Mark Elder, new musical director of the Palau de les Arts in Valencia: "A good opera house must be willing to fail."

We should never give the public what we think they want. Having just turned 78, Sir Mark Elder (Hexham, England, 1947) will make his debut in September as the new music director of the Palau de les Arts in Valencia . Acclaimed as one of the great British conductors for a career that has seen him work with the Berlin Philharmonic , the Paris Orchestra and the Chicago Symphony , he admits that he thought about it a lot when he received the offer from Valencia. At his age, he says with a friendly smile, he is also concerned about his role as “husband and grandfather”. But since it is impossible to retire from music (he is the emeritus conductor of the Manchester Hallé Orchestra ), his answer was yes.

What is your goal in coming to the Palau de les Arts in Valencia?

To improve the entire opera company. To raise the bar, as we say in English, for how opera is performed. My main responsibility is musical quality, but I'm also interested in drama.

In what sense?

In terms of how operas are presented and why we present a particular work. There are many operas this company has never performed, so I hope to contribute to expanding the repertoire and sparking the audience's curiosity. It may be that the audience will change or find new things to enjoy. We should never give the audience what we think they want. This is very important to me. When staging an opera, you have to get the style right. I don't mean doing it the way it's always been done, because that would be terrible. But there must be consistency. I've worked with some directors with whom I didn't share anything in common. I gave a performance many years ago in Italy, and the critics considered it one of the best productions they'd seen in years. It was a resounding success, but the truth is, I had no contact with the director. I conducted the work because I loved it. I tried to get the singers to perform it better, and everyone thought it was wonderful. I thought it was terrible.

Are you in favor of introducing some risk into programming?

I'm not saying we should simply make new operas. But there are very good operas that the audience should see and experience. There are unusual pieces that I hope we'll perform. And we'll do them well and in an original way.

What titles are you thinking of?

I can't say. Wagner pieces, for example. The key in any case will be to maintain the audience's curiosity. You have to be brave. A good opera house must be willing to fail.

In Valencia, he replaces James Gaffigan, who was 46 years old, and the Palau de les Arts itself announced his appointment, highlighting his seniority. What added value can his experience bring to the project?

I've known James for years, and he's an excellent conductor. With age, your ability to communicate with an orchestra through what you do, from the heart, improves. At this point, I know what I like and what I want from the orchestra. And I hope to be able to change it in my own way. I ask for patience, let's see what happens.

"We should never give the public what we think they want. We must be brave."

Do you aspire to distinguish yourself from the Teatro Real in Madrid or the Liceu in Barcelona?

I'm not familiar with your work. I conducted the National Symphony Orchestra in Madrid years ago, and it wasn't an easy experience because it wasn't good. But that was a while ago; I don't know how it's doing now. I haven't conducted much in Spain. I don't know my Spanish colleagues, so this is new to me. Now, the answer to the question is that of course we must differentiate ourselves. Through our way of performing and our passion. If you perform an opera by a 19th-century French composer, the orchestra has to play very differently than it would perform an Italian piece. I can do that.

Do you think the Palau de les Arts has sufficient international reach?

I think it already has international recognition. But I have the feeling that many people think this is the best orchestra in Spain. I don't know if that's true or not. I know Joan Matabosch does a magnificent job in Madrid. My dream, where I'm aiming, is very high.

It's always been said that the Palau de les Arts is burdened by its past, that its turbulent beginnings didn't help its image. Do you think that's a thing of the past?

Helga Schmidt brought Lorin Maazel and Zubin Mehta at the beginning. And she established a style that made people think of this opera in terms of excellence. She gave Valencia a reputation. I know it was difficult, but I think she achieved it.

"Now that wokeness is a thing, theaters want diversity. I was curious when they called me."

And in your case, did you give much thought to the offer to work in Valencia?

When Jesús Iglesias [the Palau's artistic director] first started talking to me about the idea, I thought it would depend on how long he expected to be in Valencia. At my age, I want to be careful about what I accept and what I don't. I need the time to take care of myself and be a husband and grandfather. I actually didn't expect that they would offer it to me at all. But then I thought I could do it, especially given what's happened in the profession since the pandemic.

What does it refer to?

Now that woke is important, theaters want diversity, and some where I used to direct regularly haven't invited me in several years. They want different profiles: more women, different ethnicities... So when Jesús suggested I come to Valencia, it sparked my curiosity. I thought it could be something new and unexpected. I'm really looking forward to it.

What has music meant in your life?

I was born to be a musician; I couldn't do anything else, even though it came as a surprise to my family. I believe music is spiritual nourishment. For me, the idea of ​​being able to bring music into people's lives is a blessing. I believe it's something I've been given, and I should do the best I can for as long as I live. All musicians have a responsibility to fight for music. People need it. Music plays a fundamental role in the development of a country.