Meet Theresia: three new players join our Ambassadorship Programme

By Emilia Campagna - August 26, 2024

Each year around this time, Theresia Orchestra experiences a meaningful transition as three ambassadors complete their term and three new ones step into the role, becoming the key players in our Ambassadorship Programme. We're excited to introduce our new ambassadors: percussionist Jarick Bruinsma, violist Hannah Gardiner, and violinist Anna Freer.
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Every year at this time, Theresia Orchestra sees a special transition as new ambassadors join its Ambassadorship Programme. This year, percussionist Jarick Bruinsma, violist Hannah Gardiner, and violinist Anna Freer step into this important role, continuing Theresia’s mission to promote Historically Informed Performance (HIP) and classical music across Europe. Let’s get to know them, explore their backgrounds, and discover what they hope to achieve during their ambassadorship.

Where are you from and where do you currently live?

Anna Freer: I’m from Australia, and I currently live in Zürich, Switzerland!

Hannah Gardiner: I’m from London, which is also where I live.

Jarick Bruinsma: I am from Hoogeveen, a city 60 km south of the city of Groningen in the north of The Netherlands, where I have been living since 2015.

How long have you been a member of Theresia?

Anna Freer: Only since January!

Hannah Gardiner: For about a year.

Jarick Bruinsma: Technically speaking, I am not a member of Theresia, but I have been invited to join two of Theresia’s projects this year. As far as I know, these are the only projects that include percussion this season, which means I will be part of all the projects involving percussion.

The first and latest Theresia project you participated in were…

Anna Freer: I’ve done one Theresia residency thus far – the Seven Last Words project with Alfredo Bernardini in March.

Hannah Gardiner: My first project was the Rossini opera in October. My most recent project was the Beethoven transcriptions in Geneva this July.

Jarick Bruinsma: The only project I participated in so far was Haydn’s Seven last words in March 2024.

Why did you want to become an Ambassador for Theresia?

Anna Freer: I thought it would be a good opportunity to develop my skills further in developing projects, with the support of the Theresia and European Commission’s network, as well as a chance to promote Classical and HIP music to audiences in new ways.

Hannah Gardiner: Because I am very committed to working with young people and increasing engagement with classical music.

Jarick Bruinsma: I offered to become an ambassador because I have been quite active as an organiser and facilitator of projects for a while already, so it seemed right up my ally. I also noticed the necessity of fulfilling the different-nationalities factor of the project, and the pool of not-yet-used nationalities looked slim, there had not been a Dutch ambassador yet, so I could fill that gap nicely.

What would you like to work on during your ambassadorship?

Anna Freer: I would like to work on community building and singing together, as well as singing and playing instruments at the same time, two historical practices that have sadly been lost!

Hannah Gardiner: I would like to explore the potential benefits of music making and creativity on mental health in teenagers.

Jarick Bruinsma: Mainly I want to address that music, just like many other things, can be a vessel to spread unity and understanding amongst humans from different backgrounds and with different beliefs and values. All by touching audiences and get them to reflect on whatever it is that could make them a better understanding and accepting human being.

The main objective of the Theresia Ambassadorship Programme is to introduce new audiences, especially young people, to the world of classical music and to the practice of Historically Informed Performance (HIP). Every years, three young musicians from nine different European countries embody and transmit the core values of classical music and its importance in their countries of origin.

Find out more on the official page!

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Exploring Beethoven in Geneva: Chiara Banchini on Theresia’s next chamber music project

By Emilia Campagna - July 22, 2024

Theresia will be in Geneva in July for a chamber music residency led by violinist Chiara Banchini, in which nine musicians from the orchestra explore and perform a historical transcription of Beethoven's Second Symphony in the chamber version by Ferdinand Ries.
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Continuing what has become a tradition, Theresia will be in Geneva in July for a chamber music Academy led by violinist Chiara Banchini, in which nine musicians from the orchestra will participate. Elana Cooper and Guillermo Santonja di Fonzo (violins), Hannah Gardiner and Helena Reguera Rivero (violas), Marta Jiménez Ramírez (cello), Ariel Walton (double bass), Ching-Yao Wang (flute), and finally Jonathan van der Beek and Janire de Paz Rivas (horns) are the musicians who will take part in the musical project. They explore and perform a historical transcription of Beethoven’s Second Symphony in the chamber version by Ferdinand Ries. The project is artistically spearheaded by Chiara Banchini, who told us more about the musical programme and about the Festival Concerts d’été de St Germain, of which she is a member of the artistic committee.

Chiara Banchini, let’s start with the Festival Concerts d’été de St. Germain: how is it structured and how did the collaboration with Theresia come about?

“The festival takes place in July and August with concerts every week on Sunday and Monday evenings. It has been going on for 40 years and has a very loyal audience. We have a priority, which is to let young people play more than artists who are already established and in the prime of their careers. In this spirit, the collaboration with Theresia began in 2019: I proposed it when I joined the artistic committee. Initially, the projects were generally dedicated to repertoire for chamber groups or small ensembles, but since 2022 we have started a project on historic transcriptions of Beethoven’s symphonies, which has been very well received”.

What were the previous stages of this exploration of Beethoven, and what is this year’s programme about?

“In 2022 we performed the Sixth Symphony, in 2023 the Seventh, and this year the Second Symphony: it is a transcription by Ferdinand Ries, Beethoven’s student and friend. The transcription is very beautiful and very well done: it’s a new and interesting way to approach Beethoven’s symphonies, because it feels like getting into the heart of the compositional process.”

Beethoven’s Second Symphony is not the only piece on the program.

“Indeed. We decided to put an original piece by a contemporary of Beethoven next to the symphony: it is the Nocturne for flute, two horns and string quintet by Franz Anton Hoffmeister. It is a completely unknown side; it has never even been recorded. What is particularly interesting is that it is written for the same instrumental ensemble that Ries used for the chamber version of Beethoven’s Second Symphony. Moreover, following a practice of the time, each instrument in the ensemble has its own solo moment in which to emerge and showcase its technical and musical talents.”

Does the festival focus on baroque and classical repertoire?

