Malkki, Susanna

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    Susanna Mälkki and Santtu-Matias Rouvali Take Over the Philharmonic

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    Susanna Mälkki and Santtu-Matias Rouvali made back-to-back appearances with the orchestra, leading similar programs with distinct style.Finland’s top exports may be machinery and fuel, but in classical music it is also one of the world’s leading producer of conductors.Over the past century, Finland has nurtured a culture of musical education that has brought about generations of brilliance at the podium. It has given us some of the finest conductors working today, like Esa-Pekka Salonen, as well as some of our buzziest, like Klaus Mäkelä, who picked up storied jobs in Amsterdam and Chicago before the age of 30.As if in a testament to the saturation of Finnish conductors, the New York Philharmonic booked two back-to-back: Santtu-Matias Rouvali, for a program that continues through Tuesday at David Geffen Hall, and Susanna Mälkki last week.The similarities between the two conductors’ programs don’t end with their nationality. Both opened with a contemporary work making its Philharmonic premiere; both featured late pieces by Richard Strauss; and both ended with music written during, and in the shadow of, World War I.Yet these two weeks at the Philharmonic felt satisfyingly distinct. There may be many Finnish conductors, but there is not a Finnish style of conducting. Mälkki and Rouvali both have an intelligent, even wise sense of shape, but are excellent in their own ways; she is a master of color, he of surprise. And the music they programmed, while superficially similar, differed in sound and scale.The biggest difference was between the two contemporary works. Rouvali’s concert, on Thursday, opened with Julia Wolfe’s “Fountain of Youth” (2019), a nine-minute exclamation that starts percussively, with scratch tones in the strings and scraped washboards. Then the score gradually expands to include the whole orchestra: fluttering, sustained notes in the winds and wailing, animalistic cries in the trombones, as well as stylistic interjections like blues, folk fiddle and rock.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Review: Ligeti’s Fascinating Polyrhythm at the New York Phil

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      The conductor Susanna Mälkki led a program centered on Ligeti’s Piano Concerto, propelled by the soloist Pierre-Laurent Aimard.On Thursday, the conductor Susanna Mälkki led the New York Philharmonic at David Geffen Hall in an unusually cohesive program built around the bizarro sound world of Ligeti’s Piano Concerto. It was part of the orchestra’s centennial celebrations of the composer.Written in the 1980s, the piece draws its lifeblood from Ligeti’s remarkable rhythmic sense. The piano soloist works out asymmetrical accents from interlocking metrical units while also maintaining composure in scales and running 16th notes. On the surface, there’s a high degree of independence among the wailing strings, fluorescent woodwinds and intricate percussion, but as Pierre-Laurent Aimard, the Philharmonic’s soloist, recently told The New York Times: “It’s a work that renews polyphony through fascinating polyrhythm.” The chaos has a way of coming together if a listener stops resisting it.The concerto seems frozen between states, its harmonic center melting away without ever evaporating, but in Mälkki’s expert hands, it could sound almost traditional in structure. In the first movement, she lined up emphatic pizzicati with the accents that Aimard plucked out of the solo part. In the second, a siren crescendoed into a blaring signal whistle to herald the piano’s violent re-entry — a satisfying climax built from unusual means. The music seemed to levitate with the centrifugal force of rampaging bongos. The strange postludes that close out the second movement (scored for Chromonica) and the fifth (a duet for xylophone and piano) were gripping afterthoughts.The crisp acoustic of the recently renovated hall enhanced Ligeti’s rhythmic vivacity. The orchestra sounded warm and precise, with a tone that was full but not fatty. In the Lento e deserto, the work’s only slow movement, the lonely yowlings of piccolo, bassoon and slide whistle formed a tender yet humorous trio.Mälkki folded the piano into the texture like a firing engine, enabling Aimard, a longtime friend and champion of the composer, to propel the piece. Aimard, something of an elegant mathematician, handled polyrhythms with a through line and sense of ease. Pianistic effects, like scales, crunchy chord clusters and running 16th notes with multiple voicings, had unfussy finesse. The “leggiero, non legato” (“light, but not connected”) passage in the Presto luminoso had a discrete, glockenspiel-like tone that didn’t turn percussive. Aimard and Mälkki were unable to reach the finish line in the Presto in three minutes or less, as Ligeti requests in the score, but it was nonetheless a bravura performance.The Ligeti crowned the first half of the program, which was themed around Hungarian composers. The Budapest-born musician Jeno Lisztes opened the concert with a dazzling solo arrangement of Liszt’s Hungarian Rhapsody No. 2 for cimbalom, a traditional Hungarian instrument in the dulcimer family that utilizes a pedal mechanism and mallets that resemble cotton-padded bar spoons. His performance had melancholy grace and a rollicking climax that left me wondering where this symphony of notes was coming from. In Bartók’s brief Romanian Folk Dances, the orchestra sounded sturdy and grounded.After intermission, Mälkki and the orchestra leaned heavily into the grotesquerie that characterizes half of the images that Mussorgsky depicts in “Pictures at an Exhibition.” “Gnomus” had a dangerous agility, both aggressive and surprising, and “Bydlo” was moody and theatrical. The brasses, summoning deep, forbidding power, made a meal of “Catacombae.” The penultimate movement, “The Hut on Hen’s Legs” — and not Mälkki’s muscular take on the magnificent “The Great Gate of Kiev” — provided the piece’s true finale. The hut, which houses a witch of Russian folklore, lurched in gleeful, monstrous ways as its inhabitant sniffed out young children to devour.Mälkki and the players dug into the fantastical elements of “Pictures” as if possessed, almost as though they couldn’t shake off the Ligeti — and after such a tremendous performance, neither could I.New York Philharmonic, conducted by Susanna MälkkiThrough Saturday at David Geffen Hall; nyphil.org More

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      Review: After 55 Years, the Helsinki Philharmonic Returns to Carnegie Hall

