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MARC LEROY CALATAYUD

 

 

is a young swiss conductor, born in 1991.
He studies currently at the Universität für Musik und darstellende Kunst with Mark Stringer and in Freiburg with Scott Sandmeier. Recently, he also had the opportunity of taking part in masterclasses, with Johannes Schlaefli, Bertrand de Billy and Nicolas Pasquet among others. In 2009, he conducts his first opera production, Le voyage dans la

 

 

 

lune (J. Offenbach) and founds with some friends a symphonic orchestra, l'orchestre Quipasseparlà. Since then, he collaborated with orchestras as the Jenaer Philharmoniker, the ProArte Orchester Wien, the Stuttgarter Kammerorchester,  the Valsassina Ensemble Wien, with a debut concert in the Wiener Musikverein on March 2014. In september 2013, he conducted a

 

 

 

production of Kurt Weill's Die sieben Todsünden in Switzerland.

He also worked as assistant conductor on a recent production of "Das schlaue Füchslein" in Freiburg. Marc Leroy-Calatayud won in 2013 the Ernst Göhner fellowship for young artists and is a member of the Swiss Study Foundation. He also played two years among the prestigious Verbier Festival Orchestra.

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Tell us about the V E.

The Valsassina Ensemble is a wonderful collection of talented young people. Being able to play music at a high level and at the same time have fun with friends of your age is a rare and treasured opportunity.

 

 

 

Tell us about your collaboration with the V E.

I first conducted the VE on a concert at the Diplomatische Akademie Wien in March 2013. It is very motivating to see that the ensemble plays always better and be part of this collective enterprise. Challenging as well, I am always looking for ideas to bring the Ensemble one step further.

 

 

What does the "city of vienna" mean for you?

Vienna means a lot for me: excellence, tradition, whereas tradition is not about playing in the same old way, but more breathing the same air, walking in the same streets where some of the greatest composers used to walk.

 

 

Does one always have to perform Mozart, Schubert and Brahms in Vienna?

An art, a culture that does not constantly evolve becomes a dry, dead culture. As a performer, it is a duty to create some new music on concerts, as well as to recreate great masterpieces of the last centuries.

 

 

How is life as a young successful musician?

One always has to reinvent oneself, to keep habits away. To see every day as a fresh start. Otherwise, I think I would forget the magic about this very simple fact: it is absolutely wonderful to be able to work on music, on something so essential for all of us every day.

 

 

Do you play an instrument?

I do play the piano, and horn as well.

 

 

With which composer would you like to go for a coffee?/ Which

composer would you have liked to go for a coffee with?

Having a coffee with Beethoven, seeing him improvise on the piano and listening to his favourite jokes, for example frightening people by screaming BOOH in their backs would have been nice indeed.

 

 

Where would you most like to perform?

Apart from great concert halls or opera houses, I want to bring classical music in unexpected places. I am currently working on a street adaptation of the opera Carmen. If people do not want to come to the opera, then it will come to them, where they are, in the streets.

 

 

With whom would you ideally like to collaborate?

Meeting and working with Sir Simon Rattle would be a must. Otherwise, performing with great musicians is a fantastic experience. Performing with great human beings is even better.

 

 

Which work would you like to conduct?

Salome, Peter Grimes, Brahms 4th, Mahler 4th, Beethoven 9th, and so many more!

 

 

 

What was your finest moment on stage?

First time I played Beethoven 5th in a youth orchestra. This was one of the unforgettable moments that convinced me that music was the path I were to choose.

 

 

Can music change the world?

Yes, music can change the world. But for that it has first to get to the people who are part of this world. Music is meant to be universal, and this simple fact is often forgotten behind all the stereotypes that associate classical music with money and power.

 

 

 

Marc Leroy-Calatayud - Interview - January 2014