Luisa Sello

BIO

Luisa Sello, defined by the New York Concert Review “lovely mix of extroverted passion and genuine tenderness, with excellent breath control, brilliant technical rendering, engaging intensity, sonorous range and abundance of charm” is a Flute Miyazawa Artist and an Ambassador of Music and Italian Culture, supported by the Italian Ministry of Culture. Her international career includes collaborations with Teatro alla Scala di Milano, Riccardo Muti, Wien Symphoniker Orchestra, Thailand Symphony Orchestra, Trevor Pinnock, Alirio Diaz, Philippe Entremont, Bruno Canino, Karl Leister, Carnegie Hall, Juilliard School, Prazak string quartett, the composers Salvatore Sciarrino, Aldo Clementi, Adriano Guarnieri, Rainer Bischof (première performances). Visiting professor at the University of Music in Vienna, she is Flute Professor at the Academy of Music in Trieste (Italy), Doctoral Professor at the New Bulgarian University of Sofia (Bulgaria) and visiting professor at the University of music in Vienna (Austria). In obtaining both her ArtD (Concert Doctor Degree, Bratislava Academy) in Performing Arts and her PhD in Linguistic and Literary Sciences (Udine University), she studied in Paris with Raymond Guiot and Alain Marion, who proclaimed her “very musical, superb,” and at the Accademia Chigiana with Severino Gazzelloni, who remarked her “magnificent interpretive sensibility and excellent sound”, she records for Stradivarius (Italy) and Millennium (Beijing).

LUISA SELLO definita dal New York Concert Review artista dalla ‘avvincente passione e spontanea cantabilità, con tecnica brillante, eccellente controllo del fiato, suono generoso e grande charm’ suona in tutto il mondo ed è artista scelta dal Ministero Italiano dei Beni Culturali per rappresentare la musica italiana. Nel suo curriculum figurano i nomi di Riccardo Muti, Teatro alla Scala di Milano, Trevor Pinnock, Alirio Diaz, Wiener Symphoniker, Carnegie Hall, Juilliard School, Philippe Entremont, Karl Leister, Bruno Canino, Thailand Symphony Orchestra e i compositori Salvatore Sciarrino, Aldo Clementi, Rainer Bischof, Adriano Guarnieri (prime esecuzioni assolute). Allieva di Raymond Guiot e Alain Marion a Parigi e di Severino Gazzelloni all’Accademia Chigiana di Siena, con studi accademici in Flauto e in Lingue e Letterature Moderne (Laurea e PhD), è titolare della cattedra di flauto al Conservatorio di Trieste, Professore di Dottorato alla New Bulgarian University di Sofia e professore ospite all’Università di Vienna. Artista testimonial della Miyazawa Flute, incide per Stradivarius e Millennium di Pechino.

Magnificent interpretative sensitivity and excellent sound Severino Gazzelloni (International Flautist)
Very musical interpretation, superb sound Raymond Guiot (First Flute of the Opera of Paris)
Extraordinary musician (Alto Adige – Gi.Bo.)
An extraordinary solo recital (Il Mattino di Bolzano – A.Sobrero)
An Ute Lemper of the flute, with a stage presence at once imposing and elegant (Il Tempo – G.P.)
Great interpretive ability, absolute mastery of her instruments, total command of the stage, the light touch of a star (AltroMolise – Beckmesser)
Technically perfect and with nice phrasing (Volks-Zeitung- Austria – G-.P.)
Great colouristic bravura, fine quality and great depth of penetration (ABC – Madrid – F.Cid)
Effortlessness, lightness, intensity and vigour (General-Anzeiger – Bonn – B. Kaempfer)
Exellent virtuosity (Il Messaggero Veneto S.Z.)
Perfect, she has confirmed her talent (Feuille d’Avis – Svizzera – Isa)

REPERTOIRE

ORCHESTRA

Among all the solo works, the concerts which Mozart dedicated to the role of the magical instrument are of great importance: the majestic and fascinating Concert KV313 in G Major, the bubbly Concert KV 314 in D major, both written at the beginning of 1778 at Mannheim, and the delicate Andante in C major KV 315 probably written for another concert which he did not finish, dated Salzburg 1778/79.

