Valentina Peleggi is Mackerras Fellow at English National Opera, principal conductor of São Paulo Symphony Chorus, and guest music director at Theatro São Pedro, specializing in Italian opera.
Peleggi spent several years as resident conductor of São Paulo Symphony Orchestra under Marin Alsop. Hailed for her “abundant vitality and lyrical intensity,” she has appeared with the Baltimore Symphony, Royal Philharmonic Orchestra, Orchestra del Teatro Verdi, and numerous orchestras throughout the U.S., South America, and Europe, including Orchestra della Toscana in her home town of Florence.
Peleggi graduated with distinction from the conducting program at the Royal Academy of Music of London, furthered her studies with David Zinman at the Zurich Tonhalle, and holds a master’s in conducting from the Conservatorio Santa Cecilia in Rome.
When did you realize you wanted to be a conductor and why?
I’ve always felt in my heart a great passion for music and a natural connection with people. Then a moment arrived that changed my life forever. I was 13 when our children’s choir was asked to sing “Carmina Burana” in the main theater, in my hometown in Florence. It was the first time I had stepped onto a such a big stage, and I was blown away by the sound of the full orchestra! Behind me, a full-sized professional chorus, in front of me an ocean of string players. The emotion was so strong that I could barely open my mouth: Where did my voice go? Then I saw [Maestro] Zubin Mehta waving his arms, with a reassuring smile, giving life to each note. I felt that his baton was helping my voice to come out, and suddenly I felt part of something bigger, where everybody was connected and loved. It was so beautiful, strong and inspiring, that in my heart I promised: This is my dream!
What do you find most rewarding about leading an orchestra?
It’s about being part of an inspiring and electrifying team for me: When I lead the orchestra, I try to create an environment and atmosphere that enables everyone to be the best they can be. This spirit of deep connection between and among people during rehearsals, in concerts, in creative planning meetings — this is what I find truly rewarding. To inspire people and our community, to feel part of something bigger where dreams meet up with opportunity and possibility to create something special — this is my goal.
How can a symphonic orchestra be part of a thriving, diverse community?
Embracing diversity is fundamental to me: It means welcoming our real community to take part in the creative process; to include them and involve them; to entertain and educate them; to be a resource for everyone in the community. Getting to know one’s community is the first exciting step for me. Understanding different roots, backgrounds, and views; listening to people and to start connecting with different communities within the larger community — these are the first steps toward creating a vibrant arts organization that reflects the richness and diversity of our community, embracing all ages, backgrounds, ethnicity, genders, and economic levels.
What do you wish to communicate to people with the music you’ll conduct while you’re here?
I put together a program that pays homage to women, reflecting our point of view and our strengths. The concert includes Joan Tower’s exciting “Fanfare for the Uncommon Woman.” It is part of a series of five fanfares inspired by Copland’s “Fanfare for the Common Man” and dedicated to women that are “risk-takers and adventurers.”
Clara Schumann, probably one of the most famous pianists of her time, and nowadays one of the few women composers of the past who are quite familiar to us, wrote, “I once believed that I possessed creative talent, but I have given up this idea; a woman must not desire to compose — there has never yet been one able to do it. Should I expect to be the one?” With Joan’s strong piece followed by Clara Schumann, I want to send a message of hope, possibility, and new opportunities ahead!
What’s the highlight of the March 7 program you’ll conduct while you’re here?
Joan Tower’s brilliant and powerful “Fanfare to the Uncommon Woman No. 2” is surely the conceptual highlight. On the other hand, I wanted to share some of my home with you and the listeners, so Respighi’s “Pines of Rome” is another strong moment in the program. It is an incredible piece, full of colors and imagination. It gives the musicians room to shine in dreamy and virtuosic solos, and it explores the darkness of the past and the triumph of an era that, at the time this piece was written, was already a myth.
What are you looking forward to seeing and doing in Richmond?
I would love to get around and explore the city, walk in the parks. I’d like to visit the Japanese Garden at Maymont, have some time for tasting cider and beers. I’m a big fan of Edgar Allan Poe, so a visit to his museum is a must for me. I’d love to immerse myself into the arts, visit the Virginia Museum of Fine Arts, the Science Museum, get to know other cultural institutions. So much to do in Richmond, you’re so blessed! But mostly, I’d like to chat with people, feel the vibe of the city. I can’t wait to be there!
