By Joana Patacas, on March 30, 2024*
In a journey that transcends the boundaries of conventional music, teacher and cellist Bruno Borralhinho emerges as a prominent figure in the panorama of classical music, following a path marked by paixão, dedication and an incessant desire to learn. His career is distinguished not only by his virtuosity but also by his ability to orchestrate emotions, directing with the same mastery as he handles the bow.
With its influence and prestige transcending borders, making it one of the two most acclaimed Portuguese names in Europe. He currently lives in Dresden, in Germany, but is not eager to raise Portuguese music to its highest level:
"Bruno Borralhinho faces the challenge of remaining ambassador of Portuguese music." in Public , 2018
From the late discovery of a vocation to the international boxes, Borralhinho partilha knows the memories of a day that left the serene Covilhã in the vibrant Berlin and Oslo, places where he crossed paths with mentors who shaped not only his art but also his vision about music and life.
Recognized not only by the awards he won, but by the profound impact he has on every project he is involved in, Bruno is a testimonial of the importance of resilience, of hard work and of the ability to hear – he sees music, sees the world at his own pace. .
This exclusive interview with ProART , conducted by Joana Patacas, reveals the exceptional musician that Bruno Borralhinho is the human being behind the instrument, someone who sees music as a vehicle for communication, part of social transformation.
JP: Let's start hair at the beginning. How do you discover music in your country?
Bruno : I discovered a little bit of music from the first moment I started playing it, or studying it. It was, relatively late, 12 years old. Before saying, of course, I heard music and had my singers, groups or favorite music; But, like any young man of minha idade, or seja, he knew practically nothing about the world of erudite or classical music.
JP: And why did you decide to do musical training?
Bruno : The "fault", in this case, was the case, because she had already studied piano in the Conservatory, in Covilhã, and knew the various instruments, repertoire, or type of characteristics. At this point, the Escola Profissional was still a novelty — it had only existed two years ago — and it was the first thing that challenged me and set me on the path to experiment with music and learn the cello. This is eternally pleasant!
JP: Was being a professional cellist a natural choice? When did you realize that music would be your profession?
Bruno : So things developed naturally and, very quickly, I realized that this was exactly what I wanted to do in the future. Of course, there is no absolute certainty that it would really work and that, years later, he would be able to establish and conquer a professional life — at least, as he imagined and desired. But credit, always credit and, from a long time ago, I consciously tried to fight for a place in the world of music.
JP: Why did you decide to continue your musical training at the Universität der Künste in Berlin?
Bruno : I'm sorry that, at that height, by turn of the century, most of the two musicians who went abroad preferred France, Holland or England, for example. But I always have a fraquinho pela Alemanha; I wanted to experience and learn the same places where Bach, Beethoven, Mendelssohn, Schumann, Brahms, etc. lived. Berlin is a truly special and unique city, with a unique history, which, in terms of culture, provided me with excellent conditions and opportunities to grow and learn.
JP: I imagine that moving from Covilhã to Berlin has been a big shock. How was that transition in practice?
Bruno : Yes, but it was an extremely positive shock, and I tried to make the most of it. Despite having lived more time in Dresden than I did in Berlin, the latter will always be a kind of second home, because I spent the years absolutely fundamental to my life and my training as a musician and as a person.
JP: I also studied in Oslo. How was that experience?
Bruno : Oslo was a clearly focused option for Norwegian cellist Truls Mørk. Do not check to know what city you are in Berlin. Just the same for the cello classroom and part of the logo to follow.
JP: Which are the professors who exert the greatest influence on their musical career during the training period?
Bruno : With certainty, my cello teachers, mainly Luís Sá Pessoa, in Covilhã, and Markus Nyikos, in Berlin, for my cello references. But no, because I learned a lot from them not just about music, but also about general life. Afterwards, I studied for a year as Truls Mørk, who was, and always will be, an idol. Let's say it was a cherry on top of the bowl. And, embora isto possa dream of a little “clichê”, it is true: all the teachers are important and are part of a construction and of a path. I had excellent teachers of History or Portuguese, not secondary school, who never questioned me and who also marked me.
JP: You won 1st Prize in the Júlio Cardona Bow Instrument Competition in 1999. Was it your first big conquest or achievement in the artistic world?
Bruno : Yes, with certainty. Being in my hometown, you have a very special flavor, and it was also a great motivation for the following years. Embora eu I never tire of repeating that the best two contests are not the final result, but simply the evolution in a short space of preparation time. That motivation and pressure of wanting to be at a higher level as possible, causes us to grow at a higher rate than usual. Returning to the Júlio Cardona Contest, which, unfortunately, left it undone, I am reminded that, as the prize money, I bought my first telephone... a waste, because at the height, in 1998, the telephones were used to telephone and little more. If you had bought sheet music and recordings, it would have been more intelligent.
JP: Do you think that the awards you won contributed to shaping your professional career and opening new doors in the world of music?
