Gavin Sutherland on Ballet Music: The Unseen Choreography of the Conductor’s Baton
Munich, Bavaria, Germany – February 12, 2026 – For British conductor Gavin Sutherland, ballet music is not merely a collection of notes; it is a living, breathing entity that has shaped his entire professional life. From his early days as a pianist at a local ballet school to his current role leading prestigious orchestras, Sutherland’s connection to the world of dance is profound. In anticipation of his upcoming concert, ‘Pirouettes and Pliés – The Most Beautiful Ballet Music,’ with the Munich Radio Orchestra, Sutherland offers a fascinating glimpse into the unique challenges and immense rewards of conducting for ballet.
A Conductor’s Dance: The Physicality of Interpretation
Sutherland readily admits to being a highly physical conductor, his gestures mirroring the energy he draws from the dancers and transmits back to the orchestra. “Movement to music has always been a part of my life,” he explains. “When there’s dancing, a special energy arises. I pick up on that and give it back to the orchestra. That’s probably why I move more – but certainly not rehearsed. I leave the choreography to the professionals,” he quips.
His journey into ballet music began long before his professional conducting career, rooted in his experiences as a ballet school pianist. This early exposure instilled in him a deep understanding of the dancer’s perspective, even if his own attempts at pirouettes were met with humorous failure. He recalls a particularly memorable incident during a rehearsal of ‘Giselle,’ where a slightly too-fast tempo prevented a dancer from executing a double turn cleanly. The ballet master, instead of reprimanding the dancer, spent hours teaching Sutherland the intricacies of the jump. “I actually managed it eventually, but of course, I always fell,” he laughs, “and he then told me: ‘Look, that’s why it has to be at exactly that tempo.’ Those are moments you never forget.”
The Art of Anticipation: Why the Upbeat Matters Most
Sutherland emphasizes that a ballet conductor is paid not for the first beat, but for the one preceding it – the upbeat. This crucial moment, he argues, is akin to the ‘plié’ in dance, the bending of the knees before a grand jeté, or leap. It’s the preparation that dictates the success of the movement. “Like a true ‘Grand Jeté,’ preparation is paramount,” he states. “The decisive moment for the dancers is not the jump, the ‘Jeté,’ but the ‘Plié’ – bending the knees to then catapult themselves into the air.”
This philosophy is evident in his approach to diverse ballet scores. For example, in Adolphe Adam’s ‘Giselle,’ a piece he describes as less airy and more grounded, Sutherland seeks a sense of calm and lightness from the orchestra. “If it becomes too heavy and too slow, it doesn’t fit the romantic character of the ballet.” Conversely, for the ‘Dance of the Knights’ from ‘Romeo and Juliet,’ he encourages the orchestra to embody the weight of the historical costumes worn by the Capulet family. “There’s not only great power in the family, but also in how they wear these clothes and move in them.” These contrasting pieces highlight his nuanced understanding of how music must serve the visual and emotional narrative of the dance.
The Immortal Swan and Hungarian Fire: Capturing Character Through Sound
Sutherland’s concert program promises a captivating journey through ballet’s greatest hits, including the iconic ‘Dying Swan,’ immortalized by Anna Pavlova. He reflects on the enduring power of Saint-Saëns’ masterpiece, emphasizing its ability to convey a lifetime of emotion in just three minutes. “It’s the perfect small-scale ballet piece,” he says. “The dancer – and Pavlova was the great master of it – must know that it’s not just about reaching those in the stalls, but also the spectator on the balcony, in the very last seat in the house. That person must feel the energy of the animal taking its last breath.” He elaborates on how the music subtly shifts from depicting a swan gliding peacefully to its final, fragmented moments, underscoring that without the music’s precise effect, the dance would be a mere technical exercise.
The program also includes a fiery Csárdás by Léo Delibes, taking the audience to Hungary. Here, the dancers wear heels, not ballet shoes, performing extravagant, stomping movements. Sutherland aims to convey the boisterous atmosphere of a village celebration, with glasses clinking and shouts echoing. “It’s a real big hit,” he exclaims. He anticipates taking a deep breath before conducting this piece, as it demands an immediate surge of energy from the orchestra. He praises the Munich Radio Orchestra as one of the most versatile and characterful ensembles he has ever worked with, making this concert a joyous experience for him – a “ballet evening without dancers,” albeit with the possibility of some dancing from the conductor’s podium.
A Broader Perspective: The Interplay of Art Forms
Sutherland’s insights transcend the technicalities of conducting, offering a broader commentary on the symbiotic relationship between music and dance. He consistently returns to the idea that “without music, the dance would be nothing.” This perspective underscores the profound impact a conductor has on the overall artistic experience, shaping not only the sound but also the emotional resonance and narrative clarity of a ballet performance.
His upcoming concert promises to be more than just a musical event; it is an exploration of the soul of ballet, guided by a conductor who understands its every nuance. For those in Munich, it offers a unique opportunity to experience the magic of ballet music, even without the dancers, and to appreciate the unseen choreography that unfolds between the conductor, the orchestra, and the timeless melodies that bring stories to life.
Source: https://www.br-klassik.de/aktuell/news-kritik/interview-gavin-sutherland-ballettmusik-muenchner-rundfunkorchester-prinzregententheater-100.html
