I don’t often get a chance to revisit a topic that I first reported on a decade earlier on the other side of the globe. But it happened to me this week, and it was personally extraordinarily satisfying.
I wrote a profile of a 27-year-old Venezuelan symphony conductor (currently visiting Beijing) who is touted as the rising rock star of the classical music world.
The man is Gustavo Dudamel, and he is a delight to meet and watch perform. I went to performances both Thursday and Friday evenings by the Simon Bolivar Youth Symphony of Venezuela, which is at the apex of a nation-wide system of orchestras that have kept hundreds of thousands of Venezuelan kids off the streets and out of trouble. Dudamel is a product of the system.
He’s been hired recently to lead the Los Angeles Philharmonic, that after knock-out performances with the likes of the Berlin, Chicago and Israel philharmonics, and numerous others. Here’s the link to my article and the top few paragraphs:
BEIJING — When he was six or seven years old, Gustavo Dudamel used to set up an imaginary symphony made up of toy figures, put Tchaikovsky on the family stereo, pump up the volume and swing an imaginary baton, conducting with childhood abandon.
"Those toy figures that I played with and dreamt about as a boy have now become flesh-and-blood musicians," the 27-year-old Dudamel recalled.
Through further alchemy, the frizzy-haired Dudamel has turned into one of the world's brightest up-and-coming symphony conductors, snatching the job of leading the Los Angeles Philharmonic, starting next year, and catching the attention of music critics far and wide who acclaim him as possibly a once-in-a-generation maestro.
It's been a dizzying ride for a modest Venezuelan who came out of nowhere. Jay Leno and David Letterman are calling, and everybody else wants a piece of him. His schedule is already booked well into the next decade. The press has dubbed the hoopla as "Duda-mania."
And here he is, traveling across Asia with the Simon Bolivar Youth Orchestra of Venezuela, and he couldn't be more joyous. That's because the orchestra was his ladder to success. Dudamel spent 22 years with the "musical miracle" system supporting the orchestra. Without the system, Dudamel knows he might be another trombonist pumping out salsa riffs with a band in Barquisimeto, his Venezuelan hometown, just as his father did.
The visit of Dudamel and the youth symphony has special resonance in China, a nation that prides itself as a rising musical power, where some 38 million students are believed to be studying piano and tens of millions practicing other instruments. China and Venezuela are linked by a bond — and perhaps a bit of a rivalry — over their musical gift. While China's musicians are renowned for technical proficiency, the Venezuelans are all passion.
"Could a country best known for corn, petroleum and revolutionary rhetoric dethrone the Middle Kingdom as classical music's heir apparent?" asked the Time Out Beijing magazine.
So when Dudamel took the podium at the National Grand Theater, one of China's new architectural jewels, Chinese officials, diplomats and other music aficionados eagerly awaited a chance to witness a conductor wearing the mantle as the new Leonard Bernstein or Carlos Kleiber. Some had questions, wondering if Dudamel had been overhyped.
The performance was electric as Dudamel led his youth symphony through Ravel, Castellano and Tchaikovsky, ending with a trademark encore from West Side Story that had musicians leaping from their seats, twirling instruments in the air and shouting "Bravo!" (Check it out on YouTube.)
"He's everybody's hope for the next generation of conductors — blazing energy, connects with audiences, down to earth. He puts on a hell of a show, which classical music needs," said David Stabler, classical music critic for The Oregonian, a newspaper in Portland, Ore.
Now flash back a decade earlier. I had gotten wind of the “musical miracle” in Venezuela, oddly enough, through a publication of the Inter-American Development Bank. So I planned a trip to Caracas, and this is the top of the story I wrote then. It appeared on the front page of the Miami Herald on Sept. 28, 1998, and later led the CBS news show "60 Minutes" to do a story on the "miracle."
Venezuela's system of music education a model for the world
BYLINE: By Tim Johnson
LENGTH: 1101 words
CARACAS, Venezuela _ When conductor Jose Antonio Abreu first dreamed of a "musical miracle" for Venezuelan children 23 years ago, people had reason to scoff.
After all, only the sons and daughters of the wealthy got schooled in classical music. And the national symphony hired so many foreigners that rehearsals were conducted in English.
So it is a testament to Abreu's tenacity that Venezuela today has 55 children's orchestras, 112 youth orchestras and 28 professional symphonies. Venezuela's system of music education, in fact, is so good that the United Nations says it should be a model for the world. The Inter-American Development Bank in Washington recently granted a rare $ 8 million loan to the program.
In a country where so much has gone wrong, the system of youth orchestras is a source of unmitigated _ and well-earned _ national pride.
When the 165-member National Children's Symphony Orchestra concluded a presentation in Rome's Santa Cecilia Academy in May, concertgoers applauded for 20 minutes. When the youngsters arrived home, Venezuelans thronged to the airport to receive them. Amid the cheers, people sang the national anthem.
Even more notable than the quality of the young musicians, though, is the vast social nature of the state-run music program. In a country of limited opportunity for advancement, most of the 110,000 youngsters in the state-run orchestras come from lower middle-class or poor families.
Youngsters learn discipline and social harmony, and find an escape from the alcoholism and disintegration that often wracks family life, Abreu said. Child musicians introduce music to countless homes and bring pride to neighborhoods.
By U.S. standards, the musical training may seem arduous. Members of youth symphonies spend an average of three to four hours a day in rehearsal and individual instruction. But the accelerated pace draws no complaints here.
"My son is asthmatic, and sometimes he gets terrible headaches. But I can't keep him away from the orchestra," said Josefina Gonzalez, putting her arm around her 12-year-old, Alessandro, a viola player who smiled as wide as his bow. "Even if he has a fever, he says, 'I'll get better there."'
She recalled the exact date the orchestra loaned Alessandro his first viola _ Feb. 20, 1997. "This boy hugged the viola. He slept with it," she said.
Sorry I can’t provide a link to the full article. It seems to have been deleted from the digital world. Or at least I couldn’t find it.
Let me offer a quick word about “the egg – the new National Grand Theater – that is one of the stunning pieces of new architecture in Beijing. I had never been in the theater before this week. It’s striking from the outside. But it’s not till you go inside that you see the beauty of the structure. The Egg has several different sized theaters nestled inside and the interior space is soaring and majestic. The concert hall we were in was surprisingly intimate, and the acoustics magnificent. I highly recommend it.