Photo Credit: Mr. Roger Steen.

When COMMANDOpera was accorded an audience with Maestro Nicola Luisotti, one could not consider such a matter with anything other than the most serious contemplation. This is no ordinary Conductor who is not placed, but rather one who holds two exalted situations; one operatic with the San Francisco Opera, and one symphonic with the Tokyo Symphony. COMMANDOpera simply could not discuss with this Maestro ordinary topics, but rather heavier issues which an individual of Mr. Luisotti’s position demands. Therefore COMMANDOpera determined to undertake a rather extensive review of interviews previously granted to other media to better appreciate the level and content of questions proffered. Interestingly, this venue was somewhat taken aback by the simplicity of other interviewers. In the opinion of COMMANDOpera, deference is a must when speaking to a Maestro such as Nicola Luisotti, however this does not follow as a matter of course one should not take such an opportunity to enquire after what really matters to those who follow the art form closely. Sophisticated boundaries were respected: I engaged Mr. Luisotti only as ‘Maestro’, while in turn, such familiarty as the use of ‘Crew’ was not trespassed.

The atmosphere was set by enquiring after the Maestro on his thinking regarding the earliest of composers which included Monteverdi, Lully, Purcell, Cavalli, Peri, et al. Particularly what the difficulties were in bringing their specific works to a modern stage, and the subsequent influence of the early masters. Noting that Opera exists because of these composers, the Maestro went on to advise the difficulties of bringing early works to the stage are always the same, independently of the actual time when the composer lived. Each era has its own sets of conventions, and composers (Monteverdi as much as Verdi, etc.) wrote within a particular frame of reference mastering the conventions (“style”, taste, etc.) of the time, in a language that today we may not be able to understand and appreciate. Musical taste changes and are influenced by the fashion of the moment. Maestro Luisotti went on to suggest that is why today we have certain composers of the past who are currently fashionable and often performed and others who are overlooked. He further offered one can always do more to create a Renaissance for those who are not so well known and, who knows, perhaps this will happen in our future.

Photo Credit: Mr. Terrence McCarthy.

COMMANDOpera determined to delve into that particular option somewhat deeper by moving into the next century. Those who read COMMANDOpera routinely are well aware of this venues opinion regarding the unfortunate circumstance today of the current fashion of mounting the same works of the same composers year after year after year. Rather pointedly I noted a great deal of attention was paid to Mozart today, yet not Gluck. and additionally what of the Italians Cherubini and Spontini and their respective great masterpieces Medea and Vesatale? This is a concern of such importance to COMMANDOpera, the Maestro’s thoughtful response was extraordinarily wealthy in depth and thus transcribed verbatim: “ To be honest, I do not know the reasons why people don’t consider Gluck and Mozart equally. I remember, when I was a student, that I have studied mostly Mozart. I studied not just the Music, but also his life and his death that even today are still so mysterious. And probably is the Mozart’s early death that helped to create this mystique – like in our time we create a mystery around Marilyn Monroe or James Dean. The youth, the incredible talent and the early death are three perfect elements to create legends. But there are many great proponents of Gluck’s work and I agree with you that his work should be more widely performed. In your question you ask about other Italian composers such as Cherubini and Spontini, in addition to works such as Medea or Vestale for example. I don’t think it is anachronistic to put on stage works by those composers, but I do think that the reality is that the public very often refuses to go into the Theatre when someone tries to put on stage something different. I understand that Intendants today are pretty scared about that. To risk that the Theatre would perhaps be almost empty just to accept a challenge of introducing a newer work is pretty distressing. In a moment like this one, when all the world is struggling to find money to let the opera be still alive, having no public at the performance would really be very sad. Personally I think that we should do new operas and new repertoire, but what about our public? At San Francisco Opera, we have done a number of new works recently – including Doctor Atomic by John Adams, The Bonesetter’s Daughter by Stewart Wallace, and Appomattox by Philip Glass. This season we are doing Werther, The Makrouplous Case, and Cyrano –works that are not considered in the standard repertoire. But we are balancing this with Figaro, Butterfly, and Aida. Music audiences are not so different that those in the art world. If you go in Paris to the Louvre, you will see a lot of people in front of Leonardo’s “La Gioconda”, and no one in front of “La Bella Ferroniere” that I find personally much more interesting than the first one. What is my point here – perhaps that the people need to recognize themselves in something and it is easier with Gioconda than Ferroniere. Just as it might be easier with Traviata than La Vestale. It remains our work to keep opera alive and to do that we must always balance between the new, the unusual, and the works that are beloved and well known. If you love opera, as you do and as I do, then you accept this work and you strive to please as many people as you can with this great Music…indeed, the greatest of all art forms”.

