Jenna, Florence and the Istituto Europeo

We interviewed Jenna, a student at the Istituto Europeo. Jenna is a young and promising opera singer who tells us in this video about her amazing experience in Florence.

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IE Concerto Marzo 2015 - Concert March 2015

L'Istituto Europeo è lieto di invitarVi al Concerto degli studenti. Il Concerto avrà luogo giovedì 26 marzo alle ore 17:00, presso il Palazzo Borgia Guicciardini Salviati in Via del Parione 1, Firenze.

Ingresso libero.

Istituto Europeo is honoured to invite you at the Concert of the students. The Concert will be held this Thursday, March 26 at 5:00 pm at Palazzo Borgia Guicciardini Salviati in Via del Parione 1, Florence.

Entrance free.

Segue il programma in dettaglio:

Please find below the program:

- F.P. Tosti: L'ultima Canzone
Yurie Manabe (soprano)

Aya Shimotani (pianoforte)

- G. Paisiello: Il mio ben quando verrà
Mariko Akimoto (soprano)

Aya Shimotani (pianoforte)

- W.A. Mozart: Zeffiretti lusinghieri (Idomeneo)
Mariko Kuwano (soprano)

Aya Shimotani (pianoforte)

- F. Liszt: Consolation II
Aya Shimotani (pianoforte)

- R. Schumann: Seit ich ihn gesehen (Frauenliebe und -leben)
Miyuki Endo (mezzosoprano)

Aya Shimotani (pianoforte)

- J. Massenet: Allons! Il le faut pour lui même (Manon) 

Ikue Kobayashi (soprano)

Aya Shimotani (pianoforte)

Vi aspettiamo!!! Waiting for you!!!

From Sri Lanka to Florence, Istituto Europeo: interview with Chrisni Mendis, young opera singer

Chrisni Mendis

interview by Ilaria Gelichi

Chrisni could you tell us something about yourself? How old are you, where do you come from…

My name is Chrisni Mendis, I am 19 years old – I’m turning 20 soon – and come from Sri Lanka, but my mother is Taiwanese and I am studying at the Royal Conservatoire of Scotland in Glasgow - bachelor in Music.

How was this passion for music born?

I have always loved music. At first I really loved musical theatre – like Phantom of the Opera, etc. – and I still like it but ever since I heard my first opera, which is Puccini’s Tosca 2009 version at the Royal Opera House, I’ve just fallen in love with it and couldn’t stop thinking about it. I fell in love with classical music recently, when I was 16-17 years old and I started to get into opera seriously.

How did you find Istituto Europeo?

The first year at the Royal Conservatoire we have Italian courses. I thought that two months - July and August – it’s a long time and I didn’t really want just to go home and do nothing. I thought I could learn Italian and try to get the pronunciation properly – it’s better for my music. So my mum actually helped me, she was looking at stuff online and told me “This school is in Florence!”, because I wanted to be somewhere in Tuscany, since the Italian in Tuscany is used in opera. I would really like to go to Florence as well.

What classes are you attending at IE?

I’m attending Italian language classes in the morning. For music classes I do Repertoire class, just recapping on what repertoire is; the teachers helps me out in expressing and placing the voice in my pieces. Then I’m doing Libretto class which is mainly to analyze the text and discover really what the characters are alike in opera. Now I’m focusing on Don Giovanni because I love it, it’s a beautiful opera. And then last class is Diction class, because I’m not Italian so I don’t know how to speak Italian and get the Italian pronunciation, especially when I sing.

Are you enjoying the courses?

Oh definitely: the classes are really useful. I feel that I’m improving: before I came here I had a huge problem with my Italian, people couldn’t understand me when I was singing. Now my Italian is getting better and people understand me!

Do you feel any differences between Italy and Scotland in music teaching?

Back in Scotland I use to get a piece of music, listen to it and then I just play it. But, especially while I was here, I realized that there is a process. Now, when I get a piece of music I check it first, I try to read out the Italian a couple of times; then I read it to the rhythm and then I go and understand what each word means, not the whole phrase. Only after this process I play it out. After that I practice with vowels, then I put the consonants in after I have perfected all of that I sing it through once and put the emotions in. It’s a longer process but once you get used to it it’s very easy. That’s why I’m taking diction class: because the more I do diction, the easier and quicker it is.

What do you like most of Italy – and of Florence in particular?

I would just say the personality of people. Everything is so exaggerated, like “bellissimo!” or “benissimo!”, there is no middle ground: everything is really good or really bad. I’ve been one year in Scotland and there everything is just in the middle, there is no up and down: when people talk it’s very flat. Over here is completely different, I just love it.

