January 30: La Scala hosts the world premiere of Carlo Boccadoro’s Concerto per Piano and Orchestra conducted by Riccardo Chailly and featuring the La Scala Philharmonic Orchestra and soloist Beatrice Rana. Commissioned by Francesco Micheli.
The concert (in three movements: Rent - Diminuendo and Crescendo - Toodle-Oo)  is dedicated to the memory of Duke Ellington. Boccadoro explains: “This piece makes ample use of piano techniques from the world of jazz, especially early 20th-century expressions, like Jump, Stride and Rag [...] The score is demanding for both the soloist and the orchestra [...] it requires virtuosity all through the three movements, and culminates with a finale rife with special effects.”
Here are some excerpts from an interview we did with the young pianist Beatrice Rana. 

How many world premieres have you performed thus far? What’s your approach to new pieces? Is there any difference in the way you take on traditional material?  
I’ve always been into contemporary music. I studied composition for many years, so I had the chance to get to know it and analyze it up close, besides the performances. But until now, I’ve never performed any world premieres. As far as international competitions go, they often ask you to perform a piece especially commissioned for each competition, though in terms of concerts, I’ve never been asked to debut a piece. 
But whether contemporary or classical, my approach is pretty much the same. The advantage of contemporary music is that it’s not a victim of past interpretations. There’s no filter between the score and the interpreter. 

Many young concert performers are only interested in performing traditional classical material. What is it about contemporary music that inspires you, and why have you taken up this challenge?
I enjoy it because it allows me to totally exploit my interpretative resources. Very often, when people perform traditional material, the interpretation is conditioned by past recordings of pieces by various musicians. But having the opportunity to express all your analytical and emotional skills in virgin territory is something truly exciting and motivating.

You’ve worked with some of the best Italian conductors. Have they ever asked you for different interpretations of pieces in your repertoire?
Oh, yes! Unless their visions aren’t the exact opposite of mine (a very rare occurrence), I find it illuminating to get to know, understand and possibly adopt different interpretative choices. Interpretation is a process that involves ongoing research, so having sources of inspiration that fuel it is a real privilege.

In the performance of this piece by Carlo Boccadoro, you’ll be working with Riccardo Chailly once again. What’s it like working with him?
Great! I played a Schumann concerto conducted by Maestro Chailly, with the La Scala Philharmonic Orchestra in September – an intense experience, emotionally and intellectually. 

This concert pays tribute to Duke Ellington, and Boccadoro wrote it with you in mind. Is there anything you can reveal about the piece before the premiere? Did you feel the need to speak to the composer while you were studying the part?  
One of the advantages of playing contemporary music is being able to interact with the composer. Before I read through the score for this concerto, we discussed Boccadoro’s inspiration for composing the piece. Later we had a chance to meet and work some things out together.
It’s the kind of work that demands an amazing amount of energy, extreme virtuosity and a series of calls and responses between the pianist and the orchestra. Boccadoro’s absolutely original approach when it comes to revisiting techniques that date back over a century is truly incredible. 

2016 draws to a close. Did you achieve everything you set out to do this year? 
2016 was a great year for me. My number-one goal was to do a recording of Bach’s Goldberg Variations, which will be coming out in February on Warner Classics. It was an incredible adventure, extremely demanding but at the same time highly rewarding. 
This year I’ve had some wonderful opportunities to work with top-notch conductors and orchestras, as well as with some great talents in chamber music situations. Winning the Abbiati Award and being selected for the Borletti Buitoni Fellowship were also highlights.  

What does 2017 have in store for you? What kind of projects will you be working on? What are your hopes – in music and beyond? 
One of the most interesting music projects I’ll be working on involves contemporary music. I’m thrilled about doing the Boccadoro premiere. Then there’s a piece I commissioned Luca Francesconi to write, which I’ll be playing in recitals starting in February. 
There’s also another world premiere I’ll be doing for a chamber music festival in my native region of Salento. I myself have been behind the creation of this festival, which will see the participation of some of the best musicians in the world today. 
For 2017 I hope to have lots of opportunities to keep making music, and keep making it better. And despite my “nomadic” existence, I hope my life continues to be enriched by the love and affection of my family and friends.