Classics Don't Cry: A Meeting with Glass Marcano and Gabriela Ortiz

More than a concert, The classics don't cry It is a declaration of identity, power, and future. Symphonic music is transformed without losing its soul, guided by women who are rewriting history: Glass Marcano conducting and Gabriela Ortiz composing.

He Friday, May 2, the Metropolitan Theater will witness this renewed energy. From the podium, Venezuelan Glass Marcano will lead Filarmed, while Kauyumari, a work by Mexican composer Gabriela Ortiz, will be featured in the program. The two artists discuss their vision of music, conducting, and the urgent need for greater female representation in the classical scene.

Both have made history: Glass was the first Latin American to conduct the Brussels Philharmonic, and Gabriela won the 2025 Grammy for Best Contemporary Classical Composition for Diamond Revolution, premiered by the Los Angeles Philharmonic. Together, they are a testament to the vibrant present and promising future of symphonic music.

Glass Marcano: Conducting as a reflection of the soul 

Filarmed: Filarmed's 2025 Concert Season is called "Roots." What does this concept symbolize for you? 

Glass Marcano: I'll be home. We Latinos are one, and if I'm in Colombia, I'll automatically be in Venezuela. Returning will always be the true nourishment of my soul. Hehehe, and it's very simple: I will be in my roots. 

The only difference between us is in the accent: “Qloq, mano” on one side, “Qué hubo, parce?” on the other. HahahaI'm happy to be going to Medellin! 

After so much time in Europe, Latin America is still my home… and I always miss home. 

Q: As a conductor, how do you translate emotions into your performance and connection with the orchestra? 

GM: For me, there are three perspectives on my inner self: first, the moment when you're in front of the piece; second, the personal reflection that emerges from the work; and third, the connection with the orchestra. It's a process of transmitting feelings where each of your thoughts merges with the musical collective. 

F: In the Symphony No. 3 “Scottish” Mendelssohn's work, nostalgia and melancholy are key. How do you approach this work? 

GM: More than nostalgia, for me it's a tribute. Mendelssohn portrays a heartbreaking story, marked by the battle between Catholics and Protestants and the figure of Queen Mary Stuart. It's a tribute to those who were victims of this historic event. 

F: The program includes Kauyumari and Radiography, two pieces with contrasting views on the pandemic. How do you deal with these contrasts? 

GM: I've always said that the soul of a director comes from her identity as a person. Reinventing yourself as a human being also means reinventing yourself as an artist. And the most curious thing is that this transformation doesn't come from an extraordinary event, but from the subtle changes of everyday life. 

F: This concert balances the European repertoire with the richness of contemporary Latin American music. How do you think this dialogue of styles and eras influences the audience's experience? 

GM: Our Latin audience is very flexible and open to all styles, so we'll be in our comfort zone. More than a shock, I think it'll be a real treat... a blast, dude! 

F: This is your first time with Filarmed. What are your expectations? 

GM: HeheheLook, the truth is, I don't usually check out the orchestras before going, because each one has its own world, and to discover it, you have to experience it. But what I can tell you is that it's a great and pleasant honor to meet the orchestra. 

And dude... it's Medellin! Where everything is very cool and shocking. 

 Gabriela Ortiz: Music as access to the intangible 

Gabriela Ortiz, Grammy winner for Dynamite Revolution, explains the inspiration behind Kauyumari, a work that evokes the blue deer, a central figure in the Huichol worldview, and the return of live music after the pandemic. 

“While composing this piece, I observed once again how music allows us to access the intangible, heal our wounds, and connect with the inexplicable.” 

In Huichol tradition, Kauyumari is a spiritual guide who, after a pilgrimage, transforms into peyote, allowing connection with ancestors. Inspired by this idea, Ortiz incorporated a Huichol melody from the De La Cruz family into the orchestration, evolving it beyond recognition, reflecting the journey of the blue deer and peyote's effect on consciousness. 

For Ortiz, Kauyumari It is more than a musical work: it is a celebration of music as a bridge to the invisible and a reaffirmation that, despite interruptions, life and art always find their course. 

The music in “The classics don't cry” 

  • Kauyumari – Gabriela Ortiz 
  • Radiography, concerto for requinto guitar and string orchestra – Juan David Osorio 
  • Symphony No. 3 “Scottish”, Op. 56 in A minor – F. Mendelssohn 

Director: Glass Marcano (Venezuela) 

Requinto guitar: Juan David Osorio (Colombia) 

The concert

Enjoy “The Classics Don't Cry” at affordable rates for everyone:

  • Tickets from $44,000 for the general public and $25,000* for students.
  • Comfama members can access tickets from $9,900.
  • Buy yours tickets here or at the following points of sale: CC Los Molinos, CC Fabricato and CC Viva Envigado
  • Take advantage of a 25% discount when paying with Bancolombia cards.