International Conductors’ Academy of the Allianz Cultural Foundation The International Conductors’ Academy 2003–2012 A platform for a new type of conductor

utstanding conductors Academy at ’s Southbank Centre are not only exceptional was set up not only to prevent a shortage of artists, but also, in every qualified experts at the conductor’s desk but way, modern leadership also to provide a platform for a new type of personalities. Their conductor. This provided the young conductors approach is, in fact, quite with the chance to progress personally between similar to that of political and economic experiment and repertoire and to expand their Oleaders: the complexity of large ensembles own global networks. For the participating nowadays more and more resembles that conductors this ‘intermediate level’ was not of internationally composed and globally only a last pause on their career ladders operating companies building an ever-increasing before beginning their international careers International Conductors’ Academy range of products and distribution channels. but also an intense and unforgettable group of the Allianz Cultural Foundation Different temperaments and cultural dynamics, experience, which conductors and other leading instrument groups and soloists must be brought personalities alike rarely get to enjoy. together in harmony (or calculated disharmony) Therefore, on behalf of the members of our to create a unique sound experience at the boards and staff of our Foundation, I would like highest artistic level. Young conductors are to express my sincerest thanks to all participants unlikely to learn this combination of empathy and partners of our International Conductors’ and assertiveness, artistic flair and practical Academy, foremost especially the knowledge at universities or in themselves, their current Chief Conductors classes. Therefore, the International Conductors’ Esa-Pekka Salonen and , Academy annually offered three talented young as well as their Executive Directors David conductors, whose centre of life is Europe, Whelton and Timothy Walker, for the successful the unique opportunity to rehearse with two collaboration. Together with Karsten Witt and of the most prestigious orchestras. In 2003, Peter Ruzicka, who have generously served our the Philharmonia (PO), under the boards as experts, they have given European direction of Christoph von Dohnányi, and the co-operation a new sound through this unique London Philharmonic Orchestra (LPO), under and international artistic project, and have thus Kurt Masur, launched the initiative to ensure © Ben Ealovega given a larger audience the chance to hear it. that the most talented young conductors were accompanied by experienced maestros during Michael M Thoss a masterclass and taught how to direct an Managing Director orchestra. This worldwide unique Conductors’ Allianz Cultural Foundation

01 2003–2012 The International Conductors’ Academy The International Conductors’ Academy 2003–2012

Conducting – “The important thing is that one should let the orchestra breathe” a strange business? Otto Klemperer (1885–1973)

t took the German tax office to bring to technique of conducting. They practise in front light that conducting is not what it seems. of the mirror, conduct their fellow conducting Since the days of Herbert von Karajan, students at the piano, and play scores on the the public has regarded the conductor as piano themselves. But throughout most of a kind of magician, who produces sounds their student lives they must wait for their true with his fingertips, and shapes them with instrument: the orchestra. Once they step in his eyebrows and the rest of his body. During a front of an orchestra, they are confronted with Iperformance, the orchestra appears to follow his very different problems from those for which command like an army following a general. But they have been preparing. Their job is not a few years ago, when a reduced VAT rate was merely to uphold the ’s intentions as granted to performing artists in , the laid out in the score, set the tempi, explain the tax office initially denied this special status to phrasing, and correct mistakes. Suddenly they conductors. Even though this stance was later find themselves bearing the full responsibility corrected by the courts – did the taxman not of leading a group of 12 to 120 people. They in fact hit a nerve? Just like stage directors and must organise, inspire and motivate the “team” choreographers, who are considered backstage much like a manager, and are faced with the task personnel along with designers and technicians, of integrating people of different nationalities conductors play a key role in the rehearsal and generations. Like a teacher, they must

process. In performance, however, they do not exert discipline, provide challenges for the top © Ben Ealovega play an instrument as the musicians do, and musicians, and look after the weaker ones. therefore they don’t (or should not) produce Just like in management or politics, it takes more present at all rehearsals and concerts. The The leader of a large group is not granted any any sounds themselves. They may give cues like than just good academic training to become assistant conductor prepares the music material time to adjust to his task. He must do the job a stage manager, and anticipate certain phrases a skilful conductor. One needs professional and takes over the podium when necessary. He right from the first second, or face rejection. like a prompter at the theatre. Nonetheless, their experience, in addition to the proper aura and learns from his ‘master’ and is gradually guided A young conductor is under constant scrutiny movements do not form an essential part of personality. The communication skills needed to into the profession. This is the current model from day one. Any insecurity, be it musical or the artwork that is being performed, as it would deal with the musicians, audiences, politicians, adopted by the Principal Conductors for both social, will provoke resistance. During rehearsal, in the case of a dancer. Consequently only the and sponsors can only be learnt in practice. the London Philharmonic and Philharmonia there is nowhere to hide and no time to recover; members of the orchestra can properly watch The number of first class orchestras worldwide orchestras (especially for large-scale projects), two or three times per day, for three hours, he the conductor, while the audience only sees him is constantly increasing. Musicians begin their Vladimir Jurowski and Esa-Pekka Salonen, but is under the surveillance of the musicians that from behind. Even the musicians, spend most professional training at an ever younger age, and generally in Europe this practice is less common. sit before him. Sections of musicians must often of their time looking at their music, where they even youth orchestras around the world perform A young conductor, who may only have sit idly while their colleagues practise a certain obviously find the more relevant information. at a technical level far superior to that of most conducted a proper orchestra a handful of times phrase, and they have nothing else to do but professional orchestras a few decades ago. during his studies, must fulfil his role as leader Conducting is a strange business and it is watch the conductor. Although the musicians Given that all these orchestras rely on first class properly – or fail. He is typically not used to extremely difficult to learn. At the conservatoire, may be nice and rational as individuals, as a conductors, it seems surprising how little they receiving serious criticism by anyone but some conductors are treated like other musicians. group they can be ferocious and merciless. invest in their future leaders. personal friends. There are many masterclasses They study one or more instruments, as well as It usually takes them only a few minutes for students, but once a young conductor is on music history, solfège, and many other useful to pass their verdict on a new conductor. In American orchestras, chief conductors the job, he is on his own. subjects, the most important of which is the typically have an assistant conductor who is Continued overleaf…

02 03 2003–2012 The International Conductors’ Academy The International Conductors’ Academy 2003–2012

“You must have the score in your head, not your head in the score” Hans von Bülow (1830–94)

The Allianz Cultural Foundation was founded This selection process involved discussions professions, including agents, publishers, recording in 2000 with the aim of promoting cultural and with music colleges and conservatoires companies, , promoters and many educational projects in the spirit of European internationally, requests for recommendations other music professionals. In this way, we aimed to integration. In 2001, the newly appointed from established conductors, agents, orchestral foster a greater understanding of the complexities Kuratorium started its work. Hans Ulrich managers, teachers, close scrutiny of finalists in of the music business and prepare our young Obrist, the current director of the Serpentine conducting competitions and word of mouth. conductors for future artistic leadership roles. Gallery, was also a founding member. We The final selection fell to the respective Maestros We certainly felt it was a valuable two-way process: quickly agreed that we wanted to support Masur and Dohnányi and to David Whelton the conductors were taken into the engine room promising young professional artists and (Managing Director, ) of both orchestras where the work of putting scholars. With the foundation’s limited funds, and Timothy Walker (Chief Executive, together a varied orchestral season takes place. we were not able to reach out to the large London Philharmonic Orchestra). This made them all too aware of how very numbers of people who deserved such help. complicated this process is. The structure of the Academy was carefully We therefore decided to focus on future leaders, worked out so that it made sense to both the The project worked this way for 10 years, young people in a position to play a significant participants and the orchestras. The repertoire interrupted only by the renovation period of role in European culture. Thus, in music, we covered in one year was based around the the . It was nominated for focussed on composers and conductors. With

© Ben Ealovega orchestras’ existing plans and programmes. an RPS Education Award. Meanwhile, Vladimir Ensemble Modern, one of the leading European On top of these masterclasses, they were Jurowski and Esa-Pekka Salonen have kindly contemporary music ensembles, we set up the unknown conductors, but they were also going to required to attend all the rehearsals of the taken over from their predecessors, and guest International Composition Seminar, which has champion them in their own-promotion artistic orchestras throughout four key periods and conductors have also offered their mentoring since become part of the new music festival seasons. We wanted to create a truly exceptional meet regularly with their mentors for ongoing services. (The coaches were, by the way, never “cresc…” in . And in 2003 we set learning experience which would present a rare guidance, coaching and feedback on all technical paid for their work). The voluntary co-operation up the International Conductors’ Academy. opportunity for young conductors to share the and musical matters. The Academy also covered of so many partners, and the success of the wisdom of two world-famous maestros alongside The launch of the International Conductors’ a wide range of extra-curricular activities. Beyond Academy over so many years, proves its necessity. two world-class orchestras. Academy of the Allianz Cultural Foundation the conducting, we wanted to be flexible with Ideally, the Academy could be continued marked the beginning of a unique collaboration How would we find the right participants? I had the opportunities we created for our participants, after the expiration of the Allianz Cultural between two of Southbank Centre’s resident always been convinced that there is no such responding to the individual needs of each Foundation’s funding. The concept of this project orchestras, the London Philharmonic Orchestra thing as a hidden great conductor. While it may conductor in order that the training be both is extremely simple. The orchestras have shown and Philharmonia Orchestra and their respective be possible to discover unknown talent among personal and relevant. For the orchestras this their commitment to providing a forum in which Principal Conductors at the time, Kurt Masur and the thousands of young who work was a unique opportunity to capture these young conductors are able to work at the highest Christoph von Dohnányi. The aim was to select, in secluded practice rooms at conservatoires young conductors early in their careers, to level with each of these orchestras. In the future each year, three talented young conductors to around the world, conductors practise their art make them aware of the parameters within it would be wonderful for this model to be participate in a training programme throughout in public from the very beginning. Their work which we have to work. adapted by other orchestras. the concert season of both orchestras and to takes place in front of large groups of musicians There were many off-site learning opportunities Karsten Witt share a final concert in the Royal Festival Hall. who constantly judge their superiors, just as as well: all the conductors got to know the various Chief Executive of Southbank Centre And with its rich and varied musical agenda, we all did with our teachers at school and departments of the orchestral management 1999–2002 Southbank Centre made a perfect backdrop university. Therefore, we decided to go about including education, marketing and planning. Curator of the Allianz Cultural Foundation for this project. It was to be an exciting selecting participants as if we were searching for Their free time was spent meeting with leading 2001–2008 departure for both orchestras. Not only were a replacement to a last minute cancellation, and representatives of other classical music these orchestras going to work with relatively none of our usual conductors were available.

