Stradi­vari and My Favourite Vi­o­lin

The Em­bassy of Italy and the Ital­ian Cul­tural In­sti­tute Jakarta are proudly pre­sent­ing a solo con­cert by mae­stro Domenico Nor­dio at Ge­dung Ke­se­nian Jakarta. Here, the Ital­ian vi­o­lin­ist talks to In­done­sia Tatler 28

Indonesia Tatler - - Concierge -

Born pi­ove di sacco in italy on march 21, 1971, Domenico Nor­dio be­gan his con­cert ca­reer very young, win­ning the Ver­celli “Viotti” In­ter­na­tional Com­pe­ti­tion at the age of 16 with Ye­hudi Menuhin lead­ing the panel of judges. Suc­cess fol­lowed at var­i­ous com­pe­ti­tions from Thibaud in Paris, the Si­gall in Viña del Mar right up to Francescatti in Mar­seilles. In 1988, the Euro­vi­sion Song Con­test brought him in­ter­na­tional fame thanks to the fi­nal round, which was broad­cast through­out Europe from the Con­cert­ge­bouw in Am­s­ter­dam. Ex­cerpts of our con­ver­sa­tion are be­low.

Among the fa­mous con­cert halls of the world in which you have per­formed, which do you like best and why?

Carnegie Hall in New York, the Phil­har­monic in Moscow, the Salle Pleyel Paris, Vic­to­ria Hall Geneva and the Konz­erthaus in Vi­enna. Be­ing an Ital­ian, of course I would say Teatro Alla Scala in Mi­lan, too.

Your discog­ra­phy con­tains an im­pres­sive se­lec­tion, in­clud­ing pieces by Brahms and Mozart. Which of the mas­ter­pieces will you present to Jakarta mu­sic lovers?

Bach’s Cha­conne is the ab­so­lute mas­ter­piece of the vi­o­lin reper­toire, but also the majestic Regers’ Cha­conne and the kalei­do­scopic Elo­gio per un’om­bra by our great Pe­trassi.

Your ca­reer in mu­sic started from a very young age. Of all the mu­sic in­stru­ments, why did you choose the vi­o­lin?

I took up vi­o­lin for the first time mo­ti­vated by my vi­o­lin­ist cousin. I started my ca­reer from early age and it all hap­pened almost nat­u­rally; I could eas­ily say I was born and raised on stage.

The 1988 Euro­vi­sion Song Con­test brought you in­ter­na­tional fame. Tell us briefly about your feel­ings at the Am­s­ter­dam Con­cert­ge­bouw.

I re­mem­ber well the count­down be­fore the live ses­sion for Euro­vi­sion, dur­ing which the Si­bel­lius that I played would have been seen live in TV by more than 80 mil­lion view­ers. I’m grate­ful as I was so young and had the con­scious­ness of a 16-year-old. I do not know if I would be in able to with­stand such ten­sion now.

Tell us about your favourite vi­o­lin and the rea­son why do you chose it. Does play­ing a high-end vi­o­lin re­ally make a dif­fer­ence to your per­for­mance?

I play a mar­vel­lous An­saldo Poggi from 1967, the vi­o­lin of my de­but, but I have had the op­por­tu­nity to per­form with Stradi­vari, Guarneri del Gesù, Amati—all the great string in­stru­ments from Cre­mona. But the vi­o­lin is the means not the end, and ev­ery in­stru­ment that I em­brace brings its own sound and the trace of my soul and my char­ac­ter.

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