CURRICULUM
An eclectic and versatile musician, Gioele Muglialdo has mastered the styles of a wide and multifaceted
repertory that ranges from classical music (symphonic, operatic, chamber) to musicals, film scores, and
even American music bordering on jazz.
He has conducted numerous Italian, European and South-American orchestras. Among them the
Filarmonica Arturo Toscanini, ‘I Pomeriggi Musicali’ of Milan, the Teatro Regio Orchestra of Turin, the Emilia
Romagna Regional Orchestra, the Italian Philharmonic Orchestra, the Teatro Coccia Orchestra of Novara,
the Orchestra of Sassari’s ‘Marialisa De Carolis’ Concert Society, the Teatro Donizetti Orchestra of Bergamo,
the Gianfrancesco Malipiero Symphony Orchestra, the Youth Symphony Orchestra of Piedmont, the Rousse
State Philharmonic, the Thessaloniky State Orchestra, the Plovdiver Symphoniker, the Orchestra of the
Novaja Opera Theatre of Moscow, and the National Symphony Orchestra of Peru.
He has collaborated with prestigious institutions, such as the Teatro Comunale Foundation of Modena, the
‘Serate Musicali’ of Milan, the ‘Amici del Loggione’ of La Scala theatre, the Council of the Order of Lawyers
and the Association of Revenue Lawyers of Milan, the Shroud Diocesan Commission, the Ottavio Ziino
Lyrical Competition of Rome, the Renata Tebaldi International Lyrical Competition, the 6th Ruggero
Leoncavallo Festival (Brissago), the Williams Syndrome Italian Association, the Pontificia Universitad
Católica of Peru, the Istituto Nacional de Cultura of Lima, the Alejandro Granda International Opera Festival
of Lima, and the Italian Cultural Institute for Hungary of Budapest.
Among the theatres and concert halls where he has performed are the Teatro dal Verme of Milan, the
Teatro Municipale of Piacenza, the Teatro Comunale of Sassari, the Teatro Donizetti of Bergamo, the Teatro
Coccia of Novara, the Teatro Bonci of Cesena, the Politeama Rossetti of Trieste, the Franz Liszt Museum of
Budapest, the Herkules Saal of Munich, the Meistersinger Halle of Nuremberg, the Los Incas Auditorium of
the Lima National Museum (Peru); in Japan, the Minto Mirai Hall of Yokohama and the Hokutopia Tsutsuji
Hall of Tokyo.
In the course of his career Muglialdo has perfected his sensitivity and specific technical competence with
regard to vocal music, also through his experience as repetiteur. Among the opera productions he has
conducted – fully staged, in concert form and/or highlights – are: Così fan tutte, Il barbiere di Siviglia, I
Lombardi alla prima crociata (Teatro Municipale of Piacenza, 2011-12 lyrical season), Il trovatore, La
traviata, Nabucco, Suor Angelica, Gianni Schicchi, Tosca, Cavalleria rusticana, Zanetto, I pagliacci, and
L’elisir d’amore.
More recently, he has also dedicated himself to sacred music, playing a leading role in events of great
renown. He conducted a Sacred Concert in Lima’s Plaza Mayor (at the head of a national chorus and
orchestra) during the Via Matris for the Good Friday celebrations, in front of 9000 people; and Fauré’s
Requiem at the Cathedral of Turin, with Alessandro Corbelli as baritone; among his future projects is the
Miserere for soloists, chorus and orchestra of the Spanish composer Hilarión Eslava, which he will conduct
in the Lima Cathedral.
His desire to fathom all aspects of musical theatre has led him to conduct numerous operettas, among
them Ballo al Savoy by Abrahàm in the production by Romolo Siena (Teatro Alfieri of Turin, 41st Operetta
Festival, Teatro Nazionale and Teatro Smeraldo of Milan, Politeama of Genoa). In 2004, he conducted a
Gala Concert starring Daniela Mazzuccato and Armando Ariostini (Teatro Donizetti of Bergamo). In the
wake of that experience, he has developed a keen interest in reviving this repertory, restoring the original
orchestrations for full-size orchestra of many operettas, including Italian ones. Muglialdo never misses an
opportunity to perform any lyrical and symphonic works, be them well-known or rare, always using a strict
philological approach (Teatro Municipale of Piacenza, Teatro dal Verme of Milan).
The invitation to coach the orchestra of Skopje (Macedonia) for the soundtrack of Fritz Lang’s silent movie
Metropolis (projected on a wide screen with the accompaniment of a live orchestra), introduced him to a
new musical domain, that of film music. After that experience, which required him to learn the new skill of
synchronizing music and picture, Muglialdo was called to perform Metropolis also in Velbert (Dusseldorf),
at the head of the Neue Philharmonie Westfalen Orchestra. His interest in cinema has then led him to
approach the great American repertory, with One Night on Broadway – Songs & Chansons of the wide
screen, produced by the Toscanini Foundation, where he put to good use his passion for popular music and
jazz. Numerous, indeed, are the instrumentations and arrangements for symphony orchestra and rhythmsymphony orchestra commissioned to him by various institutions.
His activity as a pianist, which he has cultivated alongside that of conductor, allows him, equally, to be
involved in the field of chamber music and to take part in important vocal events, both as a collaborator to
renowned singers and as an opera coach. After winning, in 1995, the prize for Repetiteur at the ‘Giulietta
Simionato Competition’ of Asti, he launched on an intense concert activity in the capacity of pianist, but
also as an assistant conductor and accompanist in competitions and master classes, in Italy and abroad.
Among the performers he has collaborated with are Giuseppe Valdengo, Magda Olivero, Francesca Patanè,
Enzo Dara, Masako Deguchi, Sue Patchell, Ignacio Encinas, Dimitra Theodossiu, Nicola Ulivieri, Ildar
Abdrazakov, Elisabete Matos, Ernesto Palacio, Claudio Desderi, Carlos De Antonis, Franca Mattiucci, Luca
Canonici.