04 05 The International Conductors’ Academy 2003/04

“Being part of the first Academy, I can still recall every musical piece we 2003/04 conductors studied in every single detail. It was so inspiring to watch Maestros Masur and Dohnányi work with such great orchestras and then have a chance Alan Buribayev to discuss and ask professional questions. We three also became great friends. Participation in the project expanded my vision of music and opened up a whole new range of possibilities of conducting. It is a great Joana Carneiro combination of theory and practice, and a wonderful cultural exchange between all its participants.” Luke Dollman

Alan Buribayev

with the Deutsches Symphonie-Orchester in , the Fundación Excellentia in , the Tokyo Metropolitan Orchestra, Malaysian Philharmonic Orchestra, Stavanger Symphony and two projects with the Winterthur Orchestra. Alan also maintains a strong name in having conducted the Sendai Philharmonic Orchestra, Osaka Century Orchestra, and Sapporo Alan Buribayev began his tenure as Symphony amongst others. Chief Conductor of the RTE Orchestra in Dublin in September 2010, while also From 2004 to 2007 Alan Buribayev was Principal continuing his role of Chief Conductor of Conductor of the Astana Symphony Orchestra. the Brabants Orchestra in the Netherlands. His tenure as Music Director of the Meiningen Theatre in Germany in the same time period Some highlights of recent seasons have included brought him extensive experience on the performances with the Oslo Philharmonic, City platform. From September 2006 to June 2011 of Birmingham Symphony, NDR , Berne he was Chief Conductor of the Norrköping Symphony, Trondheim Symphony, St Petersburg Symphony Orchestra. Philharmonic, Philharmonic, Leipzig Gewandhaus, Düsseldorf Symphony, Gothenburg Alan Buribayev was born in 1979 to a family of Symphony, Symphony, Baltimore musicians; his father is a cellist and conductor Symphony, Orchestra Verdi Milano and and his mother is a . He graduated with Philharmonic orchestras. His recent debut with honours from the Kazakh State Conservatory as the Bolshoi Orchestra on tour in the UK resulted both violinist and conductor, and continued his in an immediate invitation to conduct Prokofiev’s conducting studies at the University of Music, The Love of Three Oranges in December 2011, Vienna with Professor Uros Lajovic. and other future highlights include performances

06 07 2003/04 The International Conductors’ Academy The International Conductors’ Academy 2003/04

“I remember the Academy with profound gratitude both to our mentors “The International Conductors’ Academy has given a generation of and to the musicians of the London Philharmonic and Philharmonia young conductors a window into how our profession is practised at orchestras. Learning all Brahms’ symphonies and discussing tempi in the very highest level. It was an incredibly rewarding experience that Beethoven symphonies with Maestros Masur and Dohnányi – these musical opened my eyes to what is possible and gave me new goals to aim for.” references are with me today, every time I conduct such pieces. I will never forget their generosity – attending a concert with Maestro Masur of the Leipzig Gewandhaus, and our pride – Alan, Luke and myself – in being in those seats with Maestro Masur, and chatting with him after the concert over dinner. It was an opportunity of a lifetime.”

Joana Carneiro Luke Dollman

Chamber Orchestra and Beijing Orchestra at Symphony in his native Australia, and he is also a the International Music Festival of Macau. In the regular guest with the Hong Kong Sinfonietta. Americas, she has led the São Paulo State Symphony, A laureate of the Besançon International Puerto Rico Symphony, Indianapolis Symphony, Conducting Competition, he made his French Los Angeles Chamber Orchestra and New World debut conducting the Monte Carlo Philharmonic Symphony amongst others. for the opening concert of the Besançon

© Rodrigo Souza © Ville Paasimaa Festival in 2009. 2011 saw his German debut Previous work includes John Adams’ A Flowering with the Nordwestdeutsche Philharmonie. Other Joana Carneiro has attracted considerable Tree with the Chicago Opera Theater and at the Luke Dollman studied conducting at the orchestras with whom he has worked include the attention for her vibrant performances in Cité de la Musique (Paris), and performances of renowned in Royal Scottish National, Helsinki Philharmonic, a wide diversity of musical styles. She is Peter Sellars’ stagings of Stravinsky’s Oedipus Rex gaining a Masters of Music degree with Oulu Symphony, Het Brabants Orkets, Holland currently Music Director of the Berkeley and Symphony of Psalms at the Sydney Festival, and , as well Symfonia, Belgian National, Malaysian Philharmonic, Symphony Orchestra and Guest Conductor which won Australia’s Helpmann Award for Best as studying at the Aspen Music Festival Helsingborg Symphony, Gävle Symphony, Odense of the Gulbenkian Orchestra. Symphony Orchestra Concert in 2010. as a Fellow with . In 2000 Symphony, New Zealand Symphony, Auckland Luke was awarded the First Prize in the This season she makes her debut with the Cincinnati In 2008/09, she served as assistant conductor to Philharmonia and all of Australia’s professional Symphony Australia Westfield Conducting Opera conducting John Adams’ A Flowering Tree, with Esa-Pekka Salonen at Paris Opera’s première of orchestras. Competition hosted by the Melbourne returns to the LA Philharmonic (an all-20th century Kaija Saariaho‘s Adriana Mater and critically- Symphony Orchestra. In 2004 Luke Dollman made his opera debut at programme), St Paul Chamber Orchestra (opening its acclaimed performances of Philippe Boesmans’ (Mozart’s Le Nozze di Figaro) season), and Toronto Symphony. She also debuts with Julie in Bolzano, Italy. A recipient of the Bernard Haitink Scholarship, and returned there again in 2005 to conduct Die the Detroit and North Carolina symphonies. Luke Dollman held the position of Assistant Born in Lisbon, she began her studies as a violist Zauberflöte. In 2005 he made his Finnish National Conductor to Edo de Waart at the Netherlands Internationally, she leads the Royal Philharmonic before receiving her conducting degree from the Opera debut with Puccini’s Manon Lescaut, to Radio Philharmonic from 2001 until 2003. During Orchestra with Renée Fleming in the Royal Opera Academia Nacional Superior de Orquestra in Lisbon. great acclaim, and has since returned there to this time he appeared with the orchestra regularly, House in Oman, makes debuts with the Gothenburg, She was a finalist at the prestigious 2002 Maazel- conduct several productions including the world conducting public performances for national Gävle and New Zealand symphony orchestras, and Vilar Conductor’s Competition at Carnegie Hall, première of Lera Aurerbach and Terence Kohler’s radio and television. returns to the Orchestra de Bretagne. In her native and selected as a participant in the International Cinderella in 2011. 2011 also saw his debut with Portugal, she leads a ballet production of Romeo Conductors’ Academy of the Allianz Cultural In 2005 Luke Dollman made his UK debut with the the State Opera of South Australia conducting and Juliet with Companhia Nacional de Bailado. Foundation in 2003/04. BBC National Orchestra of Wales in a main series Bizet’s The Pearl Fishers. concert that was broadcast on BBC Radio 3, and Highlights from previous seasons include the She is the 2010 recipient of the Helen M. Thompson Future plans include returns to the Queensland has since returned to them many times for concerts Ensemble Orchestral de Paris, Prague Philharmonia, Award, conferred by the League of American Symphony Orchestra, Oulu Symphony, Hong Kong and recordings. Other important relationships Orchestra Sinfonica del Teatro la Fenice, Macau Orchestras to recognise and honour music Sinfonietta and Finnish National Opera. have included the Sydney Symphony and Adelaide directors of exceptional promise. 08 09 The International Conductors’ Academy 2004/05

“To appreciate fully what the Allianz Academy meant to me, one needs to 2004/05 conductors understand that I spoke very little English when I was offered this position in London. So the idea to come and spend weeks – even months – in Gustavo Dudamel London, was an opportunity which any young man in his 20s would not want to miss. I also made great friends both in the programme and with the players in the Philharmonia Orchestra. It was the Allianz programme Eva Ollikainen that first put me onto the podium of the Philharmonia Orchestra, and that relationship opened many of the first big doors in my career.” Jean-Philippe Tremblay

