Conductor Andrew Litton talks to Geoffrey Newman
Andrew Litton
Born in New York Metropolis in 1959, Andrew Litton is presently Music Director of the New York Metropolis Ballet Orchestra. Litton shot to worldwide consideration in his mid-twenties after successful the BBC/Rupert Basis Worldwide Conducting Competitors in 1982 and rapidly grew to become Assistant Conductor on the Nationwide Symphony of Washington beneath Rostropovich. He then took on successive Principal Conductor appointments with the Bournemouth Symphony (1988-1994), Dallas Symphony (1994-2006), and the Bergen Philharmonic (2003-2015). He additionally directed the Minnesota Orchestra’s summer time competition from 2003-2017. Litton has now recorded over 140 CDs, totally on the Virgin, Delos and BIS labels. He’s additionally recognized for his virtuosity on the piano and his love of jazz and Gershwin. This interview tracks the conductor’s improvement and his achievements intimately. It occurred coincident along with his look with violinist Anne Akiko Meyers and the Vancouver Symphony Orchestra in October 2024 (overview right here).
Geoffrey Newman: Your formal conducting coaching at Juilliard began solely after you accomplished your diploma in piano. Certainly, your inspiration to conduct began a lot sooner than that?
Andrew Litton: Really, it began from after I attended Leonard Bernstein’s Younger Individuals’s live shows in New York on the age of 9. In concerning the fourth or fifth live performance I noticed, a efficiency of Respighi’s Pines of Rome actually managed to blow me away. Bernstein was so vivid in describing these 4 vistas in Rome, after which the music simply utterly amplified what he had described. And naturally, there was the ending with the additional brass – and he’s leaping up and down and all the pieces! It simply fascinated my thoughts, and I got here out of Philharmonic (now Geffen) Corridor figuring out that piano research alone have been by no means going to be sufficient. I instructed my mom that I needed to be a conductor.
Luckily, my household’s closest buddy, Richard Horowitz, principal timpanist on the Metropolitan Opera, rapidly assessed the scenario and mentioned, ‘Whenever you can, let Andrew come to our performances.’ And so I might go to the Met three to 4 occasions every week, sitting subsequent to the timpani and wedged in opposition to the wall between the massive drum: I might see the entire orchestra and the conductor, and 60% of the stage. In fact, a bit 11-year-old child doesn’t know when all the massive, dramatic subito fortissimo timpani rolls happen, so Richard would sign these to me by whispering ‘psst’ – and I might rapidly cowl my ears. A few years in, I didn’t want the psst anymore and, ultimately, I knew methods to score-read effectively sufficient that Richard even set me up with my very own music stand. I’m certain folks checked out me, considering, ‘What’s that child doing there?’
GN: So that you ended up falling in love with opera?
AL: Sure I did, and I received to know many operas higher than I knew different issues as a result of I used to be seeing them repeatedly. There have been some wonderful first impressions, like my first Tristan und Isolde with Birgit Nilsson and Jess Thomas, with Karl Böhm conducting. There have been incredible performances of Der Rosenkavalier and Salome. And Otello, again when Jon Vickers was singing that.
GN: It’s wonderful you bought a lot publicity to the best ranges of efficiency at such a younger age. So how did you ultimately get your hands-on expertise and visibility as a conductor?
AL: Properly, all that got here in a short time ten years later, and it was actually luck, luck, and I suppose a bit expertise. After being accepted for the Grasp’s conducting program at Juilliard, I first joined Eduardo Mϋller for a year-long opera conducting course at La Scala, then continued my research with Sixten Ehrling. My large choice was to enter the BBC/Rupert Basis Worldwide Conducting Competitors in January 1982. The timing coincided with our winter break, and I booked every week in London. Nevertheless, it turned out that I actually by no means received to see greater than my lodge room and the Maida Vale Studios as a result of I saved progressing within the competitors and ultimately gained it. The very first full-length orchestral live performance I ever performed was with the BBC Symphony Orchestra.
