“I see ADDA and its acoustics as a perfect ally for making good music”

Once again in Alicante, this time with the Valencian Community Orchestra. With the symphonies of Sibelius and Mahler. What are your memories of your first and only performance at ADDA in November 2016, followed by Bruckner’s Seventh Symphony and Tchaikovsky’s Violin Concerto? Remember acoustics?

More than Tchaikovsky, I particularly remember Bruckner’s Seventh. And a warm, pleasant acoustic, suitable for large symphonic works like Bruckner’s at the time. I remember a good concert with proper acoustics, which was important to be able to improve details and dynamics. In short, it is an ideal room for Bruckner or, as now, for two symphonies as important as Sibelius’s last and Mahler’s first. So I see ADDA and its acoustics as a perfect ally for making good music. So of course I look forward to returning and directing for my fellow citizens of Alicante and ADDA subscribers. I am also happy to be able to carry out a program of this magnitude in the three capitals of the Valencian Community. It is a luxury to present such a musically interesting program with two great compositions from the 20th century. This is also a great opportunity for us, those of us on stage.

In fact, he directed the same program on Friday at the Palau de les Arts and will repeat it at the Auditori de Castelló on the 22nd. Do you think that the creation of these new musical infrastructures in the Valencian Community reinforces a stable symphonic texture with social impact?

Yes definitely. It’s great that people across the three provinces have access and proximity to music and symphonic programs in these wonderful venues. I think it is important for the Valencian Community Orchestra to expand its activities throughout the Community. This is what is needed. It is normal that he will maintain a regular presence, not only this week but also in the future, in the main halls of the Community and, of course, in its three capitals.

Do you have references from ADDA Simfònica, the main orchestra of Alicante Auditorium? Would you consider making a program as a guest director in this group?

I don’t know much about the ADDA orchestra. I know that it is a newly formed entity. A young orchestra. So logically I think it has very talented musicians. Of course, I would consider a collaboration, as I do with every orchestra that invites me.

Following his successful stint as music director of the Luxembourg Philharmonic Orchestra, in 2025 he will assume ownership of the Teatro Real in Madrid and combine it with the Toronto Symphony Orchestra, one of the largest ensembles in North America. Doesn’t this multiple employment diminish the enriching relationship with other orchestras?

What you call a “side hustle” is just about occupying two positions. Two positions that form the backbone of my career and activities as a director. In this case I don’t find it excessive, on the contrary: I think it enriches me personally, because we talk about the orchestra in some places, in frames, in completely different contexts; It has quite contrasting and different structures on different continents. It is precisely these differences, in addition to the obvious similarities, that I personally find enriching. Considering my general experience with orchestras, I think I can contribute to every orchestra with my own vision. When I considered ownership, I tried to do so in a way that there would be no conflict of interest between either institution; in this case between Luxembourg and Toronto, each on different continents and facing different challenges. In the case of Teatro Real, it means opera orchestra, which, as I said before, is a work that contrasts with the symphonic work on another continent. So in my case, rather than diminishing it, I think it’s the opposite: it’s something that gives structure and shape to the backbone of my activities.

At the age of 17, he went to Amsterdam to study. That means he spent almost two-thirds of his life abroad. Do you feel like a Spanish director, a Valencian director? Do you follow the social, political and musical reality of your own country? From a personal perspective, do you feel the same emotions and responsibility when directing in Chicago, London or Berlin as you do in Alicante, Valencia or Castelló? Does the world impose it?

I’m starting with the last question: It doesn’t force! This is a great opportunity that makes me very excited. In this case, I have to work with an orchestra like the Valencia Ensemble, which I know well and have conducted many times, and have great memories from the many concerts we have given together. Being able to perform in Valencia, where I grew up, is also a very special thing. It is the place where I was born and raised. In fact, the arrival, the return after absence, affects, fascinates and spreads enthusiasm. Because I live abroad, my feelings and influence are always greater than those of the Valencians who live here, in our common land. Descending and arriving fascinate me, because I know that it is a reunion with something I know very well exists, a reality that has always been there. The memory of my childhood and youth. Naturally, I feel as Valencian and Spanish as you or anyone else. I find performing here a joyful and beautiful opportunity and I am grateful for it. Consider that I come regularly every year, and this regularity has undoubtedly contributed and contributes to the updating, revitalization and strengthening of my relationship with the musicians with whom I share the stage and our situation as music lovers in Valencia. It’s a close relationship, I feel appreciated, respected and valued by the musicians. In short, it is a mutual and enriching feeling.

Could you describe the program you will be performing at ADDA this afternoon in a few sentences?

Sibelius and Mahler are two of the greatest composers in history. Two of the last symphonists. In two completely different periods in their lives and works. Mahler demonstrates extraordinary talent in his First Symphony, especially for a musician who was so young at the time and before his first symphony! It is a symphony that I feel very close to in my own personal history, because it is one of the first works I listened to in my childhood, especially the third and fourth movements. Frankly, the symphony was a hopeful prelude to everything Mahler would later come to mean. Unlike Mahler, Sibelius looks to his last symphony. In it he finally managed to clarify his old idea of ​​making a continuous symphony from beginning to end. Absolutely great work. It’s very interesting that they both work, and these days in the rehearsal process we realized that these are two very emotional symphonies, although in very different ways! Mahler speaks much more directly, or at least he speaks to us much more directly, which pulls you in to your stomach, not only in the most turbulent moments, but also in the ironic parts, or with touches of humor, or in those moments that are truly beautiful, exciting and mysterious. Finnish Sibelius belongs to a very different culture, country and nature. Another way to express yourself, another language, another temperament. It requires a completely different treatment. I want to tell you that when I talk to living composers, when they talk about Sibelius’ Seventh Symphony, they all agree that they consider it a “fully round” symphony. It’s exactly the same as what I thought. This is an absolute and ultimate achievement that synthesizes everything Sibelius is. It is a challenging and truly fascinating experience for artists to draw from this common feeling, from moments and worlds as different as these two symphonies. I believe the same is true for the public.