Charles Dutoit, a legend od the conducting art, is at the podium of the "George Enescu" Philharmonic Orchestra in this week's concerts. The program includes the suite "The Firebird" by composer Igor Stravinsky, Violin Concerto No.2 by Sergei Prokofiev, and the well-known Symphony No. 9, Op. 95 in E minor, "From the New World" by Antonin Dvorak. The solist is violinist Ioana Cristina Goicea, artist-in-residence for the current season.

Composed in 1910 by Serghei Diaghilev's request, "The Firebird" propelled young Igor Stravinski into the spotlight of both the public and the musical community. What is your perspective on this work?

"The Firebird" was a stroke of luck in Stravinski's life. Because he wasn't supposed to compose the work, Diaghilev initially requested a piece from a composer named Lyadov. However he was an eccentric character, known for the extremely short pieces such as "Baba Yaga", and was also an alcoholic. Thus, Lyadov never even started composing "The Firebird". Diaghilev had previously heard Stravinski's "Scherzo fantastique", one of his few orchestral works, in Sankt Petersburg. He didn't know Stravinski, but he liked the piece and he knew that Stravinski was studying withRimski-Korsakov. Diaghilev needed a composer to write the piece, as the ballet recital had already been announced in Paris. Thus, he asked Stravinski to do it.Stravinski acgreed, but he didn't have a much time at his disposal. I have a copy of The Firebird manuscript at home, it is fascinating to see how beautiful the writing is at the beginning- clear, legible. However, as the piece progresses, you can tell that Stravinski struggled to finish it.

The Firebird is marvelous, because it is deeplyrussian, it's the meeting of Stravinski and the ancientrussian fairytale realm. The ballet was later presented in Paris, where Stravinski achieved great success. A success that also belonged to Diaghilev and the entire russian art scene.

You have paid special attention to Igor Stravinsky's work throughout your career. You are an Honorary Member of the foundation in Switzerland that bears his name, and you even had the opportunity to meet the great Russian composer. How did your relationship with Stravinsky's music take shape?

It is once again about life's opportunities, about destiny and chance. When I was 21, I had to go to Geneva to take my exams in order to obtain my conductor's diploma. I had to prepare manypieces, including Beethoven, Brahms, and others, but I also had to conduct modern work- "The Soldier's Tale" by Stravinski. This piece was composed in Switzerland at the end of World War II,during a period of greatfinancial hardship.Because of this, they conceived it for a small group of instrumentalists. I then had to conduct the piece, and I was successful. Among the jury members was an Italian conductor, Alceo Galliera who at that time was recordingalbums with Dinu Lipatti. Galliera invited me to work with him in Siena where he held a masterclass. Thanks to him, I received a scholarship and joined his program. He liked how I conducted "The Soldier's Tale", and because of that, he assigned me "The Firebird".

Until then I hadn't seen the score, but I took it and studied it. That concert was also a great success. Because of those achievements, each time I was asked to take on another work by Stravinski. The Firebird was often requested in the programs of my conducted concerts. Later, I began to delve deeper into "The Rite of Spring", as I was determined to conduct this piece before turning 30. I achieved this at 27, and it was also a great success. Things continued in this way,to a defining moment in December 1959, when I met Stravinski in New York. He was conducting his own work "Les Noces" along with pieces by American composers. I also met his son Fyodor, who was a painter. Recently, his great-grandniece, Marie Stravinski, invited me to join Igor Stravinski Foundation. His music has accompanied me throughout my entire life; I have explored all of his works.

Can you tell us about your collaboration with the 'George Enescu' Philharmonic over the years?

I came here 60 years ago to conduct for the first time. A very gallant gentleman visited me here at the Atheneum, between rehearsals, to tell me that he had performed in my first concert here 60 years ago, as theprincipal flutist. Indeed, at that time, the relations with the West were very difficult, and the Iron Curtain divided Europe. But I was young and very happy to be here. After that, I came to perform in Romania many times. My friends included, among others, the cellist Radu Aldulescu and the famous pianist Valentin Gheorghiu. I have a strong connection with Romania.

You have traveled to all 192 countries in the world, and you can be described as a true globetrotter. How does the activity of conducting spark your interest in diverse cultures?

I believe that not only as a conductor, but also as a human, it is very important to know and understand diverse cultures. Curiosity helps us in that regard. I've always had a curiosity and openness toward discovery. It is not about the achievement of visiting all the countries in the world. But if you truly want to learn something like that, you need to have the will.

You are passionate about history, archaeology, and architecture. Do you see any similarities between approaching a musical score and these passions of yours?

Everything in life follows a line. Everything has a starting point and an endpoint. A musical phrase follows the same principle. The discourse of a complex symphony works because it has a well-defined architecture; the composer has given it form. The structure of a musical score and that of a painting both follow a line. In the world of sound, we know the series of natural harmonics. This organized system simply exists in nature. Everything works on such principles! Archaeology, history, art... When you are impressed by a work of art, it is because its structure is subordinated to a line. I believe this happens in all spheres of life.

You have dedicated much time and effort to the new generation of musicians. You were the Musical Director of the Verbier Festival Orchestra, the Artistic Director of the Sapporo Pacific Music Festival and the Miyazaki International Music Festival in Japan, among others. You have given masterclasses and collaborated with numerous youth orchestras. How would you describe your approach to mentorship?

Of course, teachers are very important, but students are even more important. Some students learn because they truly want to. In the field of conducting, we have a special situation... Conducting cannot be taught. Young musicians attend my rehearsals or those of other conductors and observe the ways in which certain musical problems are solved, and they learn from that. In the next stage, they themselves will be at the podium, working with the orchestra as they know how. And that's it-the rest of the process is simply about gaining experience. It takes time. You can ask any of my colleagues, and I am sure they will all agree: it takes 20-30 years to learn the art of conducting. The situation is different for instrumentalists, because they are constantly learning and studying on their own instrument, so what they present to others is the result of their previous work on that instrument. However, a conductor must learn a lot without having the opportunity to conduct an orchestra, without having 'their instrument' available. And before they conduct an orchestra, they cannot acquire true knowledge of the craft. It takes decades for a conductor to truly understand their art.

In today's society, learning methods are faster because young people have access to information in a way my generation didn't. We didn't even have records at home when I was a child... we couldn't afford them. The only option was to listen to the radio. Today, recordings can be accessed very easily. However, this doesn't necessarily mean that you're learning. Being informed is different from being educated or developing your culture. I don't want to discourage anyone, as I respect young people. But conducting requires an enormous developmental effort.

Throughout your extraordinary career, you have received numerous distinctions and awards, including the Gold Medal from the Royal Philharmonic Society in the UK in 2017, the 'Premio una Vita nella Musica' awarded in 2022 by Teatro La Fenice in Venice, and in 2014, the Lifetime Achievement Award from the International Classical Music Awards. You have collaborated with more than 150 orchestras worldwide and served as Artistic Director of renowned ensembles such as the Montreal Symphony Orchestra and the NHK Symphony Orchestra in Tokyo. What does music mean to you in your life?

Making music is my life! When I was a child, I was very interested in mathematics, physics, and sciences, but since I started studying music, I gradually shifted more and more towards history, the study of great cultures, literature... I became a musician, and that is the axis of my life. Everything else I've learned has helped me build myself. I think it's extremely important, and I encourage everyone to seek to understand the world. More recently, my wife and I have been very interested in geopolitics, and we are constantly trying to understand the world we live in. We read a lot and follow numerous sources of information...

My life has been that of a musician. However, if for any reason I had to stop making music, I could have pursued another path, as there are many things I am passionate about.