My stance towards musical genres is rather steady: I think that every genres can be established through the creation of a repertoire, but I also think that a performer, instrumentalist or conductor, must keep from cementing this relationship with too conventional or formulaic choices.
Therefore, in my experiences with opera or musical theatre, I favoured unusual juxtapositions: Cavalleria Rusticana with Rapsodia Satanica, or L’Impresario delle Smirne with Mozart’s Der Schauspieldirektor, rarely-performed works, including Haydn’s Il Mondo della Luna and Scarlatti’s Il Trionfo dell’Onore, Poulenc’s La Voix Humaine, Chailly’s L’Aumento, Rota’s I Due Timidi, Hrasa’s Brundibar, Campogrande’s Lego, Tutino’s Vite Immaginarie, Battistelli’s Frau Frankenstein, Enigmi Mozartiani by Olivero, Cardi, D’Amico, Nieder, Neuwirth.
I also reworked existing pieces, such as Monteverdi’s Orfeo, and I staged works that were not originally conceived for dramatization: Façade by Walton, Play It Again, Nino! with music by Rota, Histoire by Stravinsky, Der Tribunby Kagel.