The dream of coming back

Interview to OsmoVänskä, director of the Minnesota Orchestra

The famous Nordic stereotype does not apply in OsmoVänskä. It may have been the sun, the color of the tropics, the infectious enthusiasm of the more than a hundred fifty companions, or eagerness to discover a country, which under the veil of the ban becomes more and more attractive for days. What we do know for sure it is that the tenth director of the Minnesota Symphony Orchestra kept the grin during the five days that the American group made history in Cuba.

"We are happy to be the first to arrive in these changing times," said the Finnish referring to the fact that, on its arrival, the orchestra became the first major American musical ensemble landfall after the understanding reached between Washington and Havana last December.

One of the first images of Vänskä in Cuba, still before the plane, in which they came-where they toasted with champagne and cheered as they left the territorial waters of the United States- it shows that this is not an empty phrase, nor to "come to make friends, history and music "which Marilyn Nelson, one of the benefactors of the tour, said about the trip.

"It happened so fast, 'says Vänskä in the small interview he gave us, stuck in an itinerary that left very little space for relaxation. In a dressing room at the National Theatre, accompanied by his wife, the concertmaster Erin Keefe, and before leaving to lead the rehearsal together with students from the Conservatory Amadeo Roldan, said the idea of coming to Cuba arose in February, maybe a little earlier, but right after the big announcement of December 17, catalyst for major changes in the hitherto static bilateral panorama US-Cuba.

"This should have been probably the shortest preparation time a symphony has had for a tour, but I am very happy that we have done it. We are here and happy. "

Happy and pleasantly surprised. The day after their arrival, more than a hundred musicians of the orchestra were greeted by students from middle and upper level of the National School of Art and the University, who played for and with visitors, the latter excited of how much talent and how much passion was behind the instruments, defective in their majority, but not subtracted in quality.

"When we talked about the program in Cuba, for me it was very important to be able to share music, not only with audiences but also with musicians. It is becoming increasingly common as we're on tour, “said the Finland, known for his management against the group of Minnesota, where just a few days ago he extended his presence at least until 2019.

Considered one of the best directors in the world, Osmo began his career as a clarinetist, to fill later the top spots on the Helsinki Philharmonic (1977-1982) and Turku (1971-1976) and then study direction at the Sibelius Academy under the gaze of Jorma Panula for whom Vänskä feels special admiration and whose recordings have earned him numerous international awards.

On the way to the Midwestern, the Finnish first served as guest Director at the Lahti Symphony-which he turned one of the best of its country, while serving as music director of the Symphony Orchestra of Iceland and principal director of the Philharmonic Orchestra of the BBC Scottish. In Minnesota for more than five years after he resigned because of differences between management and musicians, Vänskä returned after two years to the group to the delight of its members and the public, who celebrated with great jubilation the recent extension of his contract.

Much of his popularity, besides -of course- his undeniable talent, the Grammy he won with the Orchestra, and the new life he has brought to the institution, lies with the conscious desire to promote the exchange, not only with the public but with colleagues.

"That's why we have a Cuban soloist [Master Frank Fernández], and two choirs [National and Vocal Leo] with us on stage. We also visited two schools of music, and it's great that we could also share our way of making music with these young students, "replied the Master when we wanted to know why these exchanges," simply because we want to give back. "

Although they were advised to shy away from political issues, none of the members of the Orchestra, Vänskä or even managers, might fail to recognize the great significance of the trip and the story behind this. At the end of the day, repeating a route that their predecessors did eighty-five years ago and return with the same work of Beethoven -Symphony no. 3 Eroica- that earned the applause of our grandparents was something they always had in mind.

"It was the idea of local organizers. They wanted us to do it because the same orchestra, which was then called Minneapolis Symphony, was here in 1929 and 1930 and played to a packed auditorium. "

"This is a powerful, energetic, strong piece, as I hope will be our relationships. We come to show that music is a universal language that can make us understand, that we become friends, despite any difference. "

The excitement that took place in the two concerts, especially in the last, when the notes of the hymns of Cuba and the United States were heard together and the applause that followed shows that the closeness is not measured by time or by distance. On Saturday May 16, the North and the Caribbean got a little closer.

After four days of intense activity, of excitement due to the warmth and familiarity of Cubans, which visitors accepted first with surprise and then casually, coupled with the enthusiasm of feeling almost like modern discoverers in an exotic land, the tour ended as assumed when speaking of musicians: with a jazz show that included the own Osmo playing with the clarinet and with the orchestra Aragon, a repertoire that ranged from Dos gardenias to Caravan.

"We are ready to return as soon as possible," smiled Vänskä. "I hope we do not have to wait another eighty years, because we have not gone back and we are dreaming of coming back."