“Vivaldi doesn’t need to be made modern, but rather understandable for today’s people.”

The extraordinary harpsichordist Ottavio Dantone has not been very active in Barcelona with the Accademia Bizantina. The Ravenna-based ensemble, directed by the Italian maestro, took 35 years from its founding to make its debut in the Catalan capital. It was in 2018, at L'Auditori, with Hasse's Marc'Antonio e Cleopatra . Last season, they arrived at the Palau de la Música with Vivaldi's Tamerlano , and now they promise another evening of glory with another title from Il Petro Rosso: Il Giustino (1724), a curious look at the life of the Emperor Justin, which will be presented this Monday the 28th (at 8 pm) in the Palau Òpera series by soprano Emöke Baráth, contralto Delphine Galou, and countertenor Emiliano Gonzalez Toro, among others.

This was commissioned by Vivaldi from the Teatro Capranica in Rome, with a libretto by Nicolò Beregan...

They weren't so much commissions as proposals for new librettos, or perhaps there was a particular interest within the season, as operas were usually composed for theatrical seasons. At the time, librettos with historical references were certainly very attractive. The most interesting aspects were the plots, the betrayals, the love problems, mixed with historical or mythological events. It was the ideal terrain for generating emotions, for moving the audience through a story. But I don't think Il Giustino was a commission. It was written for the Carnival season, that's all.

Today, we are the only society in history that consumes a lot of music from the past. In the 18th century, no music from the 15th century was made; it was extremely rare.

Vivaldi composed dozens of operas, but those that survive are not widely performed outside of Italy.

It's only been in the last ten or twenty years that Vivaldi has begun to be rediscovered. At the Accademia Bizantina, we've not only recorded Giustino, Tamerlano, L'incoronazione di Dario , and Tito Manlio , but we've also staged them, like Tamerlano last year, or Bajazet . In modern times, it was always thought that they weren't very suitable dramatically, that they weren't convincing. That's not true; every time we've staged one, the audience has reacted enthusiastically. I think it's because in these last two decades, the aesthetic awareness of this repertoire has allowed performers to better understand its meaning and aesthetics, moving audiences as they did 300 years ago. Today, we are the only society in history that consumes a lot of music from the past. In the 18th century, 15th-century music wasn't made; it was extremely rare. Instead, now we perform Vivaldi, Caldara, Handel, Bach. It's a language that, little by little, we have managed to make our own. Not so much to make it modern, but to make it understandable to modern society. And that's why Baroque music, especially with original instruments, is becoming increasingly successful: because people understand it better.

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Did Vivaldi reuse his music?

At the time, composers often reused works from previous operas to save time. But Vivaldi made a great commitment to this opera, especially in the recitatives: they all have a highly mature dramatic sense. At the same time, Vivaldi was already in an advanced stage… His old age coincided with his crisis, because little by little he was considered less “fashionable.” Many young composers like Giacomelli and others of another generation began to have more success, and he was forced to leave, as we know, for Vienna, etc. But I think this is one of the most beautiful operas he wrote, precisely because it expresses his artistic maturity.

Is there a higher level of technical skill to perform early music now than 300 years ago?

And not just technically, but musically as well. The level of modern performers is much higher than it was 70 years ago, and probably even higher than it was 300 years ago. When early music began to be rediscovered more strongly, the level of Baroque musicians with early instruments was clearly lower, because these instruments must be studied; they must become a natural extension of one's own body.

How do you see the sector's survival? Is it difficult to finance yourself without being Cecilia Bartoli with the Principality of Monaco behind you?

It poses problems, especially for early music ensembles, which, unlike a permanent symphony orchestra, do not receive—at least in Italy—public subsidies. The Accademia Byzantina survives very well because it has a sponsor. Today, unfortunately, it's necessary to have a sponsor. But it's like in ancient times: without a patron, orchestras couldn't exist. Ensembles without sponsors have to make great sacrifices. It's hard, especially now, with the economic instability caused by political problems. It's not a good time, but with passion and desire, you can survive. Because early music is essential.

“At least 50 or 60% of quality early music has not yet been heard in Europe.”

Does music find its place amidst Italy's great artistic heritage?

