Riccardo Muti
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Riccardo Muti
(b Naples, 28 July 1941). Italian conductor. He studied at the Naples and Milan conservatories and made his début in 1968, with the Italian RSO. He has conducted at Florence from 1969, giving operas by Rossini, Spontini and Meyerbeer. He was chief conductor of the (New) Philharmonia, 1973-82, and principal conductor of the Philadelphia Orchestra, 1980-92; in 1986 he became musical director of La Scala, Milan. His performances are distinguished for their vitality, warmth and expressiveness.
Muti, Riccardo (rēk-kär'dō mū'tē), 1941-, Italian conductor. Principal conductor of the Maggio Musicale (1969-81) in Florence and of the Philharmonia Orchestra (1973-82) in London, he became (1977) principal guest conductor of the Philadelphia Orchestra and succeeded (1980) Eugene Ormandy as its musical director, a position he held until 1992. He served as music director of La Scala in Milan from 1986 until 2005, and in 2010 he became the Chicago Symphony's music director.
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Muti, Riccardo
| For The Record... |
| Born on July 28, 1941, in Naples; son of a doctor and singer; married Christina Mazzavillani; children: two sons and one daughter. Education: Attended San Pietro a Majella Conservatory, Naples, Italy, and Verdi Conservatory, Milan, Italy. Made conducting debut with RAI orchestra, Italy, 1968; named principal conductor, Civic Theatre of Florence, 1970; named principal conductor, New Philharmonia Orchestra (later Philharmonia Orchestra), London, 1974; Philadelphia Orchestra, principal guest conductor, 1977-80; music director, 1980-92; laureate conductor, 1992–; La Scala opera house, Milan, Italy, music director, 1986-2005. Awards: Winner, Guido Cantelli Competition, 1967; Great Silver Medal of the Austrian Republic, 2001; inducted into Legion of Honor, France, 1992; Federal Republic of Germany, Order of the Cross; Republic of Italy, Cavalier of the Grand Cross. Addresses: Office—Riccardo Muti, Conductor Laureate, Philadelphia Orchestra, Broad and Spruce St., Philadelphia, PA 19102. |
Conductor
Riccardo Muti is a conductor in the old style—fiery, demanding, and charismatic. He was said to idolize another Italian autocrat of the podium, Arturo Toscanini. Famous off the podium for wrangling with administrators and presenters, he sometimes ended up in the headlines. Yet there have been few other figures in the world of classical music who could command similar attention, and though Muti has had detractors as well as admirers, no one has doubted his energy and sheer force of personality. Considered one of the true greats among contemporary conductors, Muti has been equally at home in the opera house and in the symphonic concert hall.
Southern Italian to the core, Muti was born in Naples on July 28, 1941. His father was a doctor who also was a singer. Taking violin and piano lessons at home, Muti moved on to study composition and piano at the San Pietro a Majella Conservatory in Naples. One of his teachers there was future Godfather soundtrack composer Nino Rota. Switching to conducting, Muti attended the Verdi Conservatory in Milan. His breakthrough as a conductor was a win in Italy's Guido Cantelli Competition in 1967. That led to a conducting appearance with the orchestra of the Italian national RAI radio network the following year, giving him a reputation as a young conductor to watch. In 1969 he married Christina Mazzavillani; the couple had two sons and one daughter. That year he became principal conductor of the Maggio Musicale (May Music Festival) in Florence, one of Europe's most prominent annual classical music events. He remained in that post until 1981.
The early 1970s saw Muti filling a sequence of guest conducting slots, each more prestigious than the last. Holding a conducting job with the Civic Theatre in Florence, he appeared at the Salzburg Festival in Austria in 1971 and with the Berlin Philharmonic and the Philadelphia Orchestra in 1972—two of the top symphony orchestras in the world. The Philadelphia Orchestra appearance proved to be the beginning of a long love affair with Muti for concertgoers in that heavily Italian-American city; Muti became principal guest conductor of the Philadelphia Orchestra in 1977, and in 1980 he took over the music directorship of the orchestra from its legendary conductor Eugene Ormandy.
