By Joana Patacas, on April 17, 2024*
Osvaldo Ferreira stands out as one of the biggest names in directing and conducting orchestras, both in Portugal and internationally. He began his musical career as a violinist, but it was in the United States that he discovered his true calling: orchestral conducting.
Since then, he has dedicated himself incessantly to perfecting this art, being recognized for his excellent technique and a deep respect for music.
“Just as we are all different and coexist in society, the same happens with the instruments in an orchestra: they coexist and merge in an extraordinary way. It is the combination of all the instruments, of all the sound colors and mentalities, that produces something so beautiful.” (Osvaldo Ferreira, 2024)
Trained under the guidance of some of the most renowned conductors of the 20th century, such as Victor Yampolsky, Ilya Mussin and Claudio Abbado, he has directed world-renowned orchestras, including the Saint Petersburg and Luxembourg orchestras, the Nuremberg Symphony and the German Bühnen-Halle , but also the Gulbenkian Orchestra, in Lisbon. and the Gulbenkian Orchestra. His CV also includes roles as artistic and musical director at several institutions, including the Orquestra Sinfónica do Paraná and the Orquestra do Algarve .
The Portuguese Philharmonic Orchestra , founded in 2016 with concertmaster Augusto Trindade, is the life project of Osvaldo Ferreira, which under his artistic direction has established itself as a reference. This success stems from the high standards it established from the beginning, attracting musicians with high technical and artistic competence. The “ Sounds of Change ” initiative, which involves partnerships with Germany, Spain, Slovenia and Serbia, reflects an international ambition, also counting on the support of the European Union's Creative Europe program and the Directorate-General for the Arts .
“The Portuguese Philharmonic Academic Orchestra appears as the «face of transformation» of a region that «needs investment in culture». Because there continues to be “place and space for an orchestra at national level”. And if there is someone, like Osvaldo Ferreira, who bets on those who seemed to have oblivion as their only destiny.” in Notícias Magazine , 2019
Additionally, he lends his recognized mastery to the artistic and musical direction of the new opera “ Feliz Há Luar!” ”, based on the work of Luís de Sttau Monteiro. This production, which premieres on May 8th at Teatro São Luiz, in Lisbon, is a commission from the Philharmonic to mark the fiftieth anniversary of April 25th. With music and libretto by Alexandre Delgado , direction by Allex Aguilera and art direction by Nuno Esteves “Blue” , this show will tour several cities in the country, promising to enrich Portuguese cultural heritage and encourage reflection on the values of democracy and freedom.
In this interview with ProART , conducted by Joana Patacas (JP), we invite you to explore the unique trajectory of Osvaldo Ferreira , who offers us in-depth reflections on his career, his artistic vision and the challenges faced by the Portuguese music world.
What are your first memories related to music?
Osvaldo : Interestingly, my first memories are not linked to school or formal learning, as is the case with most children nowadays, including my own children, who had musical training from an early age. In my case, music came to me mainly through my mother, who loved to sing and sang well. I also remember an aunt who, when I was young, moved to Rio de Janeiro to join a religious order, where she learned music and how to play the organ. Later, upon returning to Portugal, he formed a choir at the local church and began teaching music to children. I think my mother learned a little from her. My father also had a good musical ear and liked to sing.
He was born in 1964, in Passos de Brandão, before the 25th of April. What memory do you have of those times?
Osvaldo: I was 10 years old when the 25th of April happened. I clearly remember here in the North being a cloudy day, with some fog. When I got home, my mother told me that she had heard on the radio that a revolution was happening. In fact, many people in everyday life didn't even notice, only those who were in Lisbon perhaps noticed. The rest of the country, with or without revolution, remained the same. At that time, most people lived in predominantly rural areas and education was very humble. Even the surroundings of Lisbon and Porto were rural and a type of mentality based on small property predominated. Everyone planted something and had animals. There were complicated moments. Practically everyone had family members who were fighting in Africa – one of my older brothers was in Mozambique – and soldiers were buried almost every month.
What was the music scene like at that time?
