1. Early Life and Education
Giuseppe Sinopoli was born in Venice, Italy, in 1946. From an early age, he showed a strong aptitude for music, which he pursued alongside his academic studies.
1.1. Academic and Musical Background
Sinopoli's formal education was notably diverse and rigorous. He studied composition at the Benedetto Marcello Conservatory in Venice under Ernesto Rubin de Cervin, and later continued his composition studies at Darmstadt, where he was mentored by Karlheinz Stockhausen and Bruno Maderna. Concurrently with his musical pursuits, Sinopoli attended the University of Padua, where he earned a doctorate in medicine with a specialization in psychiatry. His medical dissertation focused on criminal anthropology. After graduating, though qualified as a neuro-psychiatrist, he chose not to enter medical practice, opting instead to further his musical studies, including electronic music in Darmstadt. In 1972, he became a professor of contemporary and electronic music at the Benedetto Marcello Conservatory. His conducting education took place at the Vienna Academy of Music, where he studied under esteemed maestros such as Hans Swarowsky and Karl Österreich. Reflecting his wide-ranging intellectual curiosity, Sinopoli also pursued a degree in archaeology, which he obtained posthumously. His thesis defense had been scheduled for the very day of his funeral.
2. Career
Sinopoli's professional journey was marked by significant achievements as both a composer and a conductor, demonstrating his versatile musical talents and deep engagement with diverse genres.
2.1. Early Professional Activities and Compositions
Sinopoli initially gained recognition as a composer of serial works. His early career saw him become a professor of contemporary and electronic music at the Conservatorio di Musica Benedetto Marcello di Venezia in 1972, where he became a prominent advocate for the New Venice School of contemporary music. In the 1970s, he founded the Bruno Maderna Ensemble, named after his former teacher, with the primary aim of performing contemporary music. This ensemble served as his platform for his conducting debut. His most renowned composition is widely considered to be his opera Lou Salomé, which premiered in Munich in 1981, with Karan Armstrong in the title role.
2.1.1. Major Compositions
Giuseppe Sinopoli's compositional output spanned various genres and periods, showcasing his diverse musical interests:
- Sintassi Teatrali (1968): "Frammento n. 48 da Alcmane", "Frammenti n.2-4-80 da Saffo", "Stasimo IV ed Esodo da Edipo Re di Sofocle"
- Erfahrungen (1968)
- 5 studi su 3 parametri, electronic music (1969)
- Musica per calcolatori analogici, electronic music (1969)
- Strutture per pianoforte (August 31, 1969)
- Sunyata, Thema con varianti per soprano e quintetto d'archi su testo di Kridaya Sutra (1970)
- Numquid et unum per clavicembalo e flauto (1970), dedicated to Franco Donatoni
- Isoritmi, electronic music (1971)
- Opus Daleth per orchestra (1971, premiered at Teatro La Fenice in Venice, conducted by Ettore Gracis)
- Opus Ghimel per orchestra da camera (1971)
- Opus Schir per mezzosoprano e strumenti su liriche di Rolando Damiani (1971)
- Numquid per oboe, corno inglese, oboe d'amore (1972), dedicated to Lothar Faber
- Hecklephon per pianoforte, clavicembalo e celesta (1972)
- Per clavicembalo (1972), dedicated to Mariolina De Robertis
- Isoritmi II - Volts, electronic music (1972)
- Symphonie imaginaire per voci soliste, 10 voci bianche, 3 cori e 3 orchestre (1973)
- Klaviersonate per pianoforte (1977), dedicated to Katia Wittlich
- Klavierkonzert per pianoforte e orchestra (1974)
- Souvenirs à la mémoire per 2 soprani, controtenore e orchestra (1974), dedicated to Harry Halbreich
- Pour un livre à Venise per orchestra (1975). First collection: Costanzo Porta I - Contrappunto primo (from the motet Gloriosa Virgo Caecilia by Costanzo Porta) II - Hommage à ---- Costanzo Porta III - Canzone "La Gerometta" (double chorus) (from Costanzo Porta)
- Tombeau d'Armor I per orchestra (1976, Teatro La Fenice)
- Requiem Hashshirim per coro a cappella (1976), dedicated to Paul Beusen
- Archeology City Requiem per orchestra (1976), premiered in Paris on January 31, 1977, at the inauguration of the Centre Georges Pompidou
- Tombeau d'Armor II per grande orchestra (1977)
- Tombeau d'Armor III per violoncello e orchestra (1977)
- Quartetto per quartetto d'archi (1977)
- Kammerkonzert per pianoforte, fiati, percussioni, arpa, celesta e clavicembalo (1977-78)
- Lou Salomé, opera, libretto by Karl Dietrich Gräwe (1981)
2.2. Major Conducting Engagements
As a conductor, Sinopoli held several prestigious positions and made notable appearances on international stages. He was appointed principal conductor of the Philharmonia Orchestra in 1984, a position he held until 1994. During his tenure, he made numerous recordings, including works by Edward Elgar and the complete symphonies of Gustav Mahler. He also planned to become chief conductor at the Deutsche Oper Berlin in 1990 but withdrew from the contract before his term began. In 1992, he became the principal conductor of the Staatskapelle Dresden, a role he maintained until his death. Sinopoli was a frequent guest conductor at the prestigious Bayreuth Festival, known for his interpretations of Richard Wagner's operas. He was particularly celebrated for his intense and sometimes controversial interpretations of opera, especially works by Italian composers such as Giuseppe Verdi and German composers like Richard Strauss. Sinopoli specialized in late-nineteenth and early-twentieth-century music, ranging from Wagner and Verdi to Strauss, Mahler, and the Second Viennese School. His conducting style was often the subject of debate, particularly in the symphonic genre. While some critics lauded the intellectual depth and insight of his interpretations, others found them to be eccentric. He actively promoted contemporary Italian composers' works and released numerous CDs with leading classical labels including Deutsche Grammophon, Philips Records, and Teldec. In 1987, during a visit to Japan with the Philharmonia Orchestra, he conducted a private masterclass with the Toho Gakuen Orchestra on Verdi's La forza del destino overture. He also held his first concert in South Korea at the Sejong Center in 1995.
