Backstage with Paola Castellano, on bringing global star power to the cosmopolitan temples of classical music.
- Ilona Oltuski
- May 1
- 8 min read
Her unwavering inquisitiveness is pivotal to her success as a modern-day impresario. In a saturated market of international talent scouts, Castellano and her Studio Artist Management team have placed some of the most prestigious performing artists in front of global audiences, managed their PR branding, and negotiated contracts with presenters and touring agents. After casting her European network with local representation in Italy and Great Britain, she is looking to expand into the US market, offering overseas performance opportunities for American artists and vice versa.
While getting the gigs makes their careers count, it is just as much about building trust and respect in those artists' lives, whose concert lives she often accompanies; the job description frequently involves handholding and becoming that ingenious go-to problem solver when the going gets tough and circumstances bring about some re-negotiating, she shares in this interview, from behind the stages:
GetClassical.org features an interview with the visionary producer, cultural diplomat, and founder of STUDIO ART USA LLC.
By Ilona Oltuski
Ilona—GetClassical: Paola, congratulations on more than thirty years of shaping the global classical music landscape. Let's begin with your roots—you were raised between Naples and London. How did that early multicultural experience shape your approach to international concert production?
Paola Castellano: Thank you, Ilona. Growing up between Naples and London gave me a unique foundation—one that's deeply rooted in European cultural heritage, while also attuned to the global arts conversation. I was exposed to vastly different artistic traditions, languages, and communication styles from a young age. That blend has shaped how I operate today, especially when building cultural bridges between Europe and the United States. My upbringing prepared me to serve as a connector—someone who understands the nuances of the European and American music markets and how to navigate between them with authenticity.
Ilona—GetClassical: Your academic background is steeped in the classical world—Greek, Latin, literature, and languages. How does that classical foundation translate into relevance for today's US performing arts industry?
Paola Castellano: In many ways, this is the key element. The US classical music market values substance, quality, and global sophistication—especially in major cultural centers like New York, Chicago, and Los Angeles. My classical education taught me to curate and communicate with depth. That matters here. US institutions and presenters often seek partners who understand European traditions and translate them into compelling, modern experiences for American audiences. I bring that level of storytelling and cultural fluency, which is vital when building transatlantic collaborations.
Ilona—GetClassical: Let's talk about Studio Art. You co-founded Studio Art Concert Agency in Italy in the 1990s and launched STUDIO ART USA LLC in 2016. What did you hope to bring to the American market?
Paola Castellano:
When I launched STUDIO ART USA LLC, I aimed to serve as a cultural bridge by importing European excellence and creating genuine partnerships with American managers, artists, and institutions. I wanted to offer a sophisticated curatorial approach backed by three decades of experience in high-level European production. Today, STUDIO ART USA partners with leading US agencies like IMG Artists, Opus3, Askonas Holt, and Ted Kurland. Our model is built on collaboration, not competition—and I believe that's why we've been so effective in delivering successful tours and cultural events across Italy and the US.
Ilona—GetClassical: You've collaborated with global legends—Evgeny Kissin, Marilyn Horne, Lang Lang, Lera Auerbach, Branford Marsalis, Renée Fleming. How do you think your European background adds value to producing these high-profile artists in a US context?
Paola Castellano: Many American artists look to Europe as a benchmark for cultural depth, venue history, and performance tradition. My European background allows me to deliver that depth and position to American artists in the most prestigious and historically significant settings, from Teatro alla Scala to the Ravello Festival. At the same time, I understand the expectations of American performers and managers: clarity, reliability, and impact. I serve as a manager and translator—logistically, artistically, and culturally. That's where the real value lies.
Ilona—GetClassical: The 2023 Teatro alla Scala gala with Renée Fleming and Evgeny Kissin was a significant cultural moment. How do events like that reflect your unique position between the US and European markets?
Paola Castellano: That concert was a perfect example of what I strive to create: American excellence meeting European tradition at the highest level. Renée Fleming is an icon in both markets, and Evgeny Kissin brings unparalleled gravitas. Bringing them together at La Scala—co-produced with IMG Artists—was more than just a performance. It was a statement of transatlantic artistic diplomacy. I'm deeply proud of that because it reflects the core mission of STUDIO ART USA: to make culture travel meaningfully across borders.
Ilona—GetClassical: You're also the Artistic Coordinator for the internationally celebrated composer, conductor, and pianist Lera Auerbach, whose work spans classical music, literature, and visual arts. Can you tell us more about this collaboration?
Paola Castellano: Absolutely. Working with Lera Auerbach is an extraordinary experience. She's among the most respected living composers today and a powerful cross-disciplinary voice whose work resonates far beyond concert halls. For instance, her deep connection with National Geographic speaks to her artistic alignment with themes of nature, global consciousness, and the human condition. As her Artistic Coordinator, I support developing and presenting her major projects across Europe and North America. In many ways, Lera embodies the kind of artist I love working with—visionary, fearless, and deeply committed to meaningful cultural impact. Our collaboration reflects my mission to expand the role of classical music in today's world.
Ilona—GetClassical: Recently, you've developed a close relationship with the Van Cliburn International Piano Competition. What does that partnership mean to you and your work in the US?