Gustavo Dudamel

The depth of the programming performed under Dudamel is remarkable. Programmes at the LA Philharmonic in 2011/12 represent the best and the boldest: from a newly commissioned oratorio by John Adams, to the Mahler project – performing the complete symphonic cycle with a combination of the LA Philharmonic and the Simón © Richard Reinsdorf Bolívar Symphony Orchestra in both Los Angeles Dynamic conductor Gustavo Dudamel’s and Caracas – to beginning the LA Phil Mozart passionate music making invigorates project this season with , in a staged audiences of all ages worldwide. Concurrently realization of the Mozart/da Ponte trilogy over serving as Music Director of the Los Angeles the next three years. Philharmonic, Gothenburg Symphony Orchestra, and Simón Bolívar Symphony In addition to the Mahler project, this season Orchestra, the impact of his musical Dudamel leads performances with the Simón Bolívar leadership is felt on three continents. Symphony Orchestra of Venezuela in his native Venezuela and on tour to Europe and South America. While his commitment to his music director posts accounts for 43 weeks of the year, Dudamel also An exclusive Deutsche Grammophon artist since guest conducts some of the world’s greatest 2005, Dudamel has fifteen recordings and six video/ orchestras each season. This season he returns DVDs on the label. A recently released independent to the Vienna Philharmonic, Berlin Philharmonic documentary, Let the Children Play, captures the and Orchestre Philharmonique de Radio France. mission of El Sistema along with the excitement He also returns to La Scala, for a performance of Dudamel’s musical life. of Mahler’s Symphony No. 2, which will be Although named Gramophone Artist of the recorded by RAI Italia Radio. Year in 2011 and one of Time Magazine’s 100 Dudamel’s contract as Music Director of the LA most influential people in 2009, Dudamel hails Philharmonic has been extended to 2018-19, from humble beginnings in the small town their centennial season. Under his leadership their of Barquisimeto, Venezuela, where his early reach has expanded to an unprecedented extent musical and mentoring experiences moulded via LA PHIL LIVE theatrecasts, and through Youth his commitment to music as an engine for social Orchestra Los Angeles (YOLA). change – a lifelong passion.

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“I think the Allianz Academy was a big boost for my career not only because “For me, the Allianz Academy was a major event in my career. The quality of the professional contacts that I made through it, but also through the and the passion of its creators and performers made it one of the best self confidence that as a very young professional I got out of it.” learning experiences I ever had.”

Eva Ollikainen Jean-Philippe Tremblay

In 2008 Ollikainen made her debut with Royal Orchestre de la Francophonie and teaching for Swedish Opera in Ravel’s L’heure espagnole the Young Artists Program at the National Arts and Stravinsky’s . With Finnish Centre (Ottawa). National Ballet she has conducted Swan Lake A native of Chicoutimi Québec, Jean-Philippe and Sleeping Beauty. Tremblay studied viola, composition and Having won the International Jorma Panula conducting at the Conservatoire de Musique du © Maarit Kytöharju Conducting Competition in 2003, Ollikainen was © Jaques Robert Québec à Chicoutimi followed by advanced studies Eva Ollikainen is a widely appreciated invited to the International Conductors’ Academy French-Canadian conductor Jean-Philippe in conducting at the Université de Montréal, conductor in the Nordic countries. Despite of the Allianz Cultural Foundation, where she Tremblay has been heralded by the the in London, Pierre her young age she maintains a regular had the opportunity to work with the London Canadian press as a ‘great interpreter’ Monteux School and a fellowship at the prestigious relationship with such orchestras as the Philharmonic Orchestra and Kurt Masur, and with a ‘true musical vision’. Tanglewood Music Center. Other mentors have Royal Stockholm Philharmonic, Swedish the Philharmonia Orchestra and Christoph von included Seiji Ozawa, André Previn, Robert Spano, As Artistic Director and Founder of the Orchestre Radio and Iceland Symphony. Highlights Dohnányi. In 2006 she was a conducting fellow Jorma Panula, and Michael Jinbo. de la Francophonie, Tremblay has given more of recent seasons have included at Tanglewood Music Center to great public and than 200 concerts across Canada and China, and Tremblay is the recipient of the Joyce Conger performances with the Deutsches critical acclaim. Her long-term teachers in guest engagements have included the Montreal Award for the Arts, the Rose Roitman Award and Symphonie-Orchester Berlin, London have been Jorma Panula and Leif Segerstam. Symphony, National Symphony in Washington DC, the Musician’s Prize at the 2002 Mitropoulos Symphony Orchestra, Brussels Eva is now enjoying her sabbatical year exploring London Philharmonic and Philharmonia orchestras, International Competition for Orchestral Philharmonic and New Japan Philharmonic. the wonders and beauty of our earth by sailing Rotterdam Philharmonic, Prague Chamber Conducting. In 2004/05 he was selected by Kurt square riggers and schooners, and learning about Orchestra, Radio Orchestra of Dresden, Vienna Masur and Christoph von Dohnányi to be one of traditional sailing and wooden boats. Chamber Orchestra, Radio Chamber three participants in the International Conductors’ Orchestra, and Ensemble Moderne Contemporain. Academy of the Allianz Cultural Foundation. In 2001 Tremblay was awarded by Pinchas An avid chamber musician, Jean-Philippe Zukerman the Assistant Conductor position Tremblay often exchanges his baton for the at Ottawa’s National Arts Center Orchestra, viola – performing in various North American a position he held for two years. More recently festivals and as Artistic Advisor for the New Tremblay made his debuts with the Flemish Radio York-based Tremblay Ensemble. He is the violist Orchestra, Orchestre National de France, and for Montreal’s Jeunesses Musicales du Canada both the Ottawa and Orford Arts Festivals while series. continuing his tenure as Artistic Director of the

12 13 The International Conductors’ Academy 2007/08

“Normally as a conductor you cannot practise on a Stradivarius, so the 2007/08 conductors first time you stand in front of such a great orchestra there is naturally a lot of pressure. It is an extraordinary opportunity to be able to practise Philippe Bach on such a great instrument.”

Benjamin Northey

Jérémie Rhorer

Philippe Bach

Bach has worked with many symphony and chamber orchestras including the Royal Liverpool Philharmonic, BBC Philharmonic, Brandenburgisches Staatsorchester Frankfurt, Tonhalle Orchester, Basel Sinfonietta, Orquesta Sinfonica de Madrid, Symphony Orchestra, the Orchestre de Chambre de

© Priska Ketterer Lausanne and the RTE National Symphony Orchestra in Dublin. In 2010 Philippe Bach conducted the Swiss conductor, Philippe Bach, was closing concert of the Menuhin Festival in Gstaad Kapellmeister and Stellvertretender with pianist Khatia Buniatishvili. Generalmusikdirektor at the Theater Lübeck from 2007–10. During this time he conducted In 2007/08 Bach was a participant on the productions of Ballo in Maschera, The International Conductors’ Academy of the Allianz Cunning Little Vixen, Madama Butterfly, Cultural Foundation, working with Vladimir Adès’ The Tempest and Henze’s Elegy for Jurowski and Christoph von Dohnányi. The scheme Young Lovers. In 2010 he was appointed culminated in a successful concert with the London Generalmusikdirektor of Meiningen Theatre Philharmonic Orchestra at the Royal Festival Hall. and his first production was Wagner’s . In 2006 he conducted the London Symphony In 2010/11 he conducted the Hamburgische Orchestra, having been selected by the Orchestra Staatsoper in performances of Hänsel und for the LSO Discovery Conducting Scheme. Gretel, Die Zauberflöte and La traviata. Bach studied French horn at the Musikhochschule Most recently he was appointed Principal Bern and Geneva Conservatoire, and orchestral Conductor of Berner Kammerorchester conducting at the Musikhochschule Zürich with commencing in the 2012/13 season. Johannes Schlaefli. In 2005 he received a fellowship In 2006 he won First Prize at the International Jesús from the prestigious American Academy of López-Cobos Opera Conducting Competition Conducting at the Aspen Music Festival. From leading to his position as Assistant Conductor at the 2004–2006 he was Junior Fellow in Conducting at . Here he assisted Jesús López-Cobos the Royal Northern College of Music in Manchester. and guest conductors including Josep Pons, Placido Philippe Bach was born in 1974 in Saanen, Domingo, Alberto Zedda and Nicola Luisotti. He . made his debut there conducting Madama Butterfly in 2007 and Il barbiere di Siviglia in 2008. 14 15 2007/08 The International Conductors’ Academy The International Conductors’ Academy 2007/08

“The International Conductors’ Academy was a major turning point in my “It was a fantastic experience and above all a very enjoyable one, which career. It was a chance to step up, to be inspired and challenged at the taught me many fundamental lessons about conducting in a very short highest possible level. The experience not only developed my conducting, period of time. The tutoring we received from Maestros Dohnányi and it improved me as a person.” Jurowski was extremely concise and intelligent, and it was tailored to the very specific needs of conductors just starting out in their careers. The feedback from the orchestral musicians was invaluable, because it was brutally honest but always very considerate. For a young conductor this really is the best possible way to learn. In conclusion, it was one of the most enriching and important experiences in my musical life thus far.”

