You’ve built a reputation for creating vivid and engaging musical experiences. What excites you most when stepping onto the podium with a new orchestra?
Whether it’s an orchestra I’m meeting for the first time, or one I’ve conducted many times, for me, that first rehearsal is always about discovery. Every orchestra has its own personality—how it breathes, how it listens, how it reacts. I’m always excited to see what we can do together.
This program has a lot of different colors in it, which makes that process even more interesting. You immediately get to explore different sides of the orchestra and see how flexible and expressive it can be.
In this case, I conducted in Tucson many years ago. So I hope our first rehearsal is like getting together with an old friend, where we’ve both grown and changed, and we’re excited to catch up.
Your career spans both symphonic and operatic work. How does that range shape the way you approach a program like Tucson Symphony’s performance of Music from Carmen?
In a concert setting, you want the music to feel just as alive and full of personality as in a fully staged production. That means that we, the Orchestra, have carry all of that energy. What I like about this program is the range of expression: Boulanger is atmospheric, Barber is deeply expressive, and then Carmen brings this unmistakable flair. We’re preparing for a journey with drama at every turn.
Bizet’s music brings a strong sense of drama and character. What do you enjoy about exploring storytelling through orchestral music?
What I love is that the orchestra can say so much without ever needing words. In Bizet, everything feels immediate — the rhythm, the color, the momentum. But this whole program tells stories in different ways, which is part of what makes it so satisfying. You move from the world of Boulanger into Barber and then Bizet, and each piece opens a different emotional space.
For audiences joining us on March 20 and 22, what kind of musical experience do you hope they’ll walk away with?
I hope people leave the hall whistling the tunes and still feeling the energy of the Orchestra in their ears. I want them to feel captivated by the beauty of the sound, the excitement, and the color of the music.
This program has a lot of contrast, but it’s all very direct and human. There’s intimacy and light, there’s sweep and richness, and there’s real fire and rhythm. It’s music that grabs you.
At the end of the night, I hope people walk out feeling energized, moved, and already wanting to come back for more.
Live performance has a unique energy. What makes sharing music in the concert hall feel especially powerful to you right now?
For me, the concert hall is a communal space where we come together to share a connection in real time. Live music asks us to be present in a way not much else does. You’re sharing time, space, sound — all of it — with others, and that creates a real sense of connection.
There’s a lot of contrast in this program, but it all connects in a very human way — light and shadow in the Boulanger, the brilliance in the Barber, and then all the energy and color of Carmen. The emotional world shifts so much from piece to piece that you can really feel the audience responding together. That’s a powerful thing.
You and Tucson Symphony CEO Paul Meecham have a history that goes back to the early days of your career, when he and Marin Alsop helped create a fellowship that supported your artistic growth. What does it mean to reconnect now in this new context?
It means a great deal to me. Paul knew me when I was still very early in my journey, and that kind of support stays with you. To reconnect now, at this different stage of life and career, brings a real sense of perspective and gratitude. It reminds me how important those early acts of belief can be.
Our community in Tucson is heavily Latino, and our audiences have been so glad to have more cultural representation on our stages in recent years — whether in our programs or in our soloists and conductors. How do you see representation in our industry today? For you personally, do you see yourself as a role model for kids of color?
I want to create spaces where people feel that they belong. We can do that through the programs we present, the repertoire we choose, and the artists we bring to the stage. Representation is part of that, because it matters for people to see themselves reflected in the art form. But it also goes beyond visibility. It’s about access, opportunity, and making sure more people can imagine a place for themselves in our field and in our audiences. As an industry, we’ve made meaningful progress, but there’s still a long way to go, especially when it comes to elevating composers and creators of color. And yes, if I can be a role model for young Black boys and girls, that means so much to me — while also hoping any young person with a dream can see that there is a place for them here.