Other American orchestras floundered after their leaders of the middle twentieth century retired, but under Muti the Philadelphia retained its exalted status. From 1974 to 1982 Muti also served as conductor of London's Philharmonia Orchestra, adding the post of music director in 1979. He continued to conduct opera performances in Europe's top theaters in the late 1970s and early 1980s, and among his critically acclaimed recordings of that time was a 1980 version of Verdi's La Traviata for the EMI label, with the Philharmonia Orchestra backing stars Renata Scotto and Alfredo Kraus. "The most remarkable quality of the performance is its intimacy," wrote Peter G. Davis of Opera News. Muti strictly observed the notated musical scores of operas, but within those parameters he shaped distinctive interpretations.
In 1986 Muti notched a still-greater career accomplishment when he became music director of the La Scala opera house in Milan, Italy. The history of that illustrious theater, dating back to 1778, included the premieres of many of the classics of Italian opera. Muti hung on to his Philadelphia post, but tired of the transatlantic commuting after a few years.
He also never quite succeeded in coming to terms with the egalitarian nature of the American cultural scene. "I always felt the accent was more on entertainment than the cultural experience," he told Andrew Clark of Britain's Financial Times. "When I made tours around the U.S., I was shocked to find reviews written on a page called 'entertainment': topless show next to Bruckner [Symphony No.] 7. That says it all. It says culture is something to consume, not to engage with. When I go to a concert or opera, my attitude is to go to a place where I make my mind work." Muti gave up his music directorship in Philadelphia in 1992, but stayed on as conductor laureate and continued to appear with the orchestra.
By that time, Muti was one of the best-known conductors in the world. He was also unafraid to exert his power and influence. Even early in his career he had walked away from productions in Florence, Milan, and Paris, rather than compromise over artistic questions. In 1992 he pulled out of an appearance at Austria's prestigious Salzburg Festival because he disliked the ultramodern interpretation of Mozart's La clemenza di Tito being mounted by director Gérard Mortier. He stayed away from Salzburg throughout the 1990s but found plenty of work otherwise, continuing to make both operatic and symphonic recordings for EMI and releasing several albums a year for much of the decade. Seemingly safely ensconced at La Scala, he turned down the top post in American classical music, the conductorship of the New York Philharmonic Orchestra, in 2000.
Controversy began to engulf Muti at La Scala itself, however, as the opera house closed down for a massive renovation in 2003. The organization mounted operas in a new suburban Milan theater, the Teatro degli Arcimboldi, to which a member of La Scala's board of directors had financial connections. Muti objected to he what he saw as the dumbing-down of La Scala's programming in its temporary home, and he attempted to convince the La Scala orchestra to cast a no-confidence vote against general manager Carlo Fontana. The move backfired; the orchestra musicians not only refused to go along but also lodged a complaint of their own against Muti, alleging that he had refused to hire prominent guest conductors who might detract from his own power.
The feud intensified, and made headlines in Italy. Among Muti's detractors was film director Franco Zeffirelli, who was quoted by Anthony Barnes in London's Independent Sunday as saying that Muti was "drunk with himself, drugged by his own art and his own personal vanity; he can only talk about himself; he's become a caricature of a conductor." But Milan mayor Gabriele Albertini, a La Scala board member, defended Muti, often referring to him as the world's greatest conductor.
The appointment of a new administrator, Mauro Meli, as a buffer between Muti and Fontana temporarily patched up the quarrel. But controversy flared around Muti once again in 2004, when he backed out of a La Scala-designed production of Verdi's La forza del destino at England's Royal Opera House, after British administrators demanded a small change in the stage sets—the replacement of a solid brick wall with a curtain—that they said was necessary for safety reasons. Muti was lambasted as a prima donna in Britain's famously merciless newspapers.
