Composer-conductor Ilona Meskó has recently made the final of the most prestigious conductor contest of the world, the 51st Besançon International Competition for Young Conductors, to be held between September 14th and 19th. She’s been selected from hundreds of competitors and is the first-ever Magyar to have earned this extraordinary opportunity. We caught up with her before the big contest.
What made you decide to become a conductor?
I was a music composer student at the Music Academy when I became a musical leader for opera productions at the University of Theater and Film, and I immediately took a liking to directing – in fact, I was thinking about taking the university’s directing major. I think conducting and directing are very similar. You have to look at and comprehend the work as a whole and recognize the order of importance of the various parts. Then I was invited as a pianist to Yuri Simonov’s conducting master class and that was it. As soon as I had gained an insight into conducting, I realized this is what I want to do. I feel that I can express myself and what’s inside me through conducting.
But of course, as a kid, I used to watch conductors on TV and the whole thing seemed so abstract and mysterious, the way they were frantically beating the air with a stick. I also played with the thought of conducting at the conservatory but I was talked out of it by my teachers, who said it’s not for girls.
Is it really not for girls? Has it been a handicap that you’re a woman?
No, but probably because masculine and feminine features are strongly blended in me. However, I wouldn’t encourage any woman to become a conductor. It is a masculine profession indeed. Anyone who directs a lot of people is under a magnifying glass – you can’t hide in the back row if you suffer from period pains. As soon as you step on the rostrum, all eyes are fixed on you and every quiver of yours is at the center of attention. No one says that a man is hysterical or weak, or has temporarily lost his strength. If a man grows a paunch, gets old or bald, he usually just becomes more respected. However, women have to pay a price for the very same things. We tend to forgive men many things, just because they are men.
Are there any advantages to being a woman conductor?
No, not really. I think it’s rather my charisma that is an advantage – I don’t know whether it is my charisma as a woman or as an artist, probably both. Perhaps there’s only one thing that a woman can benefit from: charm, which can win people’s heart straight away and radiate safety.
You’re the first and only Hungarian who has got in the final of the world’s most prestigious conductor competition, the Besançon International Competition for Young Conductors. How does the competition go?
The preliminaries were held in five cities – Besançon, Montreal, Tokyo, Beijing and Berlin – so that everybody can be there who want to enter the contest. We had been given the list of works – everybody the same – that we would have to conduct and everybody had to direct piano players, not an orchestra. Out of several hundred competitors, only 20 could get in the final, which consists of four rounds, and we will have to conduct the BBC Symphony Orchestra. There’s about two hours’ worth of material altogether for the final. On the first day, there will be 20 of us; on the second, only 10; on the third, six and on the final day, three. It’s a tough selection process. And there’s only one prize to be won, the grand prize, which comprises of a money prize, plus the opportunity to conduct at the Montreaux Festival – and that’s quite something! But it’s not a tragedy if I, let’s say, only make the second round. The competition swarms with managers, if one of them spots you – no matter what your placing – you’re assured of success. Of course, it would look great on anyone’s CV… But if you perform well and bring the best out of yourself, you stand a good chance of being noticed.
How does the panel of judges decide between two conductors? Is it possible at all to judge objectively who is better than the others?
To be honest, I have no idea what criteria they have for selection. There were other Hungarians who entered the preliminaries in Berlin and they are as good and talented but weren’t selected for the final. I made the mistake of google-ing the names of the other 19 finalists… Perhaps there’s only one thing in common in them: each and every one of them seem to be an exceptionally strong personality. This shines through even a photo or a website. I guess the panel looks at who can become somebody; they’re not searching for good craftspeople. But you’re right, it’s all relative, like every artistic competition, and I can understand those who disapprove of these contests. On the other hand, such a competition provides you with a chance to show yourself and get to be known by people who wouldn’t hear about you otherwise.
