In my series „Vorgestellt“ (”Introducing”) orchestra musicians talk about their relationships to instruments, auditions, rituals, concert experiences, and “musical desires”. Musicians from various orchestras, whether they play in a symphonic, opera, or chamber orchestra, in a German, or a foreign orchestra get the opportunity to talk.
Today it is Principal Cellist Marco Trentin from La Fenice Philharmonic Orchestra introducing himself.
What kind of relationship do you have with your instrument?
Since 1991 I’ve been playing a beautiful cello of master luthier Carlo Giuseppe Oddone. He built the instrument in 1914 and it is of great value.
This cello still fascinates me, it means a lot to me. But being somewhat dated it also requires attention and care. Anyway, I love to spend my time playing this wonderful instrument.
What do you remember when thinking of your audition at Orchestra e del Teatro La Fenice?
The first audition I participated in at the Teatro La Fenice was in 1986. At that time I was still a student and it was very emotional. It was my first audition and quite an experience. It went well though, and I was called for some production.
In 1991 I did the concourse for second cello and I won. A dream came true! I was so excited that I couldn’t sleep. I was sure that from that moment on my life would be different.
Where is your favourite place for practicing?
I love to study in the theatre because it is such a peaceful place where I can concentrate easily. I shut myself away in a little room and time passes by so quickly without any distraction. There is something mystical in the theatre, I feel immersed in it, like diving into a sea of art and music, breathing in the dust of the stage.
What was your most exciting concert experience?
The most exciting experience was probably the concert that we performed in 1996 at the Teatro La Scala in Milan conducted by M° Riccardo Muti. On January 26 that year a vast fire completely destroyed the La Fenice Theatre. Maestro Muti at La Scala invited us in an act of great humanity to show his solidarity.
Do you have some kind of personal ritual before a performance? Would you like to tell us?
I would say no, means I haven’t got a special ritual. I think the performance is determined by the preparation, of course a dose of fatalism is inevitable, but I’m not superstitious.
What is the greatest wish you have got for your musical life?
My greatest wish has always been to play directed by Sergiu Celibidache. I remember all those stories my parents told me and he really became a myth.
Lucky me! I already played at some very important places. I would, however, like to play at the Proms in London and do a tour in the United States.