We were lucky to catch up with Ginevra Petrucci recently and have shared our conversation below.

Ginevra, appreciate you joining us today. We’d love to hear about a project that you’ve worked on that’s meant a lot to you.

I am privileged to hold dual roles as principal flutist and administrator with the Chamber Orchestra of New York, a group that is incredibly close to my heart. This ensemble was the first orchestra I joined upon moving to the U.S., and over nearly 15 years of collaboration, it has become like family. Watching the orchestra evolve and thrive, particularly since I took on a leadership role, has been deeply fulfilling. In addition to carrying out our entire concert season at Carnegie Hall, we partner with multiple brands for high-end events, movie premieres, and galas. In the last few years we collaborated with Disney, the Metropolitan Museum, Dolce & Gabbana, Kith, and many others, and this adds a really exciting extra dimension to our orchestral experience.

Another project I am passionate about is the Fort Greene Orchestra, founded by the visionary conductor and curator Daniel Zinn. This ensemble has quickly established itself as a major force, drawing thousands of listeners to its Brooklyn home. Its mission is to present core classical orchestral repertoire to a community that would typically have to travel to Manhattan for similar experiences, with a focus on engaging young audiences who might be attending their first classical concert. The overwhelmingly positive audience response, with numbers rivaling Manhattan’s leading venues, reflects the resonance of this mission. Personally, it is equally gratifying to have built a community of exceptional musicians for this project, bringing together some of New York’s finest professionals. Serving as both principal flute and orchestra contractor has been uniquely rewarding, merging my musical and organizational passions to create a welcoming space where music thrives among friends.

I also would like to highlight the Flauto d’Amore New Music Project, a personal endeavor that is deeply meaningful to me. This project revolves around an extraordinary flute that I inherited, a one-of-a-kind instrument unlike any other in its form. In 2018, I launched a commissioning initiative to develop a contemporary repertoire for this captivating instrument. Since then, I have commissioned, premiered, and recorded nearly 100 works, spanning solo pieces, chamber music, electronic compositions, and full orchestral concertos. Collaborating with composers to explore the instrument’s uncharted possibilities has been an incredible journey, vastly enriching the flute repertoire. During the pandemic, I invited composers worldwide to create short works, recording a new piece each day for several months. This project has opened doors to travel, recitals, lectures, and connections that have profoundly shaped my artistic path, fostering beautiful bridges within the global music community.

Some exciting projects on the horizon include the release of my latest album with Brilliant Classics, a label I have had the privilege to collaborate with for the past decade. Their global platform has been instrumental in bringing my work to an international audience.

Additionally, I am proud to maintain a strong relationship with the Ukrainian Contemporary Music Festival, founded by Leah Batstone, which champions the musical voices of Ukraine in an ever-expanding programming that is as far-reaching as it is inspiring; and with the Opera Festival of Chicago, founded by conductor Emanuele Andrizzi, whose dedication to showcasing lesser-performed Italian operas to the Chicago audience aligns closely with my own passion for exploring the depth and diversity of Italian musical heritage.

I’m also thrilled about my ongoing collaboration with Victoria Kuhne, a Grammy-winning artist and Artistic Director of the Festival de Santa Lucía in Monterrey, Mexico. Her visionary approach and the partnership with conductor Felipe Tristan have led to enriching performances in Mexico and inspired new collaborative projects that extend across borders.

Ginevra, before we move on to more of these sorts of questions, can you take some time to bring our readers up to speed on you and what you do?

I am fortunate to be part of a family legacy of classical musicians, representing the third generation in this tradition. Growing up, classical music and the disciplined pursuit of mastery were integral to daily life. My father, who learned the flute from his father, became my teacher, while my mother played with us on piano every day, creating a profound bond within our family. This upbringing not only normalized the artist’s life in my view, but also provided me with a deep sense of purpose and a solid foundation for my own path.