“In fact, the Festival’s musical programme ranges from Baroque to contemporary, but since I have been on the committee, I have been able to ensure that there is much more focus on historically informed performance. And not just the Baroque repertoire! For example, we have planned a concert of Schubert Lieder that will be played on an 1840 fortepiano. This also solved the acoustic problems that made it impossible to use a modern piano, since the concerts take place in a church.”

You said earlier that the Festival has a priority to give space to young musicians: besides Theresia, who are the other young emerging artists?

“We have a strong collaboration with the Concours de Genève: this season we just hosted the NOVO Quartet, winners of the 2023 edition dedicated to the string quartet. We also host the winners of a new interdisciplinary competition, OSEZ!, aimed at groups that have to present a musical performance with actors, dance and staging: the winners of the first edition were the vocal sextet Ensemble Diaphane, which opened the festival with a programme ranging from baroque to contemporary.”

Concerts will take place at Eglise Saint-Germain de Genève, on Sunday 28 and Monday 29 July 2024 at 6.30 pm

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Empower: how to develop a music business idea

By Emilia Campagna - July 1, 2024

Among the various opportunities Theresia offers its musicians is a capacity-building programme that includes workshops, courses, and seminars designed to cultivate broader skills crucial for young musicians shaping their professional futures. One specific seminar is dedicated to coaching musicians in developing music business ideas led by Claudia Crippa, Head of Business Innovation at ICONS and Lorenzo Morelli, Junior Officer Business Innovation at ICONS
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Among the various opportunities Theresia offers its musicians is a capacity-building programme that includes workshops, courses, and seminars designed to cultivate broader skills crucial for young musicians shaping their professional futures. The Theresia Academy is training scheme that goes beyond traditional rehearsals and instrument study. Co-funded by the EU as part of the Empower project, ICONS runs this comprehensive training programme. The various modules range from improving communication skills and self-care practices, to integrating soft skills with high musical proficiency.

One specific seminar is dedicated to coaching musicians in developing music business ideas. This module is led by Claudia Crippa, Head of Business Innovation at ICONS and Lorenzo Morelli, Junior Officer Business Innovation at ICONS. We spoke with Claudia and Lorenzo to find out more about the course they teach.

What does your training module cover?

In the organisation, economic and managerial skills module, we are mainly focusing on the use of an effective business planning tool known as the “Business Model Canvas”. This tool is essentially a framework with various sections that cover goals, activities, partnerships, and other crucial aspects that need to be taken into consideration when structuring any professional or business activity.

Why do you think this business course is useful for emerging musicians?

Getting to know the inner mechanisms of a business plan can be immensely useful for emerging musicians. It helps them clarify their goals, chart their career path in the music industry, and identify the necessary steps to achieve success. These questions-and answers-can span strictly musical objectives (how to become a permanent or regular member of an orchestra, how to set up an ensemble, or how to get into teaching) and broader career strategies such as event planning and management. We also offer insights into personal aspects on how best to manage one’s energy, ensuring a holistic approach to career development.

What were the goals identified by the course participants, and how did they work towards them?

The most common goal, understandably, is achieving financial stability: which became the focal point of our workshop. We explored the steps necessary to achieve this goal, starting with identifying stakeholders – colleagues to interact with and target audiences to address. We take a closer look at the importance of improving personal skills, ranging from strictly musical and technical proficiency to interpersonal skills. Participants then identified specific needs, such as the costs associated with further education or instrument maintenance. This led to the key question: how can these financial needs be met? how can I earn the money I need to pay for a courses or instrument check-up? The responses were diverse and enlightening ranging from the most obvious “get a contract in an orchestra” to the more creative approaches such as “organising concerts and sell tickets” to “participating in public calls for grants aimed at supporting young artists”.

How were the lessons structured?

The lessons began with an introductory explanation of the model. In a next phase, participants were divided into small groups to gather feedback and stimulate discussion. This approach encouraged peer interaction, allowing diverse and innovative ideas to emerge from withing the group. Finally, we provided personalised feedback to further refine individual understanding and application of the concepts discussed.

Did the course conclude with the completion of the Business Model Canvas?

Well yes, the core components were covered in the basic part of the seminar. Additionally, there was an optional module that consisted on designing, as concretely as possible, an event: the ideas that emerged in the first phase was often general, and participants had to investigate the various economic, logistical, and organisational aspects to gain a better understanding of the practical issues involved. We offer support throughout this process to ensure practical implementation.

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Meet Theresia: Ching-Yao Wang

By Emilia Campagna - June 3, 2024

Theresian flautist Ching-Yao Wang is a highly active musician who recently won the first prize at the inaugural Dutch International Traverso Competition. Born in Taiwan, he moved to Europe to pursue his passion for music. It was here that he discovered and joined our orchestra... Let's find more about his story.
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How did you start studying the flute and what were the most important steps in your education?

I have always had a special interest in wind instruments since I was a child. Besides piano and percussion lessons, I learned to play the recorder and the harmonica by myself and played them every day for hours without taking a break. When I was ten, a very famous pan flautist came to our town and opened a private music school, where I started to take violin lessons. Since the pan flautist didn’t have enough students, he offered me free lessons on the pan flute, and it turned out that I was much more talented on the pan flute than on the violin. One day, he gave me a CD with pieces where he played the flute and suggested that I should learn to play the flute and consider a professional music education. I still remember the moment when I first heard the sound of the flute. I fell in love immediately with this instrument and started to take lessons. Later, I entered the Taiwanese music experimental class and received profound music training. When I was eighteen, I decided to come to Europe to study the flute. The music school of the pan flute player in our town closed a few years after opening, and my first teacher has withdrawn from the music business. I’ve never seen him again since then, but I am still very grateful to him for his advice.

When and how did you decide to become a professional musician?

It was never a question for me. I fell in love with music when I was very young, and since then I have never thought about leaving it for once. When I play the flute, I am the happiest person in the world. I am very glad that I now have so many opportunities to play concerts with my friends and colleagues.

Do you come from a musical family? Did your family support your choices?

