Italian-Ukrainian variations

The encounter with this Italian virtuoso took place within the framework of the popular music lovers’ series “Golden Pages of Italian Music,” a joint project of the Italian Institute of Culture in Ukraine, the Office of the Mayor of Genoa, and the National Philharmonic Society. In issue no. 184 The Day wrote about that unforgettable concert in the Lysenko Hall of Columns, starring the Italian maestro and the Philharmonic of Ukraine, conducted by Mykola Diadiura.

Benedetto Lupo is one of the most interesting and gifted musicians today. The winner of numerous prestigious international competitions, he performs frequently with the most prestigious orchestras of various countries. He also teaches at the Puccini Conservatory of Music, his alma mater in his native city of Bari.

For the Kyiv audience Lupo performed Robert Schumann’s Piano Concerto in A Minor and Maurice Ravel’s Second Piano Concerto in G Major. In his interpretation these masterpieces acquired new musical nuances, and the maestro proved that he is a subtle musician and an exceptional virtuoso pianist.

“Schumann and Ravel are my favorite composers,” Lupo admitted. “In 1999, the Radiotelevisione della Svizzera Italiana Orchestra, conductor Peter Maag, and I recorded the complete collection of Schumann’s piano concertos for FRTS. For this concert I wanted to play works in which I could convey not only the composers’ grandeur, but also demonstrate my vision of classical music and my performance as a pianist.”

Signor Lupo, every musician prepares for a concert his own way. How do you go about this?

Lupo: I rehearse and rehearse. Everything depends on the program I have to perform. Sometimes I play for several hours, but I’m not satisfied with the manner in which I interpret a given composition. Then I stop and think: what’s the right way? Sometimes I take my notes and everything goes smoothly. To be in good form a musician must practice every day, but it doesn’t always work that way for me.

This is your first visit to Kyiv. What have you managed to see?

Lupo: There was little time, so I went on a guided tour; I saw Andriyivsky Uzviz, the craftsmen’s street. I’m fond of Kyiv, and your public, which has a keen sense of music. I’m looking forward to another visit to your capital city. After today’s concert I was approached by several officials from the National Philharmonic Society, who proposed that we continue our creative collaboration. So I might appear in Kyiv with a solo program in the next concert season.

You are a touring musician but also a music teacher. Many teachers say that students are different from what they used to be.

Lupo: These days, young people are exposed to numerous temptations and this scatters their attention. Only a small number of students can focus on studying. All those ads, commercials, television, the Internet, this tempestuous tempo of life distracts a person from concentrating on the task at hand, which is necessary for studying, especially in the early stages. To become a virtuoso, you must not only master the instrument, but also live through literally every composition, putting your heart into every performance. Classical music demands utmost concentration from a performer. Our students today want everything to happen overnight, but the road to the summit of art is never smooth or straight. But you know what? I like our young people for their love of experimentation, for taking risks, because now and then truly talented people appear and they come up with interesting interpretations of modern music.

Every year several hundred music competitions are held all over the world, mostly for piano. Some young musicians constantly take part in them; for some these kinds of competitions are the source of self-assertion, for others, a source of income.

How much do competitions help one’s professional career?

Lupo: When I started my career as a pianist, winning a competition would give me the red light. Juries are composed of leading musicians and famous impresarios. Of course, everyone sets himself a certain goal. For me a competition is a milestone on my life path, an opportunity to demonstrate my best skill as a musician. But you’re right; there are many competitions and there are musicians taking part in them simply to earn money, so for them, winning is for the sake of winning. However, in the creative domain not everything can be measured in terms of money. What is important is the professional goal of the pianist; whether he wants to reach the summits or fool around. If today you played a bit badly and the audience fails to notice it tonight, tomorrow that “bit” can grow to such proportions that you will disappoint music lovers. Winning your audience’s confidence is easier than staying at the top of success.

You have performed in the most prestigious halls, like Wigmore (London), the Lincoln Center (NYC), Salle Pleyel (Paris), and at European festivals. Many performers say that the acoustics in La Scala are excellent. Which hall do you remember best?

Lupo: La Scala is a wonderful theater, of course, but its magic first and foremost captivates the singers, not the musicians. I did a solo concert there. I go on frequent concert tours. I must say that the Ukrainian National Philharmonic Society has excellent acoustics. After that concert I’ve been dreaming of performing here again.