Andrés Orozco-Estrada, welcome to Cologne! The Cologne audience and the Gürzenich Orchestra are excited to welcome the new Gürzenich conductor. How do you feel about the upcoming start?

Andrés Orozco-Estrada: I am full of anticipation and energy, and I have many dreams. There’s also a bit of positive nervousness, but above all, great emotional excitement that it’s finally starting, and we’re about to begin this journey together. I feel happy.

A nice way to start the conversation – directly with a celebration of happiness! In »Carmina Burana«, it says: "O Fortuna, velut luna statu variabilis" Happiness is sung about, but also described as an unstable good. What does happiness mean to you in relation to making music and your time here in Cologne?

*AOE: For me, it’s about both the musical and human aspects. There should not only be a good relationship between the orchestra and the conductor, they should also complement each other harmoniously. Additionally, I think about our audience: there should be a strong connection between the listeners and us. This togetherness is essential for me.

You already know the Gürzenich Orchestra as a guest conductor. How does one approach an ensemble with which you will work closely for several years?

AOE: I thought I had a “recipe” for this or that I would know exactly how the process works. But actually, that’s not the case. Every orchestra is its own organism with a unique personality, a special history, and an individual mix of people and characters. That’s what makes it exciting. I think it’s not useful to overly imagine how everything has to unfold in advance. Of course, one has goals, artistic ideas, and many plans. But what’s crucial is the shared experience of making music together. It’s about engaging with one another step by step and building something together.

Stefan Englert, how do you view the beginning of this new era?

Stefan Englert: First of all, I’m looking forward to everything that lies ahead. I’m firmly convinced that in the coming years, we will build something wonderful together. This orchestra – like the city of Cologne – is imbued with a free spirit. And that’s exactly how I got to know Andrés Orozco-Estrada: as someone who embraces the freedom to work with the orchestra in the moment, to discover new perspectives on the great classical repertoire, and to constantly reinvent it. That aligns with the DNA of the Gürzenich Orchestra.

In the 2025/26 season, there will be a focus on the works of the English composer Thomas Adès, whose music fits well with the great classical repertoire. Brahms will also play an important role.

SE: In the upcoming seasons, we will intensively engage with the works of Johannes Brahms. Our orchestra has a special relationship with him: it premiered his Double Concerto in 1887, and Brahms himself conducted in Cologne. What makes this orchestra special is the continuous effort to carry its great tradition into the present – innovating from tradition. And that’s exactly what Brahms did. I see Andrés Orozco-Estrada as someone who has internalized this approach. So, our focus on Brahms not only represents a return to the roots but also a step into the future.

Building on that – how would you, Andrés Orozco-Estrada, describe the musical spirit of a place like Cologne? You already have a lot of experience as a principal conductor, including in Vienna, Frankfurt, Turin, and Houston. Your roots are in Colombia. Do you think the sound of an orchestra is related to the place where it’s based?

AOE: Yes, definitely. From my experience, this sound primarily depends on the people that make up the orchestra. But the external factors also play a significant role: the city itself, the working conditions, the rehearsal spaces – even the weather. All of this influences the atmosphere and thus also the music. My job as a conductor is to bring these different elements together – like a magician, gathering all these energies to create something distinctive with character and personality.

Stefan Englert, you were involved in the selection of the new Gürzenich Conductor What makes this partnership so ideal?

SE: Everything fits perfectly. His spontaneity, openness, approachability – all of these traits also shape the city of Cologne and the character of our orchestra. Additionally, I am impressed by Andrés Orozco-Estrada’s approach to music: everything I’ve heard from him breathes. It’s close to people, not elitist, but music that is for everyone. It’s about taking new paths together, creating something in the moment, and reflecting the emotions and thoughts of those who create the music. This is an attitude that both Andrés and this orchestra share. I’m sure that together they will continue to develop a strong artistic identity.

In classical music, there’s often a tendency to create a "bubble" – a tight-knit community of regular audiences, insiders, enthusiasts, fans, and performers. However, many people approach this scene with awe, indifference, or stay away from it. Do we simply have to accept this, or can – and should – something be done about it?

AOE: I think both. What we create, we want to share with as many people as possible. Everyone should feel welcome in classical music. At the same time, we must be realistic: not everyone can or wants to enjoy a classical concert – and that’s perfectly fine. But for music to touch people, it requires not only a good performance but also an open interaction. Listening requires a certain willingness. That’s why it’s our job to spark people’s curiosity and introduce them to this art form. It’s about closeness – and that can always be created.

The new season begins with the popular Citizen’s Choir – a strong sign of participation. The members of the Citizen’s Choir – Cologne residents who have supported the Gürzenich Orchestra since its founding – will actively participate in a concert. Are there other ideas to further expand this involvement?

SE: Yes, definitely. We want to expand our music education efforts and involve children more. It’s not just about imparting knowledge about classical music, but about actively involving young people in the musical process. Another important step is to reach out more to the districts. We are planning family and school concerts, especially in socially disadvantaged areas, to bring music to places where it’s not taken for granted. As a city-funded orchestra, we have a clear responsibility. Classical music can be enriching for many people. Our job is to bring it to places where it can be experienced.

Are there any specific initiatives for nurturing young talent? After all, an orchestra must ensure it renews itself...

SE: We will launch a fantastic project in collaboration with the Kronberg Academy to specifically support young talent – particularly future top soloists. The Kronberg Academy is one of the most prestigious talent hubs worldwide. Over the next five years, we will build a close cooperation.

And what about new music, contemporary compositions? It’s not just about interpreting Brahms in a modern way but also about playing truly new works.

AOE: I consider this very important. It’s one of the essential tasks of an orchestra, and it’s a great joy for me. It’s incredibly rewarding to bring new works to life. Of course, this also requires a lot of work: one must delve deeply into the compositions, decode them, and create an intelligent, musically convincing interpretation. But it’s worth it – and that’s what makes it so special.

With the »Amazônia« project, you dedicate a concert to the Amazon and Brazilian music. What exactly is behind it?

SE: In this project, we are collaborating with the Brazilian photographer Sebastião Salgado. His impressive images document the unique beauty of the Amazon, but also the dramatic impact of the destruction of biodiversity in this region. Sustainability – both ecological and social – is a central concern for us. Our music education projects also contribute to this. We see it as our task not only to create musical experiences but also to address societal issues and bring them into artistic dialogue. »Amazônia« is an important step for us in this regard.

Andrés Orozco-Estrada, what needs to happen for you to leave a concert and say, That was a good concert. I’m happy?

AOE: That happens when we’ve all really given everything. When I feel that everyone has thrown themselves into the music with full dedication to make the moment come alive. It’s about authentically conveying the emotion, energy, and joy of a composition. And in the best case, this creates a tangible connection with the audience – with the people who listen and share it with us.

Have you already gotten a sense of the Cologne audience?

AOE: Yes, a little. My impression is that it’s a very open audience. I sense a lot of receptivity. What stands out to me especially is the honesty of the audience. When something touches them, when the music resonates, the enthusiasm is palpable. And when it doesn’t, you can feel that too – and that’s perfectly fine. That’s how it should be.

The interview was conducted by Holger Noltze.

We thank the Excelsior Hotel Ernst for providing their facilities for this conversation.