1 00:00:00,480 --> 00:00:03,800 Speaker 1: I'm Alec Baldwin and you're listening to Here's the Thing 2 00:00:04,360 --> 00:00:43,160 Speaker 1: from iHeart Radio. Energy, charisma, fire and unmistakable hair. These 3 00:00:43,240 --> 00:00:46,159 Speaker 1: are just a few of the words to describe the 4 00:00:46,280 --> 00:00:57,560 Speaker 1: mesmerizing stage presence of Venezuelan conductor Raphael Piire. This is 5 00:00:57,720 --> 00:01:02,640 Speaker 1: pi Are conducting Mahler's Symphony Number five with the Montreal 6 00:01:02,840 --> 00:01:07,600 Speaker 1: Symphony Orchestra. He first gained attention as the winner of 7 00:01:07,760 --> 00:01:13,760 Speaker 1: Denmark's twenty twelve Malco International Conducting Competition. Since then, the 8 00:01:13,959 --> 00:01:17,040 Speaker 1: forty three year old has conducted many of the world's 9 00:01:17,080 --> 00:01:22,080 Speaker 1: pre eminent orchestras, including London, Boston, Chicago, New York and 10 00:01:22,360 --> 00:01:27,920 Speaker 1: la He was also principal conductor of the Castleton Festival 11 00:01:27,959 --> 00:01:32,320 Speaker 1: in Virginia and led the Ulster Orchestra of Northern Ireland. 12 00:01:33,200 --> 00:01:36,200 Speaker 1: Piari has been the music director of the San Diego 13 00:01:36,280 --> 00:01:40,600 Speaker 1: Symphony since twenty nineteen, and this is his first year 14 00:01:40,720 --> 00:01:45,039 Speaker 1: as music director of the Montreal Symphony, positions he currently 15 00:01:45,120 --> 00:01:53,160 Speaker 1: holds simultaneously. Piare's road to such prestige began at Venezuela's 16 00:01:53,240 --> 00:01:58,040 Speaker 1: fabled El Sistema, a music education programme whose illustrious alumni 17 00:01:58,080 --> 00:02:03,200 Speaker 1: include Gustavo Dudamel, the newly appointed music director of the 18 00:02:03,240 --> 00:02:06,240 Speaker 1: New York Pho Harmonic. I wanted to know how El 19 00:02:06,360 --> 00:02:09,600 Speaker 1: Systema began and how Pirai found his. 20 00:02:09,600 --> 00:02:14,520 Speaker 2: Way to it. Well, the Systema started this wonderful program 21 00:02:14,560 --> 00:02:18,840 Speaker 2: that doctor jos Antonio Breok created in Venezuela back in 22 00:02:18,960 --> 00:02:22,040 Speaker 2: nineteen seventy five. And the whole idea is that the 23 00:02:22,720 --> 00:02:25,600 Speaker 2: music should be part of the education, and that music 24 00:02:25,760 --> 00:02:28,720 Speaker 2: is a rite and not a privilege. So we should 25 00:02:28,760 --> 00:02:31,680 Speaker 2: be able to access to music, and we have that. 26 00:02:31,720 --> 00:02:34,520 Speaker 2: One of the things of system is that actually you 27 00:02:34,680 --> 00:02:36,440 Speaker 2: just go to one of the nucleus, so they call 28 00:02:36,480 --> 00:02:39,440 Speaker 2: the nucleus all of these different you cannot say conservatory 29 00:02:39,560 --> 00:02:42,600 Speaker 2: because there are some of them that they are mainly 30 00:02:42,680 --> 00:02:45,120 Speaker 2: bare bones. So it depends, that's what we call them nucleus. 31 00:02:45,120 --> 00:02:47,120 Speaker 2: It depends where the part of the city they are. 32 00:02:47,760 --> 00:02:50,600 Speaker 2: And they give you the instrument, they will give you 33 00:02:50,639 --> 00:02:53,480 Speaker 2: the teachers. You just need to show up. But you 34 00:02:53,720 --> 00:02:56,080 Speaker 2: start playing an instrument and at the same time you 35 00:02:56,200 --> 00:02:59,600 Speaker 2: start playing in an orchestra, so you are always part 36 00:02:59,639 --> 00:03:03,079 Speaker 2: of a bigger kind of community. So since the very 37 00:03:03,120 --> 00:03:07,320 Speaker 2: beginning is that the let's say the unorthodox part that 38 00:03:07,040 --> 00:03:09,960 Speaker 2: it's you already start playing your instrument and you immediately 39 00:03:10,000 --> 00:03:12,960 Speaker 2: start playing in a symphony orchestra right away. So that 40 00:03:12,960 --> 00:03:15,080 Speaker 2: that's the part that let's say it's not as normal 41 00:03:15,120 --> 00:03:16,080 Speaker 2: and the rest of the world. 42 00:03:16,160 --> 00:03:19,200 Speaker 1: But it's not a music school like Curtis or Manness. 43 00:03:19,240 --> 00:03:22,040 Speaker 1: It's not a school it's granting you a degree. It's 44 00:03:22,080 --> 00:03:23,040 Speaker 1: more of an academy. 45 00:03:23,320 --> 00:03:25,600 Speaker 2: Well that's why they call it nucleus, because it's just 46 00:03:26,480 --> 00:03:28,120 Speaker 2: you will not get a degree. Of course, then you 47 00:03:28,160 --> 00:03:30,400 Speaker 2: could go to school and everything altogether, but it is 48 00:03:30,520 --> 00:03:33,720 Speaker 2: actually a place that they will be teaching music. You 49 00:03:33,800 --> 00:03:35,840 Speaker 2: just need to appear that they will give you the instrument, 50 00:03:35,880 --> 00:03:37,400 Speaker 2: they will give you to the teachers, and you will 51 00:03:37,440 --> 00:03:40,520 Speaker 2: start playing an orchestra. The idea is you don't have 52 00:03:40,560 --> 00:03:42,840 Speaker 2: to be under primages for everybody. But of course a 53 00:03:42,880 --> 00:03:45,640 Speaker 2: big am is trying to be for the underprivileged people 54 00:03:45,640 --> 00:03:47,480 Speaker 2: that they might be poor, and the whole idea is 55 00:03:47,520 --> 00:03:50,200 Speaker 2: that somebody, just because it's poor, it should not have 56 00:03:50,240 --> 00:03:53,840 Speaker 2: a poor education. So they always bring into a system 57 00:03:53,880 --> 00:03:57,600 Speaker 2: of people from everywhere in the world, from Manhattan Music Juliar, 58 00:03:57,680 --> 00:04:00,800 Speaker 2: Civeelious Academy, Berlin Pharamonic to try to go and teach 59 00:04:00,880 --> 00:04:03,400 Speaker 2: until do master classes for any of the students there. 60 00:04:03,920 --> 00:04:07,480 Speaker 1: Now, you, when you were in your performing career, you 61 00:04:07,520 --> 00:04:10,640 Speaker 1: played the French horn, correct, that is correct? And who 62 00:04:10,720 --> 00:04:13,200 Speaker 1: chose the French horn? You or someone chose it for you? 63 00:04:13,840 --> 00:04:17,680 Speaker 2: Well, I think the French hole shows me somehow, because 64 00:04:17,839 --> 00:04:21,000 Speaker 2: my brother, he was playing in the orchestra already. My 65 00:04:21,360 --> 00:04:24,719 Speaker 2: brother is eight years my senior. He was playing a basoon. 66 00:04:24,800 --> 00:04:27,120 Speaker 2: But you know, he did his things his room and 67 00:04:27,200 --> 00:04:30,200 Speaker 2: I did mine. And then was one day I approached 68 00:04:30,200 --> 00:04:32,240 Speaker 2: his room and he was listening to something and that 69 00:04:32,320 --> 00:04:34,880 Speaker 2: caught my attention. He asked me, do you like I 70 00:04:34,960 --> 00:04:36,760 Speaker 2: said yes, So he said, I'm going to take you 71 00:04:36,800 --> 00:04:39,480 Speaker 2: to the orchestra tomorrow. And then I went there and 72 00:04:39,520 --> 00:04:42,120 Speaker 2: I started. Many months later, I found out that what 73 00:04:42,360 --> 00:04:45,400 Speaker 2: he was listening was the eighteen twelve overture, and what 74 00:04:45,560 --> 00:04:49,359 Speaker 2: caught my attention was the Marseilles theme, and it was 75 00:04:49,400 --> 00:04:52,160 Speaker 2: the horn sound that caught my attention, and I went 76 00:04:52,240 --> 00:04:57,480 Speaker 2: into this nuclear the conductor of the orchestra. He was 77 00:04:57,600 --> 00:05:00,200 Speaker 2: not only the conductor of the orchestra, but also the 78 00:05:00,240 --> 00:05:04,479 Speaker 2: teacher of trumpet, trombone, French horn and tuba. His name 79 00:05:04,560 --> 00:05:08,520 Speaker 2: was Antoine Duhamel and he gave me this, yeah, you know, 80 00:05:08,680 --> 00:05:12,760 Speaker 2: and he gave me this bronze, thin, brassy thing and 81 00:05:12,800 --> 00:05:14,960 Speaker 2: told me blow. I did and it sounds and that's 82 00:05:15,000 --> 00:05:16,400 Speaker 2: how I started playing the French horn. 83 00:05:16,560 --> 00:05:20,960 Speaker 1: That's amazing, that's amazing. How long were you ad SYSTEMA? Oh? 84 00:05:20,960 --> 00:05:23,640 Speaker 2: Well, I like to say that I'm still part of it. 85 00:05:23,720 --> 00:05:27,120 Speaker 2: I mean, yeah, we started since nineteen ninety four to 86 00:05:27,200 --> 00:05:29,719 Speaker 2: this day pretty much. Yeah. 87 00:05:29,760 --> 00:05:34,080 Speaker 1: And from there do you go to a formal music school? 88 00:05:34,480 --> 00:05:37,159 Speaker 2: Yeah? In Caracas, do you get your instrument and you 89 00:05:37,320 --> 00:05:39,479 Speaker 2: wanted to get better and better? Then I moved to 90 00:05:39,520 --> 00:05:43,120 Speaker 2: Karracas because I was part of that generation when Gustavo 91 00:05:43,240 --> 00:05:46,200 Speaker 2: was also part. We started with the National Child then Orchestra. 92 00:05:46,279 --> 00:05:48,400 Speaker 2: Then it was the National Youth Orchestra, and then Cemon 93 00:05:48,400 --> 00:05:51,520 Speaker 2: Bolivar Youth Orchestra and Simon Bolivar Orchestra. And in Karrakas 94 00:05:51,600 --> 00:05:56,000 Speaker 2: we go to a proper university. But the thing was 95 00:05:56,120 --> 00:05:59,479 Speaker 2: that because the orchestra was getting a lot of tours 96 00:05:59,520 --> 00:06:01,640 Speaker 2: and a lot of things, so we kind of need 97 00:06:01,640 --> 00:06:05,679 Speaker 2: to do things a little bit differently. In my case, 98 00:06:05,720 --> 00:06:08,960 Speaker 2: when I started conducting that there was a path that 99 00:06:09,040 --> 00:06:11,240 Speaker 2: my strawberry will kind of opened the door for me. 100 00:06:11,680 --> 00:06:13,880 Speaker 2: I got one on one classes, so I got all 101 00:06:13,920 --> 00:06:16,200 Speaker 2: of the things. But instead of having a full semester 102 00:06:16,279 --> 00:06:19,880 Speaker 2: and going every day, I just have very focused on 103 00:06:20,040 --> 00:06:22,919 Speaker 2: immersion class of six seven hours one on one to 104 00:06:23,120 --> 00:06:25,800 Speaker 2: try to get all of this because I had to keep, 105 00:06:25,960 --> 00:06:27,560 Speaker 2: you know, rehearsing and doing things. 