Born in Verdi’s Land (Terre Verdiane), in Parma, Marco Spotti studied in his hometown at the Conservatorio Arrigo Boito, where he took his first steps towards a decisive and important career at the Music Academy. The meeting with Maestro Carlo Bergonzi meant the greatest change for Spotti, in fact, it meant his very first important debut, in Verdi’s Un Ballo In Maschera (under Angelo Campori’s direction) – an amazing success! This was the beginning of his national and international career that offered Spotti great emotions and satisfactions. His passion for singing and professionalism led him to meet some of the most important orchestras conductors such as Daniel Oren,Valery Gergiev, Riccardo Chailly, James Conlon, Lorin Maazel, Zubin Metha, Gianluigi Gelmetti, Nello Santi, Roberto Abbado, Riccardo Muti, Myung-Whun Chung, Gianandrea Noseda and Daniel Baremboim and some of the greatest stage directors such as Franco Zeffirelli, Pierluigi Pizzi, Toni Servillo, Marco Tullio Giordana, Mario Martone, Hugo de Ana Terry Gilliam, Bob Wilson, Robert Carsen.
Thank you again, dear Marco, for accepting, kindly and promptly, my invitation! You are already a friend of OPERA Charm, a thing that honours us a lot. We had the chance to chat a little during the lockdown and to discover a very special person behind the artist that most of us have already known! Tell me about these last months. What is your opinion about this “restart” of the performance activities? Will the live opera performance come back to what it was before the pandemic situation? I think these “restart” activities have to be supported and encouraged in order to preserve the public’s trust. For sure, these strict rules do not allow the absolute opening up of everything but it is a start. I do hope that the Legislator, having the soccer and all transports already restarted, can also let us get back to work.
Musically & vocally speaking, how did you keep yourself in shape and what do you miss the most about the stage? Maybe a role or simply the sensation of giving and receiving the emotions of the public… It has been a long period and like most people, with a lot of ups and downs. Luckily, I have always felt like studying and training, despite all the difficulties that we all felt during the lockdown. I mostly missed challenging myself on the stage and the public’s energy.
Let’s go a little bit back in the past and talk about the people that had an impact on your career, mostly about your Maestro, Carlo Bergonzi. What is the thing that he taught you and had the biggest impact on you on the long run? Also… could you share with us some insights on how he was as a person, maybe also some funny or interesting experiences you shared? A short moment of remembrance and tribute, if I may… I have wonderful memories of Carlo Bergonzi, thanks to Maestro Bergonzi I debuted… I had tried for many years to achieve success in opera before meeting him. Being cast in the small intimate theatre of Busseto was a stroke of luck. After months of intense work with him, I had the chance to meet some opera stars such as Renata Tebaldi and Giulietta Simionato and I have always enjoyed meeting them on several occasions at later dates. Maestro Bergonzi was an astute teacher, even meticulous but always positive and proactive!
Read the entire interview here.0