(Photo © Marc Larcher)

To learn from Maestro Paolo Arrivabeni about his journey before he steps on the podium to conduct an opera or a symphony is more than a treat. It is a brief excursion into some of the layers he explores before he picks up his baton. More than rehearsals with singers and orchestra, more than simply studying a score, more than even choosing what he intends with the music before him, we glimpse something of the intricate  thoughts, feelings, and aspirations, he aims to conjure up. As he so aptly says his goal is to create a bridge between the external realities of life and the beauty and emotions of the music. His artistic intention is to provide us with an immersive experience of the composer’s own vision.

Who is Paolo Arrivabeni?

One of the most in-demand Italian opera conductors of his generation, Paolo Arrivabeni’s repertory ranges from the great Italian composers of the 19th century to Wagner, Strauss and Mussorgsky. The 2024-25 season features “Simon Boccanegra” at the Opernhaus Zürich, “Madama Butterfly” at both the Opéra de Marseille and the Semperoper Dresden, “Maria Stuarda” at the Royal Danish Opera, “Il Trovatore” at the Staatsoper Hamburg, and “Aida” and “Nabucco” at the Deutsche Oper Berlin.

OperaWire: What do you want to “communicate” through a performance?

Paolo Arrivabeni: Through my work as a conductor, I strive to communicate to the audience the genius and profound artistry of the composer we are interpreting. By doing so, my goal is to create a space where the audience can momentarily detach from the external realities of life and immerse themselves in the beauty and emotions of the music. I see our role as artists and interpreters as a bridge, bringing to life the genius of the composer and offering the audience a unique, transformative experience that allows them to lose themselves in the music, even if just for a few hours.

OW: How do you communicate with the orchestra most comfortably? Most successfully?

PA: I communicate with the orchestra using my entire body to convey what I want to achieve musically. This includes not only my arms but also the expressions on my face. The amount of verbal communication I use depends on the time we have; sometimes there’s more room to explain, and other times less. However, the most important aspect is to express my intentions through gestures and physical presence. Often, there simply isn’t enough time to say everything I might wish to articulate, but skilled orchestras are accustomed to reading conductors who can effectively express themselves through body language. This physical dialogue becomes the cornerstone of a successful collaboration.

OW: How do you approach singers and orchestras when you prepare to do a work?

PA: I approach both singers and orchestras with great respect, acknowledging their artistry and individuality. At the same time, I come with a clear and precise vision of what I aim to achieve musically. This vision is always shaped by the resources available to me—whether it’s the unique qualities of the performers or the specific circumstances of the production. Balancing respect for their talents with a firm sense of direction allows for a collaborative process where everyone feels valued yet guided toward a shared artistic goal.

OW: What if any significant differences are there in working in an Italian house versus working in a German or French one?

PA: When comparing Italian opera houses to German or French ones, significant differences emerge, particularly in preparation times and processes. In German-speaking theaters, the preparation periods tend to be much shorter than in French or Italian theaters. However, the speed of learning and execution in German theaters is notably higher, which allows them to adapt efficiently to the shorter timelines. In Italy, there’s often an inherent advantage when conducting works by Italian composers like Donizetti, Bellini, Verdi, or Puccini. These masterpieces are deeply rooted in our cultural DNA, providing a natural connection and understanding that informs the artistic process. This familiarity offers a head start in interpreting and performing such works.

In Germany, the focus and expertise often lie in a different repertoire, where they have their own intrinsic advantages and traditions, just as we do with our Italian operatic heritage. Ultimately, while the pathways to the final product may vary—whether shaped by cultural, logistical, or repertorial differences—the resulting quality remains consistent, whether it’s Italian, French, or German. It’s the approach and methods that differ, not the pursuit of excellence.

OW: How do you approach conducting a new opera? What are your first steps? What follows?

PA: The first steps involve researching the period in which the opera was composed, studying the composer’s life, and understanding the historical and cultural context in which the work was conceived. This foundation is essential to grasp the broader environment that influenced the opera’s creation.

Next, I turn to the libretto, as it plays a crucial role in understanding the narrative, characters, and dramatic structure. Once familiar with the text, I immerse myself in the score, exploring its musical and dramatic nuances. In the early and even advanced stages of study, I consciously avoid external influences, such as historic or modern recordings, to ensure that my interpretation remains original and uninfluenced. I believe this allows me to develop a fresh and personal perspective on the work.

Only after forming my own vision do I compare my interpretation with that of other conductors who have directed or recorded the opera. This exchange of ideas can be enlightening and sometimes even inspiring, but it must never override or compromise the choices I have independently made. The goal is always to stay true to my artistic understanding while respecting the integrity of the opera and its creator.