Additional developments got here rapidly: my London debut with the Royal Phiharmonic Orchestra was in January 1983. This began a beautiful relationship with the RPO which lasted for about 10 years and produced my preliminary Virgin recording of the Rachmaninoff full symphonies. It’s nonetheless extremely regarded. However there was yet one more fortunate break: in Could 1982, I gained the competitors to be Rostropovich’s assistant on the Nationwide Symphony in Washington. So, discuss beginning off: it was a completely wonderful yr!
GN: The Nationwide Symphony appointment will need to have been an excellent studying expertise.
AL: Sure, it was like the final word ending faculty to have entry to nice musicians whom you may go as much as and ask questions like: Why did you do that there? Why did you phrase it that method? In addition they anticipated you to direct, and naturally Rostropovich turned out to be the best doable mentor. He gave me a lot private time on scores, and whereas some may downplay his conducting skills, he was nonetheless an excellent, nice musician. And what he needed to impart to a younger ravenous thoughts like mine was completely huge – not simply within the Shostakovich symphonies, which was the final word grasp class, but in addition in Prokofiev and Tchaikovsky, and certainly something he touched along with his ardour and vitality.
When my debut with the RPO was approaching, Rostropovich recommended I come over and produce the Tchaikovsky rating. But it surely was not a Tchaikovsky symphony that was on the programme; slightly, the well-known Piano Concerto which I believed I knew intimately, having performed it as a pianist. What can he presumably inform me? I need to inform you that 90 minutes later I emerged with my eyes like saucers going, ‘Whoa!’ It was fascinating: this world-famous cellist telling a pianist extra concerning the Tchaikovsky concerto than might ever be imagined. He was an unimaginable inspiration.
GN: Your first main appointment was with the Bournemouth Symphony from 1988-1994. Did you discover you needed to get acclimatized to British repertoire calls for?
AL: We did a considerable quantity of British music, nevertheless it definitely was lower than the quantity of Scandinavian music anticipated of me in my Bergen appointment a lot later. I believe everybody was fairly completely happy when you threw within the odd piece of Bax or Bliss alongside the extra commonplace British orchestral objects. The actual irony is I made a decision, since all over the place else was asking me for American music, I wasn’t going to do any with the orchestra. After which in some way within the third season, we wound up doing a set from Bernstein’s West Facet Story. And so they performed it like they have been possessed! I mentioned to myself, ‘Why am I keeping this from them? They’re pure at it.’ The funniest factor, although, got here in the course of the first rehearsal of ‘Dance at the Gym’, the place I needed to train the orchestra methods to shout out ‘MAMBO!’ with true Cuban/American verve. They have been a lot too well mannered – and British! Anyway, quick ahead three years, we received a overview saying that the Bournemouth Symphony was the very best ‘American’ orchestra within the UK. We recorded a Bernstein album, together with The Age of Nervousness, and I’m nonetheless pleased with it. We additionally play-recorded the Gershwin Concerto in F alongside the Ravel G main. Thoughts you, I might actually play the piano again then.
GN: Your recording initiatives took off at Bournemouth, together with an entire Tchaikovsky Symphony cycle for Virgin Classics, adopted by what could have been a shock to many, the 4-disc set of all the most important orchestral works and concertos of Sir William Walton for Decca. Each have been broadly praised through the years.
AL: Sure, it was once more my fortunate time. Virgin Data was beginning up, wanted repertoire, and I’m a younger conductor in my 20s: they favored the concept of this Bournemouth/Litton mixture. My curiosity in Walton might need been influenced by the passion of André Previn and Leonard Slatkin, however doubtless began a lot earlier, when a buddy mentioned, ‘You gotta listen to this’. I used to be instantly amazed by the rhythmic propulsion of Walton’s music and its completely unmitigated ardour that always appeared very un-English. You’ll be able to hear all the massive tunes, and that’s the place you consider the monarchy strolling by, however a lot of its underlying musical core is jazz-driven. I might regard him as essentially the most American of the British composers. Decca approached me on this mission very late in my Bournemouth interval, and I mentioned ‘Absolutely. Let’s do it’.
