Letizia Michielon

Venetian pianist, composer, and philosopher of music, Letizia Michielon is a multi-faceted artist. Thanks to her neo-humanistic training, she engenders her creative profile through dialogue between different disciplines, endeavoring to crystallize an innovative and endlessly expanding aesthetic direction. Since graduating at the age of sixteen with honors at the “B. Marcello” Music Conservatory in Venice under the guidance of her Maestro, Eugenio Bagnoli, she has embodied not only the passion for the study of sound but a synthesis of a wide-ranging cultural path but also a conception of interpretation as a challenge projected into the future, capable of profoundly affecting the adventure of knowledge. Debuting at the age of just fourteen in the Wiener Saal of the Mozarteum in Salzburg, she later perfected her art with M. Tipo, K. Bogino, A. Jasinski, P. Masi, and M. Mika, embarking upon a concert career at a very young age leading her to perform in prestigious halls, such as Mozarteum in Salzburg, Schönberg Centre in Vienna, Kunstuniversität in Graz, Casal del Metge in Barcelona, Chopin Academy in Warsaw, BKA Theatre in Berlin, Mozart Hall in Bratislava, Abravanel Hall (Salt Lake City), Pol-lack Hall I (Montreal), New York University, la Fenice Theatre and "E. Vedova" Foundation in Venice, "G. Verdi" Conservatory in Milan, Olympic Theatre in Vicenza, Teatro Comunale in Ferrara, "G. Verdi" Theatre and Miela Theatre in Trieste. For years, she has dedicated herself to expounding upon Beethovenian thought, recording his complete sonatas and major piano works for Limen Record Company in a production that intertwines the implementation with scientific research aimed at deepening the neo-humanistic Bildung. A work in progress that has forged the Beethoven 2020 Project, underway at the Scuola Grande of San Rocco, where the artist Letizia Michielon is setting forward Beethoven's complete sonatas as well as piano and orchestra concertos with the Mitteleuropa Orchestra conducted by F. Fanna. In parallel, again with Limen, she launched the recording of the complete works by Chopin in addition to pieces by C. Debussy and M. Ravel. Letizia Michielon's interpretative proficiency is firmly intertwined with her com-positional experience. Naturally, as she holds to be mindful of the aesthetic conception of Schlegel, Hegel, and Gadamer, interpreting means recreating and somehow "re-composing" the work that is being performed.

After graduating in Composition, under the guidance of R. Vaglini, at the “B. Marcel-lo” Music Conservatory, she was commissioned by prominent international festivals, including the Music Biennale, La Fenice Theatre, Ex Novo Musica, Berlin BKA, Trieste Prima, Limoux Festival, and Washington Square Festival. Her compositional journey has opened further horizons towards orchestral conducting, cultivated under the guidance of P. Bellugi, R. Rivolta, and M. Summers, while even encompassing electronic music, which she studied at the Venice Conservatory. Her works are often inspired by figurative impressions or philosophical and poetic readings. Philosophy effectively represents her third gravitational pull. After graduating summa cum laude at Ca’ Foscari University, with a dissertation on the aesthetic writings of F. Schiller, she received a Ph.D. in Pedagogical and Didactic Sciences at the University of Padua arguing a thesis on J.W. von Goethe. In 2019, she attained her second Ph.D. in Philosophy of Music at Ca’ Foscari presenting a dissertation on Adorno's Beethoven. She collaborates with the research group led by prof. Mario Gennari at the University of Genoa and is part of the Impromptus series scientific committee (EUT, Trieste), which comprises work in the form of essays on aesthetics, musicology, and music philosophy. Vice President of Goethe Institute in Venice, she is a member of Ateneo Veneto in Venice and the Mitteleuropean Cultural Institute in Gorizia too. She edited: Il gioco delle facoltà in F. Schiller. Bildung e creatività (Il Poligrafo, Padova, 2002); L’archetipo e le sue metamorfosi. La Bildung nei romanzi di Goethe (Il Poligrafo, Padova, 2005); La chiave invisibile. Spazio e tempo nella musica del XX-XXI secolo (Mimesis, Udine, 2012); Die Klage des Ideellen, Il Lamento dell’ideale. Beethoven e la filosofia hegeliana (EUT, 2018), presented in Pordenone Legge Festival; Il suono messo a nudo. Contrappunti al Beethoven di Adorno (EUT, 2020); and the soon to be published monograph La mia musica è calligrafia. Suono e silenzio nel pensiero compositivo di Toshio Hosokawa (EUT, 2022). She wrote scientific papers for Cambridge Press, Mimesis, Il Poligrafo, Il Melangolo, Castelvecchio, Liberia, and Ca’ Foscari Japanese Studies. She is currently investigating the relationship between music and neuroscience, the fascinating world of complex thinking and performance studies - themes she tackles with her students in the Philosophy of Music, Piano Performance, and 20th Century Piano Repertoire courses, disciplines she teaches at the “G. Tartini” Music Conservatory of Trieste. From November 2022 she will teach at the “B. Marcello” Music Conservatory of Venice. The enthusiasm for teaching inherited from Maestro Bagnoli initially led her to teach at the Academy of Fine Arts in Venice. She later held master classes at prestigious international institutions such as MDW in Vienna, the Lugano Conservatory, the Chopin Academy in Warsaw, the Royal Conservatory in Madrid, Trinity Laban in London, the Music Academy in Novi Sad, the Music Academy in Sarajevo, New York University, McGill University in Montreal and IUAV in Venice (Music and Architecture class). Her recordings and interviews have been broadcast by RAI, Italian Swiss Radio, Capodistria Radio Television, Salt Lake City Radio, and Tokyo NHK.