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      The conductor Susanna Mälkki brought her orchestra to New York in something of a farewell to her tenure in Finland.Until Tuesday, the Helsinki Philharmonic Orchestra hadn’t been to Carnegie Hall since 1968.Its chief conductor at the time was Jorma Panula, who was at the podium for that visit. Now, 55 years later, the group is led by one of his former students: Susanna Mälkki.Her tenure in Helsinki, where she has been the chief conductor since 2016, ends this season. And the classical music world is watching to see what comes next. A maestro at the height of her powers, she was until recently the principal guest conductor of the Los Angeles Philharmonic, so an obvious possible successor to Gustavo Dudamel when he leaves to lead the New York Philharmonic in three years.In Los Angeles, Mälkki’s repertoire has been varied: a lot of well-shepherded contemporary music, but also insightfully transparent interpretations of the classics. Her work in Helsinki has been similar, though you wouldn’t know it from her Carnegie program, a thoroughly Finnish evening of works by Sibelius, that country’s most treasured composer, and Kaija Saariaho, its finest living one.Sibelius — at whose namesake school Mälkki studied with Panula — was represented not just by two planned works, but also by two encores: “Valse Triste” and, after Mälkki asked the audience to indulge a bit of patriotism, “Finlandia.”That piece is too famous for its own good and is often played with ineffective sentimentality. But under Mälkki’s baton, and with this orchestra — Sibelius’s sound world etched in its bones — “Finlandia” was newly disarming, modestly dignified in its touching harmonies and iron-willed fanfares.It was a delivery reminiscent of the program’s opener, “Lemminkäinen’s Return,” the fourth legend from Sibelius’s “Lemminkäinen Suite,” based on the “Kalevala,” Finland’s national epic. A brief finale to a long work, the “Return” is all climax, but Mälkki maintained a level head, unleashing a bit of fiery folk aggression here and there, but for the most part emphasizing color and letting it bloom with grandeur that was assured rather than insistent.Saariaho’s flute concerto “L’Aile du Songe,” from 2001, was a quietly personal touch of programming: Mälkki, who like Saariaho lives in Paris, is a friend and eminent interpreter of her music. And for the Carnegie performance, Mälkki was joined by another previous collaborator, the flutist Claire Chase, in the solo part. (Those two recently brought Felipe Lara’s excellent Double Concerto, which had premiered in Helsinki, to the New York Philharmonic.)The flute — human, elemental — has been one of Saariaho’s favored instruments, for which she has written some of her most dreamily poetic music. Here, it sings in brief phrases above suspended textures that aren’t melodies per se, but that build to broadly expressed gestures.In the second movement, the soloist vocalizes alongside notated playing, which Chase dispatched with her trademark theatricality. She and the Finns were satisfyingly united in their treatment of some of the work’s most exquisite details: downward glissandos that evoke a quickly passing, or perhaps dying, flare of sound; a celestial slow fade that ascends yet ebbs, in the end, to inaudibility.Part of that character, of course, comes from Mälkki’s conducting, which was at its wisest in Sibelius’s Second Symphony. The first movement’s pulsating motif rose and fell like breath, richly built from the lower voices upward and giving way to warm calls from the horns. An organic spirit permeated the reading, with momentum that was neither propulsive nor slack but simply natural, patient. When Dalia Stasevska led this piece with the New York Philharmonic earlier this year, it took on a hard-edged, assertive nationalism; here, its Finnish pride was more reverential, and awe inspired.Mälkki picked up the pace for the finale, resisting extravagant Romanticism and allowing the scale of the music to speak for itself. This was typical of a conductor who has risen to the top of her field on artistry alone, without the shameless bids for celebrity of her peers.We will see whether Mälkki’s stature, after Helsinki, translates to a new music directorship or a more self-driven freelance career. Regardless, any orchestra would be lucky to have her at its podium.Helsinki Philharmonic OrchestraPerformed on Tuesday at Carnegie Hall, Manhattan. More

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      Review: A Concerto Makes Two Soloists a Many-Tentacled Creature

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      Felipe Lara’s sensational Double Concerto, with Claire Chase and Esperanza Spalding, was played by the New York Philharmonic under Susanna Mälkki.Placing an old piece in new surroundings can make you think about it in a fresh way. Until the New York Philharmonic played Charles Ives’s short, indelible “The Unanswered Question” on Wednesday at David Geffen Hall under Susanna Mälkki’s baton, I had never thought of it as a tiny double concerto.It isn’t, exactly. A double concerto adds two soloists to the orchestra, and the Ives has five: four flutists and a trumpeter. But its structure — in which soft expanses of consoling strings are the ground for interjections of somber trumpet and bursts of talkative flute — suggests the flutes are a single many-headed unit. It’s a kind of double concerto, then, in which two solo forces have a relationship to one another and to the main ensemble.It’s no surprise that my thoughts went to this form. Felipe Lara’s sensational Double Concerto, exuberant if not always sunny, had its New York premiere on Wednesday after the Ives.Written in 2019 and given its premiere in Helsinki under Mälkki two years later, this is a true double concerto, featuring a pair of soloists, Claire Chase and Esperanza Spalding. But this piece, too, complicates the form, since they each use multiple instruments: Chase, a battery of flutes — another reason the Ives was a wise juxtaposition — and Spalding, a double bass and her bright, pure voice.