Bruno : To be honest, I was never a big fan of contests. Looking back today, it bothers me to see how, at times, they seem more like circus competitions, where we value jugglers and devalue real musicians or artists; more enfim. The Young Musicians Award was very important, of course. Deu-me visibility in Portugal, I played solo with the Gulbenkian Orchestra, the prize was a very good cello, like what I played several years. But, in my story, in this chapter two contests, it is easy to summarize: I participated in four contests over the course of my career, with the result that I won two and lost another two. However, I am absolutely certain that the contests I lost will help me even more to mature and grow in what I won.
JP: What are the biggest challenges that arose over the course of your career?
Bruno . I would say that deciding to be a professional musician took us many days, and in itself, a great challenge. You have to constantly evolve, always be available to learn and enrich knowledge and skills. Never stand still and settle down; otherwise, to carreira estagna. Music is not something that is learned during our studies and that, afterward, we can apply infinitely and always in the same way. Of course, there are technical quests that, sometimes, we learn and that serve as a basis; But, after all, we move in a world in constant transformation, and it is incredible how we can approach the same work in such different ways, we approach it in different phases of life. It is extremely interesting how people, in the world around us, can shape that same approach.
JP: Is there a project you are particularly proud of?
Bruno : Fortunately, I don't remember any project in which I have participated in any more direct responsibilities, which I am not in any way proud of. On the other hand, I try to make each concert, work or project of this present the most important in the world. I try to dedicate myself and give myself always with energy and rigor, like directing or like the cello.
JP: And is there anyone who has been especially notable? Anybody you would like to highlight?
Bruno : Perhaps, because it was less conventional and because it really brought the joy of music to real life, I highlight here a project that I directed a few years ago in a favela in São Paulo. There, you have the opportunity to meet fantastic people, wonderful people themselves, but with extreme existential problems, whose daily motivation is pure survival. The eyes of children and adults shine, during the moments when we make music together, not in parallel. It comforts me that music can help you solve your daily problems, especially during those brief, more delicious, musical moments.
JP: I have collaborated with musicians of international prestige, is there any collaboration that has been particularly memorable or challenging?
Bruno : As a cellist, I keep a special place in my memory and work with Claudio Abbado and Daniel Barenboim; It is known that, with Abbado, he only had the opportunity to play for two or three weeks, as a member of the Gustav Mahler Youth Orchestra. With Barenboim, I worked for several years at the Berlin Staatskapelle and have memories of truly magical moments. Embora also keep memories of other very unpleasant moments – not with me, but like the general orchestra –, because it is not an easy person. As a teacher, I adore working, for example, with Camilla Nylund, who has an incredible voice and an also incredibly natural way of making music. There, I must say that I really enjoy directing and working with singing soloists, General.
JP: It is evident that directing is also a paixão. How did you become an orchestra teacher?
Bruno : In truth, everything started by mere coincidence with a program in which I was going to play alone, and they asked me to take over as musical director because the maestro, in the end, has released a best "gig." At this point, I tried to do the best I could, but it's been a long time since I've been able to find the right tools for these videos... The truth is that this experience awakened a huge curiosity in me, because I have sensations and emotions that I have never experienced before as a cello player. . Even in terms of physicality and body expression, for me, it was a fascinating discovery, something that I couldn't stop there. I literally put myself to work, and decided to calmly study the technique and absorb the most possible things in practical terms, in every opportunity that arose.
JP: After that initial experience, which I described as a significant coincidence, what was the transition and learning process to become a professional teacher?
Bruno : I confess that being an instrumentalist in a professional orchestra also helped me immensely, because I began to observe the teachers regularly, in a more analytical and concentrated way. It is a fantastic experience to be able to spend a week on one side and another on the other. It is imperative to understand the score and the context of the work; ter a clear conceito; There is a clear and useful technique to apply to the service of the score and the orchestra; It is essential to have the entire social and communicative component as the musicians who are in front of us. We are always learning to cope with new and unforeseen situations, so it is extremely important to know the "other side" and respect it, to know what concerns and expectations the orchestra, the choir, the soloists and the audience have.
JP: And did you have any teacher who influenced this decision to commit to the orchestra direction?
Bruno : No decision, no; but no path that I have had from the decision to the present, sim, sem duvida. Due to lack of time and activity, I was not able to officially study orchestra conducting at a university. That's because Germany demands a very high piano level, to which he couldn't match. However, I had absolutely precious help from three mentors, all of them very different, but like each other I learned a lot. First of all, Christian Kluttig , who was a very important teacher in East Germany (GDR) and, later, a conducting professor in Leipzig and Dresden, in the meantime reformed. I had incredible support, and I learned with him all the technical bases that, aka, he mastered with real mastery; He is a Kapellmeister [master of cappella] in ancient times. Depois, Juanjo Mena , who was an incredible inspiration, because he shared with me experiences and secrets that teachers at this level did not share with his own shadow, helping me very much to perceive that this being there could not be used to serve music. I learned a huge repertoire as an assistant in London, Madrid, Bamberg, Bilbau and elsewhere. Last but not least, Jorma Panula , with the privilege of studying in two masterclasses. He is absolutely fantastic, he knows exactly what each one should do or not do and he is a true orchestral conducting guru, having formed a large part of two of the best current maestro, such as Klaus Mäkelä, Mikko Frank, Esa-Pekka Salonen, Sakari Oramo, among many others. For example, Hannu Lintu, who is currently head of the Gulbenkian Orchestra, also studied with Panula in Helsinki.
