♪ >> Valerie: Welcome to Canada Files .

I'm Valerie Pringle.

My guest today is Yannick Nézet-Séguin, who is the music director of the Metropolitain Opera.

And only the third person to hold that position in the history of the Met.

He is also music director of the Orchestre Métropolitain in his home town of Montreal, for life!

And the Philadelphia Orchestra.

He has won three Grammys and coached Bradley Cooper for his movie, Maestro .

His career has been a stunning rise since he decided to become a conductor at the age of 10.

I spoke with him at the Met.

>> Valerie: Maestro, hello.

Yannick: Hello.

>> You've been music director here at the Met since 2018.

Does it feel like your house now?

>> (Laughing) It does in many ways.

Even though I should say in the same breath that it's such a huge organization.

>> Well, it's the biggest arts organization in the world!

>> Exactly.

And I feel more like, at the moment, I'm the real custodian of this house.

It's not mine but me, I have the responsibility to make it into those times and to the future.

It's beautiful to be in classical music.

Because usually these institutions are so old, storied and famous.

We are reminded-- it's not only the institutions but the pieces we do that we are reminded everyday that we're just passing these masterpieces through time.

It's very humbling but I do feel that yes, at the moment, it's my house.

>> But it was terrifying at first time, was it not?

I mean understandably.

>> So the part, yes, I can't say it was not terrifying.

But also there was a little voice in me that knew from many years before that this might happen in my career.

>> Speaking of meteoric rises, I mean you're 50 now.

>> Yeah.

>> But it's been like that in your career.

Do you still feel like the B oy Wonder , the prodigy?

>> Well I never felt like a prodigy.

>> You were!

>> I don't know because prodigies for me are really insanely-gifted kids that they're six years old and they play Rachmoninoff concertos.

For me, it's something-- I think I'm a hard worker.

I knew what I wanted to do at a very young age.

>> Well, you dreamed this life.

>> Yes, and I feel like a very lucky boy.

That's for sure.

Also I want to paraphrase my dear colleague, Simon Rattle, who said once, "I wish to stay a young conductor all my life."

So that's what I want too.

Because a young conductor meaning being new, not being jaded, being always curious.

To meet new people and new scores.

To do better every day whether it's Tosca or Bohème .

Or Strauss or Fire Shut Up in My Bones .

I don't feel old, that's for sure.

I feel like I've barely scratched the surface of what I want to be as an artist.

I think it's probably not only me, or not even only conductors.

I think musicians in general-- we're very lucky.

Because it's built in our profession to, every day go back to practice, to study and try to be a better version of ourselves.

This means at 50, I'm sure I'm better.

I hope I'm better than at 20!

But I hope that I'm not as good as how I'm going to be at 70, 80 or 90.

Because we never retire also.

So I'm at the middle of my career now.

>> What do you think makes a great conductor?

>> I used to say communication.

I mean communication is very important.

That's basically what we do.

As a conductor, we communicate through our gestures, through our stick--the baton.

Through our shoulders but also through the eyes.

Every part of the body, you know, is an expression that's a service of the music.

So that musicians of the orchestra, the singing, everyone knows and can get inspired by the message we want to give.

But more and more, I would say that the primary quality of us as communicators is authenticity.

Because what's the best equality of a conductor?

You ask a musician, they say we want a conductor to be clear.

Of course you want--then you're going to say inspiring, funny, knowledgeable and everything.

But clear!

Because if you're not clear, nobody knows what to do.

But the key to be clear, is to be authentic.

If you are doing really what you believe in with the pieces and you're not afraid of showing it to the musicians around you.

That's authenticity and clarity.

That takes a lifetime, I think, to really develop.

But that's what I'm teaching my young fellow conductors more and more-- being authentic.

>> From your childhood, music was everything.

Your mom says you were uncommon.

And you even know at 10, you wanted to conduct.

How was that possible?

(laughing) >> I was blessed to be raised in a family where a lot of interests were there.

The presence of a piano in the house.

My sisters learning piano, my parents playing piano after dinner--a little bit, not much.

