The ‘Roberto effect’: Roberto González-Monjas on adapting to new ensembles

Recently announced as the incoming chief conductor of Salzburg’s Mozarteum Orchestra, it is clear that Roberto González-Monjas has a profound respect and deep love for the Austrian city and its musicians. Set to take on the role in the 2024-2025 season, the Spanish conductor began his relationship with the orchestra in 2019 and has performed with the ensemble as both conductor and violinist. Ahead of officially undertaking his new chief conductor role, I was keen to find out how González-Monjas is navigating the transition and, after witnessing a magical Mozart Matinee the day before our chat, how he makes such a success of adapting to the musical language of his new orchestra.

We meet in the Café Bazar, a historic Austrian coffeehouse just across the street from the Stiftung Mozarteum venue, where González-Monjas is a devoted regular. Only the second person in recent years to hire the space (the first being the President of Austria), he is treated like family by the manager. This familiarity with the city and its people is, González-Monjas feels, part of the reason he has formed such a warm bond with the players of Mozarteum Orchestra. ‘I think it has to do a lot with the fact that we all share these Salzburg roots and it feels natural, it feels like being home in this city, this café feels like a second living room.’

'We all share these Salzburg roots and it feels natural, it feels like being home in this city' ©Salzburg Festival/Marco Borrelli

Having studied at the Mozarteum University, González-Monjas’s long-standing relationship with Salzburg has been completely transformative. ‘I can safely say that Salzburg completely changed my life as a musician and also as a human being,’ he states. But it wasn’t always characterised by the warmth and ease with which he now navigates the city. ‘I went through the ringer just to try and be at the level that was required of me in this city, in this amazing institution with so many great colleagues and teachers and professors.’ This rocky start also affected the conductor’s early days with the Mozarteum Orchestra. ‘I remember in 2019, when I conducted the Mozarteum Orchestra for the first time, being especially nervous and scared because I thought, “What if they still think of me as a student?” In the end they didn't, they were so wonderful, they were so open minded.’ There is no trace now of that lapse in confidence four years ago, watching González-Monjas interact with his players is like watching a conversation between old friends, full of fond smiles and in-jokes.

The conductor is very aware of his warm connection with his players. ‘I must say, it was a love story from the very beginning, love at first sight, and every time we made music after that I [worried]. Sometimes with these situations you think, “When is the bubble going to burst? When is the dream going to collapse?”’ But, González-Monjas explains, that disaster never materialised – his relationship with the orchestra went from strength to strength: ‘Every time I felt so welcome, I felt like they wanted more. This connection just kept getting bigger and I started feeling there's a huge amount of trust’.

Despite the romanticism of González-Monjas’s recollections it’s clear that, in addition to his extraordinary chemistry with the players, a huge amount of time and understanding has also been key to making the transition into his new role a success. His belief that it’s the responsibility of ‘the artistic head of an orchestra to get in touch with every single musician, to hear what they have to say, to understand their history in the institution, their path along the music, what worries them, what they like to do,’ has been the first step to forming lasting relationships with his players. ‘Then it's important to work with them, to give them chances. To not just see from the outside, but to get into the mud and do the work with them, to challenge them and let them challenge you’.

'We're already under pressure and we're giving our best so how nice that we can find a way to smile to each other when something goes well' ©Marco Borggreve

González-Monjas is familiar with the ‘mud’ of music-making as a violinist and chamber musician himself with appearances in festivals across Europe as well as in performances and recordings with the Mozarteum Orchestra. I ask him how performing within the players as a musician has helped him lead them as a conductor. ‘I still feel part of the orchestra,’ he replies, ‘No matter whether I'm conducting them or playing with them. I really live for those moments where there's a little smile, there's a look of connection and understanding.’ Moments of connection are abundantly evident whenever González-Monjas takes the podium. The Mozarteum Orchestra’s marketing manager calls it the ‘Roberto effect’. When I mention this to him, he breaks out into one of his trademark smiles. ‘The funny part is, I spent most of my student life being told I smiled too much on stage. At the beginning it hurt me a lot and then I realised it’s bullsh*t! We're already under pressure and we're giving our best so how nice that we can find a way to smile to each other when something goes well, when something is particularly beautiful, when something's moving. I make a big point of being myself on stage and being unapologetic about it.’

​As well as the warmth and friendship which seems to follow him around, it is González-Monjas’s deep understanding of Mozart as a composer that uniquely qualifies him to lead the Mozarteum Orchestra. Conducting an all-Mozart programme in his Mozart Matinees he is keenly aware of his role in preserving the Austrian composer’s legacy. ‘I think especially as the chief conductor of the Mozarteum Orchestra, it’s my task to advocate for Mozart not only at that level of beauty, but showing the world that Mozart is much more than we know or expect. It's important that people understand that this orchestra is actively protecting and taking the heritage of Mozart into the future.’ One would imagine that the legacy of one of the most influential composers in history might be pretty well protected, but González-Monjas doesn’t subscribe to this complacency. ‘I think everybody takes Mozart for granted, but interpretation that is informed and eloquent and flexible and moving and modern at the same time? Very seldom you find that with Mozart.’

Part of González-Monjas’s work as custodian of this enormous legacy is a series of seven album releases focusing on different areas of Mozart’s oeuvre. With a long-term project of this size marking the beginning of González-Monjas’s tenure as chief conductor, audiences have a lot to look forward to, not least the ever-growing bond between conductor and orchestra. ‘I love the fact that we have a long-term project because it also keeps people excited, and we enter this regularity with audiences. We know what’s coming and we can gear up for it.’ For now, the first album, Mozart: Serenades, which was released last week will offer us a first taste of this collaboration. As well as offering a new perspective on this rather unexplored area of Mozart’s music, González-Monjas says, ‘This album is basically a celebration of the city, of the composer and of the orchestra.’