Interview: Nuno Coelho

There can't be a better way to begin than by talking about the huge life change that winning the Cadaqués Conducting Competition in December 2017 has been, with its prize of engagements with 40 orchestras. What an opportunity!

Yes! My teacher at the Zurich University of the Arts, Johannes Schaefli, always used to say that winning a competition doesn't make you a better conductor, but it does give you the opportunities to become better. These opportunities began in August with Pierrot Lunaire at the Stresa Festival, and continue this month with the BBC Philharmonic. In fact, the diary is pretty much full for the next two seasons, and includes debuts with Orchestre National de Lille, Royal Liverpool Philharmonic and Beethoven Orchestra Bonn. So a lot of concerts, a lot of thinking about the music I feel strongly about, and which orchestras I want to do certain repertoire with. Also, what I want to do now, what do I want to do in five years, and how to get there – a year ago I wasn't thinking about these things!So what are your repertoire loves?I studied violin in Austria, and conducting in Switzerland, so I feel very close to the Austro-German classical period, which of course doesn't need too much strategising when it comes to programming.

However, I also really love Janáček, Bartók, Sibelius and Stravinsky, even though they're perhaps not the most obvious choices for a Portuguese conductor. I also like that they require learning new languages and cultures, and of course through doing that you realise that all cultures are different but also fundamentally all the same. Different legends, myths, stories… at their inner core they are all connected and reflect the basic human nature, regardless of geography and time.

This past summer you've had two significant appointments. Firstly, Guest Conductor with the Gulbenkian Orchestra. How did this come about?

The Gulbenkian Orchestra is very special. When I began my conducting studies the Foundation gave me a scholarship. Then a couple of months later they invited me for a small concert, and the relationship has been growing ever since. It's very easy to work with them. We understand what we want from each other without having to spend too much time talking, and they're a good combination of being serious at work, quick at reacting, but on the other hand still proper Southern European. Able to relax and crack a joke here and there.

Then there's your Fellowship with the LA Philharmonic.

Yes. Returning to the subject of reaching an orchestra, when you're assisting it's not only a great way of learning the repertoire, but for watching how other conductors go about connecting. Gustavo Dudamel for instance is incredibly efficient but also relaxed, with good energy, and I am looking forward to working with Susanna Mälkki. There's always the sense that it's good to be here now, doing whatever music is on the stand. Then beyond the actual conducting, the LA are doing a really good job of going out of the concert hall to reach different communities across the city, which is something I feel strongly about myself. I'm trying to get involved in the organisational side of this, to get a sense of exactly how they think and work.

Who have been the other notable figures in your training to date?

Bernard Haitink has been important. I participated in two of his masterclasses in Lucerne, but also because he comes to Zurich each year, meaning he's been watching me develop for three or four years now. And each time I see him I think I understand a little more about what makes him so special.So, to put you on the spot, what is it?!I wish I knew for sure! He's humble to the people in front of him and to the score. There's no ego. Also, one has the impression that his mental focus is so strong that he seems to be completely in the moment and at the same time so far ahead in the musical process. And then everything appears to just happen naturally. He’s a master at knowing exactly what needs to be done and when.

And of course you took part in the Concertgebouw masterclasses…

Yes, I was very lucky to do a four-day masterclass with the RCO and Daniele Gatti, which was public and had a good learning atmosphere. It included sessions where Gatti would tell us how he learns a score, which was particularly interesting to me. He's very intellectual and analytical in his approach, and he talked about how he works his way towards an interpretation. He was also very keen on rehearsal technique, listening to the orchestra carefully and improving their level of playing, which was a challenge when you’re standing in front of such a top orchestra.

That ties into my next question, which is how do you approach a new score?

You always have to make the effort not to get too influenced by concerts and recordings, because it's so easy, and if you're young you may feel more obliged to go with the tradition. Beyond that, I try to just be with the score as much as possible without trying to impose my vision too soon. I also try to read about the context of the music: everything from playing styles to what was influencing the composers. If you have reached your decisions in an intellectual way, then people may disagree, but you know in yourself why you are doing what you're doing.

Thinking about working with all these luminaries of the conducting world, are there things which you feel young conductors are dealing with now that previous generations didn't have to?

Well actually I have the impression that orchestras and management today are more supportive of young conductors. There's an understanding that not all conductors are old. Of course they can get old, but they have to start somewhere!

Let's talk a bit about your musical background now. Are you from a musical family?

No, not at all. My parents are a teacher and a journalist, and I didn't start the violin until I was ten. It wasn't until university applications that I got serious and decided that playing the violin was what I wanted to do.

How did the conducting start?

Well this isn't such an inspiring story, because it was simply that I had to! My Masters in Brussels involved picking another module, and given that I was playing in orchestras I thought it would be fascinating to learn what a conductor does. Only then it was really interesting, and of course when you can physically change the sound that's a great feeling. So I did masterclasses, and then I went to Zurich.

Are you playing the violin now?

No, sadly not, although I played some chamber music with friends during the summer. That was wonderful. Red wine and playing late into the night.

So what do you do in your spare time?

Well there's little of it for the moment. But I'm happy when I'm learning, which you have to be with this lifestyle or you will be unhappy. I also like sport, politics and podcasts, and to read.

What are you reading at the moment?

A book about the beginning of the First World War which takes each country in turn, plotting the sequence of events that led them to war, which is scary because you can see it happening again. So once again, it's cultures and histories essentially being all the same.Last question.

What are you especially looking forward to over the coming months?

My debut with LA Phil at Walt Disney Hall in January in an all-American concert as part of their youth project. I'm also really looking forward to assisting Haitink with the Symphonieorchester des Bayerischen Rundfunks in Beethoven’s Ninth. Then of course there’s further concerts with the Gulbenkian. I always look forward to returning to orchestras – it's really nice when you can just say, “Let's continue where we left off”.