INTERVISTA A LORIS ANTIGA - INTERVIEW
INTERVISTA A LORIS ANTIGA
CORNISTA PRESSO IL TEATRO LA FENICE DI VENEZIA
CORNISTA PRESSO IL TEATRO LA FENICE DI VENEZIA
CORNISTA DEL BRASSOPERA' E ARTISTA PAXMAN
HORN IN TEATRO LA FENICE IN VENICE
BRASSOPERA' AND PAXMAN ARTIST
L'INTERVISTA
THE INTERVIEW
Wagner Sigfrid short call - Loris Antiga
GRAZIE PER AVER RISPOSTO ALLE NOSTRE DOMANDE
IN ENGLISH
How was passion for horn and music born?
1-I started my early musical studies at the age of nine, playing the trombone in the band but I was always attracted to the horn that I was curious about on an old disc found by Barry Tuckwell Mozart's concertos. When I was admitted to the conservatory, I presented myself with the trombone but after I passed it, I asked to go to the horn class: all the members of the commission looked at me astonished, but the passion was stronger.
Do you have musicians in your family?
2-No, my brother plays amateur sax, and my dad played the guitar for the girls.
Who are the horn players that have influenced your career as a student or a professional?
3-All Life Barry Tuckwell, but surely others have been important in my life.
Which method of study would you recommend?
4-Playing a lot of horn in F and almost forgetting the horn in B, our business card is always the sound. My favorite methods are Farkas and Tuckwell.
(here are some examples)
How important is warm-up?
5-The warm-up is important to wake up, but it's not to much important because we often get a train or a late plane so there's no time to warm up however our job requires us to be always ready.
What advice will you give us about breathing? Use accessories?
6-Breathe with the vocal O without making noise like a lyrical singer, I do not use equipment although I know them all thanks to Arnold Jacobs who repeatedly repeated to me "Pavarotti" ... (I understood him ten years later) to play well the horn you have to sing !!!
How important is it to have a good embochure?
7-The embochure is fundamental but there is no equal mouth for everyone, we are all different (teeth, lips, .....) but it must be functional: when you do not have registry problems it means that the mouth is correct. !!
What would you recommend to stay fit in time?
8- Trying to have a healthy life and make sport but it is not always easy, I'm the example.
How to prepare a audition?
9-be aware of all the details, in the part is everything written and work on concentration: so many times at the first round you play up to 6/7 minutes and behind there is work of so many hours and days !!
Which instrument and which mouthpiece? Do you have preferences?
10-sound a Paxman m 20 and Schilke 27. Paxman all my life!
What was your first instrument?
11-an old 103 Alexander of the School ...
.
Do you use descant or triple horns?
13-no, I only use Paxman m20
What are your favorite composers? Your only favorite?
14-I like all the music in particular: Mozart / Mahler / Bruckner / Brahms / Strauss / Rossini. My favorite is what I'm playng at the time but if I should definitely choose Four Last Songs by R.Strauss
Haydn two Horn Concerto
Many Thanks Loris!!
HORN IN TEATRO LA FENICE IN VENICE
BRASSOPERA' AND PAXMAN ARTIST
Loris Antiga uno dei cornisti più rappresentativi d’Italia ha suonato con la London Symphony Orchestra, la Chamber Orchestra of Europe ed è stato scelto dal maestro Claudio Abbado per il progetto Orchestra Mozart. Dopo aver terminato gli studi in Italia con il Maestro Guido Corti, si è perfezionato a Chicago con Dale Clevenger e Arnold Jacobs. Ha suonato in qualità di primo corno con il Teatro alla Scala e con la Filarmonica della Scala, Maggio Musicale Fiorentino, Ensamble Modern Francoforte, Orchestra della Radio Svizzera Italiana, Malaysian Philharmonic Orchestra e collaborato con le più importanti Istituzioni Liriche e Sinfoniche Italiane. Dal 2001 suona stabilmente al Gran Teatro La Fenice. Ha suonato sotto la Direzione di R.Muti, S.Bychkov, A.Pappano, V.Gergiev, A.Gardiner, C.Thielemann, F.Luisi, Z.Mehta, D.Barenboim, B.Haitink. Membro fondatore del Brassoperà con cui ha inciso per l'etichetta Summit Records (www.brassopera.it). Molto attratto dalla musica da camera è stato invitato a numerosi Festival, tra i quali Lione, Pisa, Stresa, Lugano, Ravello ecc. Tiene regolarmente Master Class in tutto il mondo, Giappone, Brasile, Stati Uniti, Cina, Spagna. Viene regolarmente invitato ad esibirsi come solista in Giappone e Stati Uniti.