Benjamin Northey Jérémie Rhorer

In 2007, Northey was selected to participate in the Rhorer made his Wiener Staatsoper debut in International Conductor’s Academy of the Allianz January 2011 with Così fan tutte and was Cultural Foundation with mentors Christoph von immediately invited for Le nozze di Figaro in 2012. Dohnányi and Vladimir Jurowski. This culminated In 2009 he conducted Figaro at La Monnaie, in a performance of Stravinsky’s Symphony in C returning for Idomeneo in 2010, with concerts and in June 2008 at the Royal Festival Hall, to strong further productions planned for 2013 and 2014.

critical acclaim. © Yannick Couppannec In 2013 he makes his Glyndebourne debut with the London Philharmonic Orchestra, also with Figaro. Australian conductor Benjamin Northey Within Australia, Northey made his professional Jérémie Rhorer was born in 1973 in Paris. is one of Australia’s busiest and most debut with the Melbourne Symphony Orchestra There he studied the harpsichord, theory In 2010, he made his Festival debut versatile musical stars. Currently Associate in 2003. Since returning permanently in 2006, and composition, and assisted Marc conducting the Mozarteum Orchestra with Diana Conductor of the Melbourne Symphony Northey has been a regular guest conductor with Minkowski and William Christie. At 21, he Damrau, and 2011 saw his North American debut Orchestra, Northey studied with John all the Australian state symphony orchestras and formed the contemporary music ensemble at the Mostly Mozart Festival in New York. In Hopkins in Melbourne, graduating in 1999 has led opera and ballet productions including Les Musiciens de la Prée. In 2005, together 2011 he also conducted the Chamber with a Masters degree in conducting. In Don Giovanni for Opera Australia, L’elisir d’amore, with violinist Julien Chauvin, he founded Orchestra, Orchestre National Bordeaux, Baseler 2001, he was awarded first prize in the The Tales of Hoffmann and La Sonnambula for the Le Cercle de l’Harmonie, an orchestra Kammerorchester (Brahms, Berlioz, Kagel) and Symphony Australia Young Conductor of State Opera of South Australia. that performs on period instruments and the Deutsche Kammerphilharmonie Bremen at the Year Competition under Finnish maestro focusses on the music of the late 18th the Hamburg Brahms Festival (Brahms’ German In 2010, Northey conducted a major programme Jorma Panula. century. It has since become a regular guest Requiem with NDR Rundfunkchor). In 2012 he with the London Philharmonic Orchestra at the at major festivals such as Aix, Beaune and will debut with the Rotterdam Philharmonic and In 2002, Northey was the highest placed applicant Royal Festival Hall and made his debut with London’s Bremen, and at the Opera Comique, and Frankfurt Radio Symphony orchestras. Previous in the prestigious Sibelius Academy Orchestral Southbank Sinfonia. Concert appearances in has a residency in Deauville. From 2011-13 orchestral engagements have included the Orchestre Conducting Course in Helsinki where he studied for 2010 and 2011 included conducting the Sydney, Rhorer is Artistic Director of the Théâtre Philharmonique de Radio France, Stuttgart RSO, three years with Leif Segerstam and . In Melbourne, Queensland, Adelaide, West Australian, de Champs-Elysée’s annual Mozart festival, Ensemble Modern (Weill’s Seven Deadly Sins with 2003, Northey was awarded the 2003 Tasmanian, New Zealand and Christchurch conducting Le Cercle in staged performances Angelika Kirschlager) and the orchestras of La Memorial Trust Award under patron Sir Charles symphony orchestras, , and the of Idomeneo (2011), Così fan tutte (2012) Monnaie, Opera Bastille and Opera de Lyon. Mackerras. His 2005 diploma concert with the Hong Kong Philharmonic Orchestra. and Don Giovanni (2013). It made its London Sibelius Academy Symphony Orchestra included the Jérémie Rhorer is a prize-winning composer. 2012 engagements include Così fan tutte for debut at the Barbican Centre in 2011, and European première of ’s Amphitheatre He has had several works commissioned by Opera Australia, major concert appearances with following several very successful discs for and he was awarded the international jury’s highest Radio France and a major work premièred all of Australia and New Zealand’s major symphony Virgin Classics/EMI, it has recently begun a possible mark. He completed his studies in 2006 by the Orchestre National de Paris. orchestras and continued recordings for Beethoven series on Naive. as a guest student in Jorma Panula’s class at the ABC Classics. Stockholm Royal College of Music. 16 17 The International Conductors’ Academy 2008/09

“The Allianz Academy is unique – a year in the company of great orchestras 2008/09 conductors and great maestros offering great insight and immense inspiration. There is much to say about the rewards of such a programme but my greatest Matthew Coorey delight has been developing an ongoing relationship with the outstanding Philharmonia Orchestra. Something that wouldn’t have happened had the Allianz Cultural Foundation not provided such a golden opportunity Anna-Maria Helsing and something that has helped open many other doors to me. Thank you again Allianz.” Christian Schumann

Matthew Coorey

as debuts with BBC Philharmonic, Bournemouth Symphony, West Australian Symphony, BBC Scottish Symphony, BBC Symphony and the London Symphony orchestras. Initially self-taught as a conductor, Coorey auditioned for Seiji Ozawa and was invited to the Tanglewood Music Festival. At Tanglewood he also worked Matthew Coorey is an Australian conductor with Jorma Panula who then became his principal based in the . His career conducting teacher. began in 2003 when he was appointed Coorey came to the United Kingdom to take Assistant Conductor to the Royal Liverpool up the position of Junior Fellow in Conducting Philharmonic Orchestra - this initial (under Sir ) at the Royal Northern College one-year contract with the RLPO then of Music. Soon after commencing this position he became a three-year commitment when was also appointed Assistant Conductor to the he was appointed the Orchestra’s first Royal Liverpool Philharmonic Orchestra and Conductor in Residence. Gerard Schwarz and Principal Conductor of the Soon after leaving the RLPO he appeared with the Liverpool Philharmonic Youth Orchestra. London Mozart Players and the Hallé Orchestra, He was a prize-winner at the Georg Solti Conducting both resulting in reinvitations. His US debut with the Competition in Frankfurt and a finalist in the Seattle Symphony Orchestra and Sarah Chang was Maazel-Vilar Conducting Competition. described as ‘auspicious’ and the playing ‘exulted.’ He has recorded for Classic FM and Naxos Records In recent seasons Coorey has made debuts with and has collaborated with artists such as Sarah the London Philharmonic, Philharmonia, Sydney Chang, Freddy Kempf, Steven Osborne and Symphony and City of Birmingham Symphony Yevgeny Sudbin. orchestras, and the National Orchestra of Ireland - all have offered reinvitations. Coorey started his musical career as a horn player and after studying at the Sydney Conservatorium Other recent appearances include return of Music he played regularly with the Australian engagements with the RLPO, BBC Concert Orchestra Chamber Orchestra and the Sydney Symphony. and the Malaysian Philharmonic Orchestra as well

18 19 2008/09 The International Conductors’ Academy The International Conductors’ Academy 2008/09

“The Academy, by letting us attend rehearsals with the great masters, “My experience of the Allianz Academy was a thrilling, challenging, helped me realise what I still need to work on in order to become a better eye-opening, fertile, and salutary one. A precious moment unique in my conductor. The lessons we had during our own conducting sessions showed life and my development. I might even go as far as to say that this was the us how to achieve that. In all, it was a fantastic experience to get ‘back-stage’ period in which I ‘grew up’ and left adolescence behind. At some point and actually get a picture of how these orchestras work and the amazingly on this long journey a young conductor needs to climb up high, needs to high level of it all.” breathe the ‘thin air’, meet the demanding psychology and physiology of world-class musicians and the deep personalities that hold them together and show the way in today’s modern music world. Thank you for showing me the mountain and giving me the chance to use my wings.”

Anna-Maria Helsing Christian Schumann

(1996) and Poland (2000). She has studied and he then had the opportunity to conduct numerous attended masterclasses with famous conductors, renowned orchestras: Aarhus Symphony Orchestra, such as Leif Segerstam, Jorma Panula, Esa-Pekka Beethoven Orchester Bonn, Filharmonia Łódzka im. Salonen, Vladimir Jurowski and Gustavo Dudamel. Artura Rubinsteina, Hanoi and Saigon Philharmonic She has conducted most of the Finnish orchestras, Orchestras, Hamburger Symphoniker, Philippines such as the Radio Symphony Orchestra, Turku, Philharmonic Orchestra, Staatsorchester Mainz and Tampere and Helsinki Philharmonic orchestras and Saarbrucken, Sinfonieorchester Aachen, and WDR Tapiola Sinfonietta. Elsewhere, she has worked with Radio Orchestra Cologne. He has also worked with Anna-Maria Helsing is a Finnish conductor In March 2010, Christian Schumann made the Estonian National Symphony Orchestra (ERSO) ensembles including Ensemble Resonanz and the and the first woman ever to have become his debut at the Bavarian State Opera in and the Gothenburg Symphony Orchestra, . Austrian Ensemble for New Music [OENM] as well chief conductor of a Finnish symphony Munich, conducting Peter Eötvös’ opera This season she made her debut in Germany, as conducting in prestigious opera houses including orchestra. Presently she is the Chief Die Tragödie des Teufels, where he returned receiving the Louis Spohr Medal of 2011. Bayerische Staatsoper München and Wielki Conductor and Artistic Director of Oulu in 2011. From 2007 until 2009, he was Opera in Warsaw. Symphony Orchestra, Jakobstads Sinfonietta Anna-Maria Helsing also regularly conducts opera. Kapellmeister at the Swiss Operahouse in and the Wegelius Chamber Strings. Her debut at the Finnish National Opera was in St Gallen, where he conducted amongst In addition he has worked with the MDR- Kaija Saariaho’s Adriana Mater in 2008, and she has others Bizet’s Carmen, Stravinsky’s Le sacre Sinfonieorchester Leipzig, National Symphony Anna-Maria graduated from the Sibelius Academy also conducted at the Savonlinna Opera Festival. du printemps, Strauss’ Arabella and was Orchestra of the Polish Broadcasting Corporation in 2008 and participated in the International She has assisted in productions at the Finnish re-engaged in 2010 for the first local staging Katowice, Philharmonie Luxembourg, Sjaelland Conductors’ Academy of the Allianz Cultural National Opera, Savonlinna Opera Festival as well of Benjamin Schweitzer’s opera Jakob Orchestra Copenhagen, , Foundation in 2008–2009. As a violinist she also as in the Philharmonia Orchestra’s production of von Gunten. In 2008 he worked with the Tonkünstler-Orchester Niederösterreich and graduated with diplomas from Finland Schoenberg’s Gurrelieder with Esa-Pekka Salonen. Bayerische Rundfunk for the Musica Viva the Wiener Symphoniker. In Abu Dhabi (UAE) he series with Mixtur 2003 by Stockhausen. conducted the orchestra of the Sibelius Academy, in Teplice Berg’s Violin and in Portland/ Born in 1983 in Germany, Christian Schumann Maine (USA), Beethoven’s Symphony No. 9. received his diploma in conducting and composition from the University of Music in Weimar. Recently, he made his debut with the Pannon During his studies, he was additionally influenced Philharmonic Orchestra Pécs in Hungary, with by teachers such as Kurt Masur, Peter Eötvös, Liszt’s Mazeppa and Piano Concerto No. 2 and Pierre Boulez and Jorma Panula. excerpts from Wagner’s Rienzi, Tannhäuser, Lohengrin, Die Walküre and Götterdämmerung. After participating in the International Conductors’ Academy of the Allianz Cultural Foundation in 2009,