After La Scala reopened in late 2004, things deteriorated for Muti in Milan once again. He persuaded the opera company's board to force Fontana out and to replace him with Meli, but the orchestra players refused to accept the decision and organized several wildcat strikes. On March 16, 2005, they convened a meeting of all of the theater's 700 or 800 employees, who voted overwhelmingly to ask for Muti's resignation. After two more weeks of bickering, Muti resigned his post on April 2. No one thought that this marked the end of Muti's career. He was said as of mid-2005 to be under consideration for the position of conductor of the Chicago Symphony, and it would be a rare opera house that would turn down the chance to benefit from his musicianship and charisma.
Selected discography
(Verdi) Nabucco, EMI 1986.
(Mozart) Le nozze di Figaro (The Marriage of Figaro), EMI 1987.
(Respighi) Pini di Roma/Fontane di Roma (Pines of Rome/Fountains of Rome), EMI, 1991.
(Tchaikovsky) Swan Lake and Sleeping Beauty Suites, EMI 1992.
(Bellini) I Capuleti e i Montecchi (The Capulets and the Montagues), EMI, 1994.
(Verdi) Requiem Mass, EMI, 1995.
(Beethoven) Symphonies 1 and 5, EMI, 1997.
(Bruckner) Symphony No. 4, EMI, 1999.
(Verdi) Il Trovatore, Sony, 2000.
(Mahler) Symphony No. 1, EMI, 2001.
(Brahms) Complete Symphonies, Philips, 2002.
(Puccini) Tosca, Decca, 2003.
(Rossini) Stabat Mater and Petite Messe Solonelle (Little Solemn Mass), EMI, 2005.
Sources
Periodicals
Evening Standard (London, England), September 24, 2004, p. 21; April 20, 2005, p. 20.
Financial Times (London, England), January 22, 2005, p. 34.
Guardian (London, England), January 31, 2005, p. 16.
Independent Sunday (London, England), April 3, 2005, p. 13.
New York Times, September 17, 2000, p. AR1.
Opera News, July 2005, pp. 18, 22.
Times (London, England), April 9, 1986.
Online
"Riccardo Muti," All Music Guide, http://www.allmusic.com (July 20, 2005).
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Riccardo Muti
Biography
During the 1980s, Riccardo Muti was regarded as the Toscanini of the second half of the twentieth century. But not just a Toscanini-style, taskmaster who preached fidelity to the score and presided over intense, hard-driven performances, Muti insisted on beautiful tone as well as disciplined ensemble, and capitalized on his youthful Italian glamour.Muti initially learned piano and violin under his father, a physician. The boy later enrolled at the San Pietro Conservatory in Naples, where he studied composition with Jacopo Napoli and Nino Rota (some of whose film music Muti would record decades later for Sony Classical), and piano (his major subject) with Vincenzo Vitale. Following a stint in philosophy at Naples University, Muti transferred to the Verdi Conservatory in Milan, to study composition with Bruno Bettinelli and conducting with Antonino Votti.
Muti won the Guido Cantelli Conducting Competition in 1967. This led to his professional debut with the RAI Orchestra in 1968. In 1970 he was named principal conductor of the Florence May Festival (he was promoted to artistic director in 1977), and the following year became principal conductor at the Teatro Communale in Florence.
In 1973 he became principal conductor of London's New Philharmonia, a post he retained until 1982 (being made music director in 1979). Longtime Philadelphia music director Eugene Ormandy effectively selected Muti as his successor in 1980, and Muti soon gave up his posts in Florence and London.
Muti's tenure in Philadelphia was marked by cool relations with the orchestra and the press; all parties kept a safe distance from each other, as Muti tightened the orchestra's ensemble while retaining its tonal warmth. He made major changes in programming practices, offering concert operas and commissioning works by such tough modernists as Berio, Davidovsky, Kirchner, and Ran, as well as more iconoclastic Americans such as Bolcom and Rouse. His interests in twentieth century material also extended to the works of Britten, Dallapiccola, Hindemith, Ligeti, Prokofiev, and especially Shostakovich.
