For this reason, when I teach, I try to mix these two methods: first of all, I contextualize the piece to be dealt with (or in the case of a study, I highlight the technical aspect on which the study focuses) and then illustrate in words thing can be improved and what defects must be corrected, finally, playing in the first person, illustrating to the student concretely what has been said in the previous minutes. In some cases, if necessary, I also deal with philological questions … I think, however, that teachers often do not devote sufficient attention to the part related to the historical and stylistic contextualization of the pieces dealt with. Just to give an example: every cellist studies the Études de Duport. And yet, very few teachers lead students to face the Études through the study of the Duport Method, the gradual path designed to enable the student to face the Études. Certainly we should also give more space to the study of historical treatises that allow us to deepen the interpretative practice of each era.
If you had the chance to do a concert choosing if you prefer to play alone or with others, what would you choose and why? and what would you like to play?
Since my first steps I have played with others: my father, when I was 6 years old, founded a children’s orchestra to allow me and my brother (then 4 years old) to play with other children. Some of the relationships created in that preparatory orchestra have become profound friendships on which even today my affections are based. Of course I would play with others: one of the greatest satisfactions for a musician is to be able to make music together, to get involved with other sensitive souls to try, experiment, get excited together. And when you can convey to the audience even a minimum of the emotions you feel on stage … maybe this is the greatest satisfaction! Regarding the choice of a program, the music scene is really vast and full of wonders. Perhaps I would choose to play one of Bach’s great masterpieces: the complete Brandenburg Concertos, which I have been listening to for years. But also the Passions, the Mass in B minor, some of Händel’s works … better to go to the next question!
What are your short-term musical projects and what are your dreams for the future?
After Didone and Enea I will focus on my studies (I have a diploma at the Schola Cantorum this June), on a tour that will take me to Switzerland and Germany with the Ensemble Locatelli, and on the activities with Academia Montis Regalis. We will also perform in my Bergamo next November, after a busy summer, first of all the Innsbruck Festival. For the future I dream of a career with my group. Together we dream and look for sounds now for almost 4 years and with them I have a unique relationship. But above all, I dream of never losing my love for what I do, which deeply animates me.
Good luck for the diploma and … that your dreams come true!