Gianluca Cristofaro
Biography
Gianluca Cristofaro, born in Isernia in 2005, is a young Italian pianist.
He began studying piano at the age of six at a local music academy, in preparation for admission to the “Lorenzo Perosi” Conservatory of Music, where he was accepted into the class of Maestro Aldo Ragone, with whom he continues his musical training. Winner of an Erasmus scholarship in Germany, he studied for about a year at the prestigious Hochschule für Musik “Franz Liszt” in Weimar under the guidance of Maestro Michail Lifits, with whom he also continues his studies at the “Accademia del Ridotto” in Stradella. Throughout his education, he has attended masterclasses with renowned pianists such as Beatrice Rana, Alessandro Deljavan, Olaf John Laneri, among many others. He also took part in a fortepiano and historical keyboard masterclass with Marius Bartoccini.
Gianluca has already won several first prizes in competitions held in Russia, Poland, Hungary, the Netherlands, Switzerland, Austria, Spain, and Italy. Recently, he distinguished himself at the prestigious Sigismund Thalberg International Piano Prize in Naples, where he was awarded the Second Prize.
Among his most notable achievements are the first prize at the Beethoven Wien Competition, which will mark his debut in Austria at the renowned Gläserner Saal of the Musikverein in Vienna, and the First Prize at the Grand Prize Virtuoso, which will lead to a performance in the Netherlands at the Kleine Zaal of the Concertgebouw in Amsterdam. He also won the absolute first prize and the special prize for the performance of A. Schönberg’s Six Little Piano Pieces Op. 19 at the Kara Karayev International Music Competition.
In addition, he stood out at the Ad Libitum International Piano Competition, where he received the absolute first prize, the award for best performance of a Chopin etude, and the special prize “pianist of the season.”
At the Musica Italia Grand Prize, he won the second prize in category A and the fourth prize, along with a concert engagement and the special award “Best Student of the Lorenzo Perosi Conservatory,” in the grand prize category.
In the past autumn season, Gianluca performed in numerous concerts, including his debut in Spain at the Victoria Music Center and in Bologna at the Teatro di Villa Aldrovandi Mazzacorati.
He also made his debut in Russia in 2022, performing online for the Consonance International Music Festival held at the Kara Karayev Music School in Moscow. In addition to performances in Russia, Spain, Austria, and the Netherlands, he regularly performs in Italy, taking part in various festivals and concert series such as the Un Piano Per Sepino Piano Festival and Piano City Napoli. He frequently appears in the Classica Giovani concert series, part of a project organized by the cultural association “Armonia”. Most recently, he also performed in the Aula Magna of the Convitto Nazionale Mario Pagano.
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I was six years old when I first became interested in the piano. It was Valentine’s Day in 2011. I don’t know why I remember this detail so clearly, but I was just going to bed after a day at school when I randomly asked my mom, “Hey, can you buy me a keyboard? I kind of want to learn the piano.”
At first, she didn’t take me seriously. She said, “Okay, Gianluca, just go to bed. You’re tired and only saying that because you’re sleepy.” But I kept asking, and eventually she realized that my desire to learn the piano was genuine.
She bought me a keyboard, and I started playing around with it. Of course, I didn’t take it too seriously at first. It was just a hobby, something fun for a six-year-old kid. But I really enjoyed it. I even have some old videos of myself playing Bach Minuets and Schumann’s Album für die Jugend, Op. 68, simple pieces for children, but ones I loved.
I grew up like this, without yet realizing that piano would become my life. I was a bit lazy back then and wanted to do other things, such as play football, go outside, and enjoy being a kid.
Three years later, in 2014, my mom bought me an upright piano. For context, I was born in 2005. She said, “Okay, since you want to do this seriously now, either you practice or you practice.” She wasn’t forcing me, but she gave me that little push: “Now you should start practicing seriously; there’s no other choice.”
It was around high school, when I was 14 or 15, that I finally understood how much I loved it. After taking part in a few local competitions and winning some prizes, I realized that I truly enjoyed practicing and performing. So I thought, why not pursue this seriously?
From then on, I started practicing diligently and preparing for more competitions. A few years later, I began my bachelor’s degree in music. Last year, I went to study in Germany, and I’ll be heading back there in a few days. That was how it all began, and now I just keep practicing, performing, and enjoying the life I’ve chosen.
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On an average day, I practice for about seven to eight hours. However, it really depends on my schedule. For example, yesterday I had a few classes and other things to do, so I practiced for only four or five hours, maybe even a bit less. I don’t try to cover everything every day because that would be physically impossible, but the amount of repertoire I need to learn is quite large. So, I have to practice regularly. I can’t stay away from the piano for long; it’s something I simply have to do.
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Oh, nice question. I remember when I was playing Mephisto Waltz No. 1 by Liszt, with those wild right-hand jumps in the presto section. I practiced them blindfolded. I actually covered my eyes with a cloth and kept practicing for hours and hours until the jumps finally came out in a decent way. I survived.
