Tiffany Tobias: from Canada to ISTITUTO EUROPEO in Florence, to study opera singing

Tiffany Tobias

 by Ilaria Gelichi

1. Tiffany, tell us how you became an opera singer.

I have always loved music, but my love for opera started when I was 14. I was in New York and I saw my first opera, La Boheme: I literally fell in love with everything about the production, but at the time I don’t think I understood exactly with what - until recently.

2. So, now you understand why?

Yes, of course. I love singing and this form of technique fascinates me because it is difficult to conquer. Before the voice, you have to understand your body, mind, spirit - everything. I like the challenge of acquiring these difficult skills.

3. How do you have to set up your body to sing best?

It’s a combination of two main components, the physical one but also the psychological one. You need to learn how to utilize every muscle in your body all while staying relaxed and clear minded and you also need a lot of discipline to synchronize all of this. I like this challenge!

4. Do you think there is a relation between the star sign and the career?

Why not? What I know about my sign, Sagittarius, is that they are adventurous and creative – and so am I!

5. Do you think that you are a creative person who can innovate?

Because I’m a beginner, I don’t think I’m prepared to be as innovative right now as I’d like to be in the future. What I do think truly makes a great singer though, is sincerity. For me, a singer who can connect with their emotions and convey this while she/he sings while also being able to have this tap into something genuine for the audience is what truly makes a powerful performer and performance.

6. In your opinion, what is more important - technique or heart?

Both. But if I had to choose, I would say heart. For example, let’s think of Maria Callas: her technique was fantastic but not without flaw, however, because she could convey emotions so well, she was believable and successful. You can watch a video of her singing, turn off the volume and still feel moved by her performance. There’s something to be said about that. Technique is wonderful, vital and important but if there’s no feeling behind it, it becomes quite stagnant and there’s a feeling of disjuncture.

7. Which are your feelings while you perform? Do you have to change and think about something?

When I’m singing I try to focus on the feelings of the character I’m playing and/or the song I’m performing; I do this by creating a persona in my head for this character so that they are as three dimensional as possible. I also think about an experience – a personal one – that I find helps me to perform and convey the emotion as realistically as possible.

8. Why did you choose Italy and Florence for your music studies?

Because I had just entered a point in my life where I was, and still am, “starting over”, it made sense to me that I wanted to go back to the beginning in all other aspects regarding this change. So, it was logical that in order for me to understand the city where opera was born I needed to move to Florence, which just happens to be in the beautiful country that is Italy.

9. Are there any differences between Canada and Italy in regards to music studies?

Yes and no. It’s difficult for me to judge, because sometimes I feel like my comprehension and ability to develop is limited because of the language barrier. However, here at Istituto Europeo I have an excellent teacher. Maybe I could say that here in Italy teachers have stricter expectations when training, but I cannot say for sure because I’ve had limited experiences with classical teachers in general. I also recognize that I was in a different place in my life when I lived in Toronto and wasn’t as focused on dedicating myself to music as I am now. Anyway, some details are the same everywhere. For example, a good teacher doesn’t focus only on one element, because what could be more important for one student’s development could be less imperative for another.

10. How was your experience at Istituto Europeo?

Absolutely positive, I would recommend the same experience to a friend. My teacher, Valeria, is very good. She places importance on every aspect of my life, not only the voice – but nutrition and my physical health as well - now I run 5 days a week!

11. Is opera popular in Canada?

Yes, there are a lot of amazing teachers and companies all over the country and they seem to be on the forefront in this industry right now. Ironically, I actually sang with the company Toronto City Opera for two years before moving to Florence and our three main directors were all of Italian descent.

12. You are a singer but also a blogger. How do you adjust the two things?

I like reading and writing, it’s a way of self-reflecting about things that happen in my life, like singing, so it sort of functions organically. Plus both of these expressions are creative outlets so I feel like they go hand in hand. As soon as something significant happens in my life, I take a mental note of it and start pre-structuring how I’d like to share this part of my life with others through my writing. One day, I’d even like to write a book on the process of becoming a singer because the journey is quite fascinating.