106 00:06:27,720 --> 00:06:31,280 Speaker 1: It sounds like the classical world is like college football. 107 00:06:31,480 --> 00:06:32,800 Speaker 1: You know, they're going to help you get through your 108 00:06:32,839 --> 00:06:35,400 Speaker 1: grades because you're such a great quarterback. 109 00:06:35,480 --> 00:06:37,719 Speaker 2: Something like that. A little bit. 110 00:06:37,800 --> 00:06:40,080 Speaker 1: Yeah, you're a great French horn player, so we're going 111 00:06:40,120 --> 00:06:41,880 Speaker 1: to take care of everything for you. You just keep playing 112 00:06:41,880 --> 00:06:44,320 Speaker 1: that horn. Now, you just keep loving those notes and 113 00:06:44,360 --> 00:06:45,720 Speaker 1: we're going to take care of your grades. 114 00:06:46,279 --> 00:06:48,440 Speaker 2: Something like that. Yeah, you could say that, let's support 115 00:06:48,480 --> 00:06:48,920 Speaker 2: it that way. 116 00:06:49,120 --> 00:06:53,039 Speaker 1: Yeah, but now when you're there, when you are at 117 00:06:53,240 --> 00:06:58,279 Speaker 1: Simone Bolivar, you're playing principal horn for Simone Bolivar between 118 00:06:58,279 --> 00:07:01,479 Speaker 1: two thousand and one and twenty twelve of your touring 119 00:07:01,520 --> 00:07:04,719 Speaker 1: and you're recording, and you were around some of course 120 00:07:05,240 --> 00:07:08,640 Speaker 1: these titans of the classical repertoire in terms of music directors. 121 00:07:08,680 --> 00:07:12,680 Speaker 1: You're around Abado, who I worship I mean I worshiped 122 00:07:12,680 --> 00:07:16,200 Speaker 1: no more than Abat Mozelle, who I worship. Rattle, I 123 00:07:16,200 --> 00:07:18,280 Speaker 1: don't know, but I love it. Mensinopoli, of course, is 124 00:07:18,320 --> 00:07:22,840 Speaker 1: a great legend. And when you're around them, and when 125 00:07:22,880 --> 00:07:26,920 Speaker 1: you're in that world and you're performing, when does someone 126 00:07:26,960 --> 00:07:29,480 Speaker 1: tap you on the shoulder and say, come with me 127 00:07:29,720 --> 00:07:31,760 Speaker 1: and they want to start to talk about you picking 128 00:07:31,840 --> 00:07:35,000 Speaker 1: up a baton? Who first suggests that to you? 129 00:07:35,080 --> 00:07:38,520 Speaker 2: When? And where? Well? With him? The very first one 130 00:07:38,560 --> 00:07:40,840 Speaker 2: that actually talked to me about it. It was actually 131 00:07:41,000 --> 00:07:44,160 Speaker 2: my Strabreo. He was the very first one. I got 132 00:07:44,280 --> 00:07:47,840 Speaker 2: very inspired by Giuseppe Sinopoli. He did a tour with 133 00:07:47,920 --> 00:07:50,240 Speaker 2: the nationality An Orchestra and I just I mean, we 134 00:07:50,240 --> 00:07:54,240 Speaker 2: were one hundred and fifty kids playing Riency overture from 135 00:07:54,320 --> 00:07:58,000 Speaker 2: Wagner and he did not speak Spanish and then he 136 00:07:58,160 --> 00:08:00,400 Speaker 2: changed the sound of the orchestra within second. Now that 137 00:08:00,520 --> 00:08:02,600 Speaker 2: really impressed me and said, I would like to do 138 00:08:02,640 --> 00:08:05,640 Speaker 2: that one day when my hair is all white, you know, 139 00:08:05,720 --> 00:08:09,560 Speaker 2: and all I will do that. But then with Maestro 140 00:08:09,720 --> 00:08:12,240 Speaker 2: Antonio bre who showed me the path and started having this, 141 00:08:12,440 --> 00:08:15,680 Speaker 2: and then at the same time Maestra Bado was coming, 142 00:08:16,240 --> 00:08:20,080 Speaker 2: Mazelle was coming, Rattle was going into Venezuela, so I 143 00:08:20,160 --> 00:08:22,840 Speaker 2: can't kind of look at the one on one thing. 144 00:08:22,920 --> 00:08:25,080 Speaker 2: And at the same time, Gustava and I were very 145 00:08:25,080 --> 00:08:28,040 Speaker 2: good friends. Mustavo was already doing all of this conducting 146 00:08:28,120 --> 00:08:30,000 Speaker 2: and I was I was his first home, so I 147 00:08:30,040 --> 00:08:32,880 Speaker 2: was very supportive of him. Looking in the orchestra, okay, 148 00:08:32,920 --> 00:08:35,120 Speaker 2: I make sure that the horn section is always going 149 00:08:35,120 --> 00:08:37,640 Speaker 2: to be on top phone for the concerts with Gustavo, 150 00:08:37,720 --> 00:08:39,880 Speaker 2: So it was kind of an organic thing to be 151 00:08:40,000 --> 00:08:42,120 Speaker 2: going through. But at the same time, when I was 152 00:08:42,120 --> 00:08:46,319 Speaker 2: sitting in the orchestra, it was like a college kind 153 00:08:46,360 --> 00:08:48,640 Speaker 2: of experience. I was just getting all of these things 154 00:08:48,640 --> 00:08:51,720 Speaker 2: from all of these amazing conductors, and those words getting 155 00:08:51,720 --> 00:08:54,360 Speaker 2: in my head somehow, all of the information how they 156 00:08:54,360 --> 00:08:55,240 Speaker 2: work with the orchestra. 157 00:08:55,800 --> 00:08:57,680 Speaker 1: So the first time you step on a podium with 158 00:08:57,720 --> 00:09:00,199 Speaker 1: a baton in your hand, or without one for that matter, 159 00:09:00,559 --> 00:09:01,079 Speaker 1: is when. 160 00:09:01,480 --> 00:09:06,240 Speaker 2: The very first one. It could have been already with 161 00:09:06,360 --> 00:09:10,040 Speaker 2: a brass enseamble because I was with a brass quintet 162 00:09:10,160 --> 00:09:12,640 Speaker 2: and we used to teach kids. We go into different 163 00:09:12,640 --> 00:09:15,840 Speaker 2: cities in the country, and we arrived on a Thursday, 164 00:09:15,880 --> 00:09:18,920 Speaker 2: we play a concert, teach Friday, Saturday, and on Sunday, 165 00:09:19,040 --> 00:09:20,920 Speaker 2: we put a little brass and sample together. So that 166 00:09:21,040 --> 00:09:23,680 Speaker 2: was the first time that without a button I did something. 167 00:09:24,080 --> 00:09:26,320 Speaker 2: And then for real in front of an orchestra I 168 00:09:26,360 --> 00:09:30,240 Speaker 2: think was around two thousand seven, I think too. It 169 00:09:30,400 --> 00:09:34,640 Speaker 2: was the youth Orchestra of Marakaivo and it was a 170 00:09:34,679 --> 00:09:38,559 Speaker 2: master class in conducting with the South Korean conductor Zunquak 171 00:09:38,800 --> 00:09:42,480 Speaker 2: was dictating that and during that thing, he picked who 172 00:09:42,600 --> 00:09:44,920 Speaker 2: was going to do which part of the concert, and 173 00:09:44,960 --> 00:09:47,800 Speaker 2: he decided that I was going to actually close the 174 00:09:47,840 --> 00:09:50,920 Speaker 2: master class with the last movement of Chaikovs the Fifth Symphony. 175 00:09:51,280 --> 00:09:53,360 Speaker 1: Now, just to get back to the horn for one second. 176 00:09:53,400 --> 00:09:55,480 Speaker 1: Did it come naturally that French horn to you or 177 00:09:55,640 --> 00:09:57,600 Speaker 1: was it something that you had to work extra hard on? 178 00:09:57,880 --> 00:10:02,360 Speaker 2: Well, the French horn, it's a very ungrateful instrument, and 179 00:10:02,520 --> 00:10:05,720 Speaker 2: any ranch home player would agree with me. We love 180 00:10:06,080 --> 00:10:09,760 Speaker 2: the instrument, but sometimes it just gets you butt to 181 00:10:09,960 --> 00:10:13,160 Speaker 2: earth in the most unlikely places or moment when you 182 00:10:13,240 --> 00:10:15,000 Speaker 2: thinker on the top of the world, you have a crack. 183 00:10:15,320 --> 00:10:17,920 Speaker 2: But actually with the French one, I think that it 184 00:10:18,000 --> 00:10:20,600 Speaker 2: was it was a wonderful instrument that it was very 185 00:10:20,720 --> 00:10:23,600 Speaker 2: nice fitted for me and I always had that love, 186 00:10:24,280 --> 00:10:26,240 Speaker 2: sometimes hate relationship, but mostly love. 187 00:10:27,720 --> 00:10:30,120 Speaker 1: Now I'm going to put the cards on the table here. 188 00:10:30,160 --> 00:10:32,240 Speaker 1: I went to go see you, and then there at 189 00:10:32,240 --> 00:10:35,280 Speaker 1: Carnegie Hall and my wife or someone said to me, 190 00:10:35,480 --> 00:10:38,000 Speaker 1: what was Piari like on the podium? And I said, 191 00:10:38,160 --> 00:10:41,680 Speaker 1: he had the athleticism of Dodomel and even yup because 192 00:10:41,760 --> 00:10:45,280 Speaker 1: von Swaden is very very hopping around the podium, he's 193 00:10:45,400 --> 00:10:49,040 Speaker 1: very active from the waist down, I said, PIORI reminds 194 00:10:49,040 --> 00:10:52,000 Speaker 1: me of Dudemel from the waist down, and he reminds 195 00:10:52,040 --> 00:10:54,720 Speaker 1: me of Dutois from the waist up. He's very elegant. 