Future Classic Women Awards – Simone Menezes

Hello and welcome to Future Classic Women Awards with me, Stefania Passamonte on women's radio station, the program where we search for the most amazing new female artist on the classical panorama. Today on Future Classic Men Awards, we will be talking to conductor Simone Mendes. Good morning. Good morning. It's a pleasure to talk to you, Stefania. Very happy to have you on our fourth episode of Future Classic Communion Awards in lockdown. So where are you now, Simone? I am in Lille, France, in the north France, in my apartment and enjoyed the time to study a little bit. Does this mean the lockdown. How is the lockdown there in France? We had a French cellist two weeks ago and she was in the countryside of France. Are you in the city or center or in the countryside as well? Well, Lille is a big city, but my apartment is in front of a beautiful park, so it's fine because I have a place to walk and a beautiful view. So this is very nice. And. Yeah. And in general, in France, it's very strict, the rules, but with this beautiful sun, it's a nice time to stay home and study and. Yeah, wonderful. Yeah. I just read an article yesterday about the fact that many agents around the world, they were saying that this lockdown somehow is a blessing because it's allowing artists to take a rest and to, you know, take some time to have. Also have a sort of a vacation. Because nowadays, you know, particularly as a conductor, for example, you have to travel and perform and tour and it's not. It's not easy, is it? Yeah, I guess it's. I agree, I completely agree. It's not desirable. But finally we have a time to go deep in this course for next season and also to develop new ideas of things that we want to do. And sometimes we don't have time to think about it. And so for this point of view, I think it's a really, really nice moment. We must enjoy it. Absolutely. Well, yeah. Where we can. Of course, yeah. Simone, you are Italo Brazilian. So that's very interesting. So you were born in Brazil from. And you have Italian ancestors, how. And you live in France, right? Yeah, yeah. I am this mix because actually my family was born. I was born in Brazil and my family was immigrant family. An immigrant family from Italy in Sao Paulo. But. Well, this is why I'm Italian also. But my parents, for one side is Italian, for the other side is Spanish. So I have both sides, immigrants. And so this is very rich because allow us to. To have a very cosmopolitan vision about things. And also I have the chance to Study in France and then back to Brazil and also have good connections in Germany and Italy. And it's very rich. I appreciate very much it. Well, that's the beauty of music in general. It's made by composer born all around the world and with musicians born all around the world. So in a way, music is a world outside nations, outside, outside the nationality. And the more the merrier, isn't it? Yeah, yeah. I think this is the beautiful. Because it's a universal language. And finally we. We feel a little bit home in everywhere. Absolutely, absolutely. Now I see that at 20 years old, you created your very first orchestra and founded. And later you founded the Camerata Latin Americana. Right. So, I mean, how did you decide to become a conductor? And how at 20 years old is very young, isn't it, to have your own orchestra? How did that all happen? Yeah, actually, I think it's kind of personality things. I remember, for example, when I was very, very young and when I was around eight years old, I decided to teach flute for all my neighborhoods because I would like to have people to play with me. So I guess it's some personality, I think. And when I have 20, I was beginning my university because in Brazil system, in Sao Paulo system is university, not conservatory, like the American system. And I had many friends, many colleagues, and I decided why not to create an orchestra with a different view with the students. And then I was very lucky that time because we won a very important sponsorship and it was a way that I could begin. And it was very useful because after that, after having my orchestra, I realized that in general, women are not so invited for other orchestras. Yes, but once I didn't know that I could begin and I could begin and everything was a little bit easier because of this first step. Yes. That's incredible. I mean, the beauty of not knowing that there is obstacle. Absolutely. So sometimes it's actually better, you know, to be unaware and believe that we're all equal, isn't it? Because why would you have obstacle because you're a woman? That doesn't make any sense. But unfortunately that's the reality, isn't it? Yeah, unfortunately. But I guess it's one very important point not say, not put walls too early and let people do what they feel they can do, and then we will be easier to fight when necessary. Absolutely. Now, you arrived in Europe in 2017 and you've been conducting the Rotterdam Philharmonic Orchestra, the Orchestra Nationale de Lille de France. How did you dec. To come to Paris, to Lille, to France in general? Actually, I came first time in Europe 10 years ago. And then I did my studies here and then back to Brazil because I had a place in an orchestra there. And I stayed there for some years. I could do a good job in Brazil, but in some point it's much smaller the classical world in Latin America than it's in Europe. And I realized