RESPIRO E MOVIMENTO®

DISCOVER YOUR REAL POTENTIAL

CONDUCTOR

Interview: Carl Topilow, Conductor

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Carl Topilow

What do you consider to be the most important ideas and concepts to impart to aspiring musicians?

Each orchestral musician needs to be aware of his or her role within each phrase – are you playing the melody, countermelody, harmony, rhythmic pulse – and the relative importance of each. Note lengths, articulation, phrase direction – listening to your fellow orchestra members and fitting your part appropriately.

The difficulties of establishing a career in music, not to put all your eggs in one basket. Have lofty goals, but also alternative plans should they not come to fruition. Finding what you need to do while working toward these goals, effective practicing, performing as much as possible, coping with audition stress, if that’s your chosen career path. Cultivating other interests, finding out if teaching is fulfilling to you.

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[News] Marin Alsop Becomes Vienna’s First Woman Chief Conductor

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Marin Alsop

Marin Alsop is an American conductor and violinist. She is the music director of the Baltimore Symphony Orchestra and music director of the São Paulo State Symphony Orchestra. She is also set to become the chief conductor of the Vienna Radio Symphony Orchestra starting in 2019.

The ORF is Vienna’s third-ranked orchestra, behind the Philharmonic and the Symphony orchestras, and has little international profile. But the playing has improved over the past eight years under the German conductor Cornelius Meister and the hiring of Alsop signifies a corporate ambition to play a larger role.

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Interview: Owain Park, Composer/Conductor

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Owain Park

What do you consider to be the most important ideas and concepts to impart to aspiring musicians?

Practice is key – I’ll forever be grateful to my mum for sitting me down on the piano stool and getting me to do those scales, because now I can look at a piece of music and interpret it at the piano, and these millions of connections lead to compositional ideas when the fingers find the right spot on the keys.

It’s also important to remember that failure or rejection can allow even better opportunities to present themselves. Having worked with the choristers at Wells Cathedral, I felt I was really suited to the organ scholarship at St John’s College Cambridge, but I ended up at Trinity. At the time I saw this as some kind of failure – I wasn’t quite good enough to get my first choice – but now I couldn’t be more grateful for the time I had and the people I met at Trinity: years which have been instrumental in my career.

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[News] Riccardo Muti To Return To Vienna State Opera

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Riccardo Mutti

Riccardo Muti will return to the Vienna State Opera for the first time in 12 years.

During a press conference at the historic Teatro San Carlo in Naples, the Director of the Vienna State Opera, Dominique Meyer, along with the General Director and the Artistic Director of the Teatro San Carlo Rosanna Purchia and Paolo Pinamonti announced a joint project between both houses that will see Muti conducting.

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Interview: Jonathan Cohen, Conductor & Artistic Director

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Jonathan Cohen

How exactly do you see your role? Inspiring the players/singers? Conveying the vision of the composer?

You have to consider many things. Conducting is essentially a group leader role. You have to create the space for talented individuals to be able to do their finest work. Sometimes just allowing them the space for their own inspiration is the best course of action. Casting, enabling, and then solving problems when needed I’d say. Certainly my vision of the music is central but like everything, a good concert is the marriage of those ideas with the personalities that are involved in the creative process together.

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Charles Dutoit: ‘Today’s Young Musicians Have No Culture’

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Charles Dutoit

Charles Dutoit is one of the world’s greatest conductors – and most feared. Now he’s been awarded the Gold Medal of the Royal Philharmonic Society and is still in fighting spirit.

Dutoit feels this slow apprenticeship has stood him in good stead. “Nowadays young musicians have everything under their fingertips, they can learn a new piece just by listening to it on YouTube. They are amazingly well-informed but they have no culture. In my day everything was slow, but it meant that it was rooted,” he says. “You had to seek things out and work on them slowly with the score. That’s why at the beginning I was cautious about accepting big engagements. After I made my conducting debut in Berne I came to the attention of the Vienna State Opera, partly thanks to Karajan, and they made me the most amazing offer. ‘Come and conduct The Marriage of Figaro and then Carmen for us’, they said. No young conductor nowadays would turn down such an offer, but I said I wasn’t ready. They said ‘Well, how about Swan Lake with Nureyev and Fonteyn?, and I said, ‘Yes that I can manage’.” As consolation prizes go, that seems better than most.

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