L'Italo-Americano

L'Italo-Americano THURSDAY, MAY 18, 2023 www.italoamericano.org 6 NEWS & FEATURES TOP STORIES PEOPLE EVENTS Continued from page 4 sical music and jazz fans, so I grew up immersed in it. A s a y o u n g s t e r I l o v e d T c h a i k o v s k y , B e e t h o v e n , a n d M o z a r t , w h i c h w e r e always played at home. What music are you most passionate about now? I a m v e r y f o n d o f t h e music of the 18th and 19th centuries, especially Ger- man, which is beautiful. I love Bach from the Baroque period, Johannes Brahms, a n d l a t e r o m a n t i c s l i k e S t r a u s s , W a g n e r , a n d Mahler. This is the music I really like. When did you decide t o b e c o m e a conductor? My father recommended it to me. I was a pianist and h e t o l d m e , " L o o k , y o u should try to be a conduc- tor, it's a very beautiful and complete thing." He was the o n e w h o d i r e c t e d m e o n this path and I am grateful to him even now. W h a t a b o u t y o u r course of study? I studied as a pianist in G e n e v a p r i v a t e l y , t h e n I went to various schools in California: I got a Bache- lor's degree in Piano Perfor- mance at Pepperdine Uni- v e r s i t y , t h e n I d i d a Master's degree in Piano Performance at USC, and I f i n i s h e d a t U C L A w i t h a master's degree in conduct- ing. You made your debut alongside your mother Sophia Loren at a very young age, in the film T h e S u n f l o w e r s : d i d y o u e v e r t h i n k a b o u t being in movies again? Even as a music com- poser? No. I've directed a lot of film music throughout my career, I've done it very fre- quently. But I think compo- sition is one of those voca- tions that are hard to do if you don't really feel it. You have to have the need to create which is something that I don't have. I interpret instead. W h a t t a l e n t s m u s t conductors have? They have to be commu- nicators; they have to know how to work with people. And they also have to be a b i t o f a p s y c h o l o g i s t because they have to know how to get the best out of people. They need aware- ness and knowledge about musical instruments, and the ability to interpret. What are the conduc- t o r s y o u h a v e b e e n inspired by in your life? Many, not just one: Her- bert von Karajan, Leonard Berstein, and many, many others, as well as the Ital- i a n s R i c c a r d o M u t i a n d Giuseppe Sinopoli. W h a t d i f f e r e n c e d o you find performing in t h e U S c o m p a r e d t o Italy? In America, the audience is always very warm and g i v e s s t a n d i n g o v a t i o n s very easily. In Europe, on the other hand, the audi- ence is more critical and it is more difficult to tell if they have enjoyed a con- cert. W h a t a d v i c e w o u l d you give to a young con- ductor? I f a y o u n g p e r s o n h a s chosen this profession, it means that they are auto- matically passionate about it, so I would tell them to try and do what they feel, without necessarily seeking s u c c e s s . I ' d t e l l t h e m t o keep doing what they are passionate about. This is a privilege that not everyone has. Conductors have to be communicators; they have to know how to work with people. And they also have to be a bit of a psychologist because they have to know how to get the best out of people. Carlo Ponti during a performance for solo and orchestra (Photo: Claire Painchaud) C o n d u c t o r C a r l o P o n t i ( r i g h t ) , w i t h h i s m o t h e r , S o p h i a L o r e n , a n d b r o t h e r E d o a r d o ( P h o t o : K a t h y Hutchins/Shutterstock)

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