20 21 The International Conductors’ Academy 2010/11

“As a young conductor this was a golden opportunity to work with great 2010/11 conductors musicians and to experience how it feels to conduct these great orchestras. I was very grateful for the friendliness of the musicians from both orchestras Arturo Alvarado and appreciated not only their advice but support and encouragement. Among my highlights, to have conducted the Philharmonia Orchestra in concert makes me think that whatever happens I may rest in peace because Darrell Ang I got to work with one of the best orchestras in this world.”

Yordan Kamdzhalov

Arturo Alvarado

de Paris and the Castleton Festival orchestra. He has recently conducted several opera productions including Britten’s Turn of the Screw and Cimarosa’s Il matrimonio segreto, which was part of the Savonlinna Opera Festival 2011. Alvarado has been honoured with multiple grants from the Solti Foundation allowing him to participate Born in Peru, Arturo Alvarado started his in renowned masterclasses with Zsolt Nagy, musical education at an early age studying Peter Eötvös, Jorma Panula, Kenneth Kiesler, classical guitar and composition in Lima. Sir Roger Norrington and Sylvain Cambreling. In Despite early success in concert halls 2010, he was invited by Maestro Lorin Maazel to join across Latin America, Alvarado moved him at the Castleton Festival in Virginia. Also invited on to orchestral conducting in 2000, entering to the Interaktion conducting workshop in Berlin, the Rimsky-Korsakov Conservatory of Alvarado had the opportunity to work with St Petersburg. In December 2011, he musicians from the top German orchestras. graduated from the Sibelius Academy In 2008, Alvarado founded the Ensemble 27, where he studied with Leif Segerstam, an orchestra formed by students of the Sibelius having previously completed his studies Academy. They inaugurated the Sibafest festival both at the Conservatoire Superior de Paris with a concert honouring Magnus Lindberg’s and the Hanns Eisler Hochschule für Musik. 50th birthday, the repertoire including not Alvarado has worked with a number of reputable only works by Lindberg but also works by orchestras in Europe and the US, including the Luciano Berio and Witold Lutosławski. Tapiola Sinfonietta, Oulu and Norrköping Symphony Alvarado lives in Helsinki with his wife and orchestras, Essen Philharmonie, Bochumer newborn daughter. Symphoniker, Ensemble Orchestral

22 23 2010/11 The International Conductors’ Academy The International Conductors’ Academy 2010/11

“With the Philharmonia and London Philharmonic orchestras, I have learnt “To work with the Philharmonia and London Philharmonic orchestras how to make full use of one’s resources in the shortest amount of time, as and to meet also the phenomenal administration staff of these amazing well as to work quickly in order to turn most disadvantages into successful orchestras was just unbelievable. This showed me new horizons, musical results. The podium sessions with Salonen, Jurowski and Maazel developed my understanding of conducting itself, and of the meaning were eye-openers: and I must have learnt more in those lessons than in of ‘an orchestra’…This time has changed my life forever.” my entire conducting education combined!”

Darrell Ang Yordan Kamdzhalov

He co-founded the St Petersburg Chamber Director of the International Ensemble Innorelatio Philharmonic and pioneered music by John Adams, in Berlin, which he founded in 2006. In 2010 Per Nørgård, and Aksell Masson. He is one of the Kamdzhalov had his first US engagement as a cover foremost interpreters of contemporary Asian conductor for Esa-Pekka Salonen at the Los Angeles composers, including Chen Yi, Tan Dun, Zhou Long, Philharmonic Orchestra. Chen Qigang, Isang Yun, and Takemitsu. Future engagements include the Komische Oper At the St Petersburg Opera and Rimsky-Korsakov State Berlin; Orquestra Sinfónica Portuguesa at the Darrell Ang is the Young Associate Conductor Opera he worked closely with Mariinsky soloists in a Born in 1980 in Bulgaria (now living in National Opera Theatre, Lisbon; Boston debut of the Singapore Symphony Orchestra, wide range of repertoire from Purcell to Mozart, Verdi Berlin), Yordan Kamdzhalov has been with ensemble musikFabrik Köln and a concert tour Conductor Laureate of the St Petersburg and Britten. In concert he has worked alongside Nikolai appointed General Music Director of with mezzo-soprano Vesselina Kasarova and the Chamber Philharmonic, Music Director of Demidenko, Cristina Ortiz, Hu Nai-Yuan, Alban Gerhardt, the City of Heidelberg, Artistic Director Helsinki Baroque Orchestra. the Singapore National Youth Orchestra Huseyïn Sermet, Sergio Tiempo and Stephen Hough. and Chief Conductor of the Opera Theatre, Among the international awards he has received and will take up the post of Music Director the Philharmonic Orchestra and the His Fanfare for a Frazzled Earth was premièred by the are First Prize at the Jorma Panula Conducting of the Orchestre de Bretagne in 2012. Schloss Festival – a position he takes Singapore National Youth Orchestra in Singapore. Competition, 2009; Third Prize at the He won the 50th Besançon International up from 2012/13. As Chief Conductor of NTSO Taiwan-China Youth Conducting Competition, 2010; and nomination Young Conductors’ Competition (2007), Orchestra, he brought together young musicians from He has been critically recognized for his ‘gentle for Best Conductor of the Year 2010 by the 9th Antonio Pedrotti International China and Taiwan. He conducted the World Youth manner’ (The Guardian), musical precision and the Deutschlandradio. Competition for Conductors (2006) Olympic Games Orchestra at their inaugural concert way he charms an orchestra; ‘Kamdzhalov bore and 8th Arturo Toscanini International Kamdzhalov graduated from the State Academy of 2010 in Singapore. He enjoys discovering exceptional a more than passing resemblance to the young Competition for Conductors (2008). Music in Berlin and the Academy of Music in Sofia. young talents, featuring winners of international Celibidache’ (Classical Source). Chosen by Peter Eötvös, he took part in the Lucerne Born in Singapore, he studied piano, violin, competitions in concerts at Carnegie Hall, He has performed with the Philharmonia Orchestra; Festival Academy 2007. He has participated in bassoon and composition at St Petersburg State St Petersburg Philharmonic Hall and the Esplanade Deutsches Symphonie-Orchester Berlin (his live- international workshops and masterclasses under Conservatory and at Yale University. He has worked Concert Hall in Singapore. broadcast début on German radio from the Berlin the direction of Lorin Maazel, Pierre Boulez, David with (amongst others) Orchestre National de This season he debuts with the Orchestre National Philharmonie); Berlin Symphony Orchestra; Tonhalle Zinman, Jorma Panula, Bernard Haitink, Daniel Lyon, Orchestre Philharmonique du Strasbourg, de Belgique, Jena Philharmonie, Philharmonia Orchestra, Zurich; Lucerne Festival Academy Barenboim and Sir Simon Rattle. St Petersburg Philharmonic, Taipei Symphony Orchestra, Orchestra Sinfonica Orchestra; Komische Oper Berlin; Beethoven Orchestra, National Symphony Orchestra of Taiwan, He is co-initiator and President of the Yordan di Milano, Ensemble Orchestral Contemporain, Orchestra, Bonn; English Chamber Orchestra and Singapore Lyric Opera, Wiener Kammerorchester, Kamdzhalov Foundation, which supports talented Konzerthausorchester Berlin, Orchestre de l’Opéra the Orquestra Nacional do Porto. He is also Artistic Copenhagen Philharmonic, London Philharmonic young artists from his native country. Rouen, and Ensemble Intercontemporain. Orchestra, and RTVE Symphony Orchestra Madrid.

