Ahead of Music by Moonlight at Minthis, guest conductor Christian Kunert reflects on the Roma Tre Orchestra’s first appearance in Cyprus and the artistic thinking behind the evening’s programme. In this interview, he speaks about the relationship between music, place and audience, the influence of his years within the orchestra, and the experiences that have shaped his approach to conducting.
Guest conductor, Roma Tre Orchestra
1. This will be the Roma Tre Orchestra’s first visit to Cyprus. What does it mean to you to introduce the orchestra to a new audience on the island?
It is a great honour and a real pleasure for me to perform in Cyprus for the first time with the Roma Tre Orchestra as a guest conductor. Every encounter with a new audience is a special moment for a musician, because you do not know each other yet, but music has the extraordinary ability to create an immediate connection, beyond language and cultural boundaries.
I see this visit not simply as the orchestra’s first performance in Cyprus, but also as an opportunity to introduce the local audience to its artistic character, energy, and the unique atmosphere of making music together. As a guest conductor, I am particularly excited to be part of this first encounter and to create something meaningful and memorable together with the orchestra for the Cypriot audience.
At the same time, such an encounter is always a two-way experience. We come not only to share our music, but also to experience the response of a new audience. Every audience has its own character, its own emotional response, and its own way of listening and that is what makes every concert unique.
I hope that after the concert, the audience will feel that they have not simply discovered the Roma Tre Orchestra, but have shared a genuine musical experience with us. And perhaps this first concert will become the beginning of a wonderful cultural and musical dialogue between Cyprus and Italy.
2. The programme for Music by Moonlight has been specially curated for Minthis and its audience. What inspired your selection of works for this particular performance?
The programme was shaped very much with Minthis and its audience in mind. I/we wanted to create an experience that feels intimate, evocative and connected to the atmosphere of the evening music that allows the audience to pause, listen and simply be present.
I/we was/were particularly drawn to works that create a sense of space and reflection, while also offering moments of warmth, beauty and emotional depth. The selection moves between different moods and colours, so that the music can unfold naturally under the moonlight rather than feeling like a formal concert programme.
Ultimately, I/we wanted the repertoire to complement the setting and create a shared experience where the music, the surroundings and the audience become part of the same moment.
3. The concert brings together classical masterpieces by Tchaikovsky, Johann Strauss II, Paul Dukas and Amilcare Ponchielli, alongside celebrated music from cinema. How did you create a natural musical journey between these two worlds?
I think the connection happens quite naturally, because great music is always about storytelling. Tchaikovsky, Strauss, Dukas and Ponchielli were masters at creating atmosphere, tension, movement and vivid musical images and these are precisely the qualities we also find in great film music.
So I didn’t want to create a bridge artificially. Instead, we looked for the emotional connections between the pieces. Sometimes it is a colour or a rhythm, sometimes a sense of drama, excitement or tenderness. Those elements can carry the listener from one world into the other without making the transition feel forced.
At the same time, I think it is important to respect the individuality of each composer and each musical language. We are not trying to make classical music sound like film music, or the other way around. The pleasure comes from hearing how these different traditions can illuminate one another.
For me, that is what makes the programme so exciting: you begin to realise that the orchestra has always had this extraordinary ability to paint pictures and tell stories long before cinema existed.
4. Italy has a rich and internationally celebrated musical tradition. How will the character and artistry of the Roma Tre Orchestra be reflected in this performance at Minthis?
The Roma Tre Orchestra’s performance at Minthis will reflect the richness of Italy’s musical heritage through elegance, passion, and expressive artistry. With technical excellence and a warm, contemporary spirit, the orchestra will bring Italian music to life in a way that feels both authentic and universally engaging.
5. The performance will take place outdoors, against the backdrop of the Minthis golf course and its historic 12th-century monastery. How does such a distinctive setting influence the interpretation and atmosphere of a concert?
A setting like Minthis becomes part of the music itself. Performing outdoors, with the golf course stretching into the landscape and the historic 12th-century monastery as a backdrop, creates a very special dialogue between sound, nature and history. It invites us to listen differently perhaps more openly, more consciously, and with a greater sense of presence.
For me, the beauty of such a place is that it doesn’t simply provide a backdrop; it adds another emotional dimension to the performance. The evening light, the surrounding landscape and the centuries of history held within the monastery all contribute to the atmosphere. There is something wonderfully timeless about bringing music into a space that has witnessed so much before us.
As a performer, I find that deeply inspiring. It encourages a more intimate and spontaneous interpretation, while at the same time creating a sense of occasion. I hope the audience will not only hear the music, but experience it as part of this unique moment and place.
6. Before becoming a conductor, you spent fourteen years as principal bassoonist at the Hamburg State Opera. How has your experience from within the orchestra shaped the way you now lead musicians?
My fourteen years as principal bassoonist at the Hamburg State Opera have shaped me profoundly as a conductor. Having spent so many years inside the orchestra, I know from experience what musicians need from a conductor and, just as importantly, what they don’t.
I understand the perspective of the musician: the responsibility, the concentration, the vulnerability, but also the desire to contribute creatively and to feel that your voice matters. That experience has made me very attentive to the orchestra, but it has also given me the confidence to lead decisively. I know when to listen, when to trust, and when to make a clear decision.
I believe that strong leadership in music is not about controlling every detail. It is about creating a clear artistic vision, communicating it convincingly, and giving musicians the freedom and confidence to bring their best to it. Having been on the other side of the podium for so long, I know exactly how powerful that kind of trust can be.
Ultimately, I lead musicians as a colleague who understands their world but I also take full responsibility for the artistic direction. That combination of empathy, clarity and decisiveness is at the heart of my approach as a conductor.
7. Throughout your career, you have worked with distinguished conductors including Daniel Barenboim, Zubin Mehta, Kurt Masur and Kirill Petrenko. Which lessons from these collaborations have had the greatest influence on your own artistic approach?
Working with conductors of such extraordinary stature has been one of the great privileges of my career. Each of them taught me something different, but perhaps the most lasting lesson has been that true artistry is never about imposing yourself on the music, it is about listening deeply, understanding its essence, and then having the courage to make it your own.
Daniel Barenboim taught me to look beyond the notes and to search for the deeper architecture and meaning of a work. From Zubin Mehta, I learned the importance of generosity, elegance and the human connection at the heart of music. Kurt Masur showed me the value of integrity and clarity, while Kirill Petrenko reminded me how powerful precision, intensity and absolute commitment can be.
I carry all of these experiences with me, but I don’t see them as a formula. They have helped me develop my own voice. Perhaps that is the greatest lesson of all: to remain open enough to learn from truly great artists, while being confident enough to ultimately stand on your own artistic ground.
8. When the final note fades beneath the evening sky at Minthis, what feeling or memory would you like the audience to take away from Music by Moonlight?
I hope they leave with a feeling they cannot quite put into words, that quiet kind of happiness you carry with you long after an evening has ended.
For me, Music by Moonlight is about creating a moment where music, nature and people come together, and everything else seems to fade away. I would love for the audience to remember not just the music, but how they felt that evening peaceful, connected and touched by a sense of magic.
I hope they carry with them the memory of a special evening where music, moonlight and the atmosphere of Minthis came together to create a truly unforgettable moment.
Event Details
Music by Moonlight
Sunday, 20 September 2026
Pre-Performance Drinks: 18:30
Performance Begins: 19:30
Venue: Clubhouse Green Lawn, Minthis
Dress Code: Elegant Attire
Tickets are available through SoldOut Ticket Box.