196 00:10:55,040 --> 00:10:58,760 Speaker 1: He's athletic and elegant at the same moment. At the 197 00:10:58,800 --> 00:11:02,720 Speaker 1: same time, he's very very he's very very powerful, even 198 00:11:02,840 --> 00:11:05,480 Speaker 1: convulsive what he wants to and then he's pulling it 199 00:11:05,559 --> 00:11:08,800 Speaker 1: back dramatically and he's in complete control of his body there, 200 00:11:08,880 --> 00:11:12,440 Speaker 1: and there's an exuberance and there's a spasmodic quality to 201 00:11:12,520 --> 00:11:15,320 Speaker 1: his body only when needed. And then because I mean, 202 00:11:15,360 --> 00:11:18,040 Speaker 1: I was to was my favorite, and I was friends 203 00:11:18,040 --> 00:11:20,800 Speaker 1: with Charlie and Chantale, they were dear friends of mine. 204 00:11:21,160 --> 00:11:24,560 Speaker 1: And I watched you up there and I thought, is 205 00:11:24,600 --> 00:11:27,800 Speaker 1: this your style, that this is what came out of you. 206 00:11:28,200 --> 00:11:31,280 Speaker 1: Did you model yourself after somebody? Was somebody your inspiration? 207 00:11:32,400 --> 00:11:35,040 Speaker 2: No, not really, I think. I mean, I still don't 208 00:11:35,080 --> 00:11:36,800 Speaker 2: know how I look like, and I don't like to 209 00:11:36,800 --> 00:11:37,719 Speaker 2: look at bitio of me. 210 00:11:37,880 --> 00:11:40,480 Speaker 3: My god, that's terrible, but you should watch it because 211 00:11:40,520 --> 00:11:41,319 Speaker 3: it's fabulous. 212 00:11:43,679 --> 00:11:46,920 Speaker 2: It's really facinally thank you, thank you for that. But 213 00:11:47,080 --> 00:11:49,320 Speaker 2: in reality, no, I think that was one of the 214 00:11:49,360 --> 00:11:52,960 Speaker 2: things that my mentor, Antonio Breo said, like, look, you 215 00:11:53,000 --> 00:11:56,800 Speaker 2: just get enough information and the body will find its 216 00:11:56,840 --> 00:11:59,720 Speaker 2: way to express itself what you wanted to do with music. 217 00:12:00,200 --> 00:12:03,000 Speaker 2: I will not know what will be my style at all. 218 00:12:03,040 --> 00:12:06,080 Speaker 2: I do have to say that, together with Gootabo, we 219 00:12:06,200 --> 00:12:09,200 Speaker 2: used to watch videos of Carlos Kleiber and of course 220 00:12:09,240 --> 00:12:12,079 Speaker 2: of Cloud or a Bado as well, because they're just amazing, 221 00:12:12,280 --> 00:12:16,160 Speaker 2: fantastic conductors. But no, I do not try to shape 222 00:12:16,280 --> 00:12:19,520 Speaker 2: or do any kind of movement on purpose or conscious like. 223 00:12:19,559 --> 00:12:21,360 Speaker 2: It's just what my body likes to do. It's like 224 00:12:21,400 --> 00:12:23,400 Speaker 2: my hair, you know, it has a life on it's own. 225 00:12:23,440 --> 00:12:25,680 Speaker 2: There's nothing I can do about it. Whenever it goes 226 00:12:25,679 --> 00:12:27,720 Speaker 2: one way, it's like okay, fine, Well. 227 00:12:27,679 --> 00:12:29,880 Speaker 1: I was gonna say I think that they should rearrange 228 00:12:29,920 --> 00:12:32,040 Speaker 1: the stage because it's tough to see some of the 229 00:12:32,080 --> 00:12:36,920 Speaker 1: performers over your hair. They should change the seating plan. 230 00:12:37,760 --> 00:12:38,760 Speaker 2: I hope they've allowed. 231 00:12:39,120 --> 00:12:41,840 Speaker 1: I hope they have factored your hair and the height 232 00:12:41,880 --> 00:12:44,000 Speaker 1: of your hair into the seating plan. But anyway, now, 233 00:12:44,480 --> 00:12:46,640 Speaker 1: all these legends, I didn't meet all of them. I 234 00:12:46,640 --> 00:12:49,680 Speaker 1: met Moselle when he was just leaving New York. Charlie, 235 00:12:49,720 --> 00:12:52,120 Speaker 1: I knew Eschenbach. I mean, I met a bunch of 236 00:12:52,120 --> 00:12:54,760 Speaker 1: these people. Barren Boym. You know, the contemporaries are the 237 00:12:54,840 --> 00:12:58,120 Speaker 1: ones that are just cresting now into retirement. I met 238 00:12:58,720 --> 00:13:01,040 Speaker 1: so many of them. And when I say that Charlie 239 00:13:01,040 --> 00:13:03,480 Speaker 1: is my favorite, I should say he's among my favorites 240 00:13:03,480 --> 00:13:06,120 Speaker 1: because I love Mozelle as well. Now, you went to Castleton. 241 00:13:06,200 --> 00:13:08,680 Speaker 1: I went down there and did a program. Did Linda 242 00:13:08,880 --> 00:13:12,160 Speaker 1: is his wife? Absolutely so did Linda. Mizelle was gone, 243 00:13:12,280 --> 00:13:14,080 Speaker 1: and she invited me to come down there to the 244 00:13:14,200 --> 00:13:17,920 Speaker 1: Virginia countryside and do some program down there with one 245 00:13:17,960 --> 00:13:21,160 Speaker 1: of her sons and try. I forget what it was. 246 00:13:21,320 --> 00:13:23,200 Speaker 1: It was a kind of an odd little program, but 247 00:13:23,280 --> 00:13:25,600 Speaker 1: I was very admiring of what she was doing. You 248 00:13:25,679 --> 00:13:27,680 Speaker 1: went down there. How often? How many trips did you 249 00:13:27,720 --> 00:13:28,679 Speaker 1: make to Castleton. 250 00:13:29,200 --> 00:13:32,440 Speaker 2: Well, it's started because the thing with Castleton Mozille. When 251 00:13:32,440 --> 00:13:35,839 Speaker 2: I won the Malco competition into Soutum twelve males from 252 00:13:35,880 --> 00:13:39,839 Speaker 2: Moselle was actually the chairman of the jury. And one 253 00:13:39,880 --> 00:13:42,920 Speaker 2: of the things that it happened by winning the competition 254 00:13:43,120 --> 00:13:45,120 Speaker 2: is that you were going to get a little bit 255 00:13:45,280 --> 00:13:49,040 Speaker 2: like a tutor, kind of tutelage under Moselle. So I 256 00:13:49,080 --> 00:13:52,439 Speaker 2: remember that. It was very funny because the night of 257 00:13:52,840 --> 00:13:56,200 Speaker 2: the gala we did the final, I was announced that 258 00:13:56,280 --> 00:13:58,960 Speaker 2: I was the winner. It's already one in the morning, 259 00:13:59,200 --> 00:14:01,520 Speaker 2: after the dner with this whole thing, and I had 260 00:14:01,520 --> 00:14:04,000 Speaker 2: to catch a plane back to going back to Venezuela, 261 00:14:04,120 --> 00:14:06,320 Speaker 2: and I was like, well, my flight is at six, 262 00:14:06,360 --> 00:14:08,040 Speaker 2: so I need to go. Maestro, thank you very much 263 00:14:08,080 --> 00:14:10,360 Speaker 2: for everything. It's like, no, no, no, you do not 264 00:14:10,480 --> 00:14:12,679 Speaker 2: think that you're going to get rid of me that easily. 265 00:14:13,000 --> 00:14:17,920 Speaker 2: You will come to now a Castleton on July. And 266 00:14:18,160 --> 00:14:21,840 Speaker 2: on July seventh, I this is himself talking. I am 267 00:14:21,840 --> 00:14:24,400 Speaker 2: going to conduct Beethoven nine and I want you to 268 00:14:24,440 --> 00:14:28,360 Speaker 2: open the concert and conduct Leonora number three. I will 269 00:14:28,440 --> 00:14:30,720 Speaker 2: send you my escore and I'll see you there. I mean, 270 00:14:30,800 --> 00:14:33,560 Speaker 2: you know, myself tells you that what you're going to do. Yeah, 271 00:14:33,920 --> 00:14:37,160 Speaker 2: of course I went there and it was fantastic. The 272 00:14:37,440 --> 00:14:39,400 Speaker 2: stayed over there and all of the program that he 273 00:14:39,480 --> 00:14:43,440 Speaker 2: was putting on there together, it was amazing. I did that. 274 00:14:43,640 --> 00:14:47,600 Speaker 2: I conduct his emity score. His score it has metrono 275 00:14:47,680 --> 00:14:51,000 Speaker 2: marking fingers and everything altogether. And there was a part 276 00:14:51,000 --> 00:14:52,560 Speaker 2: of me that I was a little bit in shock 277 00:14:52,640 --> 00:14:56,840 Speaker 2: because I thought, like he expect me to do all 278 00:14:56,880 --> 00:14:59,880 Speaker 2: of his things in there or not, I don't know, 279 00:15:00,000 --> 00:15:02,240 Speaker 2: and I will just I will go with my god 280 00:15:02,280 --> 00:15:04,920 Speaker 2: feeling and I will do how I listen to this music. 281 00:15:05,000 --> 00:15:07,560 Speaker 2: So I got his score, but I did my time post, 282 00:15:07,560 --> 00:15:09,840 Speaker 2: I did my thing, and there was no complaint at 283 00:15:09,880 --> 00:15:12,920 Speaker 2: all whatsoever. He actually was waiting for me there with 284 00:15:13,040 --> 00:15:16,120 Speaker 2: the his aren't white open and treat me like I 285 00:15:16,240 --> 00:15:19,400 Speaker 2: was like his grandson or something. And he was so 286 00:15:19,400 --> 00:15:23,320 Speaker 2: so supper loved the absolutely so, I mean all of 287 00:15:23,320 --> 00:15:25,840 Speaker 2: those things that people might think that he was cold 288 00:15:25,920 --> 00:15:29,080 Speaker 2: or whatever, that's they never really get to meeting. He 289 00:15:29,200 --> 00:15:31,840 Speaker 2: was so so warm. And it was funny because what 290 00:15:31,960 --> 00:15:34,920 Speaker 2: you'll hear me conduct in Carnelie Hall was mather Vive 291 00:15:35,560 --> 00:15:38,600 Speaker 2: my first time in Castleton. We were talking. I said, 292 00:15:38,720 --> 00:15:41,240 Speaker 2: do you love Maler's like yes, and do you do 293 00:15:41,280 --> 00:15:42,000 Speaker 2: the fifth Infinite? 294 00:15:42,120 --> 00:15:42,240 Speaker 1: Yes? 295 00:15:42,320 --> 00:15:44,120 Speaker 2: Myself, this is one of my this is one of 296 00:15:44,120 --> 00:15:46,240 Speaker 2: my pieces. Like, well, then you have to come next 297 00:15:46,360 --> 00:15:49,280 Speaker 2: year and do malor fifth, which I did in two 298 00:15:49,320 --> 00:15:53,080 Speaker 2: Sound thirteen, and then the year after that, in twenty fourteen, 299 00:15:53,200 --> 00:15:56,040 Speaker 2: we were going to do a concert together, split concert, 300 00:15:56,560 --> 00:15:59,920 Speaker 2: and I was due to travel there on a month 301 00:16:00,080 --> 00:16:02,200 Speaker 2: they and he passed away on a Sunday. 302 00:16:03,960 --> 00:16:10,280 Speaker 1: Maestro Rafael Piire. If you enjoy conversations with gifted conductors, 303 00:16:10,360 --> 00:16:12,640 Speaker 1: check out my episode with Pavo Jervy. 