Osvaldo: In Passos de Brandão there were two tunas that for many years rivaled each other – it was a way of strengthening themselves through this competition. In the last years of the Old Regime, however, both ended up disappearing, like almost everything related to the arts in Portugal. There were many movie theaters, but they were transformed into true propaganda halls for North American culture, as North Americans understood that they were able to “colonize” the world through pop culture and cinema. And this was also the reality of my generation, which after the 25th of April started listening to the most diverse musical styles on the radio, from rock to hip hop. Until then, in Portugal, we heard almost nothing about the Beatles, Rolling Stones or others. Everything arrived a decade late. The revolution caught a generation that felt miserable and without opportunities, and the truth is that this movement of freedom led many communities to believe in a future again. There was hope again, especially with the end of the colonial war.
And was it in this context that you started learning music at the Tuna Musical Brandoense school?
Osvaldo: Yes. In the North of Portugal, associations have always had a lot of strength, and, after the revolution, communities began to encourage the teaching of arts in general, and music in particular. I started as a violinist at the Tuna school, which shortly afterwards a group of visionaries converted into an official academy. In fact, next door, in Vila da Feira, there was already an old precedent, as, in 1955, Gilberta Paiva founded the Academia de Santa Maria, the first music school outside the conservatories of Porto and Lisbon. Later, in 1960, he founded and directed the Aveiro Conservatory. There was, therefore, already a seed of musical effervescence in the region. Many musical bands and tunas began to emerge, not only in Passos de Brandão, but also in other locations around Porto.
Next, he went to the Porto Conservatory. When did you decide that your professional future was through music?
Osvaldo: Yes, I ended up graduating from the Porto Conservatory, but until I was 19, I wasn't really sure I wanted to be a musician. By today's standards, I started learning the violin late – I was 11 years old. On the one hand, music wasn't my only appeal: I even enrolled in Philosophy at University and was a good football player. On the other, there was my sense of myself. I wondered if I had started music too late to be a good professional. However, a succession of small events showed me that I had potential. For example, the creation of the Portuguese Youth Orchestra and I came first, and was the first Portuguese violinist to be integrated into the European Union Orchestra schools. These experiences revealed that I really had possibilities in music. Later I joined the Porto Orchestra, after the 1989 reform by the English conductor Jan Latham-Koenig and "Regie Sinfónia Cooperativa", first as a trainee and then as a permanent member.
What kind of challenges did you face at the beginning of your career?
Osvaldo : There was a time when I felt – and still feel – unfairly treated in the scholarship process. I didn't get the scholarship at the age I wanted, which was a setback. Despite having joined the Porto Orchestra, I felt that I was a little behind normal. However, I didn't give up. When the opportunity presented itself again — at the time, scholarships were awarded every 3 years or every 4 years by the State Academy of Culture — I fought and succeeded. This allowed me to go and study in the United States.
Did you go to the School of Music at Northwestern University, in Chicago, with the aim of studying orchestral conducting?
Osvaldo : No, initially I went to do postgraduate studies in violin. However, contact with Victor Yampolsky, who was later also a teacher for Joana [Carneiro], Martim [Sousa Tavares] and others, was decisive. I opened the doors for them, but it was only after taking orchestra conducting classes that I began to develop a passion for this area. I participated in the university orchestra not only because I wanted to, but because those classes allowed me to learn and see music from a completely different perspective. It was an enriching experience, being there to see symphonies and repertoires being explored in ways I had never considered before.
Was it a turning point?
Osvaldo : In a way yes, because I never thought about a symphony just from the point of view of a violinist; this phase is over for me. While I was playing, I began to understand the symphony in a completely different way, from the conductor's perspective. That is, the person who interacts with all the instrumentalists, who has to coordinate a diverse set of sounds and timbres. Just a few days ago, I was listening to a dialogue by [Antoine] Duhamel, in which he asked children in Venezuela about what a violin and a trombone have in common. The answer is that, in isolation, they have nothing in common. But just as we are all different and coexist in society, the same happens with the instruments in an orchestra: they coexist and merge in an extraordinary way. It is the combination of all the instruments, all the sound colors and mentalities, that produces something so beautiful.
When did you decide to start your studies in orchestral conducting?
Osvaldo : When I returned from Chicago, I returned to Orquestra do Porto, which at that time was under the direction of maestro Manuel Ivo Cruz, who had replaced Jan Latham-Koenig. We talked a lot, and in one of those conversations, I mentioned that I really liked orchestra conducting. I still had a year of my scholarship to spend and he told me: "Osvaldo is going now! Go study. I'm not young anymore, and neither is Álvaro [Cassuto]. He insisted that there weren't many in our area and that I should continue with my learning to conduct an orchestra. "Don't just be someone who picks up the baton, just like that; Go study!” , completing a master's degree in orchestra conducting.
