MY NAME IS LUCA
I was the only musician in my family, except for my maternal grandfather who sang in the parish choir (but I suppose that counts for nothing); I approached music through my town band, as it happened to many colleagues who currently play in the best orchestras around the world.
I started with the trumpet, but then my teacher – who also taught clarinet, saxophone and solmisation – thought I had a bent for the trombone.
Between a march and the other, I started my so-called academic studies at the “G. Verdi” music academy in Como, where I graduated in 2009, a pivotal year for my education because I met Maestro Conti at a summer course in Santa Fiora (a wonderful village on the slopes of Mount Amiata, and a historic centre for brass Master Classes): from that moment on, he has been a constant guidance for my growth path, and finally I got an idea of what a trombone really is.
After a mad and desperate study, as Giacomo Leopardi would put it, in 2010 I won the audition for entering the “Accademia del Teatro alla Scala” orchestra in Milan, and I began a beautiful and crucial educational experience.
Breathing in the air of that theatre was a powerful stimulus to improve in itself, but I like to emphasize that this was the moment when, thanks to contemporary music Master Classes held by proficient conductors (Peter Rundel and Susanna Mällki, among the others), I came into contact with an essential repertoire: the 20th-century and contemporary one, indeed.
In the meanwhile I had my first professional experiences: collaborations with “Pomeriggi Musicali” in Milan, the “Orchestra di Padova e del Veneto”, the Puccini Festival, and other Italian organizations , until 2011, when I was selected for the Bayreuth Youth Festival, within the famous Wagner Festival, and this marked my first real experience in Germany and literally cast me – since we played all the repertoire highlights – over Wagner’s sound world, that has been an indelible part of my musical soul since then.
But my experiences abroad had just begun, because in 2013, I enrolled in the trombone class at the “Felix Mendelssohn Bartholdy” Hochschule für Musik in Leipzig, where my teacher was Maestro Thomas Leyendecker, bass trombone player in the Berliner Philharmoniker.
In order to understand what this meant to me, you have to imagine a teenager football fan whose bedroom walls are plastered over with Van Basten’s posters; in my bedroom I kept all the available records of the Berliner Philharmoniker, from Arthur Nikisch on, and I considered (I still do, actually) that orchestra and its members as a kind of unachievable myth, so now you can understand how I was excited to have such a teacher and to have the opportunity to listen to the Philharmoniker playing live almost every week (by courtesy of Flixbus).
At the same time, I had other professional gratifications, with wonderful projects such as “Spira Mirabilis”, the “Ambrassador” brass ensemble (formed by first players from the most important German orchestras), and collaborations with prominent orchestras such as the “Accademia Nazionale di Santa Cecilia”, the Potsdam Kammerakademie, the Leonore Orchestra, the Opera Theatre in Rudolstadt, and the Leipzig Symphony Orchestra.
I fondly remember my years in Leipzig, years of hardship as well as great personal and musical growth, years when somehow everything started to add up, years when my calling as conductor became loud and clear, and with the help of the musical world I was surrounded by, this was also the moment when I could see clearly the beauty and the pressing need (for me) to understand Music from more than one point of view.
I like to think that somehow the conductors I met until then, the composers I had the privilege to work with, my orchestra colleagues, and my past experiences accompanied me towards the next chapter of my career and at the same time helped me to develop an almost obsessive respect for the conducting profession.