13. What advice would you give to a young person who wants to become a singer?

I would say: if you like singing, go do it. It’s that simple. Yes it takes a tremendous amount of diligence, hard work and patience but if you’re fortunate enough to even know what it is that you love to do in life, then you need to honour that, so – go do it. Even if you’re like me and you have had a completely different career in the past, being fearless is the first step in the right direction. Great things only come to those who believe in taking chances.

Study music at ISTITUTO EUROPEO: Fabio Binarelli, a full spectrum teacher and artist

Fabio Binarelli

 by Ilaria Gelichi

1) Fabio you are a “full spectrum” musician. Why this need to range in many different sectors?

What moves me is pure passion. It inspires me to try different paths, to be curious. I always try to improve myself through new experiences that can enrich my knowledge. 

 

2) Even as a teacher you are multifaceted: you teach guitar, history of music and opera, librettos, theory, harmonics, composition… Both in Italian and English. What does teaching mean to you? Which is the best aspect of this job? Which activity do you prefer most?

It’s a privilege to be able to transmit my knowledge to people, as others have done with me before. It’s very gratifying to see that spark igniting in them because they have found an answer, or have discovered a new concept, or have come up with a new idea. I myself am constantly enriched, through dialogue and discussion with students.

3) How do you see the Italian music scene? Are there talents worthy of being reported?

There is a lot of talent, which sometimes is hidden. There are musicians, singers, bands and composers with an excellent preparation; they cannot always be compared to household names – maybe because of their less commercial repertoire – but their fans follow them anyway. On the contrary, I think that “bigs” – who are conformed to meet the demands of industry and the taste of the masses – are far less interesting.

4) What does it mean being a musician in Florence?

On one hand, it means working in a small city, with small spaces, which often cares more for appearance than for culture. On the other hand, it’s a great privilege - as who lives abroad, appreciates and actively participate to the cultural ferment of this unique city may know well.

5) Tell us which is the difference between making music in Italy or abroad. Do you think there are some countries which could teach Italy a direction in terms of musical creativity?

I believe that the great difference is in the system: Italians are not less creative or talented. What lacks is an efficient and widespread organization, made of head hunters, promoters, record labels and agencies – who can widen their range of perspectives and not just working with successful musicians. In the “music business” Italy is definitely uncompetitive and this leads to a greater diffusion of foreign music – mostly in English.

6) Tell us a story about your career as a musician and teacher.

I have a new one every time I go to play! The most recent: one Sunday at the beginning of September I received a phone call. I was asked to leave for northern Italy the day after and substitute the guitarist of a band who would had to participate in a TV show but was injured. So I moved my schedules, prepared 15 pieces of music and on Monday morning I met for the first time the other members on the motorway at the service area Firenze Nord. Result: 2 beautiful days in Trentino-Alto Adige full of music, excellent food and good air!

7) Plans for the future?

Besides teaching, I’m very busy with concerts: the season 2013-2014 will be very intense and I hope it will bring a lot of satisfaction. I have also composed a lot of music, which I’d like to record and publish someday.

8) Any advice for a young person who wishes to start a career as a singer or music teacher?

There are no shortcuts in this field: studying and preparing oneself with professionalism and discipline is essential. You shouldn’t be afraid to follow your passions, even when they lead you to change your way. If you follow your head and heart, music will go along with you and make you grow – making you face new challenges and giving you new emotions every time.

9) How is your teaching experience at ISTITUTO EUROPEO?

Very positive. Everything is managed with high professionalism, following international standards. For a teacher, this means to be able to focus in the best way on the lesson, without being stressed with the organization and management. Besides this, all the people I have encountered so far have been very friendly, helpful and prepared to clarify any of my doubts.