304 00:16:13,400 --> 00:16:16,080 Speaker 4: I have two girls right now who they're very talented, 305 00:16:16,080 --> 00:16:18,320 Speaker 4: but they don't know what am I going to do 306 00:16:18,360 --> 00:16:21,960 Speaker 4: in life? I never had ever that question because I 307 00:16:22,000 --> 00:16:25,480 Speaker 4: wanted to not only to be a musician, I wanted 308 00:16:25,480 --> 00:16:26,320 Speaker 4: to be a conductor. 309 00:16:26,600 --> 00:16:29,160 Speaker 2: Why because my father was a conductor. I loved my father. 310 00:16:29,240 --> 00:16:31,280 Speaker 4: I think he was having a lot of fun and 311 00:16:31,280 --> 00:16:32,600 Speaker 4: we're very close to this day. 312 00:16:32,720 --> 00:16:33,960 Speaker 2: So it was done. 313 00:16:34,080 --> 00:16:36,080 Speaker 4: It was a done deal. I wanted to be a 314 00:16:36,120 --> 00:16:41,160 Speaker 4: conductor and I never ever wanted to be anything else ever. 315 00:16:42,160 --> 00:16:46,000 Speaker 1: To hear more of my conversation with Pavo Yervi go 316 00:16:46,080 --> 00:16:50,320 Speaker 1: to Here's the Thing dot org. After the break, Rafael 317 00:16:50,440 --> 00:16:54,280 Speaker 1: PII tells us how he shapes a music program and 318 00:16:54,440 --> 00:16:59,440 Speaker 1: uses it to take the audience on a journey. I'm 319 00:16:59,480 --> 00:17:02,400 Speaker 1: Alec bald when and you're listening to Here's the Thing. 320 00:17:17,520 --> 00:17:23,280 Speaker 1: This is Rafael Piari conducting Schulstakovich's Symphony Number eleven with 321 00:17:23,440 --> 00:17:40,160 Speaker 1: the San Diego Symphony Orchestra. Maestro Raphael Piari has had 322 00:17:40,200 --> 00:17:44,480 Speaker 1: a meteoric rise since he won first prize at Denmark's 323 00:17:44,560 --> 00:17:49,480 Speaker 1: Malco International Conducting Competition in twenty twelve. I wanted to 324 00:17:49,520 --> 00:17:53,840 Speaker 1: know how one judges something as misunderstood as conducting in 325 00:17:53,880 --> 00:17:54,600 Speaker 1: the first place. 326 00:17:55,920 --> 00:17:58,520 Speaker 2: Yeah, well, I mean, you know, conducting is a little 327 00:17:58,560 --> 00:18:01,760 Speaker 2: bit like a voodu scene, so having the competition is 328 00:18:01,800 --> 00:18:04,399 Speaker 2: a little bit kind of exchange. But I remember my 329 00:18:04,520 --> 00:18:08,280 Speaker 2: time with Malco. We were forty eight participant during that 330 00:18:08,320 --> 00:18:12,119 Speaker 2: time and it was going to be through ten days. 331 00:18:12,200 --> 00:18:16,480 Speaker 2: I remember my only goal it was that maybe I 332 00:18:16,640 --> 00:18:19,920 Speaker 2: will not get eliminated in the first round, because if 333 00:18:19,960 --> 00:18:22,320 Speaker 2: I passed to the second round, the competition was going 334 00:18:22,359 --> 00:18:25,960 Speaker 2: to pay for my hotel. So that was my main 335 00:18:26,000 --> 00:18:27,840 Speaker 2: goal in the whole thing. I came from Venezuela, and 336 00:18:27,840 --> 00:18:29,399 Speaker 2: it's like, I hope I don't get eliminated in the 337 00:18:29,400 --> 00:18:31,639 Speaker 2: first round. But I mean it was kind of never recking. 338 00:18:31,760 --> 00:18:35,880 Speaker 2: I remember the first round it was about five minutes 339 00:18:36,040 --> 00:18:40,520 Speaker 2: different and four completely round with different repertoire the whole thing. 340 00:18:40,600 --> 00:18:43,080 Speaker 2: There was one of the round that Marselle said like, 341 00:18:43,320 --> 00:18:46,919 Speaker 2: do not say one word. It is seven minutes with 342 00:18:47,000 --> 00:18:50,359 Speaker 2: three different pieces. Show everything with your hands. Then the 343 00:18:50,400 --> 00:18:53,479 Speaker 2: third round is like actually with one you see rehearse, 344 00:18:53,560 --> 00:18:55,760 Speaker 2: I mean, not be all of the different participants. Then 345 00:18:55,760 --> 00:18:57,480 Speaker 2: the fourth round we have a piece that it was 346 00:18:57,520 --> 00:19:00,679 Speaker 2: written for the competition and we only got score a 347 00:19:00,760 --> 00:19:03,679 Speaker 2: month before. And then it was the final. So it 348 00:19:03,840 --> 00:19:09,159 Speaker 2: was completely different, different, very different kind of experience. And 349 00:19:09,240 --> 00:19:11,840 Speaker 2: you have this amazing orchestra that the Neish radio, and 350 00:19:11,880 --> 00:19:14,239 Speaker 2: they will be you're in front of them for a 351 00:19:14,280 --> 00:19:16,080 Speaker 2: certain amount of time and they will just. 352 00:19:16,040 --> 00:19:19,240 Speaker 1: React to what you do or play what the same 353 00:19:19,320 --> 00:19:22,199 Speaker 1: orchestra that's being conducted by all forty eight people. 354 00:19:22,680 --> 00:19:25,280 Speaker 2: Yep. And the report to us it was the pull 355 00:19:25,359 --> 00:19:29,920 Speaker 2: of music. It was really really really wide. I mean 356 00:19:30,040 --> 00:19:35,560 Speaker 2: I remember it ran from Malor seven beth Oven four 357 00:19:36,200 --> 00:19:40,600 Speaker 2: Brams for Bartow Concerto for Orchestra for Jack seven. I 358 00:19:40,600 --> 00:19:44,280 Speaker 2: mean the amount of music was and the conductor, the 359 00:19:44,320 --> 00:19:48,639 Speaker 2: resident composer for that, it was Christos Pendetski, so he 360 00:19:48,760 --> 00:19:51,679 Speaker 2: wrote a piece especially for that. We actually have to 361 00:19:52,119 --> 00:19:54,960 Speaker 2: premiere in front of everybody. If you made it that 362 00:19:55,040 --> 00:19:55,960 Speaker 2: far in the competition. 363 00:19:56,040 --> 00:19:59,040 Speaker 1: Yeah, Now, soon thereafter you go to Ulster. 364 00:19:59,200 --> 00:20:00,920 Speaker 2: Correct, that's correct. Yes. 365 00:20:00,960 --> 00:20:04,640 Speaker 1: Now, if I were to say, in some overly simplified way, 366 00:20:05,080 --> 00:20:09,160 Speaker 1: what would be culturally and climatologically the opposite of Venezuela, 367 00:20:09,240 --> 00:20:10,280 Speaker 1: the answer would be Ulster. 368 00:20:11,640 --> 00:20:12,679 Speaker 2: You can say that easily. 369 00:20:12,760 --> 00:20:16,520 Speaker 1: That what happens to Raphael Payari when he shows up 370 00:20:16,520 --> 00:20:19,879 Speaker 1: in the north of Ireland and you're there for five years? 371 00:20:19,920 --> 00:20:20,240 Speaker 2: Correct? 372 00:20:20,359 --> 00:20:22,720 Speaker 1: Obviously you leave and travel and gets conduct and do 373 00:20:22,760 --> 00:20:25,240 Speaker 1: other things. But what was it like to Because I 374 00:20:25,280 --> 00:20:27,280 Speaker 1: want you to describe to me the same with Ulster 375 00:20:27,640 --> 00:20:30,399 Speaker 1: as with San Diego, and that's when you arrive. What's 376 00:20:30,440 --> 00:20:32,520 Speaker 1: the vibe there? What's the audience? 377 00:20:33,720 --> 00:20:36,520 Speaker 2: Yeah? I mean it was the first time I went there. 378 00:20:36,680 --> 00:20:39,560 Speaker 2: The orchestra was fantastic and we have an immedium connection. 379 00:20:39,760 --> 00:20:41,880 Speaker 2: And the thing is that the audience as well, there 380 00:20:41,920 --> 00:20:44,960 Speaker 2: are so welcoming and so long, very very much. So 381 00:20:45,320 --> 00:20:48,680 Speaker 2: it was I remember I went there for a concert 382 00:20:49,040 --> 00:20:53,600 Speaker 2: to just a Covich piano concerto, opening with rabel Tombo 383 00:20:53,440 --> 00:20:57,919 Speaker 2: cop and then ending with Firebird Suite, and the conture 384 00:20:58,080 --> 00:21:00,600 Speaker 2: was absolutely great. And I remember we have the dinner 385 00:21:00,600 --> 00:21:03,560 Speaker 2: after the concert and I sat down, you know, okay, 386 00:21:03,680 --> 00:21:05,720 Speaker 2: it's time to have a stake, let's have a drink. 387 00:21:05,800 --> 00:21:10,320 Speaker 2: And then the intendent of the orchestra I said like, ah, 388 00:21:10,359 --> 00:21:12,160 Speaker 2: what do you think if you are going to become 389 00:21:12,200 --> 00:21:15,280 Speaker 2: a chief conductor? So I thought that she was joking, 390 00:21:15,440 --> 00:21:18,960 Speaker 2: you know, and it's like, okay, yeah, why not, but okay, 391 00:21:19,040 --> 00:21:21,120 Speaker 2: let's eat, and this is crazy. Two days later they 392 00:21:21,160 --> 00:21:24,480 Speaker 2: actually called my agent and asked and they offered. It 393 00:21:24,560 --> 00:21:26,480 Speaker 2: was real, the whole thing. And then I came back 394 00:21:26,480 --> 00:21:27,800 Speaker 2: and I said that, yeah, why not. I mean, the 395 00:21:27,840 --> 00:21:31,560 Speaker 2: connection with the orchestra was great and the audience was fantastic. However, 396 00:21:31,680 --> 00:21:34,800 Speaker 2: coming from Venezuela, I already have an accent in English, 397 00:21:34,880 --> 00:21:38,119 Speaker 2: but their accent is also very hard to understand the 398 00:21:38,160 --> 00:21:40,720 Speaker 2: way they have it. But it was just fantastic to 399 00:21:40,760 --> 00:21:45,000 Speaker 2: see this very rainy gray sky all the time, and 400 00:21:45,080 --> 00:21:47,800 Speaker 2: I find it really wonderful. I come from Porto la 401 00:21:47,840 --> 00:21:50,760 Speaker 2: Cruz and we have sun three hundred and sixty five 402 00:21:50,800 --> 00:21:52,720 Speaker 2: there year, so I was fine with having. 403 00:21:52,520 --> 00:21:56,280 Speaker 3: Some gray in the sky. Another of rain, Ireland. I 404 00:21:56,280 --> 00:21:58,879 Speaker 3: shot a movie in Belfast about three years ago. I 405 00:21:58,920 --> 00:22:00,679 Speaker 3: had never been there before when we went to the 406 00:22:00,720 --> 00:22:03,320 Speaker 3: south and I went up to the north for the 407 00:22:03,320 --> 00:22:03,920 Speaker 3: first time, and. 408 00:22:03,920 --> 00:22:06,919 Speaker 2: I loved it. It's dreary, but it's poetically dreary. 