About Florence, I would say: just walking around and looking at everything. Of course the are the big places that you have to go to, like the Duomo, Uffizi Gallery; but for example you can just go on S. Trinita bridge and look at Ponte Vecchio and the river for a while and just relax. It’s Florence, it’s very calming: it’s not like in the UK where we do everything quickly. I think that if you just rush from one place to another in Florence you are not really experiencing this city. Florence and Italy is about walking slowly, experiencing the atmosphere.

Would you recommend this experience?

Definitely. For singers, I really recommend to go to the place where the music was born, because you get a full understanding of what the culture was like and what the people were like. For example, the little characters in opera are born from Italy, they were actual people at that time. If you are here you see these people, you see them walking, laughing, eating and you see how it was like. For “normal” students I would say: come to just experience how other people from different countries are like. It’s very important for a person, especially young people, to be “worldly” and learn how to accept other countries. I think that just going to another country and staying with a family in that country could reduce or even stop a lot of things like racisms and other big social problems.

Do you have a piece of advice to give to someone who wants to start a career in music?

There’s never enough time to practice. Of course you don’t have to stay all the time in a room and sing but you always have to try to learn different things. To be a musician is one of the hardest things a person would ever have to do in their life. Because they do not have only to understand the music but also the type of people who wrote the music, the type of characters that they have to become. To be a musician you have to understand life more than any other profession. The people who wrote the music went through suffering, happiness, heart break. To be a good musician of course you have to practice, but you also have to live life to the fullest: you cannot play a heart-broken person if you have heart-broken. Take any opportunity, go out, live life… Do not sit in your room and play videogames!

Contact us! info@istitutoeuropeo.it - www.istitutoeuropeo.it

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Interview with Olivia Broderick, young American singer and student at Istituto Europeo

Olivia Broderick

interview by Ilaria Gelichi

Olivia tell us something about yourself: how old are you, where do you come from…

I’m Olivia Broderick, I come from New Jersey, USA and I’m 17 years old. I’m an high school student and an opera singer.

How was the passion for music born?

Since I was a child. I started singing musical theatre songs and as my voice grew I just naturally got more into classical music and listening to it more and that’s how I’ve fallen in love with it.

How did you find Istituto Europeo?

I was looking on the internet for language programs in Italy that also maybe included music, I found Istituto Europeo and… here I am!

Which courses are you attending at IE?

I’m doing first level Italian and vocal technique with Monica. Then Italian diction with Valeria and Repertoire with Francesca. I really enjoy the courses and I feel like I’m improving a lot: all the teachers are incredibly gifted and they really know what they are talking about, which is good.

Are there any differences between studying music in the USA and in Italy?

As always it depends on the teacher but the teachers that I’ve gone to, there’s not a big difference.

What do you like most of Italy – and of Florence particularly?

Well, Florence is beautiful, there’s so much art everywhere. All the museums are great, even the buildings are beautiful, which is nice. What I like about Florence is that there is art everywhere.

Would you recommend this program to a friend?

Yes, I think I would. If they were looking to study this sort of things and take it seriously, then yes I would.

In your opinion, what is the best quality to be a good singer?

I think the most important quality for being a good singer would be to really love what you are singing. If you are passionate about what you are doing, that would drive you to work hard and this will make you improve. The audience would also be more invested in what you are singing because it’s coming from your heart and not just repeating lines on a page.

Contact us! info@istitutoeuropeo.it - www.istitutoeuropeo.it

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Dina Shikhman, a young Canadian soprano at ISTITUTO EUROPEO for a Study Abroad in Music

Dina

by Ilaria Gelichi

1. Dina, you are studying Vocal Technique for opera singers at ISTITUTO EUROPEO with Susanna Rigacci. Why did you choose her and how is your relationship?

When I was researching places to study in Italy, I came across Istituto Europeo and I kind of just knew I had to study here. I researched the teachers at Istituto Europeo and came across Susanna Rigacci. I listened to her singing on YouTube, then I spoke to my teachers back home and they all agreed that she would be the right choice for me. I didn’t give up until I received confirmation that she would be my teacher. I am currently studying with Susanna here in Florence and I really enjoy the lessons and the relationship we have, we have a great mutual understanding.

2. What do you think you are learning particularly from Susanna?

I can say that the Italian style of singing and the North American style are very different. In North America, there is more pressure to be perfect always. Before coming here I was focusing completely on technique and Susanna gave me the opportunity to actually sing and blossom in my own singing style. She is helping me to explore different ways to achieve vocal greatness. I’m doing a lot of exercises and different techniques I don’t usually do at home. She is also helping me to become more free.

3.  Culturally speaking – but in regards to music too - have you noticed many differences between your country, Canada, and Italy?