      HKO Screen – Felipe Lara: Double Concerto from Helsinki Philharmonic on Vimeo.Unlike “The Unanswered Question,” which maintains a demure separation between the trumpet (for Ives, representing “the perennial question of existence”) and the flutes (attempts at answers), Lara intertwines his soloists into what Chase calls in a program note “a many-tentacled creature.”The two often play together, with the trail of one — a whipped breath of flute, a cool curve of voice, a slightly bending reverberation of bass — audible only as a comet’s tail off the joint sound. Neither stops for long over the work’s half-hour length.Which is not to say that either player is homogenized by combination. The vocabulary here is sprawling and idiosyncratic on both sides. Chase makes virtuosically parched, percussive exhalations; she can be sheerly sweet on the standard flute and has, on the enormous contrabass flute, the milky penetration of a whale’s deep-sea call.Spalding’s mellow, dancing bass plucks are a sound we know best from jazz, but are totally at home here, and her singing is guileless without being childlike. She mostly vocalizes, sometimes on the syllable “ah,” sometimes on “mm” and sometimes — most memorably at the end — on “shh.” She briefly sings a Portuguese text Lara wrote about life’s blessings, though to listeners that can blur into incantatory vocalizing, too. (From the audience it’s also hard to perceive a secret of the score: Chase is sometimes producing sound by singing into the flute.)The music is mostly notated, but in a large-scale dual cadenza Chase and Spalding improvise together, remarkably responsive, unified and relaxed, creating a miniature universe of sounds — whispery, earthy, otherworldly-woozy, underwater-translucent, simple and raucous: a paean to the joy of collaboration, of play.The orchestra, led by Mälkki with focused confidence on Wednesday, tends to be active but subdued, the way you can perceive seething activity even in a seemingly still jungle. There are hazy effusions of brass; little thickets of rattling, shivering percussion; and whooshing, glistening strings that were a textural link to the Ives, as well as to Stravinsky’s “Petrushka,” which came after intermission.Performed in the pared-down orchestration Stravinsky made in 1947, decades after writing the piece, “Petrushka” here seemed both to echo and to have generated the Lara concerto’s off-kilter abruptness, fearless colors and wry enigmas.The Philharmonic, sounding poised throughout the concert, was especially evocative in Stravinsky’s humid third tableau. Alison Fierst brought nuance and a sense of mystery to her crucial solo on, yes, the flute. (The instrument could hardly get a more profound showcase than this program.) Under Mälkki, “Petrushka,” more than any other quality, had unexpected intimacy.As did Lara’s concerto. Even as it builds to flourishes of gleaming Hollywood-golden-age grandeur, and even with substantial forces — there are two full string sections onstage, one tuned slightly higher than the other — Lara has the maturity to resist doing too much.He also has the skill to shape a gorgeously varied but unbroken single movement that evolves organically over its 30 minutes to a final lullaby, pricked by starry harp. This is a complex but legible, lovable piece; a funky yet elegant ritual; thrilling and taut, if also fundamentally unhurried and unpressured.Spalding performed in a jumpsuit printed, in bold capital letters, with “LIFE FORCE,” and I felt that way about the music, too.New York PhilharmonicThis program is repeated through Friday at David Geffen Hall, Manhattan; nyphil.org. More

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      Review: A Conductor Adds Her Name to Philharmonic Contenders

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      As the orchestra searches for a new music director, Susanna Mälkki was given the distinction of leading it at Carnegie Hall.It’s auditions season at the New York Philharmonic — and not for a seat among its players. With Jaap van Zweden, the orchestra’s music director, having announced in September that he will depart in 2024, every guest conductor now takes the podium with the search for his replacement looming.This game of Fantasy Baton is complicated by the fact that the Philharmonic is wandering while David Geffen Hall is renovated, playing sometimes unfamiliar repertory in unfamiliar (and perhaps uncongenial) spaces. But the fall brought good reviews for Dalia Stasevska, Simone Young, Giancarlo Guerrero and Dima Slobodeniouk.No guest so far, though, has received a platform like Susanna Mälkki got on Thursday. Making her fourth appearance with the Philharmonic, she is the only outsider to be granted one of the orchestra’s four dates this year at Carnegie Hall, its home until Lincoln Center was built in the 1960s and where it had not appeared since 2015. (Van Zweden leads the other three Carnegie concerts, this spring.)The chief conductor of the Helsinki Philharmonic Orchestra, Mälkki presided over a program tailor-made for a Finnish conductor’s tryout with an ensemble across the Atlantic: two beefy, brassy American works followed after intermission by one of Finland’s most famous symphonic exports, Sibelius’s Fifth.Adolphus Hailstork’s 1984 overture “An American Port of Call” depicts Norfolk, Va., as a mixture of bustling activity and sweet nocturnal relaxation. Mälkki brought out piquant touches, like some characterful wails of clarinet, and the tidal undercurrent of the low strings at certain moments even anticipated the grand “swan call” climax of the Sibelius.She patiently, persuasively built that symphony’s fitful first movement, and the whole work had a feeling of straightforwardness, lightness and modesty; neither tempos nor emotions were milked; the performance was more lovely than intense. Ensemble sonorities in the winds and brasses were clean, if not pristine or particularly atmospheric — though Judith LeClair, the orchestra’s principal bassoon, brought gorgeously buttery foreboding to her important solo.A former section cellist before embarking on her conducting career, Mälkki was unafraid of encouraging some aggression in the strings: a few forceful accents in the first movement and, most arresting, a slapping spiccato burr in the double basses during the stirring swan motif in the finale. But the chords at the end, in some performances slashing and stark, were here warm, resonant, full, even mellow.John Adams’s Saxophone Concerto is almost the same half-hour length as the symphony, but felt far longer on Thursday. The distinguished soloist, Branford Marsalis, made a tender sound in some lullaby-like passages, but often Adams’s virtuosically burbling fabric of alto-sax notes seemed to vanish into the dense orchestral textures — sometimes inaudible, sometimes just bland in color and bite. Occasionally rousing for some of this composer’s trademark peppy rhythmic chugging, and a fun section riffing on “The Rite of Spring,” the 2013 work as a whole felt muted and glum, with a tinkling celesta nagging.This was my first time hearing the piece live, so I can’t be sure whether these balance and energy problems are common. But the St. Louis Symphony Orchestra’s recording under David Robertson — with Timothy McAllister, for whom the concerto was composed, as soloist — makes a far better, more seductive and varied case for it than Thursday’s performance.As for the Philharmonic’s future, Gustavo Dudamel — whom the orchestra’s chief executive, Deborah Borda, recruited in her last job to lead the Los Angeles Philharmonic — conducts two weeks of Schumann in March. He and others appearing in the coming months, like Jakub Hrusa, Santtu-Matias Rouvali, Tugan Sokhiev and Long Yu, could all be considered music director contenders.Mälkki deserves to be on that list, too. But perhaps the best indication of the field will come soon, when the orchestra announces its lineup for next season, its return to the renovated Geffen Hall. Game on.New York PhilharmonicPerformed on Thursday at Carnegie Hall, Manhattan. More

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      A Conductor Considers Her Future

