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Interview by T.C. Carlin | Tealartis | October 2025
Photo source: Private archive of Raimondo Mazzon
In the ever-evolving world of classical music, where tradition meets innovation, a new generation of artists is redefining what it means to be a virtuoso.
Among them stands out the Italian organist, conductor, harpsichordist and pianist Raimondo Mazzon – winner of the “MDW Great Talent Award” in 2023 – with whom we had the pleasure of conducting an interview.
Our conversation provides inspiring insights into his personal journey to becoming an exceptional virtuoso the world will be hearing more about. It covers his artistic vision and recent concert engagements, his focus on his role as a conductor, and his perception of social media and classical music.
Raimondo, you are a young and ambitious musician with a clear focus on art. What’s your secret, or rather, your inner approach, for mastering an artistic challenge you face?
My inner approach is respect for the score. And by respect, I mean the ability to grasp the complexity and refinement of the work of art I am preparing. Only with the humility required to understand what is extraordinary in a piece can I then imagine how to present to the audience what I have discovered. And if I am genuinely enthusiastic about my small discovery, I am confident that the audience will be as well.
You completed your organ studies with honors at the University for Music and Performing Arts (MDW) in Vienna in 2024. Since then you have moved to Salzburg. How did the change of location influence your decision-making process regarding your short-term artistic goals?
Salzburg is more human-scaled, whereas Vienna is so densely populated that it constantly feels competitive. I think that dynamic was reflected in me as well: in Vienna, I would go from one competition to the next, while here in Salzburg I’ve had the chance to build more genuine professional relationships — far more personal than the typical “prize concerts” one gets from competitions. For example, at the Stiftung Mozarteum with Rolando Villazón.
Looking at the many performances you are currently doing, your concerts as an organist and your performances as a conductor are particularly noteworthy. How is this exceptional dual musical mission being influenced by your overall artistic approach, and how does it resonate with you?
The organ and the orchestra have always evolved in parallel throughout the centuries. The sound aesthetics, the instruments, or even simply the scale of an organ from a given era and place always reflect the orchestra of that time. The polyphonic nature of the organ score also makes it very similar to the orchestral score — not to mention that an organist practices the art of orchestration each time they prepare the registration for a concert on a different instrument. It’s no coincidence that, in a distant past when musical competence mattered more than showmanship, organists were among the most renowned composers — and, conversely, every composer was a brilliant organist.
As an organist, you regularly give concerts throughout Europe. Can you tell our readers which concerts you regularly give on these occasions?
For my organ programs, I almost always present a large symphonic unit of great musical value — it might be a symphony, a symphonic poem for organ, or orchestral transcriptions of major works. I usually end with pieces that highlight pedal technique, which I find spectacular and on which I’ve spent many more years of work than one might imagine. These are programs not only to listen to but also to watch, where the beauty of the music is accompanied by technical brilliance. And usually, to my great delight, the audience is deeply impressed, as they often aren’t fully aware of the organ’s vast potential.
What are the challenges when playing an organ you are unfamiliar with? Are there occasions where you say: This is definitely a special instrument that you can play?
Every organ is an encounter with the cultural and aesthetic history of a place, a century, and, above all, the people who created it. Understanding its tonal layout — the stops and therefore the combinations of sounds it can produce — is essential when deciding on the program to present to the audience. The success of the concert largely depends on the choice of pieces, which must highlight the instrument at hand. Personally, I believe this already makes every organ special in its own way, and only by treating each instrument as worthy of being played can I truly share its sound with the audience. Of course, as a musician, some instruments also offer new inspiration and spark renewed interest in repertoire research — for instance, the Zanin organ of San Bernardino, which I recently performed on again. Being a historical copy housed in an original 1481 case, it has truly fascinating timbres and colors that can awaken a musician’s creativity.
In 2024 and 2025 you gave organ concerts at the Stiftung Mozarteum Salzburg. Can you share some moments and experiences with us?