409 00:22:06,960 --> 00:22:08,440 Speaker 1: It's really very, very very beautiful. 410 00:22:08,520 --> 00:22:11,320 Speaker 2: Yeah. Absolutely, And the green with the amount of water 411 00:22:11,400 --> 00:22:14,040 Speaker 2: they have the green, it has a particular kind of 412 00:22:14,440 --> 00:22:17,920 Speaker 2: sys that is different from everywhere else. It's just wonderful. 413 00:22:18,080 --> 00:22:20,320 Speaker 1: Now I'm going to ask the same thing about Ulster, 414 00:22:20,400 --> 00:22:23,639 Speaker 1: which is you're the music director. Correct, yes, you're the 415 00:22:23,680 --> 00:22:27,720 Speaker 1: music director there. But when you go to Ulster, when 416 00:22:27,760 --> 00:22:30,400 Speaker 1: you go to San Diego and you're growing and your 417 00:22:30,440 --> 00:22:33,200 Speaker 1: experiences are growing, and then when you arrive in Montreal 418 00:22:33,280 --> 00:22:34,879 Speaker 1: and they're not going to give the keys to that 419 00:22:35,000 --> 00:22:37,600 Speaker 1: car to just anybody, you know, you really really are 420 00:22:38,119 --> 00:22:41,520 Speaker 1: at the big time. Now, what is your involvement in 421 00:22:41,520 --> 00:22:43,920 Speaker 1: selecting the program. I'm on the board of the Fill 422 00:22:44,400 --> 00:22:46,800 Speaker 1: here in New York. They have a music committee, and 423 00:22:46,880 --> 00:22:49,200 Speaker 1: you know, they want to have discussions with the executive 424 00:22:49,240 --> 00:22:51,439 Speaker 1: director and people in the committee and members of the 425 00:22:51,440 --> 00:22:54,080 Speaker 1: staff and the maestro about what's going to be played. 426 00:22:54,359 --> 00:22:56,760 Speaker 1: How much input do you have, Let's start with San 427 00:22:56,800 --> 00:22:59,560 Speaker 1: Diego when you go down there, how much input do 428 00:22:59,600 --> 00:23:00,879 Speaker 1: you have to the program? 429 00:23:01,200 --> 00:23:04,360 Speaker 2: Oh? A lot, because I not only program my programs, 430 00:23:04,400 --> 00:23:06,600 Speaker 2: I also have to overview. Of course, we have a 431 00:23:06,640 --> 00:23:09,840 Speaker 2: team there, a wonderful team. The CEO with San Diego, 432 00:23:09,880 --> 00:23:13,359 Speaker 2: Martha Gilmer. She used to be the artistic program of 433 00:23:13,480 --> 00:23:17,000 Speaker 2: Chicago Symphony for thirty five years, so she is also 434 00:23:17,080 --> 00:23:21,200 Speaker 2: has the Shorty yeah exactly. She went with Shorty with 435 00:23:21,359 --> 00:23:23,880 Speaker 2: bar and boint with high thing with bulets with all 436 00:23:23,920 --> 00:23:26,560 Speaker 2: of them, and motive, and so she had all of 437 00:23:26,600 --> 00:23:30,119 Speaker 2: this experience. We also have our artistic team altogether, and 438 00:23:30,160 --> 00:23:32,320 Speaker 2: we just see it. But the whole thing is, I 439 00:23:32,359 --> 00:23:35,320 Speaker 2: don't like to just program my program for the sake 440 00:23:35,359 --> 00:23:35,960 Speaker 2: of programming. 441 00:23:36,000 --> 00:23:41,160 Speaker 1: When you see my program my weeks, the ones you're conducting, yeah, the. 442 00:23:41,160 --> 00:23:43,919 Speaker 2: One that I'm conducting, But it's actually who how are 443 00:23:43,960 --> 00:23:47,000 Speaker 2: we taking the audience into this kind of journey and 444 00:23:47,040 --> 00:23:50,320 Speaker 2: this kind of voyage, And it's very important the many 445 00:23:50,320 --> 00:23:53,119 Speaker 2: different things that let's say, the sound that I am 446 00:23:53,160 --> 00:23:56,080 Speaker 2: looking the orchestra to develop more so that this also 447 00:23:56,160 --> 00:23:58,000 Speaker 2: had to do with the report that you have, but 448 00:23:58,359 --> 00:24:01,440 Speaker 2: not everything needs to be about that. We also need 449 00:24:01,480 --> 00:24:03,959 Speaker 2: to be appealing for the audience and the people what 450 00:24:04,080 --> 00:24:06,400 Speaker 2: they are, our supporters that are going to be there. 451 00:24:06,440 --> 00:24:08,760 Speaker 2: So normally what I do is just look at the 452 00:24:08,800 --> 00:24:11,440 Speaker 2: last twenty years, twenty five years, what they have been doing, 453 00:24:11,520 --> 00:24:13,920 Speaker 2: what is lacking, and what this needs to be doing. 454 00:24:14,320 --> 00:24:17,199 Speaker 2: Also as well with what is my core repertoire and 455 00:24:17,240 --> 00:24:20,439 Speaker 2: what I think that the orchestra needs to develop or 456 00:24:20,480 --> 00:24:23,159 Speaker 2: explore or bring back. So yeah, it's a lot, but 457 00:24:23,240 --> 00:24:27,919 Speaker 2: those conversations are really really fun and they are ongoing 458 00:24:28,000 --> 00:24:30,800 Speaker 2: for a long time. I remember the first time with 459 00:24:30,880 --> 00:24:33,159 Speaker 2: San Diego. We started a conversation at ten in the 460 00:24:33,160 --> 00:24:37,280 Speaker 2: morning in Aspen and it ended at seven pm. I 461 00:24:37,359 --> 00:24:39,919 Speaker 2: was even texting math when I was to the airport 462 00:24:39,920 --> 00:24:42,199 Speaker 2: going to another orchestra. How about we do this and this, 463 00:24:42,280 --> 00:24:44,280 Speaker 2: and then we go back and sit again for another 464 00:24:44,320 --> 00:24:47,439 Speaker 2: six hours. Then Martha went to Berlin. We have another 465 00:24:47,520 --> 00:24:50,560 Speaker 2: two days from ten to twelve pm just talking and 466 00:24:50,760 --> 00:24:53,280 Speaker 2: just trying to put the next five years of what 467 00:24:53,320 --> 00:24:54,960 Speaker 2: do we want to do and what do we want 468 00:24:55,000 --> 00:24:57,800 Speaker 2: to orchestra to go and how do we dream and 469 00:24:57,800 --> 00:25:01,120 Speaker 2: make try to have all the things together. So yeah, 470 00:25:01,440 --> 00:25:03,399 Speaker 2: the input is quite big. I have to say. 471 00:25:03,720 --> 00:25:06,440 Speaker 1: Well, also, I'm wondering whether it be in San Diego. 472 00:25:07,240 --> 00:25:10,560 Speaker 1: I know that not all the great ensembles are created 473 00:25:10,600 --> 00:25:13,520 Speaker 1: alike in terms of their funding. Some of them have 474 00:25:13,720 --> 00:25:16,439 Speaker 1: lots of endowments in cash and some of them not 475 00:25:16,520 --> 00:25:19,520 Speaker 1: so much. And I'm assuming that you, as the music director, 476 00:25:19,560 --> 00:25:23,280 Speaker 1: are called upon, especially when you're young and vital like you. 477 00:25:23,280 --> 00:25:26,879 Speaker 1: You know, you're not a blomstat who's ninety two years old. 478 00:25:27,119 --> 00:25:28,960 Speaker 1: They're not going to roll him out for the cocktail 479 00:25:29,000 --> 00:25:32,280 Speaker 1: party maybe before the show. But for a young, energetic 480 00:25:32,280 --> 00:25:35,159 Speaker 1: guy like you, are you pressed upon to participate in 481 00:25:35,200 --> 00:25:37,080 Speaker 1: development and fundraising with the organization? 482 00:25:37,680 --> 00:25:39,880 Speaker 2: Well, I think it is very important, of course, because 483 00:25:39,920 --> 00:25:42,040 Speaker 2: the phone raising what is the phone raising for to 484 00:25:42,119 --> 00:25:44,920 Speaker 2: be able to make the dreams that we have happen? 485 00:25:45,040 --> 00:25:47,280 Speaker 2: So sometimes we have some things. But I have to 486 00:25:47,320 --> 00:25:49,320 Speaker 2: say that they are very smart how the way they 487 00:25:49,320 --> 00:25:51,200 Speaker 2: do it. They don't do it too much, and they 488 00:25:51,200 --> 00:25:55,760 Speaker 2: do it in a way to use that relationship. Yeah yeah, yeah, yeah. 489 00:25:55,520 --> 00:25:59,120 Speaker 1: Now, now when you're in San Diego, it's not one 490 00:25:59,119 --> 00:26:01,320 Speaker 1: of the major venues use but they have a great, 491 00:26:01,359 --> 00:26:02,960 Speaker 1: great tradition down there, don't they. 492 00:26:03,320 --> 00:26:05,600 Speaker 2: Yeah, yeah, indeed. And one of the things that is 493 00:26:05,640 --> 00:26:09,280 Speaker 2: wonderful with San Diego is that I'm arriving into this 494 00:26:09,440 --> 00:26:11,960 Speaker 2: period of time for the orchestra and the city that 495 00:26:12,119 --> 00:26:14,640 Speaker 2: is actually having like a like a big push. It's 496 00:26:14,640 --> 00:26:17,080 Speaker 2: a wonderful time to happen. I mean, we just opened 497 00:26:17,080 --> 00:26:22,159 Speaker 2: this beautiful outdoor venue, the Raady Sheil, and it's raady 498 00:26:22,520 --> 00:26:25,600 Speaker 2: yeah yeah, and it's by the bay. I mean, it's 499 00:26:26,160 --> 00:26:29,359 Speaker 2: San Diego has one of the best climates in the 500 00:26:29,400 --> 00:26:33,800 Speaker 2: whole world. And then you have this amazing shell surrounded 501 00:26:33,840 --> 00:26:37,440 Speaker 2: by water with this ridiculously bull sky and then from 502 00:26:37,520 --> 00:26:40,359 Speaker 2: the stage you could actually see Mexico. I mean, come on, 503 00:26:41,160 --> 00:26:43,639 Speaker 2: you know, I mean this is this is something that 504 00:26:44,119 --> 00:26:49,000 Speaker 2: is amazing. Dinner after the show, right yeah, yeah, immediately, 505 00:26:49,040 --> 00:26:50,879 Speaker 2: and you could have that with maybe a little bit 506 00:26:50,880 --> 00:26:52,760 Speaker 2: of the quilla or not, but that was that's up 507 00:26:52,800 --> 00:26:53,640 Speaker 2: to you. 508 00:26:53,359 --> 00:26:55,680 Speaker 1: I think you deserve anything you want, quite frankly. 