Thematic or monographic programs are another significant element of his career, often the fruit of specific
music research. Noteworthy among them: Zarzuelas españolas, Victor Hugo and opera, …And French sound
conquered Europe (dedicated to the piano manufacturer founded by Sébastien Érard), Leoncavallo and his
time, Rarities of Verismo, Tchaikovsky recounts…, Homage to Maria Callas, Rossinimania, French Melodies
and Operatic Arias, Rio de la Plata - 42nd Street - One way (a journey into the musical theatre of US
Argentineans), There Once was the Radio… His CD "Non ti scordar di me" with the baritone Armando
Ariostini, featuring famous tunes from the 1930s and Neapolitan songs arranged by Muglialdo himself, was
reviewed in the magazine ‘L’Opera’, where the reviewer appreciated his “flexible, light, sparkling, swinging”
piano accompaniment.
Muglialdo began to study in Turin, graduating in Composition and Conducting at a very young age with
brilliant marks from the local “Giuseppe Verdi” Conservatory. He went on to add an international
perspective to his training, travelling all over Europe to perfect his conducting with teachers of the Russian
School, among them Yuri Ahronovitch. He came second in the 4th International Competition of Budapest,
where he led the Hungarian Symphony Orchestra. Also of fundamental importance in his formative years
was the figure of Nello Santi, whom he assisted for several years in various productions.
(February 2013)
LA NUOVA SARDEGNA | 8th November 2012 (by Antonio Ligios)
From Haydn to Mozart under the banner of Classicism
SASSARI - The Teatro Comunale season
It was a symphonic concert entirely dedicated to Classicism, the concert that the Ente De Carolis inserted in
its lyrical season, and it was received enthusiastically by the public of the Teatro Comunale. It had as main
protagonists the Ente’s Orchestra, which once again gave proof of all its potential, and the conductor
Gioele Muglialdo. The so-called Viennese Classical style was represented by Haydn and Mozart, true
protagonists of that stage in the history of Western music that is the second half of the 18th century, taking
place in a great capital, where musicians had plenty of work opportunities. In that context, Haydn and
Mozart were perfect interpreters of a concept of music that kept being tightly linked to the models of
elegance and outward balance which were still part of the life of the aristocracy of the day, a concept of
music that smoothed out contrasts and hid the unrest that would explode during the Romanticism. The
programme featured Mozart’s ‘Flute Concerto in D major K 314’, a work that well exemplifies the
expressive atmosphere of Viennese Classicism, and which Tony Chessa interpreted with refined elegance
and a sound brilliance perfectly suited both to the moderately virtuosic writing of the outer movements
and to the lyricism of the central one. The ‘London Symphony No. 104’, Haydn’s last symphony, on the
other hand, already gives a foretaste of Beethoven – for example in the opening Adagio and partly in the
Minuet, almost a Scherzo –, something that the conductor Gioele Muglialdo masterfully underlined with
his reading inclined to intensify the contrasts and enhance the central role of the wind instruments. This
celebration of Classicism in music finally reached out to the 20 th century with the performance of
Prokofiev’s ‘Classical Symphony No.1’, by the composer’s own admission an explicit homage to Haydn.
Once again the conductor Gioele Muglialdo lucidly penetrated the essence of the work, giving of this
symphony, which renovates the stylistic traits of classicism with the help of modern language, a fresh and
brilliant reading.
SARDIES.ORG | 7th November 2012
Applauded performance, on Tuesday night, of the flautist Tony Chessa and the Ente Concerti De Carolis
Orchestra under the baton of Gioele Muglialdo
Second symphonic concert of the lyrical season of the Ente Concerti Marialisa De Carolis at the new Teatro
Comunale in Sassari. The virtuosity of Tony Chessa, who, since 2003 has been first flautist with the Ente
Concerti’s orchestra, truly captivated the audience. Equally convincing was Gioele Muglialdo on the
podium of the Sassari orchestra. The first part of the programme featured W. A. Mozart’s Flute Concerto
No. 2 K 314 […]. Tony Chessa, a young performer who made a display of great instrumental mastery,
effectively recreated the Mozartian atmosphere of this work, which is not very experimental and close to
the court style. […] And then the Sassari audience was treated to Prokofiev’s Classical Symphony No. 1 Op.
25, this composer’s most performed work, which he finished writing in the summer of 1917, at the height
of the Russian Revolution. The irony that pervades it was magnificently rendered by Muglialdo’s conducting
[…].
SASSARI NEWS | 15th October 2012
Four theatrical productions and three symphonic concerts
Four theatrical productions and three symphonic concerts: this is what the 69th lyrical and symphonic
season of Sassari’s Ente Concerti Marialisa de Carolis offers in 2012, a season that this year will entirely take
place at the new Teatro Comunale in Cappuccini Street. […] The concert season of the past few years is
therefore confirmed, in an attempt to bring back to Sassari a long-neglected tradition; three concerts, with
a specific and dedicated season ticket. […]
First time in Sassari for the conductor Gioele Muglialdo, who will conduct the second concert, programmed
on November 6th. Works by Mozart, Prokofiev and Haydn. Protagonist of the first half will be the flute of
Tony Chessa, playing Mozart.
WESTDEUTSCHE ZEITUNG |Redaktion „Kreis Mettmann” | 31st March 2012 (by Martin Gehr)
Metropolis at the Forum - a cultural experience
Velbert. It was the highlight of this season’s culture programme: The theatre of Forum Niederberg changed
in a cinema. The New Philharmony of Westfalia presented „Metropolis“, the classical silent movie from
1927, whose reconstructed and concertant version had it’s premiere at the Berlinale in 2010. This
monumental work, which was shot in the studios of Babelsberg, is one of the most influential feature films
rushing till our times.
Leaded by the italian conductor Gioele Muglialdo, approximate 60 musicians accompanied the action on
screen with the original compositions of Gottfried Huppertz. Stunning, suspenseful and many-layered, the
utopian story tells about a dictatored city, where deep below workers are treated like slaves – until they get
rebellious and begin to destroy the city, whereof reconciliation is born.