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I don’t know if I can choose a single favorite composer, but I definitely have a top three or four: Schumann, Beethoven, Chopin, and Rachmaninoff. If I really had to choose one, I would probably go with Rachmaninoff.
Lately, I have been playing a lot of his music, including the Études-Tableaux, Op. 33, for my concerts. I feel a strong connection to his music because he has such a unique way of expressing emotion. His writing communicates deeply, both with the performer and with the audience.
I think Rachmaninoff and Chopin share something truly special that not many composers possess. There are many others I admire, such as Schumann and Beethoven, but Chopin and Rachmaninoff, to me, represent the human soul. Their music captures the full range of human emotion and daily feeling better than anyone else. For me, they are the composers who express that most perfectly.
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My dream piece? Well, it might sound obvious, but I would have to say Rachmaninoff’s Third Piano Concerto. I have already performed the Second Concerto and the Rhapsody on a Theme of Paganini, but the Third feels like Mount Everest—it’s the ultimate dream. Still, since Rachmaninoff’s Third is such a common answer, I should probably pick another one.
Right now, I’m working on Chopin’s Second Concerto, and my goal is to perform it really well. It’s a very challenging work, and I’m putting in a lot of effort. So for now, I would say Chopin’s Second Concerto is my dream piece, although Rachmaninoff’s Third—and perhaps Tchaikovsky’s First—remain right there with it. I suppose it’s more of a collection of dream pieces than just one.
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I remember there was a period in my life, around the time of COVID, when I developed severe tendinitis in both hands and arms. Because of the lockdowns, I couldn’t go out to see a doctor or get a proper checkup.
It was a very difficult time, both physically and mentally. We were all confined indoors, unable to breathe fresh air, and I couldn’t practice—the one thing that was central to my daily routine. I felt lost and frustrated, so I spent most of my time playing PlayStation, because there wasn’t much else to do besides video games and online school.
Even then, I remember still trying to practice, because I simply couldn’t stay away from the piano. But it was painful, and I struggled a lot. After the quarantine ended, I finally saw a doctor, and through treatment and exercises, my condition gradually improved. I still occasionally have some pain, but I use special creams to manage it.
I think it’s partly genetic, since my mother also has problems with her tendons. Unfortunately, I seem to have inherited that from her.
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Maybe I would have started practicing seriously a little earlier, because then I might not have the problems I have now. But jokes aside, I see many children today starting to play the piano from a very young age, which is absolutely fantastic.
When I was studying in Germany, I had many Asian friends, especially Chinese pianists. From what they told me, many children there practice incredibly long hours from a very young age—sometimes eight or nine hours a day at just six or seven years old. It’s quite astonishing.
Still, I would say the best advice is to enjoy your childhood. When you truly enjoy life, later in your twenties or thirties you can draw from real experiences and stories, which make your piano playing more meaningful.
Some people my age are absolutely stunning pianists. They have incredible technique and can play whatever they want. But when I ask them, “What were you doing in your childhood?” they often say, “I was practicing.” And while that’s impressive, I sometimes think, “Okay, you can play amazing pieces, but what do you carry in your heart and in your mind? What memories truly stay with you?”
For that reason, I really look up to Arthur Rubinstein. He wasn’t the kind of pianist who, at my age, practiced seven or eight hours every day. He enjoyed life—he went out, took walks, met people, and experienced the world. Later in life, he became even more famous, and I think that connection with life enriched his music.
On the other hand, there was Vladimir Horowitz, who practiced eight or nine hours a day and could say, “Now I can play everything, and I’ll show you how well I can do it.” These are two completely different approaches.
But Horowitz later suffered from depression and had to stop performing for a time, while Rubinstein never faced that issue. He loved life fully. He was passionate about culture, nature, books, and everything around him.
I think I’m influenced by Rubinstein’s philosophy, though I also recognize that times have changed. Today, there are so many incredibly talented pianists, and the standard is higher than ever. So you must work hard and set ambitious goals. Otherwise, it becomes clear who is putting in more effort. But in the end, that’s my philosophy: to balance hard work with a love for life.
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Yes, next month I have a recital in the main theatre of my hometown. It’s the most difficult program I’ve ever played. I’ll start with Brahms’s Intermezzo, then Beethoven’s Appassionata Sonata. After a short break, the second half will feature Chopin’s Polonaise-Fantaisie followed by Rachmaninoff’s Études-Tableaux.
The program is about seventy minutes long and extremely demanding, so I’ve been practicing a lot for it. In addition, I’m preparing for a competition in Italy and really hope to be selected. For the semi-final round, I’ll have to perform the Polonaise-Fantaisie and Rachmaninoff’s Études-Tableaux, and if I advance to the final, I’ll play Chopin’s Second Concerto. That’s why I’m working so hard right now—these two main events are my biggest focus.
After the competition, I have another recital in Caserta. I’m not sure if you know the Reggia di Caserta, but it’s a very historic building from the Bourbon era. So, at the moment, I’m preparing for several concerts and this competition, all of which I’m very excited about.
If you have enjoyed Gianluca’s interview, follow his musical journey here at @gianluca.cristofaro.pianist on Instagram!
