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LB: How did you get from physiotherapy in a leper colony in New Guinea to Concertmaster at La Scala?
JB: I played violin since I was 5, I was a student of Nathan Gutman who was not only a great teacher but a great mentor. My mother played the violin and she was a major influence on my life.
I loved music but I always wanted to be a doctor and was thrilled to get into medicine. Unfortunately, I also loved the social life of university and failed my first year which led me to the next best thing – physiotherapy.
I did my thesis on leprosy and spent five months in a leper colony in New Guinea which was an extraordinary experience. There was a wonderful New Zealand doctor who performed miracles with reconstructive surgery. It was a very rewarding experience. I took my violin, but I had no idea that it would be so humid there and rarely played. The violin spent most of the time in the operating theatre because it was air conditioned.
LB: How did you end up in Italy?
JB: As soon as I graduated, I knew that I wanted to fly away from home. I travelled with a friend and ended up in Italy. My mother encouraged me to visit the same summer school in Sienna as an observer, as she had done all those years ago.
I did go to Sienna, met lots of Italian musicians and just fell into a way of life surrounded by music, history, food, wine and fun-loving Italians. I fell in love with Silvano, a violinist. We travelled, we played, we taught, we married. Our house in Florence was a country house complete with cats and dogs and vines. It was a wonderful social life with friends on the terrace – the summer flies in the evening and the duomo of Florence in the valley below.
Silvano and I then went to Sardinia to teach. Teaching positions in Italy are privileged and we were sent to Sardinia where we still have the house where our daughter Nadio was born. After some time, Silvano wanted to return to Milan, so I auditioned for the Concertmaster position at La Scala. We do crazy things when we are young. I hitchhiked from Yugoslavia with my violin on my back, auditioned the next day and trained back to Yugoslavia for a performance. Twelve violinists auditioned and I was awarded the position.
LB: Tell me about La Scala
JB: I clearly remember the first day that I entered the pit and it felt like the great chandelier was sitting on top of me. We performed Madama Butterfly with Georges Prêtre. I loved playing at La Scala, Claudio Abbado was there. He was so very musical, I have some really strong memories of Rossini, Mussorgsky, a fantastic concert of the Brahms 1st Piano Concerto with Maurizio Pollini. There were so many concerts that I played with tears in my eyes; Tristan with Kleiber; Bohème with Zubin Mehta, I didn’t want Der Rosenkavalier to finish.
Kleiber was absolutely wonderful. He has a way of conducting that’s not vertical, he gathers you up and takes you on a musical journey. You can feel the intensity in his face and we would feel the intensity of the music.
LB: How did you meet Marko Letonja?
JB: Marko came to La Scala as a young conductor in his 20s. I had some very close friends in the orchestra and we would evaluate the conductors across the pit by signing with our hands, while playing of course. Marko got the thumbs up, he is a very fine conductor. I am thrilled that he is Guest Conductor at Orchestra Victoria. The orchestra loves playing with him, he has a wealth of knowledge and lots of stories to tell us. We are all looking forward to our 11th performance of the annual 3MBS Classically Melbourne Concert this month at the State Theatre.
LB: What’s the difference between playing in the pit to playing on centre stage?
JB: It’s important for OV to perform as a symphonic orchestra on stage. Audiences tend to forget that there is music in the pit – especially in ballet. The players need to feel proud of what they do and to be appreciated by audiences ion their own right. Good feedback automatically lifts our spirit.
LB: How did you get back to Melbourne after 33 years in Italy?
JB: John Hopkins invited me to join the faculty at ANAM as Strings Coordinator, which I did for a short while before Peter Garnick invited me to lead the State Orchestra of Victoria as it was then called. I started in the position of Concertmaster on 1st Oct 2000.
LB: You are more than the Concertmaster at Orchestra Victoria. You program, you schedule, you look after the orchestra. How do you manage your time?
JB: My practice always comes first, it is something that was instilled in me by my mother and I still get up to practice every morning for as long as my schedule allows me. I think having played a lot in orchestras makes it easier for me to know what audiences expect and how members of the orchestra feel. It is most important that the players can come to me with any problem and that we have the right musicians for the program. The main thing I have learned is not to blame myself if things aren’t perfect and not to lie awake at night worrying about things I cannot control.
LB: How would you describe Orchestra Victoria?
JB: OV is a really good orchestra based in a culturally dynamic city. It recognises the standard that they want to attain and is incredibly willing to go for the ride, to experiment with different repertoire. The players are very keen to get things right and welcome opportunities to collaborate with other arts companies.
LB: What’s OV’s greatest challenge?
JB: Finance. We run on a shoestring and we just don’t have the resources to do interesting experimental programming, to bring audiences along on the same ride. We should present concerts that people understand and most importantly feel comfortable attending. We tend to be too formal. I don’t have any problem with audiences applauding between movements. If you perform a great movement of the Eroica why should there not be a spontaneous applause like there is in opera or ballet?
LB: Are there enough fine orchestral players coming up through the Schools of Music?
JB: There are not enough in Victoria – the standard is too low. 50% of our casual musicians come from Brisbane. ANAM has made a difference especially in the winds. They are well trained. There is a tendency with the strings to regard themselves as ‘soloists’.
LB: I know that you are a strong advocate for orchestras to encourage their players to perform chamber music.
JB: In a chamber orchestra, every player is exposed, there is nowhere to hide, there is no conductor, you rely completely on your ears. It’s a tremendous discipline. Obado formed I Solisti de La Scala using front desk players. I had my own quartet string quartet Quartetto Santo Serafino which performed for about 12 years. La Scala actively encouraged us to perform chamber music and regularly presented chamber music concerts.
LB: What does Jo want?
JB: I would love to see OV play with one of the world’s truly great conductors – it would be an experience of a life-time.
LB: Was there a musical experience that changed your life?
JB: Music Camp and the Australian Youth Orchestra were important influences on my musical life. I learned to love music and to experience the social interactions of young musicians from all over the country coming together to play music. I led the AYO for the Queen Mother’s visit in 1966. I was so nervous when I had to shake her hand.
Sienna made me realise that I wanted to a musician and live a privileged life. Every day is different, we are incredibly fortunate. If you are well organised with a supportive partner, you can enjoy an active family life and have a profession.
LB: Do you miss Italy?
JB: Italy was my home for 33 years. My daughter and granddaughter live in Italy and I have a home in Italy. I miss my family and friends and I miss the history. I love the architecture and I love going back to La Scala. But I absolutely adore Melbourne. I feel very lucky that I live and work in the heart of this dynamic, culturally active city.
Orchestra Victoria performs in the 11th 3MBS Classically Melbourne Concert on Monday 9 August at the Arts Centre, State Theatre.
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