My parents are not musicians, but my father is an enthusiastic amateur recorder player and a big fan of early music. I grew up in an environment very interested in arts. Regarding my decision to become a musician, they had their concerns, which is absolutely understandable. But they supported me anyway.

When did you choose to focus on historically informed performance?

It was more of a continuous process than a single decision. Since I started playing the traverso, I gradually played it more and more. Especially after founding my own group, ensemble freymut, I began spending a lot of time with historical instruments and sources without even realizing it. One day, I woke up and found myself deeply immersed in the world of historically informed performance!

Do you play the modern flute and modern repertoire as well?

I don’t play the modern flute that often anymore since I’ve done that for many years, and there are still so many historical flutes I want to explore. However, I premiered a very special concert programme in March this year. It was a programme about the music collection of the Jewish harpsichordist Sara Levy, combining early music and contemporary music. Together with my ensemble, we commissioned a Suite from the Spanish composer Daniel Serrano. The Suite consists of six movements, each movement based on a piece from Sara Levy’s music collection. By using modern performance techniques on historical instruments, Daniel transformed the motifs and structures from the originals into fascinating sound constellations. It was an extraordinary experience for us to explore modern performance techniques on historical instruments, and our audience was amazed by all these sounds they had never heard before. I can imagine doing more projects like this in the future.

How and when did you discover Theresia and what has been your experience with the orchestra so far?

I found out about Theresia Orchestra quite by coincidence two years ago when I saw a poster for the audition at my university. Fortunately, I was invited to audition in Salzburg, and it was the most unique audition I have ever had in my life. It was more of a rehearsal than an audition, and the atmosphere was extremely positive and pleasant. There were four flautists who were invited to the audition, and we ended up eating ice cream and walking back to the city centre of Salzburg together. I am very happy to have been accepted by Theresia. Working with the orchestra has been absolutely amazing so far!

What has been your favourite orchestral or chamber music project with Theresia so far, and why?

It’s almost impossible to tell. So far, I have participated in two projects, and both have been my favourites. My very first project was the ten-year anniversary of Theresia with a Beethoven programme under the baton of Giovanni Antonini. The incredible energy he radiated during rehearsals and concerts was extremely touching. My second project was in Rheinsberg with Alexis Kossenko. Throughout the residency, he led the orchestra in a gentle and sensitive way, which left a very deep impression on me. The wind quintet project that took place as part of this residency was also a very special experience. Initially, the piece sounded very strange, and we all thought it might not work well. But after a few rehearsals, it came together beautifully in the end, and we had wonderful performances in Potsdam.

Would you suggest Theresia to a friend, and why?

Definitely! It’s a great opportunity to get essential orchestra practice on classical instruments, make friends, and explore new places. Unforgettable moments happen during the residencies. And the seminars of Theresia Academy provide good support for us, the young musicians, to better understand and deal with the challenges we encounter during our careers.

You recently won an important award: tell us about that.

Yes, exactly. I feel very proud and honoured to be the first prize winner of the inaugural Dutch International Traverso Competition for students. Although the competition was organised for the first time, everything was very well thought out, and the team on site was very friendly and supportive. The compulsory programme was absolutely charming, and it was a lot of fun to prepare and present it on the stage. It was also the first time in over ten years that I was back in The Netherlands. On my arrival, I was completely fascinated by the sky. I had never seen such an endless sky in my life. I live in Austria, and there are always mountains in sight. In The Netherlands, the sky is just endless…it was simply breath-taking. As far as I know, the next competition for traverso will take place in two years. Since there are not many competitions for traverso, I really hope that this wonderful event can bring more young traverso players to the international stage in the future.

What are your plans and dreams for the future, musically speaking?

I recently took over a festival in Vienna with my ensemble, and we have also started a new concert series featuring innovative early music programmes this year. Creating and implementing new programmes is artistically very satisfying, but the tasks involved are also tremendously demanding and time-consuming. My plan and dream would be for all these activities to achieve stability in the foreseeable future. In the long term, my dream has always been to be able to play the flute as much as I want since I was a child, and that has never changed.

How do you spend your days, apart from music? Do you have hobbies?

Due to my varied activities, I hardly have time for hobbies. But I love reading, and I try to read at least a few pages every day before I go to bed. I also enjoy handwriting. It’s a habit I developed in my teenage years. I usually choose a poem from a book and write it down in a notebook. The feeling of writing words beautifully and neatly on paper calms and relaxes me a lot. I always have this notebook with me wherever I go. In critical moments, it brings me back into balance and let’s me focus.

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Auditions: what Theresians think of them

By Emilia Campagna - May 21, 2024

A new round of auditions is coming up, and we are seeking musicians who play violin, viola, cello, double bass, oboe, bassoon, and horn. Hear from a couple of our recent Theresians as they share their audition experiences.
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A new round of auditions is coming up: we are looking for musicians who play violin, viola, cello, double bass, oboe, bassoon and horn, and we are offering each of them a grant worth of 3,500 euros, which will cover the activities of our Learning Program and participation in five orchestral residencies between August 2024 and January 2026. The auditions take place in Antwerp on July 8-10 and are organised in collaboration with AMUZ, a major venue for early music in Flanders. The deadline for applications is Monday 3 June and you can submit your application here!

We have often told you about our auditions, detailing their unique features and explaining why we believe they offer an exceptional opportunity for personal growth. Today we want to let those who have experienced our auditions firsthand speak for themselves. We have gathered comments from some of our recent Theresians to give you their perspective.

The importance of being auditioned

Auditions are crucial part of a young musician’s journey toward gaining professional experience. Our violinist Lorenzo Molinetti had already participated in several: “Before I auditioned for Theresia, I had done about five or six auditions. I auditioned mainly for symphony orchestra academies, always made it to the finals, but never got the real job….. Pretty frustrating!” Auditions can be not only frustrating but also impersonal, as was the case for Maddalena Bortot, who before Theresia had only attended auditions that consisted of video presentations.

A welcoming environment

Theresia’s auditions are not designed as individual, high-pressure hearings (like the “do or die” variety), but rather as an extended period during which the board of examiners can get to know the candidates. And because we know that tension can run high in front of a jury, we opted for a format that allows us to observe the musicians truly “at work” rather than just in a solo performance.

