Zanon found a gamut of contrasting colours. He loosened up still more in the Spanishry of a pair of Albeniz transcriptions, dispatching Zambra Granadina and Torre Bermeja with an edge-of-the-seat volatility, as though he were improvising them on the spot.
The climax of his recital was another British work: Music of Memory by Nicholas Maw. Composed in 1989, this continuous fantasy-variation structure runs to more than 20 vastly demanding minutes. Yet, as Zanon knitted together the work's array of textures and playing techniques, and its allusions to many forms, from fugue to funeral march, in a tour de force of mounting intensity, he convinced us that Music of Memory was indeed born as a classic, and asserts the guitar as one of the major forces in the musical production of the last decades.
The Independent, London, 19-02-2004 (Bayan Northcott), Wigmore Hall recital

In the year Theatro São Pedro consolidated its role as an opera house, it received this excellent staging of British minimalist Michael Nyman’s opera. Apart from the superb performances of soprano Flavia Fernandes and baritone Stephen Bronk, this opera gave the chance of an astonishing conducting debut to the world-renowned guitarist Fabio Zanon. 
Veja magazine, São Paulo, 29-12-2006 (José Flávio Júnior), Michael Nyman’s The Man who Mistook his Wife for a Hat, conducted by Fabio Zanon
Best Concert of 2006 Award

It was a grateful surprise to witness guitarist Fabio Zanon, in his debut as an operatic conductor, so much at home on the rostrum. This music requires, above all, energy, so that it does not get lost in indifference of characterization. And loads of energy it had. 
Folha de São Paulo, São Paulo, 3-12-2006 (Arthur Nestrovsky), Michael Nyman’s The Man who Mistook his Wife for a Hat, conducted by Fabio Zanon

Brazilian guitarist Fabio Zanon, for whom the [Benjamin Dwyer´s) concerto was written, was at all times authoritative, and his playing was hugely resourceful in the colouring and nuance of the solo line.
The Irish Times, Dublin, 30-04-2007
Throughout his demanding recital, Fabio Zanon gave evidence of an admirable technique, never shaken regardless of the complexities undertaken; all was commendably tidy. To that, he added warmth of tone and an effusive approach. (…) One of J.S. Bach’s Partitas, BWV 1006, turned into a grand exercise for Zanon. Every quick note expected from a violinist was translated into language for the guitar. Zanon displayed an incredible agility of fingering. Not only that, but he gave the music a propulsion and a feeling of joy, just as the dances in this partita require and deserve. 
The Herald-Times, Bloomington, Indiana

(…) Fabio Zanon was an ideal exponent. I cannot recall hearing live a player who could draw such a range of delicately shaded tone from the instrument, or one who could deploy the subtlest distinctions of nuance so sensitively and imaginatively. Zanon is not the man to go in for crude or predictable contrasts. (…) This was playing in which virtuosity was being taken for granted rather than being made deliberately featured. 
The Irish Times, Belfast

In his debut [at Weill Recital Hall at Carnegie Hall], Fabio Zanon proved to be a performer who is able to unite immaculate technique and a beautiful tone into a clear and genuine musical statement. Zanon played amazingly fast when the piece requires it, never losing his solid sense of rhythm and phrasing. (…) Fabio Zanon is one of the few perfomers who can be certain to be remembered by his audience.
Guitar Review, New York

There are many good technicians playing the guitar today, but in depth of musicianship none can compare to Fabio Zanon.
Kommersant, St Petersburg

His projection of subtlety and extremity made the guitar achieve an almost orchestral variety of sound. More remarkable still were his rhythmic discipline and his flair in deploying his battery of effects. (…) Zanon is a fine guitarist; but above all he is a profound musician.
The Irish Times, Dublin

(…) Zanon is a phenomenal performer. His technique borders on the super-human, and his most distinguishing trait is his consummate musicianship. The purity of tone is warm and seductive. (…) Zanon captured the sheer elegance of the [Scarlatti’s] sonata grouping, with every microscopic nuance emoting a fleeting fantasy supported by scholarly study. (...) Zanon is a guitarist’s guitarist and a musician’s musician.
The Salt Lake Tribune, Salt Lake City

