An unusual choice already the subject – the prophet Elia, whose “word burned as a torch” (Syracide 48.1) -, put in music between 1836 and 1846, on a booklet by Julius Schubing, by Felix Mendelssohn, anxious to “make full justice to the dramatic element” of the story narrated in the eight chapters of the Bible that range from 1Re 17 to 2re 2. The choice to present sacred music in scenic form, as happened in the show staged at the work of Zurich between June and July, with singers and even the choir, on stage for over half of the two hours of duration of the oratory, which act fully in the Elias, is unusual. But, as the director Andreas Homoki claims, “if you see an oratory also visually, the message arrives more easily”. We talk about it with the conductor Gianandrea Noseda, 61, director of the American National Symphony Orchestra, behind a long international career.
Elia is a strong figure, relentless in the denunciation of the idolatry of his people and his rulers, but also a multifaceted figure, with moments of tenderness, of discouragement … is he a current figure today?
«Elia has a strong sense of integrity, a great responsibility towards the truth and therefore does not compromise to have consent. As a prophet it is also free, because he says someone else’s words. But this also gives him a great sense of fragility: he speaks to the powerful, who take it with him. He is a person of strong passions. But always for deep reasons. These people need, I think. Instead today we often choose people who have simpler recipes, who speak more in the belly ».
Do you see prophetic leaders on the horizon, capable of saying words of truth?
«Not many. There is no lack of figures of great responsibilities, even non -religious, but I believe that the figure of the Pope has always been a figure of reference, religious, social and in some way also political, even if the Pope does not make politics in a direct sense. But touching the heart and mind, as Jesus did, you can also try to create a more open and respectful world. Instead today it seems to me that the shortcut of the strong man to delegate everything is preferred ».
She has a long professional bond with the United States, what effect did you have the election of an American Pope?
«I am a believer, and I believe that in the end it is the Holy Spirit to operate in the conclave, also through his human dynamics. It is right to have an American Pope today, like yesterday Pope Francis, and before even Benedict XVI, John Paul II, John Paul I with his 33 days. As Paul VI was prophetic in his time. Figures that have been loved but also criticized ».
A scene of “Elia” (photo theater of Zurich)
A moment of the representation of Felix Mendelssohn’s Elias Oratory (Photo Teatro di Zurich).
In the orchestra it is necessary to grant different people, musically, but also humanly: can it be a gym of peace in a world where today the logic of the clash seems to prevail today?
«Since 2019 I have been musical director of the Tsinandali Festival, in Georgia. There was created an orchestra of young people (18-26 years) from Georgia, Armenia, Azerbaijan, Kazakhstan, Ukraine, Russia, Turkmenistan, Turkey … for the legacy of historical hostilities they have behind them, a not easy coexistence: for a Turkish and an Armenian the history of genocide is still there. When at the end of the festival, after 5 weeks, I saw Georgian, Ukrainian, Russian, Turks and Armenians embrace each other, Armenians with the Azeri, I said to myself: it can be done. For adults it is much more difficult: the wounds that life gives you make you more cynical. Instead young people still have dreams and can choose. With them the change is possible ».
What challenges does the ordinary work with the orchestra places them?
«Going to the orchestra every day can also become a clerk job, a routine. The director is up to the musicians to remember the day that made you decide to give your life to music ».
He recently directed Beethoven’s Missa Solemnis. Are there works of sacred music to which he is particularly linked?
«The Requiem of Verdi, Ein Deutsches Requiem of Brahms and Beethoven’s Missa Solemnis create an inner earthquake, but also moments of tenderness, of amazement, even of fear for the immensity they enclose. And none of the three composers was really religious! But they touch ropes that come to anyone. Think of Verdi’s Requiem: he starts with silence and ends up in silence. It is like a great metaphorical development of life, from birth to death. And the final free me, a sincere prayer … perhaps he was not a believer, but one who writes such a thing cannot fail to be close to God! ».
Have you ever directed Bach’s sacred music?
«Some things. My great dream is the passion according to Matteo … Bach is the essence of spirituality in music. My first piano teacher said: there is God, then there is Bach and then there are all the others. He was right! ».
What is the first musical memory?
“I was 4 years old, I put on my father’s records and I remember music on the water of Händel and the symphony in Sol minor of Mozart. I fascinated me, and I already asked myself questions. To which I found answers later ».
In the photo cover: Gianandrea Noseda (Photo Tony Hitchcock)