509 00:26:57,600 --> 00:26:59,480 Speaker 2: Thank you, thank you. And then you have this and 510 00:27:00,040 --> 00:27:02,919 Speaker 2: it's not only about that it's beautiful, but actually on 511 00:27:03,119 --> 00:27:06,199 Speaker 2: stage they put the state of their sound system, so 512 00:27:06,240 --> 00:27:09,199 Speaker 2: the orchestra could really hear each other very well, and 513 00:27:09,280 --> 00:27:12,679 Speaker 2: then that is projected into the lawn for the people 514 00:27:12,720 --> 00:27:15,639 Speaker 2: to have an immersive experience as you will be in 515 00:27:15,680 --> 00:27:19,240 Speaker 2: an indoor hole. So it's fantastic and the orchestra is 516 00:27:19,240 --> 00:27:23,359 Speaker 2: playing wonderfully. And now we're about to open reopen because 517 00:27:23,400 --> 00:27:26,280 Speaker 2: our whole has been into renovation and the orchestra is 518 00:27:26,400 --> 00:27:28,080 Speaker 2: sounding great. Well, let me ask you this. 519 00:27:28,119 --> 00:27:31,080 Speaker 1: When you signed on for San Diego, did they tell 520 00:27:31,119 --> 00:27:33,760 Speaker 1: you that Rady was on the on the drawing board? 521 00:27:33,800 --> 00:27:34,760 Speaker 1: You knew that was coming. 522 00:27:35,400 --> 00:27:38,920 Speaker 2: No, I did not. I was already Martha's plan happening 523 00:27:39,000 --> 00:27:41,360 Speaker 2: with this. But I mean when I arrived there and 524 00:27:41,400 --> 00:27:43,840 Speaker 2: they showed me the plans, it was amazing. And this 525 00:27:43,920 --> 00:27:45,680 Speaker 2: is one of the most amazing things. We have a 526 00:27:45,960 --> 00:27:49,720 Speaker 2: wonderful one of the patrons there, when I was very 527 00:27:49,760 --> 00:27:52,680 Speaker 2: fairly new in there, he asked me what the orchestra needed, 528 00:27:52,920 --> 00:27:55,679 Speaker 2: and I said, like the hole that we're playing in 529 00:27:55,720 --> 00:27:57,960 Speaker 2: its own work. Because the musicians it will be better. 530 00:27:58,000 --> 00:28:00,040 Speaker 2: They will even the orchestra. WI was going to a 531 00:28:00,080 --> 00:28:02,120 Speaker 2: different stut of if you have a Libit Burtter hole, 532 00:28:02,640 --> 00:28:05,840 Speaker 2: and he brought some people actually the architects and an 533 00:28:05,880 --> 00:28:09,040 Speaker 2: accoustician that did Geffen Hole. They are the one doing 534 00:28:09,080 --> 00:28:11,000 Speaker 2: the renovation in our hole and we're going to be 535 00:28:11,040 --> 00:28:14,560 Speaker 2: opening in November. So this is where this is in 536 00:28:14,600 --> 00:28:17,360 Speaker 2: San Diego. So you're still working with them. 537 00:28:17,560 --> 00:28:20,080 Speaker 1: Oh yeah, are you in the transition phase? Now? Are 538 00:28:20,080 --> 00:28:22,960 Speaker 1: you doing in that and you in that scene where 539 00:28:23,000 --> 00:28:26,200 Speaker 1: you're slowly exiting San Diego to go to Montreal. 540 00:28:26,720 --> 00:28:28,480 Speaker 2: No, not at all, actually because. 541 00:28:28,880 --> 00:28:29,920 Speaker 1: Both at the same time. 542 00:28:30,240 --> 00:28:33,159 Speaker 2: Oh yes, yeah, yeah, absolutely. 543 00:28:32,560 --> 00:28:35,560 Speaker 1: You are the actual music director, both simultaneously. 544 00:28:35,960 --> 00:28:38,880 Speaker 2: Yep, yeah, yeah, this is my first I just extended 545 00:28:38,920 --> 00:28:40,960 Speaker 2: my contract in San Diego for four years, and this 546 00:28:41,080 --> 00:28:43,280 Speaker 2: is my first year in San Diego, and this is 547 00:28:43,320 --> 00:28:46,320 Speaker 2: my first year in Montreal for my content in Montreal. 548 00:28:46,480 --> 00:28:49,320 Speaker 2: My first country in Montreal is start for five years. Yeah. 549 00:28:49,840 --> 00:28:51,960 Speaker 1: You don't really like to have time off, do you? 550 00:28:52,840 --> 00:28:55,360 Speaker 2: Well? I mean, I'm. 551 00:28:54,880 --> 00:28:58,640 Speaker 1: Joking up to now an important question for my listeners, 552 00:28:58,680 --> 00:29:03,280 Speaker 1: because of course I've been to Spack with Charlie. I've 553 00:29:03,320 --> 00:29:06,480 Speaker 1: then to tangle Wood countless times. I've been to Ravinia, 554 00:29:07,080 --> 00:29:09,360 Speaker 1: Hollywood Bowler obviously. I mean, I've spent to some of 555 00:29:09,400 --> 00:29:11,880 Speaker 1: the outdoor venues that are really, really beautiful. Well, if 556 00:29:11,920 --> 00:29:14,720 Speaker 1: you're not in Carnegie Hall, if you're not in Separence Hall, 557 00:29:15,080 --> 00:29:17,080 Speaker 1: if you're not in one of the great halls around 558 00:29:17,080 --> 00:29:20,400 Speaker 1: the world and you're outside, what adjustments do you need 559 00:29:20,440 --> 00:29:21,520 Speaker 1: to make in your work? 560 00:29:22,120 --> 00:29:26,320 Speaker 2: Well, it depends. Sometimes there are things depending how is 561 00:29:26,360 --> 00:29:28,760 Speaker 2: the outdoor venue. There are some of them that they 562 00:29:28,800 --> 00:29:32,120 Speaker 2: have a wonderful setup. And this is for Instagware. San 563 00:29:32,120 --> 00:29:36,760 Speaker 2: Diego is absolutely world World War class because now our 564 00:29:36,840 --> 00:29:39,800 Speaker 2: door venue there has the mayor sound system on stage, 565 00:29:40,120 --> 00:29:44,280 Speaker 2: so we actually play on stage as if we were 566 00:29:44,680 --> 00:29:47,200 Speaker 2: in an indoor venue. We do exactly the same. We 567 00:29:47,240 --> 00:29:50,120 Speaker 2: could go into the softer dynamic to the loudest and 568 00:29:50,480 --> 00:29:55,560 Speaker 2: provosts and yeah, because then they actually get that into 569 00:29:55,600 --> 00:29:57,800 Speaker 2: the mics and that is what's coming out on the lawn, 570 00:29:58,480 --> 00:30:02,280 Speaker 2: so they got it right. Yeah. Absolutely, it's amazing. You'll 571 00:30:02,320 --> 00:30:04,720 Speaker 2: forget that you are outdoors until all of us a 572 00:30:04,720 --> 00:30:08,200 Speaker 2: sudden there's a helicopter going by. Or are party bold right? 573 00:30:08,600 --> 00:30:13,800 Speaker 1: I was gonna say, Maestro Raphael Piari, if you're enjoying 574 00:30:13,880 --> 00:30:17,120 Speaker 1: this episode, don't keep it to yourself, Tell a friend 575 00:30:17,480 --> 00:30:20,280 Speaker 1: and be sure to follow us on the iHeartRadio app, 576 00:30:20,520 --> 00:30:25,480 Speaker 1: Apple Podcasts or wherever you get your podcasts. When we return, 577 00:30:25,720 --> 00:30:29,480 Speaker 1: Raphael Paiari shares how a good pairing with an orchestra 578 00:30:29,720 --> 00:30:34,840 Speaker 1: is like falling in love. I'm Alec Baldwin and this 579 00:30:35,000 --> 00:31:01,560 Speaker 1: is here's the thing. This is more of the San 580 00:31:01,560 --> 00:31:07,280 Speaker 1: Diego Symphony performing Shostakovich's Symphony Number eleven in G minor, 581 00:31:07,600 --> 00:31:13,080 Speaker 1: conducted by my guest today, Maestro Rafael PIII. Between his 582 00:31:13,280 --> 00:31:17,560 Speaker 1: music director position with the San Diego Symphony and constant 583 00:31:17,640 --> 00:31:21,280 Speaker 1: travel across the globe working with the world's greatest orchestras, 584 00:31:21,600 --> 00:31:26,680 Speaker 1: Rafael Piari's schedule is typically jam packed. When the Montreal 585 00:31:26,800 --> 00:31:31,120 Speaker 1: Symphony came calling amidst an already hectic time in Piari's career, 586 00:31:31,600 --> 00:31:34,120 Speaker 1: I was curious how the pairing came to be. 587 00:31:35,720 --> 00:31:38,840 Speaker 2: Well, it was kind of funny, let's say, because I 588 00:31:38,880 --> 00:31:42,440 Speaker 2: had a concert with them in September twentuthan eighteen. I 589 00:31:42,480 --> 00:31:45,440 Speaker 2: had a concert with them. I wasn't bided as a 590 00:31:45,920 --> 00:31:49,520 Speaker 2: just guest conductor. You know. Maybe my manager was aware 591 00:31:49,560 --> 00:31:51,520 Speaker 2: that they were looking for a music director. I was not. 592 00:31:51,920 --> 00:31:53,920 Speaker 2: I just went there to make music to one of 593 00:31:53,960 --> 00:31:56,640 Speaker 2: the world class orchestra and I was very happy that 594 00:31:56,680 --> 00:31:58,800 Speaker 2: I was going to do that. And it's very funny 595 00:31:58,800 --> 00:32:02,280 Speaker 2: because I few months back, I was just announced in 596 00:32:02,320 --> 00:32:05,480 Speaker 2: San Diego. So I went to Montreal my first week 597 00:32:05,520 --> 00:32:07,800 Speaker 2: with them, and when I finished, I flew to San 598 00:32:07,840 --> 00:32:10,240 Speaker 2: Diego to do the press conference of what was going 599 00:32:10,280 --> 00:32:13,200 Speaker 2: to be my first season. It was fairly at the 600 00:32:13,320 --> 00:32:18,040 Speaker 2: very beginning of their search. The chemistry with the orchestra 601 00:32:18,160 --> 00:32:23,520 Speaker 2: was phenomenal. I remember we did a program of schombervcletten Acht, 602 00:32:24,520 --> 00:32:27,760 Speaker 2: mox Art biolin Concerto number three with their concert master 603 00:32:27,840 --> 00:32:31,360 Speaker 2: as a soloist, and then Beethoven number three. That was 604 00:32:31,400 --> 00:32:35,560 Speaker 2: a program we did that. It was great, audience was fantastic. 605 00:32:36,000 --> 00:32:38,840 Speaker 2: I left, I went to San Diego. Then I have 606 00:32:38,960 --> 00:32:41,520 Speaker 2: I was still in Belfast. I went to do something. 