I do not hesitate to suggest that Fabio Zanon may become one of the most important guitarists of his generation. In his Seattle concert he displayed not only a rare ability on the instrument, but also a learned approach which was neither dry nor pompous. (…) He seems to take all matters into consideration, carefully constructing a partnership with the composer. (…) If there is any question of the continuing progress of Segovia’s efforts, Zanon proves that the guitar is very much alive.
Seattle Guitar Society Datebook, Seattle

He commands a wonderfully mellow tone and his articulation is dazzling. (…) I have heard a good many guitarists in the last few years, but none to rival this wonderful player. Next time he plays at Wigmore he should have queues as far as Selfridge's.
Musical Opinion, UK

(…) even in 2007, the bar is still being raised with such groundbreaking releases as this phenomenal performance by Fabio Zanon.

(…) Gone are the days when guitarists restricted themselves to the sonatas you could read from the dots without any page-turns. (…) A classic performance from one of the true stars of the 21st century guitar. 
Classical Guitar, UK, June 2007 (Paul Fowles)

The fact his interpretation can be compared to those of great pianists like Horowitz and Pletnev gives us the measure of Zanon’s art. (…) The disc offers 13 pieces. There is not a single one which is not a lesson in composition; and there is not a single one which is not, likewise, a lesson in interpretation, in a recording that could not ever claim to “authenticity”, but renders a tribute to the wealth of knowledge we have inherited from the early music school of interpretation. (…) Zanon deploys a whole gallery of ornaments, many of which take advantage of several strings, thus nurturing the music from the inside with small prodigies of charm and fancy. (…) As every composer of genius, Scarlatti is never-ending, and the history of his sonatas is the history of their versions. Fabio Zanon’s transcriptions and interpretations find a place for themselves and re-create or even give birth to an extraordinary composer, who is now an extraordinary guitar composer as well. 
Folha de São Paulo, São Paulo, 23-03-2007 (Arthur Nestrovsky)

This disc is characterised by outstanding accuracy in performance of a repertoire intelligently chosen for its suitability to the

performers’ sensitivity, by the poetry, finesse, elegance, energy, intimacy, natural phrasing, variety of attack, rhythmic complicity and diversity of expression discernible in the recording. (…) A disc which has no weak points – Radamés Gnattali's Sonatine is so well argued by the two performers that it almost gets our vote. The sensual, inventive playing of the guitarist, Fabio Zanon, is top notch.
Traversière, France, March 2004

What a magnificent interpreter! …Fabio Zanon, with all the resources of the most dynamic virtuosity and the liveliest acuity at his hands, focuses before anything else on the plastic beauty of tone, on its clarification and on the purest musicality.
Repertoire, France, R10

Just when you thought you had heard all the recordings of Villa-Lobos that you could handle, there comes a new one – one that can blow you away. (…) a stunning performance. Zanon takes his time and explores every nuance, producing a wonderfully cantabile performance [of the Suite]. He performs [the Studies] with an amazing technical virtuosity. (…) An inspiring recording.
American Record Guide, USA

(…) The music of Villa-Lobos seems to have been written for Fabio Zanon. You will seldom hear this often-played repertoire with such balance between compositional features, melancholy and exuberance. In comparison to it most other interpretations will seem bloodless. A gleaming debut by a prize-covered young guitarist.
Fono Forum. Germany

Fabio Zanon must now be acknowledged as a member of the highest echelon of living guitarists – an accolade I do not bestow lightly. His playing is marked by fluent technique, great beauty and variety of sound, finely controlled emotional response, and stylistic sensitivity. (…) It is because of Zanon’s consistent empathy with music of wide-ranging styles, that I choose his as my Record of the Year.
Gramophone, UK, Critic’s choice “The Best of 1998”

This is one of the most beautiful recordings of music by Bach I have heard in a long time. It positively bristles with alert and joyous musical sincerity. (…) A recording that suggests only the brightest future for this towering presence we are fortunate enough to have actively demonstrating his influence on the scene today.
Classical Guitar, UK

This release must be seen as a major event within guitar circles. […] It is the double revelation of a technician absolutely above the norm combined with a vertiginous sensitivity. […] Let’s be very clear: it had been a long time since a young guitarist had shone with such an intense light.
Répertoire, France, R10

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  • Villa-Lobos part 1
  • villa-Lobos part 2
  • Sonata Scarlatti - K 391
  • Alexandre de Faria
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