And after that he went to St. Petersburg. How was that experience?
Osvaldo: Yes. At the time, when I was thinking about returning to the Porto Orchestra and resuming my classes as a music teacher, I was encouraged to continue my studies. I ended up sending my videos to the Saint Petersburg Conservatory, and that involved a funny story: At the Porto Orchestra, I had Russian colleagues and one of them, upon hearing that I would like to study with maestro Ilya Mussin, who at the time was very old but still teaching, he mentioned that his mother was director of the Conservatory library. This made my application process a lot easier. I sent a video and two weeks later I received news that I had been accepted to graduate school. That class was extraordinary and we all became very good friends: Tugan Sokhiev, who was director of the Bolshoi; Teodor Currentzis, who was director of the SWR Symphonieorchester; Stuart Bedford of Glasgow Opera, and Sian Edwards, who is at the Royal Academy, among others. We were the last generation of Ilya Mussin's students. It was a very rewarding experience and, in 1999, I was awarded the Sergei Prokofiev Competition. But the time I was in Russia was difficult. I had very little money and conditions were not the best. Furthermore, I didn't have a scholarship, I was the one who bore all the costs. All the money I earned at that stage directing orchestras was already allocated to my training. At the end of this four-year period, I thought it was time to complete this stage and return to Portugal. Meanwhile, I went to Chicago to see some friends. At that time, Maria João Pires was in town to give a concert. In conversation, she tells me, as if it were the most natural thing in the world: “Ah, you should spend some time with Abbado now.” And I replied: “Of course, Maria João, I just get there and Abbado will welcome me the next day”.
And did you receive it?
Osvaldo : What is certain is that Maria João spoke to him and then told me that he had suggested that I go to him. I researched and saw that Claudio Abbado was in the Berlin Philharmonic Orchestra. I bought a plane ticket and went. When I got there, the first thing his assistant told me was that Abbado didn't know who I was. I apologized, explained the situation and left. Just before I walk through the exit door, I momentarily turn back and see him waving from behind and gesturing for me to go back. If I hadn't stopped those two in a row and looked back, what happened next would never have happened. There I went, Abbado sent me in and talked to me for about half an hour, about Saramago, who had just won the Nobel Prize, about Russia, where I had been, and at one point I realized that he was interviewing me . He told me that he couldn't pay me, but that I could accompany him, and I couldn't believe that he was accepting me. Eventually, the Gulbenkian Foundation ended up awarding me a scholarship – which I had already asked for countless times, without success. At the time, the deputy director of the Foundation's Music Service was the late and beloved Carlos Ponte Leça, who considered that learning from Claudio Abbado was a unique and extraordinary opportunity, and I obtained the funding there. What was supposed to be a year of study in Chicago turned into seven years of very different learning experiences. And all this time I was one hundred percent focused on learning.
In Portugal, among other things, he was artistic director of the Orquestra do Algarve. How was this experience with a regional orchestra?
Osvaldo : Orquestra do Algarve was founded by conductor Álvaro Cassuto, who always respected my work and had a certain affection for me, recognizing my effort and dedication. He himself suggested that I replace him when he decided to leave the orchestra. I also served as assistant conductor in his last months, between March and June of that year, before he left for the Metropolitan Orchestra. It has been an excellent school for many musicians and conductors, and it is a real shame that other regional orchestras have not followed the same model. It was a very enriching experience, but also challenging, as I have always argued that the model of regional orchestras needs change and diversification, mainly due to the lack of funds. Despite my efforts and the proposals I presented, including in meetings with figures such as Mário Vieira de Carvalho, when I was Secretary of State for Culture, many of my ideas were not implemented due to political instability. Every time a government falls, everything falls by the wayside and we have to start again. It's frustrating to see that in Portugal there is a certain resistance to change, even when things don't work.
And what was your vision for Orquestra do Algarve?