GN: It was Walton’s Belshazzar’s Feast with Bryn Terfel that acquired the best acclaim of the collection and gained a 1997 Grammy Award for Finest Choral Efficiency. It was its spectacular recording that grabbed the curiosity of many: a real John Culshaw experiment!
Chris Hazell was the producer, certainly from the identical gene-pool as Culshaw. The 2 symphonies and the three concertos have been recorded in Southampton, which is sort of a pleasant corridor, however the large factor was that Decca needed to do Belshazzar in Winchester Cathedral, which has an excellent 10-second echo. And the best way they’d it arrange – when you think about a cathedral – I’m kind of in the course of the transept, and all of the strings besides basses, plus the woodwinds, are arrange by the alter. The massive refrain is behind the woodwinds. Behind me are the double basses, and behind them are the brass and percussion and timpani. And behind them are the brass bands. So I needed to alternate between conducting backwards and forwards for this recording. Bryn arrange proper subsequent to me. It was extremely troublesome to conduct this fashion and get all of it collectively, nevertheless it does sound great as a result of it’s such an enormous piece with the 14 additional brass and the refrain of 250. You want a really spacious acoustic to assist switch that sense of enormousness that usually a recording can’t impart. I can all the time inform it’s my recording as a result of not one of the others have that a lot echo.
GN: Your time with the Dallas Symphony (1994-2006) was primarily about constructing the orchestra’s measurement and sound and bringing a contemporary enthusiasm to their music making. One good factor is that you simply had a brand new corridor to work with.
AL: Sure, the Myerson Symphony Middle was solely three years outdated after I arrived. It was lovely: I.M. Pei was the architect and Russell Johnson of Artec was the sound particular person. But it was not with out its challenges – it was such a reverberant area if left to its personal units. Luckily, we have been armed with expertise, one of many wonderful issues about all these new halls. In rehearsal, we have been capable of dry it up so it was like 2000 folks have been sitting there. That received us the wanted readability. I generally surprise how sound engineers managed within the early days!
Andrew Litton
GN: In Dallas, you recorded Mahler and Shostakovich symphonies, an particularly nice set of Ives symphonies, and glorious concerto discs with the likes of Marc-André Hamelin and André Watts – all for Delos. Nonetheless, the one recording from this era which is all the time talked about to this present day is the Hyperion set of full Rachmaninoff concertos with Stephen Hough.
Stephen and I have been at Juilliard collectively and we collaborated loads after I was in Bournemouth. In actual fact, he was my final soloist whereas I used to be nonetheless Principal Conductor at Bournemouth. I don’t bear in mind once we cooked up the concept of doing the Rachmaninoff concertos, however we had carried out all of them collectively elsewhere, and so it simply appeared pure. I mentioned, ‘Stephen, I’ve been recording the Mahler symphonies reside, which works very well, as a result of we’ve 4 performances and also you by no means have 4 full takes within the studio. You recognize, it’s 4 takes, then a patch session’. You spend the subsequent morning after every live performance listening to what you’ve received and what you want, and also you try to repair it. And it labored! Stephen was very doubtful at first as a result of he had by no means executed something like that – however I satisfied him. The remaining is historical past. This course of is now commonplace fare for making orchestral recordings. One of many keys is getting the appropriate recording producer. One in every of my finest buddies is esteemed producer Andrew Keener: he has executed over half of my 140 CDs.
GN: Your later appointment with the Bergen Philharmonic Orchestra (2003-2015) was additionally about orchestra constructing, plus you have been capable of report extensively for BIS. This feels like a wealthy expertise.
