Stella Chen: Brahms Violin Concerto – An evening of virtuosity, landscapes, and symphonic emotions

• The Medellín Philharmonic Orchestra presents the concert "Movement and Life" on Saturday, July 26, under the direction of Colombian maestro Tami Daniel Rueda-Blanco, associate conductor of the Orchestra.
• The program includes Borodin's legendary Polovtsian Dances, Luis Carlos Figueroa's refined Suite for Orchestra, and Rachmaninov's monumental Symphonic Dances.
• Filarmed will offer one of the most moving experiences of its season: "Movement and Life," a program that connects the ancestral power of dance with the emotional biography of its composers.

"Movement and Life," which will be presented next Saturday, July 26, at the Metropolitan Theater, will be conducted by Tami Daniel Rueda-Blanco, associate conductor of the Medellín Philharmonic Orchestra and one of the emerging figures in the Latin American symphonic scene. Rueda-Blanco brings a fresh vision to these scores, with a vibrant interpretation that unites tradition and modernity.

The repertoire offers a journey through different geographies and eras. The evening opens with Polovtsian Dances, a brilliant and colorful excerpt from the opera Prince Igor, in which Borodin blends Russian and Oriental melodies in a musical feast brimming with exoticism and energy. In addition to being a composer, Borodin was a notable scientist and women's rights activist in 19th-century Russia.

From Colombia, maestro Luis Carlos Figueroa, at 101 years old, presents his Suite for Orchestra, a work full of elegance and simplicity, which translates Colombian rhythms into a universal symphonic language, heir to the French tradition.

The program closes with Sergei Rachmaninov's profound and passionate Symphonic Dances, his last work. In these dances, Rachmaninov revisits his personal struggles, nostalgia, and triumphs, confronting the passage of time and the loss of his homeland with music that stares life in the face.

A director with international vision

Tami Daniel Rueda-Blanco, trained in Vienna and Laureate of the 10th Jeunesses Musicales International Conducting Competition in Bucharest, is one of Latin America's most versatile emerging conductors. He has conducted orchestras such as Denmark's Aarhus Symfoniorkester and Vienna Radio, and is currently Associate Conductor of the Medellín Philharmonic Orchestra, combining academic rigor with artistic sensibility. He is currently represented by the German Conductors' Forum (Forum Dirigieren).

See interview with the director

The event is Saturday, July 26th at the Metropolitan Theater starting at 5:00 pm with Spoiler Orchestra, the pre-concert talk, and the concert at 6:00 pm. Tickets are available at LaTiquetera.com  

This is the seventh concert of the 2025 season, a season titled Movement and Life, which pays homage to the deep roots that move us as a community, as individuals, and as a symphonic tradition. This time, the program explores how a composer looks to his roots toward the end of his life, and how movement—understood as dance, vital energy, and human expression—becomes the voice of that memory.

Press kit for journalists

The Medellín Philharmonic Orchestra, after a rigorous evaluation process, is pleased to announce the musicians who advance to the next round of selection for the position of Cello Row Assistant.

The judging panel will proceed with the final deliberation, evaluating the material and career paths presented by the candidates. This process reflects our orchestra's commitment to artistic excellence, a fundamental pillar of our sound identity.

The audition will take place on Monday, August 19 at 2:00 pm at our headquarters, Filarmed House.

The identity document numbers of the musicians invited are listed below:

• The Medellín Philharmonic Orchestra presents the concert "Movement and Life" on Saturday, July 26, under the direction of Colombian maestro Tami Daniel Rueda-Blanco, associate conductor of the Orchestra.
• The program includes Borodin's legendary Polovtsian Dances, Luis Carlos Figueroa's refined Suite for Orchestra, and Rachmaninov's monumental Symphonic Dances.
• Filarmed will offer one of the most moving experiences of its season: "Movement and Life," a program that connects the ancestral power of dance with the emotional biography of its composers.

"Movement and Life," which will be presented next Saturday, July 26, at the Metropolitan Theater, will be conducted by Tami Daniel Rueda-Blanco, associate conductor of the Medellín Philharmonic Orchestra and one of the emerging figures in the Latin American symphonic scene. Rueda-Blanco brings a fresh vision to these scores, with a vibrant interpretation that unites tradition and modernity.

