Luis Rafael Salomon

L. R. Salomon

Luis Rafael Salomon

His solid preparation, resulting from attending the great European schools for Orchestra Conductors, together with his communicative and charismatic personality, make Salomon an important figure both in artistic and didactic circles.

Born in Argentina from italian musician parents, getting the prestigious grant”DAAD”(Deutsche Akademische Austauschdienst)
he moves very young in Germany to continue his musical studies, and in 1981 he obtains the “Konzertexamen” for oboe at the “Hochschule für Musik und Theater” in Hannover; on this occasion the Institute honours his talent by providing him the “Rundfunkorchester Hannover des NDR”.

He then moves to Vienna where he starts and completes his studies of Conducting at the “Hochschule für Musik und darstellende Kunst” under Prof. K. Österreicher and J. Kalmar, and follows the specialization Course in German-Opera, at the “Konservatorium der Stadt Wien”.

In Italy he follows the last courses of M° Franco Ferrara (Accademia Chigiana-Siena, Roma and Bisceglie), and in Germany he is one of the selected few chosen by M° Sergiu Celibidache for his courses of Conducting Symphonic-Coral and Phenomenology at the “Johannes Gutenberg Universität of Mainz”.

He begins his career as conductor in Germany, before obtaining through public exam, the position of permanent conductor for 4 years of the “Kammer-Sinfonieorchester” of Celle, and then as assistant of the M°Jesús López Cobos, “Generalmusikdirektor” of the Deutscher Oper Berlin. In this period he collaborates at a prestigious production of the Wagnerian Tetralogy, in the setting up of the opera “Lulu” by A. Berg and is offered to him the conducting of “Fidelio” by L.van Beethoven.

From then on he continues to be called as guest conductor by numerous theaters and orchestras in Europe, Asia and South America. To mention some: Teatro Solís Montevideo, Teatro de Santiago de Chile, Orchestra Accademia Teatro alla Scala, European Orchestra of London, Daejeon Philharmonic Orchestra – South Korea, Orquesta Sinfónica de San Juan, Orchestra C.S.I. Lugano, Philharmonic Orchestra of Pyongyang – North Korea, Roma Tre Orchestra, Orquesta sinfónica de Mendoza etc.

His symphonic repertoire extends from the classics to the exponents of the 20th century Viennese school, passing through the most important German, Russian and French symphonic composers. His Opera-repertoire is equally vast, in addition to the great tradition of the Italian “Bel Canto”, he particularly loves German Opera, that of Puccini and the”verista”.

He is regullarly invited to be part of the jury in important International Competions, both of Lyric Singing that Instrument and Orchestra, such as “Giacomo Lauri Volpi – Voci Liriche” (2006, 2010), “Città di Cantù;” for Piano and Orchestra (2001/2005, 2008), and “Valsesia Musica” in the sections Lyric Singing (2003, 2006, 2015), Violin and Orchestra of which he has been Chairman (2004, 2006, 2008) and of Piano and Orchestra (2011, 2014).

He has been called to serve on the jury of the International Competition “Antonio Pedrotti” for Conducting. In the 2004 edition he was part of distinguished juries in Intitutions such as the “Tschaikowsky Conservatory” of Moscow, the “Manhattan School of Music” of New York, “Palais de Beaux Arts” of Brussels and the “Metropolitan Art Space” of Tokyo.

From 1999 – 2002 we see him Artistic Director of the “Festival Ruggero Leoncavallo” in Brissago-Locarno, where unpublished passages of the composer are performed. Artists such as the soprano Luciana Serra, Paula Almerares were guests of the festival.

His didactic worthiness, rewards him with the “High Patronage of the President of the Italian Republic” under whom from 1998-2002 he holds the Advanced Conducting Courses in the “Teatro Sociale” Como. The resonance of these events is such as to arouse the interest of the National Press and also that of the Italian Swiss Television which dedicates to them an entire program.

He holds Masterclasses and Courses in Italy and abroad as in Milan at the Academy of “Teatro alla Scala”, at the “Teatro di Cagli” of Pesaro/Urbino, at the “Gheorghe Dima Academy” of Cluj, the Summer Courses of Locarno-Lugano, with Musicfor at Rome, and in Pyongyang -North Korea at the “Kim Won Gyun Conservatory”, at the “Isang Yung International Music Academy” and at “The Grand Theater”.

For the academic year 2006 – 2007 he wins a position in the Conservatory of Santa Cecilia in Rome as Professor of Lyrical Theatre for the Degree Course, in Conducting and the year after in the same Institute he is given the post of Professor also for the others teachings (Classical and Romantic symphonic repertoire) for the same degree course.

He has been invited by the Santa Cecilia Conservatory of Rome to hold, in the academic year 2011/12, a Master Class about the German Opera and in 2013/14 on that of Richard Wagner which will be resumed in 2014/15.

For the publishing house “Rugginenti” he is carrying out a careful revision of the entire symphonic work of Franco Ferrara of which the Symphonic Poem “Notte di Tempesta” is already available.

Teaching Principles

Bottega Lirica
Opera Workshop for Singers and Pianists

This course is intended for singers and pianists wishing to prepare for the type of work they will need to deal with in the theatre, and for singers with an active career wishing to prepare their repertoire.

According to the classical work pattern, the staging of an opera goes through several phases. The singer, who already knows the role to be interpreted, has to attend the “Music Rehearsal” (the conductor begins to rehearse with the singers before bringing in the orchestra, accompanied by a pianist), the “Staging Rehearsals”, the “Sitting Rehearsal” (the conductor rehearses with the orchestra and with the singers on the stage, but without stage movements), leading to the “Dress Rehearsal”.

Leaving aside these latter rehearsals, which require the presence of an orchestra, our course, alongside technical-musical study with a singing teacher, concentrates on the fundamental experience of the “Music Rehearsal”. It therefore also provides an opportunity for pianists wishing to prepare for the profession of “Korrepetitor”, which is quite different from that of “accompanist” . During the “Music Rehearsal” the “Korrepetitor” acts as the orchestra and, together with the singers, has to follow the conductor. Singers and pianist will therefore have the opportunity to learn something that is often underestimated in terms of difficulty and complexity: singing and playing under a conductor.

Pianists wishing to deal with the problems of accompanying will be able to work with the pianist of the Course.

Our Opera Workshop will therefore provide singers and pianists with an experience that will help them to avoid the sort of difficulties they often meet at the start of their profession.