They were not trained to a real professional degree but still.

Music was part of having a good time and part of life.

And I guess it's because newspapers in Montreal and television and media in general-- that's why I mention it.

Because it's so important-- the responsibility, I feel, of the media to keep showing not only what people know what it's about but showing when it's a bit more mysterious.

Like the conductor in an orchestra.

Well the media at that time were covering a lot of the Montreal Symphony.

Because they were going on tour to Europe.

They were making recordings.

So the papers, what I would see first was OSM, Orchestre Symphonique, so it just caught my attention.

I asked my parents--I want to see what this is about.

And yah, once I saw it for the first time, the rest is history.

>> You said, "That's my destiny."

>> Yes.

>> "Give me a baton."

>> I remember that.

>> Valerie: I've got a bowtie and a baton and watch me go.

>> I was learning the pieces.

Which was basically putting a recording--a record on and on.

Several times, making a choreography on it.

Basically thinking I'm learning the piece.

Then going to my parents and saying, "Okay, I learned, I know this Mozart symphony now."

>> I can conduct it.

>> Yah.

>> To be fair, you were also trained to be a classical pianist.

So you really knew your music even though that really never felt like that was going to be your destiny.

>> In order, what happened is that I started to learn piano at age five.

I liked and enjoyed it without feeling that this was my destiny at all.

It's when I started singing in a choir and seeing an orchestra, then everything made sense together.

Because for me, music is about sharing in a group.

I admire very much the great pianists of our time.

And the great violinists.

but for me, there was something too lonely about it.

I wanted to be with a group.

I wanted to share music with a hundred people.

Whether it's singing or playing an instrument.

I still don't know exactly why I saw myself really on the podium.

What was this instinct, that this was my place.

But I remember liking the fact that I could be with people and still being a leader.

Which I guess I had showed signs of being a leader even in my little elementary classroom.

But I loved school.

I loved so many things.

That's why I also wanted to become an architect at one point--a journalist, an economist.

But never seriously enough to detract me from becoming a conductor.

>> I'm wondering what you hear in your head before your arms move?

As you say, the score and everyone's part is so complex.

And you hear it before you conduct it.

>> Of course, it's like anything in life.

It's a skill to be able, first to read music.

And be able to imagine when it's one line.

When it's piano, it's two lines.

It's already more complex because you have chords.

Then when it's the orchestra, it's all the instruments super-posed on a page.

And you have to learn-- it's not unlike speed-reading.

You know when you read a script or a book and your eye and brain are able, without you reading every word, to go to the most important part.

It's not unlike that as a skill.

But that's the beginning, that skill, of course.

Afterwards, it's to be an artist about it.

So what does that score say to me.

What is the emotion?

Therefore, know how to convey that to the orchestra with a gesture.

And that's why we need to hear it before.

Because just what we call the upbeat, which is just the beat before it starts.

It has be charged with whatever emotion you want to convey.

If it's intimate, forceful, angry, grand.

It's a little bit like theatre in a way.

But not theatre about thinking how it's... We never think about how it looks.

We have to think about only how we feel and trust that this is how it's going to be perceived.

>> But you said you've gotta have a cold head and warm heart.

>> Yeah.

>> How does that work?

>> Because if we get too wrapped up in our music, then we're not safe or clear anymore.

It does happen to me.

We all do this, especially in my youth.

You get so enthusiastic and it becomes like a krrrrr.

I don't drive cars.

I don't have a driver's licence.

...never learned.

I'm not against it.

It just never happened.

But I drive orchestras.

So a lot of my metaphors are what I imagine driving is.

And you need, when you drive, to always be focused.

But the warm heart, this is what makes music what it is.

It cannot be just something analytical.

And that's dangerous for a conductor.

Because we have so many things to think about.

Especially in the opera.

Because you have a long pit with all the musicians.

And the big distance from each other.

They can't hear each other We have to guide also who is on the stage-- sometimes backstage, upstage, people behind.

There's a lot of traffic to do and yet it has to be all done with the right emotion in the music.