But back to our Theresians – let’s hear what they tell us about their experiences:

What were your expectations?

Lorenzo Molinetti: “I am also a EUBO member, so I was expecting that very nice and welcoming environment that I encountered during my previous ICONS audition. I had never played classical repertoire on my baroque instrument before, so I had no idea of how my instrument (and my hands) would have reacted. That was something that was both exciting and frightening, especially because I had to perform very new repertoire in front of such an important panel of musicians and experts.

What are the challenges you had to go through?

Maddalena Bortot: “I first had to learn a Beethoven quartet (plus both violin parts), which was a completely different approach to playing a series of orchestral passages. In addition, the real challenge was to play with complete strangers, musicians from all over the world, communicating in a language that we all use, English, which may not be the first language for everyone: because to put a quartet together you have to talk as well as play! Finally, I also played in different ensembles, one day the first violin part, the next day the second violin part. It was really two days of full immersion!”

What did you like most about auditioning for Theresia?

Lorenzo Molinetti: “I loved the repertoire and the different interactions I managed (and was asked) to create with the other aspiring candidates. To be able to play a lot of music and for a lot of time is really something amazing for an orchestra audition, where usually five minutes of playing (or even less) determine the outcome of the whole process. Auditioning for Theresia felt like giving proper recognition to all the work I put into the preparation of the piece beforehand.”

Maddalena Bortot: “For me, it was particularly inspiring because I am still a newcomer to performing on historical instruments and it is not so common for me to have the opportunity to hear so many other young musicians live, with their different experiences and sensibilities.”

Do you have suggestions for improving the format of our auditions?

Lorenzo Molinetti: “It was very nice to be able to interact and develop a piece with input and ideas from the other candidates, and we were lucky to play in front of such esteemed jurors. We really had the chance to respond to their feedback, observe our responsiveness, and receive some really valuable guidance and suggestions. All this did happen to a some extent, but I would have liked even more of it!”

If you would like to take advantage of this extraordinary opportunity to showcase your musical skills as a performer of classical repertoire on period instruments, Theresia’s auditions are for you! Don’t miss this chance!

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“A spontaneous and modern theatre that is fun to perform.”
Soprano Eleonora Bellocci on Theresia’s latest album release

By Emilia Campagna - April 30, 2024

Another gem has been added to Theresia's already rich discography: CPO has recently released a two-CD box set featuring the recording of our performance of Domenico Cimarosa's opera "Le Astuzie Femminili", conducted by Alessandro De Marchi at the 2022 Reate Festival. To highlight this release, we caught up with the female protagonist, soprano Eleonora Bellocci.
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Another gem has been added to Theresia’s already rich discography: CPO has recently released a two-CD box set featuring the recording of our performance of Domenico Cimarosa’s opera “Le Astuzie Femminili”, conducted by Alessandro De Marchi at the 2022 Reate Festival. To highlight this release, we caught up with the female protagonist, soprano Eleonora Bellocci.

Read the Italian version – Leggi la versione italiana

Eleonora Bellocci, tell us about Bellina, the role you sang in “Le Astuzie Femminili”: what are her characteristics from both a theatrical and vocal perspective?

Bellina is the classic example of a soprano whose character is inspired by the Commedia dell’Arte. It is easy to draw parallels with Goldoni’s character Mirandolina in “La Locandiera”: there’s a spontaneity, immediacy, and modern theatricality that makes it very fun to perform this character. The vocal line leans towards declamation and directness, lacking the virtuosic passages or grand melodies found in more serious or later repertoire.

Had you worked with Alessandro De Marchi before? What did you particularly appreciate about his artistic choices and way of working?

I’ve had the privilege of working with Maestro De Marchi before, and each time has been incredibly rewarding. What I appreciate most about his approach is his utmost respect for the score. He also pays meticulous attention to meeting the needs of each singer in terms of vocality, expressiveness and musical timing.

The vocal cast and Theresia Orchestra during the performance of “Le Astuzie Femminili”

What did you enjoy most about working with our orchestra?

I found great joy in collaborating with Theresia orchestra, particularly in the context of performing works from the 18th-century repertoire like “Le Astuzie Femminili.” Having both young artists in the orchestra and on stage injects the performance and this repertoire with a fresh vitality, as their enthusiasm and curiosity breathe new life into a language that may feel outdated to contemporary audiences. This aspect not only revitalizes the text, but also infuses the score with energy. Another element of richness of Theresia Orchestra lies in its diverse array of musicians, hailing from different origins and backgrounds, and each bringing a different cultural background converging into a kaleidoscopic performance.

What is your take on recordings versus live performances? Do you prefer one over the other?

I absolutely prefer live recordings: they may capture some inevitable imperfections due to their live nature, they preserve the genuine interpretation that only a performance in the theatre can offer. Take for instance Pavarotti, even recording in the studio, he insisted on performing in front of a small audience to evoke the best from himself. Basically, it is the human energy and warmth of a live performance that really make a difference!

What are the most important milestones in your career so far?

The most important moments of my career have been marked by debuts in the great operatic repertoire. These experiences always come with significant challenges and confrontations to engage with a long and rich tradition. From the Queen of the Night in Mozart’s “The Magic Flute” at the Teatro di Catania conducted by Maestro Gianluigi Gelmetti, whom I remember with affection, and Maestro Pierluigi Pizzi, to taking on the role of Gilda in Verdi’s “Rigoletto” at the Teatro Filarmonico in Verona, where I’ve been fortunate to establish a rewarding collaboration in recent years. Also, singing the role of Susanna in “Le Nozze di Figaro” at the Teatro Comunale di Bologna was another key moment. However, my career is still in its early stages and who knows what the future holds for me!

Your repertoire ranges from Baroque to Verdi: what kind of soprano are you?

