The conductor Beatrice Venezi is certainly a divisive figure, the protagonist of many controversies in recent months. Not just politically, now also artistically: like with the musicians of the Sicilian Symphony Orchestra. In fact, at the end of the double concert at Politeama, Venezi was not recognized, as would be usual. They also explained the reason to Repubblica. “If none of us moved, it was because the conductor only complicated our work: without her it would have been easier to play,” explained Claudio Sardisco, a Foss flutist for almost 40 years. The reason is easily explained: “She took the stage, but we, the orchestra, did the “dirty” work.”
“We had to look after ourselves”
In fact, the artists contributed to the show's success by choosing to stick strictly to the scores and barely glance at Venice. “After the orchestra rehearsals we had some problems with the conductor and agreed with our colleagues not to look at her in order to be able to coordinate and just concentrate on listening to each other: because of Venezi's gestures we had to cope on our own.” We didn't agree the musical performance. Sardisco is a river in flood: “Even a beginner can drive a Formula 1 car, but when there are curves and the right driver isn't there, you have to switch to autopilot mode.” Likewise, a good conductor has to Be able to lead the orchestra during changes of rhythm and tempo and in the most critical moments of the score. Well, that's not the case in Venezi.
“It’s not a political speech”
And the flautist is not the only one who has this opinion: “I may not agree with his ideas, but when you play, only the music counts and politics are left out,” says violinist Luciano Saladino. “The problem is that you look from the side outside and she seems good at it, but then when you work on it you realize that she is unable to follow the orchestra. How do you explain the great success? “The media push has elevated it higher than it deserves and it bothered me that it was presented in a program as rich as that of this year's symphony as if it were Bernstein: it is an insult to those with whom he does his work makes “effort, study and dedication, without succumbing to clientelistic logic and power games,” says Saladino. And he concludes: “Meritocracy has gone out the window in this country and this discussion is not just about that.”
“A media phenomenon”
Violinist Ivana Sparacio follows: “Whoever comes to conduct us deserves our professionalism, but Venezi is certainly not one of the conductors with whom I can boast of having worked.” It is a media phenomenon, it makes music spectacular.” The currently only theoretical hypothesis that Venezi will be seen as artistic director of the symphony, as expected, does not appeal to her. Still, according to Saladino, “he would cause less damage than if he conducted the orchestra.” In any case, the possibility “was not discussed by the board, and in any case the role would be incompatible with TaoArte's artistic direction,” noted Sonia Giacalone, cellist and representative of the orchestral professors on the Foss board.
the defenders
In any case, there is no shortage of those who hold back more tolerant words towards the director, close to Giorgia Meloni: for example, according to the first violinist Pasquale Faucitano, Venezi is “a serious and prepared professional who wants to work and contribute his ideas.” » . Stefania Tedesco, who plays the oboe, defines her work as “well done, especially in the slow tempos.” However, on a technical level it should improve some details, especially when it comes to the control of the orchestra.” Also the artistic director of the symphony, Andrae Peria, distances itself “from the tone and content” of the criticism and affirms its “highest appreciation and solidarity with the director Beatrice Venezi”.
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