that to keep developing my career, it was necessary to come to Europe. So this is one first point, just as an example, in a country like Brazil, where we have. Which is bigger than Europe, we have around 30 good orchestra. And just in Germany, for example, we have 70. So it's much bigger. The marketplace in Europe and also the tradition and all the story are here. So it's a place that is very important for classical music. And Lilly was. Because I was. I came first time to France, so I had some connections here. And Lille's a blessed place because it's in a very strategic place. It's 1 hour Paris, 35 minutes Brooks Hills and 1 hour 15 London by TGV. So it's amazing. So this is why I decided. Absolutely. Now, you said you started teaching flute, so you started as a flutist when you were little, and then you went on to. When did you decide to become a conductor? Yeah, actually, well, I began as a flutist and I began also to sing in choirs when I was a child. And I remember when I was around 16, 17, I was conducting the choir that I used to sing when I was a child. So it was a quite natural process. And then it was really when I decided to discover the other orchestral instruments that I really follow in life by conducting. And yeah, it was a natural process, but came from the choir. Choir conducting, choirs, conducting orchestra. This was the process. Well, that's an incredible process. Now, the beginning, the first piece we're gonna listen to is Ravel Magn from Legerdan Ferrique. Why did you choose to start with this piece? It's recorded with the orchestra do Teatro Sao Pedro de San Paulo, right? Yeah. Yes. Well, because for me, the French repertory is very important. It's very important in my career. It's very important in my vision of the. Of the world. It's the 20th century. Repertory is very important because it's the moment when. Where the music became universal. It was the globalization moment of music because it was the moment that composers like Havel Takemitsu in Japan, Villalobos in Brazil begin to compose music with different landscapes and accents. And Ravel is very important for me. And this music is way that Ravel got to transfer the music from the Children imagination to the real world. So this is very special for me, this Ravel Ma Merlolier finale. Let's listen. Then Ravel Madre Goose Leisure, Then Ferik with Simone Menets as a conductor and orchestra at the Theater of St. Paul San Pedro in Sao Paulo. And this was Ravel Maimer Lai with Le Jardin Ferrique Orchestra at the theater of San Pedro of Sao Paulo with Simone Merritt's conductor. What a wonderful piece. It's actually, you know, it's really something that we're all enjoying right now. You know, the gardens, the parks give you this lockdown, give you an extra dimension to the beauty of nature and. And. Yeah, and how pressure it is to be able to walk in a beautiful blue sky like today in the sun and smell the flowers. And this piece is just perfect. So thank you so much for choosing it. Yeah. And it was also a wonderful performance. Now, how difficult it is to change your instrument every time. You know, when you're performing a piece with a different orchestra, they have different soul in a way. What do you think? And also different sound. Yeah, it's particular for conductors. I guess it's always a blind date a week working with an orchestra. Very good. So you have the feeling first he heard. So it's the most challenging moment because you must see what you will receive to decide how to deal and how to. To carry this material, these people, this music to the way that you have in mind. So I guess it demands a lot of psychology and also some perception of cultural aspects, because simple things. It's not only the sound, surely the sound is very different. The sound of French string orchestra is completely different from German or British. But also the way that people deal. For example, in Japan, we don't look at the ice to give the cues. Oh, really? Yeah. So this kind of thing are very different in Latin America. We must to demand much more than in Europe. So the nature of the local culture also have an important role to how to deal with and also the knowledge of the culture. I mean, it's very important that you know, when you're traveling, conducting any British orchestra or a Japanese orchestra, you know, what's the costume and what's allowed and not allowed, isn't it? Absolutely. And also how to connect the music with these musicians. For example, I remember first time I was conducting in Japan and I had to conduct Villa Lobos, which is the Brazilian composer that we will listen after too. And Villa Lobos has this way of thinking, influenced by French music, but also with this big exuberant nature. Feeling around and I was thinking how to create connection with the Japan audience. And then the key was the nature, because nature is so important for them. And once they understood that this music talks about nature, it was much easier. So find these keys is very important. Well, you know, you are Brazilian with Italian heritage and I'm Italian and I remember, you know, having lessons as pianist with German teachers, with Russian teachers, with British teachers. I had Spanish teachers and French teacher. Each of them, they had a different way of expressing themselves and each of them had their own way of delivering their comments. So you would think, you know, coming from the Italian, for example, or