Maestro Riccardo Muti brings the Chicago Symphony Orchestra to Toronto for the first time in a century

Riccardo Muti, the acclaimed Italian conductor who has spent much of his career leading some of the world’s most prestigious symphonic orchestras and opera companies, is a bit of an enigma. Soft-spoken, yet never short on axiomatic words of wisdom and sharp critiques of the state of classical music, the 81-year-old maestro is considered by many to be one of the finest conductors of his generation.

Since 2010, Muti has been the music director of the Chicago Symphony Orchestra (CSO) after helming the Teatro alla Scala and the Philadelphia Orchestra. On Feb. 1 and 2, he leads the CSO for two concerts at the Royal Conservatory of Music’s Koerner Hall, marking the orchestra’s first visit to Toronto in more than a century.

Muti, whose tenure at the CSO comes to a close at the end of this season, spoke with the Star ahead of the orchestra’s North American tour in a wide-ranging interview about his legacy, along with his hopes and concerns for the future of classical music.

This interview has been interviewed for length and clarity.

How does it feel to be bringing the CSO back to Toronto for the first time in 109 years?

I’ve been to Toronto several times with the Philadelphia Orchestra and the Vienna Philharmonic, and my experience with the public in Toronto has always been very beautiful. My memories of Toronto are very vivid. I love the city. I love the atmosphere. And I’m happy to bring the Chicago Symphony back.

Your tenure as music director of the CSO comes to a close at the end of this season after more than a decade at the helm. Tell me about your relationship with the orchestra and what it means to you.

I first conducted the CSO in 1973 at the Ravinia Festival. In 2007, I went back to Chicago (as a guest conductor) and brought the orchestra on tour in Europe. My relationship with the orchestra, from the beginning, was like a love affair. After the tour, many musicians in the orchestra wrote a letter thanking me for the music making. I went back to Chicago for other concerts and then the musicians asked me to become their new music director. After 20 years in La Scala, I had decided not to take any other music directorships; I wanted to be free. But the musical relationship I had with the musicians of the Chicago Symphony was so strong that I accepted the position and, in 2010, I became music director.

What’s next after your tenure with the CSO ends?

Everybody thinks that I want to retire, but I’m not retiring. I just want to be free to continue to conduct the CSO, but also dedicate more time to other orchestras close to my heart — the Vienna Philharmonic, for one.

You founded the Riccardo Muti Italian Opera Academy and spend much of your time mentoring young musicians and conductors. Why is this mentorship so important to you?

I created the academy for young conductors to learn how to approach and conduct Italian operas. I’ve always been critical of the way Italian operas are performed around the world — full of vulgarity, transpositions of tonality or cuts here and there to make it possible to sing the high notes. It’s like a circus. So, I decided to create the academy where I try to teach the young conductors … trying to give dignity back to the Italian opera.

How do you hope to be remembered in Chicago and what kind of legacy do you want to leave behind?

I’ve tried to be honest with my musicians and to be fair, and as a conductor, generally, my work has been recognized around the world as being positive. Certainly, one thing nobody will say is that I’ve used this position for my personal interest. When I came to Chicago, I had a name and a career. The fact that I didn’t come here when I was 30 years old, but after a long career, helped me make music seriously with good results. But history will say what my legacy is. Today, you know, the world is so fast that even great people, when they die, after a few days they are forgotten. It’s part of the law of the world.

You are considered to be one of the best conductors of your generation. What makes a good conductor?

You know — this is a true story — somebody asked Verdi, “What makes you a genius?” He said three things. “Lavoro, lavoro, lavoro.” Work, work, work. A genius who does not have seriousness in his work can be dangerous. So, to be a good conductor, first, you need very deep preparation. It’s not just about moving the arms; that is relatively easy. Today, conducting is becoming a show. We should go back to consider the profession of conducting, not just the profession of moving the arms — but the profession that gives the possibility to convince 100 musicians that his or her musical ideas are honest and deep.

You’re a versatile conductor, leading both symphonic and operatic works. Do you have a preference?

I enjoy both because music is music. Conductors who only conduct symphonic music and not operas are limited. You must do both symphonic and operatic music because it enlarges your vision.

Are you concerned about the future of classical music — or the arts, in general?

I am concerned. I don’t know what the future will be like. But governments around the world need to make music a priority — not just learning how to sing the national anthem but learning how to understand and discover the fantastic world of music. You cannot have new audiences if governments ignore the importance of music in society. To quote St. Augustine, “cantare, amantis est,” which means, to sing — or to make music — is typical of somebody who loves. Music is part of the human being.

The Chicago Symphony Orchestra, led by Maestro Riccardo Muti, will perform at Koerner Hall on Feb. 1 and 2. For tickets, visit rcmusic.com

This article has changed from a previous version to clarify the concerts are on Feb. 1 and 2.

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