24 25 The International Conductors’ Academy 2011/12

“To be able to develop my skill and artistry as a conductor whilst working 2011/12 conductors with two world-class orchestras under the tutelage of world-class conductors is an incredible opportunity – a rare chance to be in a Thomas Blunt learning environment with musicians of the highest calibre. I hope it will deepen my knowledge of the relationship between orchestra and conductor, giving me a clear understanding of what a professional Domingo Hindoyan orchestra needs from a conductor, whilst also giving me invaluable exposure and a fantastic platform on which to build my career.” Ward Stare

Thomas Blunt

performance to open its first concert season at the newly refurbished Royal Festival Hall; La Cenerentola, and L’elisir d’amore (Glyndebourne on Tour); The Rape of Lucretia and The Turn of the Screw (Arcola Theatre); Cimarosa’s The Italian Girl in London for Bampton Classical Opera with performances at the Buxton Festival and St John’s Smith Square; Night Pieces, Of Water and Tears and Masquerade Thomas Blunt was Chorus Master at (Jerwood Glyndebourne Chorus Development Glyndebourne 2006-2009 and was Assistant Scheme, LPO); world première of Dave Maric’s ballet Conductor to Vladimir Jurowski and the Ghosts for ROH2; The Rape of Lucretia and Così fan London Philharmonic Orchestra from tutte (Benjamin Britten International Opera School); 2010-11. Roméo et Juliette (British Youth Opera); concerts He studied cello and conducting at the Junior with Southbank Sinfonia and Cambridge University Royal Academy of Music before taking up an organ Chamber Orchestra. scholarship at Trinity College Cambridge. After He has also worked as assistant conductor at La graduation he furthered his conducting studies under Monnaie on Enescu’s Oedipe, at Opera North Neil Thomson at the Royal College of Music where he on Rusalka and Così fan tutte and at the Cantiere also took part in masterclasses with Bernard Haitink Internazionale d’Arte di Montepulciano on The and prepared orchestras for visiting conductors Knot Garden. Whilst at Glyndebourne he assisted including Haitink, Andrew Litton, Gianandrea Noseda, conductors including Music Director Vladimir Sir Roger Norrington and Vasily Petrenko. Jurowski, Maurizio Benini, Edward Gardner, and Credits include concerts with the LPO (Royal Festival Enrique Mazzola; he also assisted Iván Fischer in Hall) and English Chamber Orchestra; performances Budapest with the Budapest Festival Orchestra on of Bruckner’s Mass No. 2 in E minor in São Paulo with Mahler Symphony No. 6 and assisted Jurowski the LPO and the Coro da Orquestra Sinfônica do for the LPO’s Prokofiev festival. Estado de São Paulo, Birtwistle’s Theseus Game (LPO/ Future plans include further work as assistant Foyle Future Firsts, Queen Elizabeth Hall); Mahler conductor at Welsh National Opera, and a Symphony No. 6 (LPO rehearsal conductor); Das re-invitation to conduct in São Paulo. klagende Lied (LPO banda) for the LPO’s first public

26 27 2011/12 The International Conductors’ Academy The International Conductors’ Academy 2011/12

“Observing the rehearsals of the different conductors confirmed my belief “The most wonderful thing about this experience was not only having the that there are many different styles and ways of creating great music, even opportunity to work with two of London’s greatest orchestras but being within the same orchestra. During the individual sessions on the podium, totally immersed in all that London has to offer musically. London has a I had the opportunity to develop my own style, thanks to the invaluable dense concentration of world-class artists, orchestras and conductors, advice of Sir Andrew Davis and Yannick Nézet-Séguin, which helped me take and being invited to observe rehearsals and attend performances was into account my personality and my ideas. The Academy is a very important truly inspirational. For a young conductor, I can’t imagine having a better step towards conducting excellence as it gives one the opportunity to introduction to the London classical music scene and I will always be improve one’s skills in the best possible conditions, all of which can grateful for having had such a tremendous opportunity.” potentially contribute greatly to the advancement of one’s career.”

Domingo Hindoyan Ward Stare

López-Cobos Opera Conductor Competition in subscription concerts with the Madison Symphony Madrid (2008). and soloist Lynn Harrell and St Paul Chamber Orchestra with soprano Christine Brewer. In Hindoyan was selected for the prestigious Allianz 2012/13 Stare makes his debut with the Lyric Opera International Conductors’ Academy 2011/12, of Chicago, with invitations to conduct a second where he has worked with mentors Esa-Pekka production. Chosen to participate in the prestigious Salonen and Vladimir Jurowski.

© Y Petit © Suzy Gorman International Conductors’ Academy of the Allianz He has conducted the Orchestre Philharmonique Cultural Foundation, Stare has worked intensively Born in Caracas, Venezuela, Domingo Ward Stare is Resident Conductor of the Royal de Liège, Simón Bolívar Symphony, Basel with the Philharmonia Orchestra and the London Hindoyan began his music studies as a Saint Louis Symphony Orchestra (SLSO) Symphony, Lausanne Chamber, Madrid Symphony Philharmonic Orchestra this year. violinist and member of the renowned and Music Director of the Saint Louis and Cadaqués orchestras among others. In June Venezuelan musical education programme Symphony Youth Orchestra. He made He was a League of American Orchestras Fellow 2011 Hindoyan made a very successful debut with El Sistema. After obtaining a masters his highly successful debut with the with the Los Angeles Philharmonic (2007/08), and the Orchestre de la Suisse Romande. degree in conducting at the Conservatoire SLSO in 2009 and in 2010 led the Youth conducted the orchestra’s Toyota Symphonies de Genève with the highest distinction Future engagements include Orchestre Orchestra in its debut. for Youth Series. He also assisted Sir Andrew Davis with Professor Laurent Gay and further Philharmonique de Luxembourg, Orchestre (2008) at the Lyric Opera of Chicago in Berg’s Lulu. In 2007 Stare debuted with the Cleveland perfecting his conducting skills at several Philharmonique Royal de Liège, Nancy Symphony Orchestra and other engagements included the He received the Robert J Harth Conductor Prize master classes (Bernard Haitink in 2008, Orchestra and 10 performances of L’elisir Memphis Symphony, Florida Orchestra and the (2006) and the Aspen Conducting Prize (2007), Jesús López Cobos in 2009, and David d’amore at the Bregenz Opera. Moscow Chamber Orchestra. In 2009 he made his and returned to Aspen in 2008 as Assistant Zinman in 2010), Hindoyan is increasingly During the 2012–13 season, he will conduct a new German debut with the Deutsches Symphonie- Conductor to David Zinman. He has also worked gaining international recognition. He production at the Graz Opera of Hänsel und Gretel Orchester Berlin (DSO Berlin) and a critically with Janos Furst and Jorma Panula and studied also maintains close ties with his native and a revival of La traviata as well as a ballet evening acclaimed subscription debut with the Saint Louis composition with Michel Merlet. Venezuela where he is a regular guest of The Rite of Spring and Les Noces. Symphony Orchestra. conductor within El Sistema. Ward Stare originally trained as a trombonist at As a result of the relationship developed with The 2010/11 season included a re-engagement with The Juilliard School. He was appointed Principal Domingo Hindoyan has won several conducting Maestro Barenboim in the framework of the the DSO Berlin and his European operatic debut at Trombonist of the Lyric Opera of Chicago and prizes. In 2010, he was awarded the 2nd prize at the West-Eastern Divan Orchestra, Hindoyan regularly the Norwegian Opera (Oslo) with Britten’s The Rape has performed with the Chicago Symphony Cadaqués International Conducting Competition, works with him in Berlin and Milano. of Lucretia. Future engagements include concerts Orchestra and the , and in 2009 he received the 4th prize at the Malko with the Detroit Symphony, appearances at the among others. As a soloist, he has performed International Conducting Competition. He was Domingo Hindoyan has also worked as assistant to DITTO Festival in Seoul, Colorado Music Festival, in both the US and Europe. also a semifinalist at the Besançon Conducting Claudio Abbado for concerts with the Simón Bolívar Competition (2009) and a finalist at the Jesús Symphony Orchestra in Lucerne and Caracas.

28 29 © Ben Ealovega

30 31 2003–2012 The International Conductors’ Academy The International Conductors’ Academy 2003–2012 Esa-Pekka Salonen, Principal Conductor and Artistic Advisor of the “Learning how to convey your ideas to an orchestra – precisely, Philharmonia Orchestra effectively and organically – talks to Barbara Palczynski, former Manager of the International is a lifetime’s process”

Conductors’ Academy about the challenges of conducting in the © Clive Barda Esa-Pekka Salonen future and the role of the Allianz Conductors’ Academy.