ISTITUTO EUROPEO interviews Eduards Grieznis, a successful Latvian pianist

Eduards Grieznis

 interview by Fabrizio Ulivieri

This time EUROPEAN INSTITUTE MUSIC interviews Eduards Grieznis an internationally acclaimed Latvian artist who lives and works in England, fascinated by the idea of coming to Florence, living in this city of dreams and holding concerts in Florentine and Italian theatres.

1. How important is Beauty in your performances and compositions?

I often think and say to myself that I have to be true and spiritually honest towards Beauty... When I perform or compose, I stay completely faithful to its extraordinary power and try to give my most fullest attention to it, full emotional spectrum and most sincerest thoughts, expressed through language of music. In words of Fr. Chopin: 'Bach is an astronomer, discovering the most marvellous stars. Beethoven challenges the universe. I only try to express the soul and the heart of man. ''

2. Do you believe that Beauty is therapeutic?

Not only believe in it… That’s exactly what I teach to my students and many have come to me saying how very therapeutic it has been for them to learn music, for some, how life-changing has the influence been! Isn’t that remarkable??

In my opinion, its therapeutic secret is that during the actual practice (not only the final performance stage), our ears and mind united in one magical music making / improving, creates the most finest, most calming, relaxing and indeed therapeutic circumstances there could be!

3. What does it mean to be a composer in the XXI century?

I think that is a very wise question.. Having studied music and composition for quite a bit, still hasn’t helped myself to answer to this question. The problem or obstacle is, in my opinion, that there is an unwritten law going around saying that XXI century music is supposed to be something we have never ever heard before or that it has to include elements never used before such as sounds of dishes, cutlery, human voice to a very extreme level (screams, shouts), plastic bags, in another words – the element of pitch has lost its meaning in nowadays.

Now, when the word of freedom has reached its highest peak, it has become harder, in my opinion, to say what exact rules should be followed when composing XXI century music. It seems to me that ‘the stranger, the better!’ motto is taking greatest impact on this, yet I am not entirely sure this is a motto for such delicate form of art as music…

I personally trust that those great values of earlier centuries, starting from the great Bach generation and finishing with Liszt, their ideology, their detailed and practically proven methods of composing are the most honourable one’s, and I will dare to say – the only one’s when it comes to composing new music, be it whichever century. This has been my motto when composing. Through the period of creating music, I try to ‘let myself go’ to another universe, improvise, allow myself to be transformed, but, I will also keep in mind the great structure and melody formulas so well created by previously mentioned and more composers in past. I do, however, appreciate many our day composers music such as E. Rautavaara, a composer from my own country P. Vasks, minimalist music and spiritual greatness of Messiaen's music.

4. You are described as an innovative musician and composer. How important is innovation in your job?

This question can be partly answered by my previous comments on ‘What does it mean to be a composer in the XXI century?’ subject. In brief, I do believe that one needs to be innovative, when composing, however, the level of inventiveness has to be balanced out or shall we say, ‘rounded up’ by the rules of composing from earlier centuries.

My strong belief is that everyone’s composition will be innovative in its way, because there is no other similar  work out there, even if the change is a very slight one. Because I strongly trust that everyone’s musical creation comes from the depth of his or her soul, it can never be repeated, for we all have our own souls, our own life backgrounds, emotional scales and the list goes on and on... Lets take the great ‘revolutionary’ L. Van Beethoven as an example. He is known for having very innovative and different approaches to composing. But at the same time he is still following the rules of structure, balance, colours, effects, the only thing that is very ‘innovative’ indeed, is his own soul, having gone through a very tough childhood and even adulthood, which has mirrored back in his work.

5. I remember that a famous cyclist in an interview said that he was thinking of philosophy while performing…what do you think during your performances?

