Gianmarco Moneti

Shortly after graduating from the Royal Conservatoire, Italian pianist Gianmarco Moneti is due to embark on a national tour as part of the Dutch Classical Talent programme. His rapid transition from student to professional performer can be traced directly back to his Master Project — a project that not only defined his artistic profile but also opened doors to the wider professional field. The tragic suicide of the father of a close friend formed the starting point of his journey. Through works by Bacewicz, Castelnuovo-Tedesco and Fauré, he seeks to understand his friend’s pain. Above all, the music is intended as a source of consolation — not only for her, but for all listeners.

In his recital, Gianmarco Moneti tells the story of his friend Clara, weaving together music, spoken words and images. The compositions he performs represent emotions such as anger, dissociation and loneliness. In this way, the pianist attempts to open himself to Clara’s pain.

We spoke with Gianmarco about his Master Project journey, the guidance he received, and what it means to tour so soon after graduation.

Starting the Master’s Programme
KC: When you began your Master’s studies, what were your initial ambitions?

Before starting this Master’s programme, I had already completed two Master’s degrees in Italy, focused on classical piano and chamber music. At that point, I was searching for something different, something that went beyond pure instrumental practice. Those earlier programmes were very much centred on playing the piano, practising endlessly, without much space to reflect on what it actually means to be a musician in society.

What immediately attracted me to the programme in The Hague was the emphasis on artistic research. Already during the application process, there was a strong invitation to think conceptually, to situate music within a broader context. I remember that there were several artistic research fields listed, and one of them ‘beyond discipline’ felt exactly like what I was looking for. I wanted to focus on music, but always in relation to something else: context, meaning, and being a musician in the world.

KC: Did you already have a clear idea for your Master Project at that stage, telling Clara’s story?

Not exactly. My initial idea was different, although some elements were already present. At first, I wanted to create a socially engaged project: going into neighbourhoods, asking people what they think about before falling asleep. Loneliness was already a central theme, but the form was still very open.

The story of Clara, however, was always close to me. She is one of my best friends, and what she went through was something that had been part of my life for a long time. During the first courses on artistic research, I realised that this was a subject I genuinely cared about. The teachers kept repeating something very important: choose a project you really want to do, because it will be a long and intense process. They were absolutely right. That was the moment I decided to shift my focus and commit fully to Clara’s story.

Shaping the Master Project
KC: How did your Master Project develop over the course of the programme?

The development was very organic. At first, I imagined a performance in which I would collect and present multiple stories, portraits of different people who had experienced loss through suicide. But once I conducted a long interview with Clara, almost three hours of material, I realised that her story alone contained enough depth to sustain the entire project.

From there, the project expanded through conversations with many people, both inside and outside the Conservatoire. I spoke with psychologists, friends, and fellow artists. One particularly important influence came from my interest in psychodrama, a form of therapy developed by Jacob Levy Moreno. Psychodrama is based on action and embodiment rather than analysis: people act out situations, using their bodies and imagination. For me, this resonated deeply with performance practice.

I adopted several concepts from psychodrama in my artistic research, especially the idea of the ‘auxiliary ego’: someone who temporarily embodies another person or role. In the performance, an actress took on this function, not by becoming Clara, but by clearly showing the act of trying to embody her. That distance was essential. It respected the intensity of the story while allowing the audience to remain aware of the theatrical framework.

KC: Looking back, what do you see as the core idea of the project?

At its heart, the project is about using music as a tool to bring reality onto the stage. I have often felt disconnected in traditional concert settings—listening to perfectly played music while the world outside feels chaotic and painful. I wanted to create a performance that speaks directly to lived experience.

The emotions Clara described, like anger, dissociation, and loneliness are universal. They are emotions I recognise in myself and in the people around me. Through this project, I wanted to explore how music written by human beings, often shaped by their own suffering, can connect us to those emotions. Music is not abstract; it is deeply biographical. Remembering that felt essential to me.

KC: At what point did you realise the project was resonating beyond the Conservatoire?

Being selected for the Dutch Classical Talent programme was a decisive moment. Suddenly, I knew that the project would be seen in fourteen theatres across the country. Until then, I hoped it would have a life beyond the school, but this made it concrete. The project would not remain only in the research catalogue or in the memory of my teachers, it would meet real audiences.

Guidance and Mentorship
KC: How did you experience the overall guidance during your studies?

I was incredibly lucky with the people around me. My main subject teacher, David Kuyken, played a crucial role, not only musically but also personally. He was interested in who I was as a person, not just in what I played. Especially at the beginning, when language barriers made everything more difficult, his trust meant a lot to me.

He encouraged me to step outside standard expectations, to follow my instincts, and to integrate unconventional elements into my work. That support gave me the confidence to pursue this project fully.

Dutch Classical Talent
KC: How did you become involved with Dutch Classical Talent?

My teacher suggested it to me. He felt that the programme aligned perfectly with my artistic vision. I decided to apply, without knowing what would happen.

KC: What was the audition process like for you?

It was a very meaningful experience. Through personal therapy and deep work on myself during the Master’s, I felt more present on stage than ever before. For the first time, I truly felt connected to the music, to myself, and to the jury. That sense of control and openness was new for me, and it confirmed that the work I had done was paying off. The jury was also made up of people from the professional field. They judged the whole idea behind the program, not just how I played every single note.

KC: How did you experience the coaching within the programme?

The support within Dutch Classical Talent has been extraordinary. The coaching was personal, attentive, and deeply involved. I felt seen not only as a musician, but as a human being. That kind of care is rare, and it made a huge difference in developing the project further.

Looking Back — and Ahead
KC: What has your Master’s journey taught you about your artistic identity?

It clarified that I am a multidisciplinary artist. I am interested in music that interacts with other forms—video, theatre, spoken word—and in projects that engage with reality and emotion. These two years helped me understand that this is not a deviation, but my natural artistic path.

KC: What advice would you give to current Master’s students?

Take your time. Do not let your studies become toxic. Artistic growth does not follow a single timeline, and comparing yourself to others is dangerous. We are still young, although it doesn’t always feel like it, so we have more than enough time to develop ourselves. Caring for yourself is as important as practising.

KC: How do you see your artistic practice developing after this tour?

I want to keep creating new projects, telling different stories, and exploring new music. There are so many voices and stories still unheard. I hope to continue building performances that connect deeply with people, using music as a way to reflect on the world we live in.