Simone Young, Marin Alsop, Susanna Mälkki, Emmanuelle Haïm, Karina Canellakis, Mirga Grazinyte-Tyla, Eun Sun Kim, Joana Mallwitz, Elim Chan and Oksana Liniv. Here’s a solid top ten list of veteran, established, or even young female conductors who are building brilliant careers but who, as women, still need express recognition in the arduous process of claiming parity in this historically masculinized place what is the podium
A list to which Keri-Lynn Wilson and Lidiya Yankovskaya could be added. And in the not-too-distant future, this young promise named Stephanie Childress, a 24-year-old Franco-British who L’Auditori has chosen as the next main guest of the OBC and who in September will take over from the also celebrated Marta Gardolinska, who is getting good reviews in its second season in Barcelona.
The machinery towards parity has been set in motion unstoppably in recent years, but its good course falters in the face of any setback. As is the case on other fronts, women conductors must demonstrate their value without fissures, otherwise the suitability of a feminist policy applied to musical quality is called into question.
Without going any further, the negative criticism that the Mexican Alondra de la Parra has received for her performance, these days, at the head of the Liceu Symphony performing Turandot may be fully justified, but instead of being read as an anomaly more of the general circuit of orchestral conducting tends to be seen as the result of the application of gender policies in these positions of great artistic responsibility. As if a rush in the parity process should be regretted.
“The rush is never good, and natural selection exists in men and women: only the best will pass – points out Víctor García de Gomar, artistic director of the Liceu. Some will fall by the wayside, but the most important thing is that this revolution is accepted. There will be resistance, but the next step must be taken”, he adds.
De Gomar remembers that we have known a history of music translated into masculine. The interpretations only had the gaze of men, and the presence of the interpreter was relegated to the background. “The second half of the 20th century has left us looking at old scores with a new impulse of historical criteria. I think that in the 21st century we are facing a new revolution: the incorporation of the female gaze over the entire repertoire. Women are making very unique creative contributions, with sensitivity, energy and fresh perspectives. Because the way to keep classical music alive is the endless re-reading of the canon from different perspectives. The time has come to abandon prejudices and fears; women represent the most significant response in the world of art”.
But what premises are necessary to achieve this parity on the musical podiums in total mastery of quality?
“The first parity that needs to be achieved is between assistant conductors. It is in this position that the possibilities are given for some of the candidates to grow up to become big bats. In a first phase, parity should be achieved between the attendees. It is a very important position, the basis of a solid career”, says the artistic director of the Teatro Real, Joan Matabosch.
For Robert Brufau, director of L’Auditori, betting on a change that breaks with the prevailing paradigm always involves risks. “It is not enough that the schools are equal, the sector must offer more opportunities, both in terms of large agencies and large auditoriums and orchestras”.
When he decides to bet on someone young, as is the case with Stephanie Childress, Brufau says he takes into account different aspects: “Which orchestras has he conducted and with what results; what is the opinion of the sector; how will it work with his orchestra; what harmony there can be from an artistic point of view and what growth it can make in the coming years”, he indicates.
It is clear that it is very different to assume a title, such as the one accepted by Canellakis at the London Philharmonic in 2020, or to be the guest conductor for a few weeks. But here the young people are taking on relevant positions: Klaus Mäkelä, Tarmo Peltokoski or Joana Mallwitz. “In the end, all the established and reputable artists were also young people who someone bet on,” recalls Brufau.
Barcelona has shown sensitivity with female batons and it is proof that this Christmas Handel’s Messiahs performed at the Palau de la Música will be in the hands of two conductors: Mireia Barrera will be in charge of Ibercamera’s (day 12), and the French Laurence Equilbey, from Palau 100 (day 21). The Parisian, founder of the Accentus choir, will offer a performance together with the Insula Orchestra and solo voices such as the soprano Sandrine Piau and the tenor Stuart Jackson. While Barrera, who has had carte blanche from Ibercamera to choose the ensembles and soloists, has opted for the Finnish Baroque Orchestra, one of the most notable in Europe among those specializing in baroque. Those from Helsinki will join the magnificent Barcelona Ars Nova, the vocal ensemble born from the project of polyphonic masses and led by Barrera, plus the local voices of María Espada, Gabriel Díaz, Juan Sancho and Joan Martín-Royo.
“It’s been a gift to be able to choose, even without losing my mind with the budget – points out Barrera-. Surprisingly, the Helsinki formation accepted at first, and that I have never directed it. It will be an exciting debut in Spain. I have tried to surround myself with Baroque specialists, because I am not one. And although it’s not the first time I’ve been in charge of an orchestra, I consider myself a choir director. I don’t intend to make a different version of the Messiah – concludes the person who already directed a participative one at L’Auditori -, just to offer it in the best way and giving a global vision of what he tries to explain in the three parts”.