The repertoire offers a journey through different geographies and eras. The evening opens with Polovtsian Dances, a brilliant and colorful excerpt from the opera Prince Igor, in which Borodin blends Russian and Oriental melodies in a musical feast brimming with exoticism and energy. In addition to being a composer, Borodin was a notable scientist and women's rights activist in 19th-century Russia.

From Colombia, maestro Luis Carlos Figueroa, at 101 years old, presents his Suite for Orchestra, a work full of elegance and simplicity, which translates Colombian rhythms into a universal symphonic language, heir to the French tradition.

The program closes with Sergei Rachmaninov's profound and passionate Symphonic Dances, his last work. In these dances, Rachmaninov revisits his personal struggles, nostalgia, and triumphs, confronting the passage of time and the loss of his homeland with music that stares life in the face.

A director with international vision

Tami Daniel Rueda-Blanco, trained in Vienna and Laureate of the 10th Jeunesses Musicales International Conducting Competition in Bucharest, is one of Latin America's most versatile emerging conductors. He has conducted orchestras such as Denmark's Aarhus Symfoniorkester and Vienna Radio, and is currently Associate Conductor of the Medellín Philharmonic Orchestra, combining academic rigor with artistic sensibility. He is currently represented by the German Conductors' Forum (Forum Dirigieren).

See interview with the director

The event is Saturday, July 26th at the Metropolitan Theater starting at 5:00 pm with Spoiler Orchestra, the pre-concert talk, and the concert at 6:00 pm. Tickets are available at LaTiquetera.com  

This is the seventh concert of the 2025 season, a season titled Movement and Life, which pays homage to the deep roots that move us as a community, as individuals, and as a symphonic tradition. This time, the program explores how a composer looks to his roots toward the end of his life, and how movement—understood as dance, vital energy, and human expression—becomes the voice of that memory.

Press kit for journalists

Filarmed names Ana María Patiño-Osorio Music Director, marking a new era for Orchestras in Latin America 

Spotlighting a new generation of Latin American symphonic talent

Medellín, Colombia — The Medellín Philharmonic Orchestra (Filarmed) announces the appointment of Colombian conductor Ana María Patiño-Osorio as its next Music Director, commencing in February 2026. At just 30 years old, Patiño-Osorio becomes one of the youngest music directors in Latin America and one of the few women to lead a major professional orchestra in the region—a historic and forward-looking appointment that reflects a broader evolution of classical music in Colombia. 

This is not merely a leadership change; it is a declaration of artistic and cultural intent. With this historic decision, Filarmed reaffirms its commitment to showcasing the strength of Latin American talent, amplifying contemporary voices, and reimagining the role of the symphony orchestra in a fast-changing world.   

A Vision-Aligned Appointment 

Patiño-Osorio's arrival is fully aligned with Filarmed's identity as one of Latin America's most forward-thinking orchestras—recognized for daring programming, powerful social initiatives, and an unwavering commitment to cultural inclusion.  

“Ana María's appointment marks a turning point—not only for Filarmed, but for the entire orchestral landscape in our region,” said María Catalina Prieto Vásquez, Executive Director of the orchestra. "She embodies the artistic excellence, innovation, and social consciousness that defines our mission. Together, we will continue building a new model for what a Latin American orchestra can be."  

Patiño-Osorio brings a humanistic, collaborative approach to the podium. She is known for championing Latin American composers and for fostering powerful connections between musicians and communities.  

“I am honored to take on this role with an orchestra that feels like home—one that reflects the pulse of Medellín and shares my deepest artistic and human values,” said Patiño-Osorio. "This is a city of creativity, resilience, and innovation, and I believe music can continue to be a force for connection and transformation. We will make music that speaks honestly, emotionally, and with purpose." 

Renowned conductor Andrés Orozco-Estrada also celebrated the news, calling it “a historic moment for symphonic music in Colombia.” I have added: 

"Ana María is a fantastic conductor with deep respect for music and musicians. I admire her journey and am thrilled to see her leading Filarmed into a brilliant new chapter." 

Filarmed: A Model of Artistic Purpose and Social Innovation 

Founded in 1983, the Medellín Philharmonic Orchestra has become one of Colombia's most dynamic cultural institutions. Its programming is a bold mix of Latin American symphonic repertoire, genre-crossing collaborations, and award-winning social projects. The orchestra has earned global recognition with a Latin Grammy Award (2021), the Classical:NEXT Innovation Award (2022), and the Kennedy Center LEAD® Award (2024) for accessibility and inclusion in the arts. 

