Despite occasional reservations about classical music concerts in the open air, Ann-Zofia Mutter is far from thinking that Herodium has any problems with acoustics. Moreover, the famous German violinist, who will perform at the Rome Conservatory on June 12 as part of the Athens-Epidavros Festival, is again on the same stage (but also in the stands opposite her) and is looking forward to her return. . “Building theaters at that time created such excellent acoustics,” Mutter tells an impressed K, “that sometimes I wonder how people managed it then, but today it is sometimes very difficult to achieve such good sound quality.”

She herself learned the first secrets of her art at the age of five. At the urging of her music-loving parents, she began playing the piano, which she quickly replaced with the violin. Her first public performance was in 1972, at the age of 9, with the State Orchestra Winterthurer, and soon after Herbert von Karajan heard her at the Lucerne Festival and invited her to audition with the Berlin Philharmonic. “The greatest musical prodigy since the young Menuhin,” said the great conductor, and soon Mutter began a brilliant career with performances in the largest halls, numerous recordings, works written for her and many awards, including four Grammys.

What, according to her, is Karajan’s biggest influence on her? Ann-Zofia Mutter is the first to respond that, as her mentor, the great conductor inspired her to do something similar for a new generation (she herself created in 2008 a music foundation that bears her name, from which she emerged and the Mutter Virtuosi Ensemble that will accompany her to Herodium). “Karajan said something very good,” Mutter recalls today, and quotes a phrase that she probably passes on to her students: “If you feel that you have achieved all your goals, then they are probably too low.”

“If you feel that you have achieved all your goals, then they are probably too small,” said Karayan.

The fact that the modern era doesn’t seem to produce “legends” of this magnitude is not necessarily a bad thing, in her opinion. In addition, there are other musical idols – Callas, Horowitz, Heifetz and others – who have not disappeared. “It’s true what you’re saying,” Mutter says, and continues, “Perhaps it’s because we have so many music platforms that offer a large number of artists. But perhaps there is a shortage of such great personalities. We have excellent conductors, but Karajan was unique in the number of records he recorded. Today, almost everyone can be on YouTube, which empowers and makes many people popular, but few of them become legends.”

However, if we talk about “expansion”, the program of the concert in Herodeo itself is also interesting. In addition to the Greek premiere of a work by André Previn (1929-2019), who was Mutter’s partner, in addition to concertos by Vivaldi and Bach, the audience will hear another one written by Joseph Boulogne de Saint-Georges (1745). -1799), who was the first European composer of African descent. He is not well known, so the issue for Mutter is about inclusivity in classical music.

“I think the problem is how we choose the repertoire and musicians,” the violinist replies. “I would say yes, unfortunately the classical music industry is neither completely non-racist nor completely sexist, which is a reflection of society. But I think we are more aware of the problem than ever and most of us are working towards greater equality. I apologize for not bringing up the issue of women and people of color in composition before, but now I do. Joseph Bolon, whose mother came from Guadeloupe, was one of the best violinists in Europe, as well as an amazing fencer. He also took part in the French Revolution and was a member of the Marie Antoinette Chamber Music Ensemble. He conducted Haydn’s works in Paris – I don’t know why History ignored him. He had a very interesting life, and in every sense of the word he was a bright personality.

There is nothing Stradivarius can’t do.

After so many concerts, recordings, collaborations and awards, did Anne-Zofia Mutter have to reconsider her musical tastes and start enjoying compositions that she previously did not appreciate so much? “The truth is that as a teenager, I didn’t have much liking for modern music, especially twelve-tone music,” she replies. “But over the years, as I got closer to the world of contemporary music in general, I think I fell in love with it. Now I regularly play very modern compositions. I must also say that for several years the music of John Williams has been a constant passion for me. I can’t tell you how great a gift his presence in my life is (ps: the American composer wrote the music for Mutter, with whom he also collaborated in concerts and recordings of his works). For the encore of the Herodeo gig, I’ll also be playing some clips from Williams’ films, which I’m looking forward to.”
Her favorite violin is the one she “recruits” for her most important performances and recordings: a 1710 Stradivarius violin called the “Stradivari Dan Raven”, which the Germans acquired forty years ago. “This tool is like a magic box,” he says. “There is nothing this violin can’t do – I have limitations, but it has limitless possibilities. It’s incredible, it’s a wonderful miracle.”

Federer

With equal admiration – and in spite of his own skill, or perhaps precisely because of it – Mutter speaks of the talent of … tennis player Roger Federer, who also appears in a recent documentary film about the life and work of the violinist, directed by Sigrid Faltin and entitled “Vivas”. Is it fair to compare playing tennis and playing the violin? “There are a lot of parallels, which is why my conversation with Roger was so interesting,” says Mutter, explaining: “One parallel is with a tennis player’s right hand, with how he feels the flow of his movement and the moment when the racket hits the ball. So I asked Roger exactly how he feels when he hits with his perfect racket. Such an ideal point also exists in the connection of the bow with the strings of the violin. So Roger said that when he finds that middle ground, which seems to happen often, it’s like cutting butter with a hot knife. It happens completely effortlessly, without any resistance. You become one with the racket and ball, just as you become one with the bow and violin. Then his artistic qualities. Roger approaches the ball in a way that you think is impossible to hit, and then does something you’ve never seen before, superhuman. He takes risks because he loves what he does and is curious to see where it might go. He gives everything, every time. And he’s not exactly a perfectionist, he never was. Yes, when he played, he was perfect, but that was not his goal. His goal was to bring joy to the court by doing something impossible. That’s more or less what a musician should do.”

Call

This is more or less also an argument – or rather an appeal – by Ann-Zophie Mutter to someone who knows little about classical music, but is curious to hear it in Irodio. “I’m going to Athens with a group of musicians from 14 different countries,” concludes the German. “These are young people from all over the world who have a passion to express themselves and bring joy to the listener. Music is a celebration of life, community, it is life itself. It includes all the senses that we are capable of, and even more. Especially the concert in Herodium, in my opinion, is closest to heaven. This is the most spiritual place I know to play music, and I really can’t wait to share this moment with the audience.”