Besides this unabridged work, it is important to recall the pages ‘fin du siècle’ by the composer Cécile Chaminade and the watermarked lines of the works by Saint Saens. The French repertoire contains many ideas and suggestions, from the virtuoso adaptation for flute and strings of the opera by Bizet, Fantasia sulla Carmen, to the masterpiece of the 20th century by the wise hand of Jacques Ibert.

The double concert by Erwin Schulhoff, an author of the 20th century among the victims of the Holocaust who died at a young age: his language is very extensive, where flute and piano face a challenging role of great charm as soloists.
The baroque period includes many precious and unique solo pieces with string orchestras, from the famous Suite n.2 by J.S. Bach, to the fresh Italian creativity of the op. 10 by Antonio Vivaldi (unabridged made up of 6 concerts) and the beautiful pages by Telemann, Haendel and Quantz which have developed a wide literature focused on the flute.

Contemporary works which have been specially written for the flautist or dedicated to her (Prangcharoen, Lombardi), are alongside the concert for flute and oboe by Ligeti and other music compositions of today, such as the beautiful Flotenkonzert op. 11 by the Viennese Rainer Bischof.

FLUTE AND PIANO

Repertoire (PDF)
Programmes (PDF)

Piano: Bruno Canino, Philippe Entremont, Aurora Sabia, Johannes Kropfitsch
Luisa Sello’s duo repertoire is very large and covers different styles and periods of time, from the beginning of the 19th century to the more advanced forms of expressions included in contemporary music, written under the flautist’s commission.

The programme is organized according to different themes, projects and to the specific abilities of each partner; in this way there may be pieces and programmes which are new or which belong to the repertoire, but which share a common attention for phrasing and for the joy of making music together.

JAZZ CONTAMINATIONS

Programmes & Curriculum (PDF)
Classic & Jazz (PDF)

The works of four very different composers- Guiot, De Angelis, Piazzolla, Bolling – have one major element in common, the attention towards the so-called “Jazz language”. They all emphasize the role of an instrument which is not very widespread in the Afro-american area but has gained popularity in the more educated European environment. Sensual sonorities of the minimal combo are provided by the rich rhythms of piano, bass and drums.

BAROQUE

J. S. Bach (PDF)
Back To Bach (PDF)

Due to a great interest in the Johan Sebastian Bach production, Luisa Sello has carried out particular interpretative studies with the organist Sergio Gaggia, an expert of Bach’s works. Then she has studied more thoroughly the historical flute with Stephen Preston in order to be able to transfer elements of stylistic diction and execution to the modern flute. A modern interpretation of the baroque style emerges without ignoring executive practice.

CONTEMPORARY MUSIC

Pierrot Solaire (PDF)
Repertoir (PDF)
Equipment Required (PDF)

PIERROT SOLAIRE
Scenic instrumental concert
Luisa Sello, flutes and scenic conception

Ute Lemper, flautist, an important scenic presence which results elegant at the same time
(Il Tempo, 1 ottobre 2002, G.P.)

..great interpretative skills, an absolute mastery with musical instruments, dominant control of the scene, lightness of an étoile, the musician has definitely conquered the public…
(AltroMolise, www. access on 1-10-2002 – Beckmesser)

CHAMBER ENSEMBLES

Sello – PRAZAK (PDF)

Besides solo activities, Luisa Sello also plays in chamber ensembles where the personality of the flautist and of groups with great musical experiences meet and intertwine . Since 1995 she has been playing with the Jess Trio Wien; recently she has also started to work together with the Quartetto Prazak, where an equally intense and great musical union and harmony is created.

In a Quintet with PRAZAK STRING QUARTET
Jana Vonášková e Vlastimil Holek, violins, Josef Kluson, viola, Michal Kanka, cello

www.prazakquartet.com