The audience was inspired by this one-time package, in which not the movie but the music had three
dimensions. “When such an event is offered nearby, you should take this evening with you, also if you don’t
have the background to understand every detail”, says Daniel Berg from Wuelfrath. “Those who weren’t
part of this evening, really have missed something: the movie, the orchestra, the experience”, says Ulrich
Stahl, leader of the local culture ressort. It was definitely an event, cause “big cinema” is missed in Velbert
since 16 years: In 1996 the “City Movie” at the Blumenstrasse closed its doors and with it the last local
cinema. Velbert can look back on a busy cinema history, which stamped parts of the town’s atmosphere in
the 20th century: Names like the “Salamander”, the “Residence” or the “Metropol” are known by older
citizens until today. In the Fiftys five cinemas were playing simultaneously in Velbert, says the local town
archive. [...]
The greatness and power – in film as well as in music – is also esteemed by conductor Gioele Muglialdo: “It
was the first time I conducted film-music”, says Muglialdo, who’s born in Torino. “It’s difficult but also
exciting to synchronize orchestra and film. It has to fit exactly to the scenes, nevertheless there’s a way to
interpretate the score.” Muglialdo is among others specialist in opera: “I didn’t know about this
renaissance of ,Metropolis’ before. What a fantastic film! I begin to love this kind of music. I would like to
do that more often!”
IL CORRIERE DELL’ARTE | January 2012
Success at Piacenza’s Municipale theatre
‘I Lombardi’ in a correct interpretation
[…] After Nabucco, it was fitting to revive one of the lesser-known of Verdi’s operas: ‘I Lombardi alla prima
crociata’, a ‘dramma musicale’ in four acts on a libretto by Temistocle Solera. It takes courage to stage this
hefty work […] There are rapid shifts in the story and continuous changes of scene… […] the music is as
wonderful as always, and the young Verdi does not miss the target: in the midst of battles and conflicts the
love of Pagano and Viclinda still finds a way to blossom, and it does so through some of the most touching
arias of the opera. Gioele Muglialdo conducted this long and complex work with a steady hand (even
though the cast and orchestra were not always up to his demanding requests); he must be credited with
strong musicality, well-displayed in this thoughtful interpretation where moments of intense lyricism were
not lacking. The singers were all, in some measure, applauded, especially the young but up-and-coming
tenor Ivan Magrì (of the school of Ernesto Palacio): the evident chemistry between him and Muglialdo on
the podium enabled him to shine even in mezza-voce passages, a rarity nowadays. Praiseworthy also the
chorus, who gave an encore of ‘O Signore, dal tetto natio’; […] The present staging is a reprise of the one
made in 1995 for the millennium anniversary of the first crusade, which was planned, incidentally, in
Piacenza during the Council held by Pope Urban II. A double event, then, the programming of this work in
the Piacenza season.
BELLININEWS - REVIEWS | January 2012 (by Giancarlo Landini)
I Lombardi in Piacenza: an extraordinary experience
[…] The economic crisis that is deeply affecting Italy and the Western world threatens the programming of
all theatres, but in particular that of long-established opera theatres that have not become lyric
foundations, which suffer even more the rigour of the times. To dig up again the huge squandering of past
decades is of no use. The state of affairs is under everybody’s eyes, and even virtuous theatres these days
have a hard time making ends meet. They need to find synergies that will help them expand their
programming. This is why it is important to draw attention to the experiment successfully conducted at
Piacenza’s Teatro Comunale, where I Lombardi alla prima Crociata was staged in November. […]
Gioele Muglialdo conducted with confidence: he chose a balanced approach, aiming at the smooth
functioning of orchestra pit and stage, and finding a valid help in the Orchestra Filarmonica Italiana and
especially in the Chorus of Piacenza’s Teatro Municipale, which did not fall short of expectations in the
famous and popular pages: ‘Gerusalem… Gerusalem’, and the well-known ‘O Signore, dal tetto natìo’. We
must also underline the valuable contribution of the violinist Cesare Carretta, who gave a fine performance
of the violin solo written by Verdi to introduce the scene on the River Jordan.
[…] Noteworthy [was] the Oronte of Ivan Magrì, who can rightfully be considered one of today’s finest
tenors. […] Pagano was sung by Andrea Patucelli, a young bass who tackled his particularly difficult role
with intelligence: after getting past the stumbling block of the opening aria ‘Sciagurata! hai tu creduto' and,
even more, of the cabaletta ‘O speranza di vendetta', the tessitura of which verges on the baritone, he
focused on the phrasing and carved out a noble figure that easily took center stage. […] We were not
entirely convinced by Tefanna Kybalova, whose precious voice ought to be safeguarded and channeled, at
least for now, towards more distinctly lyrical roles. […] She must, nonetheless, be credited with a certain
dexterity in the coloratura passages, a quality that enabled her to get the better of that curious piece, ‘Non
fu sogno!...In fondo all'alma’, which Verdi entrusts to Giselda in Act Four. Quite adroit were the choices for
the minor roles and second leads. The evening was a clear success.
LIBERTA’ | 23rd November 2011
Muglialdo: «”I Lombardi”, a score fraught with dangers»
Interview with the conductor of the Italian Philharmonic Orchestra
Tomorrow Verdi’s opera debuts at the Municipale theatre
Last touches before the debut (yesterday the dress rehearsal at the Municipale theatre), for I Lombardi alla
prima Crociata, libretto by Temistocle Solera based on an epic poem by Tommaso Grossi, music by
Giuseppe Verdi […]
The conductor Gioele Muglialdo earned diplomas in composition and conducting in Turin, went on to study
under the guidance of Yuri Ahronovich, and worked as an assistant to Nello Santi. As a competition winner,
he conducted the Hungarian Symphony Orchestra; he was also on the podium of the Orchestra del Teatro
Regio di Torino, the Filarmonica Toscanini, the Orchestra Regionale dell’Emilia Romagna, I Pomeriggi
Musicali di Milano, the Novaja Opera of Moscow, the Peru National Symphony Orchestra (Lima)... […]. «To
conduct I Lombardi – says the Maestro – is a bet; one must find a balance between extremes, for the music
and the plot are fraught with imbalances and contradictions. This opera suffers from being considered an
unsuccessful corollary of Nabucco. I see its qualities as well as its shortcomings, and its music and vocal
difficulties. The role of the female protagonist, Giselda, is one of the hardest for soprano, but the male roles
are no less demanding. We can savour the genuineness of the young Verdi, with moments of intense
lyricism and a progressively “wild” rhythm; it is music that is almost obsessive, pressing, with infinite
variants. Verdi’s music is rooted in his time, is made of deep emotions that come alive in the characters and
the action. »
ÓPERA ACTUAL | January 2012 (by Andrea Merli)
Piacenza, Teatro Municipale, 24th November 2011- I LOMBARDI ALLA PRIMA CROCIATA - by Giuseppe Verdi
Arvino = Alessandro Fantoni, Pagano = Andrea Patucelli, Viclinda = Stefania Ferrari, Giselda = Stefanna Kybalova,
Oronte = Ivan Magrì, Pirro = Davide Baronchelli, Sofia = Francesca Arena, Acciano = Daniele Cusani, Prior = Matteo
Monni. Conductor: Gioele Muglialdo. Director: Alessandro Bertolotti. Sets and costumes: Artemio Cabassi. Visual
effects and lighting: Paolo Panizza. Choreography: Giuseppina Campolonghi. Chorus Master: Corrado Casati.
