L'Italo-Americano

THURSDAY, MAY 31, 2018 www.italoamericano.org 24 L'Italo-Americano " I have conducted regu- larly in Italy for over thirty years, and love the country for its beauty, its culture and its language." James Conlon, director of the LA Opera, cannot hide his love for Italy while commenting his recent nomination to Commenda- tore della Repubblica Italiana. The honor, established in 1951, is one of the highest granted directly by the Italian President through the order of merit, the highest order of the Italian Republic. The title aims to acknowledge "merits achieved for the nation in the fields of lit- erature, arts, economics, and in the fulfillment of public duties." L'Italo-Americano had a chance to interview James Con- lon, who is the third American- born conductor to have received the honor (Leonard Bernstein in 1989 and Thomas Schippers in 1975 are the others). How do you feel about receiving this award? I feel greatly honored because my work has been recognized and appreciated. I am happy also because two of my great grand- parents immigrated from Italy to the States at the end of the 19th century. Where in Italy were they from?  My mother's grandparents came from a small village in Basilicata called Calvello. my great grandfather, Giuseppe, was the only known musician in my family. He died in 1899 at the age of 39. My great grandmother lived until 1950 and held me in her arms, but I have no recollec- tions of her. What's your relationship with Italy, both work-wise and personally?  I passed 95% of my youth in New York until the age of 20. My first trip abroad was to Italy and I mark it as the beginning of my adult life. I served as an assistant conductor for the Juil- liard Orchestra at the Spoleto (Italy) Festival, where, a year later, I conducted my first opera. Since then, I travelled to Italy almost every year and this has been a constant in my profes- sional life since I started working regularly, in 1985. What's the best memory you have of your performances in Italy?  It is impossible to say which orchestra or theatre in Italy holds my favorite memories.  I am cur- rently the head conductor of the Orchestra Nazionale della Rai which is based in Torino. Cer- tainly, those in Torino are my most recent memories. I have, over the course of time, conduct- ed at La Scala in Milan, at the Rome Opera and the Santa Cecil- SILVIA GIUDICI LA Opera Director James Conlon named Commendatore of the Italian Republic collaborate with an older genera- tion of musicians who were still performing in 1970s. We were heading towards the end of a golden age of opera singing and I learned an enormous amount from people whom I had idol- ized and with whom I ended up collaborating (Maria Callas, Tito Gobbi, Boris Christoff, to name only a few). But I also had the privilege to perform with the following gen- eration of artists, especially with Placido Domingo. Opera changed enormously in terms of production values. It is no longer acceptable to simply stand and sing (park and bark is the expression used). The emphasis on theater performing is very important and did a lot of good to opera. At the same time, performers must protect musical and vocal values, and that's where my role becomes relevant. What are your favorite memories from the decade at LA Opera? Difficult to say, considering I directed almost 60 different operas. Certainly the eight Wag- ner operas I conducted (The Ring, in particular), the continu- ing series of Verdi operas with Placido Domingo and, of course, always, always Mozart. ia orchestra, as well at the Mag- gio Musicale Fiorentino. I have a lifetime of wonderful memories and also a very vibrant present. What do you like about opera in Italy compared to America?  I split my time equally between symphonic music and opera. There is no essential dif- ference in the music depending upon where you perform. The difference is in the atmosphere and in the way music is appreci- ated. Italy was home to the Renais- sance, it's the motherland of our language and of western musical tradition. One senses this in the way musicians approach per- forming and also in the public. In the same way, in the US it's very important we maintain the best parts of that tradition, to let new young talents blossom. Do you find any differences in the two countries, also in regard to the audience's tastes?  Musical tastes are hard to define, but I feel it is impossible to convince an Italian public to come to a bad show. Marketing and advertising may draw atten- tion to an artist or a performing venue, but it cannot mask a per- formance that is not authentical- ly good.  What's the first memory you have related to opera and music? I have early memories, scat- tered across my childhood, mostly from the radio (wqxr) which my mother liked to keep on. According to her, and to some of my teachers, I was always an avid listener. Howev- er, I never recognized the attrac- tion until i was taken to the opera at age eleven. Within some months my entire life's focus changed and I turned on classical music.  What inspired you to become a conductor? By the time I was thirteen I wanted to conduct. I felt intu- itively that I could, but of course at that age you must learn how to play an instrument (piano in my case). I am happy I grew up in New York City, where I could go to concerts and operas several times a week. When it comes to conducting, I was a self learner until I entered Juilliard as a con- ducting student at 18. Since then, I have never stopped. Is there any conductor you admired in particular when you were studying music?  I admired many conductors, musicians and singers. Being able to go to live concerts in New York allowed me to see and listen to a wide variety of musicians. NY Public libraries were a great resource for sound- tracks and recordings. I grew up in the Bernstein era and, of course, he was a great influence. But I listened and tried to absorb as much as possible from Arturo Toscanini, Furtwaengler, Von Karajan, Szell. Is your love for music shared by the members of your family? There have been no musi- cians in my family (as far as I know) since my immigrant great grandfather. My mother loved classical music and my brothers (we were five children) were my constant concert-going compan- ions when were teenagers. My wife, Jennifer Ringo, was an opera singer and now an excel- lent teacher of languages, vocal diction and voice. My daughters Luisa and Emma are both very musical. Luisa, 29, is a docu- mentary film producer and Emma, 21, will be entering her senior year in university and her studies include guitar, theater and music. You've been in the field for so many years, how did being a conductor and opera change during these years?  I was fortunate to start my professional life early enough to "By the time I was 13 I wanted to conduct," says conductor James Conlon LOS ANGELES ITALIAN COMMUNITY Conlon and Placido Domingo, one of the artists he is most proud of having worked with Wagner and Verdi's works are among Conlon's favorite to direct. And, of cour- se "always, always Mozart."

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