I do not like to categorize artistically as I believe it can be limiting. However, I consider myself as a lyric-light soprano, which means I can’t think of singing the role of Verdi’s Aida as beyond my vocal range! Nevertheless, I believe that one must keep the door of possibilities open, respect one’s instrument and proceed calmly and patiently allowing for a natural maturation, vocal and interpretive growth over time. I love different range of repertoires, from the baroque – rich in vocal virtuosity – to the perfect musical balance of classical bel canto, and more romantic works for expressive intensity and dramatic momentum. I believe they all come together to make a complete artist.

What are your musical dreams? And tell us about your upcoming projects?

Definitely to debut many more roles from the tradition and beyond, the list is long and the space devoted to it would not be enough! But above all, I would like to maintain the curiosity and ingenuity that I put into the study of a new score, and to continue singing what is right for me for many years to come, observing how the result achieved changes and matures each time. Upcoming engagements include: my debut in the role of Zerlina in Mozart’s “Don Giovanni” at the Teatro Comunale di Bologna, soprano soloist in Petrassi’s “Magnificat” at the 86th Maggio Musicale Fiorentino Festival conducted by M° Daniele Gatti, and a my second upcoming debut as Musetta in Puccini’s “La Boheme” at the Arena di Verona conducted by M° Daniel Oren.

“Le astuzie Femminili” performed by Theresia under the baton of Alessandro De Marchi and a vocal cast composed of Eleonora Bellocci, Martina Licari, Rocco Cavalluzzi, Matteo Loi, Angela Schisano, can be purchased online or streamed on the major platforms.

Listen to “Le Astuzie Femminili” on Spotify

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“Una teatralità spontanea, immediata e moderna”. Eleonora Bellocci parla dell’ultima uscita discografica di Theresia

Eleonora Bellocci

Un’altra gemma si aggiunge al già ricco tesoretto discografico di Theresia: è stato recentemente pubblicato da CPO il cofanetto di due cd con la registrazione della nostra esecuzione dell’opera “Le Astuzie Femminili” di Domenico Cimarosa, andata in scena per il Reate Festival nell’ottobre 2022 sotto la direzione di Alessandro De Marchi. Per celebrare questa prestigiosa uscita discografica, abbiamo incontrato la protagonista femminile, il soprano Eleonora Bellocci.

Eleonora Bellocci, ci parli di Bellina, il personaggio delle “Astuzie femminili” da lei interpretato: che caratteristiche presenta da un punto di vista teatrale e della tecnica vocale?

Bellina è il classico esempio di soprano il cui carattere si ispira alla Commedia dell’Arte, e non è difficile trovare dei parallelismi con il personaggio di Mirandolina de La Locandiera di Goldoni: quindi una teatralità spontanea, immediata e moderna, molto divertente da interpretare. Proprio per questa ragione la vocalità è messa al servizio della parola, quindi la linea vocale si fa più declamata e schietta e non sono presenti virtuosismi o grandi melodie che invece fanno parte del repertorio serio o più tardo.

Aveva già lavorato con Alessandro de Marchi? Cosa ha apprezzato in particolare delle sue scelte artistiche e del suo modo di lavorare?

Avevo già avuto occasione di lavorare con il Maestro de Marchi ed è sempre stata una collaborazione proficua nel massimo rispetto della partitura da eseguire: esattamente questo è uno degli aspetti che apprezzo del metodo di lavoro del Maestro, oltre all’andare incontro alle esigenze del singolo cantante in termini di vocalità, espressività e tempi musicali.

Cosa le è piaciuto di più nel lavorare con la nostra orchestra?

Credo che le opere del repertorio del ‘700 come “Le Astuzie femminili” traggano beneficio dalla presenza sia in orchestra che sul palco di artisti giovani che possano infondere tutto il loro entusiasmo e curiosità nell’esecuzione. Essendo un linguaggio per noi ormai desueto c’è bisogno di una fresca vitalità per renderlo meno “polveroso” e coinvolgere appieno il pubblico. Questo aspetto è interessante non solo per il testo ma anche per la partitura musicale, e con la Theresia orchestra questo è stato possibile. Elemento di ricchezza poi è che questa orchestra raccoglie musicisti di diversa origine e provenienza ed ognuno di loro porta con sé un diverso bagaglio culturale che contribuisce ad una esecuzione caleidoscopica.

Che rapporto ha con le incisioni discografiche? Le ama o preferisce l’esibizione dal vivo?

Preferisco assolutamente le registrazioni dal vivo: magari riportano qualche inevitabile imperfezione dovuta alla presa diretta ma restituiscono la genuinità dell’interpretazione che solo un’esecuzione in teatro può dare. Non dimentichiamo che quando Pavarotti incideva in studio voleva sempre un piccolo pubblico per rendere al meglio. Sostanzialmente è una questione di energia e calore umani che possono fare davvero la differenza!

Quali sono state finora le tappe più importanti della sua carriera?

Le tappe più importanti della mia carriera corrispondono a debutti nel grande repertorio operistico perché costituiscono sempre grandi sfide e confronti con una lunga e importante tradizione del passato: dal ruolo della Regina della Notte nel “Die Zauberflöte” di Mozart al Teatro di Catania diretta dal Maestro Gianluigi Gelmetti che ricordo con affetto e dal Maestro Pierluigi Pizzi, a quello di Gilda nel “Rigoletto” di Verdi al Teatro Filarmonico di Verona, con il quale ho instaurato in questi anni una graditissima collaborazione, o ancora quello di Susanna ne “Le Nozze di Figaro” al Teatro Comunale di Bologna. Tuttavia la mia carriera è agli inizi e chissà cosa mi riserverà il futuro.

Il suo repertorio spazia dal Barocco a Verdi: lei che tipo di soprano è?

Non amo le catalogazioni e trovo difficile applicarle in ambito artistico, tuttavia essendo un soprano lirico-leggero non potrò mai pensare di eseguire il ruolo di Aida di Verdi! Ma credo che si debba lasciare aperta la porta delle possibilità, rispettare il proprio strumento e procedere con calma e pazienza affinché avvenga una naturale maturazione da un punto di vista vocale e interpretativo. Amo i diversi tipi di repertorio, dal Barocco ricco di virtuosismi vocali al più classico belcantistico per il gusto ed il perfetto equilibrio musicale fino al più romantico per l’intensità espressiva e lo slancio drammatico; credo confluiscano tutti a rendere un Artista completo.