I lombardi alla prima crociata is one of Verdi’s most complex operas, not only among the ones from the so
called ‘galley years’. The work requires great skill on the podium and that was convincingly provided by the
young conductor Gioele Muglialdo, who imparted the right energy - one could say the crucial drive - and
painted the nuances that characterise Verdi’s works, even the early ones. The performance went well
beyond a mere correct music interpretation, it was truly poignant. Just as worthy of praise is the young cast
made up of budding singers; first and foremost the young and beautiful soprano Stefanna Kybalovala,
Bulgarian by birth but Italian by choice, winner of the latest Busseto Competition awarded by José Carreras
himself. Endowed with a vibrant lyrical voice at ease in the top notes and agility passages, and wellsupported in the central range, she played a brilliant Giselda. […] The same goes for tenor Ivan Magrì, a
very interesting voice, in the role of Oronte. The bass Andrea Patucelli, from Piacenza, was on his own turf,
but his artistic maturity and solid technique warranted the wide acclaim won by his Pagano. Fine
performances were also those of the bass Davide Baronchelli as Pirro, the tenor Alessandro Fantoni as
Arvino, and of the rest of the brilliant cast. The chorus, conducted by Corrado Casati, delivered a flawless
performance and obliged the audience with an encore of the famous “O Signore, dal tetto natío”. The
staging was a success, well made in spite of the limited resources, profiting from Paolo Panizza’s fascinating
video effects, Alessandro Bertolotti’s direction and Artemio Cabassi’s ever first rate sets and colourful
costumes. Full house. Sitting amid a jubilant audience was Enzo Dara, much loved in Piacenza and beyond!
IL CORRIERE DEL TEATRO | December 2011
‘I Lombardi alla prima crociata’ by G. Verdi
[...] Undoubtedly not an easy work to perform and one which required the joint efforts and expertise of
artists and technicians alike. […] We were surprised by the beauty of it all, sets, costumes and music. It is a
production worthy of being shown on other stages as well. […]
From the point of view of interpretation, Gioele Muglialdo displayed great conducting skills. He led the
Italian Philharmonic Orchestra with the right energy while never losing control of the stage, which should
not be underestimated. His enthusiasm and knowledge allowed him to master each passage.
Cesare Carretta’s virtuosic violin solo provided a highly emotional moment. Young and well-prepared the
cast of singers: Stefanna Kybalova, endowed with a unique tone of voice, was convincing in the difficult role
of Giselda. Indeed, all the main roles in this opera are technically hard, beginning with Oronte, here
rendered by the impressive technique of Ivan Magrì, a tenor who has convinced us also in previous
performances. Andrea Patucelli, a byword for professionalism, played Pagano. All in all a well-assorted and
proficient cast. The audience thoroughly enjoyed the performance, thundered their applause and
requested an encore that the Chorus Master Corrado Casati gladly granted.
PIACENZA SERA |13th October 2011
Teatro Municipale: women at the forefront of the new operatic season
Two works by Verdi, La Traviata and I Lombardi alla prima crociata; one by Gounod, Roméo et Juliette; and
one by Strauss, Salomé: this is what the bill - officially presented in the prestigious Sala del Ridotto this
morning - features for the 2011-2012 operatic season of the Teatro Municipale in Piacenza.[...]
The programme clearly focuses on the female figure; four women with varying personalities but sharing a
strong symbolic characterization: from Juliet’s purity to Salomé’s sensuality, from Violetta’s loneliness to
Giselda’s religiousness. Up-and-coming young artists will be playing these roles alongside well-established
singers and new talents of the Italian operatic scene, such as Gioele Muglialdo for ‘I Lombardi alla prima
crociata’.
L’OPERA |May 2010 (by Alessandro Mormile)
Armando Ariostini and Zarzuelas españolas
A homage to Spanish Zarzuelas - organised by the “Concertante” Society of Turin at the Great Hall of Turin
University as part of its large concert series "Affetti sonori"- as well as a way to celebrate thirty years of the
prestigious career of baritone Armando Ariostini, who knows very well what it means to tackle a genre
belonging to an exclusively Spanish cultural tradition, which he fully absorbed thanks to studies with Miguel
Ortega in Barcelona. Ariostini, who still enjoys absolute command of his voice and wonderful expressive
sensitivity, “must be considered the foremost Italian singer for the zarzuela, sung with the right accent and
perfect pronunciation, even in the inflections of different languages, from Madrileno to Portuguese.” Thus
writes Andrea Merli – an expert on the subject – in the notes for a programme that also presented pieces
for solo piano, including works by Isaac Albéniz and Enrique Granados, played by the excellent Gioele
Muglialdo. The alliance of his exuberant and passionate pianism with Ariostini’s deeply felt expressiveness
was simply astounding and made the audience cheer, even if the Zarzuelas by Valverde, Serrano, Guerrero,
Millàn, Diaz-Giles, Moreno-Torroba, Alonso, and Chapì are practically unknown in Italy. But Ariostini knew
exactly how to win over his audience, with the refinement of clear and communicative singing, and at the
conclusion offered four superb encores: "Mattinata" by Leoncavallo, "Granada", Escamillo’s entrance, from
Carmen, and "Non ti scordar di me". Wonderful!
