Life.ro interviews Cristian Măcelaru on his journey to Music Director of the Orchestre National de France

Cristian Măcelaru tells the story of his journey to leading the Orchestre National de France (Photo credit: Adriane White)

By Andreea Toma
Life.ro
May 21, 2020

Born into a family of ten brothers, Cristian Măcelaru came across the ocean by accident, became respected all over the world and won the Grammy Award: who is the Romanian named musical director of the National Orchestra of France

Cristian Măcelaru was awarded at the beginning of this year with the Grammy Award for "Best Solo Instrumental Performance" for the album with works by Wynton Marsalis in which he collaborated with violinist Nicola Benedetti and the Philadelphia Orchestra. He is currently principal conductor at the WDR Sinfonieorchester in Cologne and artistic director and principal conductor of the World Youth Symphony Orchestra (WYSO) at the Interlochen Center for the Arts in the United States. And starting in September, he will become the musical director of the National Orchestra of France.

But Cristian Măcelaru's story began with a love for music, but also with a sister story with destiny. He grew up in Timisoara in a family with ten brothers and, at one point, he met some Americans who had come to town to adopt a child. He introduced them to Timisoara and they became friends. And they offered to come to a summer school across the ocean. By mistake, however, he filled out another form and ended up studying at a high school in Michigan.

Life then brought him to Europe, and now he lives in Germany with his family. But he is preparing to make many trips to Paris. What does the life of a Romanian musician awarded the Grammy Award look like? And what does it mean to be recognized abroad, especially when you tell them where you come from? We learn from Cristian Măcelaru.

What did a normal day look like in a family of ten brothers?

In the morning, each of us tried to find for himself the most suitable room for individual study of the instrument. As for everyday life, it was always like a big celebration. Especially since we were very united, we did a lot of things together - singing together, playing together. In all, we were united.

How did you manage to study the violin in a house where I don't think it was ever quiet?

If that was the case from the moment I was born, I didn't have another point of reference, so for me it was very natural. Maybe that's why even now, I feel best on the podium, in the middle of the chaos.

But how did you choose the violin… was there a musical tradition in the family, did all the brothers make music?

Yes. We all studied music, this being the wish of the parents, who also, in turn, studied music. And my father decided that the violin would be the most suitable because it is easier to transport than the piano.

You came across the ocean by accident, who was the American family you met? And how did you come to create such a close relationship with them?

The family of Americans who helped me access the information about the Interlochen Arts Academy school had been a family that had come to Timisoara to adopt two children from an orphanage. My sister - who was working as a social worker at the time - asked me if I could show them the city a little, to tell them about Timisoara. And that's how we met. And when they found out that I was playing the violin, they sent me the registration file for the Interlochen Arts Academy, which was very close to the city where they live. I submitted the file and, to my surprise, I received a full scholarship to study at this school.

Did they eventually adopt a child from Timisoara or Romania?

Yes. They adopted two children.

Have you kept in touch with them before?

Of course. And now I come to my concerts every time I'm near their house, and I'm in contact with their children even now.

They suggested you go to a summer school in America, but you ended up in Michigan high school. How did this "incident" happen?

True, the form they asked the school to send me had two parts: one for summer school and one for regular school. I completed both without realizing it. And when I received the scholarship, it was for the whole year. And then my parents said to try: if I still received the scholarship, why not?

And how much has your life changed?

Completely. I suddenly had access to a huge number of scores, recordings, books about music. Of course, now in 2020, almost anything can be found on the Internet. But in 1997, it wasn't like that. And this opened my horizon a lot.

You were the youngest master concert in the history of the Miami Symphony Orchestra, with which you debuted at Carnegie Hall at just 19 years old. What did this mean to you?

To be honest, I don't think I treated the concert any differently than others. I had already been to Carnegie Hall with another orchestra as soon as I arrived in America, and that relaxed me. But still, that scene and the fact that the greatest artists in the world passed by, is a very emotional thing.

However, you gave up the violin. How hard was it to make that decision?

It was very easy. From the first moment I tried to direct, I knew it was what I wanted to do for the rest of my life.

But where does the desire to lead come from?

I always wanted to know everything. I was not satisfied with only one part, I wanted to know everything about each score. And this desire to know led to the desire to share with other musicians, which in fact is largely the purpose of the conductor.

You have worked with great orchestras around the world, from the Royal Concertgebouw Orchestra, Dresden Staatskapelle, Orchester National de France or Vienna Radio Symphony Orchestra, to the Royal Philharmonic Orchestra, BBC Symphony, Chicago Symphony Orchestra, New York Philharmonic or Los Angeles Philharmonic. What does this mean for you?

At first it was emotional, but now I noticed in a way that behind each name, the bigger it is, the bigger the desire of the respective orchestra to work towards perfection. This is what I am looking for as an artist. And then, being on the same wavelength, we usually get along well.

And how were you received in the music world being Romanian?

I can't say I've ever been looked down upon because I'm Romanian. This is very much due to the fact that, for the most part, in any orchestra anywhere in the world where I have met Romanians, they are high quality musicians and are highly respected not only by the public but also by their colleagues.

What does your life in Germany look like with your wife and two children?

First of all, I am glad that I am closer to home and can be with them more. The life of a musician takes place largely on a global stage, going from one orchestra to another. It is difficult to imagine the effort that each solo musician or conductor makes to maintain the requirements of his career. But with moving to Europe, I'm closer to the orchestras I work with most often and I have more time to be at home with my family.

Do the little ones follow in your footsteps?

I didn't force them to become musicians, but I asked them to learn at least one instrument, more so that they could appreciate music for the rest of their lives. 

You were appointed music director of the National Orchestra of France, how did this happen? And what does this experience mean to you?

Each orchestra I collaborate with has unique qualities. I fell in love with the French National Orchestra at the very first concert we had together. They have such a well-defined artistic lightness and I was attracted to them and the fact that I felt "at home" as soon as I got on stage.

How are you preparing for your term, which will start in September 2021?

I seek to learn as much as possible about the history of the orchestra, about the illustrious conductors who formed the sound of this ensemble before me. Everything we will do in the future is built on this foundation and it is very important for me to understand this perspective.

 And what do you want from this experience?

I want to show everyone the beauty of a life enriched by music. I have received this gift, the gift of music and I want to continue to share it.

You lived for a long time in America, where you also worked with the most important orchestras. You then moved to Germany. How do you see your life now, living more in Paris?

For now, I divide my fairly balanced time between Paris and Cologne. However, the place where I feel most "at home" is the stage.

Do all these countries have different styles and rhythms of life, which suits you the most?

I love nature. In Germany I live very close to a forest, where I do my best to get there every day. But life in Paris is so full that it would be impossible to make a comparison. I say that a good dose of each is absolutely necessary.

Do you watch what is happening in our country, from a cultural, social, political point of view? What does Romania look like through your eyes? And what change do you think we need most?

I look at Romania and I wait for that moment to throw the selfishness that has been hardened in us by a utopian system in theory, but in fact cruel in reality. I am waiting for that moment when we understand that in fact the success of a real society lies in the way we take care of those with greater needs.

Cristian Măcelaru: The antidote to communism is not a chaotic freedom, but a generous generosity in which we help each other.

A house can only stand when all the bricks are joined. My message this year as we celebrate 250 years since the birth of the genius Beethoven is to seek brotherhood with those around us. Only together can we overcome individual shortcomings.

And finally, how do you describe Romania to a foreigner?

As a country with loving people, blessed with a splendid nature and a unique spiritual heritage. A country where we are all poets and musicians, keeping alive a tradition worthy of our ancestors who created it.

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