Most certainly the interviewer in question must have meant Bach. He was and still is one of the greatest musical philosophers there are! Look at those remarkable fugues, ensemble works and orchestrations of his! They all generate great amount of highest level of philosophy! This is exactly what I am thinking, when performing his work in particular…

When playing someone else’s music, thoughts vary. I remember performing Shostakovich’s prelude and fugue in d minor, the last one. I also remember reading literature about it. And the fusion of actual music, which is somewhat dark yet gloriously noble, and literature details from history had created a clear story-line in my head, when I perform the piece. In the opening I think of all the terrible pain of war, lost families, their closest one’s, the human tragedy, which also resembles at the beginning of fugue, which is kind of quiet and inner, but in my opinion its this great level of sorrow. I also think of noble colours when octaves would come in both in Prelude and Fugue, which are quite many, and in my opinion particularly meant by Shostakovich himself to make the illusion of noble and grand gestures. These, I think, identify the belief that not all is lost and that we should learn from these mistakes in order to avoid such tragedy in future.

On the other hand, when I performed Mussorgsky’s Pictures at an Exhibition, I could not stop thinking of the actual visit to a museum, and tried to animate the frozen pictures, whilst having a clear sense of the full meaning behind the pictures, which, as we know, not all is so jolly and sparkling.. The piece, after all, was dedicated to a dead friend of Mussorgsky.

6. You are defined as a challenging artist and teacher. Is there any limit in your challenge?

Throughout years of full time studies both in the UK and back home in Latvia, where the study routine is quite rigid, I have been challenged by others and challenged myself very often. Quite frankly, the environment of many such arts institutions all around world are only active because of the drive of competition between students and their challenges.

Now, when I have happily finished my Masters studies, I can look back and regret nothing. I was particularly pleased to have won the Recital Prize in 2011 back in years of studies at Manchester... By achieving first prize I had achieved personal challenge – to participate and luckily win a high calibre competition with high level of adjudicators at the panel.

However, I have noticed some ‘scars’ because of this great drive of competition within... I think that’s my present limit – instead of competing I am trying to enjoy myself and the art of music to the fullest, and very thankful to the universe for the ability to share this beauty with others by offering lessons and seeing them progress.

7. Is talent all you need to be a good performer?

You know the saying out there: ‘Its ONLY 1% of talent, and 99% hard work’ that makes one great. I strongly believe in that.

I also strongly trust in the power of music genetics taken after parents... Sometimes it is so easy to teach pupils from musical backgrounds, as they simply naturally and even not knowingly appreciate everything said in no time.

However there are situations when pupils with no musical background whatsoever achieve higher than others... And I think that’s because of the 99% work they put in!

8. What  is the best quality for being a good music teacher?

You see, during my teaching I still learn much myself. Your pupils, no matter which level, can be of great influence to teachers themselves. Many of them remind me how great is music, many remind how much more patient I should be when tutoring the very beginners, although for me it might have seemed patient teaching.

If I need to break it down to a few points as to what exactly is the best quality for being a good music teacher, it has become obvious to me that not only my pupils will inspire me back, they will also make me be on top ‘of the game’ by holding constant practice of my own, by keeping on top of news on music around the world, by learning their repertoire in order to be able to give the best advice, and most of all – the result of satisfied and well achievers makes a teacher feel so worthy and happy, that it can not be described in words. The youngest ones can be the most inspiring ones. I remember this cute little one... She was only 4, and was starting her very first lessons in piano. Now one needs to understand that at this age it is crucial to give a good lesson, or else that can be their first and last lesson ever. So even having had much experience in teaching such young one's, I think teacher will still feel a bit nervous every now and again. Long story short, the lesson ended so unexpectedly for both of us, that I could not believe it! Her focus was spectacular, her intelligence for her age – even more incredible, and most of all – we both enjoyed ourselves fully and truly! And here comes the best part… After having parted with her, I remember her coming back in a matter of minutes, and saying: ‘I’m here for more!!’ Now isn’t that cute??? This is exactly what makes it so much fun and fulfilling!

On top of that, meeting ever new people of any age is also so great!

