In sparkling Dubai, Greek-Russian conductor Teodor Currentzis, along with musicAeterna, the orchestra and choir he formed in Siberia over two decades ago, make their Middle Eastern premiere. The group will have a historic two-night performance at Dubai Opera on April 27 and 28, led by the captivating 52-year-old maestro.

The first performance pays homage to Pyotr Ilyich Tchaikovsky's Italian inspiration. The repertoire includes the fantasy Capriccio Italien, Op. 45, a beautiful portrayal of Rome inspired by a journey Tchaikovsky had with his brother; Francesca da Rimini, Symphonic Fantasy after Dante, Op. 32; Romeo and Juliet, Fantasy-Overture after Shakespeare, TH 42.

Scenes from five of Richard Wagner's operas—Die Meistersinger von Nürnberg, Tannhäuser, Parsifal, Tristan and Isolde, and Lohengrin—are presented in the second performance.

On the podium, Currentzis directs without a baton. His naked hands communicate precisely and expressively. Evoluting motions radiate in an infinite circle from his core. When confronted with chaotic scores, they are a swirl of arms, a sweep of the knee, and a curve of the neck. The conductor's whole-body movements are at once Dionysian and Apollonian, rational and ordered but passionate and exuberant. He calls on, prods, and guides his musicians to create a woodland of noises.
With his striking height and intensity, Currentzis exudes the image of a pop star, an on-screen hero, and a charisma that might inspire a cult. The Classical Rebel, a 2016 documentary, was inspired by his look.
He has been reinterpreting historical masterworks through musicAeterna, starting with Purcell and on through Shostakovich, Rameau, Mozart, Verdi, Mahler, Stravinsky, Tchaikovsky, and Beethoven. He recorded the Fifth Symphony in a captivating manner, which Sony Classical released. Currentzis says he's excited to play at the Emirates and hopes for some high-level conversations. He tells wknd, "I am really excited about our upcoming performance in Dubai." "The United Arab Emirates become one of the wealthiest and most successful governments in the world by putting the most audacious ideas into practice. This strategy of doing the impossibly difficult is remarkably similar to mine. In order to promote the notion of establishing a worldwide cultural hub in the United Arab Emirates that would bring together local and European academic cultures, I thus fervently want to establish collaboration with brilliant musicians from this nation who provide a distinctive and rich legacy.

He talks about his vision, his love of Arabic music, and his complete, almost superhuman, monastical commitment to music during the conversation. Revised passages:

Why did you decide to perform Tchaikovsky and Wagner at the performances in Dubai?
Wagner is the most significant 19th-century composer, a pioneer of modern conducting practice, and a reformer of the orchestration art. By developing the theories behind Gesamtkunstwerk, or the synthesis of all the arts, this man altered our perceptions of art and gave rise to a timeless musical movement. It goes without saying that the music he composed may not appear very clear. We are bringing a presentation to the Dubai Opera that will feature excerpts from some of his best-known operas.They serve as an overview of Wagner's body of music and a primer on the composer.

We chose Tchaikovsky out of sentimentality because he is our essence. One of the best pieces of art, it is dramatic, passionate, emotional, and highly personal music.

Although music is a global language, do you often anticipate facing particular difficulties when performing for audiences from different cultural backgrounds? Just now in the United Arab Emirates?

I adore it when individuals come together from other nations, cultures, and customs, as well as from various backgrounds in terms of work and life experiences. This kind of dialogue is really enlightening. It provides us with the chance to generate fresh perspectives on how culture and society will evolve in the future. Because there are no linguistic boundaries in our mind when we listen to music, it enables us to communicate regardless of our differences.

I'm excited to start a conversation with Eastern culture as well. Arabic music and culture in general highly interest me. It is crucial to make the world aware of the true worth and diversity of Arab culture, particularly via fostering a conversation between a distinctive regional culture and scholarly European music.

Since the musicAeterna group and chamber choir were founded in Novosibirsk, Siberia, in 2004, what has been their ideology or philosophy?

Being more than simply a traditional symphony orchestra is what makes musicAeterna special. Once, a group of uncommon experts came together to embark on a massive journey to discover the true nature of music and people. These folks don't wait for their working day to end to clock in and out. We don't even think of what we do as work. It's our mission, our ministry, and our way of life.

19 years ago, the musicAeterna Orchestra was established. Many of the young musicians we assembled were recent conservatory graduates. These were youthful, vivacious individuals who were deeply enamoured with music. Our home was in Siberia, far away from the world's capitals and the bustle of a huge metropolis. We could concentrate on what really mattered. Without considering time or daily comfort, we spent a lot of time together reading poetry, watching art films, practicing, and listening to our favourite music. Even though we now spend most of our time at the biggest music halls and festivals, this is how we still live. But musicians from musicAeterna are still monks bound by a common DNA, serving music with awe and consciousness. Consequently, musicAeterna stands apart from many other orchestras, the majority of which put out one programme after another as though they were on an assembly line, with a strong energy and unique output. At musicAeterna, we create exquisite, handcrafted jewellery.Consequently, musicAeterna stands apart from many other orchestras, the majority of which put out one programme after another as though they were on an assembly line, with a strong energy and unique output. At musicAeterna, we create exquisite, handcrafted jewellery.