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      Susanna Mälkki is at the top of her field as major American orchestras search for their next music directors.HELSINKI, Finland — It was late morning recently, not long after sunrise, as members of the Helsinki Philharmonic Orchestra unwrapped their scarves, unpacked their instruments and settled in for rehearsal at the Musiikkitalo concert hall here.The orchestra’s chief conductor, Susanna Mälkki, walked in from the wings, stopping to banter with players as she made her way to the podium. Once there, she removed her medical mask with a feigned look of relief and raised a baton. With no words and barely a pause, a Lamborghini going from zero to 60 in the blink of an eye, the orchestra launched into the galloping grandeur of Szymanowski’s Concert Overture.Mälkki’s rehearsals tend to unfold like this, with seamless shifts between cordiality and efficiency. A former orchestral cellist, she understands the value of concision in a conductor and precisely articulates what she wants. With results: Her performances often strike a remarkable balance of clarity and urgency, whether shepherding a premiere or reinvigorating a classic.The classical music field has taken notice. At 52, Mälkki is one of the world’s top conductors, widely sought between her appearances in Helsinki and with the Los Angeles Philharmonic, of which she is the principal guest conductor. And with openings on the horizon at major American orchestras — especially the New York Philharmonic, which she leads at Carnegie Hall on Jan. 6, and which is searching for a music director to succeed Jaap van Zweden in 2024 — her name is on leading wish lists.“I’m counting my blessings, that I get to work with all these orchestras,” Mälkki said during a series of interviews this fall. “Any speculation — there’s no need for that.”She is aware of the eyes on her, and of the pressure to appoint women in the United States, where there are currently no female music directors among the largest 25 orchestras. (Nathalie Stutzmann takes the Atlanta Symphony Orchestra’s podium next year.)“My standpoint has always been that since I do not wish that my gender is something that is held against me, I also shall not use it to benefit from it,” Mälkki said, adding, “Music, with the capital M, remains its own independent entity — and that, for me, is the best part.”Her work, she said, should speak for itself. And it does: “Susanna has to be at the top of anyone’s list,” said Chad Smith, the Los Angeles Philharmonic’s chief executive.Mälkki leading the Helsinki Philharmonic Orchestra, where she is the chief conductor, in early December.Maarit KytöharjuBorn in Helsinki in 1969, Mälkki has almost always led a life that revolved around music. She played multiple instruments as a child but settled on the cello, rising to become the principal cellist of the Gothenburg Symphony Orchestra in her mid-20s. But she also studied conducting and longed to move into that field, which would have been virtually unthinkable for a woman when she was growing up.Among the first major conductors to see Mälkki wield a baton was her compatriot Esa-Pekka Salonen, at a workshop in Stockholm. “He came to me afterward,” she recalled, “and, unbelievably, he said, ‘You look like you’re in the right place.’ So, if you get rotten tomatoes thrown to you later, you can still think, ‘Well, you know, maybe I’m doing something right.’”In 1998, she made the leap to full-time conducting and gave up her post in Gothenburg, where the orchestra’s manager told her, “I’m sure you’re very talented; it’s just a pity that you can never become anything.”Mälkki said the remark was so hurtful that “for years I couldn’t even tell people about it. But again, it comes back to the music, because I was not thinking of myself; I was thinking of all the things I wanted to do with the music.”She first made a name for herself in contemporary repertory, and moved to Paris to serve from 2006 until 2013 as the director of the Ensemble Intercontemporain, the group founded by Pierre Boulez. (She still lives there, while also keeping an apartment near the Helsinki waterfront, where she likes to go for restorative walks.)“Those years of all those world premieres — it was an incredible school,” she said. “My brain was overheated many times, but it was actually a really fantastic way to learn the craft, because you have to be able to read your score and organize the rehearsals so that the musicians understand what their part is in the big context.”From left, the singer Fiona McGown, the composer Kaija Saariaho and Mälkki preparing Saariaho’s opera “Innocence” in France.Jean-Louis FernamdezIn 2016, Mälkki became the first female chief conductor of the Helsinki Philharmonic. She had made guest appearances with the orchestra before, but this was a homecoming that felt, she said, “like the chance to make a contribution to Finnish music life after the fantastic education I had received.”Her players now included old classmates from the nearby Sibelius Academy, the prestigious school that has produced other conducting luminaries, such as Salonen, as well as emerging talents like Santtu-Matias Rouvali and Klaus Mäkelä.That same year, Mälkki was named the principal guest conductor in Los Angeles, at an orchestra she had first led in 2010. The ensemble had not had a principal guest since Michael Tilson Thomas and Simon Rattle, then rising stars, in the 1980s. But the players liked her, and she was invited back repeatedly after her debut.At the time, the orchestra was run by Deborah Borda, who is now the New York Philharmonic’s chief executive. Mälkki had made an impression with her “very deep connection to the music,” Borda recalled recently.“She’s very passionate, but it’s a quiet passion, a quiet charisma,” Borda added. “It’s stunning: More than an outward manifestation, this is like a flower that opens.”During a rehearsal in Los Angeles in October, Mälkki was, as in Helsinki, amiable and assertive. Carolyn Hove, the Philharmonic’s English horn player, described Mälkki as “100 percent prepared” by the time she arrives at the podium, and that “when a conductor is really efficient, it just makes our jobs so much more fun.”While running through Scriabin’s “Le Poème de l’Extase,” Mälkki gestured to sections of the ensemble but also let her gaze shift upward. (“Some people listen with their eyes closed,” she said, “and I guess my way of looking up is the same, that I want to free my ears.”) All the while, she kept notes in her head that she rattled off as soon as the playing stopped.Those notes were thorough, and crucial, as the orchestra rehearsed for the American premiere of Kaija Saariaho’s “Vista,” a piece dedicated to Mälkki, who is a leading navigator of Saariaho’s idiosyncratic sound world. “I always trusted her, and she understands my music,” Saariaho said in June, shortly before Mälkki conducted the world premiere of her opera “Innocence” at the Aix-en-Provence Festival in France.Over the past two decades, their relationship has developed to the point where, Saariaho said, “we don’t need to verbalize very much.” When “L’Amour de Loin” arrived at the Metropolitan Opera in 2016, Saariaho insisted that Mälkki conduct it. (She will return to the Met to conduct Stravinsky’s “The Rake’s Progress” this spring.)Mälkki’s specialty in living composers like Saariaho is one of the reasons she was brought to Los Angeles, Smith said. “The other part,” he added, “was just the way she thinks about programming, which is unique.” He used that October concert as an example: opening with “Vista,” followed by Tchaikovsky’s First Piano Concerto and the “Poème.”Mälkki rehearsing a program of works by Saariaho, Tchaikovsky and Scriabin with the Los Angeles Philharmonic in October.Chantal Anderson for The New York Times“On paper those things are not related to each other, but there’s this remarkable thread that goes from the Kaija through the Scriabin,” Smith said. “You experience it as a listener, as a musician. It informs the way each piece is played.”Mälkki continues to learn new works — “little by little,” she said. “Some young people want to do the Mahler right away, and we know many of those, whilst I actually waited quite a long time because I wanted to make sure that I had all my tools.”Some composers, she added, demand maturity — like Bruckner, whose symphonies she is studying now. And, experienced in 21st-century operas by Saariaho and Unsuk Chin, she is looking back toward Wagner.“It’s just quite extraordinary to think that there’s all this repertoire,” she said, “and I could actually just keep exploring that endlessly.”The question is what comes next. The Helsinki Philharmonic recently announced that Mälkki would step down in summer 2023 and become the orchestra’s chief conductor emeritus. A mix of symphonic and opera appearances will follow. Where or whether a music directorship fits into that is anyone’s guess.Borda, the chief executive of the New York Philharmonic, said that a list of candidates for her orchestra’s opening is “always going” in her head. But, she added, “you cannot rush one of these searches,” and at any rate she is more focused at the moment on the renovation of David Geffen Hall, which is set to be completed by fall 2022.Though the orchestra has never had a female music director, Borda added that she is “not striving to demonstrate a social agenda in this appointment.”“We are striving to make the right choice,” she said. “It’s a chemical equation. There has to be combustion, no matter what. Even if you have social goals and aims, you have to, in working with the musicians and the board, make sure that it’s the best person for the job.”There’s also the matter of whether Mälkki would want it.“I think this is a question that will be carefully thought about if it comes up,” she said with diplomatic care. After a pause, Mälkki continued: “There are all sorts of things to be considered, and it would be wrong to choose something just for the prestige of it. It’s ultimately a choice of artistic fulfillment. We’ll see.” More