Esa-Pekka Salonen is rehearsing Beethoven’s BP: What is it like for a young conductor to stand It takes the orchestras outside their comfort zone. BP: Where do you see your emphasis concerning Symphony No. 7 in Henry Wood Hall, for in front of a world-famous symphony orchestra? They ask me questions that really make me think. repertoire with the Philharmonia in the future? the Philharmonia Orchestra’s tour to And for me it is also a great way to check in with EPS: It is very challenging. I remember my own EPS: The challenge is to create a profile that in Gran Canaria. We sit down to discuss the the new generation. first time when I conducted the Philharmonia. I some way has an identity and integrity that stands International Conductors’ Academy and was 25 and it was scary but unbelievably exciting. BP: What do you particularly like about the out from the overall landscape, which in his own musical journey. The moment I thought of something, it was Allianz International Conductors’ Academy? London is especially challenging because of the BP: When Karsten (Witt) asked me to set up the already happening. You feel that you ought to astonishing amount of music going on here every EPS: I come out of the sessions feeling inspired Academy 10 years ago, it was incredibly exciting. be able to give the orchestra something more day. I try to develop projects that go deeper into and encouraged by their energy. We live in For young conductors to learn with two of the than just getting them through the piece and one composer, like the Vienna project (City of challenging times at the moment, with severe cuts world’s leading symphony orchestras and their going through the motions. The players read Dreams: Vienna 1900-1935, 2009) or the Bartók to the arts all over Europe and many journalists principal conductors was a unique opportunity. you and react to you all the time. They are like a project (Infernal Dance: Inside the World of writing about the demise of this kind of music. Did you ever participate in anything similar? huge magnifying mirror that enables you to see Béla Bartók, 2011). I am also very interested in We older conductors sometimes wonder whether everything so clearly. using multimedia with a symphony orchestra. EPS: My story was somewhat different. I always we are the last of the Mohicans. Everything loses Not by any means replacing the concert thought composing would be my full-time BP: And how can the orchestra benefit from these its meaning if there is no next generation, no experience but in certain cases, enhancing it. profession and conducting would fill the gaps experiences? future. So to see young talent emerging is like a The reason why the Philharmonia was founded so I was not actively seeking these sorts of reaffirmation of oneself. I know that if this art EPS: The orchestras know that it is in their in 1945 was in response to the new recording opportunities. That said, there was Aspen and form is in good hands after I am gone it makes me best interest to invest in young talent because technology. The advent of the LP made it possible Tanglewood in the States, but in Europe the feel confident about my own work. So I continue later down the line, these youngsters might to have a mass market for classical music. So if the Allianz programme is completely unique. because I owe it to the future of the art form. become very important names for them. And if raison d’être of the orchestra was to respond to BP: So what are the ingredients that make a good there is a connection early on, the chances are BP: Who inspired you? modern technology, why would a forward-looking conductor? that the conductor will remain faithful to this EPS: There were many conductors along the way. orchestra suddenly become a backward-looking first encounter. EPS: It is a rather fragile agreement between In concrete terms, I was lucky enough to be helped one? And lastly, contemporary repertoire. I find it the conductor and the musicians, that certain BP: What did you take away from your by Pierre Boulez. But I was also in a very fortunate impossible to imagine a young person who is not gestures find their equivalent expression in sonic experiences in these teaching sessions? position to have some schoolmates who later interested in new music. Most people are naturally terms. And this is based on a mutual willingness became very serious conductors like Saraste and drawn to new things as well as enjoying the EPS: It is fascinating working with young to make it work. Learning how to convey your Vänskä. They were very important to me because traditional. So it is essential for young conductors conductors because they come from an ideas to an orchestra – precisely, effectively and you had to deliver or fall behind and we formed to embrace this. unvarnished point of no compromise and organically – is a lifetime’s process. It is about the long lasting friendships. Ollie Knussen was also no cynicism. And because they have nothing to sensitivity to know when to lead, and when to let very influential in my life. lose, they sometimes ask orchestras to do things them do their thing. that a more experienced conductor might not consider. It opens up everyone’s horizons.

32 33 2003–2012 The International Conductors’ Academy The International Conductors’ Academy 2003–2012 Vladimir Jurowski, Principal Conductor of the London Philharmonic Orchestra “The dual nature between the podium and the pit is talks to Barbara Palczynski about the Allianz Conductors’ Academy indispensable for any great and his own path to success. conductor.”

© Chris Christodolou  Vladimir Jurowski

It’s a mild day in January. The LPO is BP: Your role takes on a duality between opera to be a total detachment between them and the because he wanted us to go through the process rehearsing at the Royal College of Music and symphony orchestra. Tell me how this works orchestras. But Gennady (Rozhdestvensky) of having to teach what we had already learned. for their next project, Prokofiev: Man of for you. had an absolute magical control and his early When we teach, we too are learning all the time. the People? with Principal Conductor opera conducting was spectacular. His music VJ: The dual nature between the podium and BP: What would you say is the particular strength Vladimir Jurowski. is exceedingly brilliant and fascinating. But the pit is indispensable for any great conductor. of the LPO ? the warmth that came from Bernstein made BP: One of the things that makes our Allianz A great orchestra and a great conductor have to be VJ: We already talked about the dual nature Academy unique is the on-the-job training equally good in both. The real conducting starts me realise it was possible to make the players of their work. They combine the highest that the conductors and orchestras provide. in the opera because you have to be aware and in behave in a totally different fashion. Gennady is professionalism with the deepest humanity. Were you ever luck enough to experience control of many more aspects. Traditionally, this a great communicator but he had the opposite The way they interact with one another and the something similar? is how the symphony orchestra came into being, convictions to Bernstein. For him, music was way they are welcoming to guest conductors – if you look at the Dresden Staatskapelle or Leipzig music, music was art. But for Bernstein, music was VJ: Not really. As a child, my father took me to all I have never experienced this with other Gewandhaus. In the past, most great conductors life. Life itself. Then the third and probably the his rehearsals, and I used to sit and listen. I never orchestras. They are also a good combination started their careers as opera conductors. Opera strongest influence for me was Carlos Kleiber. participated in any competitions because I am not of youth and experience. remains incredibly important to me because a competitive person. I hated the idea of fighting BP: Tell us how you approached the teaching in the beginning there was the human voice BP: How important do you think it is for young over something that is of an extremely personal aspect of the Allianz programme. and the word. When working with a symphony conductors to embrace contemporary music? and individual nature. I started by conducting VJ: For me, teaching is about being able to orchestra this is one of my main aspirations – And how do you see your own influence on the contemporary music chamber ensembles, but I verbalise your knowledge. During our sessions to make people realise the necessity for a deep repertoire of the LPO? was never expecting anyone to ask me to conduct I never interrupted the rehearsals. It would be comprehension of the word behind the note. big symphony orchestras. And then miraculously of no avail to talk about what is of an esoteric VJ: I think all young conductors should start their And then the realisation of the genuine and things started to happen for me. nature in front of 70 pairs of eyes. When we are professional activities with contemporary music natural breath. in front of the orchestra, our pulse and our blood (unless they are coming from a very specialised BP: So tell me which steps in your career were BP: Tell us which conductors you found field like early classical baroque music). Not particularly groundbreaking. pressure go up. You are often not capable of taking inspirational. instructions for what they are worth, and even just contemporary music but also the music VJ: The impulse all came from the Wexford Festival less able to then make them work. There needs of the late 19th century. There is an immense VJ: When I was little, obviously it was my father. in 1995. I was conducting Rimsky Korsakov’s layer of repertoire that has never been or is However he is not the reason that I became a to be a calm state. So I let the conductors gather May Night and this led to an unexpected invitation rarely performed. I have been quite successful in conductor, because it is not easy to do the same their own notes and criticisms from the players to conduct at Covent Garden. Then there was bringing such new repertoire to the LPO. I would job as your dad! I saw Bernstein when I was 16 and then after I would discuss it with them. In this also my debut at the Berlin Komische Oper where also like to extend my own personal repertoire, and he completely changed my perception of the way, I could be more open, and sometimes harsh. I was an assistant conductor at the ballet and adding those works that I have been consciously orchestra. What I witnessed was an incredible This is of immense value to young conductors, then I was put into the pit! avoiding because of my young age. But now I mixture of sensibility and power. His music to be able to collect these experiences. At the have hit the 40 mark, I feel it is time to go further And of course in 2001 my appointment at exuded humanity. In the Soviet Union, with the Conservatoire my old teacher would always into Mahler and the next big step would be the Glyndebourne, which eventually led to my exception of Rozhdestvensky, the conductors make us give the first lessons to the new students exploration of Bruckner. relationship with the LPO. were extremely professional but there seemed 34 35 2003–2012 The International Conductors’ Academy The International Conductors’ Academy 2003–2012 London Philharmonic Orchestra