The Grosser Saal is undoubtedly a hall with an extraordinary history — it has hosted some of the greatest musicians and provides a magnificent setting for any concert. I particularly love performing in concert halls equipped with modern organs. Certain types of virtuosic repertoire and transcriptions come across much better without the excessive reverberation of a church, and a modern organ allows for far more tonal variety thanks to the countless stop combinations programmable through the console’s computer.
Moreover — and this is very important to me — the audience can actually see the organist, which is not something to be taken for granted. It turns the concert into an event that is both to be listened to and watched. Experiencing a standing ovation twice for my two organ concerts was both a great personal satisfaction and a true joy for the organ as an instrument.
You are increasingly concentrating on your role as a conductor. How did the discipline become one of your focuses?
Opera, to me, represents the pinnacle of Western artistic culture. Poetry and literature, harmony and counterpoint, singing and instruments, staging, lighting, and direction — even makeup and costumes — it truly is the synthesis of all the arts. And the music of the great opera composers, Mozart above all, possesses a level of complexity and refinement that takes one’s breath away. These are works of art without equal in human history.
Being able to place my skills at the service of making music together is a great joy and an opportunity to meet many wonderful people and diverse cultures — something I could never experience in the same way as a solo organist.
In May 2025 you conducted Mozart’s opera Don Giovanni at Mozarteum in Salzburg. How was this experience for you?
Conducting a performance of Don Giovanni was truly a dream come true. I remember when my brother and I, as children, used to sing the entire Don Giovanni, playing all the characters and using pillows and cutlery as props. Being in the pit, helping to tell this magnificent story to the audience through Mozart’s music, was an absolute honor. The only problem now is that I can’t live without it anymore — I can’t wait to find out if, and when, I’ll conduct my next Don Giovanni.
This summer you conducted Mozart’s opera La Clemenza di Tito at the Croatian Opera Academy (COA) in Varaždin. Can you share some moments and experiences with us?
The COA is one of the most special moments of the year for me. The young singers in the cast bring an enthusiasm, a desire to work in detail, and a spirit of teamwork toward creating a beautiful production that is truly unmatched. Those weeks enrich me both culturally and personally, and I always come away deeply fulfilled — proud of the students’ musical growth and amazed by the many unexpected friendships that form. Some of the bonds created there, even in previous editions, have lasted for years. I sincerely hope that the day I leave behind this wonderful annual experience is still very far away.
You also had the opportunity to conduct a family version of Puccini’s Tosca at Oper Klosterneuburg 2025. How was this artistic experience?
In quite the opposite way, here I had the pleasure of working with highly experienced singers and a seasoned conductor. As a young conductor, these are the best moments to learn — better than any lesson or school. In particular, by collaborating with Francesco Cilluffo, who conducted the full production as well as several other Tosca productions throughout his career, I found a reliable mentor who was generous in sharing the secrets of that score. Thanks to him, my performance had a smooth, confident debut and was well received by the critics.
During festival productions, what are the most important lessons learned? Can you share some standout moments you experienced?
I’d say the most important lesson is that a conductor must keep a cool head — to be the rock everyone can rely on. A single performance involves many people, sometimes a hundred or more, and across multiple shows there are bound to be human errors. Someone might forget to go on stage at the right moment, miscount bars in the pit, or simply have an off day. The conductor not only cannot afford to make mistakes, but is also expected to remain calm and decide how best to help those who need it — whether the unintentional mistake is small or large.
What alternative career you’d choose, if not a musician?
MMA fighter.
What’s your go-to meal on concert days?
An empty stomach.
If you didn’t play a keyboard instrument, what instrument would you play?
Double bass or tuba.
Give us three key words for achieving goals.
Willpower, Discipline, Ambition.
Recommend one classical piece for our readers to discover.
Manari: Studio da concerto sopra Salve Regina
You belong to Generation Z – please bear with us using this terminology, as it merely serves as a measure of whether someone is a digital native or not. That being said, what is your view on the internet and social media for classical music?