And there's no shortcut.

I mean, I can't stress enough how it takes time to study, not only in life but any new score.

Or even any score, even if it's not new to me I have to study so many hours.

In order to arrive at the right level of freedom to express what I want to express.

>> Well, it's funny the story of you conducting.

I think it was maybe the first time you did that.

>> When you were 21.

It was like a 12 minute piece.

>> Yes.

>> You almost fainted at the end, you were so exhausted from waving your arms around.

>> I had no back left.

>> Like my back did not exist anymore.

>> I have to lie down now.

>> Ah, thank goodness it has never happened again.

Yes, but it is a very physical profession.

It is very intellectual obviously but also very physical-- operas or symphonies.

I mean sometimes there's Bruckner symphonies.

I love Bruckner-- 90 minutes it lasts.

Or even modern symphonies.

Just did a few months ago at the Philadelphia Orchestra, Modern Third Symphony.

One of my favourite symphonies-- one hour 45, non-stop.

A Wagner opera, 5 hours.

A few intermissions.

But sometimes one act is more than 90 minutes.

You have to constantly, relentlessly, be involved with your body.

So it's not only the arms, it's the whole body.

So of course, we need to be ready physically for that.

Also, having the right amount of tension without being too tense.

Like anything else in life, or like a sports person of a higher calibre.

>> You're an elite athlete.

>> Yah, in a way, we have to consider ourselves this way.

In terms of what we eat, how we sleep.

You know, not drink too much.

All of that, you know.

>> Training.

>> It's a commitment.

>> Is it ever perfect?

>> Thank God no.

(laughing) >> You've never thought,"Ah, that was just what I heard."

>> So for me, the most wonderful thing about being an artist, is that we really strive for perfection.

Thank goodness, it never exists.

Because if it did, we would stop.

Why continue to maybe one time.

It would be so frustrating.

And it is frustrating.

Don't get me wrong.

I think as a young musician, and I could say maybe many other professions in life.

You have to figure out a way of being yes, that was good.

I'm happy with what I did.

And yes, I mean almost every concert I did I'm happy with what happened.

Many--a million things that happened that night were great.

I'm happy.

And yet, there's a million things I would do different.

I think it's so important to value this, otherwise it's miserable.

Every night, it wasn't perfect.

It was horrible.

How can you live a life like that?

But if you're also very content and say that was good enough.

That was great.

Then why continue?

So this balance--everybody has to find it in them.

Thank goodness, I was guided to find that balance in my teenage years, I would say thanks to great teachers I had.

My parents and everyone around me.

Thank goodness, perfection doesn't exist.

>> You're very grounded by your parents and husband.

You travel with them.

I'd think it'd be easy to get a swelled head.

Yes, Maestro, we love you.

It's interesting how close you are still to your parents.

And obviously your relationship with your husband who is also a musician is really solid, calm.

>> I don't think I could have done half of what I've done or any, if it wasn't for them, really.

So first, my parents because to this day, their love of music and of me being encouraging without pushing too much.

That has helped me so much and I'm so lucky.

And my husband, well it's been 30 years.

We've just developed together.

It's like a symbiotic thing.

Me conducting is like him conducting in a way.

He's travelling with me but rarely comes to rehearsals.

He just comes to concerts and will say a few things to me.

Which I don't mean to repeat the same word over again but in general, it would be about making sure I'm authentic.

Which is what I want to do and I'm not caving in to someone saying something or an idea that I think is good.

He'd say, "Well is it really, Yannick, what you want?"

He's a phenomenal musician and really good conductor himself.

So he does that occasionally, to conduct.

>> How did Bradley Cooper find you to teach him how to conduct for the movie, Maestro ?

>> Some of it has to do with the Met.

So Bradley did such extensive research.

I remember, in this building, our first conversation.

Already the spark and the chemistry was there.

So the rest afterwards was history.

I invited him in Philadelphia.

And we decided that we would do this together.

>> So that was a great experience.

>> Already I know one of the greatest experiences of my life.