OW: How does this process differ from conducting an opera you are more familiar with?

PA: The difference lies primarily in the fact that, with an opera I am already familiar with, I already have a deep understanding of the score, the libretto, the historical context, and the composer’s life and times. This prior knowledge forms a strong foundation that allows me to engage with the work at a more instinctive level.

However, even when revisiting an opera I have conducted many times, I always make a point of rethinking certain elements in light of new experiences and perspectives I’ve gained since my last encounter with the piece. This reflection often leads me to reconsider choices I made in the past that may no longer align with how I currently understand or feel about the opera.

In this sense, conducting a familiar work is never static; it is always an opportunity for rediscovery and growth. Each time I approach it, I find something new—new insights, new interpretations, or simply new ways to connect with the music and the drama. It’s an ongoing process of evolution and refinement, ensuring that my interpretation remains vibrant and relevant, both to me and to the performers and audiences I am working with.

OW: How would you describe an Arrivabeni performance? What are some of its characteristics?

PA: It’s difficult to define an Arrivabeni performance in specific terms because no two performances are ever the same. Each evening brings its own unique energy and nuances, shaped by a variety of factors—the mood of the performers, the chemistry with the orchestra, the singers’ interpretations, and even the audience’s engagement. For me, it’s this dynamic and ever-changing nature of live performance that makes it so special.

Every night, something may shift—sometimes subtly, sometimes profoundly—and that’s what keeps the art alive and authentic. My focus is on being fully present and responsive, allowing the music to breathe and evolve naturally. This adaptability ensures that every performance has its own identity, creating a singular experience for the audience and everyone involved.

OW: I understand you like to conduct Wagner. Can you say something about your connection to his music?

PA: I’ve had the privilege of conducting some of Wagner’s works, beginning with “Der fliegende Holländer” (“The Flying Dutchman”) and later “Lohengrin.” I feel a deep connection to his music, particularly because these two operas resonate with a certain “Italianate” quality—if I may say so—that aligns with the lyrical and expressive style of 19th-century Italian operatic writing. This makes them particularly appealing to me as a conductor steeped in that tradition. Wagner’s music captivates me with its depth and complexity, and I hope to have the opportunity to explore more of his repertoire in the future. His ability to weave profound emotional and musical narratives is something I find immensely rewarding, both as an interpreter and as someone who seeks to share that richness with audiences.

OW: Also, can you speak about the relationship between your views and feelings about Italian opera and Wagner’s?

PA: There is a fascinating and profound relationship between Italian opera and Wagner’s music, as the two traditions influenced each other in meaningful ways. For instance, in Giuseppe Verdi’s villa in Sant’Agata, you can find Wagner’s scores, which Verdi read and knew well. Verdi was certainly aware of Wagner’s innovations and musical ideas. On the other hand, Wagner himself deeply admired Italian opera, particularly Bellini’s “Norma,” which he held in the highest regard.

This interplay demonstrates that these musical worlds are not isolated compartments. Both Verdi and Wagner traveled extensively, exposing themselves to different musical traditions and enriching their own artistry through these experiences. Wagner’s works, while grounded in Germanic traditions, reflect a certain operatic grandeur and lyricism that resonate with elements of the Italian style. Similarly, Italian composers absorbed elements of Wagner’s musical language, such as his use of leitmotifs and orchestral richness, integrating them into their own operatic vocabulary.

Ultimately, the connection between Italian opera and Wagner lies in their shared pursuit of emotional depth and dramatic intensity, each influencing the other in subtle but significant ways. This cultural and musical exchange underscores the universality of great art, transcending borders and traditions.

OW: What was your musical dream when you were a young person?

PA: When I was young, my dream was to become a pianist. I enrolled in the Conservatory with that goal in mind, but there wasn’t an available spot in the piano class at the time. To allow me to enter, they placed me in the composition class instead. Initially, this wasn’t what I had envisioned, but I quickly fell in love with composition, discovering a passion I hadn’t anticipated. Over time, I was able to pursue piano studies alongside composition, and these two disciplines became the foundation of my musical journey. It was during these formative years that the idea of conducting began to take shape. My experiences with piano and composition gave me a comprehensive understanding of music that naturally led to a desire to direct and collaborate with orchestras. This evolution from aspiring pianist to composer and ultimately to conductor has shaped who I am as a musician, blending technical mastery with a deep appreciation for the creative process.

OW: What was your musical training? Where? Who was your most influential teacher?