Who or what gave you the idea to become a conductor and seek a career in music?

It was symphonic music that got me interested in conducting. The finest music is composed for orchestra, whether we like it or not. The orchestra is the richest and most expressive instrument available. The harmony that develops amongst the members of the ensemble is akin to the unification of all the elements of nature: the water and air that make up our bodies, the skin on the timpani, the hair from which bows are fashioned, the wood from which our instruments are made, wildlife, copper, and our breath.Being a member of the symphony allows one to communicate with nature in a unique manner, express themselves through it, and convey a significant message.

1994 saw your birth in Athens, Greece. You relocated to St. Petersburg, Russia, at the age of 22, with the intention of studying under orchestra leader Ilya Musin. What is the most important lesson you learned from him?

Ilya Musin made a superb tutor. He mostly taught me to embrace the enchanted moments that arise from music. Although this magic cannot be taught, you may occasionally sense it in yourself when seeing someone who possesses it. Naturally, I'm not referring to magicians or illusionists. I refer to the capacity to sway others, excite them, induce ecstasy in them, or soothe them via your acts. That is an amazing ability and a unique talent. And it was Musin's.

To what extent are you a Greek artist?

It is imperative that you protect your identity. You have no idea how delighted I am to witness folks playing traditional music while dressed in their national clothes. It is truly lovely when individuals manage to hold onto their traditions and core values in the face of globalisation and identity enslavement. I also much value the contributions made by Greek culture, which include sports, music, drama, and literature. My thoughts are in Greek. Greece is, in my opinion, a singular perspective on the world seen through the lenses of Greek philosophy, language, and culture.

Which do you prefer to conduct: opera or symphonic repertoire?

I used to conduct operas more frequently, but because I no longer own an opera theatre, I do less of them today. But every year, I present brand-new shows at the Salzburg and Diaghilev festivals. However, I am more fascinated by the audience's transcendental experience. I am often drawn to fascinating environments, and I find that being able to create something new is always inspiring.

You once remarked, "Making classical music is like making love; you need fire and ecstasy," in an interview. How do you personally develop passion and happiness?

When you are able to produce something exquisite, passion emerges. You get power from this anticipation of beauty.

You once stated, "Unless you do something differently, there is no point in performing something that has been performed a thousand times before." When is the fresh water that consistently runs through classical scores?

I consider myself quite fortunate in that there aren't many reference recordings or performances. Finding the exact sound that the composer had in mind is a very challenging task. All our lives, we have been striving to come closer to this ideal sound, yet it is nearly unachievable.

For you, what does perfection mean?

I want to and believe in perfection, yet it is still unachievable. We are never closer to our goals, no matter how hard we work towards them or how near we become. Still, this unfulfilled desire spurs us on to keep going in this direction.

During rehearsal, how do you communicate your thoughts on a piece to your musicians?

In addition to outlining our approach, our performance plan, and how we'll produce the necessary sound, I also make an effort to identify the emotion's source in order to better convey what the music expresses. You can only experience it; there is no way to describe it.

"It's a sort of curator's job --- taking care of the great treasures of the past, and it's very necessary to keep this great museum of works alive for the future," conductor Leonard Bernstein once remarked regarding the duty of conductor. What, in your opinion, is the conductor's primary function?

People congregate around a conductor, who then gathers their energy and shapes it. The notation of music on paper is silent. It's only when it's performed that it becomes music. However, how can one inspire a multitude of musicians, each of whom is an individual, to unite as a single organism and replicate precisely what the composer imagined hearing? That is the purpose of a conductor. That's the function of the curator that Bernstein was referring to. However, the conductor's role goes beyond that of a curator. He not only indicates the best place to hang the painting, but he also does the drawing.
You straddle several genres with ease. How do you feel about coloraturas, melismatic singing, and Arab classical music?

Arabic music is something I adore much. Arabic and Greek music are quite similar. Arabic music relaxes and calms me, therefore I listen to it a lot while I'm by myself at home. Performers of Arabic music are often invited to my festival. It's interesting to see how they collaborate with classical musicians on some projects. That's when we start to recognise multiple ways that the same notion might be presented. Arabic music is known for preserving its uniqueness; the more tenaciously it rejects homogenization and upholds the timeless beauty that it possesses, the more it will motivate listeners.

You established the group Utopia in 2022, which unites people of numerous ethnicities and civilizations. Why did you chose the name Utopia, and what makes it unique?

Our goal is to dream about utopia. All idealists and dreamers in the real world of today end up living in utopia. I was told it was a utopia when I expressed my desire to form an orchestra comprised of the greatest players who are fervently passionate about music and willing to dedicate their entire careers to uncovering the deep meaning of a piece of music. This spring will be our sixth meeting, and every time we get together, we set ourselves greater and higher standards.

What does it feel like to be a revered figure in your industry?

A cult figure is someone with such a strong transformational force that they may present a familiar event or object to us from a completely different angle. Some people have the power to change your perspective and cause you to have an epiphany with only two simple words. That is what makes a figure of cult essence.

In what way do you want history to remember you?

I want to be known as someone who made a positive impact on the world, contributed something genuine and brilliant, and imparted knowledge that gave others hope and made them better people. For some reason, everyone acts in the exact opposite way from what they would like to be remembered for.