Quali sono i suoi sogni nel cassetto musicalmente parlando? E i suoi progetti più imminenti?

Sicuramente debuttare ancora tanti ruoli della tradizione e non, la lista è lunga e non basterebbe lo spazio dedicato! Ma sopratutto vorrei continuare a mantenere nel tempo la curiosità e l’intraprendenza che metto nello studio di un nuovo spartito e cantare sempre ciò che è giusto per me per tanti anni ancora, osservando come cambia e matura il risultato raggiunto ogni volta. Tra i prossimi impegni figurano tappe importanti: debutto nel ruolo di Zerlina nel “Don Giovanni” di Mozart al Teatro Comunale di Bologna, soprano solista nel “Magnificat” di Petrassi nell’86° Festival del Maggio Musicale Fiorentino sotto la guida del M° Daniele Gatti e il doppio debutto in Musetta ne “La Boheme” di Puccini all’Arena di Verona diretta dal M° Daniel Oren.

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Celebrating Earth Day: a glimpse into Theresia’s carbon offset initiatives

By Emilia Campagna - April 22, 2024

Today is Earth Day! It's a special day to mark the birth of the modern environmental movement in 1970. As we celebrate this day, we're would like to share what kind of actions we have taken to offset or reduce the carbon emissions resulting from our orchestra's activities.
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Today is Earth Day! It’s a special day to mark the birth of the modern environmental movement in 1970. As we celebrate this day, we’re would like to share what kind of actions we have taken to offset or reduce the carbon emissions resulting from our orchestra’s activities. We’ve connected with Matteo Molteni, Sustainability consultant at Up2You, the specialized company that has collaborated with us to device a custom carbon offset strategy for our orchestra.

Matteo Molteni, what does Theresia’s carbon offsetting activity involve?

The carbon offsetting activity spans three years, during which we quantify the emissions stemming from musicians’ travel and consumption associated with residencies and concerts. With accurate data provided by Theresia’s management, we determine the CO2 emissions and their resulting climate impact. Using this data, we compensate by supporting natural and technological projects around the world that are certified for their high CO2 sequestration capacity.

What nature projects are part of Theresia’s offset activities?

Theresia’s offset activities include two significant projects. Firstly, the Rimba Raya Biodiversity Reserve Project safeguards a buffer forest on Borneo Island, Indonesia. Positioned between a nature park and an industrial zone, it effectively limits the expansion of the industrial area. This project holds international recognition, certified by the non-profit organization Verra. Rimba Raya has garnered two additional certifications from Verra beyond the basic one: the first, CBB (Climate Community and Biodiversity), acknowledges its positive impact on the local community and the protection of endangered species, in this case orangutans. The second certification, ESD VISTA, assesses its contribution to the objectives outlined in the UN’s 2030 Agenda for Development: Rimba Raya aligns with all seventeen goals!

Rimba Raya protects 422 animal species including one of the last populations of wild orangutans in the world.

The second nature project is located in Uruguay and involves the restoration of the Guanarè Forest, formerly degraded pastureland that has been converted into a forest area. The ecosystem has not only been preserved but also revitalized. The project has earned CBB certification from Verra for its significant positive impact on biodiversity and the local community.

Guanaré Forest Plantation. The project is located in the north central region of Uruguay covering an area of 20,000 hectares, annually 127 thousand tons of CO₂ are captured.

What are the technology projects?

The first projects is situated in Brazil and involves the support for constructing a hydroelectric power plant. Given that Brazil, like many other South American countries, predominantly generates electricity from coal-fired power plants, establishing a facility for producing clean energy is not economically feasible without external support. In the complete absence of national public incentives for such initiatives, obtaining international certification has facilitated access to capital, enabling the coverage of construction costs.

Clean energy: inside the power hydroelectric plant

Finally, in China, the Heqing Solar Cooker Project supplies local communities with solar-powered cookers as alternatives to coal-fired ones. This initiative enables the production of clean thermal energy for heating, hot water, and cooking.

Up to the boiling point… The Solar Cooker allows residents to efficiently replace coal with solar energy

How long have you been working on this activity?

Up2You was founded in 2020 and has experienced rapid growth since then. I’ve been with the company since 2022, initially joining a team of 20 people. Now, we have expanded to a team of 50, marking significant growth both for Up2You and the industry as a whole. Our portfolio of projects and clients continues to expand, partly because of the willingness of some companies to integrate sustainable practices, and partly driven by a growing recognition of future regulatory obligations.

Do you have individual customers?

We operate primarily as a business-to-business intermediary, focusing on companies interested in implementing carbon offsetting strategies, such as the ICONS Foundation. BHowever, we’ve observed an increasing number of individuals seeking information and advice from us. As part of our future plans, we are planning to develop software that would enable you as an individual to measure your own carbon footprint.

Do you have other clients in the music industry?

We have previously provided consulting services to measure the environmental impact of music events and concerts, but this is the first time we have worked with an orchestra on an ongoing basis.

How did you quantify the orchestra’s emissions, and what advice do you give Theresia’s musicians to actively reduce their carbon footprint?

Theresia produced 40 tons of CO2 in 2022 and 34 tons of CO2 in 2023: these values are not particularly high because virtuous behaviours such as using buses and trains for transportation were already in place. If trips were made by plane, the numbers would be much higher! However, there is always room for improvement and the advice is always to carefully consider the logistical aspect, such as combining several concerts in close proximity on the same tour, to minimize travel. Additionally, we recommend the use of trains as much as possible, and if car trips are necessary, to opt for car sharing as much as possible.

Get an overview of Theresia Orchestra’s ongoing offsetting activities.

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Meet Theresia: Maddalena Bortot

By Emilia Campagna - April 3, 2024

Maddalena Bortot is a young Italian violinist who recently joined Theresia. Let's find out more about her in this interview!
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Maddalena Bortot is a young Italian violinist who recently joined Theresia. Let’s find out more about her in this interview!

Maddalena, tell us how you started to play the violin and how you decided to devote yourself to the period instrument.