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      Top Orchestras Have No Female Conductors. Is Change Coming?

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      At the largest American ensembles, one of music’s most stubbornly homogeneous spheres, a shift might be on the horizon.For years, they have worked their way to the top of the classical music industry. They have confronted stereotypes that they are too weak to lead. They have shared advice about how to deal with sexist comments and even how to dress.Now a group of women could be on the cusp of breaking barriers in one of music’s most stubbornly homogeneous spheres: the male-dominated world of orchestral conducting.In the history of American orchestras, only one woman has risen to lead a top-tier ensemble: Marin Alsop, whose tenure as music director of the Baltimore Symphony Orchestra ended last month. Her departure has ushered in an unsettling era for the country’s musical landscape. Among the 25 largest ensembles, there are now no women serving as music directors.Only one woman has risen to lead a top-tier American ensemble: Marin Alsop, whose tenure as music director of the Baltimore Symphony Orchestra ended last month.Schaun Champion for The New York TimesAlsop, 64, said in an interview that she was surprised the statistics remain “so shockingly brutal.” When she assumed the top spot in Baltimore in 2007, she expected more women would soon be appointed at other orchestras.They never were. Instead, she said, she met resistance when she tried to bring in more women as guest conductors.Alsop said she feels the current moment could be different, since the #MeToo movement and a broad reckoning over severe gender and racial disparities in classical music are putting pressure on arts leaders.“I hope that we’re past the tipping point,” she said. “It feels that way. But I’ve been naïve in believing that before.”For women in conducting, there are reasons to be optimistic. Administrators at major ensembles in cities like Atlanta, Minneapolis and Cincinnati, as well as Baltimore, are vowing to ensure that women are serious contenders.The Finnish conductor Susanna Malkki is considered a serious contender for a major American position.Michelle V. Agins/The New York TimesSo is Mirga Grazinyte-Tyla, who leads the City of Birmingham Orchestra in England.Hiroyuki Ito for The New York TimesSearch committees are looking at a mix of established artists and rising stars, according to interviews with 20 committee members, administrators, players and conductors.Among the most frequently mentioned names are Susanna Malkki, 52, the chief conductor of the Helsinki Philharmonic Orchestra, and Mirga Grazinyte-Tyla, 35, who leads the City of Birmingham Symphony Orchestra in Britain.Mark Volpe, the former president and chief executive of the Boston Symphony Orchestra, said that while “progress has been painfully slow,” orchestras were likely to appoint more women over the next several years.“People respond to pressure,” he said. “There is heightened awareness of the imperative to be more inclusive.”Women are winning plum jobs as assistant and guest conductors, typically steppingstones to prestigious posts. Eun Sun Kim has just begun her tenure at the San Francisco Opera, becoming the first woman to serve as music director of a major American opera house.“You’re going to see an acceleration,” said Deborah Borda, the New York Philharmonic’s president and chief executive, who also serves as chairwoman of the jury at La Maestra, an international conducting competition for women. “The foot is on the gas.”The German conductor Ruth Reinhardt, 33, a former assistant conductor of the Dallas Symphony Orchestra, said, “My generation is maybe the first one who got equal opportunities to develop and grow.”Still, she said she feels there is a perception that there is only space for a small number of women to rise. “We have thousands of male conductors, and there’s good male conductors and bad male conductors and everything in between,” she said. “There should be a right to have just as many women conductors.”Jeri Lynne Johnson leading the ensemble she founded, Black Pearl Chamber Orchestra.Ed A. Kennedy IIIRuth Reinhardt leading the Dallas Symphony Orchestra.Sylvia ElzafonOpenings loom: Roughly a third of the music directors at the top 25 largest orchestras in the United States are planning to step down over the next several years. That includes veterans like Louis Langrée, 60, at the Cincinnati Symphony Orchestra and Robert Spano, 60, at the Atlanta Symphony Orchestra. The contract of Riccardo Muti, 80, at the Chicago Symphony Orchestra ends in 2022. Baltimore’s podium is currently empty, and at the Minnesota Orchestra, Osmo Vanska, 68, is stepping down after the coming season. There are current or coming openings in Indianapolis, Kansas City and Salt Lake City.But some women describe an uphill battle. They continue to face stereotypes that only men can serve as maestros. They also grapple with the perception that they do not have enough experience to lead elite ensembles. This can lead to a paradox: While top orchestras demand their conductors be seasoned, particularly if they’re going to appear on prestigious subscription series, it is hard to get that experience if you do not already have it.Jeri Lynne Johnson, the founder and artistic director of the Black Pearl Chamber Orchestra in Philadelphia, said that earlier in her career orchestras turned her down for conducting positions because they said she was not what audiences expected a music director to look like.Johnson, who is Black, said she felt ensembles seemed more willing to take chances on young men than young women. While the average age of music directors skews older, American orchestras have shown a willingness to hire charismatic young men, such as Gustavo Dudamel, who was named to lead the Los Angeles Philharmonic in 2007, when he was 26. Yannick Nézet-Séguin was 35 when he was hired by the Philadelphia Orchestra in 2010; Andris Nelsons, 34 when he was named music director of the Boston Symphony Orchestra in 2013.