Jonathon Heyward has garnered overwhelming acclaim both at home and abroad for dynamic performances and an unquestionable stage presence — but what happens when he steps away from the podium ?
We had a chance to sit down with Jonathon and chat about what it means to be Music Director both on and off stage , and to ask a few questions about his artistic process , vision for the BSO , and what he does in his free time — no spoilers , but you might just find he ’ s a rising star in more ways than one .
How are you feeling about the season so far ? HEYWARD : I ’ m really proud of how we ’ ve opened my tenure . Having had a year and a bit as Music Director Designate , making really great connections and partnerships , understanding what Baltimore needs from us and what the musicians need from us as an organization , then getting all of that together in our programming — it was of huge importance as I started my tenure . We started that really well with the Gala , we continued that with our subscription series . It ’ s been a really , really exciting time — I couldn ’ t be happier about how my tenure has started .
BSO audiences know you from your performances — what they ’ ve seen on the podium . But what aspects of your Music Directorship happen off stage ? HEYWARD : It ’ s an all-inclusive job ! As Music Director , first and foremost , you ’ re an ambassador for the organization . You ’ re an ambassador for the city . As I tour around , people are talking about my connection with Baltimore now . I take that responsibility very , very seriously . But , of course , it comes with a lot of future planning . Planning all of our guest artists , planning all of our guest conductors , helping with programming and , of course , programming my own concerts . There ’ s a lot of research , a lot of detailed thought that comes with it . Because I always think about programming as a well-balanced meal — that when people leave the concert experience , they feel really fulfilled . So I take this question of programming really , really seriously . Days are full as Music Director !
Each orchestra has its own unique sound , and a music director plays a central role in developing that sound . How would you describe the new BSO sound ? HEYWARD : I think it ’ s important to go back to what the identity of the sound has been over the years . I know this orchestra very much from the David Zinman era [( 1985 – 1998 )], the incredible recordings that David did here are something that I came to equate the Orchestra ’ s sound to be . And then Yuri Teminirkanov came in and had this incredible influence of European sound that really was so beautifully infused into the Orchestra .
[ The BSO ] has an incredible sense of the European sound . What I mean by that is there ’ s a gorgeous sensitivity you can get with this orchestra , that I don ’ t think you can get with a lot of U . S . orchestras , actually . That ’ s something I really appreciate , and I just want to further that flexibility , the sensitivity that I associate with a more European sound . I would differentiate that to a more “ American ” sound as being something that ’ s more forward in the sound , more upfront , if that makes sense . Neither one is better or worse , it ’ s just an identity of sound . I am looking forward to cultivating that Eurocentric sound that the Orchestra already has so deep in its DNA .
And , of course , you ’ ve trained and worked in both places . HEYWARD : Yes , so it ’ s nice to have a picture of both worlds . But I feel artistically , as a conductor , that I lean towards a European sound world of orchestra playing .
What do you see as your role in Baltimore ’ s musical community ? What do you see as the Orchestra ’ s role ? HEYWARD : This space is nothing but a community hall . It has to feel welcoming to everyone , to every citizen of Baltimore and beyond . For me , that is our one goal and responsibility as an arts organization — as the biggest arts organization in the State of Maryland . We have to be inclusive . And that means we have to take intentional actions with programming , with where we play , when we play , and how we play . And we ’ re consistently shifting that ,
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