PDF Download Riccardo Muti: An Autobiography: First the Music, Then the Words, by Riccardo Muti

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Review

“A vivid portrait of life at the top of a podium heap…[a] fascinating memoir – a must-read for all who would gain insights into what makes a dedicated and complicated man of music tick.” ~Chicago Tribune“Rewarding reading… Rizzoli has produced a handsome, elegantly designed book.” ~Opera News

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About the Author

Riccardo Muti first came to the attention of critics and the public in 1967, when he was unanimously awarded first place at the Guido Cantelli Competition for conductors in Milan. Since then he has regularly conducted in the most celebrated opera houses including the Metropolitan Opera, Vienna State Opera, and Rome Opera as well as the most distinguished orchestras including the Berlin, Vienna, and New York philharmonics. In addition, Maestro Muti has held titled positions with Maggio Musicale Fiorentino, Philharmonia Orchestra, Philadelphia Orchestra, and La Scala. In 2010, Maestro Muti became the tenth Music Director of the Chicago Symphony Orchestra winning two Grammy® awards with the orchestra in his inaugural season.  Riccardo Muti has conducted friendship concerts in locations that symbolize the world’s troubled past and contemporary history: Sarajevo, Beirut, Jerusalem, Moscow, Yerevan, Istanbul, New York, Cairo, Damascus, L’Aquila, Trieste, El Djem, and, most recently, Nairobi. Muti has been honored with a Cavaliere di Gran Croce of the Italian Republic, an Order of Merit of the Federal Republic of Germany, an honorary Knight Commander of the British Empire by Queen Elizabeth II, and Officer of the Legion of Honor by French President Nicolas Sarkozy. He has been awarded the Wolf Prize for the Arts from the State of Israel, the Order of Friendship from Russia, the Prince of Asturias Prize for the Arts from Spain and the Birgit Nilsson Prize from Sweden. In Vienna alone he has been elected an honorary member of the Gesellschaft der Musikfreunde, the Wiener Hofmusikkapelle, the Vienna State Opera, and the Vienna Philharmonic.

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Product details

Hardcover: 244 pages

Publisher: Rizzoli Ex Libris (September 6, 2011)

Language: English

ISBN-10: 9780847837243

ISBN-13: 978-0847837243

ASIN: 0847837246

Product Dimensions:

5.5 x 1.1 x 8.7 inches

Shipping Weight: 1.2 pounds

Average Customer Review:

4.1 out of 5 stars

9 customer reviews

Amazon Best Sellers Rank:

#1,226,314 in Books (See Top 100 in Books)

Riccardo Muti is, in my opinion, one of the finest conductors appearing before the public today. I have attended opera perforamnces of his at La Scala and symphonic performances of him leading the Vienna Philharmonic, the Philadelphia Orchestra and the Chicago Symphony. I also have a number of his recordings of both the operatic and symphonic repertoire. When Muti is conducting, one will not experience boredom.While I am a great admirer of his conducting, I am not as enthralled with his writing. There is much in his autobiography which is missing. His relationship with Ormandy, culminating in Ormandy's selection of him as successor to conduct the Philadelphia Orchestra, is given short shrift. Even less is revealed about the flap which ultimately resulted in his departure from La Scala. There is nothing concerning his rejection of the New York Philharmonic directorship, nor is there much in the way of any enlightenment concerning his appointment as Music Director of the Chicago Symphony.Thus, I was disappointed by his autobiography. It told me very little about Muti, the man, and what little was revealed was done superficially. Perhaps it is best that he did not become a writer. However as a musician, he is superlative.

Although I deeply respect and adore Maestro Riccardo Muti's musicianship, I was somewhat disappointed in my expectations of his memoirs. When an "autobiography" omits certain crucial periods/ events/ relationships that have been historically proven as formative or critical to the subject's life and career, then the question is whether this "autobiography" is simply a self-serving attempt to re-write history and/or exercise damage control...