“Female leadership is more necessary now than it ever was,” Johnson said. “We need to allow the insight and perspective of someone who has been kept out of the halls of power, to create more inroads for other people.”Across 174 American ensembles of all sizes, about 9 percent of music directors were women in 2016, the last year for which data is available, according to the League of American Orchestras. Experts say a lack of role models has contributed to gender disparities in conducting. Orchestras also have historically given women fewer opportunities to lead ensembles as guests, making it difficult for them to practice and to build relationships with administrators and players.Xian Zhang is the music director of the New Jersey Symphony Orchestra.Cherylynn TsushimaDalia Stasevska leading the First Night of the BBC Proms earlier this summer.Chris ChristodoulouThe talent pool has widened in recent years. Competitions, master classes and fellowships geared toward women have become more popular. Veteran conductors like Alsop and JoAnn Falletta, the music director of the Buffalo Philharmonic Orchestra in New York since 1999, have started programs to mentor rising artists.Falletta, 67, said she helps women navigate a variety of issues, including what to wear while conducting and how to build trust with boards of directors dominated by men.“You have to find your own authority,” she said. “You don’t have to imitate anyone. You don’t have to be like a Toscanini. That actually doesn’t work anymore, to be a conductor with totalitarian power.”Orchestra leaders say they are working to include more women and people of color on hiring committees — a critical step, they say, in ensuring that female candidates are fairly considered.Jonathan Martin, the president of the Cincinnati Symphony, said he believed systemic discrimination in orchestras had kept women from attaining music director posts for decades. He said he rejected the idea that women have only in recent years gained enough experience to be considered for positions at large ensembles.“It was an issue of opportunity,” he said. “It was never an issue of talent.”A lack of diversity among board members has contributed to the dearth of female conductors, many say. Across the industry, boards are about 58 percent male and 92 percent white, according to the League of American Orchestras.Jeannette Sorrell started her own ensemble, Apollo’s Fire, a Baroque orchestra based in Cleveland, in part, she said, because she encountered bias while trying to navigate a traditional career. She said a lack of diversity on boards is a major obstacle.“A lot of orchestras are still led by boards of directors who see their role as the guardians of tradition,” said Sorrell, 56. “That is a very important role for a board, but it’s not the only role.”Orchestras, hoping to expand the pool of experienced, viable candidates for when vacancies arise, have made an effort in recent years to appoint more women as assistant conductors and guests.At the Los Angeles Philharmonic, leaders say change will come only when women are allowed to build long-term relationships with orchestras. Of 40 young conductors who have participated in the Philharmonic’s conductor fellowship program since 2009, about a quarter have been women.Lina González-Granados is among the rising conductors creating buzz.Chris LeeGemma New is the principal guest conductor of the Dallas Symphony Orchestra.Sylvia Elzafon“Conducting doesn’t happen overnight,” said Chad Smith, the Philharmonic’s chief executive. “There’s a lag time here, which is something we’re all struggling with.”Malkki, who serves as the Philharmonic’s principal guest conductor, said orchestras sometimes focused too much on hiring charismatic figures instead of those with solid technical abilities.“Some artists are just put aside because they are not glamorous enough,” she said. “There is talent, and if we give the dedicated people opportunities, then these people will also grow into greater artists.”While search committees at many orchestras are just beginning to convene — Cincinnati announced the members of its panel on Sept. 2 — the wish list for some includes stars like Malkki and Grazinyte-Tyla.Other frequently mentioned names include respected artists like Sorrell; Barbara Hannigan, 50, a Canadian soprano and conductor; Anna Skryleva, 46, a Russian who leads the Theater Magdeburg in Germany; Debora Waldman, 44, the director of the Orchestre National Avignon-Provence in France; the Australian conductor Simone Young, 60; and Xian Zhang, the music director of the New Jersey Symphony Orchestra.Up-and-coming conductors like Reinhardt; Karina Canellakis, 40, the chief conductor of Netherlands Radio Philharmonic Orchestra; Elim Chan, 34, the chief conductor of the Antwerp Symphony Orchestra; Lina González-Granados, 35, the Philadelphia Orchestra’s conducting fellow; Gemma New, 34, a New Zealand-born conductor who is the principal guest conductor of the Dallas Symphony Orchestra; Dalia Stasevska, 36, the principal guest conductor of the BBC Symphony Orchestra; and the Austrian conductor Katharina Wincor, 26, are also creating buzz.While it may take several years for widespread change to come, some women say they are already noticing a shift. They are getting more invitations to appear with top orchestras, and they say their fan bases are widening.Speranza Scappucci, 48, an Italian conductor who is rising in the opera world, said ensembles should move swiftly.“There are some really amazing women out there,” she said. “I look at it and I think, ‘Wow, it’s 2021. What are we waiting for?’ ” More

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      Review: A Composer Creates Her Masterpiece With ‘Innocence’

