WEBVTT 1 00:00:03.560 --> 00:00:11.360 I believe something something that is very important. Miosik, miusik 2 00:00:11.600 --> 00:00:15.920 will play are very important or in the recovering of 3 00:00:15.960 --> 00:00:16.800 the society. 4 00:00:22.600 --> 00:00:26.200 From futuro media, it's Latino Usa. I'm Maria no posa. 5 00:00:26.600 --> 00:00:31.080 Today Gustavo du da Mel, the prolific Venezuelan conductor, talks 6 00:00:31.120 --> 00:00:35.519 about how is weathering the pandemic and how he stays connected. 7 00:00:35.200 --> 00:00:36.040 With his roots. 8 00:00:48.720 --> 00:00:53.240 Maestro Gustavo Dudamel is one of the world's most celebrated conductors. 9 00:00:54.040 --> 00:00:57.360 He's currently the music and artistic director of the Los 10 00:00:57.400 --> 00:01:00.240 Angeles Philharmonic, a post he's held since he he was 11 00:01:00.400 --> 00:01:05.600 just twenty seven years old. He's been at the La 12 00:01:05.720 --> 00:01:08.840 phil for over a decade and will continue there at 13 00:01:08.920 --> 00:01:12.800 least through the twenty twenty five season. But that's just 14 00:01:12.920 --> 00:01:17.600 the latest entry in Dudamel's already legendary career. He is 15 00:01:17.640 --> 00:01:21.440 the most famous graduate of El Sistema, the national children's 16 00:01:21.520 --> 00:01:25.040 music program of his home country of Venezuela. In the 17 00:01:25.160 --> 00:01:29.080 years since, he's conducted orchestras across the globe, from the 18 00:01:29.080 --> 00:01:33.320 Gothenburg Symphony to the Vienna Philharmonic. He's won a litany 19 00:01:33.319 --> 00:01:36.600 of international awards and was honored with his own star 20 00:01:36.760 --> 00:01:41.800 on the Hollywood Walk of Fame in twenty nineteen. You 21 00:01:41.840 --> 00:01:44.880 don't need to follow classical music to know who du 22 00:01:44.959 --> 00:01:49.040 Da mel is, though most likely you've already heard his work. 23 00:01:55.000 --> 00:01:57.880 In twenty sixteen, he performed at the Super Bowl along 24 00:01:57.920 --> 00:02:13.000 with Coldplay, Bruno Mars and The Answer. John Williams invited 25 00:02:13.080 --> 00:02:16.040 him to guest conduct the score for Star Wars The 26 00:02:16.080 --> 00:02:30.320 Force Awakens. He's also dabbled in children's media. He did 27 00:02:30.360 --> 00:02:32.760 an interview with Elmo on Sesame Street. 28 00:02:33.160 --> 00:02:33.800 I'm a riches. 29 00:02:33.960 --> 00:02:37.000 He could show you something very great and amazing right now, 30 00:02:37.200 --> 00:02:38.320 but Alma doesn't know. 31 00:02:38.520 --> 00:02:40.280 We're to find anything stupendes. 32 00:02:40.480 --> 00:02:42.919 Well, you know, Elmo, I'm a conductor of an orchestra, 33 00:02:43.120 --> 00:02:45.480 and I get to see and hear some stupendous things 34 00:02:45.520 --> 00:02:49.040 all the time. Really, absolutely, will you allow me to 35 00:02:49.040 --> 00:02:52.919 show you something stupende? I'm a wod Okay, here's a 36 00:02:53.000 --> 00:02:54.760 ship playing the biole. 37 00:02:54.600 --> 00:03:01.640 Okay, and do them. He has continued to appear on 38 00:03:01.680 --> 00:03:04.840 both the small and big screens with guest turns in 39 00:03:04.880 --> 00:03:05.639 The Simpsons. 40 00:03:05.919 --> 00:03:10.800 Each year, one graduate receives the prestigious Golden Baton Award 41 00:03:11.040 --> 00:03:13.600 for the most impressive future conductor. 42 00:03:13.800 --> 00:03:17.799 But this year we have two worthy recipients. 43 00:03:20.120 --> 00:03:24.720 That's right, Gustavo do Domel and local wounded. 44 00:03:24.440 --> 00:03:26.040 Key Mozart in the jungle. 