AL: The Bergen story is sort of distinctive. I visitor performed the orchestra for the primary time in 1998, and I couldn’t consider that such a wonderful orchestra existed on this small metropolis on the west coast of Norway. It was ‘love at first beat’, so to talk! The orchestra requested me twice if I might think about being their subsequent Music Director whereas I used to be in Dallas. Lastly, on a later visitor conducting go to, I used to be taken out for dinner by a number of of the principals and instructed that 100% of the gamers needed me to be their subsequent Music Director. I requested in the event that they have been all keen to tackle the problem of dramatically elevated touring and recording. They have been utterly on board, and I agreed to return. Inside two years, we have been having residencies in Vienna, touring throughout Europe, making debuts on the Concertgebouw and the London BBC Proms, adopted by a US Tour. One other vital offshoot was the founding of the Bergen Nationwide Opera.
It was an extremely wealthy expertise, solely augmented by having the very good BIS engineers round to make recordings. We recorded the entire Prokofiev and Mendelssohn Symphonies, in addition to the three large Stravinsky ballets. All in all, nearly 25 recordings! I used to be really honoured to be knighted by the King of Norway for my service to tradition. It has change into no small supply of satisfaction for me that after I left Bergen, the orchestra was greater, higher and extra famend than after I began. And I believe that is true for Dallas and Bournemouth too.
GN: So, let’s get again to your old flame, opera. I do know you debuted on the Met with Eugene Onegin once you have been simply beginning out (1989), however how persistently have you ever been capable of pursue opera over your profession?
AL: I might say fairly persistently, and I’ve now carried out in lots of the world’s distinguished opera homes. Maybe my most concentrated efforts got here within the Minnesota Orchestra’s summer time competition, Sommerfest, which I directed from 2003-2017, the place I used to be capable of do lots of the Italian opera staples and doubtless my favourite opera composer, Richard Strauss. These overlapped with opera productions in Bergen. One in every of my particular recollections internationally was performing Der Rosenkavalier for the primary time within the Sydney Opera Home in 2010. It’s such a beautiful area from outward appearances, however the orchestra pit is actually tiny and poses challenges. Nevertheless, the general expertise was thrilling, and that is one in all my favorite operas. Since they made a video of the efficiency and launched it as a DVD, it was completely head-swimming for me to enter brick-and-mortar report outlets (which nonetheless existed in these days) and discover this video tucked proper subsequent to the basic performances of Karajan and Carlos Kleiber.
GN: Your appointment as Music Director of New York Metropolis Ballet in 2015 appeared like a significant profession swap. Simply how completely different has it confirmed?
AL: In a single sense, it’s not that completely different. I believe the explanation why Peter Martins employed me is that he needed a symphonic conductor, not a ballet conductor, and 80% of our repertoire is orchestral music. We do only a few full-length visitor ballets, solely the three large Tchaikovsky, Coppélia (which we simply completed) and generally Prokofiev’s Romeo and Juliet, and that’s it. For the remainder of the time, it’s primarily George Balanchine constructs, that are ballet settings of orchestral items.
That mentioned, there are some apparent variations in conducting ballet. First, you inevitably study that what you do with the music is just one a part of an even bigger manufacturing. As effectively, as a conductor, it’s a must to study to comply with ‘sight’ when most of your coaching entails following ‘sound’. Typically the orchestra has to return in precisely when a leap is completed, and it’s a must to be proper there. The timing of orchestral entries may be tough. One factor I’ve needed to study is ballet counts are important. Dancers depend on numbers, and they’re certainly genius quantity counters. The issue is that their ‘one’ may be very typically, and particularly within the case of Stravinsky, not the musician’s ‘one’. So the counts are completely different: it’s fairly wild. Typically we’ve resorted to singing to point after I ought to begin. When the dancers begin singing, I say, ‘OK!’ and we’re set.
GN: You might be doing a part of a Balanchine programme for us: Stravinsky’s ‘Divertimento’ from Le Baiser De La Fée. The connection between Stravinsky and George Balanchine was an enchanting one.