With Ana María Patiño-Osorio on the podium, Filarmed enters a new era—where artistic risk, cultural authenticity, and social responsibility are not just ideals, but daily practice.   

Additionally, the orchestra has selected an artistic partner who will be announced in the coming months. 

See the press kit

Press Contact: 
Juan Manuel Chavarría – juan.chavarria@deepskyblue-grasshopper-392337.hostingersite.com 

Photos: Juan Manuel Chavarría 

Follow Filarmed:

www.filarmed.org – @Filarmed (Instagram, X, Facebook, LinkedIn) 

Movement is not just rhythm. It is vital impulse, memory, struggle, and transformation.

The next Saturday, July 26 at 6:00 p.m.., we present “Movement and Life” at the Metropolitan Theater, a concert that invites you to feel how music embodies the essence of being human: our capacity to move, remember, and resist through art.

We talked with the teacher Tami Daniel Rueda-White, associate conductor of the Medellín Philharmonic Orchestra, on this profoundly human program. For him, movement in music is not just rhythm or displacement, but an expression of the soul: that which drives us to endure, to remember, to celebrate life even in the midst of adversity. From the colorful folklore of Borodin, passing through the sensitive and deep-rooted gaze of Luis Carlos Figueroa, to the nostalgic intensity of RachmaninovThis concert invites us to connect with the very roots of what makes us alive.

Tami Daniel Rueda-Blanco: Movement, Life, and Other Ways of Saying Who We Are

Filarmed: How do movement and dance interact with the season's "Roots" concept in the works selected for this program? 

Tami Rueda-Blanco: Dance has always been one of the most fundamental and primitive forms of expression for our humanity, expressing feelings and moods, and, as time progressed, creating art.

In this program, we'll explore different forms of dance based on diverse traditions and personal experiences. We hope to reconnect with our past and roots, and to look inward in the present to create a better future.

F: In your role as associate director, how have you approached the interpretation of these works that cross such different cultures, generations, and historical contexts?

TR: I think it's important to recognize the different cultural synergies these three works share, and of course, to recognize them in conjunction with the element they all share: dance, or the idea of dance as a form of expression. The Polovtsian Dances are part of a Russian folkloric tradition focused on the East; Luis Carlos Figueroa's Suite for Orchestra is a combination of traditional Colombian music and French symphonic music; and Rachmaninov's Symphonic Dances are charged with a deeply autobiographical and personal feeling.

Q: From your perspective, what do you think Rachmaninov's Symphonic Dances reveal about his exile and his way of looking at Russia from a distance and towards the end of his life? 

TR: Despite being forced to emigrate to the United States, escaping the Bolshevik Revolution, Rachmaninov always saw himself as a Russian musician, heir to a rich Russian musical tradition, and his work after that emigration is charged with nostalgia for the Russia he was forced to abandon. In the Symphonic Dances, we find these references with a deeply autobiographical meaning from the composer who looks toward the end of his life, his life experiences, his personal struggles, his yearnings, and his victories.

F: Luis Carlos Figueroa, over a century old, is a living testament to the power of art as a vital force. How is this connection between longevity, creativity, and Colombian roots reflected in his music?

TR: Even though Luis Carlos Figueroa will turn 102 in October, he remains, in active life, one of the pillars of Colombian symphonic and instrumental music, a product of the synergy between our country's musical traditions and the innovations of early 20th-century French orchestral music. This is evident in the melodic simplicity, subtlety, and refinement of his orchestration. Here, even in this work composed 40 years ago, we find a highly experienced composer, capable of expressing many things with few elements.

F: What message does the Medellín Philharmonic hope to convey with a program that combines musical nationalism, personal memory, and vital movement?

TR: The message we want to convey as an orchestra is to reconnect with our past, and what better way to do so than with one of the most fundamental forms of human expression: dance. Through this synergy of personal languages and musical nationalisms, we aim to reconnect with our past as one humanity and invite us to look inward at our present, which is the very reason we study history. By understanding our past, we can see our present and prepare for a better future.

F: What musical elements allow us to perceive the “roots” of each composer in their works, and how does the orchestra translate them into contemporary sound language?