Paola Castellano: This partnership is very important to me. The Van Cliburn Competition represents the highest standards of artistic excellence and discovery—it's one of the most prestigious platforms for launching the careers of exceptional pianists. I'm honored to work closely with the Cliburn community and attend the 2025 competition in Fort Worth, where I will pursue the artistic representation of the next First Prize winner through STUDIO ART USA. I aim to introduce this new talent to European audiences and strategically position them across both continents with a long-term, curated career vision. This is precisely the kind of bridge-building I believe in.
Ilona—GetClassical: How do you view the benefits of working with someone like yourself, someone with that deep European experience and who has strong ties to American institutions?
Paola Castellano: It's about creating access and building trust. American institutions know I can offer them a gateway into European cultural networks—prestigious venues, festivals, orchestras—and I also provide a finely tuned understanding of local dynamics. At the same time, my American partners value my ability to position their artists internationally with professionalism and insight. In a globalized arts industry, having someone who knows how to operate fluently in both ecosystems is no longer optional—it's essential.
Ilona—GetClassical: You've also worked with major orchestras like the Royal Concertgebouw, BBC Symphony, and Orchestre National de France. How does that influence your current work in the US?
Paola Castellano: These orchestras represent the gold standard of performance and artistic integrity. Bringing that level of excellence into my work with US presenters raises expectations and opens new artistic dialogues. It's not just about prestige—it's about creating experiences that are meaningful, ambitious, and transformative. I want my American colleagues and audiences to feel our collaboration truly represents world-class achievements.
Ilona—GetClassical: Finally, how does your upbringing with different cultural influences directly impact your sensitivity towards the artists you work with and negotiate for, within different global spheres? Is it just about personal chemistry, or are there distinct differences and cultural divides that require a specific tool set, the kind of fine-tuned antenna that only develops after one's long-time presence within that culture? How do you see these differences?
Paola Castellano: One of the most tangible differences I have experienced between European and American cultures is one saturated with time and depth.
In much of Europe, there is a deeply ingrained expectation that the arts, especially classical music, demand space: space to mature, reflect, rehearse, fail, and rework.
There is less emphasis on the product and more on the process.
In contrast, while often incredibly dynamic and resourceful, the American model values efficiency, impact, and actual deliverables. This concept affects everything from rehearsal schedules to measuring success: ticket sales, press coverage, and audience engagement metrics.
Just to be concrete and to get to the point, I have had artists who, when rehearsing, might spend 30 minutes refining a single transition just because the time was granted and expected.
When preparing for a concert in the US, that same artist finds out that he/she needs to internalize those choices before the first rehearsal because we expect them to 'arrive ready' and be on schedule with no extensions.
The music still happens, but the tempo of preparation changes, and so does the emotional bandwidth.
From the American angle, perhaps the most striking aspect is how much is projected onto the artist as a brand. In Europe, especially in more traditional Institutions, the artist is still allowed to be more relaxed, slower, and enigmatic.
In the US, audiences and Institutions often want narrative. They want to understand your story, struggle, and ascent, which is not necessarily bad, but it definitely changes the performer's relationship with their work. And, yes, that affects how artists adjust.
Some thrive in the US; they find the clarity and enthusiasm invigorating. Others struggle with the surface demands and miss the slower-burning connections they find abroad.
One artist I represent, a pianist, told me after a recital tour in the Midwest: 'The audience stood before I even finished the last note. They were so kind, but I didn't feel heard; I felt celebrated. It was lovely, but also a highly complex moment for her.
So yes, the differences come out. Sometimes, they also affect the programming choices, how much an artist feels he/she must do on stage, and what's left unsaid. I think this tension, this dual fluency, is one of the richest things we can cultivate.
Ilona—GetClassical: How did your personal history of starting in this business evolve, and how did it shape your future?
Paola Castellano: I was born in Italy in 1968 in a poverty situation, my first job I got casually was not even the secretary but the typist at the Italy branch of the worldwide famous manager Valentin Proczynski, owner of the 'Old and New Montecarlo' Office, Proczynsky hired me for almost servant services, I remained by choice.
Thanks to the hosting of the British part of my family, which was very affluent and wealthy, I improved my English and got a roof over my head from time to time when I had enough savings to afford an economy air ticket and go to London to listen to music.
The rest came through encounters definitely 'meant to be' with people who, rightly or wrongly—I still don't know—wanted to provide me with food, a bed, and family protection. They encouraged me not to succumb to the weight of a life with no apparent way out.
And, my artists, when they were not my artists yet, they wanted to pay me attention and put their trust into a very young lady wearing the identical two pairs of jeans for years, a very young lady who preferred to eat crackers and save the money to offer them a good meal in the hope that they would eventually be part of my, at the time, almost non - existing artists list. The first one who gave me that trust was the pianist Ivo Pogorelich, who was at the beginning of my journey.
Ilona—GetClassical: What inspires you to keep building, innovating, and expanding after so many years?
Paola Castellano: Artists inspire me. Audiences inspire me. The belief that music can still move the world forward inspires me. After 30 years, I feel more connected to my purpose than ever. Every new collaboration, every young artist, every major debut is a chance to create a legacy. I'm especially excited to continue nurturing young talent—like the upcoming Van Cliburn winner—and to keep building platforms that allow beauty and excellence to thrive across continents.
Ilona—GetClassical: Thanks so much for the in-depth and fascinating interview. Until we meet again at the VanCliburn competition, where I will report on the competition's finalists from Fort Worth for the German PianoNews magazine.
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