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15 Questions to Alessandra Brustia

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Hi! How are you? Where are you?
Hi, I’m fine, thanks. I live in Italy, in Vibo Valentia.

What’s on your schedule right now?
I have some concerts with my dear friend Gabriele Cassone who plays  the trumpet. Then I have some concerts with the “Trio di Pavia”  in Milano where we are playing the complete trios by Mozart. I also have a couple of concerts with the pianist Damyan Tudzharov and we’re going to play some pieces for two pianos.

If you hadn’t chosen for music, what do you think you would do right now?
It’s difficult for me to imagine my life without music. I have never thought of doing something else. I’ve always wanted to be a musician.

What or who was your biggest influence as an artist?
I’ve mostly been influenced by the musicians of the 20th century, by their personality and poetry that are difficult to find in the musicians nowadays.

What’s the hardest part about being a musician and what’s the best?
There’re so many difficulties…. Some of them are overcoming all the obstacles which are being met during the musician’s life as finding a careful manager, maintaining the enthusiasm for working and going ahead in the situation that’s arisen, where the only chance to succeed is to meet the right person in the right place and if you don’t, oh, poor you!
But we don’t have to miss all the delightful things on the way of musicians! I think the best thing is the music itself, creating it and taking all the vitalizing energy from it in order to give it back to the music again.

What’s your view on the classical music scene at present? Is there a crisis?
It’s really a critical moment for most musicians. There’re not enough funds for musical activities and this makes everything more difficult.

Some feel there is no need to record classical music any more, that it’s all been done before. What do you tell them?
I don’t really believe that a recording only serves to let us know an unknown piece of music. All the recordings testify a hard research and deepening one’s capability of understanding the score. A revision of the music after a couple of years could bring completely different results. Why not having a new realisation of a mutated thought?

What constitutes a good live performance in your opinion? What’s your approach to performing on stage?

I think that a good performance has to be intended as a tale, has to resurrect all that’s written on a sheet of paper, make it sing with the “voice” of the interpreter

What does the word “interpretation” mean to you?
Apart of the formal and stylistic elements of the opera that present its structural aspects a good interpretation of a piece would give life to all the details that aren’t written but live within the music…the difference of the colour between a note and another one…the perfume that’s in the expectation of the sound.

True or false: It is the duty of an artist to put his personal emotions into the music he plays.

True or false: “Music is my first love”


True or false: People need to be educated about classical music, before they can really appreciate it.


You are given the position of artistic director of a concert hall. What would be on your program for this season?
It’s a very difficult question. It depends on the contest. In this moment there would be only chamber music concerts. I think it’s very fascinating and merits much attention.

What’s your favourite classical CD at the moment?

There isn’t only one CD I preffer at present. One of those is the CD of the “Trio di Pavia” with the trios by Arensky because I’ve registered it short time ago and I like very much this music.

Have you ever tried playing a different instrument? If yes, how good were you at it?

I have never played any other instrument. I’d like to play the violoncello.

Alessandra Brustia

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