607 00:32:41,800 --> 00:32:45,320 Speaker 2: They actually, the people from Montreal came to Belfast to 608 00:32:45,400 --> 00:32:48,680 Speaker 2: visit me and they said that they actually wanted me 609 00:32:48,920 --> 00:32:52,400 Speaker 2: to come back in July if I would accept and 610 00:32:52,840 --> 00:32:55,200 Speaker 2: do that, because the orchestra really liked me and they 611 00:32:55,360 --> 00:32:59,120 Speaker 2: really want me to be again again. And like sure, yeah, 612 00:32:59,160 --> 00:33:01,880 Speaker 2: I mean of course in July. Actually, I was happened 613 00:33:01,880 --> 00:33:04,680 Speaker 2: to be free and I went with them and to 614 00:33:04,800 --> 00:33:07,280 Speaker 2: do some Tchaikovski and some more and the connection with 615 00:33:07,320 --> 00:33:10,560 Speaker 2: the orchestra is you got even bigger and it was 616 00:33:10,600 --> 00:33:13,160 Speaker 2: even better. And then they they were still in their 617 00:33:13,200 --> 00:33:15,800 Speaker 2: process and I was just about to start my tenure 618 00:33:15,840 --> 00:33:19,200 Speaker 2: of MEWSIC director in San Diego, so starting that they 619 00:33:19,280 --> 00:33:21,640 Speaker 2: went to some of the concerts and then they started 620 00:33:21,640 --> 00:33:24,480 Speaker 2: talking to me a little bit more serious, like do 621 00:33:24,680 --> 00:33:27,520 Speaker 2: you see you think that it would be a good 622 00:33:27,560 --> 00:33:29,720 Speaker 2: idea for you to come back and slid Before I 623 00:33:29,800 --> 00:33:31,520 Speaker 2: do any of that, I need to see what the 624 00:33:31,600 --> 00:33:33,560 Speaker 2: orchestra has been doing in the last twenty five years 625 00:33:33,560 --> 00:33:36,800 Speaker 2: and things like that, you know. But then COVID hit 626 00:33:37,640 --> 00:33:40,280 Speaker 2: and they I think I was considered, but they were 627 00:33:40,360 --> 00:33:44,200 Speaker 2: not finished in their process. And then during COVID times 628 00:33:44,600 --> 00:33:49,320 Speaker 2: by the end in November, they asked me and said like, look, 629 00:33:49,440 --> 00:33:52,719 Speaker 2: the orchestra has voted. You're the one that wants to 630 00:33:53,000 --> 00:33:56,920 Speaker 2: take this. But no one knew this was embargo and 631 00:33:56,960 --> 00:33:59,080 Speaker 2: I had to go and please come, you are going 632 00:33:59,120 --> 00:34:01,280 Speaker 2: to do a concert that was program before a concert 633 00:34:01,440 --> 00:34:04,680 Speaker 2: I needed to do with them in January twenty twenty one, 634 00:34:04,800 --> 00:34:07,480 Speaker 2: but I had to do fourteen days of quarantine because 635 00:34:07,520 --> 00:34:10,160 Speaker 2: of it was COVID time, and I went there. The 636 00:34:10,280 --> 00:34:14,320 Speaker 2: orchestra had no idea what was going on because everything 637 00:34:14,480 --> 00:34:18,759 Speaker 2: was secretive. And then they did over Zoom they called 638 00:34:18,760 --> 00:34:24,520 Speaker 2: the orchestra. But that was on January sixth of twenty 639 00:34:24,560 --> 00:34:28,480 Speaker 2: twenty one, so the world in this side was kind 640 00:34:28,520 --> 00:34:31,600 Speaker 2: of going through a rumble, and in there they were 641 00:34:31,719 --> 00:34:34,920 Speaker 2: about to get a new lockdown. So the orchestra was 642 00:34:34,960 --> 00:34:37,560 Speaker 2: a little bit afraid that that meeting was going to 643 00:34:37,600 --> 00:34:40,359 Speaker 2: be to give some bad news. And actually when they 644 00:34:40,400 --> 00:34:42,319 Speaker 2: said that it was made, the whole thing changed, and 645 00:34:42,320 --> 00:34:44,840 Speaker 2: then we start having rehearsal and we did concert that 646 00:34:44,880 --> 00:34:47,040 Speaker 2: weekend and then it was a lockdown. But I was 647 00:34:47,080 --> 00:34:49,480 Speaker 2: already there for fourteen days, so we can go for 648 00:34:49,520 --> 00:34:52,960 Speaker 2: the next ten days. It was like when you get 649 00:34:53,000 --> 00:34:55,040 Speaker 2: to know somebody and you'll fall in love on the 650 00:34:55,040 --> 00:34:56,880 Speaker 2: first time. That kind of happens. 651 00:34:57,280 --> 00:34:59,680 Speaker 1: Now once you'd assume maybe, or I'm going to assume 652 00:34:59,719 --> 00:35:02,920 Speaker 1: that when you become the music director of something like Montreal, 653 00:35:03,360 --> 00:35:05,040 Speaker 1: you don't come walking in there and meet them on 654 00:35:05,080 --> 00:35:07,520 Speaker 1: the first day. You've guests conducted there before. 655 00:35:07,560 --> 00:35:09,799 Speaker 2: Correct, Yet you have a bit. 656 00:35:09,680 --> 00:35:11,680 Speaker 1: Of a sense and a feel for them and they 657 00:35:11,960 --> 00:35:14,399 Speaker 1: for you, so it's not like a blind date when 658 00:35:14,440 --> 00:35:17,239 Speaker 1: you show up there to become the boss. You've been 659 00:35:17,320 --> 00:35:19,080 Speaker 1: around them and you got a taste of how they 660 00:35:19,120 --> 00:35:23,359 Speaker 1: do things with the various ensembles that you have been 661 00:35:23,400 --> 00:35:26,399 Speaker 1: the director of or you've guest conducted. Someone once told 662 00:35:26,440 --> 00:35:29,840 Speaker 1: me violin's violin, and everybody that has a chair in 663 00:35:29,880 --> 00:35:32,120 Speaker 1: a major symphony orchestra who plays the violin among the 664 00:35:32,200 --> 00:35:35,600 Speaker 1: greatest violin players in the world. But for you, I'm 665 00:35:35,640 --> 00:35:38,480 Speaker 1: wondering for you, did you have a prejudice? Did you 666 00:35:38,520 --> 00:35:41,000 Speaker 1: have a leaning because of you being a French horn player? 667 00:35:41,120 --> 00:35:44,360 Speaker 1: Do you listen more acutely to the horns. 668 00:35:44,200 --> 00:35:47,880 Speaker 2: Not particularly altro. When I go into an orchestra, especially 669 00:35:47,920 --> 00:35:50,239 Speaker 2: for the first time, it's all about let's see how 670 00:35:50,280 --> 00:35:53,719 Speaker 2: the sound of the orchestra reacts to my beat, and 671 00:35:53,800 --> 00:35:56,640 Speaker 2: let's see what we can do together. And it depends. 672 00:35:56,680 --> 00:35:59,719 Speaker 2: Every orchestra has a specificity and that there's something that 673 00:35:59,840 --> 00:36:02,600 Speaker 2: is different and with everybody. And yet it will be 674 00:36:02,760 --> 00:36:06,040 Speaker 2: see how with the chemistry that would happen on the stage, 675 00:36:06,120 --> 00:36:09,760 Speaker 2: how much it could be bent. Or it's like a 676 00:36:09,840 --> 00:36:12,239 Speaker 2: dancer party. You know how much how fast you can 677 00:36:12,280 --> 00:36:14,480 Speaker 2: do and how you can go from one place to 678 00:36:14,480 --> 00:36:18,280 Speaker 2: the other, make a twirl, And it's just all about 679 00:36:18,280 --> 00:36:20,919 Speaker 2: that kind of trust happening. But I will not say 680 00:36:20,960 --> 00:36:23,520 Speaker 2: that I will only hear the horns, but I do 681 00:36:23,719 --> 00:36:27,240 Speaker 2: understand them and I know that being a solo horn myself, 682 00:36:27,280 --> 00:36:29,160 Speaker 2: I know that we never want to crack an oe, 683 00:36:29,200 --> 00:36:32,000 Speaker 2: so I know what is in there. And there's many 684 00:36:32,000 --> 00:36:34,120 Speaker 2: conductors in the past that will give the evil eye 685 00:36:34,160 --> 00:36:36,080 Speaker 2: to the honk when something would happen, and I know 686 00:36:36,160 --> 00:36:39,800 Speaker 2: that's not what you're aiming for. You do they literally 687 00:36:39,840 --> 00:36:42,800 Speaker 2: give the evil eye? Oh my god, there's a clip 688 00:36:42,880 --> 00:36:47,160 Speaker 2: of Carboom doing beth Oven seven and there's a crack 689 00:36:47,200 --> 00:36:49,399 Speaker 2: in the horn and he just looked at the guy 690 00:36:49,520 --> 00:36:55,120 Speaker 2: and just like it's terrible. Look up YouTube car Bomb 691 00:36:55,320 --> 00:36:58,399 Speaker 2: Bethoven seven. It's crazy, and that happened in the past. 692 00:36:59,080 --> 00:37:01,120 Speaker 2: Whenever I go to an orchestra, and if the orchestra 693 00:37:01,160 --> 00:37:03,239 Speaker 2: happen to know that I'm a French one player, they 694 00:37:03,280 --> 00:37:05,759 Speaker 2: know that I'm actually supported and I am rooting for them. 695 00:37:05,760 --> 00:37:06,840 Speaker 2: I know the other way around. 696 00:37:06,840 --> 00:37:09,720 Speaker 1: You know, I'm wondering in the time we have left 697 00:37:10,080 --> 00:37:12,719 Speaker 1: in someone in your position, when you're a conductor, is 698 00:37:12,719 --> 00:37:15,880 Speaker 1: there a path that you seek to improve? Do you 699 00:37:15,960 --> 00:37:18,760 Speaker 1: seek to change in the work you do in acting? 700 00:37:19,320 --> 00:37:22,160 Speaker 1: What happens with young actors is they work too hard. 701 00:37:22,719 --> 00:37:26,320 Speaker 1: They try to find ways to put even inappropriate levels 702 00:37:26,360 --> 00:37:28,840 Speaker 1: of emotion just to demonstrate that they can do that. 703 00:37:28,880 --> 00:37:31,279 Speaker 1: It's like, it's almost like juggling. I want to make 704 00:37:31,280 --> 00:37:33,800 Speaker 1: sure you know, I want you to be very clear 705 00:37:34,200 --> 00:37:36,520 Speaker 1: that I can juggle. And what's happening as you go 706 00:37:36,560 --> 00:37:40,600 Speaker 1: along is you economize and economize and economize, and you 707 00:37:40,680 --> 00:37:42,880 Speaker 1: do less and less and less, and it's more effective. 708 00:37:43,160 --> 00:37:45,280 Speaker 1: But my point is is that for you and someone 709 00:37:45,360 --> 00:37:49,319 Speaker 1: in your occupation and your profession, are there ways you 710 00:37:49,360 --> 00:37:51,520 Speaker 1: seek to improve? What do you want to improve? 