the Russian. I remember once I was having this lesson with the Russian teacher on, I think it was Beethoven concerto, and the teacher said, nyet. And he made a gigantic cross on the page because I don't know what was wrong with that. And I was so upset. And then they told me, my Russian friends, that they were in the classes actually, the teacher has never been so happy. It's like, okay, but you would come out of the lesson, you know, thinking, oh my gosh, I did it all wrong. So it's the same when you are conducting, when you're talking to the orchestra and the instrumentalist, although nowadays the majority of the orchestra are international. So you don't have a British orchestra made 100% by British musicians or a French orchestra made 100% by French musicians. But the way you speak, the way you ask things is different. Is different. You know, for example, in Latin culture in general, in Italy, in Brazil, in Spain, if you say for an orchestra, I suggest doesn't not mean that the people must do what you are saying. Y if you say for an orchestra in terminary in England, I suggest it, it's, well, let's do it. That's a very good. So yeah, the culture is very different. So I would say what was the most difficult orchestra? Not saying the name or anything, you know, but you can say an obscure orchestra was the biggest challenge. And which one was the easiest in a. Oh, the biggest challenge with the orchestra. Well, there was one orchestra that was really the biggest challenge that when he saw everything was done, the contract and everything, and when the music Commission saw that it was programmed a woman conductor, they decided to cancel the concert. No way. Yeah. And then my agent told, but we have the contract, we are not, it's not possible to cancel the contract. And I was beginning, so it was not a moment to say everybody. It happened. And then. And then they decided to pay my cache and not do the concert. No Way. Yeah. So it was the most. And it was. It really crash me because I was beginning and it makes me to put questions about the career and how it will be. But finally it was very important for my career because it was the moment that I realized that I must be the best I could be. And sometimes doors will be closed because they are closed and I must find another way and go on. So it was the most difficult experience I already had the moment of truth. You want to do this career or. Absolutely. Well, it's a wonderful story and thank you so much for sharing it. It's very important because that's an inspiration for any other younger musician that might want to start this career. I think you open doors for the next generation as well. You women, like you, they made it not possible for orchestra like these to cancel a contract anymore because there shouldn't be any questions on the fact that you are a man or a woman, but just the fact that you're a good conductor. So. Absolutely. Well, the next piece we're gonna listen to is Villa Lobos, the Bahiana Brasileiras number seven. That is the Tokyata. And this is a fantastic piece. We're gonna talk about it after we listen to it. And this Simone manages conductor with Orchestra du Conservatoire de Paris. It. Ram. What an incredible piece this was. Villa Lobos bachianas Brasileiras Number 7, Tocata with Orcas de Perry and Simone Menes conductor Simon. So you're actually the founder of this original project that is called. Pardon? Yes, the Villa Lobos project. An international project dedicated to Brazilian classical repertoire. So how is this project. When did it. When was this project born and how is this developing? Well, actually, Villalobos is one of the greatest composer from Americas and such a wonderful work. It's some music with some originality. And yeah, you listen. You just had a chance to listen a little bit about this by this Baquinas Brasileiras, which explored the Bach point of view of music. But with this mind, like Stokovsky mind and this orchestration that inspired Messian to write to Rangalila. And there are so many things around Villa Lobos that people don't know in Europe, because the most part of the tradition are in Portuguese. And we don't have a chance to have some political vision to promote this repertory internationally. So we decided to put together many important artists to. To defend this repertory around the world. And we decided to create connections between the Villalobus and other composers that in artistic way dialogues with hymns. So for example, with Stravinsky There is just one quote in English on Internet that Stravinsk say he didn't like Villalobosco and it's not true because they were close friends and Villalobo Stravinsky to conduct the Brazilian Orchestra in Rio de Janeiro. And there are many, many information that nobody knows. And so our job is to put that to everybody knows. For example, Villalobos wrote a piece called Huira Puru, which is a magic bird of Amazonia. And that the same almost in the same year, two years close of Firebird from Stravinsky. And these two pieces have many similarities and must be programmed together. And it's an unknown piece yet. So this is the kind of project that we want to defend. Absolutely. Well, there is one very important note to the Internet that we should mention. We're very lucky nowadays to be musicians of the 21st century, because even if we are in lockdown, we are able to communicate, we are able to share our music. There is so many