As a teacher, I always take personality into account besides the applicant’s knowledge and talent when recruiting new students. There are stiff personalities, with whom you just can’t do anything, especially in performing arts – you have to go on stage! You simply can’t afford to be nervous. When I went on stage in Berlin, I was happy and relaxed, thinking “Hey, look, here I am, this is me. If you like what I’m doing, please let me know; if not, I’m glad I could be here.” You can’t build walls around yourself when you only have 15 minutes to show off your talent. It’s important to prepare yourself both professionally and mentally, as first impressions do count. Charisma, vigor and dynamism are crucial… The jury consists of fantastic people and there’s the audience as well, who took the time, bought the ticket and came to see you… I feel that I have to give something to them, an experience, a good memory. But of course, knowledge and talent can’t be replaced with personality.
Have you received more invitations since your success in Berlin?
Two weeks after Berlin, a French Orchestra offered me a job as a conductor’s assistant. I would have earned 900,000 forints (ed. about €3,300) a month but I said no. I have five new composer students at the Weiner Leó Conservatory – when I started teaching there two years ago, I only had one. I’ve done, I’ve achieved something that’s truly mine and I’d only rock the boat if I were offered an opportunity that I know I would regret at the age of 50 if I refused. You have to make a smart decision. Lots of energy and my heart is in teaching, and until I feel that it’s worth it, I’ll stay. If there happened to be an unmissable opportunity, I would take it, but first I would see my old students through but I wouldn’t take on new ones. A sudden change of teacher might be very unsettling for a music student – you can’t change your teacher like a pair of socks that you wear until the hole gets too big and then you just bin it and buy a new pair.
You have your own orchestra, the Ventoscala Symphony Orchestra. How did it all start and what are your plans for the future?
Six years ago, when I formed the orchestra, all the members had already been good friends of mine, who I had already worked with. There was no money, no concrete plan or a concrete concert – what’s more, no promise of any of them. That they still came to practice week by week – as my composer teacher, János Vajda, said – was a fantastic thing and I just had to keep on doing it whatever happened. Then we got more and more invitations and the orchestra started growing in size – I started attending the various department concerts of the Music Academy, looking for new people. Now, at the time of recession and financial restraints, we are in no easy situation. Ventoscala is not supported financially by the state, but this situation actually has some advantages, as it is motivating that we have to work hard for every single concert. If we don’t perform well, we won’t be invited again. And it’s very rare that a conductor has his or her own orchestra – a real gem!
How do you feel, has conducting pushed composing into the background?
Yes, I haven’t composed anything this year. I have ideas but I don’t even start to work on them, as it requires a wholehearted approach. I’m planning to start writing music in the fall and winter. Not composing anything for six months could cause difficulties; luckily, I’m not a novice and I’ll be able to overcome them. It’s like when a beginner horseback rider skips a few months and then he or she has to practically relearn the whole thing. An experienced horseback rider, on the other hand, can jump on a horse and quite possibly won’t fall off. Although probably he or she won’t be fit enough.
However, during these months, I’ve experienced so many new things. Conducting and composing music build each other up. I’ve noticed that I write pieces for an orchestra in a different way than before; I see things differently since I work with musicians all day.
How do you have time for all these things?
I’ve always been like this. When I was studying music composing at the university, I was told to choose between playing the piano and writing music – I’ve never made that decision. I didn’t want to. Then came conducting as well… You have to maneuver a bit, as it’s impossible to do all three things at the same time. Of course, sometimes I’m dead tired. You can’t put teaching aside, though. If my student’s stuck and needs some inspiration, a little push, then you have to put your problems aside. Your job is to give; working with people is a huge responsibility. But I also benefit from teaching, I’ve learnt a lot. Plus, you not only give but also get: get love, gratitude and when you see that the student’s eyes are shining. These moments feel as good as being applauded at the end of a concert – it’s just not as spectacular.
Interview and translation by Gabriella Emszt
To find out how she did in the final, stay tuned to FUNZINE.