Travelling & working in the Live Performance area in times of Covid-19

As I said in the beginning of the 5th issue of OPERA Charm Magazine, the edition dedicated entirely to XXth edition of Festival Verdi, I am grateful and honored to have the chance to collaborate with an institution of such cultural inheritance, alongside with such great personalities of the international opera world, and to learn from them – to learn from the best, literally. This editorial is published in October, after the first 2 months of my staying here, in Parma, because I wanted to have a clearer vision upon the things I am going to talk about, things that I consider of maximum interest in these particularly delicate times for culture & education, art & artists, health system, economy and traveling. Of course, we are talking about a subjective perspective, so feel free to take to inspired, but it is surely not a recipe.

Now, I have to tell you, with no intention of bringing you down, that, if having a career in the live performance area – or in the arts in general – on the stage or behind the spotlights, was already hard enough before Covid-19 pandemic & the imposed restrictions because of it, everything became even more challenging now and, to be honest, even though some countries manage to keep it under control and go on with their economic & cultural activities (and Italy is, with no doubt, one of those which do it best), we will still have to worry about this situation for a while… especially if we are at the beginning of our career. I won’t talk about the #iolavoroconlamusica or #falsaripartenza movements, because I think there are people out there who are truly in the position to debate this subjects. Some of us should really understand, thought, when we are supposed to approach an argument or just to shut up, mostly on the social media networks. Of course, we all want to be #salvatordellapatria, but sometime you really have to be in a situation in order to have the right to talk about it. I hope you agree with me…

As far as I am concerned, my traineeship at Teatro Regio di Parma was actually based on an Erasmus+ Mobility, a program that universities/colleges/academies offer us, but we are rarely explained how we should use them, how to take advantage of certain possibilities and even more rarely we are helped to find the right Erasmus mobility for our interests, in the way that we want to develop ourselves as a person, as a musician and, at the same time, our career. I can say I was lucky to have the chance to creat this link between the ‘Gheorghe Dima’ National Academy of Music in Cluj-Napoca and Teatro Regio di Parma and, which, as I said before, was possible due to Prof. Francesco Izzo, Direttore Scientifico of Festival Verdi, but also due to the kindness of the General Manager of Teatro Regio di Parma, dottoressa Anna Maria Meo, and of her entire team. It’s not for me to tell you how this program works, of course, but I can advise you from the bottom of my heart to go and explore, because you will certainly find our, first of all, new things about yourself and then, about the perspectives of your professional path. Opportunities won’t just come to us, especially in these difficult times.

Read the entire article here, in the 6th issue of OPERA Charm Magazine.


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