About Me EN
“After establishing himself with a brilliant career as a chamber pianist playing in theaters around the world alongside Andrea Bocelli, Gianfranco Cecchele, Kristian Johansson, Daniela Barcellona, Carlo Lepore, Giacomo Prestia, Gianluca Terranova, Giovanni Velluti has undertaken with increasing success the solo activity.” (La Stampa – august 2002)
Giovanni Velluti came on the international stage in an uncommon way: claiming that his role is that of artist-musician. In an environment in which most instrumentalists behave in a professional, standardised way, Giovanni gives priority to the freedom of musical language: freedom that means to move out of the “standardised tracks” of the so called “career”, whose patterns, in fact, can often be a great obstacle for expressing one’s own creativity. Giovanni therefore shows a curriculum removed from the rules, a path rich of that anxiety proper to real artistic research.
The study in youth with Aldo Mantia, favoured pupil of Wladimir von Pachmann, who first introduced Giovanni to the deep love for Chopin’s music and is a guide (he who had played in the presence of Busoni, Rosenthal, etc…) to the authentic interpretation of romantic music.
After some time of reflection he started working together with the bass Carlo Lepore, a friend now very well known, then he performed with Katia Ricciarelli as a substitute for her pianist V. Scalera. After the first great tournée (Verdi theater of Padova, Trieste’s Rossetti, Teatro Regio di Parma, Switzerland, etc…) she preferred Giovanni as her regular accompanist in Italy and abroad.
The artistic liason with Katia opened for Giovanni the doors of the great lyrical music world: he has collaborated with many singers among which are D. Barcellona, A. Bocelli, R. Canzian, M. Custer, K. Johansson, G. Prestia, R. Rinaldi, E. Salvadori.
Notwithstanding his aim was to become a soloist and on this path he met Rodolfo Caporali, the great teacher and pianist heir of the Thalberg and Chopin pianistic tradition through his teacher Alfonso Rendano, pupil of Georges Mathias.
The idea of style is very important in music, particularly today: most musicians perform using in the authentic published editions, nearly every pianist has a good tecnique, but fewer and fewer are the performers who can really recreate the atmosphere that was in the composer’s mind. This applies particularly to the XIX century composers (to be clear from Beethoven to Scriabin, with the culminating point in Chopin, Schumann, Mendelssohn and Liszt). That is the reason why more and more listeners are attracted by the old recordings.Nowadays we lack that poetry of playing and this is due to not knowing the style proper to any single composer.To explain this we can think how obvious is that playing Mozart with the rubato and the touch of Rachmaninov music is really “out of style”. The difficulty in learning the correct “style” is in the impossibility of an intellectual study of it. It doesn’t exist, and cannot be learned from handbooks: it is just the result of the sharpening of ones own sensibility and taste. In clear words one can only obtain it working closely together with a teacher, as the painters did in Italy during the Renaissance, living in the master’s atelier.This is a reversion to a more craftman’s vision of art, a conception more connected to talents that need time and room to develop, a point of view that doesn’t want to sacrifice to the run of the mill.
2008 THE PIANO OF THE GOLDEN AGE