AL: What’s fascinating about Balanchine’s setting of ‘Divertimento’ is that it makes use of completely different items from the ballet than Stravinsky’s personal suite: the one frequent merchandise is the pas de deux. Balanchine tried 4 occasions throughout his profession to stage the entire ballet, however he simply couldn’t do it. He got here up along with his personal ‘Divertimento’ for the Stravinsky Competition he had in New York in 1974 to honor his buddy’s passing. However, there have been so many profitable collaborations: their friendship was so distinctive and symbiotic, and so they regularly pushed one another ahead. Balanchine was capable of make Orpheus and Agon work: these have been ballets particularly written for him. Balanchine might take even lesser Stravinsky, just like the Capriccio for Piano and Orchestra, and switch it into a tremendous ballet. It’s sensible and a lot enjoyable. It all the time brings the home down. And ultimately he set the Violin Concerto, and even the Symphony in Three Actions. But Balanchine was completely in opposition to setting The Ceremony of Spring as a result of he thought it was an ideal piece. Why damage it with dance? He had executed a Firebird years earlier than, however it will definitely disappeared from the corporate’s repertoire till Marc Chagall begged him once more later, saying ‘Can we please do it? I want to do the sets and costumes.’ And so, we nonetheless have the ballet of the shorter 1945 suite and, due to Chagall, it’s our most visually beautiful ballet. I like performing that.
GN: I’ve heard that ballet experiences weren’t completely international to you once you have been youthful, because you accompanied Rudolf Nureyev on the piano in his uncommon, late Nineteen Seventies, go to to New York.
AL: Sure, that was my first yr at Juilliard after I was 18. I used to be fairly nervous since I used to be instructed he had a vicious mood. In any case, we’re on stage at what was then known as the Minskoff Theater on Broadway and forty fifth. I’m off-center stage, and he’s leaning on the piano, stretching. We will hear the hubbub of this packed viewers by means of the curtain and I’m a nervous wreck already. Impulsively, I turned to Nureyev and mentioned, ‘Tell me, Rudy, “Do you ever get nervous?’ Instantly his eyes received actually large and flashed with rage! He mentioned, ‘What a stupid question! Of course I get nervous. You have to get nervous. Do you hear all those people out there? Do you know how much money they’ve paid? You’ve received to get nervous, however it’s a must to study to channel that into vitality and pleasure.’ And simply then, the stage supervisor known as ‘Places!’ and he went to his spot on the stage. My nerves simply disappeared as a result of I believed, ‘OK, I just got yelled at by the most famous living dancer. And he says it’s OK to be nervous.’ It was such a beautiful lesson to study at such a younger age.
GN: Let’s transfer to your piano taking part in, which you could have clearly saved up. Critics nonetheless give the strongest reward to your piano recordings with orchestra, particularly of Gershwin and different jazzy objects. I’ve heard that Oscar Peterson was a defining affect.
AL: I knew nothing about jazz after I was a child as a result of my dad and mom didn’t take heed to it and, rising up in Manhattan, I spent all my time at symphony and opera performances. Nevertheless, on my sixteenth birthday, one in all my associates occurred to convey an Oscar Peterson LP. I didn’t actually know what it was and, as quickly as all people left, I put it on my little turntable and this very up-tempo ‘Give Me the Simple Life’ begins. I had by no means heard something prefer it. I performed Gershwin on the piano however this was an entire new world. I grew to become a complete groupie, and I’d go see him wherever, each time. Two days after my live performance with the RPO and Buddy Wealthy in 1983, Oscar occurred to be showing along with his trio in London. I requested the chairman of the orchestra to introduce me, and he agreed. I used to be in such awe, and I simply didn’t need to be any person – I needed to be any person. But it surely turned out to be utterly pointless as a result of Oscar was an extremely good and generous-spirited man. So after I was launched, he was uber pleasant and truly he instructed me some humorous Buddy Wealthy tales. After that, each time I went backstage to see him, he remembered me instantly.
