March 2017

I had the honor of meeting Maestro Carlo Ponti Jr. through a mutual dear friend, Bruno Serato, last year at the Gala for Caterina’s Club.

In 2006 Maestro Ponti was awarded Italy’s Premio Galileo award for exceptional musical achievement. In the United States, he was the recipient of the 2008 Artistic Achievement Award from the Virginia Waring International Piano Competition, and the 2009 Spirit of Hope Award from the Childhelp Foundation for his contributions to the development and advancement of young musical talent throughout the world. In 2011 he was co-recipient of the Lupa di Roma prize in Rome, and in Naples, Italy, he received the Premio Civitas 2014 award.

Watching Ponti in concert and up on the podium, it’s clear from the moment he takes the stage, picks up his baton, and the first note breaks the silence of the room, that he was born to conduct music. You can feel the love he has for music. He feels every note and nuance. He is knowledgeable, passionate, meticulous, and he is able to fully captivate the audience through a musical voyage of energetic depth.

It would have seemed only natural for Maestro Ponti to pursue a career in the film industry by following in his parents’ footsteps (his father is film producer Carlo Ponti, his mother, the legendary actress Sophia Loren) Ponti chose his own path and it has paid off. His students and those he collaborates with will tell you that it is a privilege to work with him. His adoring fans and even those discovering Maestro Ponti for the first time, will tell you just how much they love his work.

I think it’s fair to say that we are all benefiting from the fact that Maestro Ponti chose Music… a gift he shares with the entire world. Considering Ponti’s immense talent and all the adoration he receives, he remains a very warm, humble and modest man. It was a real pleasure to work with him on this piece and we are thrilled to share it with our readers.

Tell us about yourself.

I have always been attracted to music from a very young age. I never really wanted to play with toys or with my friends; instead, I listened to classical music recordings and played the piano to entertain and amuse myself. My parents would actually push me to go out with my friends and play in the park or go to their houses and do so; however, I always told them that I was happier being with music and preferred its’ company and beautiful sounds.

How did you start in your profession, and at what point did you realize you wanted to be a conductor?

I played piano from the age of five and immediately knew that music was going to be in my life and that I wanted to be a professional musician. During the time of my musical upbringing and development my parents always supported me and followed my progress. I owe in large part to my father the fact that I am an orchestra conductor today. He always pushed me in the direction of leading an orchestra, saying that it was in his opinion the most beautiful profession anyone can have. I think he secretly always wanted to be a conductor but destiny chose a different path for him and instead carved him an honored place in the realm of motion pictures.

In terms of conducting, who inspires you and which scores do you love?

On a teaching standpoint, my only true long term teacher and inspiration was Maestro Mehli Mehta, father of the legendary conductor Zubin Mehta. Mehli Mehta taught me all the basics of conducting technique and score reading, I could literally not be the artist I am today without his guidance and inspiration during my developmental years in this profession.

In terms of conductors, I much admire both Mehli and Zubin Mehta’s artistry, as well as the work of conductors such as Leonard Bernstein, Herbert Von Karajan, Klaus Tennstedt and Sir Antonio Pappano, among several others.

I honestly cannot say whose compositions and scores I love the most; the classical music realm is full of so much creative genius and incredible music! Supposing I really had to choose, I think I would gravitate most towards the orchestral masterworks of the 19th century, as I am most fond of music exhibiting lyricism and melody.

What is your favorite musical work?

Another difficult question to answer as there are so many great works in the repertoire. Perhaps the piece I am transported by the most is Ludwig van Beethoven’s Ninth Symphony, opus 125. The work’s form and musical forces are so ambitious, bold and innovative and its’ theme of peace and brotherhood so universal that I think the piece is truly a cornerstone of Western culture, its’ message extending even beyond the realm of music.

How did you choose the Los Angeles Virtuosi Orchestra’s musicians?

As with any professional orchestra, the musicians of the Los Angeles Virtuosi Orchestra are auditioned.

Can you give us a little more insight as to how you learn a piece of work that you have to perform?

The process of assimilating a musical score is unique and particular to every conductor; I believe that no artist uses exactly the same methods. In my case, the way I learn a score has 4 specific steps. Firstly, I mark the score in terms of the musical phrase structures, dynamics and phrasings and instruments that merit attention. The second step is to locate the ‘important’ melodic and harmonic material. Then follows the ‘singing’ phase in which I sing the aforementioned material with the aid of a piano or keyboard, a technique incidentally taught to me by Maestro Mehli Mehta. The last step in score assimilation is to divide the piece up in sections and to learn each section until I know the piece in its’ entirety. The entire aforementioned process is of course done ‘a secco’, meaning ‘drily’ in Italian, which refers to working without the use of the orchestra.

Once the assimilation process is completed, I am ready to step on the podium and start working with the orchestra per se.

How do you select the musical programs for your performances?

First and foremost, I aim for balance and proportions in terms of musical variety and textures. This means that, in my opinion, the musical program of an orchestral performance should always have a centerpiece, that is a main musical work which is the central piece of the concert, completed by ancillary works which complement it. This way, the audience will leave the performance feeling fulfilled, and satisfied.

If you weren’t a conductor what profession would you choose?

I seriously cannot imagine doing anything else than being in a musical profession. Therefore, if I was not a conductor, I probably would choose to be either an instrumentalist or perhaps a music coach or teacher.

What do you personally consider to be incisive moments in your work and/or career?

Probably one of the most key moments in my career came early on in my musical development when I went to a conducting program in Hartford, Connecticut helmed by the famous conductor and pedagogue Harold Farberman. I got such a positive feedback from him and the student orchestra that it gave the confidence to further pursue this profession.

Which musical works are you currently working on?

I just finished a performance run at the Georgia State Opera in Tbiisi of Francis Poulenc’s one act opera entitled La Voix Humaine with famous mezzo-soprano Nino Surguladze in the title role, and I’m currently preparing for upcoming Los Angeles Virtuosi Orchestra performances in Los Angeles featuring works by Claude Debussy and Ludwig van Beethoven.

Tell us about your ensemble, the Los Angeles Virtuosi Orchestra.

I have always been a strong advocate and supporter of young musical talent and felt the need to create a unique ensemble to advocate and support the study of music.

The Los Angeles Virtuosi Orchestra is unique because it was formed on the core belief that an orchestra is a unique educational resource.

Its mission is to support and advocate the study of music by giving 100% of the net profits from its concerts to music education in schools and the community, thereby being the first orchestra in existence to devote the total net revenue of its concerts to the study of music, giving the chance to audience members to directly support music education with the purchase of their concert tickets.

How do you feel the study of music can impact young people’s lives?

The study of music is a resource that can not only help young people find their calling in life but also teaches them skills and promotes qualities that can permanently shape their lives in countless positive ways, regardless of what path they choose.

The gifts imparted by the study of music are countless. To name but a few, music fosters creativity, teaches cooperation, builds self-esteem and reasoning skills, furthers brain development, helps students stay in school, especially at-risk students and strengthens academic achievement.

What other charities are close to your heart?

I would have to say without any doubt Bruno Serato’s Caterina’s Club Foundation which has provided access to nutritional food, stable housing, and job training for countless young people and families in need both at home in the US and abroad.Bruno’s work and dedication to his humanitarian cause has been an inspiration to me and people all over the world.

For more information on the Los Angeles Virtuosi Orchestra and Caterina’s Club please visit lavirtuosi.org and caterinaclub.org

Photos by Brenda Saint Hilaire Photography, Art Director Derek Mitchel, Location LACMA

Read Our Magazine…