Alfonso Leal del Ojo: ‘Running an orchestra is tough business’

Growing up, my family background did not point to an inevitable career in classical music. My father was the only person mildly interested in classical music, and it certainly wasn't something you heard around the house. The real change came with Spain's massive investment in music education in the 80s and 90s. Suddenly, local conservatoires were springing up everywhere and music education was available for all. I showed talent, took it seriously and made the most of the opportunities that came my way. Now you find Spanish-born musicians like me in the most prestigious orchestras in the world. This is a stark contrast with the UK’s current path, which sees the erosion of the very infrastructure meant to enrich and nurture our children.

Success as a performer in the music business is a mixture of talent (of course), a positive collegial attitude (who wants to tour with a difficult person?), and a bit of luck! I had all three and soon found myself working with many period-instrument groups in London and Europe. When I was appointed principal viola of The English Concert in my late twenties, I felt incredibly proud. Who would have guessed that I would be part of the team that made all those recordings I admired when I was a kid in Seville? It was an honour and a privilege, but a nagging thought at the back of my mind crept in ‘have I peaked a little too early?’.

I have always had an incorrigible desire to find out how things work. That, mixed with a healthy dose of stubbornness, meant that getting involved in arts management was only a matter of time. One of the ensembles I worked with at the time, the Irish Baroque Orchestra, was going through a rough patch, and no manager would touch it. The risk of failure was high. I did not have a management career to kill, and I loved the group, so I applied for the general manager position and managed to turn things around through hard work and perseverance. I was so proud of them for their recent Olivier Award win for Outstanding Achievement in Opera.

I then spent ten glorious years nurturing the Dunedin Consort and taking them onto the international stage. There was a real sense of adventure, and although there were naturally difficult moments, my knowledge of the repertoire, the musicians and the funders made the job easier.

I have been with The English Concert as chief executive since 2019, and my stubborn disposition served me well, through the pandemic years, although I am not sure my partner and family agree. I was determined we would not remain idle. The English Concert under founder Trevor Pinnock was one of the most recorded period instrument ensembles, but I wanted to re-energise our output. Harry Bicket, our artistic director, has a strong affinity with the music of Handel and we had been touring his Operas and Oratorios worldwide, so it seemed natural to set a path that would enable us to capture these performances.

After the success of our first recording with Linn Records, Rodelinda, we were looking forward to touring and recording Tamerlano, but Covid-19 meant the international cast we had assembled could not travel to us. We had to change course, and after a few phone calls and emails, we found ourselves recording Handel's La Resurrezione at the Sage Gateshead with the vital support of Thorben Dittes and Abigail Pogson. After the challenges of the last couple of years, it feels so apt to release a piece of music that speaks of resurrection. The music is powerful, and its message is as relevant today as it was in the 18^th Century when a 23-year-old Handel was exploring and pushing the boundaries that would define him as one of the greatest composers of his time.

I won't lie, running an orchestra is tough business and wearing two hats can sometimes be exhausting. Just before a concert, I may be at a reception greeting our supporters and the next minute, running backstage to change into concert clothes. Inevitably I also hold more control than many of my colleagues in the orchestra. I'd like to think they trust me - I put in an extra effort to ensure I am available for them - but I am very aware that they do not like some of the decisions I make. Although we may not always agree, I do think they understand I have their best interests at heart.

So, what is next? Our Handel ambitions continue with an imminent tour and recording of Handel's Serse. We have assembled an astonishing cast led by the incredible Canadian-Italian mezzo-soprano Emily D'Angelo and soon after, we start rehearsals for our residency at Garsington and other summer festivals. If there is one thing that I think my dual role brings it is real pride in the work we present and I look forward to sharing it with our audiences over the next few months.

You can find out more about The English Concert here.

You can find out more about The English Concert's newest album, La Resurrezione here.

Handel's Serse tours to:

• London – 5^th of May
• New York – 8^th of May
• Pamplona – 20^th of May
• Newcastle – 25^th of May

The English Concert appear at Garsington Opera, Buxton Festival, Cheltenham Festival and Edinburgh International Festival this summer.