he London Philharmonic takes up its annual residency accompanying the received the Association of British Orchestras/ orchestral training scheme for outstanding young Orchestra is one of the world’s famous Glyndebourne Festival Opera in the Sussex Musicians Benevolent Fund Healthy Orchestra players. Over the last few years, developments in finest orchestras, balancing a countryside, where it has been Resident Symphony Bronze Charter Mark. technology and social networks have enabled the long and distinguished history Orchestra since 1964. Orchestra to reach even more people worldwide: all The London Philharmonic Orchestra maintains with a reputation as one of the its recordings are available to download from iTunes The London Philharmonic Orchestra tours an energetic programme of activities for young UK’s most adventurous and and, as well as a YouTube channel, news blog, internationally, performing concerts to sell-out people and local communities. Highlights include forward-looking orchestras. As well as performing iPhone app and regular podcasts, the Orchestra has audiences worldwide. In 1956 it became the first the ever-popular family and schools concerts, Tclassical concerts, the Orchestra also records a thriving presence on Facebook and Twitter. British orchestra to appear in Soviet Russia and fusion ensemble The Band, the Leverhulme Young film and computer game soundtracks, has its in 1973 made the first-ever visit to China by a Composers project and the Foyle Future Firsts Find out more and get involved! own record label, and reaches thousands of Western orchestra. Touring remains a big part lpo.org.uk Londoners every year through activities for of the Orchestra’s life: tours in the 2011/12 schools and local communities. season include visits to Belgium, Switzerland, The Orchestra was founded by Sir Thomas Germany, the US, Spain, China, Russia, Oman, Beecham in 1932, and since then has been headed Brazil and France. “We are always looking for the next great conductor but we also have a by many of the great names in the conducting Even if you’ve never set foot in a concert hall, you responsibility, not only to identify, but to give a helping hand to the next world, including Sir Adrian Boult, Bernard Haitink, may well have heard the London Philharmonic Sir Georg Solti, Klaus Tennstedt and Kurt Masur. generation of talented musicians, and to enable them to realise their Orchestra on film soundtrack recordings: it has The current Principal Conductor is Russian recorded many blockbuster scores, from The artistic aspirations. Our long-term collaboration with the Philharmonia Vladimir Jurowski, appointed in 2007, and French- Lord of the Rings trilogy to Lawrence of Arabia, Canadian Yannick Nézet-Séguin is Principal Orchestra and Southbank Centre on the young conductors’ programme, The Mission, Philadelphia and East is East. The Guest Conductor. Orchestra also broadcasts regularly on television funded by the Allianz Cultural Foundation, has allowed us to see exciting The Orchestra is based at the Royal Festival Hall and radio, and in 2005 established its own record young talent working first hand with our orchestras, Principal Conductors, in London’s Southbank Centre, where it has label. There are now over 50 releases on the label, performed since it opened in 1951 and been which are available on CD and to download. guest conductors and conducting teachers, where hopefully they will Resident Orchestra since 1992. It gives around Recent additions include Dvorˇák’s Symphonic have received invaluable wisdom and advice. Many have gone on to 40 concerts there each season with many of the Variations and Symphony No. 8 conducted by Sir world’s top conductors and soloists. Concert Charles Mackerras; Holst’s The Planets conducted achieve deserved success in orchestral life throughout the world. We highlights in 2011/12 include a three-week festival by Vladimir Jurowski; Mahler’s Symphony No. 8 are of course enormously grateful to the support of the Allianz Cultural celebrating the music of Prokofiev, concerts with under Klaus Tennstedt; and Shostakovich Piano artists including Sir Mark Elder, Marin Alsop, with Martin Helmchen under Vladimir Foundation, without which none of this could have been achieved.” Renée Fleming, Stephen Hough and Joshua Jurowski. The Orchestra was also recently Bell, and several premières of works by living honoured with the commission to record all 205 Timothy Walker composers including the Orchestra’s Composer of the world’s national anthems for the London Chief Executive and Artistic Director, in Residence, Julian Anderson. In addition to its 2012 Olympics Team Welcome Ceremonies and London Philharmonic Orchestra London concerts, the Orchestra has flourishing Medal Ceremonies. residencies in Brighton and Eastbourne, and To help maintain its high standards and diverse performs regularly around the UK. Every summer, workload, the Orchestra is committed to the the Orchestra leaves London for four months and welfare of its musicians and in December 2007

36 37 2003–2012 The International Conductors’ Academy The International Conductors’ Academy 2003–2012 Philharmonia Orchestra

he Philharmonia Orchestra in Partnership at The Anvil in Basingstoke; and More than 3,500 people a month download free position as a digital innovator and earlier this is one of the world’s great launches new residencies at the new Marlowe monthly Philharmonia video podcasts, which year the Orchestra announced the launch of a orchestras. Acknowledged Theatre in Canterbury, and the Three include artist interviews and features on repertoire new digital production company, Rite Digital. as the UK’s foremost Festival. The Orchestra’s extensive touring and projects; these films are also watched by The Philharmonia and Rite Digital are currently musical pioneer, with an schedule this season also includes performances more than one million people on YouTube. working on a follow-up audio-visual installation, extraordinary recording in more than 30 of the finest international concert In May 2010 the Orchestra’s digital “virtual Universe of Sound: The Planets. This installation, legacy, the Philharmonia leads the field for its halls in Europe and China with conductors Philharmonia Orchestra” project, RE-RITE, won based on Holst’s The Planets, will premiere Tquality of playing, and for its innovative approach including Esa-Pekka Salonen, Lorin Maazel and both the RPS Audience Development and Creative at the Science Museum in summer 2012 and to audience development, residencies, music Kurt Masur. Communication Awards, and after appearances in allow audiences closer than ever to the heart education and the use of new technologies in During its first six decades, the Philharmonia London, Leicester and Lisbon, tours to Dortmund of the Orchestra. reaching a global audience. Together with its Orchestra has collaborated with most of the great in November 2011. RE-RITE, devised with relationships with the world’s most sought-after www.philharmonia.co.uk classical artists of the 20th century. Conductors Esa-Pekka Salonen, secured the Philharmonia’s artists, most importantly its Principal Conductor associated with the Orchestra include Furtwängler, and Artistic Advisor Esa-Pekka Salonen, the , Toscanini, Cantelli, Karajan and Philharmonia Orchestra is at the heart of British Giulini. Otto Klemperer was the first of many musical life. “The International Conductors’ Academy of the Allianz Cultural outstanding Principal Conductors, and other great Today, the Philharmonia has the greatest claim of names have included Lorin Maazel (Associate Foundation was a unique and very special programme. For a conductor any orchestra to be the UK’s National Orchestra. Principal Conductor), Riccardo Muti (Principal at the outset of their career, gaining practical experience and exposure It is committed to presenting the same quality, live Conductor and Music Director), Giuseppe music-making in venues throughout the country Sinopoli (Music Director) and Sir Charles outside the competition circuit with the world’s leading orchestras can as it brings to London and the great concert Mackerras (Principal Guest Conductor). As well as be a major challenge. No other initiative has addressed this difficulty halls of the world. In 2011/12 the Orchestra is Esa-Pekka Salonen, current titled conductors are performing more than 160 concerts, as well as Christoph von Dohnányi (Honorary Conductor for facing our most gifted young conductors as they make the transition recording scores for films, CDs and computer Life), Kurt Sanderling (Conductor Emeritus) and from a youthful, prodigious career into the top ranks of the world’s games. Under Esa-Pekka Salonen a series of Vladimir Ashkenazy (Conductor Laureate). flagship, visionary projects – City of Dreams: Vienna great orchestral institutions. We’ve enjoyed working with each of the Throughout its history, the Philharmonia 1900–1935 (2009), Bill Viola’s Tristan und Isolde Orchestra has been committed to finding new conductors and following their subsequent careers enormously and (2010) and Infernal Dance: Inside the World of Béla ways to bring its top quality live performance Bartók (2011) – have been critically acclaimed. are very grateful to the Allianz Cultural Foundation for their vision in to audiences worldwide, and to using new For 16 years now the Orchestra’s work has been technologies to achieve this. Many millions having identified the need for this programme and for enabling it.” underpinned by its much admired UK and of people since 1945 have enjoyed their International Residency Programme, which began first experience of classical music through a in 1995 with the launch of its residencies at the David Whelton Philharmonia recording, and in 2011/12 audiences Bedford Corn Exchange and London’s Southbank Managing Director, can engage with the Orchestra through webcasts, Centre. During 2011/12 the Orchestra not only Philharmonia Orchestra podcasts, downloads, computer games and film performs more than 35 concerts at Southbank scores as well as through its unique interactive Centre’s Royal Festival Hall, but also celebrates its music education website, The Sound Exchange 15th year as Resident Orchestra of De Montfort (www.philharmonia.co.uk/thesoundexchange). Hall in Leicester and its 11th year as Orchestra

38 39 2003–2012 The International Conductors’ Academy A unique collaboration

“Any programme instituted to educate and advise “One of the most rewarding aspects of my career young conductors is absolutely necessary today. is working alongside young and passionate We were therefore very grateful when the Allianz musicians, helping them to develop both programme was created, giving young conductors creatively and technically. the opportunity to work with great established The International Conductors’ Academy of the conductors and two wonderful and professional Allianz Cultural Foundation allows conductors orchestras – the Philharmonia and London to develop their craft in the most natural place Philharmonic orchestras. Through this programme, possible – on the podium. It is an invaluable the participants could achieve a higher level of experience for these young and talented individuals, music making. The expectations of our audiences on the brink of their career, to work alongside and today are high and it is unfortunate that the learn from experienced conductors and in front of programme could not be continued because it is orchestras as special as the Philharmonia Orchestra our duty to nurture young talent. I am delighted and the London Philharmonic Orchestra. that I could contribute a little bit to the success of the Allianz International Conductors’ Academy.” And they do so not only once, but the fact that they have the chance to work with the orchestra Kurt Masur and observe and learn from the conductors over Principal Conductor, an entire year is what separates the Allianz project London Philharmonic Orchestra from most, allowing both a network of support 2000–2007 and the time and space to develop. The concert at the end of the year showed that these conductors “Southbank Centre is committed to the have not only skill but the maturity and dedication development of artists at all stages of their to carve out what will be a fruitful and successful careers and it is especially important that artists career for each of them.” are given an appropriate, supportive exposure early in their working lives. The International Christoph von Dohnányi Conductors’ Academy of the Allianz Cultural Principal Conductor, Foundation has provided a welcome opportunity Philharmonia Orchestra to create a platform for some of the world’s best 1997–2008 young conductors, and it has been a great source of pride to us at Southbank Centre that our hall, our resident orchestras and their principal conductors have been at the disposal of these Published by Allianz Cultural Foundation wonderful young talents.” Project Managed/Edited by Barbara Palczynski Designed by www.vincentdesign.co.uk Gillian Moore MBE DVD production by Duplidisk Head of Classical Music, With special thanks to: Southbank Centre Gabriele Benno (Allianz Cultural Foundation), Kath Trout (London Philharmonic Orchestra), Emma Peters and James Williams (Philharmonia Orchestra)

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