I have always had pressure – as I said earlier - to be the best but what I learned here and particularly from Susanna is that I cannot be perfect now. I will eventually get better but “no one is ever perfect”, she said, “I’m still learning now”. For her it’s important that I achieve the right position, the right point, from which I can then improve.

In regards to culture in general, I find that Italians are very relaxed and not very strict with time. Their lifestyle is much more taking it day by day, minute by minute almost. You will hardly ever see an Italian in a rush, which is very different than Toronto.  

4. What do you think about the city of Florence?

I have heard that Florence is the most beautiful city in the world, from everyone who had been here before I came. I can say that this is definitely true. In Florence there is a lot of beautiful art, history and architecture and I love that. Here I’ve seen some of the most beautiful things I have ever seen, and that’s just on my walk to school. I feel that in Toronto if you want to see art and history you have to go out and find it; whereas here in Florence, it’s everywhere. I wasn’t expecting the city to be so full of history, like the old cobblestone roads, the buildings, etc. I think it’s extremely difficult to drive in this city. I always walk and that’s great because I don’t think I would have seen as much as I’ve seen if I wasn’t walking around everywhere, exploring and being able to stop – if I had a car this wouldn’t be possible.

5. How did you start as a singer? How did you realize that you wanted to become a singer?

When I was very little, about a few months old, my parents where shocked because my dad used to sing to me and I hummed the melody back. When I was 3 I started doing “concerts” for the neighbourhood, everyday at lunch time. Then we moved to Canada and my parents put me in a music school, where I performed and studied for many years. One day my mother saw an advertisement in the newspaper for an opera singer who was offering lessons so she suggested we go hear what a professional’s opinion. I went to see him and he said “she has to sing opera, she’s got a talent”. So I started studying opera when I was 11 and I just never stopped. Then I went to university to study classical voice performance and that’s how I ended up in Florence finishing the last credits of my undergraduate degree.

6. What are your plans for the future? Do you have goals to reach?

I definitely have goals to reach. Of course my plans are to become a famous opera singer, a really famous one. Like Susanna, because she is known all over the world, I’ve heard of her in Toronto. I want to be known… It would be true success – that, and also being able to have an equally successful family life.

7. In your opinion, which is the best quality an opera singer should have?

Patience. Which I don’t have! I want my voice to just “work” right way, but it takes time and lots of meticulous work. There are lots of seemingly boring, annoying exercises which will get you there and you have to do, and patience is the key… A quality that I definitely lack, but I think it’s really important for opera singers. And also perseverance- you really need to have a goal in mind and you have to work towards it, you can’t give up. You have to be positive all the time… Also something I lack!

8. “A winner never quits. A quitter never wins.” Is that true?

Yes, that’s true for sure. I know people who have quit and others who even though they might not be the best, they don’t give up. It’s like that with every profession I think, not just opera: the minute you give up, you’re not serious, you don’t want it badly enough.

9. Has this experience in Italy changed you in some way?

Yes, I think it has changed me in a lot of ways. It taught me to be independent: I still live with my parents and I’m the youngest of 3 children and I’ve always had my family and friends and around me as my support system. Being alone in another country made me stronger mentally and taught me to be my own support system. Also, when I’m at home I always find a reason not to practice, because I don’t like singing in front of my family. I also have practice rooms at school back home, but I never found the time or reason to. Maybe I was too unmotivated… I find that I practice here a lot more than I do at home, which definitely helps me.

10. Have you already started working with any opera companies?

Yes, I have. When I was about 12 I joined the Canadian Children’s Opera Chorus in Toronto. They are an excellent chorus led by excellent musicians and people. The Canadian Opera Company (who is the resident company in the Four Seasons Opera House in Toronto) always turns to the CCOC first when casting children in their productions. I performed in the children’s chorus in productions such as La Boheme, Carmen, and I even had the role of 3^rd spirit in the Magic Flute when I was about 12-13. Last year during the 3^rd year of my undergraduate my teachers suggested I audition for Opera in Concert, which is a company in Toronto. I guess they liked me because I’m still working with them now-it’s my second season. I haven’t only performed in the chorus of Opera in Concert, I also had the supporting role of Myrtale in Thais. The director of Opera in Concert is the same of Toronto Operetta Theatre, and I’ve done 3 opererttas now with them. While I was in Italy now I went back to Canada for 2 weeks because I got an offer to do a role with that company. Opportunities come and go… and since this was during my fall break I am grateful that I had the ability to accept this one.

11. Would you recommend an experience like yours at ISTITUTO EUROPEO?

Definitely. Especially If you are studying opera as I do. I think it has helped me to grow, and to learn a lot. Studying Italian in Italy (as studying any language in its home country) is extremely helpful, because you are forced to speak it with people who don’t understand you. I’m good at languages generally, but I never learned one so quickly. Studying Italian here helped me immensely to learn it much quicker. But also singing: where else you can study opera if not in Italy?

