Coniglio mannaro

An interview with John Axelrod, conductor of the Luzerner Sinfonieorchester, soon in our Country for some concerts: «I love Italy, and I myself am Italianate in spirit»

«Great orchestras must be like rock bands:

this is how we can give hope to classical music»

by Elena Percivaldi

Young, famous and brilliant. John Axelrod, at his fourth season as the leader of the Luzerner Sinfonieorchester and of the Theater, is one of the best orchestra conductors of the moment. The Italian audience has appreciated him last June at La Scala conducting a quite difficult opera, Leonard Bernstein’s Candide, whose direction was au contraire bitterly criticized because of Robert Carsen’s idea of putting on the scene world political leaders dancing in their underwear.

A Bernstein’s pupil, creator in Houston – where he was born -  of OrchestraX, founded with the idea of bringing large audiences closer to classical music, Axelrod is working at present in Philadelphia where in the next days (April 18th and 20th) he will conduct an impressive work by his unforgetted Maestro, Kaddish: an upsetting symphony where the composer himself speaks to God, and an Olocaust survivor – Samuel Pisar – meditates upon the meaning of Life and Death. We have interviewed Mr. Axelrod foreseeing his imminent arrival in Italy for some important concerts.

Mr. Axelrod, You will be conducting the debut concert of the Festival  Arturo Benedetti Michelangeli in Brescia on the next April 29th. Then You'll  be in Bergamo, Milano, and Rome. How is your liaison with Italy and with the Italian audience like?

 «I do not yet know the Italian audiences well, only the Milanese public, which were quite supportive of Bernstein's Candide which I conducted at La Scala.  There, the orchestra was also a wonderful partner, able to combine both sympathy and ability.  I think that Bernstein was a bit of a novelty, but I also think the Mediterranean spirit can enjoy the rhythm and swing of music very well, because it fits with the relaxed attitude so often found in Italy,  to eat, drink and be merry.  I myself am Italianate in spirit so, if La Scala was any indication, I believe I will enjoy making music more often in Italy».

 You have been conducting Bernstein's Candide last June at la Scala. Your  performance was fully appreciated by the critics and the audience, but the staging by Robert Carsen has been bitterly criticized, most of all by some Italian politicians because of the famous "ballet" performed by Bush, Berlusconi, Blair, Chirac, and Putin lookalikes dancing in their underwear.
What do You personally think about this attitude, both of the politicians and of the Italian press which has given emphasis to it? Is it provincialism to Your eyes? In the year 2000 must Art submit to Politics or politically correctness, or can it still hope to be somewhat free to express itself?
 
«Politics is about compromise; music must never be.  Therefore it should always be free to say what words often cannot.  I think in the case of Candide, it is a musical satire, and satire is only effective when it is based on topical or current issues.  If the politics change and the figures with them, then the satire should also follow.  I think Voltaire, if he knew the political circumstances of today, would have enjoyed the direct satire.  Of course, there is a tendency today for Directors to shock and awe the audiences with thier ideas.  I don’t mind it as long as it doesn’t take away from the music.  As for Candide, I don’t think it did at all».

You have studied with Leonard Bernstein and now You often conduct his works in Opera Houses and Concert Halls all around the world. How do You remember Your unforgettabile Maestro? 

«I actually only had a short, informal period of study with him when he premiered his final opera, A Quiet Place, in Houston.  He was extremely generous and supportive of me and encouraged me to be a conductor because I like people too much.  He reminded me that our instrument are hearts and sould, flesh and blood, not wood, metal or string.  In this case, to love the humanity in music and those who make it, I think he was right and I’ve never forgotten it.  In most cases, it still works». 

Before dedicating Yourself to orchestra conducting, You have worked as  Artist & Repertoire Director for BMG and Atlantic Records, and You learned what youngsters really appreciate and like in music. How - if it ever – did this "lesson" affect Your future conductor's career? 

«It was very important because I saw what made a concert experience successful for young people.  It was critical to understanding also how to prepare budgets, marketing plans, recordings and tours.  So I found ti particuarly helpful in starting OrchestraX  and I still apply many of these ideas in special programs today.  When new audiences can relate to an orchestra as they do a rock band, when it becomes as relevant to their attitudes and lifestyles as pop music is, then the sustaining of classical music performance has a chance»

You have founded the Orchestra X in Houston, Texas, with the idea of bringing large audiences closer to classical music. What are the results of this "mission" so far? 

«The results for OrchestraX were 7 years of tremendous success while I was there.  Since I have become more of an "Ameropean", the organization has lost some of its momentum.  But I have brought many of the special ideas for developing audiences to orchestras and public in Switzerland, Poland, Germany, and France and had similar success.  I am an optimist about the future of classical music.  What I learned is not only about the need for interactivity and technology, but that Beethoven has never been a problem for young people: only the way it was presented was a problem.  Once an orchestra realizes its purpose to serve its community and learn from its public, I think the possibilities are endless».

«Venice is my dream city, a place where I feel I’ve lived before, a home I would love to call my own.  Art, Music, Stravinsky, Wagner, Vivaldi, Browning: these are figures who are important in my life, not to mention Mozart, Byron and Marco Polo.   Once, when I was Venice, in 1996, I convinced a gondolier to teach me how to row.  I had to pay him 3 times the normal fare, but it was so worth it.  He took me to a factory where they had a kind of old wooden simulator, supposedly to keep the men in shape when the rain or tide is high.  After practicing for a while, I begged for the feeling of the Grand Canal beneath my feet and he smiled, threw me hat and scarf and we took out a gondola with a group of Japanese tourists.  Here I was, an American tourist, yet for a moment, I was Giovanni, singing "O Sole Mio", under the Rialto Bridge, having my photo taken.   It was a dream come true and I hope when I go to Venice next time, it will be to make music with an orchestra or opera, not only from the bow of a boat.... ».

From next fall on, when will we see You perform in Italy again? 

«I will conduct with Orchestre Philharmonique du Monte Carlo this April in Brescia and Bergamo.  Then with my orchestra form Luzern in Milano at the Verdi Conservatory.  Then in Roma this summer for the open air at the Auditorium di Roma with the Santa Cecilia Orchestra.  Then concerts with the RAI Torino next season.  But for me, it is never enough, as Italy has been so kind to me throughout my life. The least I can do is give back and contribute as much as I can to the country that is forever in my heart».