Paxman Artist
Loris Antiga is one of Italy’s foremost horn players. He has played with the London Symphony Orchestra and the Chamber Orchestra of Europe and was selected by Claudio Abbado for the Orchestra Mozart project. After finishing his studies in Italy, where he studied with Guido Corti, he moved to Chicago to study with Dale Clevenger and Arnold Jacobs. He has performed as a first horn player with the Teatro alla Scala and the Filarmonica della Scala, Maggio Musicale Fiorentino, Ensemble Modern (Frankfurt), Orchestra della Radio Svizzera Italiana, and the Malaysian Philharmonic Orchestra, and has worked with the most important Italian operatic and symphonic ensembles. He has been a member of the orchestra of the Gran Teatro La Fenice since 2001. He has performed under the direction of R. Muti, S. Bychkov, A. Pappano, V. Gergiev, A. Gardiner, C. Thielemann, F. Luisi, Z. Mehta, D. Barenboim, and B. Haitink. He is a founding member of Brassoperà, with whom he has recorded for Summit Records (www.brassopera.it). He is highly interested in chamber music and has been invited to numerous festivals in Lyon, Pisa, Stresa, Lugano, Ravello, and others. He regularly holds masterclasses around the world, including Japan, Brazil, the United States, China, and Spain. He is regularly invited to perform as a soloist in Japan and the United States. Paxman Artist
Paxman Artist
Loris Antiga is one of Italy’s foremost horn players. He has played with the London Symphony Orchestra and the Chamber Orchestra of Europe and was selected by Claudio Abbado for the Orchestra Mozart project. After finishing his studies in Italy, where he studied with Guido Corti, he moved to Chicago to study with Dale Clevenger and Arnold Jacobs. He has performed as a first horn player with the Teatro alla Scala and the Filarmonica della Scala, Maggio Musicale Fiorentino, Ensemble Modern (Frankfurt), Orchestra della Radio Svizzera Italiana, and the Malaysian Philharmonic Orchestra, and has worked with the most important Italian operatic and symphonic ensembles. He has been a member of the orchestra of the Gran Teatro La Fenice since 2001. He has performed under the direction of R. Muti, S. Bychkov, A. Pappano, V. Gergiev, A. Gardiner, C. Thielemann, F. Luisi, Z. Mehta, D. Barenboim, and B. Haitink. He is a founding member of Brassoperà, with whom he has recorded for Summit Records (www.brassopera.it). He is highly interested in chamber music and has been invited to numerous festivals in Lyon, Pisa, Stresa, Lugano, Ravello, and others. He regularly holds masterclasses around the world, including Japan, Brazil, the United States, China, and Spain. He is regularly invited to perform as a soloist in Japan and the United States. Paxman Artist
THE INTERVIEW
Come è nata la passione per il corno e la musica?
1-Ho iniziato i miei primi studi musicali all'età' di nove anni, suonando il trombone in banda ma sono sempre stato attratto dal corno che ascoltavo incuriosito in un vecchio disco trovato a casa di Barry Tuckwell con i quattro concerti di Mozart. Quando feci l'ammissione al conservatorio mi presentai con il trombone ma dopo averla superata, chiesi di passare al corno: tutti i membri della commissione mi guardarono sbigottiti , ma la passione era più forte.
Hai musicisti in famiglia?
2-No, mio fratello suona il sax a livello amatoriale e mio padre suonava la chitarra per conquistare le ragazze.
Chi sono stati i cornisti che hanno influenzato la tua carriera sia da studente che da professionista?
3-Tutta la vita Barry Tuckwell, ma sicuramente altri sono stati importanti nella mia formazione professionale.
Quale metodo di studio consiglieresti?
4-Suonare tantissimo corno in fa e quasi dimentico il corno in si bemolle, il nostro biglietto da visita è sempre il suono. I miei metodi preferiti sono Farkas e Tuckwel, ecco alcuni esempi:
Quanto è importante il warm-up?
5-Il warm-up è importante per svegliarsi, ma non è fondamentale perchè spesso ci capita di avere un treno o un aereo in ritardo e quindi non c'è tempo per riscaldarsi però il nostro mestiere ci impone di essere sempre pronti.
