Breaking: Gatti’s new orchestra

The bounceback chief conductor of Rome Opera is parking his tanks of the piazza of La Scala with a new orchestra, launching in Milan on May 31.

Described as ‘a new concept of orchestra in which different generations of artists join in an innovative project for the dissemination of music’, the LaFil – Filarmonica di Milano will consist of musicians from Santa Cecilia, Teatro alla Scala, Bologna, La Fenice, Maggio Musicale Fiorentino, Mahler Chamber Orchestra, Vienna Philharmonic and more.

Its launch soloists are Frank Peter Zimmermann and Jan Vogler. The financial backing comes from the wealthy publisher Luca Formenton.

This is Gatti reborn.

 

Press release:

UNA NUOVA ORCHESTRA CHE UNISCE GIOVANI PROMESSE E MUSICISTI AFFERMATI DELLE PRINCIPALI ORCHESTRE ITALIANE E INTERNAZIONALI

Debutto il 31 maggio a Milano al Palazzo delle Scintille a CityLife con Daniele Gatti sul podio

In programma nel 2019 l’integrale delle sinfonie di Schumann e Brahms e concerti di musica da camera presso le Gallerie d’Italia – Piazza della Scala

Solisti d’eccezione: il violinista Frank Peter Zimmermann e il violoncellista Jan Vogler

Milano – 31 maggio; 1 e 2 giugno; 25 e 27 ottobre; 1 e 3 novembre

Sestri Levante – 19, 20, 24, 27 e 28 luglio; Milano – Evento conclusivo di BookCity 17 novembre

www.lafil.com

Una concezione nuova di orchestra in cui generazioni diverse di artisti si incontrano e si riconoscono in un progetto innovativo di diffusione della musica. Giovani talenti in ascesa e musicisti affermati provenienti dalle compagini più prestigiose: Orchestra dell’Accademia Nazionale di Santa Cecilia, Orchestra del Teatro alla Scala, Orchestra Sinfonica Nazionale della Rai, Orchestra del Teatro Comunale di Bologna, Orchestra del Teatro La Fenice di Venezia, Orchestra del Teatro Regio di Torino, Orchestra I Pomeriggi Musicali, Orchestra del Maggio Musicale Fiorentino, Orchestra della Fondazione Teatro Lirico Giuseppe Verdi di Trieste, Orchestra del Teatro dell’Opera di Roma, Mahler Chamber Orchestra, Wiener Philharmoniker. Programmi di alto interesse artistico, affidati al direttore Daniele Gatti e a solisti come il violinista Frank Peter Zimmermann e il violoncellista Jan Vogler. È LaFil – Filarmonica di Milano, nuova orchestra che nasce dall’iniziativa dei quattro soci fondatori, Luca Formenton, Presidente del Saggiatore e della fondazione cui fa capo l’orchestra, Roberto Tarenzi, viola del Quartetto Borciani e docente al Conservatorio di Milano, Carlo Maria Parazzoli, primo violino di Santa Cecilia, Marco Seco, direttore d’orchestra italo-argentino, insieme alla Consulente strategica Marilù Martelli e all’avvocato Paola Tradati.

LaFil – Filarmonica di Milano debutta il 31 maggio al Palazzo delle Scintille di Milano: un edificio in tardo stile art nouveau, progettato dall’architetto Paolo Vietti Violi nel 1923 per l’ex Fiera della città, dove sono in programma la Sinfonia n. 1 in si bemolle maggiore, op. 38 e la Sinfonia n. 3 in mi bemolle maggiore, op. 97 di Robert Schumann, dirette da un interprete di riferimento del grande repertorio romantico come Daniele Gatti. Vincitore del Premio Abbiati, nominato in Francia Chevalier de la Légion d’honneur, Gatti è l’attuale Direttore musicale del Teatro dell’Opera di Roma. Il ciclo schumanniano da lui proposto per inaugurare le attività de LaFil – Filarmonica di Milano sarà completato il 2 giugno, sempre alle Scintille, con la Sinfonia n. 2 in do maggiore op. 61 e la Sinfonia n. 4 in re minore op. 120.

LaFil – Filarmonica di Milano, insieme al Comune di Milano e a tutti i sostenitori dell’Orchestra, ha deciso di festeggiare la nascita di questo nuovo progetto offrendo gratuitamente i concerti del 31 maggio e del 2 giugno, fino ad esaurimento dei posti.

Per partecipare è necessario iscriversi tramite l’apposito link presente sul sito ufficiale de LaFil – Filarmonica di Milano: www.lafil.com.

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  • “This is Gatti reborn”

    He was never dead, no other country really took the Dutch’s actions seriously, least of all the Italians, and let’s be frank, being exiled from Amsterdam doesn’t really affect one’s career that much, as a city, it’s dispensable among the other classical music capitals that form the jewels of Europe.

    As for lafil (not to be confused with laphil), ho hum… We’ll see.

    • That’s not true!
      There are a lot of people who took it seriously, especially the women which suffered under Gattis disgusting behaviour!

      • Only the zealots of politically-correctness can still take seriously the unsubstantiated allegations that brought down Daniele Gatti now that the MeTwo collective hysteria is fading.
        I was in the audience in Rome for his recent Brahms concerts and I was delighted to see him back in action again.
        Conversely, I shall never ever attend a concert of the Royal Concertgebouw again – unless they provide unconditional apologies to Gatti for all the unnecessary damage they inflicted on him last year.

        • I believe they were looking for an ‘out’ with Gatti (Amsterdam). I’m not saying they trumped up those accusations (no pun intended), but I do believe he ruffled their staid feathers a bit too much. I met Gatti briefly in S.F. in the late 1980’s, after the Royal Phil. played Mahler 5 on tour. I told him that I hoped he would one day get the Concertgebouw, because they needed somebody fiery like him. He said Chailly was very good and chuckled a bit. Decades later, I guess the experiment didn’t work. At least I got a couple of really good Mahler recordings out of it (my ‘pirate’ of Mahler 3 is outstanding).

  • Any new orchestra or initiatives with the goal to spread the culture and musical passion to people (and being accessible as well) is more than welcome. Italy has seen the killing of many music and cultural things in the past 25 years (I remember the great RAI orchestras all over the country, and their sudden disappearance…), so I’m more than happy if a new creature is born in Milan. I just hope it’s not an “elite” thing… Good luck!

  • So, basically it’s a “pick up” orchestra?
    The strength of an orchestra is in tribal-ness and community, in playing together week by week. Abbado could make the Luzern Festival Orch work because he was Abbado, but Gatti is no Abbado.

    • Luzern Festival Orchestra was already something in the hands of Toscanini and Furtwangler among others, much before Abbado was accepted to get classes with Swarowsky in Vienna. Saito Kinen Festival Orchestra is also annually Ad Hoc without Abbado, but many ones including Grammophone loves to include it among the best. I could’nt see to much of a point, sorry.

  • If Gatti is founding a new orchestra in Italy, then I suspect he has found himself with time on his hands….

    • I cannot see the point. Claudio Abbado has founded more than one orchestra in spite of having constantly been on demand throughout his career.
      It is undeniable that the career of Daniele Gatti has suffered a setback as a result of the MeTwo allegations, but it is to be recognised that his “spare time” has been invested on a good cause here.

    • Observer: that was my reaction too. He has to create his own pick-up orchestra because not many people want to hire him to guest conduct.

  • It would be interesting to know where the funding is coming from. The fact that players from all these different sources are willing to come play under his direction – well, that says something in and of itself.

    • Maybe just that they’d all like to pocket some extra cash, and aren’t worried that he’s going to make untoward advances. Be interesting to see how many are women…

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