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      Kaija Saariaho’s grand yet restrained new opera about a tragedy and its reverberations is the most powerful work of her five-decade career.AIX-EN-PROVENCE, France — “Innocence,” the new opera by Kaija Saariaho, begins in soft, somber gloom. A shadowy mist of cymbal rises off long, sepulchral tones down in the basses and contrabassoon, before a keening fragment of bassoon pierces the quiet with melancholy song.It’s just a few seconds of music, but a mood has been established — comprehensively, unforgettably, yet subtly. Before we know the plot of “Innocence,” we feel it: Something dark and deep has happened, from which memory vibrates into an uncertain future, etched with mourning.We keep feeling it over the hundred minutes that follow, as we come to know intimately a tragedy and its reverberations. Grand yet restrained, a thriller that is also a meditation, “Innocence” is the most powerful work Saariaho has written in a career now in its fifth decade.Appearing through July 12 here at the Aix-en-Provence Festival (and streaming on arte.tv on Saturday) after its planned debut in 2020 was canceled, it would be the premiere of the year even in a normal season — even if its audience were not so hungry for real, big, important, live opera after so many months largely without. It deserves to travel far beyond an already global itinerary: Helsinki, Amsterdam, London, San Francisco, the Metropolitan Opera in New York.Magdalena Kozena, standing at left next to Jukka Rasilainen, with Pursio at right, is a waitress at the wedding with a connection to the family.Jean-Louis Fernandez/Festival d’Aix-en-ProvenceThis is undoubtedly the work of a mature master, in such full command of her resources that she can focus simply on telling a story and illuminating characters. Unlike so many contemporary operas, “Innocence” — featuring the mighty London Symphony Orchestra, conducted with sensitivity and control by Susanna Malkki — doesn’t feel like a sung play with a more or less disconnected, elaborately self-regarding orchestral soundtrack.In fact, during the performance I attended, on Tuesday, I periodically tried to listen exclusively to the instrumental lines and their interplay, but despite the obvious virtuosity and density of the score, my ears kept lifting back up to the stage, to the lucid, inexorable action, the integrated theatrical whole. Porous and agile; simmering beneath and around the voices; and only occasionally, briefly exploding, this is music as a vehicle for exploring and intensifying drama. It is complex, yet confident enough to exist not merely for its own sake.With a libretto by the Finnish writer Sofi Oksanen, and translation work on more than a half-dozen languages by Aleksi Barrière, “Innocence” is set in 21st-century Helsinki, where there has been a deadly shooting at an international school. The action continually shifts back and forth between a recollection of the disaster, by six students and a teacher who went through it, and a wedding party happening 10 years later.It quickly becomes obvious that the two events are linked. The groom is the shooter’s brother, and his family, which has been ostracized and is desperate to move beyond what happened, has kept the whole thing from the bride. (If that wasn’t enough, there’s a reason a waitress has been skulking around, jaw clenched, on the nuptial sidelines: She is the mother of one of the victims.)There is ample operatic precedent for an innocent young woman guided blindly by her lover into a world of violence and deception: Think of Bartok’s “Bluebeard’s Castle” and Debussy’s “Pelléas et Mélisande.” “Innocence” recalls those, as well as the ferocious economy of Berg’s “Wozzeck” and Strauss’s “Elektra” in its relatively modest, intermissionless length.Lucy Shelton, at top, as a teacher, and, from left at bottom, Beate Mordal, Julie Hega, Simon Kluth, Camilo Delgado Díaz and Marina Dumont as students affected by a school shooting.Jean-Louis Fernandez/Festival d’Aix-en-ProvenceBut “Innocence” is very much of our time, and — in its play of multiple languages and registers of speaking and singing — very much itself. Saariaho gave it the working title “Fresco”; it was inspired, she has said, by “The Last Supper,” from which she derived the size of the cast (13 soloists) and the piece’s broader questions of culpability and the linked yet separate experiences of people who have shared a trauma.Members of the wedding party sing: the groom, a tenor, in boisterous exhortations; the bride, a soprano, with sweet lyricism. A priest, the only friend the family has left, murmurs ominously about the faith he has lost.The surviving students and teacher, on the other hand, speak — though in precise rhythms artfully tailored to their respective languages of Czech, Swedish, French, German, Spanish, Greek and English. The waitress’s daughter, Marketa (a memorably rapt Vilma Jaa), appears as a kind of phantom, singing in the eerily plain style of Finnish folk music. The Estonian Philharmonic Chamber Choir chants offstage, a hint of a world beyond the fevered hothouse of the plot. All these disparate vocal worlds are linked by the orchestra, which wraps around the singers lightly and sleekly — never explicitly underlining them, never competing.The cast matches Saariaho’s score in its commitment and discipline, its refusal to fall into overplaying or Grand Guignol. As the waitress, Magdalena Kozena is a laser beam of pain; as the mother of the groom, Sandrine Piau conjures the uncanny effect of a voice thinned to a thread by suffering.Saariaho’s past operas — starting with the stylized medieval parable “L’Amour de Loin” (2000) — were mostly collaborations with the director Peter Sellars, who lends even canonical works the abstraction of ritual. Here, though, she benefits from a hypernaturalistic staging by Simon Stone, whose style anchors “Innocence” in reality without stinting its surreal fluidity. (Chloe Lamford’s rotating, ever-mutating two-story set, an anxiety-inducing amalgam of school and restaurant, is a crucial player in the drama.)The story unfolds with the crushing inevitability — and sickening surprises — of ancient Greek drama. Varying degrees of guilt slowly seep outward from the shooter to encompass even seemingly blameless characters. A gun was inadvertently provided; suspicious behavior went unreported; a boy was mercilessly teased and assaulted.This is not an unfamiliar plot, and like any superb opera, “Innocence” would seem flat if its text were delivered as a play. That it instead has brooding nuance is thanks to the music; the varieties of vocalization; Saariaho’s intimation, even as she delivers a clear story, that there is much beyond what is enunciated. Opera, as it always has been, is here a home for emotions that could come across as flatly, implausibly extreme, but which are rendered newly mysterious and natural.Kozena and Farahani in the opera. The story unfolds with the crushing inevitability — and sickening surprises — of ancient Greek drama. Jean-Louis Fernandez/Festival d’Aix-en-Provence“Innocence” also gains depth from the politics and history from which it has emerged. Watching events of this kind, in this period, unfold in and around an international school, it is hard not to think of Europe itself, and of its formation as a union in the wake of unspeakable violence. There was a dream that trauma would prove unifying; we have witnessed the gradual realization that the opposite is true. In transitioning from the before times — native languages and folk song — into the lingua franca of English and musical modernism, this onstage society seems to have gained little. Certainly not the ability to fully integrate new members, to function.Yet the opera’s final moments are not without a certain hopeless hopefulness. The students describe small steps they’ve taken to move beyond the tragedy; the vision of the daughter asks the waitress to stop buying her birthday presents, to let her go. The music seethes sadly at this, but the dissonance passes through a sublime moment of consonance — courting sunshine — before drifting back into tension, then transpiring upward into pure shimmer, almost toneless. It is both through and beyond music, then, that Saariaho arrives at an ending that is, if not happy, strangely, completely exhilarating.InnocenceThrough July 12 at the Aix-en-Provence Festival, France; and livestreamed on arte.tv July 10; festival-aix.com. More

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      A Reigning Opera Composer Writes of Trauma and ‘Innocence’