JP: With a diversified career, including experiences as a soloist, orchestral musician, chamber musician, teacher and artistic and musical director, how do you balance these different facets of your professional life?
Bruno : It's getting more and more difficult, for reasons of time and organization, but I continue to try to reconcile all the aspects. Don't be afraid when you'll get it, but you'll have a lot of fun in an activity and a multifaceted and varied career. I confess that I have some aversion to routines, because they can easily become counterproductive. When I do things, I am not referring to regularity or continuity; I refer, above all, to the most negative side of a routine: the risk of entering the "autopilot" mode and, unconsciously, not enjoying each moment as one could or should.
JP: As artistic director of Ensemble Mediterrain and musical director of Beyra – Ensemble Orquestral, what are your main objectives and visions for these groups?
Bruno : You have completely different projects. The Ensemble Mediterrain (EM) was founded and directed by me for the last two 24 years. Its purpose is to bring together great musicians and friends to make music at a higher level. The "free" character of EM is clearly distinguished by the more traditional structure of the string quartet, which can be together for decades. There are happy examples in this formation, but there are cases in which, despite the quartet playing incredibly well, the musicians personally do not support themselves. That's it, with me, it would never work. EM is presented in varied formats, from trio to chamber orchestra, and although there is a list of main guests, we rarely repeat the entire cast. We always work by project, concentrating intensively for three or four days before the concert, depending on the specific program.
JP: E or Beyra – Orchestral Ensemble?
Bruno: This is a project with young musicians for which I was invited. The idea came from two friends, either Filipe Quaresma and Vanessa Pires, as both of us had been very happy to work. The idea is very good: to provide young musicians with a rigorous and highly professional experience in the phase of life in which they are finishing their studies, that is, a crucial moment. We have achieved very high quality in the various projects we carry out. The results have been of high quality, reflecting an enriching experience for everyone involved. Musicians are treated and rewarded as professionals, with salaries higher than those of some professional or semi-professional orchestras. Normally, the stages last about a week, during which a very useful orientation is offered on the rhythm and rigor that a possible future professional life demands.
JP: Let us know a little about your doutoramento text “Power and Classical Music in 20th Century Portugal”, which was not even published in books.
Bruno : This research has been dedicated only to the 20th century, which, meanwhile, has been going on for a long time. What I can say is that I learned a lot about the subject, about the Portuguese musical medium, and the way it was transformed — or not — over the course of the last century, and in the functioning of two different political systems installed: monarchy, first republic, dictatorship and post-April 25 democracy. Aspeto, it was an extremely enriching investigation, which was a foreign task to carry out. It seems ridiculous to me that little is known outside of the contemporary history of Portugal and of the Portuguese musical world.
JP: Is there any curiosity or interesting fact about whether you would like to part? What are your pastimes or laser activities?
Bruno : On the one hand, I have the impression that I live 24 hours a day for music; On the other hand, at times, it is necessary to disconnect and perform a kind of “reset”, to be able to attack the next challenge with full energy. It's not especially interesting, but, as I don't know, it's customary to admire: I enjoy a lot of football and, every day, "folheio" (online) of the three main Portuguese sports days. You can't tell which club is my heart, but it's one of two great Portuguese, and we don't wear red or blue, of course!
JP: What do you hope to achieve in the coming years?
Bruno : Honestly, I never made medium or long-term plans. I'm doing things, leaf in the day, that, 15 years ago, I couldn't imagine I'd do. The important thing is to be happy as you have not been present and to be proud of what has not happened. I usually say that I have fulfilled, some, or dreamed of playing one of the best orchestras in the world and, from now on, there are all bonuses. More clearly, I am ambitious and, at the same time, I am dissatisfied and always want more. I won't stop playing cello and I still hope to do some more tours as a soloist; But, now, the maximum motivation is with the direction of the orchestra, because it is the path that does not feel like it can evolve further.
JP: And do you consider a return to Portugal not future?
Bruno: Regarding a return to Portugal, of course he thought many times about this possibility with his wife; But we are a “pack” of four (we have two wonderful children) and only certain decisions would be made if they were unanimously approved by the quartet. Like a cello, it is very improvised; I would only consider this possibility to provide classrooms in a university and, likewise, it would be very difficult. As a teacher, it could be interesting, but it should be to embrace a really ambitious and quality project, where I felt useful and whose motivation and objectives were common to all the participants. Who knows...
JP: Is there any important lesson you learned over the course of your career that you would like to share with other musicians and teachers on the rise?
Bruno: Leaf in the day, there are no great secrets to unravel. I would say that it is essential not to give up, to accredit and to work very hard, because talent, in itself, has limits. Being honest and always being available to learn and learn from people, which is happening again, is crucial. Because music is the same: knowing how to hear, communicate, share.
Profile photo of Bruno Borralhinho by Björn Kadenbach
*Interview with maestro Bruno Borralhinho originally published on www.proart.art .
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