Macbeth. Bayerische Staatsoper 2008

Switching to another track while still in the Romantic period, one was obliged to enquire after the symphonic line of operatic works with regard to the Maestro’s interpretations. Clearly Maestro Luisotti felt there was a sea change post Donizetti, Bellini, and Rossini when Verdi appeared on the scene. This is not the first time COMMANDOpera has heard from eminent Maestri regarding specifically the ascension of Verdi vis a vis equality of the symphonic line to the vocal in importance. Maestro Luisotti indicated the orchestra had an opportunity to create and sing when performing Verdi, which assuredly is what happens from rehearsals through to performance.

This Friday, Maestro Luisotti will open the San Francisco Opera 2010/2011 season with an all star cast of Aida. No one argues with the attraction of this work for a season opener as it has it all. Once again, COMMANDOpera will transcribe verbatim the Maestro’s thoughts, this time to illuminate something of the individual within: “ It is such an honor to be the music director of San Francisco Opera. I love Aida and have conducted the work many times, most recently with the Royal Opera House in London. I am also very excited that we will simulcast Aida to the famous baseball park – AT&T Park – free of charge on September 24. We are lucky to have an opera that is perfect with our very special opening night audience and also a super crowd favorite for our thousands of fans who come to the ballpark to watch on the big screen. We are expecting a huge crowd to come out eating hot dogs, why not, and watch the magnificent grand opera of Aida – this is an important way to build new audiences for the art form and to reward our loyal opera lovers with something free and totally different. You may not know this – but I learned that David Gockley was the first in the US to offer a simulcast. It was when he was in Houston and it was Cecilia Bartoli in Cenerentola so I am honored that he is continuing this tradition in San Francisco and that I can be a part of it. Opening night at San Francisco Opera is a magnificent affair – and legendary audiences. On this night, our most generous patrons come out to show their support and love for the Company. The men are usually in white tie and the ladies in elegant ball gowns, but of course I do not see any of this until after our performance when I can join them to mingle and raise a glass of champagne to the opening of our season. But I can feel the energy in the pit and the excitement that opera is back on stage. Aida is a perfect opera for this magical night ” (particularly humorous to COMMANDOpera were the Maestro’s words : ‘why not’ at the prospect of eating hot dogs while listening to Opera. We like the way this man thinks).

While discussing the San Francisco Opera season, COMMANDOpera was curious to know if Maestro Luisotti encountered specific considerations when determining repertoire for any season at this particular house. Pointedly, the Maestro noted the necessity of acquiring the finest singers in the world to perform the roles offered on the boards of this theatre given the SFO’s obvious top tier stature globally. Evolving a season where only the best of the best is considered, naturally must follow with the wishes of the San Francisco Opera going audience who are quite aware of repertoire. Thus, seasons are sketched out accordingly with Mr. David Gockley and the rest of the staff at the SFO, sometimes there is heartache over what cannot be done, but more often than not the Maestro is greatly appreciative of the ‘great dream’ it is to mount seasons at such a house.

