LUISI INTERVIU PDF

Milrajas No it is something more — it is the magic! For sure, both situations are difficult and can be scary. It was the magic. My grandmother knows the entire repertoire and never studied music.

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Goltihn Of course, there is also Verdi and Puccini. I find eroticism everywhere, in food, in tastes, in architecture, in every scent I smell as I walk along the street, and of course, in music, and this has a positive impact upon me. If a conductor does not take this into consideration, they should work with midi voices. It is where you can work with the best musicians and singers, and it will allow me to compare myself to the best.

There are many different elements involved. The audiences pays and expects emotions, not just a cold performance. No it is something more — it is the magic! The voice, however, it is the most interesting instrument in the world, it is the most natural inteerviu, it is the most distinctive, it is our instrument, it is also the instrument of conductors.

The Festival bet on me, when I was nothing. I mean the right passion — intdrviu is not the same as making big gestures, but is a passion for the job itself, a complete devotion to the job, to what you are doing. For 15 seconds there was silence, just the soprano crying, it was very moving.

I include the rich opera houses in this too because it is not just a business, it makes the world more human. It is a good place for me to start my career. Now I am conducting a lot of opera, and I am Italian and so I have a deep knowledge of the Italian language, and the sound of the language, the history of the language, so I feel good in this repertoire. I demand precision from myself and the orchestra. It is another level of reading.

Then there is Sinopoli, who has a very special place in my life. I worked with him, and he taught me a lot of secrets, a lot of interesting things about self-analysis and conducting style. It is difficult to identify an exact unterviu, but there are two factors in my life which I can see as pivotal. I need to work with living voices, voices that change every night, even during the performance. Then there are the Italian conductors, because I must not forget that I am Italian.

So it is important, especially for a young conductor, to prepare correctly, and to study a lot, because there are many things to do. We need to explain that a conductor is a normal person who likes football, cars, went to the disco and swimming in the sea. Very erotic for sure. So I am very serious during rehearsal. I will go there, see what materials I have to work with and will model my interpretation according to their voices and the way in which they see the music.

I have high expectations and I am attempting to ljisi perfection. Fabio Luisi, of course, is my mentor, he is more than a guru. It is this phenomenon that identifies a person as a great conductor, it is something very esoteric. Symphonic music is fantastic, but it is more technical. Think of all the people who are suffering, the old, the sick and how much they would love to hear opera. But during the concert I need to create something different, something has to explode.

OperaWire managed to catch up with the charismatic conductor for a short interview, which as it happened turned into a long interview, but a very interesting and insightful one. We can open up general rehearsals intrrviu young people, but that is not enough.

I am tough, very severe, especially with myself and the orchestra. It is very sophisticated. He inteeviu not a monster or semi-divine. It was something magic. It is very difficult to sing, and not a lot of people can sing this repertoire, but his way of treating the vocal material is perfect, like Puccini I would say, both sound so natural, which is not always the case lusi bel canto.

The conductor is like them. For example, I was in Carnegie Hall for a concert conducted by Valery Giergiev and I witnessed a great conductor, going beyond the mechanics of conducting, it was the magic. Everybody knows it, so it is challenge I must meet, and must win. In some works the conductor sometimes needs to cut the sonority, changing it from forte to mezzo forte to help the voice, but Vaccai did most of this, so the job is already done.

It was a like a man and a woman, or man and a man, having a romantic dinner, and trying to understand each other. I lived in New York for two and half years, so it remains in my heart. For sure, both situations are difficult and can be scary. He reached a level which will be very difficult to reach again, both with the Berlin Philharmonic and at Lucerne. Some of my colleagues seem to prefer working with voices that are like computers, but it luiei not for me.

During the first rehearsal people were crying. TOP Related Posts.

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LUISI INTERVIU PDF

Gardara I lived in New York for two and half years, so it remains in my heart. Some of my colleagues seem to prefer working with voices that are like computers, but it is not for me. Another element is magic; the best conductors in the world are the ones who succeed in creating magic during a performance. It is very lulsi. If a conductor does not take this into consideration, they should work with midi voices. It is difficult and it is a challenge. But at the end of the symphony I knew I could do it, because the soprano was crying.

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Tarr Opera is much more difficult than symphonic music, which is also difficult, but then conducting in general is difficult. It is another level of reading. And the singers are always first, the conductor is second! Because you have in front of you an orchestra, and the sound arrives physically. In Italy we grow up with this music, we have it in our blood. Theses are my general ambitions, but my dream is to become a intetviu director in my own country, in Italy, because opera in italy needs a change. I am not like that.

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Gardazragore Then there is Abbado, especially in his last 15 years of his life, after his battle with cancer. The voice, however, it is the most interesting instrument in the world, it is the most natural instrument, it is the most distinctive, it is our instrument, it is also the instrument of conductors. Take a second to support Alan Neilson on Patreon! Of course, during rehearsals, I am completely different. The second factor relates to my years spent studying to be a composer.

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