Daniela Candillari Conducts Chris Thile with the Minnesota Orchestra
A conductor holds all of the power when they are on the podium but when they step off, they are filled with a plethora of insight and esteem for their craft. The Zeal Review sat down with the illustrious Principle Conductor Daniela Candillari prior to her debut with the Minnesota Orchesta July 31-August 1.
What follows is that conversation:
ZR:: You have traveled all over the world conducting some of the best orchestras, what inspired you to bring your talents to Minnesota?
DC: I was actually invited. While this is my first time working with the Minnesota Orchestra, I previously worked with the Minnesota Opera in 2018 on Fellow Travelers. I remember going to see the Minnesota Orchestra perform live that year after having listened to their recordings for years, and I was struck by the beauty of their sound, especially the strings.
ZR: What inspired you to become a conductor?
DC: Interestingly, conducting wasn't my original goal. I started playing piano at five years old and was always fascinated by music, opera, and theater. I initially wanted to become a jazz singer who accompanied herself on piano, sort of like Shirley Horn type of things. As I worked more with chamber ensembles, singers, and eventually opera productions as a vocal coach, several conductors encouraged me to consider conducting. I think it was around 19 when someone pulled me aside and told me that they thought I should be a conductor. It took time to accept that path, but once I began leading rehearsals, it felt completely natural. I have to say, sometimes it seems like professions choose us rather than the other way around.
ZR: As you learned that about yourself, what kinds of music are you drawn to when conducting?
DC: Well, opera is where I feel most at home, particularly contemporary opera. It started because my grandmother was an opera singer, so it was what I was first introduced to. I love challenging works, such as André Previn's A Streetcar Named Desire, Matthew Aucoin's Eurydice, and Rene Orth's Ten Days in a Madhouse. Beyond opera, I have a deep appreciation for 20th-century orchestral music and the Slavic repertoire, especially Shostakovich and Tchaikovsky. Ultimately, though, whatever score is in front of me becomes my favorite piece at that moment. (As she chuckled)
ZR: How would you describe your conducting style, are you someone who stands on the podium and is focused and completely serious or do you like to let loose a bit?
DC: Conducting is really about serving the music and the musicians rather than drawing attention to yourself. Every performance requires a different energy depending on the piece. While there's structure, there's also freedom within that structure. My role is to listen carefully, respond to the musicians, and help bring out what the composer intended.
ZR: That is a great point. Going off of that a bit, conductors don't actually produce sound themselves. How do you manage to hear and balance everything?
DC: It's something I have had to develop over years of study and experience. You learn every instrument's role, study the score in detail, and constantly refine your listening skills. Every orchestra has its own unique sound, and every performance teaches you something new. In opera especially, the acoustics can differ greatly from what the audience hears, so we have to trust the audience in the hall to provide feedback.
ZR: Can you fill us in on how your collaboration with Chris come about?
DC: I actually knew of Chris (Thile) and his work previously but officially met him last summer at Music Academy of the West. I'd long admired his work, and I was impressed by his curiosity about classical music and the mutual respect between musicians from different genres. Our first performance together mixed Bach with Chris's own music, and it was a very rewarding experience. I find that collaborating across genres helps to broaden my perspective and continuously teaches me new ways of making music with others.
ZR: I have to admit I'm not very familiar with Chris's music.
DC: That can actually be the best way to experience it—with fresh ears. His work blends genres with orchestral writing in a beautiful and engaging way. I think audiences will enjoy the variety and emotional range throughout the program.
ZR: When you are not rehearsing or performing, do you seek out other performances to attend?
DC: Whenever my schedule allows. Since I travel constantly, downtime is often limited, but I love hearing other orchestras, operas, and soloists. Whether I attend depends on if I find the repertoire alluring, although sometimes if there is a specific performer involved I will make an effort to attend. It really comes down to whether I have the energy after my own rehearsals and performances to go out and see what is playing.
ZR: I have to know, would you ever conduct a Broadway musical?
DC: While I enjoy musical theater very much, especially classics like Chicago and Cabaret, I believe there are conductors who specialize in that world and do it exceptionally well. I'm perfectly happy experiencing Broadway as an audience member.
ZR: Aside from conducting, I noticed the you have done a series of Master Classes, what do those involve?
DC: I’ve taught both conducting and vocal masterclasses. With singers, I focus on language, interpretation, storytelling, and helping them express the character more deeply. With conductors, we work on communication, interpretation, and developing an authentic conducting style rather than imitating others. Teaching is also a valuable learning experience for me because it encourages self-reflection on my own craft.
ZR: Moving away from work for a minute, what are you most looking forward to while visiting Minnesota?
DC: It's been about eight years since I last visited, so I'm excited to rediscover Minneapolis. I'd love to see a performance at the Guthrie Theater if my schedule allows and if there is something showing. I would also like to reconnect with friends in the area, and simply explore the city again.
ZR: Come From Away and Private Lives will be running while you are here, so hopefully you can make one of those work.
DC: Oh excellent, thank you.
ZR: Finally, what do you hope audiences take away from your performances?
DC: I hope they experience how music can deepen emotion and storytelling. Whether it's opera, symphonic music, or a cross-genre collaboration, music has the power to elevate a story in ways words alone often cannot. That's what makes performing—and sharing music with audiences—so rewarding.
The Zeal Review wants to thank Daniela for her time, insight, and candor during our conversation. Be sure to get tickets for Chris Thile and the Minnesota Orchestra before they sell out.