Classical music on social media should be left in the hands of young people — with more freedom to be themselves and less fear of being judged by the old gatekeepers of the “we’re superior because we listen to classical music” caste. What really matters is conveying passion and enthusiasm — the jokes, the fun moments of a musician’s life — and moving away from the obsession with flawless performance. Nobody cares about that anymore, and even if they did, there are already countless perfect renditions on YouTube.
What observations can you share about social media and its influence on previous generations – the Boomers, Generation X and Millennials – in the institutional classical music world?
I believe institutions use social media so poorly that it would almost make no difference if they didn’t use it at all. Most of the time, it’s just about posting a concert flyer to say, “I’ve done my part.” Unless we’re talking about the Facebook groups filled with resentment, where people only discuss who’s “connected,” who’s a “sellout,” or who’s “someone’s kid,” constantly hunting for the next scandal to vent about. It’s an absolutely negative environment, mostly populated by so-called “adults.”
Definitely something that needs to change.
How do you manage your social media?
I usually post one or more clips from a concert or performance, to make those who couldn’t attend feel part of my journey and to keep a kind of “showcase” of my work on my profile. In my stories, on the other hand, I try to talk directly to the audience — answering questions, sharing curiosities, and showing glimpses of travels, rehearsals, and behind-the-scenes moments.
In your opinion, what will be crucial concerning social media and classical musicians in the future?
A direct, human, and friendly approach. Speak to your audience the way you would speak to your best friends. People love authenticity. And if you’re afraid someone might not like you — do it anyway. It’s better to know who your audience is than not to have one at all.
The worlds of video games, comics, film, and animation all have passionate communities that have turned sharing their enthusiasm in a fun, engaging way into real jobs across various online platforms. Classical music has everything it needs to do the same — we just need to unlock ourselves and have the courage to try. And I’m saying this to myself as well.
Now let’s return to the artistic tasks of a musician. Do you have a daily routine that helps you stay focused and complete your artistic tasks? Do you have any practical tips?
Discipline. Discipline leads to consistency, and regular repetition is the only way to perfect the art of music. For me, discipline doesn’t just mean deciding when to start practicing — it also means knowing when to stop. Don’t skip meals to study compulsively, don’t skip your workout that keeps you healthy, don’t skip that coffee you promised to a friend. I’ve seen many colleagues practice endlessly for an entire day, only to end up late at night with little progress and a ruined sleep schedule for the whole week.
What advice can you give to young fellow classical musicians who are working on their career planning? Does it make sense to work with a catalogue of values, or something like that?
Yes, it’s important to decide how much you’re willing to give to music — without feeling guilty about it. If your priority is to stay close to your family, or to build your own, and you know that would make you happy, don’t listen to the hyper-competitiveness that surrounds the music world. You can focus on finding a stable job that allows you to nurture your passion while spending time with your friends and loved ones.
If, on the other hand, you want to give everything you have to chase the dream — good luck. I don’t pretend to know what the right path is, but you have to be ready to sacrifice everything to pursue it.
How does the work with other musicians influence your music career?
It’s absolutely essential to let other musicians influence us. The only way to keep art alive is to allow ourselves to be inspired by other human beings. The history and culture of the world live in the memory and inspiration of the people around us. Thinking you can “do everything on your own” is pure illusion — in music and in life. And especially for conducting — try moving your hands in the air alone... I doubt you’ll hear any sound.
Finally, what are your artistic plans for the near future? Are there particular projects you’re excited about?
The coming months will be exciting. In November, I’ll play a four-hand concert — something I’ve never done before — and then my first Traviata on the 22nd in Reggio Calabria, which will be a real milestone to remember. After that, a couple of months working on Die Zauberflöte at the Mozartwoche with Rolando Villazón and a spectacular cast — I get chills just thinking about it. Around New Year’s, I’ll conduct a concert with the Arrigoni Orchestra, where my brothers will also be performing — it’s going to be great fun — and I’ll also play a harpsichord concerto as a soloist.
I can only consider myself lucky to have such diverse and inspiring artistic experiences ahead.
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