TR: Each work draws on its roots, both cultural and life experience, in personal and innovative ways. In the case of Polovtsian dances, it's the combination of the period's orchestral innovations with a deeply rooted Russian folk and orientalist tradition. And in symphonic dances, it's the expression of these traditions and heritages through a very personal lens, like someone looking back at their past from a distance, toward the end of their life. And in the work of Luis Carlos Figueroa, it's the synergy between the composer's traditions and experiences with Colombian and French music that shaped him throughout his life.

Music in “Movement and Life”

• Polovtsian Dances from “Prince Igor” – A. Borodin​
• Suite for orchestra – Luis Carlos Figueroa
• Symphonic Dances Op. 45 – S. Rachmaninoff

Director: Tami Daniel Rueda-Blanco (Colombia)

The concert

Enjoy “Movement and Life” with affordable rates for everyone:

• Tickets from $44,000 for the general public and $25,000* for students.
• Comfama members can access tickets from $9,900.
• Buy yours tickets here or at the following points of sale: CC Los Molinos, CC Fabricato and CC Viva Envigado
• Take advantage of a 25% discount when paying with Bancolombia cards.

As part of its commitment to national talent and with the conviction of being a
close, welcoming orchestra in tune with the country's musical ecosystem, the Orchestra
The Medellín Philharmonic (Filarmed) opens the call to be part of the Bank of
Supernumeraries (violin) 2025.
This program seeks to offer young musicians the opportunity to gain experience in
a high-level professional orchestra, enhancing their skills by sharing the stage
with leading musicians of national and international stature.
Those selected will provide their services as supernumerary musicians under the
modality of payment for services rendered, and must reside in the city of Medellín
during the period in which they are required.

The Medellín Philharmonic Orchestra is a professional orchestra with more than 40 years of experience.
a private career dedicated to transforming the city with music.
In addition to performing seasonal concerts in the theater, Filarmed performs different segments
programming in unconventional settings such as churches, museums, outdoor stages
open air, educational concerts, chamber music among others, covering
repertoires ranging from symphonic music to genres as diverse as music
Colombian, rock and pop tributes, children's music, etc., using different formats
within the orchestra's staff (full orchestra, reduced orchestra, ensembles of
camera). In addition, it has social and educational programs in which the
participation of the orchestra's musicians in events such as school concerts,
rehearsals and concerts for vulnerable populations and different social programs (I am
Musician, Reconciliation Choir), among other activities that require searching for the
improvement of artistic quality and commitment to social transformation. Filarmed has
defined an artistic plan with which it aims to be a bold, rooted and
committed to the community, and becoming a musical reference in Latin America.
The pillars of the plan are the following aspects: sound, rhythmic precision, style and confidence; and
includes innovative programming capable of addressing different genres and fusions,
experiences that go beyond the musical. Look for musicians who understand and value your
role in community building that are interested in being versatile, that are
adapt easily and are able to develop skills and competencies beyond
of the musical.

Candidate profile
 Musicians in the process of professional training or professional musicians.
 Adults.
 With skills to interpret various musical styles and genres.
 Ability to adapt to different assembly formats.

Requirements for the provision of the service
To provide the service, the selected musicians must be affiliated
as independent workers to:
 ARL (Occupational Risk Administrator).
 EPS (Health Care Provider).
 Pension Fund.

In addition, it will be mandatory to present the current membership certificates to these
entities before signing the contract.

Stages of the call
1. Registration and reception of documents:
– Opening date: Wednesday, June 18, 2025
– Closing date: Friday, July 18, 2025 at 11:45 pm
– Registration link:  Form
2. Live Audition:
– Date: Between August 18 and 22, 2025
-Location: Filarmed House, Cl. 30A #65B-59, Medellín, Belén, Medellín, Antioquia
Click to see the location

Required documents
– Copy of the identity document.
– Certifications of studies in music and/or instrument
– Experience certifications (1 year of experience in a youth orchestra,
university, professional)
– Certificates of affiliation to ARL, EPS and pensions (These certificates will be requested from the
time of service provision)

Next Saturday, June 14th, the Metropolitan Theater will be filled with ancestral resonances and exciting landscapes with our concert Viking Roots, an orchestral experience that evokes the power of the North Sea, the poetic introspection of Mahler, and the unfinished nostalgia of Schubert. Our Medellín Philharmonic Orchestra will be conducted by German maestro Henrik Schaefer, with special participation by Austrian baritone Gunter Haumer.

