Q&A with Stefano Boccacci ’25MMA
This spring, conductor Stefano Boccacci ’25MMA was appointed the new Leverhulme Conducting Fellow at the Royal Conservatoire of Scotland. In this Q&A, he shares what draws him to conducting, reflects on the power of interdisciplinary collaboration, and looks ahead to this exciting new chapter in Glasgow.
Q: You’ve championed work that brings music, dance, and theater together. What draws you to this kind of interdisciplinary work?
There are several factors. The main one is that I come from the world of opera — that's my main passion. Opera is the epitome of interdisciplinary work. I love exchanging ideas with different artists and bringing them together. As a conductor, you're at the center of the cycle, collaborating with everyone and molding everything as time goes by.
It’s an amazing feeling to interact with so many disciplines to create a show that’s rich in artistic pathways. I also love being a sort of creative producer. Before Yale, I did a lot of projects with contemporary dancers, ballet dancers, and actors. These projects let me challenge the status quo of how classical music is portrayed — often very separate and formal — and instead explore new horizons, break the wall with the audience, and make everything more interactive.
One project that stands out was with a ballet company in Wales. I created my own version of a ballet by combining pieces usually performed as concert works, not with dance. I gave my artistic vision to the choreographer and told them to follow it however they wanted. We had an off-stage women’s choir, the audience surrounding us, and dancers performing in the same space. It was really special.
Q: When you’re starting to work with a new ensemble, how do you approach it? What’s important to you in those early rehearsals?
There are three stages. First, you have to be absolutely prepared — know the piece inside out and absorb it into your system. Second, bring a clear artistic vision: the sound you want, the ethos of the piece. Third is flexibility. The ensemble has its own ways of doing things. You can’t impose your idea — you propose it, but you also listen. Sometimes what they offer is even better, and you adapt.
On a personal level, it’s about being yourself and creating relationships with your colleagues. It’s not about being the boss; it’s about being musicians coming together to make something wonderful.
Q: Last February, you got to put together a program for the Yale Philharmonia (featuring Piazzolla, Schumann, and Brahms). How’d you arrive at this repertoire? Generally, how do you approach putting programs together?
Programming is one of the most beautiful and important parts of being a conductor. It defines the artistic identity of an institution. For my program at Yale, it was essential to include Latin American repertoire — something deeply embedded in my culture and not performed enough.
My approach is to create kaleidoscopic programs that merge pieces from varied cultural backgrounds. We’re finally moving away from the overture-concerto-symphony model. I love combining premieres with traditional works, different instrumentations, and genres. It’s about innovating constantly and connecting traditions in new ways.
Q: You’ve accomplished a lot during your time at Yale — collaborating with composer Joan Tower, working with violinist Augustin Hadelich, performing at Carnegie Hall. What moment at Yale has been especially memorable or meaningful to you?
Being mentored by Peter Oundjian was a privilege. He’s so dedicated, curious, and inspiring. Assisting in the Ring Without Words with Giancarlo Guerrero was unforgettable. Touring to Carnegie Hall was spectacular — being on that stage, hearing the sound check, it was magical.
Working with soloists like Nicole Martin ’25MM, Leanne Jin ’24MM ’25MMA ’31DMA, and Vitaly Starikov ’26AD was also incredibly gratifying. There was a real sense of camaraderie and exploration.
Q: You’ve worked and studied in a variety of academic settings, from Oxford to Strasbourg to Wales. What have you found to be unique to the Yale experience?
There are three things that really set Yale apart. First, the faculty is just spectacular. You have access to top performers, top researchers, and top composers — all in one building. That’s unbelievable.
Second, the level of professionalism across the university is astonishing. Everything runs like a Swiss watch. As a performer, you’re treated as a colleague and an artist — not just a student. That kind of respect and structure creates an environment where you can truly thrive.
And finally, the quality of the musicians here is unmatched. It’s a place where there are no artistic limits — you can explore anything.
One particularly beautiful experience is the Music in Schools Initiative. I spent my two years at Yale teaching conducting to the New Haven public schools’ teachers and tutoring some of the ensembles in the program. It fills your heart with gratitude to be part of it, and I strongly encourage the future conductors at Yale to join the initiative — they need us and we need them.
Q: What will your next chapter at the Royal Conservatoire of Scotland look like?
The Leverhulme Fellowship is something I’ve dreamed of for eight years. It’s designed to bridge the gap between study and professional life. I’ll be working with the BBC Scottish Symphony Orchestra, the Scottish Opera, and at the Royal Conservatoire of Scotland, conducting, assisting, collaborating, and teaching. We’ll go on tours to the BBC Proms in London and the Edinburgh Festival.
Professionally, I’m excited to collaborate across disciplines and work with different ensembles and artists. Long-term, I want to be a guest conductor with orchestras and opera companies around the world and become a music director of an institution—an orchestra, opera house, or festival—molding the artistic path of the company, collaborating, innovating, and exploring new artistic horizons.
Q: What first drew you to conducting? Was there a moment when you knew this was your path?
It was a natural calling. My dad inspired me. He showed me operas from the time I was three. I started out wanting to be a rock star, playing electric guitar in bands. Then I studied piano, composition, and viola, but something was missing. I’m someone who wants to see things from a 360-degree perspective, and conducting is exactly that. When I discovered it, it felt like an electric shock. Conducting lets you be a performer, researcher, composer, theater director, dancer; you have to know languages, history, politics. It combines all these amazing professions into one.
Q: How do you manage nerves and pressure before a performance?
The nerves never go away — and that’s a good thing. It means you care. Over time, I’ve learned to use that energy to my advantage. What works for me is intense, focused study followed by complete disconnection. I go dancing, hiking, cycling — anything to reset. Then, when I come back to the music, I’m fresh and fully engaged.