Riccardo Muti as memoirist matches up well with Riccardo Muti as conductor: impassioned, occasionally lyrical, yet unsentimental; intelligent and perceptive in a confidently glancing and concise way rather than via extensive dwelling and probing; and with an eye toward getting on with it. His portion of the book covers a nearly 70-year life and 40-year international career in a none-too-dense 163 pages. The tome is pushed, barely, over the 200-page mark with an afterword by Marco Grondona, heavy with musical notations and citations but syntactically confusing, followed by notes and an index.Perhaps the publisher's term "autobiography" will lead one to expect something deeper and more faceted than what is delivered. This is less autobiography than reflections on a musical life...emphasis on "musical." When a family member appears, it usually is so the conductor can remark on how he/she affected or was affected by his career. Events are in rough chronological order, with allowance for occasional digressions. The tone is high-minded and private, revealing in academic and artistic senses but less so in personal ones. I have no doubt that Riccardo Muti does or has done other things when not engaged in making, studying, or talking about music, but he is not very forthcoming about those parts of his life. The timeline ends as he is about to assume his position as music director of the Chicago Symphony Orchestra. The health setbacks that have plagued him in his tenure lay ahead at the time of writing.Those who have heard Muti speak or have read his best interviews (such as the excellent one in OPERA NEWS on the occasion of his 2010 Met debut with ATTILA) know he is thoughtful and trenchant when he fastens on a subject. While the translation by Alta Price here is problematic in some specifics, the maestro's voice is accurately captured overall. His hardheadedness on matters of repertoire, style, and textual fidelity have led to legendary flare-ups with singers, orchestras, administrators, and audiences. Those who expect him to use his book as a forum to set the record straight on those run-ins will be disappointed. When anything approaching a conflict is described (for example, a difference in opinion with Leyla Gencer on how the soprano's reading of the letter should be performed in Verdi's MACBETH, circa early 1970s), the language is mild and diplomatic. The passionately didactic side of Muti surfaces more when, for example, he bemoans the decline of institutional support for the arts, or justifies his Scala revivals of Verdi's middle-trilogy operas in editions scrubbed of traditional interpolations. The gloves do come off, to a point, when he recounts his incompatibility with a handful of operatic stage directors (who are named) in the 1990s and 2000s. Readers who share Muti's distaste for contemporary Regietheater may find this section fortifying.But as one might guess from reading the above, when a famous name appears, the remembrance is more likely to be a warm one. Muti's most important early teacher/mentors, Antonino Votto and Vittorio Gui, are recalled with reverence. In common with several artists and impresarios active in opera in the late 1960s and the 1970s, Muti has a "Callas hunting" story (he put out feelers to try to get her to return to the stage for Verdi's Lady Macbeth, and was surprised to get a phone call from her). There is pleading on behalf of some undervalued or neglected composers, and generous praise for many singers and musicians: tenors Nicolai Gedda and Luciano Pavarotti (Muti considers the booing of the latter's Scala Don Carlo singularly unfair), basses Cesare Siepi and Nicolai Ghiaurov, stage director Giorgio Strehler, pianists Robert Casadesus and Sviatoslav Richter...and, most movingly, another pianist, Emil Gilels. In a performance with Muti and the BPO, Gilels gently insisted on an Adagio of Beethoven's "Emperor" Concerto that conductor and orchestra alike found perplexingly slow. At the time, unbeknownst to Muti, Gilels only had a few months to live: "'It's fine that way,' he said, looking out into an infinite void with otherworldly eyes. 'The notes should be stars shining one after the other in the firmament.' [...] [W]hen I heard the news [of his death,] I was ashamed that I hadn't immediately understood the suffering of a man who was already viewing music from another realm."The excellent photo selection includes glossy shots (some color, some B&W) of the conductor with family members, one composer, one pope, several heads of state, many singers and fellow conductors. The definitive account of Muti's prestigious and eventful career in all its highs and lows will have to be written at a later time by some objective third party (even the acrimonious 2005 break with La Scala is waved away with gentlemanly discretion here). But admirers of the conductor as well as those with a more general interest in his musical times and repertoire will get much satisfaction from this slender, attractive volume, while critics may at least come away grudgingly conceding Muti's sincerity and dedication to his calling.

Maestro Muti has graced Chicago with his leadership for the last five years as musical director. He has brought into our lives the true belief in the power of music. Reading this book makes me realize how much demand is placed on family with this globe trotting existence. May he and his Christina live long and happy days. Hopefully in Chicago for part of the years

Enjoyable learned more than a few things, and, for the most part, he kept his ego in check and came off as a decent man.

Fun read about Riccardo who tamed the masses in Chicago. Though, where is his DVD at ? Or his Guide of Chicago. A sort of Rick Steve's approach to find the deals in Chicago and live to tell about it. (Clif Bars and Dunkin Donuts and lots of water).

I loved the book. The only warning...I think the reader should have a pretty seriou interest in music. The book does contain some technical terminology.

I am about a third of the way through the book and so far I am enjoying it quite a bit. I live in Chicago and Maestr Muti is music director of the Chicago Symphony Orchestra so it has a special meaning for me. It is very well written and does not get too technical as I am not a musically trained person, just self taught. I am looking forward to more reading of the book.

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