Why study Italian? Interview to Sylvia Plyler, musician and student at ISTITUTO EUROPEO

Sylvia

by Ilaria Gelichi

 

1) Sylvia tell us something about yourself. How was your passion for the Italian language and culture born?

I come from a small town in South Carolina and I’m a musician, so I’ve always been attracted by sounds. As a young girl I played the piano, so I came to the language through music – Bellini, Donizetti, Verdi, etc… The 24 Italian hits, as we call them. Hearing Italian for me is like listening to music: the sounds are very beautiful.

2) Why did you decide to study Italian?

I decided to start the study because of music, which was my profession. I’m here also to improve my pronunciation, so that I can speak better Italian with Italians. For me it’s not difficult to pronounce Italian sounds, probably because at school we were taught the use of IPA (International Phonetic Alphabet) – and because I have an ear for music, which is important also with languages. I think it’s very important to know the IPA if you want to start studying a language; nowadays young people do not know it anymore.

3) Why did you choose Florence?

Because Florence is where the music was born! We could mention the Florentine Camerata, a group of poets, musicians and intellectuals who, during the Renaissance, gathered under the patronage of Count Giovanni de’ Bardi to discuss about music and arts. Florence is not only the home town of music, but also of Italian language - with the masterpieces of Dante, Boccaccio and Petrarca.

4) How long have you been studying Italian?

I came to Italy – and specifically, Florence - to study Italian for the first time in 1980. I stayed 1 month in this beautiful city, trying to hear the sounds of the language in my ears. I’ve taught music for 25 years, so sounds are really important for me!

In the USA I studied Latin, then I had a wonderful teacher who taught me how to translate opera’s librettos. I understood the music fairly well but the root of the language, not as well as the music. So I learned a lot of ancient, difficult words, which I couldn’t use in everyday language. My objective is now to improve all these skills.

5) What do you like most of Italy and Florence?

Well, all the things I haven’t done yet! I will never forget my first visit to Uffizi, when I saw for the first time a painting by Botticelli. It was an incredible emotion. I like Florence because it’s the birthplace of a lot of things: language, art, Renaissance. I have to stay in Florence not only for the language, but also for the air you breathe here: there is something fascinating in it.

6) How did you know Istituto Europeo?

By accident. I had a student, a wonderful pianist who works in Germany, who had studied at Istituto Europeo in 2011. He told me “Why don’t you study here?”. I was in touch with an organization in Chicago, I got a scholarship and finally came here at the Istituto. I think that musicians and above all opera vocalist absolutely need to spend time in Italy, because hearing the language in its country it’s far better.

7) How was your experience at Istituto Europeo? Would you recommend it?

Fabulous, absolutely wonderful. I’ve studied Italian in other schools and Institutes, but I think that this is a better program. Here classes are small, we have a lot of attention and can ask questions. The atmosphere is so tranquilla here! You give the students the opportunity to do what they like. I would strongly recommend this experience.

ISTITUTO EUROPEO Music Department: the Story

Photo: www.ed.ac.uk

The Origins

It all started many years ago, in 1991, from a demand of some European students from Austria, Germany, France, etc. who used to come to Florence to study Italian - “la dolce lingua del sì.” Many of them were Musicians, and while staying here they constantly needed to practice their vocal skills and instruments.

It happened in this simple and a bit old fashioned way that the ISTITUTO EUROPEO Music Department began its story.

ISTITUTO EUROPEO’s reputation is now well known for its flexibility and its capability to adapt to new market changes. We hold tremendous interest in understanding markets that never cease to fluctuate around the world and constantly undermine any attempt to classify and categorize trends and changes.

Throughout the years we have also welcomed many students from American universities for the Study Abroad Program. We produced an International Singing Competition staging famous Operas. We held concerts in historical churches and palaces of Florence.

In the end, we were able to set up a perfect mechanism to teach singing. For this reason we believe that when you think of the ISTITUTO EUROPEO Music Department, you have to think of a perfect product. We have confidence in our program and can dare say that our method is one worth learning!

A method of Excellence

Today our Music Department, led by Director Monica Benvenuti, has become a win-win situation. We created a product of success for your success. Every time you leave the classroom after your tailor-made lesson, you can feel and measure the results and benefits you receive from this one-on-one attention.

ISTITUTO EUROPEO Music Department’s brand has now become synonymous with quality. When you buy our lessons, you buy quality. The ISTITUTO EUROPEO Music Department provides students with a method of Excellence.

Visit our website and contact us for information about our courses!

http://www.istitutoeuropeo.it/english/music.html

info@istitutoeuropeo.it

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.’