CORRIERE DEL TEATRO | December 2009
[...] The prestigious competition “Concorso Lirico Internazionale Renata Tebaldi” which, as usual, was held
in San Marino (...) and has reached its third edition, aroused particular interest, also thanks to some
masterly organized events which took place to commemorate the great soprano who died in 2004. The
two performances of “Elisir d’amore” by Donizetti were very successful at Teatro Titano, where the
orchestra podium was purposely re-opened on this occasion.
Maestro Gioele Muglialdo - who conducted with his influential and elegant style and was able to highlight
both the comic and melancholic character of this opera through a fluent and refined performance - showed
his vast experience and deep sensibility, which make him one of the most talented emerging conductors.
The audience also highly appreciated the “young”, close and outstanding cast consisting of: Julija
Samsonova (Adina, winner of the Soroptimist Award), Gianluca Pasolini (Nemorino), Costantino Finucci
(Belcore, semi-finalist at Tebaldi Competition 2009), Victor Garcia Sierra.
L’OPERA | January 2010 (by Claudia Mambelli)
Teatro Titano hosts Elisir d’Amore
Freshness, vitality and communication characterize this “young” performance of Elisir d’amore, which was
staged in San Marino on occasion of the 11th edition of Rassegna Musicale d’Autunno. The performance
enhanced the sentimental aspect of this opera which, combined with tender melodic ecstasy, evoked the
larmoyant French comic opéra. These features enabled the protagonists of Elisir d’amore to acquire a more
human and realistic identity, despite their comic aspect. The ain character of the opera, focused on the
most genuine human feelings, is Nemorino, who was performed by Gianluca Pasolini in a naïf style. His
even way of singing, rich in trepidation and furtive dashes, expressed in the famous passage “Furtiva
Lacrima” many shades that aroused cheers. Julija Samsonova performed a deliciously feminine Adina and
highlighted the spicy aspect of the character with her clear and communicative voice, rich in virtuosity and
verve. Costantino Finucci played the role of Belcore and masterly expressed the military boastfulness of this
character, as well as his genuine wit which is, at the same time, typical of a dandy, but ironical and
bragging, too. The Spanish singer Victor Garcia Sierra played the role of Dulcamara, an irresistibly pleasant
charlatan, rich in charming astuteness. Also the well-known choir “Galli” from Rimini sang in an outstanding
way. The Camerata Orchestra of Teatro Titano was conducted by Gioele Muglialdo, who was able to
highlight with elegance and expressiveness both the quick and strong rhythms and the tender melodies.
The stage backdrop, consisting of the “postcards” by Antonio De Padova, was very interesting, inspired by
the original sketches, unearthed by Casa Ricordi, of the first performance of Elisir d’amore which was
staged in Milan in May 1832.
CORRIERE DEL TEATRO | January 2009 (by Attilio Piovano)
We would like to highlight the excellent concert held at “Circolo della Stampa di Torino” for “Concertante
Arte& Musica”, which boasted a new logotype based on a state-of-the-art design by Ugo Nespolo.
On occasion of the celebration of the 90th Poland’s Independence Anniversary (organized in collaboration
with the Polish Community in Turin and the General Consulate of Poland in Milan), tenor Krystian Adam
Krzeszowiak sang, with his powerful voice and very elegant style, a survey of pieces by Ciakowskij. He was
accompanied at the piano in a masterly way by Gioele Muglialdo, who also included less known pages in
the repertoire (The Seasons op.37). Muglialdo is not a mere accompanist, but a refined and technically
expert pianist, too. The audience realized this fully, and clapped both of them resolutely and warmly.
L'OPERA | December 2007
("I Pomeriggi Musicali", 2007-8 Symphonic Season, Christmas Concert)
The Orchestra of the "Pomeriggi Musicali" of Milan presented a “Gran galà dell’operetta” over several
evenings at Teatro Dal Verme in Milan. It was an unexpected and unusual success with audiences, as
confirmed in numerous performances in other theatres. The decision to include this repertory in the
orchestra season was therefore very wise. Praise is certainly merited by the organisation’s management
and by the artistic ability of Maestro Gioele Muglialdo, who has brought the orchestra to a wonderful level.
He also included three orchestral gems, of certain effect and unquestionable difficulty: the “Can-can” from
“Orpheus in the Underworld” by Offenbach, the “Poet and Peasant” Overture by Von Suppè, and the “Gold
and Silver” Waltz by Lehàr. His conducting always observed the composers’ intentions, an impression
confirmed in the other works with singers [...]. Extremely well received was “Stanotte faccio il parigin,”
inserted in “The Merry Widow” only in recent years, performed with taste and played in a witty and
humorous orchestration by Maestro Muglialdo [...] At the end, all of the performers, and especially Gioele
Muglialdo, received hearty ovations as proof of the evening’s success. The triumph was beat to the rhythm
of the inevitable “Radetsky March,” offered as an encore.
L’OPERA | July 2006
The concerts by the “I Pomeriggi Musicali” Orchestra of Milan have become light and sparkling thanks to
the delightfully amusing operetta programme that opened at the Teatro Dal Verme […]. With new
arrangements, the lilting melodies of Offenbach and Lehàr, as well as moving excerpts from Italian
operettas by Lombardo, Ranzato, and Costa, were superbly conducted by Gioele Muglialdo, who
attentively sustained the singers in every phrase […]. The two young vocalists, soprano Loredana Arcuri and
tenor Leonardo Caimi, were in splendid voice. The audience responded with rhythmic applause and
demanded numerous encores, proving that they thoroughly enjoyed themselves.
LA PROVINCIA | July 2006
[…] the fifth concert in the “Musica nelle residenze storiche” series with the “I Pomeriggi Musicali”
Orchestra of Milan, will be conducted by Gioele Muglialdo, with soloists soprano Loredana Arcuri, tenor
Leonardo Caimi, and comic actor Gigi Franchini. Founded after the Second World War, the “I Pomeriggi
Musicali” Orchestra is one of Italy’s most versatile groups, and was the springboard for conductors such as
Sergiu Celibidache and Leonard Bernstein. Gioele Muglialdo, composer and conductor, studied with Yuri
Ahronovitch and has a repertory that ranges from symphonic works to operetta and opera.