concerts and platforms online that allow us still to continue to create and to share our vision of the world through music. But also there is so much disinformation. So often we take Google search, Wikipedia in particular as the truth, when it's not. Because, for example, Wikipedia, how many times I found things about composers and about opera, you know, that are completely wrong, because I'm written by people. But anyone really can write Wikipedia. There is not specific historian, musicologist, musicians that they, that they are writing the right information in it. So that's, that's the problem. And as in everything, you know, there's the good and the bad of the Internet. But I wanted to ask you actually, who was your inspiration to become a conductor, if you had any conductor in mind when you decided to start this career? And, and also, you know, what is your direction? Yeah, well, at the beginning, honestly, I didn't have one figure that I would say I would like to be like this person. I had general people that inspired me. So I remember I was very, very impressed by Carlos Kleiber when I began to study conducting. And still today he's really amazing also. And then step by step, I began to know other people. And Pawe Jarvi was a figure very important in my career because I had a chance to work very close with him during a period of time in the way he think, the architectural aspect of the music and the way he finds organic temple and this kind of things was very, very important for me too. Most recently I was really, really impressed by Antonio Papano in the operas, because the ability he has to make notes, became emotional feelings in a very natural way. So I guess I tried to take a little bit of many composers, many conductors. Yeah. And, well, for my future. I never put this question, actually. I remember when I was studying and the conductor, a professor of conducting, asked me, where do you want to arrive? And it was a very difficult question for me at that time, because I want to keep my freedom to do what I want. So this is the best answer I could tell. I want to do the repertory that inspires me. And I must be honest with myself, with my background and everything that I can offer. It's much more important for me to defend, for example, the 20th century repertory, the French repertory, the Latin American repertory, the contemporary music, which is something that touches me a lot. But overall, look for projects that have some meaning around. So I have one very important project next year. It's one of my babies. It's a project called Amazonia. It will be a concert in Philharmonie de Paris with Villalobe's Amazon Forest and the Philippe Glass, Amazon waters. And a creation of images with Sebastian Salgado, which is the best photographer. I know him. You know, I had the chance to meet him, a dear friend of mine, at her wedding. He's a friend of the family and he was there and I didn't know he. He was that. I mean, incredible artist. Yeah, yeah. So this is the things. This is my ambition, create projects like this that has some meaning because. Absolutely. It's amazing to conduct Beethoven. And there is a lot of people that can conduct Beethoven and even better than me. But there are some projects that it is for us and we must find it. Absolutely. Well, it's incredible and I can't wait to hear the recording. I hope you're gonna make an album out of it, because that's gonna be fantastic. Now the next piece we're gonna listen to is Stravinsky Ragtime. And that's with the camera Latina Americana and with you as a conductor. And this was the incredible Stravinsky rec Time with the Camerata Latin Americana. And Simone Menetz, conductor. Pardon? I say Simone. It's Simone, right? Yeah. Doesn't matter. I know I keep saying Simone. Simone, Simone. Beautiful name, by the way. I really love the name. It was one of my favorites when I was little. Now, this is the last part of our interview. It's actually gone so fast, I couldn't ask you. I mean, we kind of touched some of the argument that I normally ask about the challenging moments, etc, like the fact that you had A concert canceled just because you were a woman. This is the last part and this is the time of the odd questions. So I like to ask you if you have any strange upbeat to free or relax your mind. You just. Just you make a joke, you talk about my name. And there is a very funny story about it because Simone. Finally, it's a French name. A French. So there is Simone Valle. Simone the Beauvoir. There is a lot of Simonis in France and in Italy. I know it is Simona, not Simone. Simone is a male. Exactly, exactly. That's exactly the problem. And the. Once I was in a master class when I was young and I went to a master class, a conducting master class in Russia. And when I arrived in St. Petersburg, I was. It was organized to share a room with two other people that I supposed it was two other girls because it was Simone and Daniel. When I arrived at the hotel at 11pm and I opened the door, it was two Italian guys. That's very funny. So. Yeah. But in it, in France, Simone is a woman name. Yeah. That has a male name. Simone. It doesn't exist in France, does it? Yeah. No, as a male. No. All right. Yeah. It's just how the name just change connotations like Andrea. Andrea is a man name in Italy and in Germany. It's a woman name. Yeah, very nice. But there is another funny thing about to share. It's. I really like to study