Massimo Scapin, Italian conductor of both opera and the symphonic repertoire, composer, and pianist, holds degrees in piano and choral conducting from the State Conservatory of Music in Perugia, in orchestral conducting and composition from the National College of Music in London, and in religious science (magna cum laude) from the Pontifical Lateran University. Massimo appeared as guest conductor and pianist in Europe, Japan, Kazakhstan, Korea, and the United States. He was also a Vatican Radio commentator and entertainer. He currently serves as director of music for the Diocese of Charleston, South Carolina.
Author: Massimo Scapin
John Henry Newman: Convert, Saint…and Also Musician
The news of the supreme glorification, on October 13, of Saint John Henry Newman (1801–1890) reawakens interest in this British cardinal, theologian and apologist. Beatified by Benedict XVI on September 19, 2010 in Great Britain, he was born in London …
Vivaldi’s Violins: The Great Catholic Priest Composer of ‘The Four Seasons’
“Vivaldi’s violins” — 12 of them, together with one viola, two cellos, and two double basses — left Venice for Cremona, to be studied, preserved, restored, and enhanced. The rare and precious collection is located in Venice’s ancient Ospedale della …
On Rembrandt and His Musical Admirer
On October 4, 350 years will have passed since the death of the Dutch Baroque painter and printmaker who loved light, darkness, and mystery: Rembrandt van Rijn (1606–1669). The musical side of Rembrandt — his baptismal name and his signature …
Leoncavallo, the Earthquake, and Pope Pius X
A century ago, on August 9 in Montecatini Terme, just southwest of Pistoia in north central Italy, Ruggero Leoncavallo, Neapolitan opera composer, died. His fame is linked to Pagliacci (“Clowns”), a two-act opera of 1892, which, together with Cavalleria rusticana …
The Priest Who Formed Gioachino Rossini
Identified in a private American collection, the harpsichord on which Gioachino Rossini learned to play came to light “That barbaric instrument” on which the composer in his adolescence was practicing “every day,” as we read in a letter of 18 …