PA: I began my musical training at the Conservatory of Mantua and completed it at the Conservatory of Parma, a city deeply connected to Giuseppe Verdi’s legacy. While many teachers influenced me, two were particularly significant: Camillo Togni for composition and Daniele Gatti for conducting. I transferred from Mantua to Parma because the former didn’t offer conducting studies, and this move allowed me to fully pursue my passion for orchestral direction in an inspiring and supportive environment.

OW: Who were your primary mentors?

PA: Daniele Gatti was a pivotal mentor who guided me during the early stages of my career. I firmly believe that conducting cannot truly be taught—it is something you learn through experience and observation. For a few years, I had the privilege of working alongside him, both at the Teatro Comunale di Bologna and other theaters. During this time, I absorbed a tremendous amount simply by being in his presence, observing his approach, and working closely with him. This hands-on experience was invaluable, shaping my understanding of the art and craft of conducting in ways that formal lessons never could.

OW: Do you mentor other musicians?

PA: I wouldn’t presume to call myself a mentor to anyone. If some of my assistants or students consider me their mentor, that’s for them to say, not for me. Over the years, I’ve had several young conductors by my side, working as my assistants, and I hope I’ve managed to pass on some of what I’ve learned. During my brief time as a teacher, I’ve had students who went on to establish independent careers, which is always gratifying to see. I’ve always tried to share my knowledge generously because I believe it’s essential to pass on what we’ve learned to the next generation. While I may not see myself as a mentor in the traditional sense, I do hope my guidance has left a positive and lasting impact on the musicians I’ve worked with.

OW: How has this differed from what you originally wanted? Aspired to? Actually done?

PA: I originally aspired to work more extensively in my own country, imagining a career deeply rooted in Italy. However, life and circumstances led me in a different direction, with most of my work taking place abroad. This shift happened naturally and without regret, as it gave me the opportunity to engage with diverse cultures, audiences, and artistic traditions. Working internationally has enriched my perspective and allowed me to grow in ways I hadn’t anticipated, and I’ve found fulfillment and comfort in these foreign environments. While my initial vision may have been different, the path I’ve followed has been deeply rewarding.

OW: How does your conducting mesh with your personal life?

PA: Conducting doesn’t “mesh” with my personal life because, for an artist, the two are inseparable. Being a musician isn’t a job you can separate from your identity—it’s who you are. I don’t stop being a conductor or a musician when I leave the theater; it’s a constant part of my life and my way of being. The idea of integrating work and life doesn’t quite apply to this profession because artistry permeates everything. It’s not like I leave rehearsal and suddenly become someone entirely different. Of course, there are moments when I take time to disconnect, relax and spend time with my loved ones, but my identity as a musician and conductor is always present, shaping my perspective and how I live. This is the essence of an artist’s life—it’s all interconnected.

OW: When and how did you decide to concentrate on conducting?

PA: I can’t pinpoint the exact age or moment I decided to focus on conducting—it came to me later in life. While studying composition, I found myself increasingly drawn to the great symphonic repertoire. Experiencing this music, both in study and live performances, had a profound impact on me. Symphonic music became my first love and ultimately led me to shift my focus away from the piano. Conducting felt like a more expansive and fulfilling means of expression, offering a broader palette to communicate musical ideas. It allowed me to engage with the richness of the orchestral repertoire in ways that were deeply rewarding. My journey into opera came later, after I had established a strong connection to symphonic music, but both forms have since become integral to my life as a conductor.

OW: What is your opinion about opera in our current culture? How does it differ in different cultures?

PA: Opera is an art form that naturally integrates into the social fabric of a society, just as painting, theater, or other artistic expressions do. It reflects the cultural identity and traditions of a nation, serving as both a mirror and a cornerstone of its artistic heritage.

However, the role and reception of opera differ across cultures. In some countries, there is a stronger connection between the public and classical music, particularly opera. This is often due to a combination of cultural factors, such as education systems that prioritize the arts, historical traditions that keep opera alive, and societal values that place importance on artistic engagement. In other nations, including my own, opera’s reach can be more limited due to gaps in cultural education or shifts in public interest. Despite these differences, opera remains a universal language—one that has the power to transcend cultural boundaries and connect people through its beauty, drama, and emotional depth. Its role may vary, but its importance as a timeless art form is undeniable.

OW: What are your upcoming engagements as a conductor?

PA: After “Maria Stuarda” in Copenhagen in January-February 2025, I’ll be conducting “Madama Butterfly” in Dresden. I’m thrilled to return to this theater, where I’ve conducted many times and always feel at home. I believe this will be my third “Butterfly” production, following others I’ve done in different venues. It’s a Puccini title I’m deeply connected to, along with “Tosca” and “La Bohème,” which I’ve also conducted in Dresden.

