Gianluigi Gelmetti Ready to baton a perfect pitch Born into an Italian family that had known much wealth, Gelmetti’s ances- tors were forced to reside in Argentina for several generations after their riches evaporated. Gelmetti’s father returned to his motherland, living in and earning a living playing piano at silent movie theatres. But with the advent of sound, when silence ceased to be golden, he reluctantly went ‘into com- merce and had a shop selling sporting goods. He wasn’t very happy,’ continues Gelmetti junior, ‘but when I was born he transmitted to me all the passion and the love of music.’ His mother, on the other hand, ‘was a very good poetessa how you say [poet] who won many awards with her writings. My mother tells me that before I could walk, whenever I heard my father play on the piano I rush over to him, he place me on his knee and I go Bam! Bam! Bam! On the keys.’ Not surprisingly, Gelmetti has always been passionate about music. ‘I can remember when I first started writing …A…B…C…but I cannot remember when I first started wanting to be a musician.’ Gelmetti’s mother was the Sydney’s newest maestro embraces Randolph Magri-Overend organising force in the family. She ensured he did not miss la belle jeunesse, however. ‘Sometimes she insists efore I met Gianluigi Gelmetti understanding some of my questions I study,’ he explains. ‘I would much I was apprehensive. For starters, and kept asking me to repeat them in have preferred to play calcio [soccer] BI’d never met and conversed with French. My French must have been but my mother it was who arranged anyone of his stature. Prior to this worse than I thought because he kept everything. I had to spend this much interview I’d chatted with other complimenting me and answering time on the piano, this much time contemporary greats in the music questions I hadn’t even asked! In any swimming, and I also do judo.’ world, but never face to face. When case, his facial expressions - always the interview was originally mooted I’d mobile and elastic – and my suggested a telephone conversation but gesticulations – retrieved from cold that was discarded when it became storage where they had lain dormant apparent that Gelmetti’s knowledge of since childhood - proved that English was pidgin at best and my communication can be achieved with- knowledge of French and Italian even out the encumbrance of words. worse. My concerns did not improve Gelmetti was dressed in what seems when the first appointment was can- to be the current conductor’s garb – celled because Gelmetti was suffering black trousers and a shirt that was prob- from jet lag and then were increased ably black before washing had bleached when it became obvious the maestro’s it to pearl grey. He dangled a pince-nez free time and mine refused to coincide. on his chest and his close-cropped Gelmetti started playing the piano We only had this one week of opportu- beard and thinning hair were more salt at three and conducted his first orches- nity before Gelmetti was off to Japan. than pepper. But he had a cherubic tra at 16. I start asking how it felt being Eventually we settled for an hour at face and what he lacked in language a child prodigy, but he interrupts. ‘Non, SSO headquarters where I was plied skills was more than made up for by a non, non alors, j’ai au la chance de com- with a mug of coffee and given the pair of twinkling eyes, eyebrows that mencer très tôt [I had the opportunity to freedom of the boardroom to ask my defied gravity and a sense of humour start early] but I am no prodigy. questions. But we had to make do that didn’t. The first impression was Mozart was prodigy, but he is un mys- without an interpreter. Actually that here was a man who loves life. tère,’ then pointing to the heavens ‘un Gelmetti’s English turned out to be And anyway just the sound of his name UFO!’ He pronounces it as one word. better than I had been led to believe. – Gianluigi Gelmetti – was poetry to ‘I have a copy of the original Jupiter He spoke it haltingly but had difficulty my philistine ears. symphony, which he composed with- 14 February 2004 www.2mbs.com out a single change. When you speak defect. You must charm the orchestra; Gelmetti Recordings about Mozart’s genius it is like Mosé convince them to play like a chamber parting the Red Sea.’ ensemble. They must listen to each he new chief conductor and artistic Equally at home playing the guitar other.’ director of the Sydney Symphony (which he studied with Segovia in I ask whether he’s ever had TOrchestra has recorded exclusively ) or piano (which he commenced rehearsals that were perfect, only for for EMI for many years and it’s a shame studying seriously at eight at Rome’s the performance to be a disappoint- that only two recordings of his works Academia di Santa Cecilia) I ask ment. ‘Is usually the reverse,’ he are available in Sydney. That we have which instrument he prefers. He explains. ‘Is like architecture. The managed to obtain them is due to the laughs. ‘Is the same as you asking rehearsal is like the foundation. efforts of Gary Henschke from EMI which I prefer - blondes or brunettes!’ Australia. And yet according to reviews His mentors were the Italian from overseas, Gelmetti has not been in Rome and the slack in the recording industry. He has Rumanian-born at recently conducted a highly acclaimed the ‘Academia di Siena, the oldest and album of Mascagni’s Iris featuring Jose most prestigious Academia del Cura and Nicolai Ghiaurov, a mondo.’ At 16, Gelmetti was well-received recording of Rossini’s Celibidache’s youngest pupil. He went with Thomas on to become his assistant and Hampson, Susanne Mentzer, Jerry succeeded him as director of Hadley and Samuel Ramey, and has also Stuttgart’s radio orchestra. Since then recorded Puccini’s La rondine, Rossini’s he has been chief conductor of the and an album of Ravel’s Rome Symphony (RAI), music orchestral music. The albums featured director of the Monte Carlo here, a selection of ’s screen Philharmonic and is currently perma- music and a compilation of Rossini nent conductor and artistic director of You cannot have a cathedral unless overtures (which includes highlights from the Rome Opera. As chief conductor you have good foundations.’ the Barber already mentioned) are and artistic director of the Sydney He envisages the Sydney excellent recordings in their own right Symphony producing a unique but do nothing more than whet our sound. ‘The contra-bassi will be at the appetites for the inevitable festa di musica. back and the violins on either side of After meeting Gelmetti and listening to the conductor,’ is the way he explains his plans for Sydney’s artistic future I, for it. ‘It will take some years but we have one, can’t wait for la festa to begin. already started.’ When we talk about his mother it is obvious he is still in awe of her. ‘She wants to come here next year with a couple of girlfriends. She is 89,’ he adds in a voice that does not mask the incredulity of such foolhardy deeds. I ask her name. ‘Clelia,’ he replies. Now Clelia is an unusual name. It is a name predating even Symphony, he is contracted for an Julius Caesar’s Roman Empire. The initial period of three years, conduct- odd thing, however, is that it is also ing the orchestra each year for three my own sister’s name. Gelmetti can’t periods totalling 12 weeks. As a believe the coincidence. composer, which he practises fitfully, Before he has time to recover I ask Gelmetti has written works commem- about how the Rome Opera chorus orating both his mentors. will find time to fly to Sydney for the When asked how he composes he Verdi they will share with the replies: ‘In the meend!’ I soon realise Sydney Philharmonia Choirs this he means ‘mind’. ‘That works for me, month. Surely they have obligations but I never write on the stone how in Rome? ‘Is very easy,’ Gelmetti others should compose.’ Whether replies. ‘I am good friends with the composing or ‘any good managing director in Rome.’ He musician should have the capacity to indicates the two-fingered demonstra- imagine how the music will sound. tion of a phone held to the ear. ‘So I close my eyes and I hear the sound. I call him. He is very understanding. With my orchestra I am never His name is Gianluigi…’ there is a surprised with the results because pause – and I’m thinking how I have already heard it in my mind. coincidental it is that this director has The conductor who doesn’t already the same name as our interviewee – , know what he wants is primitive.’ ‘….Gelmetti!’ Hoots of laughter! He explains he becomes nothing more Gelmetti has to leave. He is audi- than a human metronome. ‘But tioning prospective violinists at the also…don’t forget the most important Opera House. I extend my hand and quality of a conductor is to communi- suddenly find myself embraced cate. I tell my pupils you must try it southern-European style. without too much talk. If you have to And to think I was initially worried Photos: Lorrie Graham. explain then it is the beginning of the about the meeting. www.2mbs.com February 2004 15