La Fanciulla del West. San Francisco Opera 2009

The Maestro conducts across the globe each year, and tremendous demand is placed on his calendar because of it. One engagement which COMMANDOpera enquired especially after, was the upcoming 100th anniversary performances of La Fanciulla del West at the Metropolitan this year. Without question this tourneé is particularly dear to the heart of the Maestro, it is prosaically correct for readers to know his own distinctive sentiment in words: “ Thank you so much for asking about La Fanciulla del West. In my opinion, Fanciulla is one of the most important and least understood works of the 20th century. I am very honored to conduct this important work at the Met in celebration of its world premiere at the Met, 100 years ago. Of course I am glad to be the conductor chosen by Peter Gelb, but honestly, I am also just glad that the company will recognize this work and that Girl of the Golden West will get so much exposure in the US. Our performances in San Francisco began the celebration – then the Met will celebrate the work on the anniversary of the premiere, and then later Chicago Lyric Opera will do it as well. The solutions inside the score are pretty unique and it seems to be a new Puccini inside an old one. What do I mean by that? I mean that Puccini himself found a new way to proceed in the composition. He risks an unusual orchestration, with all the woodwinds doubled and even invents himself a new instrument called the “fonica” that he will never use again. All the composition is based on the fourths and fifths and on the pentatonic scales. Also, in his previous works, all his female heroines die at the end. In this opera, Puccini allows Minnie to live – to create something new. It is SHE who will leave the MINERS “dying” of solitude. It is the first time that Puccini attempts this kind of subject – probably this has something to do with his 1909 personal drama ( the death of Dora Manfredi and the terrible life with Elvira because of that). I think he must have felt himself terribly alone in that period, and perhaps putting the themes of redemption and solitude together has many important personal meanings for him. Things that we cannot ever really know about how he is feeling inside himself. Many people used to say that this is a happy end but I think that this ending is dramatic and powerful and sad – all together. All the miners had originally come to California with the dream to become rich but in the opera these men realize that ultimately they are just working to survive, that their work is enriching the big corporations and not really themselves. Minnie abandons them at the end, and that is when they suddenly realize the truth – that the only real gold was not to be found in the ground. In truth, their gold was Minnie — their girl of the golden west. Debbie Voigt does a beautiful job with the character of Minnie – being American she has a feel for the spirit of the adventurous girl inside the role “.

The other engagement of great interest to COMMANDOpera occurs next February in Rome with the glamorously storied and respected Accademia Nazionale di Santa Cecilia. The Orchestra of Santa Cecilia ranks perhaps of the top three globally to this venue given their historic recordings under the finest maestri. 2011 marks the centenary of Mr. Nino Rota who is considered the most important composer of the period after Puccini. Thus a homage to the composer underlines the program with Mr. Rota’s piano concerto featuring the Italian pianist Mr. Giuseppe Albanese, and the suite Il Gattopardo’ (which is the sound track from the Luchino Visconti movie of the same name). Also on the tableau for the evening will be Beethoven’s 4th symphony.

Photo Credit: Mr. Terrence McCarthy.

Before wrist watches could be glanced at, it was time to end the interview. Not knowing what future opportunities one would have to speak with the Maestro, COMMANDOpera enquired what he felt his greatest achievements and artistic accomplishments would be 30 years down the road. Rather a bold question to ask of a man who while obviously celebrated and revered, recognises the sublime distinctions found in true gentlemanly and honourable discourse. To illuminate finally another shade of the Maestro, his own words: ” I would like to be a wizard to know the future! I don’t feel able to make a firm prediction on what I will offer to the world of opera. Others will judge that. As I have said before in interviews, I believe that the nature of a conductor is to be a sort of time traveler. For our time machine, there is the score. And so I can freely travel time from one composer to the next, finding myself completely lost in the genius of the masters. I do have big hopes and dreams for the future. Most important for me is that the Music herself continues to be a central part of all human experience. For I think that the great Music of the past carries us through the present and into the future. If through my work I am able to bring forward the genius of my ancestors – those who came before me on the podium and specially those who have offered their heart and soul to create the Music, then I will be happy with my life. The Music is like the Sun, the Moon, the Stars: Music is forever! And She is married with the Time that opens the doors to us, small dust of the Universe “.

Maestro… Thank-you.