Gustavo Dudamel, growing up in Barquisimeto, and his early impulse to steer music in his own room is a vivid memory shared in context of a key milestone for the New York Philharmonic. The Venezuelan maestro was celebrated in a renovated theater and was honored this Monday for his forthcoming role as music and artistic director of the New York Orchestra at Lincoln Center, starting with the 2026-2027 season.
During a conversation with executive director Deborah Borda, later opened to questions from the media, Dudamel reflected on his long association with the Venezuelan Simon Bolivar Orchestra and the Philharmonic Orchestra since 2009. He recalled a boy who had the opportunity to dream big, describing the journey to one of the world’s most emblematic performing arts institutions as a remarkable voyage spanning 42 years. He also spoke about a single appointment that brought pride and a sense of privilege, hoping it would inspire girls and boys to pursue their dreams with work, discipline, and passion.
He acknowledged feeling proud to be the first Spanish conductor to assume such a historic position, a lineage that includes figures like Gustav Mahler, Arturo Toscanini, Leonard Bernstein, Lorin Maazel, and Zubin Mehta.
Education, social transformation and Unamuno
Questions loom for Dudamel about his repertoire choices, the changes he might implement when taking the helm after his debut with the orchestra in 2007, and certain queries he still cannot fully answer. He emphasized the need for flexibility, learning from the institution and its people. He also spoke about the possibility of extending the same educational ethos beyond the stage, drawing on his Venezuelan roots and the legacy of the system created by José Antonio Abreu, while noting that his path has included his work with Los Angeles Youth Orchestra in Los Angeles.
“Working with youth and communities is part of my DNA”, he said, highlighting a focus on supporting disadvantaged groups, bringing the orchestra to the community, and not waiting for audiences to come to performances. Music can serve as a tool for social transformation and sustain dynamic educational efforts. He stressed that art institutions should reflect the identity of society and that their impact should go beyond mere entertainment; the arts should carry a transformational purpose. He invoked Miguel de Unamuno’s idea that the identity of a town and its people is found in culture, and freedom exists within culture.
Dudamel also expressed a belief that artists have a mission in contemporary times and that engaging younger generations is essential. He spoke about the importance of educating people without placing art on a pedestal that excludes access. The goal is to broaden access and reshape perceptions about what the arts can be in society, an aim he believes can be achieved through concerted effort and leadership.
Married to Spanish actress Natalia Valverde, with whom he has a son, Dudamel described his family as very happy and eager to experience New York, a city he finds fascinating, culturally rich, and uniquely expressive. He first visited the city in 1995 with the Venezuelan National Children’s Orchestra, a trip he said he loved. As an artist and a global citizen, he described a vibrant cultural life that can enrich his own perspective and contribute to his work, noting that true understanding comes from living the experience.
Even as the New York Philharmonic’s leadership has repeatedly affirmed that Dudamel era is approaching, the reality is already taking shape. He sees the institution not only through its storied past but also through the possibilities of what lies ahead, signaling a future that blends tradition with fresh perspectives and renewed energy.
Attribution notes: This account reflects remarks and events as reported by multiple outlets and officials involved in the announcement and subsequent discussions. [AP], [Reuters], and accompanying coverage provide context for Dudamel’s historic appointment and its implications for the orchestra and its audience.