Sir Antonio Pappano talks about the Italian spirit that has influenced both him and many composers.
Italy was and remains a country that encapsulates the longings of many artists. It has inspired countless works of art, literature and – last but not least – music. What is your relationship with Italy?
Antonio Pappano: I was born in London, but my roots are in southern Italy. I feel a deep connection with the country – not just on account of my 18 years spent working with the Orchestra and Choir of the Accademia Nazionale di Santa Cecilia, but also because of my family’s roots. This is why coming to Salzburg with my orchestra and with Italian music constitutes a very special highpoint for me.
What makes Verdi’s Messa da Requiem so special in his oeuvre, and in the Italian repertoire overall?
Antonio Pappano: The Verdi Requiem, some say naughtily, is yet another opera by Verdi. But it’s not, it’s much more. Verdi had a highly ambivalent relationship with the Catholic Church, and was very critical of the Church overall as an institution. But you nevertheless get the impression that he felt the text of the requiem mass very deeply. The work is truly very theatrical, but it’s also a very human response to a highly emotional, dramatic text. You can say it’s theatrical, but at the same time it shows great spirituality. And that’s why this music reveals a more personal Verdi than in all his operas.
In your Orchestral Concert with the Accademia di Santa Cecilia, you present symphonic works by Italian composers. What is the dramaturgy behind this programme?
Antonio Pappano: There isn’t much purely orchestral music from Italy. But this programme nevertheless offers a small taste of what Italian symphonic music can be. Respighi – of course, the »Fountains« and »Pines of Rome«, the two tone poems that he wrote for my orchestra back in the 1920s. They’re our calling card. The music is wonderfully orchestrated and has a perfume about it – the way it depicts specific places at specific times during the Roman day, it’s really fantastic. I was really keen to present Ponchielli’s »Elegia« alongside them as a complement to our production of his opera »La Gioconda«. It’s a sad piece. Highly influenced by Wagner’s »Tristan«. You almost never hear this work, but I love it very much.
In contrast to this, »Juventus« von Victor de Sabata. This also enables us to build a kind of link to Salzburg, because this piece was strongly influenced by Richard Strauss. Ultimately, a new joy and a youthful freshness burst through the darkness and melancholy here. And we start off with Luigi Boccherinis »La ritirata notturna di Madrid«, arranged by Luciano Berio. It’s a wonderful aperitif for the concert.
Were you also involved in the programming of the second Orchestral Concert conducted by Jakub Hrůša?
Antonio Pappano: This programme was put together by Jakub Hrůša, the first Guest Conductor of the Accademia Nazionale di Santa Cecilia. It’s a very neat programme because it’s got music influenced by Italy. For example, Berlioz’ »Le carnaval romain« or »Harold en Italie«. Both works offer the electrifying musical language that was typical of Berlioz, but at the same time they also let us hear the Italian ambience. In contrast to this, Bohuslav Martinů refers in his music to Italian art. In his »Fresques de Piero della Francesca«, he has magically translated three paintings by this Renaissance painter into music.
What makes the music that deals with Italy for you?
Antonio Pappano: When I speak about Italy and Italian music, I always have to speak about images and sensory impressions. Italy is something for the eyes. When you see such things, you can smell the scents, and you dream. To me, this is the identity of Italy. And this is what many composers have expressed in their music – both Italiens and non-Italians.
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