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      Kaija Saariaho’s labyrinthine work, premiering in France after a pandemic delay, is the most anticipated new opera of the year.AIX-EN-PROVENCE, France — Susanna Malkki wanted more.“Can you make the crescendo even bigger here?” she asked the London Symphony Orchestra as she conducted it in a recent rehearsal here. “Don’t be afraid to go beyond the mezzo-piano on the page.”They played the passage again, and this time the music swelled to a shock, one of many in the most anticipated new opera of the year: Kaija Saariaho’s “Innocence,” which premieres Saturday at the Aix-en-Provence Festival. Commissioned by a host of major houses, it will travel in the coming years to the Finnish and Dutch national operas, the Royal Opera in London, San Francisco Opera and the Metropolitan Opera in New York.Nearly a decade in the making, and nearly thwarted by the pandemic, “Innocence” is taut yet immense: a labyrinth of mystery and memory navigated at a breakneck pace, with the forces of a full orchestra, a chorus and a cast of 13.Its plot, so contemporary you could imagine reading about it in tomorrow’s newspaper, recalls Saariaho’s 2006 opera “Adriana Mater” — and is light years from her most famous stage work, the ethereally seductive “L’Amour de Loin” (2000), set in medieval times. Like both of those, along with her comparatively intimate, Noh-inspired “Only the Sound Remains,” from 2015, it has the makings of a singular contribution to the art form, on a scale rarely seen in new operas.From left, the singer Fiona McGown, the composer Kaija Saariaho and the conductor Susanna Malkki.Jean-Louis Fernandez“I have a long career in commissioning,” Pierre Audi, the Aix Festival’s director, said in an interview. “And this is one of the five greatest pieces that I’ve ever been involved with.”It’s difficult to summarize “Innocence,” and its creative team has been intentionally secretive about the plot, which reveals itself like a fuzzy image that gradually comes into focus. The action alternates between a present-day wedding and a long-ago tragedy at an international school, with surprising connections between the two becoming an exploration of trauma and its permeating effects.The core of the opera is its multilingual libretto, by the Finnish writer Sofi Oksanen with translations by Aleksi Barrière, Saariaho’s son and occasional collaborator. The text’s use of different languages — including German, French, English, Greek, Finnish, Spanish and Czech — prompted Saariaho to employ similarly varied vocal techniques, such as folk, Sprechstimme and lyrical, rhythmic speech. (The cast includes a mixture of singers and actors.)Some of the languages were new to Saariaho, and required time to learn the contours of their words and the cadences of their sentences. One role was written specifically with the Czech mezzo-soprano Magdalena Kozena in mind, for example; before setting to work, Saariaho met with Kozena in Paris to record her speaking.“Analyzing the languages I don’t speak was fascinating, but that’s why it took so long to compose this piece,” Saariaho, who spent several years developing “Innocence” and the better part of four years writing it, said before a rehearsal.During that time, a team came together. Saariaho asked Malkki — one of the world’s leading interpreters of her music, and the dedicatee of this year’s orchestral work “Vista” — to be the conductor.“It was very important for her to know early on who would be doing it,” Malkki, who led “L’Amour de Loin” at the Met when it arrived there and conducted the premiere of the 2006 oratorio “La Passion de Simone,” recalled. “Which of course I felt was an incredible gesture of trust.”A rehearsal for the production, whose action takes place mostly within a rotating building-size set piece.Jean-Louis FernandezMore recently, Saariaho was introduced through Audi to the director Simon Stone, and felt that his temperament was “very well suited” to the opera. In a promotional interview for the festival, Stone spoke about the work’s “beautiful exploration of the scars that we carry with us and the need to reopen wounds so we can heal them properly.”“It’s got,” he added, “a kind of Chekhovian empathy for its characters.”The premiere was planned for last year, but was canceled during the pandemic’s spring surge. By summer, however, the virus’s spread had ebbed enough for the creative team and cast — though not the chorus or orchestra — to rehearse the opera in something of a bubble residency. The work was more or less staged, and the music was prepared as much as it could be with only a piano.“In some ways we were all disappointed,” Kozena said. “But any time you rehearse something, then leave it and come back, it grows and you digest it better. It was a complete luxury for us to rehearse in peace and really just explore it.”Audi referred to that period as “a stroke of luck.” Some premieres originally planned for the past year have been stranded, but “Innocence” was in a position to return as soon as possible. The previous work on it even allowed Stone to be double booked for the 2021 festival, directing “Innocence” and Wagner’s “Tristan und Isolde.” with relatively little friction. Crucially, Audi said, Saariaho’s opera will now be able to travel without further delay.Simon Stone, left, on floor, rehearsing his production, which is running at the same time as his Aix staging of Wagner’s “Tristan und Isolde.”Jean-Louis FernandezOn a recent evening, Stone was able to attend only the first half of a rehearsal for “Innocence,” stopping by Kozena’s dressing room on the way out for a quick note but otherwise looking visibly pleased and saying, “It really is a good show.”“We couldn’t see him very much this year,” Kozena said after he left. But the most pressing work, she added, was musical anyway. She had originally learned the opera with a piano reduction, which inevitably lacked the layered textures of Saariaho’s score.“So now it’s a challenge,” she said. “Hearing the full orchestra, it’s like, ‘Where’s my note?’”A single note can be hard to find in Saariaho’s dense score — a sound world haunted by a ghostly chorus and spectral flourishes that vanish as suddenly as they arrive. Like many of her works, the music is never truly at rest and keeps organically changing shape, with subtly specific characterizations for each role and a fluidity that matches the libretto’s interwoven timelines and perspectives.“I don’t know why or how, but I kept coming back in my mind to ‘The Last Supper’ of Leonardo da Vinci,” Saariaho said. “I was thinking about how all of these 13 people have their own story and their own motivations, and how we all experience every moment differently. We all pay attention to different things. This became a kind of idée fixe for me.”The characters have their own musical signifiers — which means, Malkki said, that “in the beginning, there’s a lot to take in, but then that is the element which makes it very understandable.”Despite the score’s overall density, Kozena has found the vocal writing comfortable. Saariaho, she said, “really understands voices”: “She lets you express yourself, with colors and melody that gives you space to really concentrate on the music and let it be in your body. Only then can you give emotions that are really deep.”With the orchestra finally in the pit, Malkki said, she has continued to make new discoveries. And the more time she spends with “Innocence,” the more she is convinced that it represents the future of opera.“It’s not escapism,” she said. “It’s a work that actually helps us better understand the world that we live in. These are huge themes, bringing all these different destinies together and showing how we have to live together in reconciliation. And that coexistence is there in the music.” More