We spoke with Schaefer and Haumer, who shared their artistic vision of a deeply human program, where every note connects with the essence. Their words reveal the soul behind the music and the sensitivity with which they approached this repertoire, which promises to move the audience from the first bar.

HENRIK SCHAEFER

The German teacher talks to us about the emotional construction of the program Viking Roots and his quest to connect the public with the deepest part of human nature.

1. Why complete a work that has been universally accepted as unfinished? What led you to imagine and write your own proposal for completing Schubert's Symphony No. 8?

There are several versions of Schubert's completed "Unfinished" Symphony, but they're all compositions by other people trying to sound like Schubert. Unfortunately, I don't think anyone has succeeded. That's why I decided to use only Schubert's own material. The first two movements are the usual ones, then we'll play the few bars of the Scherzo that Schubert actually finished and wrote. They'll end very abruptly…

We will then insert his song “An die Musik,” his own hymn to music in general, and we will end with a large movement in B minor, which many scholars believe was his first attempt at a final movement for his B minor symphony.

2. The work you're completing with your own version will be performed for the first time, and in Medellín. How do you feel about presenting this version to the world, and what do you hope for the audience at this premiere?

I think the audience will understand it immediately. Since all the music is Franz's own, it never feels like a dubious or artificial conclusion to a masterpiece.

3. The concert is titled Viking Roots, part of a season exploring cultural roots from different perspectives. What does this concept represent for you, and how does it connect with the works you've chosen for this program?

I've been a principal conductor in Sweden since 2007, so I've definitely developed Viking roots over the years.

Scandinavian music is very popular, but we always think of Grieg and Sibelius. There's so much more to discover!

4. In Helena Munktell's Bränningar, there's a deep connection to the Swedish landscape. What aspects of this piece did you want to highlight in the performance with Filarmed, and why did you choose to open the concert with it?

Music by female composers is very important in Sweden. I chose a piece by Helena Munktell because very few people in Colombia might have heard of her. Her piece describes the waves of the ocean. Sweden is situated between two oceans, as is Colombia. In the west, we have the North Sea, which is the one described in this piece, and in the east, in Stockholm, where I live now, we have the Baltic Sea, which has no waves at all. We even have different climate zones, just like Colombia. In the east, a continental climate like in Russia, with warm summers and very cold winters, and in the west, an oceanic climate with moderate temperatures year-round.

5. You'll also be conducting Mahler's song cycle based on Rückert's poems. How do you, as a conductor, build an emotional bridge between the baritone, the orchestra, and the audience in such intimate and reflective works?

I have two very strong emotional connections to this work that I hope to bring to the audience. One is my dear friend Günter Haumer, who will be singing the songs for you. He and his wife are the sole reason I came to Colombia in the first place, and I will always be grateful for that. The other was the experience of playing these songs with the Berlin Philharmonic in New York just weeks after the September 11 attacks. We were the first plane to land at JFK again, and I will never forget the atmosphere and emotions of those concerts.

6. The Raíces Season seeks to honor collective memory and diversity. What do you hope to discover in the musical experience with the Medellín Philharmonic Orchestra and the Colombian public when sharing these works?

For me, it's an honor to work in Medellín with musicians from a diverse musical and cultural background, with distinct roots. I've always been deeply moved by their love for their country, their openness to outsiders, and their dedication to making music at the highest possible level. They will play Schubert, Mahler, and Munktell as if it were their own heritage and will take the audience with them on this journey.

7. If you could describe this concert in one image, word, or feeling, what would it be and why?

The entire palette of Germanic culture, from the Vikings to the refinement of Schubert and the ingenious and untranslatable texts of Mahler's Rückert Lieder. Just sit back and enjoy the music!

GUNTER HAUMER

The Austrian baritone reflects on the power of the voice to convey the universal emotions that inhabit each work in the repertoire.

1. In this concert you perform the cycle Back Songs, a work of deep introspection and existential contemplation. What place do these songs occupy in your artistic and personal life?

When I began studying singing, I dreamed of singing this song cycle. "Ich bin der Welt abhanden gekommen" in particular always fascinated me, and it was the first song I sang. Having the technical elements today, combined with my experiences at my current age, gives me the opportunity to give an honest and real interpretation in my current life.

2. “Ich bin der Welt abhanden gekommen” and “Um Mitternacht” They are deeply intimate pieces. How do you connect with that introspective dimension of music and convey it to the audience from the stage?