3. Musical Philosophy and Interpretive Style
Giuseppe Sinopoli's unique background in medicine, particularly psychiatry, along with his studies in anthropology, profoundly influenced his musical philosophy and interpretive style. His interpretations were often described as intellectual, analytical, and deeply insightful, yet at times they were seen as controversial or eccentric by critics. He was known for his pedantic remarks that suggested the application of psychiatric perspectives to musical interpretation. This unusual approach simultaneously attracted fervent admirers and strong critics. Sinopoli's medical and anthropological knowledge informed his understanding of the human condition and historical contexts, which he believed provided deeper layers of meaning to the music he conducted. He saw music as a complex system, akin to the human psyche, requiring meticulous deconstruction and reassembly to reveal its hidden truths. His emphasis on detailed analysis and an unconventional approach to tempi and dynamics often resulted in performances that challenged traditional expectations but offered fresh perspectives on familiar works.
4. Other Interests and Activities
Beyond his distinguished career in music, Giuseppe Sinopoli was a person of expansive intellectual interests. His deep fascination with archaeology and history was a significant aspect of his life, culminating in his posthumous degree in archaeology. He had a particular passion for the ancient history of the Middle East and Near East, which resonated with his enjoyment of conducting operas like Verdi's Aida and Nabucco, both of which are set in ancient historical contexts. Sinopoli was a polyglot, reportedly fluent in seven languages, including Egyptian and Ancient Greek. This linguistic prowess further facilitated his extensive studies in history and archaeology. His publications included the book Masterpieces of Greek Ceramics from the Sinopoli Collection, demonstrating his scholarly engagement with his archaeological interests. He also had a command of the German language almost equivalent to a native speaker, and he recorded German-language operas and gave interviews in German during his visits to Japan.
5. Death
Giuseppe Sinopoli passed away on April 20, 2001, at the age of 54. He suffered a heart attack while conducting Giuseppe Verdi's opera Aida at the Deutsche Oper Berlin in Berlin. The incident occurred during the Act 3 duet between Aida and Radamès, when he suddenly dropped his baton and collapsed on stage. The performance had been dedicated to the memory of the company's chief director, Götz Friedrich, and was intended as a reconciliatory appearance. Sinopoli was immediately transported from the opera house to the German Heart Center in Berlin, but he was pronounced dead the following day. His death came just two days before he was scheduled to receive his doctorate in archaeology at Sapienza University of Rome. Two nights after his death, Marcello Viotti stepped in to conduct Aida and dedicated the performance to Sinopoli's memory. The funeral took place in Rome on April 23 and was attended by prominent figures, including the Italian President and Prime Minister, as well as a large delegation from La Scala. Sinopoli had been scheduled to assume the position of Music General Director of the Sächsische Staatskapelle Dresden in 2002, a role he was unable to fulfill due to his untimely death.
6. Legacy and Reception
Giuseppe Sinopoli's legacy is marked by his unique intellectual contributions to classical music and his profound, albeit sometimes polarizing, interpretations.
6.1. Critical and Positive Reception
Sinopoli's conducting was consistently a subject of varied critical responses. While many praised his intellectual depth and the insightful nature of his interpretations, particularly his analytical approach to complex scores, others criticized what they perceived as the "eccentricity" of his performances, especially in the symphonic repertoire. His deliberate tempi, unconventional phrasing, and intense emotional expressions often challenged traditional renditions, leading to both fervent admiration from some audiences and musicians and accusations of being overly cerebral or idiosyncratic from others. Despite the controversies, his recordings, released on major labels like Deutsche Grammophon, Philips, and Teldec, cemented his reputation as a star conductor. His final recordings, including Richard Strauss's Ariadne auf Naxos and Friedenstag, and Antonín Dvořák's Stabat Mater, continue to showcase his distinctive interpretive style.
6.2. Influence and Commemoration
Sinopoli's influence extended beyond the concert hall due to his interdisciplinary interests and his unique approach to musical interpretation. To honor his memory and multifaceted contributions to music and culture, the Taormina Arte organization established the Giuseppe Sinopoli Festival in October 2005. Sinopoli had previously served as the artistic director of the Music section of the Taormina Festival from 1989 to 1997. The annual festival celebrates him not only as a musician, conductor, and composer but also as a doctor, archaeologist, and intellectual. It features a diverse array of events spanning music, literature, theatre, and art, alongside conferences, exhibitions, publications, and concerts. As part of the festival's inaugural edition, the Sinopoli Chamber Orchestra was formed in collaboration with the Conservatorio "Arcangelo Corelli" of Messina. This orchestra, composed of talented young musicians, including both students and teachers from the Conservatory, primarily performs works composed by Sinopoli himself, ensuring his creative legacy continues to be heard and appreciated.
7. Honors
Throughout his distinguished career, Giuseppe Sinopoli received several notable honors recognizing his significant contributions to music and culture:
- 1994: Knight Grand Officer of the Order of Merit of the Italian Republic (Grande Ufficiale OMRI)
- 1998: Knight Grand Cross of the Order of Merit of the Italian Republic (Cavaliere di Gran Croce OMRI)