45 00:03:26.360 --> 00:03:31.119 One thing is to conduct Moser in another labor negotiations. Yeah, 46 00:03:31.200 --> 00:03:34.400 I know you have to come here, save us. Please, 47 00:03:36.000 --> 00:03:42.560 we hate our work, conductor really okay? One ready enjoy, 48 00:03:42.720 --> 00:03:43.040 Thank you. 49 00:03:44.800 --> 00:03:48.840 And the twenty twenty film Trolls World Tour, he plays 50 00:03:48.880 --> 00:03:52.200 a classical music loving troll, which is of course named 51 00:03:52.560 --> 00:04:05.920 Trolls Art Classical. Gustavo Dudamel began his musical career as 52 00:04:05.960 --> 00:04:08.800 a violinist, but by his teens he was already at 53 00:04:08.840 --> 00:04:13.440 the conductor's podium, baton in hand. He was just eighteen 54 00:04:13.520 --> 00:04:16.200 years old when he was appointed music director of the 55 00:04:16.279 --> 00:04:25.000 Orchesta Sinfonicassimon Bolivar, Venezuela's national youth orchestra. Dudamel is deeply 56 00:04:25.120 --> 00:04:29.440 influenced by El Sistema, the program that puts musical instruments 57 00:04:29.640 --> 00:04:33.640 into the hands of children across Ennezuela. He was living 58 00:04:33.760 --> 00:04:36.680 up to that ethos when he founded the Youth Orchestra 59 00:04:36.800 --> 00:04:40.119 of Los Angeles in South LA in two thousand and seven. 60 00:04:40.640 --> 00:04:43.520 Dudamel wanted to create a place where local kids could 61 00:04:43.640 --> 00:04:48.360 learn and play music, receive academic support, and build a community. 62 00:04:49.240 --> 00:04:52.839 Dudamel's belief in the power of music inspired other projects 63 00:04:52.880 --> 00:04:56.680 down the line, including starting his own charity, the Dudamel Foundation. 64 00:04:57.320 --> 00:05:04.960 The organization promotes universal music education in underserved communities. Even 65 00:05:05.080 --> 00:05:08.200 amid a global pandemic, Do the Male is still sharing 66 00:05:08.240 --> 00:05:12.039 his passion for music with the world. He spent the 67 00:05:12.040 --> 00:05:15.440 past year between Los Angeles and Madrid, and that's where 68 00:05:15.480 --> 00:05:17.920 my estra is calling from. Today. We're going to talk 69 00:05:17.960 --> 00:05:21.680 about finding creative ways to continue expanding access to the 70 00:05:21.839 --> 00:05:25.719 arts and above all, ways to keep the music playing. 71 00:05:31.640 --> 00:05:38.320 So gustavomna raso virtual in canto, Oh my god, do 72 00:05:38.480 --> 00:05:42.680 the mel? I always call you do thea mel? I'm sorry, 73 00:05:42.800 --> 00:05:44.640 perfect two people call you do thea mel? 74 00:05:44.720 --> 00:05:47.600 Or do I mean the male? Of course, the only 75 00:05:47.680 --> 00:05:51.200 one that calls me Gusta Wadolfo is my mother when 76 00:05:51.240 --> 00:05:53.000 she is like angry with. 77 00:05:53.040 --> 00:05:57.479 Me, Gusta Wolfole exactly. 78 00:06:01.279 --> 00:06:01.599 That was. 79 00:06:01.760 --> 00:06:04.120 Let me remind you because I know you're gonna remember 80 00:06:04.720 --> 00:06:09.119 when we met. We were in Boston and you came 81 00:06:09.279 --> 00:06:14.320 to conduct in a rehearsal with the MIT student orchestra. 82 00:06:15.000 --> 00:06:18.719 If you sink in your the shower that I love 83 00:06:18.800 --> 00:06:21.520 to sing because it's the best acoustic in the world. 84 00:06:21.839 --> 00:06:25.839 You know, you have all the echo, all the best 85 00:06:25.960 --> 00:06:32.760 you know, restaurants. You don't think, you don't. 86 00:06:32.600 --> 00:06:41.680 Think like, wow, yes, I remember. Wow. You know how 87 00:06:41.839 --> 00:06:47.440 time passed? My god, that was this was eleven years ago, I. 88 00:06:47.320 --> 00:06:51.000 Think exact eleven years ago, mas Menos. 89 00:06:50.800 --> 00:06:52.920 Exactly, Mahamelo. 90 00:06:53.240 --> 00:06:55.600 It was just around the time that you had arrived 91 00:06:55.760 --> 00:06:59.559 in Los Angeles at the La Philharmonic, and I think 92 00:07:00.080 --> 00:07:03.440 you remember there were flags with your face on them 93 00:07:03.520 --> 00:07:06.680 all across Los Angeles on the highways and the freeways, 94 00:07:06.680 --> 00:07:09.120 and everybody was so excited. It was like, oh my god, 95 00:07:10.320 --> 00:07:15.280 the male has arrived to LA. And now basically you're 96 00:07:15.360 --> 00:07:18.600 like a guy from LA. You're like an institution in LA. 97 00:07:18.680 --> 00:07:20.680 Now, yes, I'm an old conductor. 98 00:07:21.440 --> 00:07:24.640 You're an old conductor. So how do you how do 99 00:07:24.760 --> 00:07:30.920 you see your life in California, in Los Angeles with privilege, 100 00:07:31.200 --> 00:07:38.200 you know, doing dream projects now a decade in commonobis Mirah. 101 00:07:38.560 --> 00:07:42.600 This is something beautiful to have the opportunity and the 102 00:07:42.720 --> 00:07:47.360 privilege to be in different places. I feel very proud 103 00:07:47.560 --> 00:07:51.960 to have developed this relation with an orchestra, with an 104 00:07:52.000 --> 00:07:57.160 amazing orchestra, and with an amazing community as is Los Angeles, 105 00:07:57.880 --> 00:08:04.600 And honestly, I feel very proud Angelino Venezuelan Spanish citizen 106 00:08:04.680 --> 00:08:07.480 of the world. And this is one of the privileges 107 00:08:07.520 --> 00:08:10.600 of what I do. You know, when you go as 108 00:08:10.600 --> 00:08:15.960 a guest, as a conductor, you travel around, you do things, 109 00:08:16.080 --> 00:08:20.360 and you feel connected and reflected in the different societies, 110 00:08:20.600 --> 00:08:24.400 the different communities that you visit. But when you have 111 00:08:24.560 --> 00:08:30.080 the chance to build a personality together and you can 112 00:08:30.120 --> 00:08:35.040 combine all of what you have with your background and 113 00:08:35.040 --> 00:08:40.520 a lot of that is the most amazing thing. Never 114 00:08:40.640 --> 00:08:46.280 losing your roots, but also making that roots infinite, and 115 00:08:46.360 --> 00:08:48.160 that is something that is very beautiful. 116 00:08:51.080 --> 00:08:52.800 You know, every time I speak to you or when 117 00:08:52.840 --> 00:08:55.640 I think about you, like preparing for this interview, I 118 00:08:55.640 --> 00:08:58.079 always think, well, how has it been for Doda men 119 00:08:58.240 --> 00:09:02.240 to leave Venezuela. So I just wonder how you're processing 120 00:09:02.800 --> 00:09:06.320 as you become limitless in terms of your roots. What's 121 00:09:06.360 --> 00:09:08.480 going on for you when you're thinking about Venezuela. When 122 00:09:08.520 --> 00:09:09.680 was the last time you were back? 123 00:09:11.520 --> 00:09:15.680 I see, I have been out of Venezuela for these 124 00:09:15.720 --> 00:09:21.440 last four years, you know, it's like crazy. I will say, 125 00:09:21.520 --> 00:09:24.360 you know that we are living a very difficult time 126 00:09:25.000 --> 00:09:29.080 in the world. We are trying to make our best 127 00:09:29.400 --> 00:09:33.800 I don't know if to recover, but to transform the 128 00:09:34.000 --> 00:09:38.760 path that we have been building as human beings. And 129 00:09:38.800 --> 00:09:42.600 we are living now with this pandemic for example, that 130 00:09:42.720 --> 00:09:47.040 we are trying to understand the real meaning of our 131 00:09:47.200 --> 00:09:51.600 presence in this world. I will say that, of course, 132 00:09:51.679 --> 00:09:57.800 my country is crossing a very complex time of social, politically, economically. 133 00:09:58.280 --> 00:10:01.600 Fighting COVID nineteen is a major challenge in most countries, 134 00:10:01.960 --> 00:10:05.080 but in Venezuela, where hospitals are running short of medicines 135 00:10:05.120 --> 00:10:09.000 and staff, the battle is even harder. The Maduro regime 136 00:10:09.040 --> 00:10:11.680 has regained control of the National Assembly after Juan Guado 137 00:10:11.840 --> 00:10:15.240 and other opposition leaders boycotted the December sixth elections. 138 00:10:15.360 --> 00:10:19.599 Today, Venezuela's democratic institutions and its economy are in shambles. 139 00:10:19.880 --> 00:10:22.120 The country has the highest inflation rate in the world, 140 00:10:22.440 --> 00:10:26.200 making food medicine inaccessible to most Venezuelans. Over the last 141 00:10:26.240 --> 00:10:28.800 four years, it's GDP has found thirty five percent. 142 00:10:28.960 --> 00:10:32.679 In the polemic of the political, or the economically, or 143 00:10:32.720 --> 00:10:37.760 whatever is happening, you have to be very clever of 144 00:10:38.000 --> 00:10:41.920 how you manage the message that you want to send. 145 00:10:45.960 --> 00:10:48.800 But one of the things that I will tell you, 146 00:10:49.800 --> 00:10:54.679 I will never speak bad about my country. I will say, 147 00:10:54.720 --> 00:10:58.560 you know, well, there is things that doesn't work, but 148 00:10:58.720 --> 00:11:02.960 my country is a mad See. My country and my land, 149 00:11:03.559 --> 00:11:07.920 the place where I was born, made me what I 150 00:11:07.960 --> 00:11:11.040 am right now. And this is the thing. I'm a 151 00:11:11.040 --> 00:11:15.720 citizen of the world because Venezuela maybe be a citizen 152 00:11:15.760 --> 00:11:16.360 of the world. 153 00:11:18.360 --> 00:11:21.600 It always has felt like to me, you as an 154 00:11:21.760 --> 00:11:29.199 artist and as a Venezuela no where democracy flourished. Actually 155 00:11:29.840 --> 00:11:34.120 there wasn't a fear of disagreeing. I've always felt that 156 00:11:34.160 --> 00:11:36.480 you're like, that's part of how the art gets created. 157 00:11:36.960 --> 00:11:41.760 But that of course, look if one time we see 158 00:11:41.800 --> 00:11:48.920 each other and we see the richness of our differences 159 00:11:49.480 --> 00:11:54.080 and we take from that something important, that will be 160 00:11:54.120 --> 00:11:58.200 the most important thing. Sometimes I feel that people says, 161 00:11:58.280 --> 00:12:00.640 you know, but you don't understand what is happening there. 162 00:12:01.559 --> 00:12:04.920 People don't understand that it was in Pvenezuela all the time. 163 00:12:05.400 --> 00:12:07.920 Publicly they want to know that I was there or 164 00:12:07.960 --> 00:12:10.920 conducting or doing a concert. Sometimes I went to Venezuela 165 00:12:10.960 --> 00:12:12.960 and not to do a concert, if not to teach 166 00:12:13.520 --> 00:12:16.760 or to a system a program in different cities. And 167 00:12:16.800 --> 00:12:19.360 that was a reality, and it's a reality still right 168 00:12:19.400 --> 00:12:23.200 now because thanks God the technology that we have the 169 00:12:23.240 --> 00:12:26.720 possibility to talk right now is like that. But I 170 00:12:26.960 --> 00:12:30.920 know the reality and I know the complexity of the 171 00:12:31.040 --> 00:12:36.000 situation completely at the same time. And I think for 172 00:12:36.120 --> 00:12:39.439 the world, not only for my country, we need voices 173 00:12:39.559 --> 00:12:49.320 that make a vision of understanding each other's it's not 174 00:12:49.360 --> 00:12:55.360 to agree. That is something that is misunderstand in the process. 175 00:12:55.720 --> 00:13:01.480 And when I see my country completely divide indifferences of 176 00:13:02.320 --> 00:13:04.840 if I believe in this and I believe of that, 177 00:13:05.120 --> 00:13:10.160 I will say, thanks God, I was growing up in 178 00:13:10.200 --> 00:13:14.240 a movement that is a systema that may all the 179 00:13:14.280 --> 00:13:20.360 people of Venezuela feel connected. It was a British at 180 00:13:20.360 --> 00:13:24.240 the end. We will find the solution of this. But 181 00:13:24.480 --> 00:13:31.480 always understanding issures. I always put the example of an 182 00:13:31.559 --> 00:13:35.320 orchestra always when people say like, yes, this is a 183 00:13:35.440 --> 00:13:40.280 very naive message or an answer of one of that wall. 184 00:13:40.559 --> 00:13:43.280 But I will say, you know, in an orchestra is 185 00:13:43.360 --> 00:13:50.760 nothing more diverse the musicians, but more also is the instruments. 186 00:13:50.760 --> 00:13:54.560 The instruments and the musician when you play a symphony, 187 00:13:54.840 --> 00:13:57.800 you listen only to the violence, or to the flutes, 188 00:13:57.880 --> 00:13:58.720 or to the troubles. 189 00:14:00.080 --> 00:14:09.719 Send to everybody, I love this image. Part of your 190 00:14:09.760 --> 00:14:13.840 life is in fact saying all of this difference. I'm 191 00:14:13.840 --> 00:14:17.000 not afraid of that, because in fact I can lead 192 00:14:17.080 --> 00:14:19.600 you in a form of unity. Of course that turns 193 00:14:19.640 --> 00:14:21.680 out to be art. I really love that, Gustavo. 194 00:14:22.200 --> 00:14:27.040 I think that is the most beautiful example of how 195 00:14:27.200 --> 00:14:32.800 our society have to behave Even if we have differences, 196 00:14:32.960 --> 00:14:37.560 even if we sound different, even if we believe differently, 197 00:14:38.200 --> 00:14:42.880 we can make harmony, and we can make a beautiful symphony. 198 00:14:43.400 --> 00:14:46.280 We can make a beautiful operah or a beautiful song, 199 00:14:46.440 --> 00:14:50.040 or a beautiful jazz improvisation and a beautiful hip hop 200 00:14:50.360 --> 00:14:53.640 song or whatever if you have. That is the thing. 201 00:14:55.640 --> 00:15:00.000 And of course, in the moments of crisis, it's a acophony. 202 00:15:00.960 --> 00:15:04.920 There is a lot of wonderful composers that have made music, 203 00:15:05.120 --> 00:15:08.280 beautiful music from a cacophony. And this is the thing, 204 00:15:09.000 --> 00:15:11.760 you know, we have to create from that cacophony, a 205 00:15:11.880 --> 00:15:16.800 beautiful harmony. 206 00:15:18.640 --> 00:15:22.040 You know, before we leave Venezuela, you brought up your mom. 207 00:15:22.560 --> 00:15:25.760 Is she still in Venezuela or has she left. 208 00:15:25.360 --> 00:15:30.560 My mother, my father, my grandmother, my my family generally 209 00:15:30.640 --> 00:15:31.720 is in Venezuela. 210 00:15:32.040 --> 00:15:35.160 How are you staying in touch? How often do you 211 00:15:35.200 --> 00:15:38.040 speak with them? You know, what are those conversations? 212 00:15:38.160 --> 00:15:38.240 Like? 213 00:15:39.120 --> 00:15:41.840 How much harder is it now in the last four 214 00:15:41.920 --> 00:15:45.080 years and in the last year to be in touch? 215 00:15:46.800 --> 00:15:49.920 Well, look, I talk to my family every single day, 216 00:15:50.560 --> 00:15:53.200 every day, every day. 217 00:15:52.880 --> 00:15:55.280 And you just call your like oll a, mama. 218 00:15:55.280 --> 00:16:00.600 Saludos, saludos, how are you and everything all of that, 219 00:16:00.960 --> 00:16:06.440 and how is everything I'm connected with my friends, with musicians, 220 00:16:06.760 --> 00:16:11.440 with everybody, because that is very important since I became 221 00:16:11.680 --> 00:16:12.440 a traveler. 222 00:16:13.400 --> 00:16:18.800 Let's say, I remember years ago I was waking up 223 00:16:18.840 --> 00:16:22.080 in the middle of the night and I was feeling 224 00:16:22.120 --> 00:16:26.280 I have to call my grandmother or my mother, even 225 00:16:26.360 --> 00:16:27.920 it was the middle of the night and I was 226 00:16:27.960 --> 00:16:31.240 talking to them few hours before. And it has been 227 00:16:31.320 --> 00:16:33.920 like this all the time. It hasn't changed. 228 00:16:34.440 --> 00:16:36.240 Sometimes you'll still just wake up in the middle of 229 00:16:36.240 --> 00:16:37.280 the night and you'll call. 230 00:16:37.720 --> 00:16:41.760 Completely like Glan yesterday, for example, I talked to my 231 00:16:41.760 --> 00:16:45.400 grandmother at two o'clock in the morning here for me, 232 00:16:45.960 --> 00:16:47.160 for her was eight o'clock. 233 00:16:47.240 --> 00:16:51.240 I think I love that Gustavo. That's that's kind of 234 00:16:51.280 --> 00:16:52.680 like adorable. 235 00:16:55.120 --> 00:16:58.920 Well, but you know it's like that Simonia song. My 236 00:16:59.400 --> 00:17:10.920 channel is gonna and Dario. 237 00:17:06.680 --> 00:17:23.720 Only Galleendario g you know, you know, wow, hege Galleendario. 238 00:17:26.680 --> 00:17:29.720 I have learned this through times, you know, and I 239 00:17:29.880 --> 00:17:33.000 always have been connected with my family, and that have 240 00:17:33.200 --> 00:17:36.639 been one of the reasons of the beauty of what 241 00:17:36.760 --> 00:17:40.280 I do. I will tell you something. This time have 242 00:17:40.400 --> 00:17:43.119 been for reflection and to think about what we have 243 00:17:43.200 --> 00:17:45.800 been doing, what we have done and what And I 244 00:17:45.840 --> 00:17:48.919 remember I went to conduct the Israel Filler Money in 245 00:17:48.920 --> 00:17:53.720 two thousand and five and before one of the concerts, 246 00:17:53.800 --> 00:17:57.200 I was in the room of the hotel I had launched. 247 00:17:57.680 --> 00:18:00.320 I took a nap, but it was in possible to 248 00:18:00.359 --> 00:18:03.479 sleep because I was like, oh my god, it's a 249 00:18:03.520 --> 00:18:06.080 concert with the Zilli Filler Money. This is very important. 250 00:18:06.119 --> 00:18:10.040 Its mother fifths in for enough. And then I went 251 00:18:10.359 --> 00:18:17.840 and I was listening Abolero from Juliujara video and I 252 00:18:17.920 --> 00:18:21.440 put my my pons and I was listening to that 253 00:18:21.520 --> 00:18:31.080 and I was like, this was one of the songs 254 00:18:31.119 --> 00:18:35.320 that my grandmother and my mother but every Sunday when 255 00:18:35.320 --> 00:18:36.840 they were cleaning the house. 256 00:18:36.800 --> 00:18:43.320 Oh my gosh, honestly, and it brought me the comfort. 257 00:18:44.400 --> 00:18:49.199 Of whatever I was. I was there with them and 258 00:18:49.240 --> 00:18:58.280 they were advising me. So this is my connection all 259 00:18:58.359 --> 00:19:01.800 the time with my friend. For example, my father, he 260 00:19:01.960 --> 00:19:05.320 still plays in Drommone. He has a band and he's 261 00:19:05.400 --> 00:19:08.520 doing recordings and all of that. And that inspired me 262 00:19:08.640 --> 00:19:12.080 because when he sent me something, I put my headphones 263 00:19:12.280 --> 00:19:15.080 and I'm conducting wherever I am and I'm listening to 264 00:19:15.119 --> 00:19:24.840 that music. I love that, and you know, and then 265 00:19:24.920 --> 00:19:27.919 after the concert, I half the time I connect with 266 00:19:28.000 --> 00:19:31.480 my family. I have a conversation and a long conversation 267 00:19:31.600 --> 00:19:32.760 with my family. 268 00:19:41.600 --> 00:19:42.280 Coming up on that. 269 00:19:42.400 --> 00:19:42.560 You know. 270 00:19:42.680 --> 00:19:45.480 USA Gusta wud Do da Man had big plans for 271 00:19:45.560 --> 00:19:49.680 twenty twenty. Then COVID nineteen happened and like all of us, 272 00:19:49.840 --> 00:20:01.280 El Maestro had to adapt to a changed world. Stay 273 00:20:01.320 --> 00:20:52.560 with us, notas hey, we're back, and I've been speaking 274 00:20:52.600 --> 00:20:56.719 with Conductor Gustavo to the mel Do. The male wears 275 00:20:56.840 --> 00:20:59.879 many hats. When he's not working as the director of 276 00:20:59.880 --> 00:21:03.720 the La Philharmonic, he's leading a new educational initiative through 277 00:21:03.760 --> 00:21:08.720 his foundation, or he's guest conducting international orchestras or he's 278 00:21:08.720 --> 00:21:10.879 focusing on one of the many projects he has in 279 00:21:10.920 --> 00:21:15.320 the works. But when the COVID nineteen pandemic unfolded last year, 280 00:21:15.680 --> 00:21:19.879 Dudamel was forced to rethink his role as a conductor, musician, 281 00:21:20.359 --> 00:21:23.880 artist and educator, and it was a time of deep 282 00:21:24.040 --> 00:21:28.439 important personal reflection as well. Okay, so I have to 283 00:21:28.600 --> 00:21:32.200 ask you, Gustavo, because when we were preparing for this interview, 284 00:21:32.800 --> 00:21:34.400 I told my team, I was like, oh my god. 285 00:21:34.600 --> 00:21:37.160 I mean, you guys know that I love to give abrassos. 286 00:21:37.240 --> 00:21:40.760 I'm a huge hugger. I'm hugging everybody, I'm kissing everybody. 287 00:21:40.880 --> 00:21:45.920 I'm you know, and you the same thing. You're smiling, hugging. 288 00:21:46.240 --> 00:21:48.240 This is a very hard time for people like you 289 00:21:48.320 --> 00:21:51.679 and me that love to be with human beings. So 290 00:21:52.119 --> 00:21:56.080 how has this affected you as a human being, as 291 00:21:56.119 --> 00:21:59.239 a partner, as an artist. 292 00:22:00.080 --> 00:22:02.720 Was talking yesterday to a friend. It was a very 293 00:22:02.760 --> 00:22:08.600 open conversation and we said, like, did we really understand 294 00:22:08.760 --> 00:22:16.959 in our life what a hug means or a handshake means? 295 00:22:17.680 --> 00:22:21.520 You know, after all of this, because as you are saying, 296 00:22:22.880 --> 00:22:27.040 we love that it's kind of part of our identity. 297 00:22:27.960 --> 00:22:33.240 But I think after all of this pandemic moments, it 298 00:22:33.280 --> 00:22:37.600 will mean a different thing. It will mean the real connection, 299 00:22:39.359 --> 00:22:46.159 hugging and shaking. I love that it was natural. It 300 00:22:46.280 --> 00:22:49.960 was my way to express the beauty of me people, 301 00:22:50.800 --> 00:23:00.680 of sharing love without any limitation of love. How we 302 00:23:00.880 --> 00:23:06.920 interact with other people and how we miss that connection. 303 00:23:07.320 --> 00:23:11.160 It's like to play music. You know, when you play 304 00:23:11.280 --> 00:23:15.879 music for an audience, miss something different than when you 305 00:23:15.960 --> 00:23:21.200 play for our recording. When you listen to our recording, 306 00:23:21.240 --> 00:23:24.920 you can be connected, but it's not the same thing. 307 00:23:25.400 --> 00:23:28.600 If you have the musicians in front of you, that 308 00:23:28.800 --> 00:23:33.480 is a moment. Live music is a moment. It's like 309 00:23:33.520 --> 00:23:33.840 a hug. 310 00:23:38.880 --> 00:23:42.480 We've watched a lot of businesses, organizations. There are people 311 00:23:42.600 --> 00:23:46.000 who have been able to thrive by going virtual, or 312 00:23:46.040 --> 00:23:49.800 they've had to cut back, or you know, in terms 313 00:23:49.840 --> 00:23:54.160 of let's say they're programming, or some organizations arts institutions 314 00:23:54.640 --> 00:23:57.879 have just shut down. People have lost their jobs. I 315 00:23:57.920 --> 00:24:01.200 see that in terms of your work, your work has changed. 316 00:24:01.520 --> 00:24:04.439 You hosted a radio show at home with Gustavo. 317 00:24:04.080 --> 00:24:08.400 La from the Fourth Symphony by Johannes Brahms. We heard 318 00:24:08.400 --> 00:24:12.399 the La fil In concert conducted by Gustavo Dudamt this 319 00:24:12.600 --> 00:24:16.760 is at home with Gustavo, a partnership between Classical KUSC, 320 00:24:17.000 --> 00:24:22.439 Classical KDFC and the La Film and from Brahms to 321 00:24:22.720 --> 00:24:25.000 Mozart the clarinet concerto. 322 00:24:24.760 --> 00:24:28.359 Exactly, and it was Moza was a champion of the clarinet. 323 00:24:28.440 --> 00:24:31.280 It was his favorite instrument. And I will tell you 324 00:24:31.359 --> 00:24:34.119 a personal history about this piece. 325 00:24:34.720 --> 00:24:38.080 You conducted a virtual performance at the Hollywood Bowl and 326 00:24:38.480 --> 00:24:41.000 right now you're in Madrid because you're working on a 327 00:24:41.119 --> 00:24:43.200 virtual reality of VR project. 328 00:24:43.440 --> 00:24:48.280 La Keisha Foundation presents Symphony, an immersive project that will 329 00:24:48.320 --> 00:24:51.040 tour a number of towns and cities in Spain to 330 00:24:51.119 --> 00:24:56.520 bring classical music to all kinds of audiences. By Gustavo 331 00:24:56.560 --> 00:25:00.640 Dudamel and the prestigious Mala Chamber Orchestra spe Tatus will 332 00:25:00.640 --> 00:25:04.600 embark on an emotional journey through music, contemplating and listening 333 00:25:04.600 --> 00:25:07.880 to the instruments from their interior and feeling like another 334 00:25:07.960 --> 00:25:09.560 member of the symphony orchestra. 335 00:25:12.119 --> 00:25:15.200 So tell me a little bit about how you've been 336 00:25:15.680 --> 00:25:19.800 adapting to this new reality with your projects. 337 00:25:20.320 --> 00:25:24.320 Sometimes we don't see things coming, or we don't understand 338 00:25:24.440 --> 00:25:28.000 things that are happening. I remember when this came we 339 00:25:28.040 --> 00:25:33.600 didn't understood anything. This terrible virus. When you see the reality, 340 00:25:33.680 --> 00:25:39.080 you feel really like a shock. Now, I remember we 341 00:25:39.080 --> 00:25:43.560 were doing a beautiful festival called Power to the People. 342 00:25:50.760 --> 00:25:55.000 We have Herbie Hanko. We have Rene that was from 343 00:25:55.080 --> 00:26:07.159 cajetric oh Rene Rene resident for suquetto Romano Maravilloso. We 344 00:26:07.280 --> 00:26:11.480 have him there doing a concert, a complete concert with 345 00:26:11.560 --> 00:26:16.119 the Philharmonic, with a symphonic orchestra. We have Julanda Adams 346 00:26:16.160 --> 00:26:22.879 doing gospel combined by classical composers for American composers, Latin composers. 347 00:26:22.960 --> 00:26:26.640 It was a beautiful combination. And we try to reflect 348 00:26:26.640 --> 00:26:29.679 the needs of the society to be expressed in the 349 00:26:29.720 --> 00:26:36.720 culture and in the arts. And suddenly we were stopped. 350 00:26:37.560 --> 00:26:41.280 I have a beautiful project with the dol Foundation to 351 00:26:41.440 --> 00:26:46.680 do Videlio, to travel the Fidelio Opera, to do around Europe. 352 00:26:47.080 --> 00:26:49.639 We were working on that and then it came like 353 00:26:50.880 --> 00:26:56.320 everything was stop completely. So this was time for reflection. 354 00:26:57.080 --> 00:27:00.680 For me. It was very important because sometimes we live 355 00:27:00.840 --> 00:27:06.440 in a very routinary and fast life where you don't 356 00:27:06.560 --> 00:27:10.280 see the importance of the things that we do. And 357 00:27:10.520 --> 00:27:13.880 in the time of thinking and seeing that the orchestra 358 00:27:14.320 --> 00:27:17.080 was not playing and all of that it came, you know, 359 00:27:17.680 --> 00:27:21.000 this radio program at home we do, Gustavo, that we 360 00:27:21.200 --> 00:27:22.080 try to create. 361 00:27:24.119 --> 00:27:27.280 On this program La Film, music and artistic director, Gustavo 362 00:27:27.320 --> 00:27:30.520 Dudamel will share some of his favorite recordings with us. 363 00:27:30.880 --> 00:27:33.879 It was an experiment, you know, and the name was 364 00:27:33.920 --> 00:27:35.399 an experiment for sure. 365 00:27:35.520 --> 00:27:38.400 Times. He's at his home in Los Angeles and I'm 366 00:27:38.400 --> 00:27:40.480 at mine, and together we invite you to pull up 367 00:27:40.520 --> 00:27:46.040 a chair and let the music transport you, and Gustavo 368 00:27:46.080 --> 00:27:49.600 Dudamel joins us. Now, Gustavo, you wanted to start with 369 00:27:49.760 --> 00:27:52.959 the music of Bach and Gustavo, why are we starting 370 00:27:52.960 --> 00:27:53.720 here today? 371 00:27:53.840 --> 00:27:57.720 Well, we are going, you know, to what kind of 372 00:27:57.720 --> 00:28:01.000 a genesis of the music and having the chance to 373 00:28:01.080 --> 00:28:06.399 share a beautiful and unique recording of Auto Klemperer conducting 374 00:28:06.440 --> 00:28:09.920 our orchestra. And I will say that in this way 375 00:28:10.640 --> 00:28:14.119 is a very romantic way to interpret my back and 376 00:28:14.200 --> 00:28:18.680 I love that. I remember sitting at home and watching 377 00:28:18.840 --> 00:28:23.920 and listening some recordings of Toscanini, for example. 378 00:28:23.800 --> 00:28:28.480 During the Second World World where the family was sitting 379 00:28:28.560 --> 00:28:36.040 at home and listening life of some recordings or some 380 00:28:36.240 --> 00:28:39.680 concerts in a time of the day you know, four o'clock, 381 00:28:40.000 --> 00:28:43.560 five o'clock, six o'clock, and that was like, you know, 382 00:28:43.600 --> 00:28:47.120 we are living a difficult time. Look, let's do something. 383 00:28:47.280 --> 00:28:56.200 And we did at home with John Adams, at home 384 00:28:56.280 --> 00:29:02.840 with Juja Warn, at home with John Williams. At the end, 385 00:29:03.280 --> 00:29:07.840 at home with Ustabo, became at home with everybody. Then 386 00:29:07.920 --> 00:29:14.400 it was the desire to bring the orchestra together. And 387 00:29:14.480 --> 00:29:19.920 then we are blessed to have the Hollywood Boat that 388 00:29:20.080 --> 00:29:23.280 is an opener venue and one of the most emblematic 389 00:29:23.560 --> 00:29:29.840 open stage in the planet. We were doing music. 390 00:29:29.520 --> 00:29:36.120 By Mather by Livers, by different composers, the music of 391 00:29:36.240 --> 00:29:41.440 the Americas, Duke Ellington, the Toven because it was the 392 00:29:41.600 --> 00:29:42.160 Toban year. 393 00:29:45.720 --> 00:29:49.200 When I finished that, I came to Europe. I was 394 00:29:49.280 --> 00:29:52.760 finishing the score for West Side Story, the Steven Spieler 395 00:29:52.880 --> 00:29:57.520 version of West Side Story. And you know, it has 396 00:29:57.560 --> 00:30:02.320 been a combination of things. Right now, every. 397 00:30:02.120 --> 00:30:07.160 Place it has their own reality, even if we have 398 00:30:07.240 --> 00:30:10.920 the same reality. We are trying to deal with our 399 00:30:11.160 --> 00:30:13.880 own things, with the reality that we are living. 400 00:30:16.320 --> 00:30:19.560 You're talking about how music and the arts can save 401 00:30:19.640 --> 00:30:21.920