Years ago, I sang "I'm Coming to the World" at the funeral of a relative of Gustav Mahler. For me, that situation, and in some ways, the opportunity to sing this incredible work in the "root" of its creator, broadened my understanding and interpretation of this song. Often (for both the performer and the audience), it's not as important to approach the work intellectually as it is to connect with the music and the text. In this way, the work speaks for itself.

3. The season is called Roots, and this concert in particular Viking RootsWhat meaning do roots have for you in your own life and career as a singer? 

I grew up with both classical and traditional Austrian music. The latter had a great influence on the work of composers like Mahler. So I can say that those roots have been the cradle of my musical development.

4. In this concert, your voice intertwines with Henrik Schaefer's conducting and the sound of the Medellín Philharmonic Orchestra. What was it like to build this artistic dialogue with them for this sensitive repertoire?

A few years ago, I sang Brahms's Requiem with Filarmed under the baton of Andrés Orozco. It was an experience of great beauty and depth. Maestro Orozco immediately managed to make the orchestra sound like the image I have of a clear Brahms sound (that's also my roots). So, that experience gives me the confidence that Filarmed and Maestro Schaefer will give a profound interpretation of Mahler. I worked with the Maestro many years ago, and my memory is of a conductor who sings very well and has immense knowledge of the vocal repertoire, so he understands the needs of a singer, apart from the beauty of the music. With this starting point, I am more than happy and certain that this concert will be unforgettable.

5. This will be your presentation with Filarmed in front of a Colombian audience. What do you expect from this experience, and what do you think will resonate most with those who listen?

I hope that the audience can simply put aside their everyday thoughts and allow themselves to be carried away by the beauty and depth of the music and text of this cycle.

6. Among all the songs in the program, there is one very special piece: And the MusicWhat does this declaration of love for music represent to you, and how do you experience it on stage?

As you say, this is a hymn to music, which is the art I live for. I think words are unnecessary.

7. If you could describe this concert with just one word or image, what would it be?

Depth.

Next Saturday, June 14th, the Metropolitan Theater will be filled with ancestral resonances and exciting landscapes with our concert Viking Roots, an orchestral experience that evokes the power of the North Sea, the poetic introspection of Mahler, and the unfinished nostalgia of Schubert. Our Medellín Philharmonic Orchestra will be conducted by German maestro Henrik Schaefer, with special participation by Austrian baritone Gunter Haumer.

We spoke with Schaefer and Haumer, who shared their artistic vision of a deeply human program, where every note connects with the essence. Their words reveal the soul behind the music and the sensitivity with which they approached this repertoire, which promises to move the audience from the first bar.

HENRIK SCHAEFER

The German teacher talks to us about the emotional construction of the program Viking Roots and his quest to connect the public with the deepest part of human nature.

1. Why complete a work that has been universally accepted as unfinished? What led you to imagine and write your own proposal for completing Schubert's Symphony No. 8?

There are several versions of Schubert's completed "Unfinished" Symphony, but they're all compositions by other people trying to sound like Schubert. Unfortunately, I don't think anyone has succeeded. That's why I decided to use only Schubert's own material. The first two movements are the usual ones, then we'll play the few bars of the Scherzo that Schubert actually finished and wrote. They'll end very abruptly…

We will then insert his song “An die Musik,” his own hymn to music in general, and we will end with a large movement in B minor, which many scholars believe was his first attempt at a final movement for his B minor symphony.

2. The work you're completing with your own version will be performed for the first time, and in Medellín. How do you feel about presenting this version to the world, and what do you hope for the audience at this premiere?

I think the audience will understand it immediately. Since all the music is Franz's own, it never feels like a dubious or artificial conclusion to a masterpiece.

3. The concert is titled Viking Roots, part of a season exploring cultural roots from different perspectives. What does this concept represent for you, and how does it connect with the works you've chosen for this program?

I've been a principal conductor in Sweden since 2007, so I've definitely developed Viking roots over the years.

Scandinavian music is very popular, but we always think of Grieg and Sibelius. There's so much more to discover!

4. In Helena Munktell's Bränningar, there's a deep connection to the Swedish landscape. What aspects of this piece did you want to highlight in the performance with Filarmed, and why did you choose to open the concert with it?