After that, I’ll be in Hamburg for “Il Trovatore.” Hamburg is another city and theater I love returning to—it’s a place where I feel very comfortable and enjoy working. “Il Trovatore” is a work I debuted in Macerata years ago. It’s always exciting to revisit this repertoire in a city that holds such fond memories for me.

Following that, I’ll be conducting “Aida” and “Nabucco” at the Deutsche Oper in Berlin. “Nabucco,” in a production I’ve conducted several times before, and I’m very eager to return to a theater I deeply admire. As for “Aida,” it will be my first time conducting this opera in Berlin, which makes it a particularly special project. Beyond that, there are more engagements on the horizon, but for now, I’ll focus on these exciting projects.

OW: What has been your experience conducting “Maria Stuarda” and performing in theaters like Copenhagen’s Opera House?

PA: I first performed in Copenhagen in 2013 with “Macbeth,” and I’m delighted to be back now. The opera house is truly spectacular—not only architecturally but also in terms of its advanced technology. It’s an absolute marvel and a joy to work in. As for “Maria Stuarda,” this is the fourth production I’ve conducted, making it perhaps the Donizetti opera I’ve conducted the most. Of course, I’ve conducted others, like “L’elisir d’amore,” but when it comes to Donizetti’s opera seria, “Maria Stuarda” stands out for me. I first conducted it in Berlin, followed by productions in Vienna and Rome, and now here. It’s an opera I know deeply and one I hold in great regard. Its drama and emotional intensity resonate strongly with me, making it a particularly rewarding work to bring to life on stage.

OW: What are the main challenges of conducting a bel canto opera like “Maria Stuarda?”

PA: The challenges of conducting a bel canto opera always begin with a fundamental premise: the conductor must love the art of singing and possess a deep understanding of the technical aspects of vocal performance. Conductors who come from a background as répétiteurs often have an advantage in this repertoire, as they work daily with singers and develop an instinct for their needs—knowing when they need to breathe, how to support them, and how to make their work easier.

Bel canto operas are extraordinarily demanding vocally, requiring a unique sensitivity to the singer’s needs. Each role is essentially tailored to the specific singer performing it, much like a custom-made suit. Just as no two singers are identical, the approach must adapt to their vocal qualities and capabilities. It’s crucial to work with the material at hand, maintaining a flexible and collaborative approach without compromising the overall dramatic structure and vision of the opera.

OW: Did you take a specific approach to highlight the conflict between Maria Stuarda and Elisabetta in the score?

PA: Not particularly, as Donizetti himself crafted the confrontation between the two queens with incredible dramatic effectiveness. The way he composed that scene is so powerful that it doesn’t require additional interpretive tools to bring out the tension—it works brilliantly on its own.

There are other moments in the opera where the dramatic action may need more support or emphasis from the conductor, but the conflict between Maria and Elisabetta is so vividly realized in the score that it naturally takes center stage without the need for significant intervention. My role in those moments is simply to ensure that the inherent drama and emotional intensity are conveyed clearly and authentically.

OW: What kind of reaction do you expect from the Danish audience, considering that bel canto is not traditionally tied to their musical culture?

PA: I expect curiosity. When an audience isn’t frequently exposed to a particular repertoire, it naturally piques their interest. My hope is to satisfy that curiosity with a performance that lives up to the expectations of this city and this remarkable theater. Interestingly, I was told this morning that the last bel canto opera performed here was “Lucia di Lammermoor,” and that was twenty years ago. If true, it highlights the rarity of this repertoire in Denmark, making this production of “Maria Stuarda” even more special. It’s a wonderful opportunity to introduce or reintroduce the audience to the beauty, drama, and intricacy of bel canto, and I look forward to seeing how they respond to this masterpiece.

OW: How does “Maria Stuarda” fit into your artistic journey, and which aspects of this experience will you fondly remember?

PA: From an artistic perspective, “Maria Stuarda” takes me back to my roots. I began my career conducting bel canto repertoire, focusing extensively on Donizetti, Bellini, and Rossini. For a significant period, these composers were at the heart of my work. Over time, I shifted towards other repertoires, especially Verdi, Puccini, and even more contemporary composers. However, returning to bel canto feels like a homecoming—a way to reconnect with my beginnings. Now, nearly thirty years into my career, I approach these works with a different perspective, one shaped by experience and maturity. That said, my respect for the score remains unchanged. Every interpretation is driven by a deep commitment to honoring the composer’s intentions, and this production has been no exception. What I’ll cherish most about this experience is the opportunity to revisit a genre that is so integral to my artistic identity, while bringing the wisdom and insights I’ve gained over the years to this masterpiece.