There are two concerts scheduled for this spring with the Hungarian Radio Symphony Orchestra: on 17 April in the prestigious Grand Hall at the Liszt Academy and on 25 April at the Müpa Béla Bartók National Concert Hall.

The first programme includes the 5 Études-tableaux by Rachmaninov, the Trittico Botticelliano by Respighi and Pictures at an Exhibition by Mussorgsky-Ravel. I chose compositions in which the initial creative imagination does honour to the composer but also to the orchestrator who has made it his own by turning it into a symphonic version. This happened with the Études-tableaux, arranged by the composer Rachmaninov himself and with the masterpiece shared in equal measure by Mussorgsky and Ravel. The former created the wonderful Pictures with Promenade while the latter, in composing the well-known orchestral versions and uniting the extraordinary creative potential of both, showed the importance of drawing inspiration from the creativity of others. The Trittico botticelliano by Ottorino Respighi sits comfortably between these two works. It was created by the composer from Bologna for a smaller orchestra that was able to “paint” Botticelli’s lyricism with intimism and in fine detail.

On 25 April, once again at the Müpa, I will conduct a programme full of interesting “Italian-style” contributions, consisting of the Notturno Op. 70 n. 1 by Martucci, the Rhapsody on a Theme of Paganini Op. 43 by Rachmaninov and of Aus Italien Op. 16 by Richard Strauss. This programme opens with the elegant lyricism of Martucci’s Notturno, which expresses a musical taste free from the formal splendour of German symphonic works, yet perfect in structure (this Notturno too is the composer’s transcription of a piano piece). Following this, comes the Rhapsody on a Theme of Paganini Op. 43 for piano and orchestra, which is one of the last compositions by Rachmaninov and one of the best-loved, most frequently cited of the Russian composer’s greatly loved works for piano and orchestra. This highly virtuoso work, which begins with the theme from the first Capriccio by Paganini, following its inspiration as it develops with a series of variations, has been entrusted to the virtuoso flair and great talent of Hungarian pianist Gergely Kovács. To end, the “symphonic fantasy” Aus Italien, composed by Richard Strauss in 1886, at the dawn of the change in form of German symphonic work that the composer was to bring about at the end of the 1800s. This is one of the reasons why Aus Italien is so important in the creative life of Strauss, who already exploited the colours and virtuosity of the orchestra with mastery and, with this fantasy, started making use of his uniquely personal symphonic style, which was to throw open the doors to the 1900s

It’s always a joy to be back at La Fenice and this time it’s an even greater pleasure, since I’ll be conducting Verdi’s first “Venetian” opera in a new production with an excellent cast.

From a musical perspective, Ernani is less innovative than I Lombardi, having been written earlier. However, from a theatrical perspective it is revolutionary, given Verdi’s determination to play a decisive role in Piave’s choices, preventing him from making changes to the original work as librettists were in the habit of doing. Verdi was convinced that a libretto should preserve the original nature of the drama on which it was based. This choice distinguished him from Rossini and Donizetti for whom musical and theatrical material could be interchangeable. Of course, a theatre has everything to gain when composer and librettist are intent on pursuing such unprecedented uniformity of intent. The work was a great success and at the age of just thirty, Verdi was recognised as one of the protagonists of European cultural life.

Since then, there has always been extraordinary recognition of the work put into Ernani in the distribution of the three male voices, which in this particular opera became emblematic of Verdi’s work from both a psychological and a musical perspective. In the opera, in keeping with Verdi’s approach, the personalities of the main characters are clearly portrayed as soon as they appear on stage. I think the way in which they develop throughout the opera is magnificent and, rather than releasing the narrative tension, the many plot twists support this dramaturgical portrayal. Then there’s the Chorus which confirms its central role in Ernani, and not only for “Si ridesti il leon di Castiglia” which was to rouse the Venetians after that fateful 9 March 1844 and, just a few months later, so many other Italians, immediately becoming one of the most famous choruses of all during the Risorgimento.

With this premiere of Ernani, La Fenice is taking part in the Viva Verdi project, an initiative by the Ministry of Culture in conjunction with Italian theatres. Thanks to this project, the funds raised from ticket sales for the first performance of this Verdi opera will be used by the state to purchase and promote Giuseppe Verdi’s house museum in Sant’Agata di Villanova sull’Arda.

Lastly, Venice’s tribute to Verdi and to Ernani will be far-reaching thanks to Radio Rai 3 which is broadcasting the opening performance live on 16 March.