Good mornign,
my name is Gianluigi Dettori and I'm an orchestral conductor.I completed my studies in conducting in Italy, graduating with Maestro Marco Boni at the International Academy of Imola, and specializing with some of the best Italian masters, as shown in my curriculum.
I started to love music from an early age: my mom says that I started singing before speaking. In short, I said “music” before saying “mom”.
I completed my initial studies in parallel with high school and then later with university, having also graduated in Law. I continued my musical studies even later, while carrying out functions of Judge of the Italian Republic.
As an Italian, I love opera, which I consider the highest representation of musical and theatrical art, and I have improved studies of stage art, poetry for music, the metrics of text.
I believe that orchestral conducting can be defined as the ability to subsume the individual skills of the artists into unity, leading them together to the final performance, and in this the opera is the highest example in which everything converges towards the final performance.
I started my musical experience with non-professional formations, sometimes of amateurs, trying to bring out their best skills and sensibilities from everyone, and trying to excite first the performers and then the spectators. I continued with great satisfaction in prestigious theaters and with exciting experiences of conducting, from great classical operas to the first world performances.
I also believe that music cannot be separated from the rest of the arts and from the rest of social life in general. Every aspect of daily life needs to be
permeated with beauty, and in this music can provide a great help. Instinctively each of us searches for music at all times, even without realizing it: from the ringing of the morning alarm (often a jingle) to the broadcasting in the car while returning from work to the highest experiences of musical art to be witnessed in theaters and concert halls.
I believe I can make my experience as an Italian conductor, Mediterranean sensitivity and competence (especially in the lyric field) available to artistic formations. Today, the scarcity of resources requires the maximum result with the minimum means, and in this I believe I have developed the ability to reduce the time of preparation of the performances, facilitated in this by the increasing competence of the orchestra professors, achieving acceptable levels of performance. with a very small number of tests.
I certainly have to improve my language skills, even if the conductor’s communication lies in the gesture, aided by the universal Italian version of the language and the increasing knowledge of Italian on the part of the musicians.
I think I can define my gesture as essential, communicative but never unnecessarily pompous. I don’t belong to the generation of directors who make the show regardless of the musical result. The gesture must be functional to the orchestra musician and not to the listener, who must enjoy the auditory result and only secondarily the visual one.
In the opera, moreover, the conductor works in the orchestra pit, where the exaggeration of the gesture would be useless for the audience and often harmful for the performers.
About of the repertoire, I believe that music is unique and entirely worthy of being performed when it is beautiful. There are undoubtedly kinds of elections for each musician, and I have already said that I love opera in particular, and secondly the symphonic music of the classical, romantic and late romantic period. However, I was lucky enough to make some excursions in the modern period, and in the Baroque one, often experiencing great emotions and receiving applause from the performers and the public.
Finally, I believe that any experience is useful, even those that are not particularly happy. It is from mistakes that the best advances are determined, and in this sense the artist must also treasure the experiences, even when they are not entirely satisfactory.
In this direction I have always presented myself to the orchestra professors, without useless presumption but with enthusiasm and determination, proposing them new ideas, new paths, new interpretations, and making with them the choices towards the final vision of music: the emotion of audience through the emotion of the performers.