The French guitarist, Frédéric Zigante, graduated at the Conservatory “Giuseppe Verdi” of Milan. He has studied with Ruggero Chiesa, Alirio. Complete editions are Frederic Zigante’s specialty: He recorded all of Nicolo Paganini’s guitar works, the entire guitar catalogue of Villa-Lobos, as well as the . Where people listen. Mexico City, MX37 LISTENERS; Santiago, CL25 LISTENERS; São Paulo, BR24 LISTENERS; Madrid, ES19 LISTENERS; Milan, IT

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But I know that I shall certainly not: You are given the position of artistic director of a concert hall.

Frédéric Zigante – Wikipedia

And yet, he is by no means an anachronism. This is how an interpreter and a composer can cope to “travel” together without any conflict. If yes, how good were you at it? I live between two beautiful Italian towns: People need to be educated about classical music, before they can really frederlc it.

My father and my brother Manuel. Is there frederc crisis? The hardest part about being a musician is to often be alone and the best is to get emotion during a performance. How would you describe the relationship with your instrument? Community Links Countries Recording Services.

What constitutes zigantd good live performance in your opinion? What really matters is to transmit emotions and feeling. With a clear mind, he recognises current cross-over tendencies and hip genre-bending see his answers to our Festival-question! You need to see the whole picture here – after all, that is what Frederic Zigante is all about.


What do you tell them? Have you ever tried playing a different instrument? I haven’t noticed any crisis. A good live performance requires good technical standards and acceptable contents for the audience. An interpreter’s task is to give life to emotions that are latent in the musical text not only to play them!

This is the way to discover beauty in all music, not only classical. About Our aim The team History. I am a little bit annoyed by crossovers but I do realize that it is just a fashion that will pass without too many damages. But his power can be negative and he can destroy music, modify it or misinterpret it. If a perfomer has nothing to say and simply plays the music, he should stay home. This is what some performers do sometimes, they even cut off some parts of the works! After this reserach I bring out my personal emotions on the condition that they do not affect the composer’s idea.

15 Questions to Frederic Zigante

During the next two months I will be preparing a new repertory for my CD recordings rrederic I will be working on my critical edition of Villa-Lobos’ Etudes. The latter implies that Zigante eschews or may we even say “despises” the modern-day tendency to submit a Classical works to the arbitrariness of subjectivity, to change it, alter it or even leave fredderic certain passages for more easy digestability.


The one that mediates between the written text and the auditors. Interpretation is a task: First I need a contract then I shall begin thinking about it!

What would be on your program for this season?

Frédéric Zigante

Someone who takes care of other people’s problems. Just imagine what would happen if someone went to a fredreic and decided to change the colors on a painting: How do you balance the need to to put your personal emotions into the music you play and the intentions of the composer?

There are still so many works to be discovered and recorded even for instruments like the guitar.

Behind this desire for integrity hides no pathologically prolific mind, but a man who searches for profundity and who wants to use the power of interpretation to the good. False, the only thing about which people need to be educated is listening with curiosity: I would probably be a medical doctor or a politician. I play both baroque and classic guitar and I consider them two different instruments.