CORRIERE DEL TEATRO | January 2005
[...] the Italian Philharmonic Orchestra has performed Mozart's Concerto n. 3 for violin and orchestra - the
soloist was the gifted Marco Fornaciari - and Symphony n. 36 “Linz”. The elegance and softness of gesture
distinguish Gioele Muglialdo, a conductor who has given proof of his great talent. The compactness and the
particular care given to sound characterized this performance.
CORRIERE DEL TEATRO | July 2004
[…] a considerable selection of Il Trovatore by Verdi has been performed. The orchestra of the Teatro
Coccia of Novara has found in M° Gioele Muglialdo a skilful and firm leader. The programme included the
symphonies from Verdi's famous operas La Traviata, Nabucco, La Forza del Destino and Attila.
PRIMAFILA | September 2003
(Suor Angelica and Gianni Schicchi)
[…] the conductor Gioele Muglialdo has demanded unusual vitality and colour showing authority and
partecipation…
LIBERTA’ | 17th February 2003
(Operetta Gala, Piacenza, Teatro Municipale )
[…] and a close knit and enthusiastic orchestra conducted by M° Gioele Muglialdo. The members of the
orchestra led up to rising dynamic finales. On the whole, Muglialdo’s conducting has got a lively and
sparkling partecipation from the musicians as well as from the singers […]
IL CORRIERE | 12th October 2002
[…] the concert held by the Orchestra of the Teatro Regio of Turin conducted by Gioele Muglialdo […]. In
the conducting by the young conductor Gioele Muglialdo everithing is treated with a quiet and sober taste
and very balanced […]
IL CORRIERE DEL TEATRO | September 2002
(Final Concert International Competition for Singers “Mario Braggio” - Turin)
[…] six winners accompanied with intelligence and finesse by Gioele Muglialdo, official pianist during the
selections and the preliminaries […]
IL QUADRIVIO | 5th March 1998
[...] we present to the riders of Il Quadrivio a young and promising conductor, engaged at the moment as
assistant of M° Nello Santi. Gioele Muglialdo, born in Turin [...], means in his experience the conducting of
some titles of opera and operetta, and recently he was very succesful conducting Mascagni’s opera
“Zanetto” to the Teatro Mancinelli of Orvieto. After the flattering judgement of the odience and the critics,
there is grate hope for this new and young star of the baton.
ARIOSO INTERNATIONAL | January 1997
(Lyric Concert, Aosta)
[...] Saluons le jeune pianiste Gioele Muglialdo qui sut accompagner nos trois chanteurs avec un
professionalisme costant. Il a su s'adapter en un temps record à toutes ces partitions disparates, preuve
incontestable de ses authentiques qualitès musicales.
LA RASSEGNA MELODRAMMATICA | 30th September 1996
[…] Gioele Muglialdo, young conductor from Turin, was very succesful getting on the rostrum of the Teatro
Mancinelli of Orvieto conducting Il barbiere di Siviglia […]
CORRIERE DELL’UMBRIA | 24th August 1995
(Mozart’s Così fan tutte)
[…] under the front of the stage the young conductor Gioele Muglialdo has likewise given an excellent
result, joining togheter confidently the cast of singers, the choir and the Thessaloniky State Orchestra (city
who in 1997 will be the capital of the culture in Europe).
REPUBBLICA | 14th August 1993
[….] the baritone Giuseppe Valdengo will open his third International Mesterclass assisted by a very young
musician of promise, the pianist Gioele Muglialdo
(the originals on request)
REPERTOIRE DIRETTORE (Symphonic)
CONDUCTOR REPERTOIRE (Opera)
Bartòk
Beethoven
Bernstein:
Boccherini
Brahms
Britten
Catalani
Faurè
Grieg
Gounod
Haydn
Lehàr
Leoncavallo
Bellini
La Sonnambula
Bizet
Carmen °°
L. Chailly
L’aumento
Donizetti
L’elisir d’amore°
Don Pasquale
Lucia di Lammermoor
Il campanello
Gounod
Faust °°
H. Kràsa
Brundibar (Il suonatore di organetto)°
Mascagni
Mascagni
Mendelssohn
Mozart
Mussorgsky
Pergolesi
Prokofiev
Puccini
Ravel
Rutter
Schubert
Schumann
Suppè
Tchaikowsky
Zandonai
Rumenian Dance
Symphonies No. 1, No. 2, No. 3, No. 5
Chichester Psalms
Stabat Mater
Symphonies No. 1, No. 2
Soirées musicales Op. 9
Lorely, La danza delle ondine
Requiem
Peer Gynt
Balletti dal Faust
Symphonies No. 44, No. 98, n. 102, No. 104
Walzer Gold und Silber, op. 79
I Lituani, ouverture
Nuit d'etè (tenor and orchestra)
Le maschere, Ouverture
Guglielmo Ratcliff, Intermezzo
Concerto per pf. e orchestra op. 25
Requiem
Symphonies No. 35, No. 36 “Linz”
No. 41 “Jupiter”
Concerto K 622 for Clarinet and orchestra
Concerto K 495 for Piano and orchestra
Concerto K 314 for Horn and orchestra
Concerto K 216 for Violin and orchestra
Divertimentis for Strings K 136, 137, 138
A Night on Monte Calvo
Stabat Mater
Symphony No. 1 “Classic”
Capriccio Sinfonico / Le Villi, Tregenda
Pavane pour une infante défunte
Gloria
Symphony No. 8
Symphony No.2
Poet and Paesant, Ouverture
Symphonies No. 5, No. 6 “Patetic”
Serenade for Strings
Romeo e Giulietta, Cavalcata
Leoncavallo Pagliacci°
Mascagni
Zanetto°, Cavalleria rusticana°
Menotti
Il telefono
Mozart
Così fan tutte°
Don Giovanni°
Le nozze di Figaro °°
Die Zauberflöte
Pergolesi
La serva padrona
Puccini
Bohème°
Il Tabarro
Manon Lescaut°
Suor Angelica°
Gianni Schicchi°
Madama Butterfly °°
Tosca°
Turandot
Rossini
Il barbiere di Siviglia°
Il signor Bruschino
La Cenerentola °°
D. Scarlatti
La Dirindina
Verdi
Ernani
Nabucco°
Il Trovatore°
I Lombardi°
La Traviata°
Rigoletto
Otello
Macbeth°
Falstaff
Wagner
Lohengrin °°
Die Meistersinger
REPERTOIRE CONDUCTOR (Operetta)