9. Reading the testimonials on your website (http://eduardsgrieznis.com/) you appear as a versatile personality, is this good for a musician or should a musician be more rigorous?

I think it really depends on person. If a musician likes and most importantly – feels mostly comfortable in one particular musical style or setting, they should definitely choose only their area of comfort. I, personally, do indeed like to 'taste' different styles and settings of musical world. After all, the more versatile a musician and personality, the more versatile – thus, more dedicated - will be a music teacher!

10. As a musician you have worldwide experience, do you think that being born in Latvia offered  you more chances than if you had been born in Italy?

I have heard that Italy is quite proud and well-known for their own great school of virtuoso pianists and artists. Also, I am aware that Latvian music system, so much based on the legendary Russian school, is also very valuable and offered me many concert opportunities throughout my time at home.

Having been in the UK for more than five years now, has made me realize that even UK has a lot to offer.

So I guess my answer to this is that it is hard to say, what would have been 'if'... I am very pleased where I have come now, for the path I have had back home in Latvia and the UK, and also had had the chance to taste the great life of Italian culture by participating in a 'Giuseppe Terracciano 4th International Contest' back in 2007. I must say since that first visit to Italy I've been 'drugged' by the glorious beauty and culture of your country, and wish to come back soon!

11. Have you ever been to Florence?

I have indeed, quite a few years ago actually. It was a memorable journey, for sure... In fact, I basically fell in love with the city and its all shape of arts!

12. Would you like to come to Florence to perform? Have you ever considered the option of living in Florence and why?

I would be mostly delighted and extremely excited to come and make music at this fabulous place! And yes, I have indeed considered staying in Florence for life. After visiting it a few years ago, I remember this feeling of it being my second home, even if I wasn’t there for more than a day... Also there was something in the air that one cannot explain... Or was it the great taste of wine...?

In order to conclude, I would just like to mention this remarkable quote of J. S. Bach: ‘It’s easy to play any musical instrument: all you have to do is touch the right key at the right time and the instrument will play itself.’

La actriz de teatro Monica Bucciantini visita el ISTITUTO EUROPEO

Monica Bucciantini

 
1 . Mónica háblanos acerca de tu compañía de teatro.

Yo ahora dirijo la compañía de teatro "The Brads" en Prato. Ésta es la tercera compañía que creo. Con la anterior tuvimos mucho éxito y la oportunidad de viajar por el mundo, luego los miembros tomaron diferentes caminos, y la compañía se disolvió. Ahora estoy construyendo una nueva compañía. Los primeros miembros son un pintor, un músico de jazz y una chica que baila y que ama trabajar con niños. Yo prefiero crear compañías con actores no profesionales, y me gusta mucho la idea de trabajar con diferentes personas que tienen el mismo objetivo, es decir, hacer teatro. Prácticamente h nacido actriz: empecé a los 9 años (ahora tengo 50 ) y es la única cosa que siempre me ha gustado hacer.

2 . En tu opinión, ¿por qué es tan difícil encontrar fondos para hacer teatro?

Es  fácil para los "grandes nombres", los grandes teatros "públicos " encuentran financiamiento. Pero para los privados no hay inversiones.

3 . Hay una crisis de contenidos en el teatro?

No creo, es más, diría que quizás hay demasiados contenidos . Hay demasiadas gente que quiere hacer teatro y se hace actor improvisado. Para hacer teatro es necesario tener aptitudes, no se puede decir que sí a todos. Se necesita talento, pasión pero también espíritu de sacrificio, si no se tienen estas tres cualidades, creo que es mejor dedicarse a otra cosa. Siento la necesidad de ver menos amateurs y más grandes maestros...

4 . ¿Quiénes fueron tus maestros ?

Sin duda, el director Massimo Castri y Carmelo Bene, con quien tuve la suerte de trabajar. También el director Giancarlo Cobelli. Pero la verdadera escuela fue el haber podido conocer y trabajar con tantas personas distintas.