...I've always been fascinated by movies.

And to be really honest, if there was one thing that I could see-- no, I can't see myself doing it.

But a dream-- something that I wish I could do but I don't think I will do one day.

That kind of dream is to direct a movie.

So for me to be involved in all the process of writing, preparing, filming, editing at all times.

All of this in Maestro was at the service of a conductor who's been the most influential I think, for all of the people of my generation and beyond.

And someone who's been really influential, even though I've never met him, influential on me.

For such a beautiful movie, I'm very proud to have been part of.

Anything I can do to spread the message of classical music being something for everyone.

And something that can move you, I'm in.

>> Interesting for you too, spending all that time with Leonard Bernstein and that movie.

It must have been interesting thinking of his closeted life.

And how different it was for him in his time and for you now.

>> It's in some ways amazing to see that, yes, we've come maybe a certain way.

I wouldn't say a long way.

We've come some way from not being able, in the 60s,70s, to live our truth.

>> Ummm >> As a gay or bisexual or you know, in my case, gay.

But in the case of Leonard Bernstein, bisexual.

In positions of authority and certain classical music field.

That nevertheless, still rings for many people as traditional and conservative.

For me, I was blessed to be raised in a loving family.

With a city, Montreal, then Philadelphia, Rotterdam in between and New York.

Where being gay is not an issue.

Now I'm using this platform of being at the helm of so many great ensembles.

To just show, especially for the young musicians, yes, it's possible to live your truth and be at the top.

But I wish that in 2024-25, I wish this would not even be-- >> A topic.

>> Right?

So I think it's slow.

And we're talking Canada, parts of the US but even home.

It's not a given.

There's still conversion therapies all over the place.

There's still threats on rights that ware given to us not so long ago.

Music, well if I can do my part through music, and through being who I am.

>> And through nail polish.

>> Exactly.

>> Jewellery.

>> Just to connect with people.

And that could be with this or for this community.

But it could also be communities who are just traditionally feeling excluded.

If they don't obey all their supposed codes.

Music is for everyone.

It's universal, even for animals.

>> It's for everyone.

>> Cats.

>> Yannick: Yes.

Oh my cats react to music so much and so well.

>> Valerie: What's left to dream?

>> Mmm.

The Moon Philharmonic Orchestra?

(laughing) >> The dream is really to remain as joyful at sharing music as I am now and as I've ever been.

I want this to continue.

But I also want the world of classical music, concert music to open up even more.

My dream is that more and more people are going to understand that they can get so much out of this art form.

And that's really my dream.

I've never been someone-- and I know it's going to sound.. fake but it's really how I feel.

I never planned my career about wanting to reach an echelon.

>> Or something.

>> Or a legacy.

>> It's always been about making the most of the moment.

Every note--one person who inspires me a lot is Rafael Nadal.

So sad that he just retired.

But one thing we always said about Nadal was that every shot was important.

So for me, every note is important.

Every note deserves to be loved.

Therefore every concert is important.

Whether it's in a basement in a church in Montreal that I do with the Orchestre Métropolitain.

Or whether I take OM to Carnegie Hall, whether I go to the Vienna Philharmonic.

Everything is important.

And I believe that the rest just comes.

Because you give your heart and soul to every concert.

>> Final question we ask is what does being Canadian mean to you?

>> I think it means a lot, obviously for me as a person.

I would never ever change my citizenship.

For me, even though I stay and travel all over the world, and I love many cities.

And New York is exhilarating.

For me, home is Montreal.

Home is Canada.

As Canadians, I think we are also--we learn to be respectful of everyone, regardless of where they are in this supposed hierarchy.

Which is a word so often used in our country.

I realize and I took-- I was conscious of this.

And I took this really at heart, to bring this Canadian way of leading an orchestra and of making music everywhere I went.

And...it seems to have worked.

(laughing) >> I'll say!

Such a pleasure.

>> Great pleasure to talk to you.

Really, thank you.

>> Merci, monsieur We'll be back next week with another episode of Canada Files .

♪