DIRECTOR OF HEART AND ARM
Antonio V. Gelormini
After Anna Lisa Pisano soloists - flute, Giuseppina Ciarla - harp, Martina Repetto - horn, the choice of superintendent Foundation Lirico Sinfonica Petruzzelli foregrounding female talent on the stage of Mozart's symphonic Politeama Bari, is enhanced by a conductor of the caliber of Gianna Fratta. To her, talent doc Puglia, was entrusted with the appointment of 12 February - 21.00 - Teatro Petruzzelli, with the performance of the Sinfonia Concertante for oboe, clarinet, bassoon, horn and orchestra, and the most famous Symphony . 41 "Jupiter" by Wolfgang Amadeus Mozart entambe.
1 - "Master," Knight of the Republic at the age of 35, the express wishes of President Giorgio Napolitano. With the rod in place of the whip feels more "Valkyrie" from the warrior look, or "Amazon" restaurateur with his horn full of mead?
do not know. I feel that the stick is not an object of power, but of responsibility. Certainly choose to challenge it takes a little 'and some of the Valkyrie' of the Amazon, but to continue to challenge it, once I picked, it takes something more. It takes a mix of skills, abilities, knowledge, character and a lot of energy. I would say that it takes a little character and very pliable led to assume responsibility for the choices you make, not just music.
2 - The dream come true to direct the Petruzzelli. What are your feelings as a woman rather than as the first woman to be the protagonist of a page in the history of music?
certainly lead to Petruzzelli is an important goal of my life than my career. I know how this place is significant for the music, in the Puglia and what constitutes a musical reality among the most reliable in Italy. Not always be involved in a page of history is a good thing. The page was written with the talented soloists and orchestra was truly beautiful. We have worked to give the audience a thrill. And the "boys" of this magnificent orchestra were excellent.
3 - He tells us what most attracts your attention and most are interested in a score?
All appeals to me. The genius of the writing composite of lines that intersect, the continuous themes, dialogue, they become and the fact that, as a performer, you get to find out what brilliant minds, like Mozart (as to conduct a concert Petruzzelli dedicated to him), put on paper.
I am interested in the work of "detective" that underlies the director, the studio work to discover and learn. I do not try anything in the score that goes beyond the intentions the composer, who plays in a personal way, but I try to fully respect.
4 - There is a section of the Orchestra who prefers?
Absolutely not. I'm not interested in the orchestra or individual stamps each section. The first time I heard a live orchestra (I was about 8 years old and studied piano at the Conservatory of Milan), I thought how it was simplistic to the sound of an instrument compared to the fusion of timbres the orchestra. At that moment I decided to make the conductor.
5 - Director of research as an interpretative tool or faithful "Musa" of creative interpretation, of the decline in function of the talent available in each orchestra?
This is very old and very influenced by the teachings of my Master Yuri Ahronovitch. We all means: the director, the orchestra, the soloists. We are only the means through which the ideas of the composers you can and should transform lives in emotions, they can exit the page and go straight to the heart, skin, the belly, the head. Interpretation is a research, research the idea of \u200b\u200bthe composer. Certainly there is a degree of choice, there is the responsibility of making decisions, but the goal end is to get as close as possible to the one who conceived and created the work. The paths to approach are different, each interpreter follows his way, he made his way, but the signs are written by the composer.
6 - What are the myths, or rather its patterns, composition and conducting?
generally have little scope to have much fewer models and myths. I am fascinated every day and admired by many composers and conductors, but a role model for me goes beyond professional respect, that while I feel for many. A model for me was Yuri Ahronovitch: a model of director, a man, a teacher. He represented something to me, Gianna Fratta. You see, Abbado, Muti, Maazel ... all exceptional, but they can be models, may be examples. Instead Ahronovitch has changed my life and, despite being dead for several years, there is no day on which, considering I do not think the things I said. That is, the things he said just for me, specifically referenced to the way I manage. This, to me, and 'a model.
7 - Umberto Giordano, Niccolò Piccinni, Nino Rota, how much goes into the musical tradition from Puglia?
Tanta. Do you think that when I studied conducting at the Conservatory of Bari my Master, Rino Brown, I did manage own work by Piccinni. Although in concert was the first opera I directed. After there was "The King" by Umberto Giordano, which came out the only existing DVD, and then I headed to a chamber emsemble Umberto Giordano. I recorded the lyrics to Jordan for voice and piano, I directed, chosen by Bruno Bartoletti, the work of Jordan "Marcella." Even Nino Rota I directed and played enough. There are three composers from Puglia ... but the assets of the music world! Certainly my study for Jordan is dictated by the fact that Foggia, so pardon my shameless pride.
8 - Korea, Balcani, Berlino, New York, Italia, un caleidoscopio di pubblico, contesti e appassionati. Lungo il tema comune del linguaggio universale della musica, cosa ne delinea le rispettive e diverse sensibilità?
Sicuramente ci sono approcci e sensibilità differenti. Io ho viaggiato molto per lavoro e questa é stata una grande risorsa, che mi ha permesso di conoscere popoli, abitudini e realtà diverse. E’ bello, per esempio, constatare come l’Opera italiana sia cosi’ amata nel mondo, quanto e piu’ che in Italia stessa. E’ sorprendente pensare di entrare nei teatri di tutto il mondo e poter tranquillamente relazionarsi ai cantanti in italiano, é una cosa che mi ha sempre very impressed. It 'difficult to describe the differences, but many that are, in different continents. Are always very impressed by how music unites musicians and audience, namely users and interpreters. The fact of traveling and making music, the same music everywhere, read the same notes and speak the same language I was taught that the world is the man's homeland. Around the world and of all men. From this point of view, rather than nationalist, I feel decidedly universalist.
(gelormini@katamail.com)
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