Music by female composers is very important in Sweden. I chose a piece by Helena Munktell because very few people in Colombia might have heard of her. Her piece describes the waves of the ocean. Sweden is situated between two oceans, as is Colombia. In the west, we have the North Sea, which is the one described in this piece, and in the east, in Stockholm, where I live now, we have the Baltic Sea, which has no waves at all. We even have different climate zones, just like Colombia. In the east, a continental climate like in Russia, with warm summers and very cold winters, and in the west, an oceanic climate with moderate temperatures year-round.

5. You'll also be conducting Mahler's song cycle based on Rückert's poems. How do you, as a conductor, build an emotional bridge between the baritone, the orchestra, and the audience in such intimate and reflective works?

I have two very strong emotional connections to this work that I hope to bring to the audience. One is my dear friend Günter Haumer, who will be singing the songs for you. He and his wife are the sole reason I came to Colombia in the first place, and I will always be grateful for that. The other was the experience of playing these songs with the Berlin Philharmonic in New York just weeks after the September 11 attacks. We were the first plane to land at JFK again, and I will never forget the atmosphere and emotions of those concerts.

6. The Raíces Season seeks to honor collective memory and diversity. What do you hope to discover in the musical experience with the Medellín Philharmonic Orchestra and the Colombian public when sharing these works?

For me, it's an honor to work in Medellín with musicians from a diverse musical and cultural background, with distinct roots. I've always been deeply moved by their love for their country, their openness to outsiders, and their dedication to making music at the highest possible level. They will play Schubert, Mahler, and Munktell as if it were their own heritage and will take the audience with them on this journey.

7. If you could describe this concert in one image, word, or feeling, what would it be and why?

The entire palette of Germanic culture, from the Vikings to the refinement of Schubert and the ingenious and untranslatable texts of Mahler's Rückert Lieder. Just sit back and enjoy the music!

GUNTER HAUMER

The Austrian baritone reflects on the power of the voice to convey the universal emotions that inhabit each work in the repertoire.

1. In this concert you perform the cycle Back Songs, a work of deep introspection and existential contemplation. What place do these songs occupy in your artistic and personal life?

When I began studying singing, I dreamed of singing this song cycle. "Ich bin der Welt abhanden gekommen" in particular always fascinated me, and it was the first song I sang. Having the technical elements today, combined with my experiences at my current age, gives me the opportunity to give an honest and real interpretation in my current life.

2. “Ich bin der Welt abhanden gekommen” and “Um Mitternacht” They are deeply intimate pieces. How do you connect with that introspective dimension of music and convey it to the audience from the stage?

Years ago, I sang "I'm Coming to the World" at the funeral of a relative of Gustav Mahler. For me, that situation, and in some ways, the opportunity to sing this incredible work in the "root" of its creator, broadened my understanding and interpretation of this song. Often (for both the performer and the audience), it's not as important to approach the work intellectually as it is to connect with the music and the text. In this way, the work speaks for itself.

3. The season is called Roots, and this concert in particular Viking RootsWhat meaning do roots have for you in your own life and career as a singer? 

I grew up with both classical and traditional Austrian music. The latter had a great influence on the work of composers like Mahler. So I can say that those roots have been the cradle of my musical development.

4. In this concert, your voice intertwines with Henrik Schaefer's conducting and the sound of the Medellín Philharmonic Orchestra. What was it like to build this artistic dialogue with them for this sensitive repertoire?

A few years ago, I sang Brahms's Requiem with Filarmed under the baton of Andrés Orozco. It was an experience of great beauty and depth. Maestro Orozco immediately managed to make the orchestra sound like the image I have of a clear Brahms sound (that's also my roots). So, that experience gives me the confidence that Filarmed and Maestro Schaefer will give a profound interpretation of Mahler. I worked with the Maestro many years ago, and my memory is of a conductor who sings very well and has immense knowledge of the vocal repertoire, so he understands the needs of a singer, apart from the beauty of the music. With this starting point, I am more than happy and certain that this concert will be unforgettable.

5. This will be your presentation with Filarmed in front of a Colombian audience. What do you expect from this experience, and what do you think will resonate most with those who listen?

I hope that the audience can simply put aside their everyday thoughts and allow themselves to be carried away by the beauty and depth of the music and text of this cycle.

6. Among all the songs in the program, there is one very special piece: And the MusicWhat does this declaration of love for music represent to you, and how do you experience it on stage?

As you say, this is a hymn to music, which is the art I live for. I think words are unnecessary.

7. If you could describe this concert with just one word or image, what would it be?

Depth.