A memorable second got here in 2003 after I began operating the Sommerfest competition of the Minnesota Orchestra. I instantly put a jazz element into the competition and, sure, my first visitor was Oscar Peterson. By then, he was fairly on in years, nevertheless it was simply so cool to go from simply worshipping any person to truly having the ability to invite them to play in your competition. A beautiful full circle! In 2014, I launched my first solo piano album, A Tribute to Oscar Peterson.
GN: On to your conducting type. Do you suppose it has modified over time? You could have been a daily customer to the Vancouver Symphony for a few years, and my preliminary impressions have been that you simply created an unusually large, wealthy sound inside a slightly muscular type, with contoured phrasing, very structurally and tonally built-in by way of constructing a piece’s form.
AL: That’s good to listen to. That’s what I’m going for, completely true. I first performed the VSO 35 years in the past, in 1989. It was very completely different orchestra then, nevertheless it has all the time had nice spirit and heat. My concepts of what I needed from an orchestra maybe began from a teenage dream that I might conduct an all-star ensemble that had each the sound of Philly and the precision of Cleveland. A key for me in creating the wealthy sound is to all the time construct the sound from the underside up. If an orchestra has an excellent double bass part, that is step one, and I can loosen up. I definitely take note of element, possibly extra now than I used to, nevertheless it’s all to reach on the similar fundamental finish: to get orchestral gamers themselves to listen to once they’re not taking part in collectively slightly than simply superficially following me. On the similar time, I do suppose quite a lot of work may be executed publicly. You attempt laborious to just remember to’re making your factors very clearly and you are able to do that loads with gestures.
GN: A priority of the 2 different American conductors I’ve lately interviewed, Gerard Schwarz and Leonard Slatkin, is the neglect of the music of twentieth-century American composers equivalent to Hanson, Diamond, Piston and Robert Schumann. Each are making nice efforts to resuscitate curiosity. Do you could have any perspective on this drawback?
AL: Properly, I’ve little doubt that Aaron Copland and Leonard Bernstein will all the time be within the public eye, whether or not we wish that or not, however there are a lot of different American tonal composers of this era that didn’t ever make it so large that they’re not indispensable now, and that’s a part of the issue. The utmost we would anticipate is they’re remembered by audiences for possibly one or two works, like Samuel Barber and Howard Hanson. On the similar time, whereas we’re again to tonality now, there was a prolonged interval the place music went pear-shaped, and there’s nonetheless an entire world on the market right now that loves minimalist music. It’s kind of past me. I’ve to conduct a few of this for the ballet, however I definitely would by no means electively accomplish that. It’s not my factor, but there are many folks for whom it’s, in order that’s nice.
GN: Talking of those different conductors, do you ever cross paths with them, or are your careers simply so completely different and busy?
AL: It’s fascinating that you simply ask this query, since Leonard Slatkin and myself have change into nearer in recent times. His youthful brother, Fred Zlotkin, was the truth is the principal cellist of the New York Metropolis Ballet Orchestra from 1972. I developed a very nice friendship with Fred after which, in 2021, in the course of the pandemic, he retired. And sadly, he handed away the subsequent yr. Leonard grew to become a lot nearer to me after that as a result of, I don’t know, we simply kind of discovered one another. We now stay up for dinner collectively twice a yr in New York.
GN: So a remaining query: I do know your profession as a ballet conductor is definitely taking off, that includes a debut at The Royal Ballet final yr and in Munich this yr, however how a lot do you miss a regular orchestral conducting place? If an orchestra requested you to carry out a Shostakovich symphony subsequent week, would you need to do it?
AL: I might fortunately do it, and I do miss Shostakovich. And Beethoven, Mahler, Richard Strauss, and lots of others too! Luckily, my schedule does permit room for visitor conducting and, if the circumstances have been proper, I might tackle a symphony orchestra appointment as effectively. Nevertheless, I do conduct quite a lot of symphonic music with the ballet, and the prospect of having the ability to work at Lincoln Middle with such a tremendous firm, simply blocks from the place I grew up, in some way appears not too shabby at this level in my life.
Geoffrey Newman
Featured Picture: Andrew Litton
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