Muti's heart remained with opera, and in 1986 he agreed to become music director of La Scala (and principal conductor of the La Scala Philharmonic the following year). Muti left Philadelphia in 1992, rarely to return, although his tenure there was relatively free of the public contention that would be routine in the volatile climate of La Scala. In opera, Muti has tended to focus on Italian repertory, using critical editions of scores and discouraging singers from indulging in traditional interpolations.
Since 2010, Muti has been the music director of the Chicago Symphony Orchestra, as well as the music director of the Teatro dell'Opera di Roma. ~ James Reel, Rovi
Discography
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Riccardo Muti
Riccardo Muti, Cavaliere di Gran Croce OMRI[1] (Italian pronunciation: [rikˈkardo ˈmuːti]; born 28 July 1941) is an Italian conductor and music director of the Chicago Symphony Orchestra.
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Childhood and education
Muti was born in Naples but spent his early childhood in Molfetta, near Bari, in the long region of Apulia on Italy's southern Adriatic coast. His father was a doctor in Molfetta and an amateur singer; his mother, a Neapolitan, was a professional singer. As wryly explained in the conductor's 2010 autobiography, it was a family pattern for the children to be born in Naples.
Muti graduated from Liceo classico (Classical Lyceum) Vittorio Emanuele II in Naples, then studied piano at the Conservatory of San Pietro a Majella under Vincenzo Vitale; here Muti was awarded a diploma cum laude. He was subsequently awarded a diploma in Composition and Conducting by the Conservatory "Giuseppe Verdi", Milan, where he studied with the composer Bruno Bettinelli and the conductor Antonino Votto. He has also studied composition with Nino Rota, whom he considers a mentor. He was unanimously awarded first place by the jury of the "Guido Cantelli" competition for conductors in Milan in 1967 and became, the next year, principal conductor and music director of the Maggio Musicale Fiorentino, a post he held for eleven years.
Early career
Since 1971 he has been a frequent conductor of operas and concerts at the Salzburg Festival, where he is particularly known for his Mozart opera performances. From 1972 Muti regularly conducted the Philharmonia Orchestra in London and in 1974 he was appointed its principal conductor, succeeding Otto Klemperer.[2]
In 1987 Muti became principal conductor of the Filarmonica della Scala, Milan, with which in 1988 he received the Viotti d'Oro and toured Europe. In 1991, after twelve years as music director, he announced his resignation from the Philadelphia Orchestra, effective at the end of the 1991–1992 season.
Berlin and Vienna
Muti has been a regular guest of the Berlin Philharmonic and the Vienna Philharmonic. In 1996 he conducted the latter during Vienna Festival Week and on tour to Japan, Korea, Hong Kong and Germany; he most recently toured with the Vienna Philharmonic to Japan in 2008. Muti has also led the orchestra's globally televised Vienna New Year's Concert on several occasions: in 1993, 1997, 2000 and 2004.[3]
Work in opera
Apart from his work at Milan's Teatro alla Scala, where he was music director for 19 years, Muti has led operatic performances with the Philadelphia Orchestra and productions in the principal opera houses of Rome (from 1969), Ravenna, Vienna, London (from 1977), Munich (from 1979), and, finally, in 2010, New York. His work with the Vienna State Opera has included Aida in 1973, La forza del destino in 1974, Norma in 1977, Rigoletto in 1983, Così fan tutte in 1996 and 2008, Don Giovanni in 1999, and Le nozze di Figaro in 2001.
At the Salzburg Festival
A special relationship connects Muti with the Salzburg Festival, where the conductor debuted in 1971 with Donizetti's Don Pasquale (staged by Ladislav Stros). In the following years Muti has been constantly present at the festival, conducting both numerous concerts with the Vienna Philharmonic Orchestra and opera productions, such as Così fan tutte (staged by Michael Hampe) from 1982 to 1985 and from 1990 to 1991, La clemenza di Tito (staged by Peter Brenner) in 1988 and 1989, Don Giovanni (staged by Michael Hampe) in 1990 and 1991, La traviata (staged by Lluis Pasqual, and designed by Luciano Damiani) in 1995, Die Zauberflöte in 2005 (staged by Graham Vick) and 2006 (staged by Pierre Audi, stage designed by Karel Appel), Otello (staged by Stephen Langridge) in 2008, Moise et Pharaon (staged by Jürgen Flimm) in 2009, and Orfeo ed Euridice (staged by Dieter Dorn) in 2010. In 2011, Muti will conduct a new production of Verdi's Macbeth, that will be directed by Peter Stein.[4] Muti also owns a residence close to Salzburg.