5 . ¿Puedes decirnos algo sobre tu experiencia en Rusia?

Yo asistí a la Academia de Arte Dramático Rusa y tuve el honor de trabajar con Nikolai Karpov. En aquella época, tenía el vicio de dármelas de diva y é para enseñarme humildad  me hizo estar 3 meses sentad y únicamente mirando. Lo que más me ha impresionado de los rusos es su gran dedicación , como si el teatro fuera la única opción de vida posible. Antes de la caída del Muro de Berlín, los padres envíaban a sus hijos a estudiar a la Academia porque allí podían estar calientes y comer todos los días. El arte se veía como una manera para liberarse de la pobreza, sin embargo hoy en día todo el mundo quiere hacer espectáculos, incluso sin una verdadera pasión y con un mínimo de preparación.

6 . Según tú, ¿Cuál es el nivel es el nivel de calidad de los actores y directores italianos?

Depende de los casos, pero en general no es muy alta. Creo que algunos tienen un gran talento, como por ejemplo Toni Servillo. Italia se está convirtiendo en una especie de gran " dibujo animado": En general , creo que hay que pensar menos en la producción ( especialmente televisiva ) y más en la formación. Debería ser posible estudiar en cada teatro. Cada teatro debería ser el punto de encuentro de estudio y formación de cada actor que lo solicitara. Sólo de esta manera la calidad de la interpretación y dirección en Italia podría crecer.

7 . ¿Cuáles son tus planes para el futuro?

Por ahora me han asignado 100 horas de formación a niños 'difíciles', que han dejado de estudiar. Además de dos / tres asignaturas básicas , como las matemáticas, el italiano, etc., se les enseña un oficio - cocinero, electricista, albañil, pero también hay espacio para el teatro. Estoy convencido de que entre ellos encontraré algún talento. También tengo la intención de trabajar con ancianos. Y naturalmente volver a fundar de la mejor manera posible mi nueva compañía por tercera vez. Me gustaría que se convirtiera en una familia, tomando como modelo las compañías teatrales de los siglos XVI y XVII.

8 . ¿Qué consejo le darías a un joven que quiere hacer teatro?

Hay que tener las ideas muy clara y pensar que está a punto de embarcarse en una especie de viaje. Es necesario ser curioso y conocer a muchas personas porque se aprende a través de los demás. En una sociedad guiada por la regla del todo y enseguida, hay que contraponer  el camino del deseo y de la paciencia. Es un largo camino y hay que creer en él. Otra consideración es que es mejor hacer una sola cosa y hacerla bien, que  hacer demasiadas al mismo tiempo, porque al final los resultados son peores.

Studiare musica all’ISTITUTO EUROPEO: Fabio Binarelli, insegnante e artista a 360 gradi

Fabio Binarelli

 1) Fabio sei un musicista a 360 gradi. Come mai questa esigenza di spaziare in tanti settori diversi?

Il motore principale è la pura passione, che mi spinge a provare strade diverse, ad essere curioso. Cerco sempre di migliorarmi, attraverso nuove esperienze che possano arricchire il mio bagaglio di conoscenze.

2) Anche come insegnante sei poliedrico: insegni chitarra, storia della musica e dell'opera, libretti, teoria, armonia, composizione...sia in italiano che in inglese. Che significa dunque per te insegnare? Qual è l'aspetto più bello di questo lavoro? Quale di queste tue attività preferisci di più?

E' un privilegio poter trasmettere il proprio sapere alle persone, come altri hanno fatto con me; è molto gratificante vedere quella scintilla che a volte si accende in loro, perché hanno trovato una risposta, perché hanno scoperto concetto nuovo, perché hanno elaborato un'idea. Inoltre, io stesso mi arricchisco costantemente, attraverso il dialogo e il confronto con gli allievi.

