Manuel López Gómez: A journey between the fantasy of Ravel and the intensity of Shostakovich

On March 29, the Medellín Philharmonic Orchestra presents Tribute to Ravel and Shostakovich: opposing roots, a concert conducted by Venezuelan Manuel López Gómez. The programme explores contrasts between the fantasy of Ravel and the drama of Shostakovich, alongside works by Wagner and Estévez. In this interview, López Gómez reveals how each piece dialogues with history and emotion, offering the audience a musical experience that ranges from dreamlike to historical intensity.

Filarmed: The programme contrasts two radically different approaches through Ravel and Shostakovich. How do you approach your direction to highlight their differences and connect with the audience?

Manuel Lopez-Gomez: The magic of this concert lies in the opposition between the delicacy of My mother the goose of Ravel and the overwhelming force of the Symphony No. 12 Shostakovich's Symphony. Ravel transports us to a realm of fantasy, to the purity of childhood with exquisite orchestration, full of subtle colors. It is a music that appeals to sensitivity and imagination. In contrast, Shostakovich's Symphony confronts us with the rawness of the Russian Revolution, with fierce drama, and a sound language that evokes struggle, tragedy and hope. This program is a complete emotional journey, from daydreaming to the harshest reality, and its impact is magnified by the contrast between the two works.

F: Shostakovich's work on the Bolshevik Revolution has been interpreted in a variety of ways, from genuine support to veiled criticism. What is your personal interpretation of this symphony, and how do you communicate it on stage?

MLG: The Symphony No. 12 Shostakovich's opera complies with the principles of socialist realism in its programmatic structure and triumphant ending, but beneath this façade lies an ambivalent view of the 1917 Revolution. It is neither an open criticism of the regime – which would have been dangerous for the composer – nor a naive glorification. The tension between obligation and genuine expression is key to the interpretation of the work.

The last movement, The dawn of humanity, reflects a forced, almost hysterical heroism, which raises the question: is it a true triumph or an imposition? Revolutionary Petrograd, the fight is not exalted, but rather portrayed with a cinematic realism of chaos and violence. The second movement Razliv, instead, delves into melancholy and foreboding, showing an introspective facet of the revolution. Finally, Aurora It is presented as a grotesque scherzo, oscillating between the heroic and the cartoonish.

This interpretation seeks to highlight the emotional layers of the symphony, allowing the audience to perceive its complexity beyond official propaganda. Ambiguity – forced or intentional – is an essential characteristic of Shostakovich’s music, and in this symphony, far from being a simple revolutionary celebration, it suggests a reflection on its human consequences.

F: Midday on the Plains evokes Venezuelan landscapes. What challenges does it present and how does it fit in with the rest of the program?

MLG: Antonio Estévez's piece is a jewel of the Latin American repertoire. It is a work that manages to evoke the immensity of the horizon, the heat of midday and the solitude of the Venezuelan plain. It is a symphonic poem in miniature, full of color and deep nostalgia.

Its orchestration is masterful in its simplicity, almost minimalist, but deeply expressive. Despite its contrast with the other works, the integration into the program is natural: it functions as a moment of pause, of contemplation. As in Ravel's suite, there is a dreamlike feeling, but here it is not childish fantasy, but the immensity of nature. This work also acts as a bridge between my roots and the European symphonic tradition, showcasing the richness of the Latin American repertoire.

F: 150 years after Ravel's birth and 50 years after Shostakovich's death, what lessons do they leave us about music and society?

MLG: Both are still relevant because their music transcends their time. Ravel reminds us of the power of beauty, precision and imagination. His meticulousness in orchestration and his ability to create sound worlds remain a reference. Shostakovich, on the other hand, confronts us with the complexity of history and the struggle between personal expression and censorship. He teaches us that music is not just entertainment, but a reflection of the human condition and a tool for resistance and reflection. They challenge us, move us and continue to teach us about music's ability to capture the deepest part of the human soul.

F: What word or emotion would define this concert and what do you hope the audience will experience?

MLG: “Catharsis.” The program covers such a broad and deep emotional spectrum that it allows the audience to experience a kind of emotional release. We move from the sweetness of Ravel to the solemnity of Wagner, the immensity of the Venezuelan plain in Estévez, and culminate in the emotional whirlwind of Shostakovich. I don’t expect the audience to simply leave “happy” or “contented”; that would be oversimplifying the experience. I hope that they feel moved, in the broadest sense of the word, that they experience emotions that make them feel more alive, more aware, more human.

Q: What does a season titled "What does it mean to you?" Roots?

MLG: For me, Roots It represents the connection to the past, cultural identity and musical evolution. It’s not just a label, it’s a philosophy that reminds us of where we came from and where we’re going. Music is a tree with deep roots and branches that reach towards the sky. It’s a reminder that tradition and innovation are not in conflict, but rather feed off each other. This season is a celebration of our influences and also a commitment to the future.

The concert
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