Salzburg Whitsun Festival
From 2007 to 2011, Muti is the principal conductor at Salzburg's Whitsun Festival. He conducts productions of rare Italian operas from the 18th century, and concerts with his Luigi Cherubini Youth Orchestra.
USA
In the USA, from 1980 to 1992, Muti was music director of the Philadelphia Orchestra, which he led on numerous international tours. In 1979, he was appointed its music director and, in 1992, conductor laureate. Muti stated that his approach was to remain faithful to the intent of the composer. This meant a change from applying the lush "Philadelphia Sound," created by his predecessors Eugene Ormandy and Leopold Stokowski, to all repertoire; however, many of his recordings with that orchestra largely seem to do away with its hallmark sound, even in the works of such composers as Tchaikovsky, Brahms, and other high romantics. His sonic changes to the orchestra remain controversial. Some felt he turned it into a generic-sounding institution with a lean sound much favored by modern recording engineers. Others believe Muti uncovered the true intention of the works, which had been covered in a silky sheen by Muti's predecessor. Since his departure from Philadelphia, he has made very few guest conducting appearances with the Philadelphia Orchestra, most recently in 2005.[5]
Muti has been a regular and popular guest conductor with the New York Philharmonic. The orchestra's musicians had reportedly been interested – towards the end of the tenures of Kurt Masur and Lorin Maazel, and before Muti took the Chicago post – in having the conductor as their music director, but Muti stated that he had no wish to take on the position.[6][7]
On 5 May 2008, Muti was named the next music director of the Chicago Symphony Orchestra (CSO), effective with the 2010–2011 season, with an initial contract of 5 years. Muti is to conduct a minimum of 10 weeks of CSO subscription concerts each season, in addition to domestic and international tours. He made his CSO debut at the Ravinia Festival in 1973.[8] In August 2009, Muti was said to be named the next music director of the Teatro dell'Opera di Roma, effective December 2010,[9] but the news given by the mayor (and therefore president of Opera di Roma) Gianni Alemanno was not true. Alemanno, instead, announced in October 2011 that Muti accepted an invitation by the Orchestra of Opera di Roma to become a "lifetime conductor" of Opera di Roma.[10]
End of tenure in Milan
In 2003, there were reports of artistic and programming conflicts at La Scala between musical director and principal conductor Muti and general manager Carlo Fontana.[11] Muti did not attend the press conference that announced the 2003-2004 season. The appointment in 2003 of Mauro Meli as La Scala's artistic director was intended to calm the conflict between Fontana and Muti.[12]
On 24 February 2005, the La Scala governors dismissed Fontana as general manager and named Meli as his successor.[13] The musicians sided with Fontana against Muti at this point in the dispute, and on 13 March, Muti stated that he would refuse to conduct the La Scala orchestra from that point on.[14] On 16 March 2005, the orchestra and staff of La Scala voted overwhelmingly against Muti in a motion of no-confidence.[15] Muti was forced to cancel a concert prior to the vote, and some other productions were disrupted at the theater because of continuing rifts with Fontana's supporters. On 2 April, he resigned from La Scala, citing "hostility" from staff members.[16][17]
Political intervention
On the night of 12 March 2011, Rome's Teatro dell'Opera staged the first in a series of scheduled performances of Verdi's opera Nabucco, conducted by Muti. After the end of the chorus "Va, pensiero", which contains the lyrics "Oh mia patria, sì bella e perduta" ("Oh my country, so beautiful and so lost"), the audience applauded "heartily". Conductor Muti, breaking with opera protocol and the strict conventions of composer Verdi himself,[18] turned to the audience and delivered a small speech, referring to the severe budget cuts announced by the Berlusconi government[19] that would particularly affect the funding of the arts. Muti spoke of the need to keep culture alive in Italy, prompted, as he later stated, by the belief that "killing culture in a country like Italy is a crime against society. Culture is the spiritual glue that holds a people together".[18] Muti then invited the audience to participate in an encore of the "Va, pensiero" chorus – the invitation and the encore also a break from tradition for an opera performance.[20] The opera audience stood up and sang along with the on-stage chorus .[21] Muti recalls that "80 percent of the audience knew the lyrics" and sang along, while "some members of the chorus were in tears".[18]
On 18 March, the performance of Nabucco was repeated in front of Italian president Giorgio Napolitano and prime minister Silvio Berlusconi. Muti, who had stated that it had been the first time in his life that he conducted chorus and audience together and also the last,[18] on that occasion conducted the Verdi opera in the "orthodox" manner.[21]
Personal life
Muti is married to Maria Cristina Mazzavillani, the founder and director of the Ravenna Festival.[22] They have two sons and a daughter.
