As the Head of the Balearic Islands Symphony Orchestra and a collaborator to the United Nations, Pablo Mielgo makes music a union of cultures.
Exclusive Interview with Pablo Mielgo
As Chief Conductor of the Symphony Orchestra of the Balearic Islands (OSIB) since 2014, Pablo Mielgo has stood as an inspirational and dedicated leader, promoting the acclaimed orchestra’s development with his vast international experience. In addition to improving the quality of the orchestra and its programs, Pablo Mieglo has successfully developed his network with guest performances, youth programs and the finest offering of artists.
When was your first contact with music?
Although I do not have a clear memory since I started at the age of three. I know that it was thanks to my parents and my brothers who were already introduced to the world of piano. I was lucky enough to have one of the best teachers for children at the time in Madrid, María Teresa Fuster. In my early years she led me in a fundamental way to forge my love for music with all the effort and discipline that is involved.
How has your passion for music evolved?
Obviously the road from childhood to now has been long and laborious. I am very satisfied with what I have achieved, which strengthens my passion and allows for the necessary perseverance to continue on a day to day basis. The profession of going on stage, beyond art, involves a constant craftsmanship of many hours composing, to be able to assume responsibility and guarantee the work.
What has been the most important moment of your career?
I can not write down one in particular. I have been very fortunate to have great moments in my career, which have meant that although I still see myself on a path of learning, I can say that I have known great masters, stages and felt the warmth of the audience. I have been able to lead large symphonic groups, and make many small dreams in my profession come true.
You have worked with the Directors Jesús López Cobos, Daniel Barenboim and Claudio Abbado. What have you learned from each of them?
Almost all of the great names that I have known closely have allowed me to understand the profession from its most demanding angle. Understanding that beyond a genius that there is a constant work that makes the sacrifice part of the reward. From the names you have mentioned, I also understand what the profession entails, which goes further from the stage. In the environment in which we live, we are products of a market of many responsibilities, which are acquired through experience. We cannot forget that directing is leading, understanding, listening and making decisions, which in many cases are not the best for the individual, but for the benefit of the group.
What is your style of directing?
It is difficult to answer this question, since it is an opinion that should be given by those who share the stage with me, or the audience that attends my concerts. Of course I try to be prepared to the maximum each day. I go on stage with the security of giving everything that I have, being aware of the luck that I experience. Living on the stage is a privilege for that I must be present with every day. Excellence is never achieved, because if it is considered that it has been obtained, there is a deception about the final result.
What has been your greatest challenge as Head of the Symphony Orchestra of the Balearic Islands?
Since I arrived in 2014, there have been many challenges that I have faced as the head of OSIB. Fundamentally, to build a first-rate artistic season for the public and for the reputation of the orchestra. Also opening it up to society has been a major challenge – to enter the world of youth and children’s education or to take it to the street in a social environment. Make it meaningful and transcendental in society, as well as being an image of the culture of integration of the islands and its image abroad. In the future there will be two great challenges. First, by having our own headquarters with the construction of the Music Box which is currently in progress. Secondly, to complete the staff of the orchestra, not only for the vacancies that exist at this moment, but for the near future and the upcoming retirements, that will propose a very important change.
You collaborate with the United Nations and the Onuart Foundation, how have these collaborations been?
Since 2014, I have been fortunate to work with the Onuart Foundation, an institution tied to the United Nations. Here, I have enjoyed great cultural projects in various countries around the world, always with the intention of forming a union of cultures. The concerts in the dome of Miquel Barceló for the United Nations of Geneva has been particularly special. This is because of its potential to unite music and the power of its message through the United Nations, where culture stands as a message of hope in a union of people that can be historical.