Daniela Musca


Daniela Musca was born in 1982 in Rome. There she studied piano and chamber music at the
"Conservatorio di S.Cecilia", musicology and Italian literature at the University "La Sapienza", afterwhich she completed her piano studies at the "Music Academy of the City of Basel" and studied orchestral conducting in Berlin at the Hochschule für Musik "Hanns Eisler".

She has worked with several orchestras, including the Staatsorchester Wiesbaden, the "Lindenbrass" (brass ensemble of the Staatskapelle Berlin), the Brandenburger Symphoniker, the Belgian Chamber Philharmonic, the HR Symphony Orchestra and the Frankfurt Opera and Museum Orchestra.

From 2014 to 2018, Daniela Musca was firmly involved in the Staatstheater Wiesbaden, where she conducted the premieres of "L'elisir d'amore", "The Count of Luxembourg" and "Eugene Onegin", as well as the revivals of "Don Pasquale", "The Threepenny Opera", "La Traviata", "Norma" and "Otello ".

From 2008 to 2011 she was piano accompanist of Júlia Várady and Dietrich Fischer-Dieskau. She recorded the DVD documentary "Le passage du Flambeau" with Julia Varady and director Bruno Monsaingeon.

In the summer of 2010 and 2012, she accompanied the masterclasses of Cecilia Bartoli and her mother, Silvana Bazzoni Bartoli, at Kissinger Sommer. As a Musical Assistant and Maestro Suggeritore, Daniela Musca worked at the Staatsoper Berlin, at the Bavarian State Opera, at the Deutsche Oper Berlin and at the Salzburg Festival.

In the season 2017-2018 she conducted the Festival Concert of the KLM Festival in Knokke (Belgium) and gave her debut with "L'elisir d'amore" and "Otello" at the International May Festival in Wiesbaden. In July 2018 she has been invited to conduct a new production of Lears "The land of smiles" at the "Lehár Festival" in Bad Ischl (Austria).

Daniela Musca was a fellow of the Rotary Club Italy (2001) and "Live Music Now Berlin" (2008 to 2011), 2009 she received a prize at the “Hanns Eisler Competition for Conducting of Contemporary Music” in Berlin and in 2017 she was Semifinalist at the “Georg Solti Conducting Competition” in Frankfurt. Her interpretation of Eugen Onegin at the Staatstheater Darmstadt (2017) was awarded the prize for the best Musical Interpretation at the Hessian Theater Days.


"Daniela Musca brought clarity to Ravels orchestration, ensuring the Philharmonic to shine brightly, without compromising the piano version expressive narrative."

"Musca is also a pianist and as such certainly well acquainted with modest Musorgsky's iconic piano suite “Paintings on one exhibition ”. Here she led Maurice Ravel's equally legendary orchestral version, a show in stunning and colorful instrumentation."

Den italienska dirigenten Daniela Musca debuterade med Kungliga Filharmonikerna i en flott och färgstark instrumentation.
Fri, 2021-08-20
It is a strange feeling to enter Stockholm's concert hall and find half the parquet occupied by the orchestra's stage. Then it has seen throughout the past season - in streamed, audience-free version. But now, in place, with sparse seats also on the podium, the effects of the pandemic are also becoming acoustically obvious. At best, the musicians have pricked up their ears to chamber musical sensitivity, at worst with a scattered sound and rhythm balance. Difficult to polish to a smooth carpet of strings and sharpen the intonation of the woodwind, something that was felt in the concert's opening number: suite from Bizet's "Carmen". But Daniela Musca compensated with resilient and creative gestures. An Italian conductor, mainly active at German opera houses and appreciated by Scandinavian orchestras. Musca is also a pianist and as such is probably well acquainted with Modest Musorgsky's iconic piano suite "Paintings at an Exhibition". Here she led Maurice Ravel's equally legendary orchestral version, a performance in classy and colorful instrumentation. Musorgsky's harsh tonal language, at one time perceived as primitivist Russian exoticism, particularly inspired French composers a hundred years ago. Daniela Musca nicely balanced the piano original's narrative expressive power against the sound finesse of the Ravel version, and made sure that the Philharmonic was allowed to excel. Still, the concert treasure's greatest treasure was the young Swedish cellist Kristina Winiarski's philharmonic debut in a lovely, basically forgotten French cello concerto. She has really made this gem her own, and she should be given many opportunities to play it with many orchestras. Marie Jaëll was at one time an upbeat pianist and theorist with Franz Liszt as mentor. As a composer, he was often praised for his supposed "virility" - so it could be called in the 19th century for a woman. Kristina Winiarski gave her cello concerto all the elegance, lyricism and brilliance one could wish for.
Press Service