Repertoire and recordings
With the Philadelphia, his recordings include the first Beethoven Symphony Cycle made for compact disc, the symphonies of Johannes Brahms and Alexander Scriabin, selected works of Tchaikovsky and Sergei Prokofiev, as well as less-known works of composers such as Giacomo Puccini and Ferruccio Busoni.
Muti is considered one of the world's greatest conductors of the operas of Giuseppe Verdi. He also led a series of annual performances of opera in concerts including the works of Verdi, Puccini, Mozart and Wagner. In 1992, Muti conducted performances of Ruggiero Leoncavallo's Pagliacci with Luciano Pavarotti. A recording was also made of these performances.
At La Scala, Muti was noted for exploring lesser-known works of the Classical- and early Romantic-era repertory such as Lodoiska by Luigi Cherubini and La Vestale by Gaspare Spontini.
Honors
- Muti is an Honorary Member of the Royal Academy of Music since 1981.[23]
- Muti was made an honorary Knight Commander of the Order of the British Empire KBE in 2000.[24]
- Muti was awarded a doctorate honoris causa by the Universitat de Barcelona on 13 October 2003.
- On 4 June 2010, Muti was awarded the title of Commandeur de la Légion d'honneur by French First Lady Carla Bruni-Sarkozy.[25]
- In 2011, Muti was awarded Russia's Order of Friendship.[26]
Awards
- 2011 Birgit Nilsson Prize[27]
- 2011 Prince of Asturias Award for the Arts.
References
- ^ Riccardo Muti's List of Honors from Italy's Presidnetail website.
- ^ Stephen Moss (31 January 2005). "Enough!". The Guardian. http://arts.guardian.co.uk/features/story/0,,1402106,00.html. Retrieved 2007-06-03.
- ^ Edward Greenfield (13 February 2004). "New Year's Concert 2004, Vienna PO/ Muti". The Guardian. http://arts.guardian.co.uk/fridayreview/story/0,,1146501,00.html. Retrieved 2007-06-03.
- ^ "Muti : Bring music to prisons" La Stampa, 5 August 2010 (in Italian).
- ^ Bernard Holland (15 February 2005). "Muti Returns to Philadelphia for a Reunion". The New York Times. http://www.nytimes.com/2005/02/15/arts/music/15muti.html?ex=1177646400&en=8cd7acc72af0b901&ei=5070. Retrieved 2007-06-03.
- ^ Ed Vulliamy (24 December 2000). "How America dropped the baton". The Observer. http://observer.guardian.co.uk/international/story/0,,415306,00.html. Retrieved 2007-07-15.
- ^ Daniel J. Wakin (25 April 2007). "Philharmonic to Add a Position at the Top". The New York Times. http://www.nytimes.com/2007/04/25/arts/music/25phil.html. Retrieved 2007-07-15.
- ^ "Riccardo Muti to be CSO music director". The Associated Press. 5 May 2008. http://ap.google.com/article/ALeqM5iO5e3fpPSuYuiHuJEu_0WBEbZymQD90FH81O0. Retrieved 2008-05-05.