Osvaldo: My ambition was to transform it into the third symphony in the country, alongside Lisbon and Porto. The region continues to have all the conditions for this: a strategic location that attracts tourists and music-loving foreign residents, an interested public and adequate infrastructure, such as the Theaters of Faro and Portimão, but also other auditoriums such as Lagoa and Loulé. There were, and still are, all the conditions for Orquestra do Algarve to grow and stand out in the national musical panorama. But my experience trying to implement this vision reflects the difficulties that exist in introducing significant changes to cultural institutions in Portugal. So sometimes I think it's better to start something new and let the old one die naturally.
Was that why you decided to be a founding member and artistic director of the Portuguese Philharmonic Orchestra?
Osvaldo : Yes, the idea of founding the Philharmonic started when I was still in the Algarve. At that time, we wanted to create a new project that would allow us to invest in a new generation of brilliant Portuguese musicians, at the level of the best international musicians. I remember talking to Laurence Foster, who was a big supporter of what I was doing in the Algarve. He understood my desire to change the landscape for Portuguese musicians and encouraged this. He told me that it didn't make sense for talented musicians to play in orchestras abroad and not have a place in orchestras like the Gulbenkian. He was right, these young people are the future, and that was what the country had been fighting for — to create this capable and talented generation. However, when I was about to start this process in Portugal, in 2008, I received an invitation from Brazil to the Curitiba Music Workshop. I accepted and ended up staying out of the country for another seven years.
But in the meantime he returned. Did you feel it was the right time to finally realize your project?
Osvaldo: At a certain point I felt that I should return to Portugal to carry out the project of my life. And I thought, "Okay, if I fail, I failed, but at least I tried. In the beginning, we started against everything and everyone. Even when things were going well, there were those who insisted that they were going badly. Even when the orchestra played wonderfully, they said we played There were always predictions that we would fail soon, but with each passing year, we doubled the number of concerts and the public liked us more and more. Even today, we continue to receive invitations to play inside and outside of Portugal. Things calmed down. Sometimes we were wronged, but we also received help from those who really mattered. Interestingly, the one who criticized us the most was the musical fabric itself, which was supposed to support us. It's ironic to see people in state orchestras, with guaranteed jobs, resisting the emergency. new projects. In the future, students who graduate from their classes will need job opportunities. I had to explain several times that the Orchestra creates healthy competition, for every concert there is for a thousand people at Casa da Música. there are thousands of other people in the Greater Porto area who don't have an orchestra to listen to. Fortunately, we have created another option so that more people can enjoy live music. We are creating opportunities for soloists, conductors and composers. We have already commissioned works from fourteen different composers, including operas. Young emerging soloists, singers, pianists, violinists, clarinetists, flutists, who started with us, are now playing in major orchestras in London, Paris, Berlin and Munich. We make a difference. Now our goal is to move from cachets to salaries. When musicians play with us at orchestra concerts, they are paid just like everyone else, but we want to be able to give them structure and stability.
I imagine that all the experience accumulated in orchestra management during his career has contributed to the optimized management of this project.
Osvaldo: In my career, the management side has always been very important. No one can have a career without good management skills, whether directing an orchestra, a festival or anything else. Today, people ask me how I managed, in less than seven years, to raise the Portuguese Philharmonic Orchestra to the level it is at. And honestly, it had very little to do with analyzing a score; With all due respect, this is completely different. It's not related to technical details, like knowing whether a fifth string is low or high in the orchestra's brass chorus. Getting an orchestra on its feet is another job, it involves the business side and international contacts. It helped a lot to have been to many countries and know how to speak seven languages. Throughout my career, I have had to perform many functions cross-functionally and be my own manager.
Do you think there is still a long way to go when it comes to managing state orchestras?
Osvaldo: Yes, definitely. I argue that this type of public institutions should have the capacity and vocation to develop and export talent to renowned philharmonics such as those in Berlin or Vienna. Not all instrumentalists would reach this level, but it is important to give them opportunities. In the context of culture, public bodies must be at the service of our cultural heritage, creating shows and commissioning works that take our history and literature as a starting point. The public will continue to enjoy great operas, but we must create new things regularly, because if we present them with alternatives they will get used to seeing other types of shows. However, this is not the fault of institutions, such as the Teatro Nacional São Carlos, which depend on state budgets. How can they work properly under such conditions? That's why I created an independent orchestra, where I can plan long term without restrictions. I receive some funding from DG Artes, but even so, I still have to look for sponsorships and present and implement ideas. This is what allows us to work in a way that São Carlos, for example, cannot, because it is limited by the budget, which is often redefined and subject to cuts. If the State recognizes the importance of these institutions, it should guarantee consistent budgets and allow directors to plan in advance.
