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I would say that, at the moment, it is the works of Verdi in which I can do my best. This is the dream I have for opera in Italy, and if Italy will bet on me, I will be happy. I worked with him, and he taught intervij a lot of secrets, a lot of interesting things about self-analysis and conducting style.

In the case of Vaccaj, however, everything has been written with to accommodate the voice. We must cut the snobbery associated with opera and open the doors.

Intervviu is important to say this: Some of my colleagues seem to prefer working with voices that are like computers, but it is not for me.

These are the two stars that remind me that I have a lot of work to do, if I am to reach the same level. It is difficult to identify an exact moment, but there are two factors in my life which I can see as pivotal.

The third thing is breathing, and by this I mean physically.

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Of course, there is also Verdi and Puccini. Because you have in front of you an orchestra, and the sound arrives physically.


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 innterviu, like Puccini I would say, both sound so natural, luisii is not always the case in bel canto. Of course, there are two or three numbers that are luiei in the same class, and the recitatives are not as good as those of Mercadante or Mayr, which have a higher level of musicality and sense of theatre.

This is important, as a conductor must have this characteristic; it is intevriu easy to stand in front of 3, people and to have the self-confidence to bring the orchestra, singers and the audience around to accepting your interpretation. He is the complete opposite. He is the polar star, because his approach to music is completely orgiastic, completely Dionysian, and it is how I came to realize that eroticism exists in music.

I have a lot of ideas about repertoire and how to open up opera to a wider public.

Then there are the Italian conductors, because I must not forget that I am Italian. 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.

It is difficult and it is a challenge. I am not very tolerant. The other conductor who I think of as a god is Carlos Kleiber. I lived in New York for two and half years, so it remains in my heart. By returning there, I will close the circle. Everything is subservient to the human voice.

The orchestration also takes into account the human voice. Very erotic for sure.

It means lot to me to be here, so I told my manager, if Martina Franca proposes something, even if there is a more financially lucrative offer somewhere else, I will accept Martina Franca because Martina Franca is my home. Luksi it is something more — it is the magic!


Interviú desnuda a la ganadora de Gran Hermano 14, Susana Molina | Diario Sur

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. Vaccaj was a great composer for voices and everybody studied his vocal methods. It is another level of reading. It is very sophisticated. You have to believe in yourself, and you must be a leader. So I would like to start with Mozart, the Italian bel canto, in which there are still many jewels to be discovered.

It has been a rapid rise for the young conductor who, at the age of 34, seems destined for the top. Conducting is a very erotic act, and every erotic act needs passion, love, needs luisj breathe.

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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. It was something magic. Symphonic music is fantastic, but it is more technical.