Abrahám
M. Costa
F. Lehár
V. Ranzato
Ball at Savoy
Scugnizza
The Merry Widow / La danza delle libellule
Cin-Ci-La, Il paese dei campanelli
(Ouvertures, arias and duettes from operettas by
J. Strauss, E. Kalmàn, F. Lehàr, J. Offenbach, etc.
REPERTOIRE CONDUCTOR (Film Music - synchronized)
F. Lang/G. Huppertz
C. Chaplin
‘METROPOLIS ‘
‘CIRCUS’
° = already performed
(on stage, concert and/or selection)
°° = under studying
PIANIST REPERTOIRE (soloist)
PIANIST REPERTOIRE (Chamber Music)
Albeniz
Suite Española
Haydn
Trio Hob. 25 “Gypsy”)
Bach
preludes and fugues
from ‘The Well-Tempered Clavier’
J. Horowitz
Sonatina for Clarinet and Piano
Mozart
Beethoven
Sonata No. 8, No. 21
Sonata for Violin and Piano Op. 7 in FA
Trio KV 542 in E Major
Catalani
Danza delle ondine (from’Lorely’)
Brahms
Sonata in E minor for Vcl. and Piano
Chopin
Valzer Op. 64 No. 2
Piazzolla
Cilea
Canto del mattino,
romanza per pianoforte op. 5;
Foglio d'album, op. 41
Serenata a dispetto
The Seasons
Oblivion (Vl., Vcl. and Piano)
Milonga in D minor (Vl., Vcl. and Piano)
Donizetti
Due motivi del celebre maestro Päer,
messi in Suonata;
Presto in fa minore
Gershwin
Preludes
Giordano
Cocktail
Leoncavallo
Papillon, Scherzo
Mascagni
Intermezzo (‘Guglielmo Ratcliff’)
Rossini
Musique Anodine
Variazioni per pianoforte
Scarlatti
Sonate
Tchaikowsky
The Season, Op. 37
Weber
Perpetuum mobile
PIANIST REPERTOIRE (Voice and Piano)
Chamber music
Rossini, Tosti, Tchaikowsky, Schumann;
italian ‘”verismo”
French Music
Delibes, Faurè, Ravel, Debussy Hahn, Satie;
Trenet, Aznavour, etc.
Spanish Music
Lara, Granados, Obradors, Guerriero, Grevi, Sorozabal,
Velasquez, etc.
Musical - Song
Porter, Gershwin Bernstein, Sondheim, Webber,
Wildhorn, Rodgers&Hammerstein, etc.;
Lennon, Mc Cartney, etc.
Napolitan Song
Valente, Di Capua, De Curtis, Felvo, D'Esposito, etc.
Italian Song
Brogi, Denza, Billi, Bixio, Toselli
PIANIST REPERTOIRE (Opera , Operetta, Musical)
Musical
Porter, Gershwin Bernstein, Sondheim, Webber, Wildhorn
Rodgers&Hammerstein, etc.
Operetta
Kalmán, Lehár, Strauss, Lombardo-Ranzato, Costa
Opera
Main operas by Mascagni, Leoncavallo, Bellini, Donizetti,
Rossini, Mozart, Verdi, Puccini, Cilea, Menotti, Bizet,
Massenet, Wagner, R. Strauss
EDUCATION
TEACHING ACTIVITY
Diplomas (Conservatoire G. Verdi - Turin)
1994
Diploma in Composition
1996
Diploma in Conducting
2007
Yokohama (Japan)
Okiorayama, Kinekaikan Hall
Masterclass on Italian Opera
Gioele Muglialdo: Teacher
2004
Cologno Monzese (Milano), Villa Casati
Singing Masterclass
Gioele Muglialdo: Repertoire Coaching
Private studies
1982-1986 Piano: Mrs Maria Golia, Turin
1981-1993 Score reading: M° Eros Cassardo, Turin
1994-1997 Study of conducting italian lyric repertoire :
M° Mario Braggio, Turin
Masterclass
1995
“ Lyric Workshop for conductors”, Orvieto
M° Bruno Rigacci / Thessaloniki State Orchestra
1996
“ Lyric Workshop for conductors”, Orvieto
M° Aldo Faldi / Spaziomusica Youth European Orchestra
1997
“Advanced Cours for Conductors”, Burgas (Bulgaria)
M° Ivan Kozhouharov / Burgas Philharmonic Orchestra
1997
“Special Course for Conductors”, Riva del Garda
M° Yuri Ahronovitch / Philharmonia Orchestra of Rome
1997
“Masterclass per direttori d’orchestra” , Orvieto
M° Fabrizio Carminati / Spaziomusica European Orchestra
1997
“IV Masterclass/ Competition for Conductors” , Budapest
M° Wolfgang Harrer / Hungarian Symphony Orchestra
1998
“Advanced Course for Conductors“, Rousse (Bulgaria)
M° Tzanko Delibozov / Rousse Philharmonic Orchestra
Awards and Scholarships
1993
“B. Bruno” Awars - Subject: Composition
(Conservatoire G. Verdi, Turin )
1994
“Franco Alfano”Award - Subject: Composition
(Conservatorio G. Verdi, Turin )
1995
“B. Bruno” Awars - Subject: Composition
(Conservatorio G. Verdi, Turin )
2003/4 Cologno Monzese (Milano), Villa Casati
Lyric Academy
Gioele Muglialdo: Repertoire Coaching
2003
2001-2002 “Accademia della Voce di Torino”
Lyric Academy
Franca Mattiucci: Lyric Song
Gioele Muglialdo: Repertoire Coaching
1999-2000 “Accademia della Voce di Torino”
Lyric Academy
Wally Salio: Lyric Song
Gioele Muglialdo: Repertoire Coaching
1998
“Accademia della Voce di Torino”
Singing Masterclass
Wally Salio: Lyric Song
Gioele Muglialdo: Repertoire Coaching
1997
“Accademia della Voce di Torino”
Singing Masterclass
Wally Salio: Lyric Song
Gioele Muglialdo: Repertoire Coaching
1997
Cologno Monzese (Milano)
Scuola Comunale di Musica
“C.Monteverdi”
IV Meetin with the soprano Wally Salio
Wally Salio: Lyric Song
Gioele Muglialdo: Repertoire Coaching
1996
Teatro Macario, Torino
Singing Course
Gioele Muglialdo: Teacher
1997
Scholarship - Subject: Conducting
(Associazione “Amici del Conservatorio”, Turin )
Competitions - Awards
1993
3rd place National Competition:
“Dal ‘900 storico alla musica contemporanea”,
Vigliano Biellese (Turin)
1995
1997
Winner of “1st Giulietta Simionato
International Compeition
for Singer and Opera Coach” , Asti (Turin)
2nd place “IV Masterclass and Competition
for Conductors”, Budapest
Cologno Monzese (Milano), Villa Casati
Singing Masterclass
Rita Patanè: Lyric Song
Gioele Muglialdo: Repertoire Coaching
1992/3 Moncalieri (Torino)
Scuola Comunale di Musica “L.