Have you presented your approach to public entities?
Osvaldo: Yes. In everything I was asked for my opinion and where I could make my contribution. I have worked with many entities linked to the State and have always done the job, so I have the morale to speak. Take regional orchestras as an example. They are essential, but, as they are currently structured, they do not work and need to be reformulated. I have already shown how things can be done differently, in a way that is beneficial to everyone, without implying additional costs. I'm tired of repeating this and seeing that no one has the desire to change. There were two possible approaches: I could simply criticize for the sake of criticizing, or I could present solutions, which is what I did. However, there is resistance. The new legislation on regional orchestras is a reflection of this, as it is more of the same. It's as if they were opening the same window every day waiting to see a different landscape. We musicians want to do better. We look for dynamic and innovative initiatives where everyone feels good and wants to be involved. We want renewed energy with each new program and each new project. This is what we are doing at the Portuguese Philharmonic Orchestra.
Was it the differentiated model of the Portuguese Philharmonic Orchestra that created conditions for the operatic adaptation of the literary work “Felizmente Há Luar!”, which will premiere on May 8th at Teatro São Luiz under its artistic and musical direction?
Osvaldo: Absolutely. This is a commission from us to mark the celebration of the 50th anniversary of the 25th of April 1974. The opera is based on the book of the same name by the great Portuguese author Luís de Sttau Monteiro, a proposal by the composer Alexandre Delgado, who is the author of the music and the libretto. The staging was in charge of Allex Aguilera and we have a cast of highly talented national singers. Rehearsals are going wonderfully. This opera is proof that great projects do not come about by chance. It will be part of our cultural heritage, and no one can take that away from us. Years from now, people will look back and see that we produced something beautiful, with great quality and that reflects our history and our values. I think there's still a lot of that missing in Portugal, but we're already starting to see more initiatives thanks to this new generation that doesn't feel as limited as before. Therefore, we need to continue investing and taking risks, without fear.
How is your involvement in this production going?
Osvaldo: Oh, that's the hardest part, you know? How can I speak so freely about something that is so dear to me? Firstly, because the work is our commission. Afterwards, I genuinely liked the song from the first time I heard it. Trying to be as impartial as possible, I think Alexandre's work is very creative, both in terms of composition and libretto. The orchestration is almost finished, although we still need to adjust some details. The arias and themes have already been rehearsed and everyone really likes the songs. Alexandre wrote each part thinking about the voice that will perform it, which is wonderful. It's as if we were in the 19th century, when Puccini wrote specifically for certain singers. The opera is now being directed by Allex Aguilera, but I hope that in the future it will be directed by many other directors and played by several orchestras. That would make me and Alexandre [Delgado] very happy.
Finally, with such a diverse and complete career, I would like to ask you how you manage to balance the professional side with the personal side?
Osvaldo: With a structure like that of the Portuguese Philharmonic Orchestra, which generates close to one million euros a year, I don't aspire to be the man with the seven instruments. I have been relying on a team and external collaborators for a long time, in areas such as accounting and competition management. They are people I trust completely. Additionally, I continue to dedicate a lot of time to studying, which I consider sacred, and being a father to two young children. I want to be present, participate in their lives and help them with their homework. For me, this is crucial, as important or more important as driving. I made many concessions because of my family, which is extremely important to me, to the point of refusing invitations to direct internationally. I don't want to be far away. I prefer to focus on increasingly improving the Orchestra's project and dedicating myself to my family. Sometimes the boundaries between the personal and the professional blur, which can be challenging, as in an orchestra there are no fixed schedules. We don't have weekends or holidays, because those are the days we work. It's complicated management, but I'm also learning and trying to improve every day.
Profile photography of maestro Osvaldo Ferreira by ©️Frederico Martins
*Interview originally published at www.proart.art
Joana Patacas - Communication and Content Consultancy
Want to know more? See below one of his memorable performances at OFP, on World Portuguese Language Day (2022):
You can find more information about Osvaldo Ferreira at: