Friday 30 May
Moving day! Just as we are about to set up our office in De Doelen in Rotterdam for the final rounds of the International Conducting Competition Rotterdam, we get an unexpected call: our pianist, Ronald Brautigam, has been hospitalised. The rest of the morning is spent calling every fortepianist we know, but regrettably, nobody is available to step in for tomorrow’s rehearsals. After speaking with the Orchestra of the Eighteenth Century and the six finalists, we decide to replace the Beethoven concerto movements with the Egmont and Coriolan overtures – everyone is happy! But just as we are starting to unpack, we receive another call: juror Iván Fischer has left one of his scores in Vienna. Do we know anyone who can pick it up? Luckily, one of the finalists is based there and can collect it on their way to the airport.
Monday 2 June
This morning, our webcast team is setting up its control unit next to our office. Starting today, all sessions of the competition will be streamed through no fewer than six international broadcasters. After a great but intense rehearsal day yesterday, today is even more strenuous, with another full rehearsal followed by the evening concert. Yet, without a hint of fatigue, the musicians of the Orchestra of the Eighteenth Century deliver six very personal interpretations, with Haydn’s “Passion” symphony living up to its name. What a start!
Wednesday 4 June
On to the next round, which couldn’t be more different, with hardcore repertoire by Stockhausen, Poppe and Furrer on the stand. Fortunately, the Viennese ensemble Klangforum is the perfect group to tackle such a demanding programme, bringing energy and joy to the stage. Each conductor also pairs these works with A Portrait of Six Conductors, a new piece by Mathilde Wantenaar that makes the ensemble swing like a big band. As a clever twist, the piece begins with the roll of a dice to determine the order of its six central themes. A fun idea – if only they hadn’t all rolled No. 2!
Friday 6 June
TRAIN STRIKE! With no public transport running across the whole country, it is an early start as I drive to pick up juror Eric Whitacre in Antwerp, which usually takes 30 minutes by train. We arrive just in time for the rehearsal with Sinfonia Rotterdam. Luckily, finalist Sam Weller, who is based in Amsterdam, also makes it!
For this round, the conductors are free to choose their own programme, as long as it includes a female composer. As it will be performed as an outdoor PROMS concert, the repertoire is refreshingly eclectic. Highlights include Anna Meredith’s Nautilus, with its nod to electronic dance music, and the rarely heard Danza de la Pena Negra by Costa Rican composer Benjamin Gutierrez.
Sunday 8 June
Let’s be honest, putting on an outdoor concert in The Netherlands is always a gamble, especially in June. After a few days of rain, the forecast for today actually looks promising. But with strong winds, it may still be a bit chilly for the musicians.
After three days of construction, a stage has been erected in the heart of the city centre, right next to the St Lawrence Church. With extra heaters for the 65 musicians and blankets for the jury, we are ready to begin. But just as the orchestra starts tuning, we are greeted with a sudden downpour which lasts for 20 minutes. Still, the show must go on. Luckily once the rain stops, the sun returns, and the audience once again fills the square.
Three candidates in, we are interrupted again, this time by the church bells ringing for Pentecost. Apparently, the sexton forgot to turn off the automated system. Sometimes you just have to laugh. Luckily, it doesn’t deter Luis Castillo-Briceño who gives an electrifying performance.
Wednesday 11 June
Today’s round is Opera! This evening, the conductors work on selections from Puccini’s Tosca, Madama Butterfly and Turandot. After rehearsing individually with the five soloists – including the amazing Madison Horman – and with the wonderful Laurens Symfonisch Choir, the finalists now face the challenge of putting it all together with the
Rotterdam Philharmonic Orchestra. Incredibly, each finalist rises to the occasion, especially Miguel Sepúlveda who ends his performance with a flourish.
Friday 13 June
Another early morning, as we prepare for the finals. Yesterday’s rehearsals with the Rotterdam Philharmonic Orchestra confirmed that we are in for an exhilarating concert. I can’t predict who will take home the Grand Prix. Each conductor performs one movement from Debussy’s La Mer and one movement from Rachmaninov’s Symphonic Dances. With only 65 minutes of rehearsal time (spread over two days) per person, it’s a real challenge. But they do not disappoint. On the contrary, each delivers the performance of their life, supported by the eager and enthusiastic musicians of the Rotterdam Philharmonic Orchestra. During the awards ceremony, jury chair Deborah Borda rightfully calls them one of the greatest orchestras in the world.
Just before that, a surprising decision is reached in the jury room. After two weeks of exceptional performances, it becomes clear that two conductors have stood out, each with a distinctive artistic voice. With 26 jurors casting their votes, it’s obvious that conducting is deeply subjective – there’s no single way to lead an orchestra. Although all six conductors receive top marks from at least one juror, the only fitting conclusion is to award the Grand Prix to both Miguel Sepúlveda and Luis Castillo-Briceño.
A fitting end to two remarkable weeks of music-making, where six conductors each left their mark – and two walked away with the prize.