3) Come vedi il panorama musicale italiano? Ci sono talenti degni di essere segnalati?

C'è tantissimo talento, a volte nascosto. Vi sono musicisti, cantanti, gruppi musicali e compositori con ottima preparazione; non necessariamente essi sono accostabili ai grandi nomi, poiché magari hanno un repertorio poco commerciale, ma i veri appassionati li seguono comunque. Al contrario,  trovo spesso poco interessanti i “big”, così omologati, piegati alle esigenze dell'industria e al gusto delle masse.

4) Essere musicista a Firenze, che significa?

Significa, da una parte, lavorare in una città non molto grande, con piccoli spazi, spesso più attenta all'apparenza che alla cultura; dall'altra, vivere a Firenze è un grande privilegio, come sanno tutti coloro che, da ogni parte del mondo, sono attratti e partecipano attivamente al fermento culturale di questa città unica.

5) Una differenza tra il fare musica in Italia e all'estero? Ci sono paesi che credi possano insegnare all'Italia la direzione in fatto di creatività musicale?

Credo che la grossa differenza sia nel sistema: gli italiani non sono certo meno creativi o meno talentuosi; quello che manca è però un'organizzazione efficiente e capillare, fatta di talent scout, promoter, discografici, agenzie, che lavori non solo con i musicisti affermati, ma che allarghi il raggio delle prospettive. Nel “music business” siamo decisamente poco competitivi e questo determina una maggior diffusione di musica straniera, soprattutto anglofona, rispetto a quella italiana.

6) Raccontaci un aneddoto della tua carriera di musicista e insegnante.

Ne avrei uno per ogni volta che vado a suonare! Il più recente: una domenica di inizio Settembre, ricevo una telefonata in cui mi viene chiesto di partire l'indomani per il nord Italia; dovevo infatti sostituire il chitarrista infortunato di un gruppo, ospite di un programma televisivo. Sposto dunque i miei impegni, preparo ben 15 brani e il lunedì mattina incontro per la prima volta il resto della band all'area di servizio di Firenze Nord. Risultato: due splendidi giorni in Trentino, di musica, ottimo cibo e aria buona!

7) Progetti per il futuro?

Oltre all'insegnamento, sono molto impegnato nell'attività concertistica: la stagione 2013-14 si preannuncia molto intensa e spero che porterà grandi soddisfazioni. Ho anche composto molta musica che vorrei prima o poi portare in studio di registrazione e magari pubblicare.

8) Un consiglio per un giovane che voglia iniziare un percorso come cantante o insegnante di musica?

Non ci sono scorciatoie, è fondamentale studiare, prepararsi con serietà e disciplina. Non si deve aver paura di seguire le proprie passioni, anche quando queste ci portano a cambiare percorso rispetto all'inizio. Se si seguono la testa e il cuore, la musica ci accompagnerà e ci farà crescere come persone, ponendoci di fronte a nuove sfide, regalandoci sempre nuove emozioni.

9) Come è stata la tua esperienza di insegnamento all'ISTITUTO EUROPEO?

Molto positiva. Tutto è gestito in maniera professionale, seguendo standard internazionali: questo per un insegnante significa potersi concentrare al meglio sulla lezione, senza avere stress legati a problemi organizzativi o gestionali. Inoltre, le persone con cui mi sono relazionato fino ad ora sono state sempre molto cordiali e disponibili a chiarire ogni mio dubbio.

Tschaikowsky lebte in Florenz im 1878

Florenz, Via San Leonardo, Tschaikowsky Villa, wo er im Jahr 1978 lebte, Platte

     

Seine Biographen sagen uns, dass Tschaikowsky (Tschaikowski) liebte Italien und Florenz im Besonderen. Hier nahm er Inspiration für das Schreiben von Souvenir de Florence, Streichsextett, Op. 70 und kümmerte sich um die Zusammensetzung einer neuen Oper: Orleanskaja deva (Die Jungfrau von Orleans)