711 00:37:52,000 --> 00:37:54,839 Speaker 2: Yeah? Well everything you know in music. This is one 712 00:37:54,880 --> 00:37:57,480 Speaker 2: of the amazing things, as you know as well with acting, 713 00:37:57,600 --> 00:37:59,800 Speaker 2: is that no text is the same, even when you 714 00:37:59,880 --> 00:38:01,920 Speaker 2: have from one place to the other. The same thing 715 00:38:02,000 --> 00:38:04,920 Speaker 2: happened with all of the music of these amazing composers. 716 00:38:04,920 --> 00:38:07,759 Speaker 2: So of course you could always dig a little bit, 717 00:38:08,160 --> 00:38:10,719 Speaker 2: you know, deeper and deeper. And at the same time, 718 00:38:10,840 --> 00:38:12,480 Speaker 2: one of the things that it cannot be is that 719 00:38:12,520 --> 00:38:14,600 Speaker 2: there are sometimes a report to it that you might 720 00:38:14,640 --> 00:38:18,799 Speaker 2: not be able to understand or do justice if you 721 00:38:18,960 --> 00:38:21,920 Speaker 2: attack it too early or too young on it, because 722 00:38:21,960 --> 00:38:23,680 Speaker 2: you will want to sell like, yeah, I can't do this, 723 00:38:23,800 --> 00:38:27,200 Speaker 2: but yeah, but that's it. Actually, what you're actually achieving 724 00:38:27,239 --> 00:38:30,960 Speaker 2: from this amazing piece of music is actually what it is, 725 00:38:31,239 --> 00:38:33,440 Speaker 2: or is just the surface of it. So all the 726 00:38:33,440 --> 00:38:36,720 Speaker 2: time we want to keep improving. And the conducting career 727 00:38:36,840 --> 00:38:39,960 Speaker 2: is a marathon. You cannot think about as the one 728 00:38:40,080 --> 00:38:42,960 Speaker 2: hundred meters kind of career because then you will be done. 729 00:38:43,000 --> 00:38:44,560 Speaker 2: You have to really keep going. 730 00:38:44,480 --> 00:38:45,640 Speaker 1: Into one short time. 731 00:38:46,080 --> 00:38:48,759 Speaker 2: Yeah, and like plumped that. Look he's now ninety two 732 00:38:48,760 --> 00:38:51,239 Speaker 2: and eighty four. I think it's ninety six actually, and 733 00:38:51,400 --> 00:38:52,400 Speaker 2: he's still doing it. 734 00:38:52,600 --> 00:38:54,279 Speaker 1: It's very old, you know, I mean yeah, but I 735 00:38:54,360 --> 00:38:56,480 Speaker 1: mean all the different styles. I mean like Gere Kiev 736 00:38:56,600 --> 00:39:00,120 Speaker 1: and that twitchy hand of his. You see everybody in 737 00:39:00,160 --> 00:39:02,879 Speaker 1: their style. Who's in front of the beat and who's 738 00:39:02,920 --> 00:39:05,480 Speaker 1: on the beat right right? I mean I come out 739 00:39:05,520 --> 00:39:07,880 Speaker 1: here and I'd say if I was a conductor, I 740 00:39:08,160 --> 00:39:09,960 Speaker 1: would find the difficult to be ahead of the beat. 741 00:39:09,960 --> 00:39:11,399 Speaker 1: I mean, you have you need to know the sheet 742 00:39:11,480 --> 00:39:12,400 Speaker 1: music and be able to beat. 743 00:39:12,320 --> 00:39:13,000 Speaker 2: Music very well. 744 00:39:13,320 --> 00:39:15,279 Speaker 1: And then I and I watch conductors who are ahead 745 00:39:15,280 --> 00:39:17,799 Speaker 1: of the beat, and I watch conductors who. 746 00:39:17,520 --> 00:39:19,400 Speaker 2: Played to the beat. What's the difference. 747 00:39:19,480 --> 00:39:20,960 Speaker 1: Why do they choose one or the other. 748 00:39:21,080 --> 00:39:23,040 Speaker 2: Well, what do you do? What do you prefer? Yeah, well, 749 00:39:23,120 --> 00:39:25,600 Speaker 2: the thing is that depends on the orchestra, because there 750 00:39:25,640 --> 00:39:28,279 Speaker 2: are orchestra that even though you are showing the beat, 751 00:39:28,360 --> 00:39:31,040 Speaker 2: the sound comes a little bit later. So if you 752 00:39:31,239 --> 00:39:34,920 Speaker 2: try to adapt the beat to that, the orchestra will 753 00:39:35,000 --> 00:39:37,680 Speaker 2: keep being a little bit later and never nothing is 754 00:39:37,760 --> 00:39:40,080 Speaker 2: going to really move. So that is why sometimes you 755 00:39:40,200 --> 00:39:42,759 Speaker 2: see that the conductor is actually ahead of the beat 756 00:39:43,040 --> 00:39:45,680 Speaker 2: and it's just because the orchestra tried to do them. Yeah, 757 00:39:45,960 --> 00:39:48,640 Speaker 2: they will play, they will have like an inn orhythm. 758 00:39:49,320 --> 00:39:51,879 Speaker 1: Now, much to my surprise to know this, I went 759 00:39:51,920 --> 00:39:55,120 Speaker 1: to go see Lisa wild or Steeen performing at Kevin 760 00:39:55,160 --> 00:39:57,160 Speaker 1: Hall the other day and I just learned, this is 761 00:39:57,200 --> 00:39:57,680 Speaker 1: your wife. 762 00:39:58,040 --> 00:39:58,640 Speaker 2: That is correct. 763 00:39:58,680 --> 00:40:01,080 Speaker 1: And she just told me when we I think somebody 764 00:40:01,120 --> 00:40:03,399 Speaker 1: who's a friend of hers, because it's all one big 765 00:40:03,480 --> 00:40:06,520 Speaker 1: family backstage there, and someone there from New York was 766 00:40:06,600 --> 00:40:09,239 Speaker 1: telling Lisa, and I think she said she just had 767 00:40:09,280 --> 00:40:12,160 Speaker 1: the baby five months ago. No, well now a year ago, 768 00:40:15,040 --> 00:40:15,399 Speaker 1: years ago? 769 00:40:15,600 --> 00:40:17,319 Speaker 2: Yeah, yeah, yeah, that's correct. Yeah. 770 00:40:18,000 --> 00:40:20,319 Speaker 1: So the two of you are waving goodbye to each 771 00:40:20,360 --> 00:40:22,160 Speaker 1: other and kissing each other go by in airports, all 772 00:40:22,200 --> 00:40:22,440 Speaker 1: the time. 773 00:40:22,520 --> 00:40:24,680 Speaker 2: How does that work a little bit? Well, we have 774 00:40:25,000 --> 00:40:29,680 Speaker 2: what we call marriage schedule meetings that we actually see 775 00:40:29,680 --> 00:40:32,759 Speaker 2: it with our schedule and we put things together and 776 00:40:32,840 --> 00:40:34,840 Speaker 2: try to see because we have a rule we do 777 00:40:34,960 --> 00:40:36,680 Speaker 2: not want to be apart from each other more than 778 00:40:36,719 --> 00:40:40,439 Speaker 2: two weeks at a time. That is how we might have. Yeah, 779 00:40:40,800 --> 00:40:43,200 Speaker 2: and sometimes you have to break it, but we try 780 00:40:43,239 --> 00:40:44,719 Speaker 2: to make it. If we are going to break it, 781 00:40:44,840 --> 00:40:48,279 Speaker 2: it will be like every eighteen month or two years 782 00:40:48,400 --> 00:40:50,520 Speaker 2: or something like that that we maybe will break it 783 00:40:50,600 --> 00:40:53,400 Speaker 2: that way. And we just tried to put everything like this. 784 00:40:53,600 --> 00:40:55,840 Speaker 2: And we have two daughters now, I mean the latest 785 00:40:55,920 --> 00:40:58,760 Speaker 2: one is one year old and our oldest is actually 786 00:40:58,840 --> 00:40:59,520 Speaker 2: seven years old. 787 00:40:59,840 --> 00:41:02,080 Speaker 1: I was one of the people at the Philharmonic years 788 00:41:02,080 --> 00:41:03,400 Speaker 1: ago because I've been doing this with him for a 789 00:41:03,440 --> 00:41:05,040 Speaker 1: while now. I've been on the board and I've been 790 00:41:05,840 --> 00:41:08,360 Speaker 1: their announcer on public radio for years. And you know, 791 00:41:08,440 --> 00:41:11,239 Speaker 1: eventually we presented because I was very excited about the 792 00:41:11,320 --> 00:41:15,239 Speaker 1: Live to Picture movie program. And our program is called 793 00:41:15,280 --> 00:41:18,200 Speaker 1: the Art of the Score. It's been enormously successful. It's 794 00:41:18,200 --> 00:41:20,360 Speaker 1: a real money maker for them. I'm wondering, have you 795 00:41:20,440 --> 00:41:21,879 Speaker 1: done any live to picture up there? 796 00:41:22,120 --> 00:41:24,320 Speaker 2: I have not but in San Diego, I mean not myself, 797 00:41:24,360 --> 00:41:26,640 Speaker 2: but we do program it. Actually, yes, well. 798 00:41:26,680 --> 00:41:29,000 Speaker 1: I want to do Live to Picture with you. I'm 799 00:41:29,000 --> 00:41:29,960 Speaker 1: going to come up to Montreal. 800 00:41:30,040 --> 00:41:33,280 Speaker 2: We'll do Live to Picture. Sounds good absolutely, San Diego 801 00:41:33,320 --> 00:41:34,239 Speaker 2: and Montreal both. 802 00:41:34,640 --> 00:41:37,600 Speaker 1: Let me just finish by saying beyond thank you and 803 00:41:37,760 --> 00:41:40,440 Speaker 1: beyond thank you from giving us some of your very 804 00:41:40,680 --> 00:41:43,960 Speaker 1: very limited free time. I just want to say that 805 00:41:44,080 --> 00:41:47,120 Speaker 1: when I saw you there at Carnegie Hall and I said, 806 00:41:47,480 --> 00:41:51,160 Speaker 1: this guy is the next great conductor in the ensemble universe. 807 00:41:51,200 --> 00:41:51,480 Speaker 2: Thank you. 808 00:41:51,880 --> 00:41:54,160 Speaker 1: I mean you lit the place on fire. Everybody with 809 00:41:54,400 --> 00:41:57,560 Speaker 1: nuts supplauding. They loved you. They loved the piece, and 810 00:41:57,880 --> 00:42:02,360 Speaker 1: your energy and variet and your passion and your discipline. 811 00:42:02,560 --> 00:42:05,279 Speaker 1: I mean, you have everything just coming together in this 812 00:42:05,440 --> 00:42:08,200 Speaker 1: unique package. Everything isn't anybody like you out there right now, 813 00:42:08,360 --> 00:42:08,520 Speaker 1: you know. 814 00:42:08,920 --> 00:42:10,399 Speaker 2: Oh, thank you, You're very kind. 815 00:42:22,480 --> 00:42:27,759 Speaker 1: My thanks to conductor and music director Rafael Piire. We 816 00:42:28,000 --> 00:42:32,680 Speaker 1: leave you with the adageetto from Mahler's Fifth Symphony. Rafael 817 00:42:32,840 --> 00:42:36,400 Speaker 1: Piari conducts the Montreal Symphony Orchestra 818 00:43:06,840 --> 00:43:52,440 Speaker 4: D English