Italy was an extremely divided country in ancient times. In the 17th and 18th centuries, it was a fragmented country, and this division generated competition at the artistic level. If we talk about music, having great musicians and a high musical level also meant projecting an image of power. And Italian libraries are still full of music that has never been performed. For example, as director of the Innsbruck Festival, I have promised to perform works that have never been performed. But not just for the sake of it, but because there are still masterpieces to be discovered. And I return to what I was saying before: this music can be rediscovered today because performers and musicians have the ability to make it sound in all its beauty. Because ancient music, if you don't know its language, runs the risk of not being understood by either the player or the listener. I think we now have the opportunity to rediscover many titles. I think at least 50 or 60% of quality early music has yet to be heard in Europe. This is very stimulating for musicians. For me, the most beautiful thing is to go and study scores and discover new treasures, new masterpieces to show others.

Have you ever thought about recovering some of Terradellas' operas, such as Giuseppe Riconosciuto and others he did in Naples?

Actually, it would be very interesting. I love that composer. As a director, I've stated that during my tenure in Innsbruck—which I signed for five years—I will do a work focused on composers who collaborated with or had relations with the Viennese court. And there were many, especially Italians. I thought about highlighting, on the one hand, the territory where I was invited to direct this festival, and on the other, the musicians—especially Italians—who worked at that court. It's a parallel between Italy and Austria. Obviously, it's an idea. Works by other composers could also be included in the festival.

You've recorded Schumann's Rhenaine and conducted Mahler's 7th on non-antique instruments. Do you want to expand your understanding of the centuries so as not to be consigned to the ancient world?

It's not so much a question of not wanting to be encapsulated in a repertoire. The point of this work is that all the study and experience that comes from the music of the past is essential for interpreting the music of later periods. Musical evolution has always been gradual and has always had reflections of the recent past. For example, in the 19th century, in Schumann, there are still aesthetic and technical gestures that come from the past. So reading Schumann, Beethoven, or any 19th-century composer from an aesthetic inherited from the past, allows us to discover things that would otherwise be missed. Approaching Schumann without knowing the 18th century can be limiting. It's no coincidence that many early music groups are increasingly addressing that repertoire. They don't do so to take work away from others, but because their experience allows them to read that music more authentically. Authenticity helps us understand it thoroughly, to understand what the composer had in mind. You have to put yourself in the shoes of the composer of that time and understand their roots, their experiences. It would be absurd to study Beethoven's music by studying only the music of the present. It would be very difficult to penetrate his language and aesthetics.

I never listen to records, not even my own. So I just read music.

Have you heard the complete Beethoven works by Jordi Savall?

Honestly, no. I never listen to records. Not even my own. So I just read the music. I know Savall has also recorded Mendelssohn, I think La Italiana . We just recorded Beethoven's Fifth and Schubert's Fourth. They haven't been released yet; they will be released in upcoming seasons. Jordi Savall, who is someone I knew when I was a child, started with the early repertoire, with Spanish music, etc. And now, precisely, he also has something to say about Beethoven's music, because his experience with early music allows him to read between the notes, finding meanings that would otherwise be missed.

Your musical background is very solid. Which conductors influenced you?

I studied organ, composition, counterpoint, fugue… My training in composition and organ, especially improvisation, helped me a lot when exploring the early repertoire. When I was young, my idols—the great musicians who influenced me—were the most famous of that time: Arnold Kuijken, Gustav Leonhardt, Frans Brüggen… Because those of us young people in Italy didn't yet have that awareness of early instruments or early music. I received inspiration mainly from abroad. Later, very famous groups emerged: Il Giardino Armonico, Europa Galante, Accademia Bizantina… today's benchmarks in Italian music.

I'm a Milan fan, but right now, Barcelona is much, much stronger."

He was also a very good soccer player as a child.

(Laughs) I always had a natural technique. But above all, between the ages of 14 and 17, I played on a team that was followed by AC Milan scouts, who even asked my father if he wanted me to join the club's youth team, where I could also continue my studies. But I preferred to enter the Conservatory. I continued playing football at a semi-professional level until I was 25 or 26. I was already giving concerts, but I also played football matches. It's still a game I love. Today's football is at an extremely high technical level and is totally physical. Barça is one of the strongest teams in the world. I'm an AC Milan fan, but right now, Barcelona is much, much stronger.