I have been playing the violin since I was 10, although my first instrument was the guitar: but we had a violin at home and I always had it in my hand and tried to play it myself. Recognizing my passion, my parents enrolled me in a music school. At the end of secondary school I decided to devote myself entirely to music and moved to Bolzano to study at the Conservatory. I followed the three-year course for the first degree in modern violin with Paolo Zordanazzo. To tell you the truth, I immediately started poking around in everything that was going on in the Early Music department. By taking part in numerous projects, I discovered my deep affinity for the repertoire and the way I had to approach it. So upon completing the three-year course in modern violin, I embarked on another three-year course focused on baroque violin, and I am currently studying in Bolzano under Barbara Altobello.

Last January, you attended our auditions in Paris: how did you decide to take part? And how did you find out about Theresia Orchestra?

I heard about Theresia through a friend, Matylda Adamus, a cellist I met in Bolzano. She was the one who told me about the orchestra. Strangely enough, although I was born and raised in Rovereto, where Theresia has performed several times, I had never heard of it! In any case, having missed the opportunity to attend an audition, I didn’t miss it this year: it was really worth the trip to Paris!

What was it like to take part in the auditions? Apart from being selected, how would you rate the experience?

Everything was very positive. The auditions I had taken part in before just consisted of preparing a video. For Theresia, however, I first had to learn a Beethoven quartet (plus both violin parts), which was a completely different approach to playing a series of orchestral passages. In addition, the real challenge was to play with complete strangers, musicians from all over the world, communicating in a language that we all use, English, which may not be the first language for everyone: because to put a quartet together you have to talk as well as play! Finally, I also played in different ensembles, one day the first violin part, the next day the second violin part. It was really two days of full immersion! For me, it was particularly inspiring because I am still a newcomer to performing on historical instruments and it is not so common for me to have the opportunity to hear so many other young musicians live, with their different experiences and sensibilities.

Awesome. So the auditions went so well that you were selected to take part in the first residency of the year. How did it go and what was it like to work with Alfredo Bernardini?

It was a wonderful experience. I had never played the ‘Last Words of Christ’ by Haydn and I must say it was a challenge to perform. Working with Bernardini was particularly pleasant because he created such a good group atmosphere. To give just one example of his attitude, he called us all by name, which is not something you take for granted from a director. Then he managed to work us through such a demanding piece while keeping the atmosphere positive and relaxed: fatigue was inevitable, but it was accompanied by great satisfaction.

How did the concerts go from your point of view?

It is difficult to compare them because we played in very different places in terms of acoustics. In Lodi we played in a church with very generous acoustics. In Rovereto, we played in a much drier concert hall, but this did not affect the quality. Finally, in Ravenna, again in a church: in this case, the performance was more demanding because the pieces alternated with reflections by the Bishop of Ravenna, which were much longer than the readings in the first two concerts. In this case, maintaining concentration definitely proved to be more challenging.

What are your plans for the next few months?

I will be playing again with Theresia at the concerts in Slovenia in October. I also have many engagements with ensembles within the Conservatoire and with some baroque orchestras I work with such as the Ensemble Cordia and the Ensemble Labirinti Armonici from Trento which is led by Andrea Ferroni, who is my first violin teacher.

Do you have any hobbies or does music fill your days completely?

I have a few hobbies that are very important to me! I read a lot, and then I go swimming, which helps me keep in shape, as well as longboarding, which I do on the cycle paths in Bolzano: movement is essential for me to keep in shape, both physically and mentally.

You live in Bolzano, an Italian city with Austrian and German connections: do you like this dimension?

Bolzano offers a very high quality of life, a lively cultural life and the opportunity to get in touch with nature. However, I will be moving soon. If all goes well, I will be in Barcelona next semester as part of an Erasmus programme: I can’t wait! I always want to get to know new places and people to enrich my experience.

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Alfredo Bernardini: “The Seven Last Words of Christ are challenging to perform, as they were to compose”

By Emilia Campagna - March 1, 2024

Next Theresia's orchestral project will be entirely focused on a very special and peculiar composition, "The Seven Last Words of Christ" by Franz Joseph Haydn. Leading the orchestra will be Alfredo Bernardini, whom we asked to introduce us to this 18th-century masterpiece
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Next Theresia’s orchestral project will be entirely focused on a very special and peculiar composition, “The Seven Last Words of Christ” by Franz Joseph Haydn. Leading the orchestra will be Alfredo Bernardini, whom we asked in this interview to introduce us to this 18th-century masterpiece

Alfredo Bernardini, please, tell us about The Seven Last Words of Christ?

It is a composition for orchestra with a very special history. It is the result of a commission that was made to Haydn in 1786 by the church of the Santa Cueva in Cadiz, Andalusia, a commission with very specific requests, namely that the seven last words of Christ be set to music. The occasion was the Good Friday celebration during Easter week in 1787, and Haydn was asked to write slow movements plus an introduction and a fast finale to illustrate the earthquake that follows Christ’s death. The order letter specified that the music, while maintaining a slow tempo, should always be interesting to keep the attention of the faithful. This was an enormous challenge for Haydn, to which he devoted himself with great commitment.

How did this commission come about? Did Haydn have connections with Andalusia at the time?

In truth, no, and this fact is one of many demonstrations of the international fame of Haydn, probably the most celebrated composer of his time. Although he had worked up to that time in the small court of Estrehaza his fame was spread throughout Europe. Recall that Haydn laid the foundations for new instrumental forms, such as the Sinfonia, and in Italy, for example, his music was copied and thus spread widely. His fame reached even such remote and mundane places as the Church of the Santa Cueva in Cadiz: we can imagine how much difference there was at the time between Andalusia and the Vienna region.

Did Haydn succeed in keeping variety within a series of slow movements?

Absolutely. The score has a lively alternation of melodies, orchestration, instrumental colour, a great variety of dynamics and phrasing. Haydn was so pleased with the work that he later made three transcriptions of it for as many ensembles: for string quartet, for piano and also an oratorio for choir and orchestra.

You said this was a challenge for the composer: is it also a challenge for the performers?

