Player Portrait

Frank Diliberto

Bass

First season with the Oregon Symphony:

1983-1984

Most influential teacher(s):

Warren Benfield, the great teacher and bass pedagogue, with whom I studed at Northwestern University, was a second father to me. He was a member of the Chicago Symphony (former principal of Chicago and Philadelphia) who served under a long list of great conductors such as Fritz Reiner and Sir Georg Solti. Essentially, he made me believe in myself. He developed a relationship with me that fostered a tremendous commitment to him and the music. During lessons, he "pulled no punches." In good conscience, one always wanted to be prepared. Rightfully so, he viewed the symphonic and operatic repertoire as civilization's greatest artistic achievement. He once said, "You must hold those such as Beethoven in awe as you would Michelangelo or Shakespeare. Every performance deserves your greatest commitment toward excellence with passion."

Earliest musical memory:

My father, Antonio, singing "O Sole Mio" along with a recording of Enrico Caruso.

"I first knew I would make music my career when ... "

I started lessons when I was 3 and a half on the accordion. I switched to bass at age 13 and went to a great all-male public high school of 6,000 in Chicago called Lane Tech., where I majored in music. My first performance there included Beethoven Symphony No. 3. That's when I knew.

"Other than performing music, I've always thought it might be fun to be a ... "

Captain of a tugboat.

Favorite composer and/or period?

Verdi first, Puccini second. Hey, they're Italian! They get to my soul like no one else. An expert in genetics told me that some significant studies have been done which suggest some memory may be passed on from generation to generation and that's really the so-called deja vu. The Verdi "Requiem" is to die for.

What does this photograph say about your life?

Not much. I'm not really a "cowboy" at heart. I'm really a horseman. Sir Winston Churchill's quote sums things up best: "There is something about the outside of a horse that is good for the inside of a man." I show cutting horses, which are considered the premier Western performance horse. What a rush! It's like sitting on a cat that's playing with a mouse, except the horse is trained.

What do you enjoy most about performing?

I've played in many great orchestras — Chicago, Cincinnati, Lyric Opera, Houston, and others since I was 18 years old and I've taught and coached many great students from 4th grade to professional level. I've also had the privilege of conducting several orchestras, including the Oregon Symphony for five years as assistant and resident conductor under Maestro James DePreist. So now, in my 50s, I really know the repertoire. When you've performed the Beethoven 9th 40-50 times under so many conductors like Barenboim, Solti, Ormandy, Shaw, Masur or DePreist, you understand the concept of the work. You get the "big picture" and you know what part you play within the ensemble. I can play with confidence, passion and energy. That's what I enjoy about performing, now more than ever. It's a real "kick."

Other than playing great music, what do you see as the Symphony's most important role?

I have a hard time with this question whenever it comes up. Our most important role is simply to play great music and perform it to the best of our ability. Secondarily, it is often implied that it is our responsibility to "educate" people (young and old) about music so as to develop an appreciation for music. To me that important effort belongs to others. Most professional performing artists and audiences alike developed skill and appreciation through schools and private teachers for a significant part of the 20th century. That has changed, and sadly so. We all know about the drastic cuts in "the arts" in our schools during our greatest economic times. Shame on us! The more we "lower the bar" in the arts, the more we become less able to discriminate art from average and soul from superficiality. It is interesting to note that upon the discovery of ancient societies, we determine the extent of their greatness after scrutinizing the extent of their art.

What is your favorite part of being a member of the Oregon Symphony?

I enjoy making music with this powerful bass section more than ever. Significant kudos must go to Maestro James DePreist because during my 17 and a half years as principal bass, he has supported our efforts in the bass section fully. The greatest thing a conductor can do with competent artists is to provide an atmosphere in which one can play with freedom and authority. Jimmy leads us, yet he trusts us and lets us play.

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