Conductor Francesco Lecce-Chong will lead the National Radio Orchestra in a season concert scheduled for Friday, April 4th, 2025, at Sala Radio. On this occasion, the American musician sat down for a conversation with our colleague, Ioana Țintea.

You were appointed Music Director of the Eugene Symphony and the Santa Rosa Symphony at a very young age, before turning 30. What were your expectations, and how did they play out in reality?

It was an extraordinary opportunity. This is every young conductor's dream-the chance to build something special alongside an orchestra and its audience over the long term. That's the beauty of being a Music Director: you get to spend years working with the same ensemble. At first, I thought I had to come up with all the ideas, plan the entire repertoire, and initiate all the projects. But over time, I realized that inspiration comes from interacting with musicians, audiences, and the broader community. What I love most now is that, in addition to my own ideas, I have the opportunity to collaborate with and be inspired by different artists.

Your European debut took place at the 2023 Enescu Festival with the National Radio Orchestra. Are there distinct characteristics that set European orchestras apart from American ones?

That's a great question. I think about this often, especially when preparing to conduct here. Now, it feels much easier because I know the orchestra well, but initially, it was quite a challenge. During the first ten years of my career, almost all my professional experiences were in the U.S. Eventually, I realized that I didn't need to approach things very differently. However, the structure of rehearsals is distinct. In the U.S., rehearsals are typically scheduled for two and a half hours, whereas here, they last four hours with more breaks. I had to adjust and rethink how I structure my rehearsal time because the dynamic is different.

In terms of the actual work, I don't feel a major difference. This is my third time here, and I feel very comfortable. In fact, for the first time, I haven't had to change my working style because we now truly understand each other. And I think that's the beauty of music-it's universal, no matter where you are. The way we interpret and convey it transcends any differences. Of course, every musician is a perfectionist. We are always striving to improve, to refine our craft, to evolve-and that holds true everywhere in the world.

Looking ahead to Friday's concert, the program highlights the drama and passion of iconic literary figures such as Hamlet and Romeo and Juliet. What drew you to this selection, and what is your artistic vision for these works?

I'm absolutely thrilled about the Tchaikovsky pieces in the second half of the concert and very grateful to the orchestra for allowing me to bring these two works together. Over the past two years, I've become increasingly fascinated by Tchaikovsky's symphonic poems and fantasy overtures, particularly his shorter works-those lasting 15 to 25 minutes. He composed so many stunning pieces of this kind, yet some are rarely performed. At some point-I'm not sure exactly how-I found myself listening to all of these lesser-known Tchaikovsky works and became determined to find a way to integrate them into my programming. "Hamlet" is probably my favorite. I find it incredible that so few conductors take on this score. To me, it's absolutely remarkable-a mature work with experimental elements. It can be challenging for the orchestra, but it's deeply dramatic and dark. I simply love it. I think it's an extraordinary piece, and I'm incredibly excited for the audience to experience it.

Would you say that the "Hamlet" fantasy overture can be interpreted as a reflection of Tchaikovsky's own life and emotions?

That's absolutely true. What's undeniably extraordinary about Tchaikovsky-and the reason we love his music-is how deeply personal it is.

In his daily life, he was a very private person, but in his music, he expressed everything. Everything he felt, everything he couldn't put into words, is woven into his compositions. That's why we connect so strongly with his music-because we see him reflected in it, but at the same time, we see ourselves in it too.

It's the same with Shakespeare's plays. The fascinating thing about Shakespeare is that when we watch a performance, we recognize aspects of ourselves in his characters. And I believe the same is true of Tchaikovsky's music.

What are the essential elements of the overture to Don Giovanni? What should the audience pay particular attention to?

I chose to begin with Don Giovanni because it is Mozart's most dramatic opera. While its overture isn't directly linked to Shakespeare, it shares the same intensity and striking contrasts. I don't often conduct this overture in concert, as it's quite short and divided into two distinct sections. The first, solemn section evokes the presence of the Commendatore, setting the dark tone that dominates the opera's beginning. Then, gradually, the mood shifts-energy and humor emerge, defining the middle and final sections of the overture. However, within this particular program, I feel the Don Giovanni overture establishes exactly the right atmosphere. It sets the stage perfectly, blending profound drama with moments of lightness and playfulness.

Another key work in the program is Richard Strauss's Horn Concerto No. 2, performed by Pascal Deuber. How does this piece fit alongside those by Mozart and Tchaikovsky?

I love pairing Mozart's music with Strauss. In fact, Mozart serves as a common thread throughout this entire program. Whenever I include grand symphonic works by Strauss or other large-scale compositions, I always find a place for Mozart alongside them. Even though Strauss wrote monumental, expansive, and spectacular music, he always maintained a sense of classical elegance rooted in Mozart's influence. This connection is especially evident in the Horn Concerto, which has a lighter, more lyrical quality. Additionally, given how intense and dramatic the second half of the program is, it's important to have a more relaxed moment beforehand.

You have a strong passion for music education. What initiatives have you developed in this area, and how can we attract younger generations to concert halls?

This is something I'm constantly exploring. There's no single correct answer, but ultimately, I believe we need to trust in the universal language of music and the power of what we do. It's not about making everything simpler-it's about creating the right atmosphere. In the U.S., we often talk about making music "beautiful and accessible," but sometimes, it's simply about the experience we create and the connection with the audience. For example, I currently oversee many educational programs at Santa Rosa. I don't do it all alone-we have six youth orchestras, and five other conductors lead these programs. Last year, for the first time, we launched what we call a "family series"-shorter concerts featuring well-known and engaging works for all ages. We wanted to create an opportunity for families to attend together and enjoy the music. I speak more with the audience, and we have a large video screen above the stage with live cameras, so even children sitting further back can see more than just the musicians on stage. They can observe the instruments up close and watch the conductor in action. My goal is to create an engaging, interactive atmosphere while still presenting classical masterpieces. For example, this year I had a programme with Scheherazade and I told the whole story, I shared the link between the music and the story with the audience. I enjoyed very much to do this. I think it's very important to give as many ways as possible for the audience to know an orchestra through events for all generations. I want the orchestra to be a mirror of the community, to bring people of all ages.

What reasons do we have to be optimistic about the future of live classical music in the coming years?

I believe that what we do now is more important than ever in an increasingly connected world-yet one that isn't always connected in meaningful ways. We are constantly bombarded by social media and negative news, and everyone talks about how divided we've become. In this context, the concert hall becomes a sacred space-one of the last places where we can come together and be reminded of everything we share.