It is certainly very delicate music, full of details, with great richness in articulation and dynamics. The greatest difficulty in the case of a series of slow movements concerns intonation: the instruments are very exposed and anything out of place is more easily noticed. Fast movements require a certain degree of virtuosity, but things go by quickly…. Then it must be said that the very delicate technical aspect is only one side of the effort, in the performance the expressive side must come out, which is very developed and important.

The performance is accompanied by the reading of excerpts from the Scripture and reflections: what is the relationship between the music and the text?

The relationship is very intense, starting with the phrases that are taken from the four Gospels and that Haydn had published at the beginning of each piece. The music is intimately connected to the meaning of the text and invites meditation. For example in the case of the second piece, which is introduced by the phrase “Truly I tell you, today you will be with me in paradise,” the music is charged with a special light, while in the fourth number, introduced by “My God, my God, why have you forsaken me,” Haydn uses a minor key and a particularly dark color.

As a performer, when and on what occasion did you first play The Last Seven Words of Christ on the Cross?

It was several years ago, at the beginning of the 1990s! The occasion was a series of concerts, later followed by the release of a CD, with Jordi Savall’s orchestra “Les Concert de les Nations”. I must confess that I did not know the piece at the time, and it was a thunderbolt for me. Jordi Savall, on the other hand, had loved this composition since childhood and had always had a great desire to perform it. It was one of the first musical programs with which Savall began to explore the classical repertoire for orchestra. For all of us it was a great musical experience with a strong spiritual impact.

Theresia will perform “The Seven Last Words of Christ” by Franz Joseph Haydn under the baton of Alfredo Bernardini on three different occasions: Tuesday 12 March in Lodi (Chiesa di San Francesco), Wednesday 13 March in Rovereto (Sala Filarmonica), and Thursday 14 March in Ravenna (Basilica di San Giovanni Evangelista).

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Vanni Moretto on the release of Theresia’s new CD on Ernst Eichner

By Emilia Campagna - February 28, 2024

Theresia has just released a new CD on the CPO label: a recording of Ernst Eichner's Symphonies conducted by Vanni Moretto.
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A new CD has just been released on the CPO label: Theresia’s recording of Ernst Eichner’s Symphonies conducted by Vanni Moretto, whom we had the pleasure of interviewing briefly.

Vanni Moretto, what is the significance of this release?

For me, it is a very important recording because it offers an opportunity to rediscover the music of a forgotten composer. During his lifetime, Eichner was a great bassoonist and violin virtuoso, and that is what he was primarily recognised for. Although his fame as a virtuoso was substantial, it complicated the later reception of his compositions. Unlike his more widely recognized composer colleagues in Mannheim, Eichner’s legacy was overshadowed, leaving a fainter imprint on musical history. What’s more, and we don’t think about it today, but at that time instrumental music was a subordinate genre compared to opera. As Eichner focused on a genre that was less emphasized, his name fell into oblivion after his death.

What is the musical program on the CD?

The CD contains four symphonies from as many opus, i.e. collections published with an opus number. This was common practice at the time, and we must remember that an increasing opus number does not guarantee a chronological sequence: composers would publish when they had the opportunity, perhaps bringing back scores written earlier and not yet published. In the case of Eichner, who has a very short compositional span, this is not a problem because his style remains very homogeneous and coherent.

How did you choose the four symphonies?

In my view, the symphonies selected from op. 11, op. 10, op. 1, and op. 7 are particularly representative of his style. Prior to initiating this project, I conducted a survey of the existing Eichner recordings on the market (which, truth be told, are quite scarce) to ensure that I wouldn’t duplicate programs already covered by others.

In a previous interview you described yourself as an explorer, even a miner of early music: how and when did you discover Eichner?

I stumbled upon him, as I often do, by chance. Libraries are my goldmines; when I study a composer, I follow paths in search of all sources, both literary and musical. Around 2009, while studying Francesco Zappa, I discovered that he and Ernst Eichner had been published in common collections. Later on, I found him again by researching musical incipits, discovering that there are similarities between incipits of compositions by Eichner and Mozart, with apparent quotations from Mozart, which shows us that both were looking for common musical archetypes. I grew fond of this composer, and when talking with Mario Martinoli, Artistic Director of Theresia, I found out that he also was familiar with him and shared my interest in Eichner. That’s how the idea came about of working together on a recording project.

In a world where the consumption of music has changed a lot, what is the importance of recording and releasing CDs?

I have a very complex relationship with recording, and am always struggling between being diplomatic and completely sincere. Recording music is to me is an ever-evolving phenomenon, the nature of which is now completely different from what it was in the early days. Initially it was recorded to faithfully document a musical performance, now if we ask a sound engineer to simply “document,” it is likely that they will be offended. Technology has allowed us to intervene in the recording to the point of bordering on perfection, but it is a utopian perfection that makes the CD light years away from the experience of live listening, in which it is normal to hear small errors, or smudges. After all, recording allows us to spread the repertoire and reach an audiences far and wide. Nevertheless, for me there remains the fact that it cannot replace the experience of a live performance, which is unique for both listeners and performers. Any musician knows the energy that may or may not come from the audience: in the concert hall, something unrepeatable, unique and certainly unrecordable is created.

What musical gems does your treasure trove hold for us? Can you share any insights into your upcoming projects?

I am planning to resume my project on Francesco Zappa and Frank Zappa in a concert with a “pop” angle in which music by both of them will be performed. I will then be engaged with the Stockholm Chamber Orchestra, which I will conduct in a programme that brings together the music that travelled from Milan to Sweden in the 18th century, performing compositions by Chelleri, Antonio Brioschi, and Sammartini. Finally, a commitment as a composer also awaits me: my third “important” opera, commissioned by the Austrian Capital of Culture 2024, will be staged. It is Der Wassermann vom Grundlsee, on a libretto by Stefano Pintor, a reinterpretation of an ancient legend about the discovery of the regional salt deposits by the merman of Grundlsee lake. It will be particularly fascinating site because it will be an open-air performances on the shores of Lake Grundlsee.

“Ernst Eichner: Symphonies” is available for purchase and online streaming here.

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