scores and when I study score, I'm really concentrated on it and I forget everything going around and it's quite common. I lost trains or airplanes because setting scores. Once I was waiting to get the airplane, but just I thought that there it was missing 15 minutes and. Well, 15 minutes I have time to read some scores and I lost the. The flight. Yeah, yeah. Because just so concentrated that you don't hear anybody else, even if they are calling your name for. For going on the plane. That's how it is, isn't it? Yeah. Now, but do ritual or superstition before going on stage. No, I just need to be silent and with myself to remember the things, the feelings that I want to share by this. The music. And don't drink coffee in the day of concert. Only these two things. Yeah. No, because makes my temple go faster sometimes. Yeah. That's so funny because it's exactly the same with piano. I used to take a coffee because I know that that would make you very awake sometimes. You know, you need to be. The concerts are late as well at night and compared to other concerts example here in the UK you have concerts starting at 7 or 7:30. And in Italy you have concerts starting at 9. And so to keep awake. But yes, your heart goes too fast and particularly with piano, the fingers, it just can't keep up. Yes, because already you're taking a fast tempo and you go extra fast and that's it. Does it happen to the orchestra as well that they can't follow? No, actually it was just my general feeling. I realized that after a while that I have the tendons that has a metabolism a little bit faster and. And so no coffee. I went to see a concert with I think it was Rachmaninoff Second Piano Concerto at the Royal Festival Ola. And that was Pianist. I won't mention the name, but he picked the tempo like three times faster. And it's like, what's wrong with him sometimes because, you know, virtuoso. We still managed to be inside the piece, but the orchestra had trouble following. And it was really. I mean, it lasted 20 minutes instead of 35 minutes. In a way it was 25 minutes. He went incredibly fast and sometimes you wonder, does he have to catch a plane because he has another performance? Oh my God. You know, with your very tight schedule, sometimes you are performing one day in one place and one day in another place, isn't it? Yeah. Did it ever happen to have like last minute run for the concert because you had not enough time to travel or delays with plane or train or. No, actually the complicated point for me is when I have to change time. For example, if I have to arrive in a place and I have four, five hours with no sleep, and then I have to take a rehearsal without sleep, it's complicated. That's another problem. One of the challenges of this job. What would you say is the most challenging aspect of being a woman musician in general? Wow. I think the most challenge is the invisibility phenomenon, which means it's in the career of conductors in general. The conductors that got to do some career is the conductor that in some way they begin their own orchestras or their own projects. It's beginning to change now. But the point is that even very good female conductors that I saw in my life, they disappeared after a while because they are not programmed or invited. It's common to take a look in orchestras that don't have female conductors in two or three seasons. So the break. This invisibility is one of the big challenges in the career of a female conductor, I guess. I see. Well, that's a very good point. I think with everything really, it's such a fast paced market at the moment with classical music you have so many new artists coming in and through Internet you get in the social media and everything, everything is consumed very fast. So only few names stick to the major audience and the others, they might appear and disappear. So that's a very good point. But I think, I mean with this incredible, your incredible talent and your incredible projects, it will be hard to make you disappear. So I'm sure we will hear a lot about you again. Now the next the last piece of today interview is going to be Guarnieri Concerto for Violin number one and that's with Manon Violin, the orchestra de Conservatoire de Paris and Simone as conductor. Sa. Wonderful. And this was an extract by Guarnieri Concerto for Violin number one with Manon Gali violin Simone Menetz, Conductor and Orchestra du Conservatoire de Paris. Simone, thank you so much for the wonderful chat we had today. If you have any questions that you would like to ask to our guest or nomination for our future Classic Women awards, please email presentersomensradiostation.com or tweet us @womensradiostn. A big thanks again to Simone. It was amazing to chat with you today and I hope we will have a chance to hear your new project, Amazon soon on the women's radio station. Thank you very much. It was a big pleasure. Stefania, it was really, really great to discover so many new things about women conductor. So interesting and not very often we have. You're actually my very first conductor on the program. You've been listening to Future Classic Awards on women's radio station live every day at 10am and 10pm London time. If you would like to listen to it again or catch up on our previous programs, you can head to the presenter page. Stefania Passamonte Future Classic Women Awards on womensradiostation.com Stay safe inside at home and thank you for listening.