After completing my studies in my native Italy, I moved to Paris, immersing myself in the true cultural cornerstone for flute players. Paris exposed me to a tradition that is central to our instrument’s repertoire and history. Then, an unexpected opportunity to pursue a master’s degree at Yale University transformed my trajectory, enriching my perspective on music and opening doors to new possibilities.

By 2016, after several years and international relocations, I realized that my aspirations aligned most closely with what New York City could offer. Choosing NYC as my home was the boldest decision of my career, and the dynamic, reciprocal energy of the city continues to inspire deep gratitude and fulfillment.

One of the most thrilling aspects of my life in NYC is the diversity of daily engagements. Every day presents a unique combination of opportunities: rehearsing, recording, performing, or teaching, whether at Carnegie Hall, on Broadway, in a historic cathedral (or duetting with Lizzo a the Met Gala – that happened too!). This constant variety aligns perfectly with my curiosity and love for stimulation, making every day an invigorating adventure.

For you, what’s the most rewarding aspect of being a creative?

I believe the most fulfilling aspect of being an artist lies in the connections we have the privilege to create. Whether it’s weaving conceptual threads in curating a concert program, designing a series, or commissioning new works—or fostering meaningful human connections through music—it’s this ability to build bridges and unify, while respecting individual identities, that excites me most about the music industry.

This passion extends across both the artistic and administrative facets of my work. There’s a conceptual parallel between assembling a well-balanced program and cultivating a harmonious ensemble of individuals. Perhaps that’s why, after years of artistic direction and shaping musical decisions, I’ve found myself drawn to contracting. It’s a role that calls for a visionary approach, imagining combinations and compatibilities, while creating environments that are both musically vibrant and personally nurturing.

On days when I get to go out in the streets of New York to perform, to work on my next concert program, and to connect with my larger circle of friends/colleagues whom I brought together to make music, I feel deeply fulfilled and grateful for the way my life and career have shaped up.

Let’s talk about resilience next – do you have a story you can share with us?

For many in my generation, particularly those pursuing career advancement far from their home countries, the need to adapt and evolve beyond one’s cultural and professional background becomes evident early on. This was certainly my experience. The contrasting approaches to the arts and professionalism between Europe and the United States demanded a fundamental re-prioritization of values and a reframing of my expectations. These shifts were challenging, but they also fostered growth, pushing me to redefine my identity as an artist in ways that have been profoundly rewarding.

One recurring theme in conversations with peers who share this transnational journey is the duality of perspective we gain. Living and working across different cultural contexts allows us to see the arts, our industries, and even life itself through multiple lenses. This multifaceted viewpoint adds richness and depth to our experiences, creating a broader understanding of our craft. While this process of adaptation and negotiation can be tricky, I firmly believe that the rewards—intellectual, artistic, and personal—far outweigh the challenges.

What I find most fulfilling about my career in the U.S., and especially in a city as dynamic as New York, is the emphasis on versatility and individuality. Here, artists are encouraged to diversify their activities, creating a constellation of roles rather than being confined to a single professional identity. This environment has provided the freedom to explore different aspects of my artistry and to tailor my career to my passions.

My classical training in Europe was rooted in an intellectual and cultural approach that emphasized art for its intrinsic value. While this foundation remains integral to my identity, moving to the U.S. broadened my perspective on what it means to be a professional musician. It allowed me to redefine success, not as adherence to a single traditional model but as the ability to carve out a unique professional path that aligns with my values and interests. The vibrant, ever-evolving arts scene in New York has been instrumental in this transformation, offering a fertile ground for experimentation and growth.

This journey has taught me that being an artist in a globalized world is about balance—honoring one’s roots while embracing new influences, respecting tradition while innovating for the future, and finding fulfillment in the freedom to create an ideal professional environment that is as multifaceted as the music itself.

Contact Info:

• Website: https://www.ginevrapetrucci.com
• Instagram: ginevrapetrucci_flute
• Facebook: https://www.facebook.com/ginevra.petrucci/
• Youtube: https://www.youtube.com/@ginevrapetrucciflute

Image Credits

Roy Cox
Jesse Hsu
Maurizio Sabatini