Antonio Pappano, a highly respected conductor, recently made the move from The Royal Opera to take up a new role with the London Symphony Orchestra (LSO). Since this transition, Pappano has embraced a new lifestyle, opting for public transportation over the private car service he previously used.
Now 65, Pappano previously served as the music director of Covent Garden from 2002 to 2024. Last September, he took over from Simon Rattle as the LSO’s chief conductor. Residing in Hampstead, he enjoys a short commute to the LSO’s home at the Barbican Centre. Currently, Pappano is leading the orchestra on a U.S. tour with stops in California, Florida, and New York, which concludes with performances at Carnegie Hall, marking their first appearance there since 2005.
Maxine Kwok, an LSO violinist and board member, describes Pappano’s distinctive approach as largely influenced by his extensive background in opera. This connection to vocal expression is evident in his orchestral interpretations, bringing a wealth of emotion and phrasing into his work.
Born in England, Pappano moved to the United States at 13. His musical journey began early on and was shaped by his father, a voice teacher. By the age of 17, he was a rehearsal pianist at the Connecticut Grand Opera, later joining New York City Opera at 21. His career progressed as he worked under the mentorship of Daniel Barenboim, debuting in prominent orchestras and opera houses in the early 1990s.
Reflecting on his experiences, Pappano acknowledges that some opportunities to lead major symphony orchestras came early. However, these early experiences helped shape his career into a series of successful long-term roles without major missteps.
Throughout his career, Pappano has primarily focused on prominent European institutions. He has held significant positions, such as music director in Oslo, Brussels, and Rome. Despite spending part of his youth in the U.S., he has since concentrated his professional efforts across the Atlantic.
Discussing cultural challenges, Pappano expresses concern over the diminishing public appreciation for the arts, particularly in America. He notes the perception of the arts as elitist poses budgetary challenges, which requires constant advocacy in both the U.S. and Europe.
Clive Gillinson, Carnegie Hall’s current executive director and former LSO managing director, was instrumental in introducing Pappano to orchestrating symphony performances. Initially hesitant about Pappano’s symphonic capabilities, Gillinson supported his orchestral endeavors, leading to Pappano’s debut performance with the LSO in 1997.
Pappano’s innate understanding of opera has impressed musicians within the LSO, creating a deep connection that resonates through their performances. Neil Percy, a percussionist with the orchestra, praises Pappano’s unique ability to breathe life into the music, reflective of his operatic sensibilities.
Starting his relationship with The Royal Opera in 1990, Pappano became their youngest music director two years later, following in the footsteps of acclaimed figures like Rafael Kubelik and Colin Davis. After announcing his transition to the LSO, known for its celebrated work on film soundtracks, Pappano is enthusiastic about defining his own path apart from Rattle’s legacy, drawing contrasts between their leadership styles.
While leading LSO, Pappano continues to be involved with The Royal Opera, overseeing Barrie Kosky’s staging of Wagner’s “Ring Cycle.” As Jakub Hr?ša prepares to take the helm, Pappano remains integrally engaged, ensuring a seamless artistic transition toward the complete cycle presentation.
In a recent performance, Pappano reflected on the privilege of conducting the LSO, expressing gratitude for the vibrant life that imbues each note played by the ensemble. This dynamic energy reinforces his deep appreciation for the orchestra’s theatrical and emotive flair, accentuating the unique spark they bring to their collaborative journey.