Canonica”
Singing Course
Gioele Muglialdo: teacher
1991
Toronto (Canada), Royal Conservatoire
Masterclass on Italian Opera
Gioele Muglialdo: teacher
1998
Torino, Centro Culturale
“Sala degli Intradossi”
Singing Course
Eros Cassardo: teacher
Gioele Muglialdo: pianist
OPERA COACH - OFFICIAL PIANIST
2012
Lima, Parque de la Reserva
(Opera Season Teatro Municipal)
Puccini: Turandot
(Gioele Muglialdo:
repetitéur, conductor of the band)
2009
Lima, Teatro Municipàl (Festival A. Granda)
Verdi: Attila
(Gioele Muglialdo: repetitéur)
2004
Piacenza,Teatro Municipale (FondazioneToscanini)
Verdi: Nabucco
Direttore: Daniel Oren
(Gioele Muglialdo: repetitéur)
2004
Modena, Teatro Comunale (Fondazione Toscanini)
Verdi: Nabucco
Direttore: Daniel Oren
(Gioele Muglialdo: repetitéur)
2002
Torino, Circolo degli Artisti
“1° International Singing Competition Mario Braggio”
Magda Olivero: President of the Jury
Gioele Muglialdo: official pianist
2000
Torino, “Accademia della Voce di Torino”
Masterclass on Puccini’s “Tosca”
Raina Kabaiwanska: Teacher
Gioele Muglialdo: pianist
1995
Asti (Turin), Palazzo Ottolenghi
5° Concorso Internazionale di Musica per Giovani
Interpreti “Città di Asti”
Gioele Muglialdo: official pianist
1992-1993-1994
Arenzano (Genoa), Accademia Musicale Teresiana
International Masterclass for Singers
Giuseppe Valdengo: Teacher
Gioele Muglialdo: pianist / opera coach
THEATERS AND MUSIC HALL
Lima - “Auditorio Los Incas” - Museo de la Nación
Lima - Teatro Municipàl
Tokyo - Hokutopia Tsutsuji Hall
Tokyo - Yoyoghi Musicasa
Yokohama - Minatomirai Hall
Mosca - “Novaja Opera” Theatre
Vidin - Symphonic Halle
Budapest - Franz Listz’s Museum
München - Herkules Saal
Nürberg - Meistersinger Halle
(Lyric tour on Germany: Solingen, Wuppertal, Leverkusen,
Rheine, Gronau, Germering, Bamberg, Rastatt, Bad
Winsheim, Dalmenhorst)
Brissago - Festival Leoncavallo
San Marino - Teatro Titano
Milano - Teatro dal Verme
Milano - “Amici Loggione Teatro alla Scala”
Milano, Teatro delle Erbe
Milano - Teatro Smeraldo
Milano - Teatro Nazionale
Torino - Teatro Regio
Torino - Teatro Alfieri
Trieste - Teatro Rossetti
Bra - Politeama
Novara - Teatro Coccia
Ivrea - Auditorium Mozart
Treviso - Teatro Eden
Roma - Palazzo Colonna
Cagliari - Teatro Comunale all’aperto
Piacenza - Teatro Municipale
Bergamo - Teatro Donizetti
Aosta - Teatro Giocosa
Orvieto - Teatro Mancinelli
Genova - Teatro Politeama
Chieti -Teatro Marrucino
Venezia - Fondazione Cini
Cesena - Teatro Bonci
PARTECIPATION IN COMPETITION JURY
2013
Milan, Maria Malibran International Singing
Competition - 2nd Edition
Gioele Muglialdo: member of the Jury
ASSISTANT CONDUCTOR
2002
Turin, “Accademia della Voce di Torino”
Masterclass on Rossini’s “La scala di seta”
Claudio Desderi, teacher and conductor
Gioele Muglialdo, assistan conductor
2006
Roma, Accademia di S. Cecilia
5th International Singing Competition “Ottavio Ziino”
Gioele Muglialdo: member of the Committee of
Honour
2001
Turin, “Accademia della Voce di Torino”
Masterclass on Rossini’s “Il signor Bruschino”
Claudio Desderi, teacher and conductor
Gioele Muglialdo, assistan conductor
2002
Rome, Accademia di S. Cecilia
1st International Singing Competition “Ottavio Ziino”
Gioele Muglialdo: member of the Committee of
Honour
2000
Turin, “Accademia della Voce di Torino”
Masterclass on Mozat’s “Così fan tutte”
Claudio Desderi, teacher and conductor
Gioele Muglialdo, assistan conductor
2001
Rome, Palazzo Nari
2nd National Competition “La Tastiera d’Argento”
Gioele Muglialdo:
member of the Committee of Honour
1997
Turin, “Accademia della Voce di Torino”
Masterclass for Singers
Yuri Ahronovitch, teacher
Gioele Muglialdo, assistant conductor
2000
Rome, Palazzo Barberini
1st National Competition “La Tastiera d’Argento”
Gioele Muglialdo:
member of the Committee of Honour