Che consigli daresti sulla respirazione? Utilizzi accessori?
6-Respirare con la O senza fare rumore come un cantante lirico, non utilizzo apparecchi, anche se li conosco tutti grazie ad Arnold Jacobs che a lezione mi ripeteva continuamente "Pavarotti" ...( l'ho capito dieci anni dopo) per suonare bene il corno si deve cantare !!!
Quanto è importante avere un'ottima imboccatura?
7-L'imboccatura e' fondamentale ma non esiste un'imboccatura uguale per tutti, siamo tutti diversi( denti, labbra, .....) ma deve essere funzionale: quando non si hanno problemi di registri significa che l'imboccatura è corretta.!!
Cosa consiglieresti per mantenersi in forma nel tempo?
8- Cercare di avere una vita sana e fare Sport ma non è sempre e facile, io ne sono l'esempio.
Come preparare un'audizione?
9-stare attenti a tutti i dettagli , nella parte c'è tutto scritto e lavorare sulla concentrazione: tante volte al primo Round si suona massimo 6/7 minuti e dietro c'è un lavoro di tantissime ore e giorni !!
Quale strumento suoni e quale bocchino? Hai preferenze?
10-suono un Paxman m 20 e Schilke 27. Paxman tutta la vita!
Quale è stato il tuo primo strumento?
11-un vecchio 103 Alexander della Scuola ....
Usi corni descant o tripli?
13-no, uso solo Paxman m20
Quali sono i tuoi compositori preferiti? Il tuo solo preferito?
Mozart 1st Horn concerto - Loris Antiga14-mi piace tutta la musica in particolare: Mozart /Mahler /Bruckner /Brahms /Strauss / Rossini . Il mio solo preferito è quello che suono in quel momento ma se dovessi scegliere sicuramente Four Last Song di R.Strauss
Wagner Sigfrid short call - Loris Antiga
GRAZIE PER AVER RISPOSTO ALLE NOSTRE DOMANDE
IN ENGLISH
How was passion for horn and music born?
1-I started my early musical studies at the age of nine, playing the trombone in the band but I was always attracted to the horn that I was curious about on an old disc found by Barry Tuckwell Mozart's concertos. When I was admitted to the conservatory, I presented myself with the trombone but after I passed it, I asked to go to the horn class: all the members of the commission looked at me astonished, but the passion was stronger.
Do you have musicians in your family?
2-No, my brother plays amateur sax, and my dad played the guitar for the girls.
Who are the horn players that have influenced your career as a student or a professional?
3-All Life Barry Tuckwell, but surely others have been important in my life.
Which method of study would you recommend?
4-Playing a lot of horn in F and almost forgetting the horn in B, our business card is always the sound. My favorite methods are Farkas and Tuckwell.
(here are some examples)
How important is warm-up?
5-The warm-up is important to wake up, but it's not to much important because we often get a train or a late plane so there's no time to warm up however our job requires us to be always ready.
What advice will you give us about breathing? Use accessories?
6-Breathe with the vocal O without making noise like a lyrical singer, I do not use equipment although I know them all thanks to Arnold Jacobs who repeatedly repeated to me "Pavarotti" ... (I understood him ten years later) to play well the horn you have to sing !!!
How important is it to have a good embochure?
7-The embochure is fundamental but there is no equal mouth for everyone, we are all different (teeth, lips, .....) but it must be functional: when you do not have registry problems it means that the mouth is correct. !!
What would you recommend to stay fit in time?
8- Trying to have a healthy life and make sport but it is not always easy, I'm the example.
How to prepare a audition?
9-be aware of all the details, in the part is everything written and work on concentration: so many times at the first round you play up to 6/7 minutes and behind there is work of so many hours and days !!
Which instrument and which mouthpiece? Do you have preferences?
10-sound a Paxman m 20 and Schilke 27. Paxman all my life!
What was your first instrument?
11-an old 103 Alexander of the School ...
.
Do you use descant or triple horns?
13-no, I only use Paxman m20
What are your favorite composers? Your only favorite?
14-I like all the music in particular: Mozart / Mahler / Bruckner / Brahms / Strauss / Rossini. My favorite is what I'm playng at the time but if I should definitely choose Four Last Songs by R.Strauss
Haydn two Horn Concerto
Many Thanks Loris!!
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