Below, you can read our interview with flutist Patricia Lazzara of Ensemble Bella Luce and listen to the album The Arc of Light. Check out our full review of The Arc of Light here.
Q: Great to be speaking with you, Patricia! You and Dave met at a music festival in Assisi, Italy, and discovered you both lived in northern New Jersey. What was it like realizing your musical partnership could continue back home?
A: Dave and I had actually been performing in the same church music community for many years. I knew who he was and always admired his playing, but he had no idea who I was! On my first trip to Italy for the Assisi Festival in 2018, we found ourselves standing next to each other in the passport line. I said, “Hi Dave,” and he replied, “Do I know you?” I told him I had known of him for about ten years. This has become our standing joke.
At the festival, we performed together with a soprano and tenor who also lived in northern New Jersey. We connected immediately, both musically and personally. When we returned home, it felt natural to continue collaborating, and Ensemble Bella Luce was born.
Q: “Bella Luce” means “beautiful light,” and that mission of bringing beauty and light into the world—how does it shape the way you choose repertoire or approach a performance?
A: My personal purpose in life is to bring beautiful light to everyone and everything I encounter. That philosophy guides not only how I live, but also how I perform. As we choose repertoire, we look for music that speaks deeply to the heart and spirit. We approach every performance with integrity, authenticity, and a desire to create meaningful experiences that uplift and inspire our audiences.
Q: The Old Years was originally commissioned by your flute partner in Lazzarkoff, Steve Markoff, before becoming part of this project. How did that piece end up leading you to commission Maestro Ghidoni again for The Arc of Light Triptych?
A: Yes, Steve commissioned The Old Years for flute, alto flute, and piano as part of our album For the World, a project celebrating the music and cultures of countries around the globe. The piece traces the stages of life—from a tender melody representing birth, to a lively blues-inspired section depicting the teenage years, and finally a sweeping, emotional ascent of the soul into heaven.
Maestro Ghidoni’s unique compositional voice combines virtuosity with deeply expressive and memorable melodies. It had been some time since he had written a major new work for flute, so I approached him about composing another piece and offered to organize a consortium to support the commission. He enthusiastically agreed, and that became The Arc of Light Triptych.
Q: Can you walk us through how the Flute Composing Consortium came together to fund the Triptych? What was it like having donors from around the world invested in this music?
A: Seeing contributions arrive from around the world was an incredibly moving experience. It was deeply touching to know that so many people believed in the value of new music and wanted to help bring this project to life. Their support affirmed that the music and its message resonated beyond our immediate circle. It was truly extraordinary and something I will always treasure.
Q: The Old Years traces a full human life, from childhood and adolescence through adulthood and a final transcendent ascent. How did you and Maestro Ghidoni think about translating those life stages into musical language?
A: Maestro Ghidoni is an exceptionally creative composer. Having written music for films in France, he often thinks in broad, cinematic landscapes. Steve Markoff conceived the original concept of the piece, which portrays the stages of life and how all that we experience in life shapes us into who we are today. Maestro Ghidoni transformed that idea into a vivid musical journey. Through melody, rhythm, and color, he created a work that allows listeners to experience the emotions and milestones of a lifetime.
Q: Yellow Inside, Blue Night, and The Arc of Light each explore different emotional terrain. How do the three movements relate to one another as a single journey?
A: The three movements form a journey through different aspects of the human experience. Yellow Inside celebrates the joy of life, love, and happiness. Blue Night explores nostalgia, tenderness, and moments of deep reflection and longing. The Arc of Light brings the journey to a triumphant conclusion, radiating strength, hope, and spiritual illumination.
Q: Blue Night is your personal favorite. What is it about that piece, musically or emotionally, that resonates with you so deeply?
A: Blue Night is infused with a profound spiritual energy. There is something ethereal and otherworldly about it that speaks directly to my heart. Every time I perform it, I feel transported beyond the ordinary into a place of deep reflection and beauty. It creates a sense of timelessness that is difficult to put into words.
Q: L’âme du regard was recorded by Dave in a single, unedited take. What does that kind of spontaneous performance demand, and what did it feel like to capture it that way?
A: Dave is an extraordinary pianist who plays from the deepest part of his heart and soul. He has a profound connection to Armando’s music. As I listened to him record L’âme du regard, I immediately sensed that something special was happening. There was an authenticity and emotional honesty in that performance that could not be improved upon. Dave poured his entire being into that moment, and we knew we had captured something truly remarkable.
Q: Much of this music was composed specifically for you. How does it feel to perform pieces written with your voice as a flutist in mind, versus interpreting existing repertoire?
A: Throughout my career, I have been fortunate to have several beautiful pieces of music composed specifically for me. Receiving the gift of The Arc of Light Triptych, however, has been an especially meaningful and profound honor. It is both a privilege and a responsibility. I feel deeply committed to bringing the music to life in the most beautiful and authentic way possible. This experience has reinforced my belief that musicians serve as stewards of a composer’s vision. Our role is to honor their creativity and bring their light into the world through every phrase we play.
Q: What was your working relationship with Maestro Ghidoni like across these two commissions, and how involved were you in shaping the music as it developed?
A: Working with Maestro Ghidoni across these two commissions has been a deeply meaningful artistic experience. He is a composer of extraordinary imagination, sensitivity, and emotional depth, and I have always had complete confidence in his creative vision. We would often discuss ideas, colors, emotions, and the expressive possibilities of the flute, but once he began composing, I trusted him to follow his inspiration wherever it led.
What I find most remarkable is his ability to create music that is both virtuosic, profoundly human, and intensely spiritual. His melodies seem to speak directly to the heart, conveying emotions that words often cannot. Over the years, our collaboration has grown into a special artistic bond built on mutual respect, trust, and a shared desire to bring beauty and light into the world through music. I feel that this connection can be heard throughout The Arc of Light Triptych, making it an especially meaningful and deeply personal work for me to perform.
Q: Bringing in violin, viola, and cello for the Triptych expanded the ensemble’s sound. How did that change the dynamic between you and Dave compared to your usual duo performances?
A: Dave and I have spent much of our musical lives collaborating with a wide variety of artists, so working with the string trio—and with Jenny on alto flute on The Old Years—felt completely natural. There was an immediate sense of connection, trust, and musical synergy among all of us. The expanded instrumentation added richness and color while preserving the intimacy and communication that define our performances.
Q: Since 2019, Ensemble Bella Luce has performed with many guest musicians and singers. What have you learned about collaboration that you carried into making this album?
A: We have been fortunate to perform with many wonderful singers and instrumentalists over the years. What I have learned is that successful collaboration depends on mutual respect, kindness, understanding, cooperation, and integrity. When musicians create an atmosphere of trust and generosity, beautiful performances naturally follow. Those values were at the heart of this recording project.
Q: Any shout-outs you’d like to make?
A: Absolutely!
To Steve Markoff, my dear friend and flute partner in Lazzarkoff, thank you for your continuous encouragement, support, and inspiration.
To Dave Malyszko, my incredible piano partner and musical soul brother, I am deeply grateful for your artistry, friendship, and collaboration.
To Dave Kerzner, our extraordinary recording engineer, thank you for your expertise and dedication to bringing this music to life.
To Jenny Cline, Gabriel Anker, Rachel O’Connor, and James Hwang, thank you for your exquisite musicianship and artistry on this album.
To all of the consortium members and donors who helped make this project possible, thank you from the bottom of my heart for believing in this music.
And to Maestro Armando Ghidoni, thank you for creating this beautiful music with such deep love, heart, and soul.
Thank you for the opportunity to speak about our new album, The Arc of Light, by Ensemble Bella Luce.
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