- ^ Leandro Palestini (2009-08-20). "Riccardo Muti andrà all' Opera di Roma". La Repubblica. http://www.guardian.co.uk/music/2002/sep/20/classicalmusicandopera.artsfeatures2. Retrieved 2009-08-22.
- ^ . http://www.giornaledellamusica.it/news/?num=109249. Retrieved 2011-10-12.
- ^ John Hooper (16 September 2003). "Dumbing down row at La Scala". The Guardian. http://arts.guardian.co.uk/news/story/0,,1042826,00.html. Retrieved 2007-07-15.
- ^ Philip Willan (13 October 2003). "New aria of peace at La Scala". The Guardian. http://arts.guardian.co.uk/news/story/0,,1061804,00.html. Retrieved 2007-07-15.
- ^ John Hooper (3 March 2005). "Recriminations fly as crisis engulfs La Scala". The Guardian. http://arts.guardian.co.uk/news/story/0,,1429011,00.html. Retrieved 2007-07-15.
- ^ John Hooper (14 March 2005). "Conductor downs baton at La Scala". The Guardian. http://arts.guardian.co.uk/news/story/0,,1437074,00.html. Retrieved 2007-07-15.
- ^ John Hooper (17 March 2005). "Staff demand Muti exit in latest La Scala drama". The Guardian. http://arts.guardian.co.uk/news/story/0,,1439503,00.html. Retrieved 2007-07-15.
- ^ Vanessa Thorpe (3 April 2005). "Muti exits after a musical mutiny". The Observer. http://arts.guardian.co.uk/news/story/0,,1451231,00.html. Retrieved 2007-07-15.
- ^ Laura Smith (4 April 2005). "Curtain falls on unhappy Muti at La Scala". The Guardian. http://arts.guardian.co.uk/news/story/0,,1451561,00.html. Retrieved 2007-07-15.
- ^ a b c d 'Muti : Killing Culture is a Crime" Corriere della Sera, 15.
- ^ "Italy Passes $68 Billion in Budget Cuts" Bloomberg, 1 July 2011.
- ^ "Va, pensiero" Theatro dell'Opera, Rome, Saturday 12 March 2011.
- ^ a b "Muti conducts 'Nabucco' with Napolitano and Berlusconi present" Quotidiano, 18 March 2011.
- ^ "Muti Mazzavillani, lady of the Ravenna Festival: "That's how I made the city grow", FQ Emilia Romana website, 9 June 2011 (in Italian).
- ^ "Honorary Members of the Royal Academy of Music (14 October 2009)". Royal Academy of Music. 14 October 2009. http://www.ram.ac.uk/whoswho/Pages/HonRAM.aspx. Retrieved 14 October 2009.[dead link]
- ^ List of Knighthoods awarded 1997-2006, UK Parliament website.
- ^ Cérémonie de décoration de Riccardo Muti, 2010.
- ^ Sweeting, Adam (16 March 2011). "Riccardo Muti: a profile". The Telegraph. http://www.telegraph.co.uk/culture/music/opera/8386177/Riccardo-Muti-a-profile.html. Retrieved 23 April 2011.
- ^ "The Birgit Nilsson Prize 2011 recipient". http://www.birgitnilssonprize.org/index.php/Recipient-2011-2.html. Retrieved 16 March 2011.
External links
- Riccardo Muti Official website
- Riccardo Muti at Allmusic
- Riccardo Muti at the Internet Movie Database
- Riccardo Muti biography at Sony BMG Masterworks
| Preceded by Claudio Abbado |
Music Director, La Scala 1986–2005 |
Succeeded by Daniel Barenboim |
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Mentioned in
Schubert: Symphony No. 9
(1992 Music Film)
Beethoven: Piano Concerti Nos. 4 & 5
(Music Film)
Cosi Fan Tutte (Teatro alla Scalia)
(1989 Music Film)
Attila
(1991 Music Film)
Don Giovanni [Wiener Staatsoper]
(1999 Music Film)
» More