Joseph Rescigno
[Note 1] [3] In addition, he serves on the advisory committee of the Olga Forrai Foundation, which supports the training, education, and career development of singers and conductors.
It was there, in 1955, that he first watched the complex undertaking of assembling an opera production (and first heard Maria Callas in a piano rehearsal with his uncle conducting Il trovatore).
Rescigno attended a neighborhood parochial school, St. Mary's Nativity, and studied piano nearby with Prof. Mario Miccu, under whose baton he played Mozart's Concerto in A major, No.
[Note 6] Writing in the New York Herald Tribune, Judith Robison described Rescigno's "emotional depth and flair for pathos" in a review entitled "A True Bard's Strong Debut.
"[9] He earned a bachelor's degree in modern languages and philosophy at Fordham, graduating summa cum laude, Phi Beta Kappa.
And his college career included a year in Rome studying at the Gregorianum and the conservatory at Santa Cecilia as well as privately with Arturo Benedetti Michelangeli and Alberto Neuman.
Rescigno's lifelong ambition was conducting, and at the urging of Ellen Repp, he applied to study at the Mozarteum Salzburg's academy in the summer after he was to receive his master's degree.
In the late 1970s and 1980s, Rescigno's assignments occasionally took him to his uncle's company in Dallas, where he conducted student performances and worked on outreach activities.
[12] There, he met new mentors and advisors, notably Roberto Benaglio, the chorus master of La Scala, and Vasco Naldini, its prompter.
In addition, under his leadership, the Orchestra won Quebec's Prix Opus for a program of all five Beethoven piano concertos with Anton Kuerti in the summer of 1997 at the Festival de Lanaudière.
Thereupon, Goyer held a press conference to allege a resignation and mutual agreement to terminate the contract and announce Rescigno's replacement.
[22] The Honourable Sylviane Borenstein, J.S.C., ultimately found that the "Defendant fired Plaintiff without cause and his contract was terminated in a brutal, abusive, cavalier and malicious manner."
In addition, the Court labeled comments Goyer made at the March 9, 2000 press conference, immediately afterward, and into the Fall of 2000, as "false," "insulting," "gratuitous," and "malicious.
"[29] Rescigno has also embraced new works like Minoru Miki's Jōruri for Opera Theater of Saint Louis, Don Davis's Río de Sangre at the Florentine Opera, Denis Gougeon's Piano Concerto with l'Orchestre Métropolitain, and Ernesto Cordero's Concierto de Bayoán (for guitar) at the Casals Festival—all world premieres under his baton.
[31] Rescigno has sketched and painted in pastels throughout his life, on occasion creating and contributing original works to be sold at benefit auctions.
"[36] He has been recognized for programming imaginatively (often in collaboration with other arts organizations),[37] rethinking old standards,[38] venturing into unexpected repertory,[39] invigorating orchestras,[40] accompanying skillfully,[41] and presenting engaging commentary from the stage.
