Upcoming conductor Juliano Aniceto discusses his musical journey and passion
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Rob Lee
And welcome to the truth in this art. I am your host, Rob Lee, and today I have the privilege of being in conversation with one of the most significant upcoming conductors of his generation. Having worked in the symphonic and and operatic fields, currently he is developing his doctorate studies at the Peabody Institute of Johns Hopkins University under the mentorship of Marin Alsop, where he is serving as her graduate assistant in 2022.
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Rob Lee
He joined the Hopkins Symphony Orchestra in the position of assistant conductor. Please welcome Juliano and Aniceto. Welcome to the podcast.
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Juliano Aniceto
Thank you so much. I'm such a pleasure to be with you and share this conversation with you today.
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Rob Lee
Yes. It's a privilege and a pleasure to have you on here. And I mean, I'm getting the the upper crust. I'm getting the a little bit of like refined this here. I'm talking to people who are in classical music. I mean I just a guy for his Baltimore. But I mean, what are we doing here? What are we doing?
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Rob Lee
So many things. So yeah. Again, thank you. And the before we get too deep into the the conversation, could you share with me. Like, pretty much like your story, like in the distilled format, like ultimately how you got here. Like, you know, some people may say, hey, I just, you know, took a left and then came down the street.
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Rob Lee
Other people have a long, winding road, you know. So what is the the Juliano story? Tell me.
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Juliano Aniceto
Yeah. So let's make it short. When I was born in 1987, just getting on fast.
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Rob Lee
And I think.
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Juliano Aniceto
That there would be a little bit on I am a conductor and as you said, I'm passionate about music and about people. And I was born in Brazil. I was born Sao Paulo state, simple city in Brazil. I'm 35 years old and we were living in Sao Paulo. And after some years when I was eight years old, my my grandfather, my my father lost his job at some point, we moved to Regina, and there I had my first contact with music.
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Juliano Aniceto
We lived in the favelas in general, and I had my first contact with music. And it was such an amazing thing. I was I used to play the flute. And flute is my passion, at least one of my favorite instruments and dedicated myself for many, many years for the music. This is from it. But, you know, classical music was never a thing, you know, for me to live and live than in Brazil.
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Juliano Aniceto
So when I was about 18 years old, the Brazilian Symphony Orchestra, I decided to play a concert in the church and my family decided to go. And for the first time, I heard the symphony orchestra before in my life and that changed completely my my perspective of music, my perspective of the world and how I would live for the next decades or or so or until now.
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Juliano Aniceto
So that was a really life changing experience. And when I decided to become a conductor, so it was a long journey from from Rio de Janeiro and then start, you know, the early studies on classical music being late bird that people say here United States and with my parents they started classical music when they were three six years old I started when I was 18.
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Juliano Aniceto
So but I think in some way that passion for or for, for this kind of music makes things so much better and so much joyful. So I was able to, you know, keep developing, keep developing and so at some point, I was working in Brazil as a as a conductor, already in the operatic world and also in the symphonic world, as assistant conductor of orchestras and opera houses in Brazil.
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Juliano Aniceto
And they decided that it was time to explore the world. And, you know, sometimes they need to have this primary sources to have contact with who did it with the mass me main sources of inspiration and is when I decided to move abroad. So I thought about Europe. I thought about the United States. And I end up coming to the U.S. I do my Masters in North Carolina.
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Juliano Aniceto
And then I had the big dream that to be really honest, I didn't believe I would be able to study with Mary Alsop at the Peabody Civic of the Johns Hopkins University. But gladly, I'm here and I just we'll keep going. And that's a little bit on how I got to cutting a lot of details with how I got here.
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Rob Lee
Thank you. Thank you for for sharing it. So you so you didn't come here for the crab cakes and the great weather. Good to know. Good to know.
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Juliano Aniceto
Yeah. But I. I literally have to say that that's a good portion of why in Baltimore.
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Rob Lee
That's great. That's a great. So you so you've been like in this sort of space, being a conductor, being in this space for the better part of half your life at this point. And so walk us back through that that moment when you're like, what was the feelings? What was the kind of the setting of when you realized like, yeah, this is what I want to put my life towards.
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Rob Lee
This is what I want to do. I can remember, like when I decided to at least have that curiosity to go into podcasting, I got just annoyed about like some news topic and I was like, I think I got 5 minutes at me and I just ranted about it for 5 minutes and someone listened to it is like, you know, you can just kind of keep talking, right?
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Rob Lee
You could just keep doing that. And that was a moment where I was like, Oh, am I being heard for this opinion that I have? And it led to ultimately me doing this. So what was like that sort of feeling that that you had it kind of informed you like a conductor? That's the thing for me.
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Juliano Aniceto
It's there are so many layers for for this topic that I think we can touch on all of them easy in a certain level. I always have been a well-trained introvert. I am an introvert that I was trained through life to behave like a non introvert. I would never say that as an extrovert, but and I always loved music.
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Juliano Aniceto
I loved people. So for me, the idea of becoming a flute player was rather challenging, despite the fact that I love music for being for playing the flute. I always like to play in bands too, playing in bands, in folk groups. And this idea of having a large group of people with whom I could interact and get to know the curiosity about people always was something that was present on me.
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Juliano Aniceto
But to be really honest, the moments that I heard the symphony orchestra for the first time, it was really life changing and when they could see the conductor shaping the sound through his hands without saying a single word.
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Rob Lee
Yeah.
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Juliano Aniceto
That was something that deeply moved me. And to see how how beautiful that music is. Classical music I used to tell this to all my friends is an experience. You can listen to radio in school. Of course. I love listening in classical music in the radio, but in the concert hall. Oh my God, it's a completely different perspective.
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Juliano Aniceto
You can see the passion in the eyes of the musician. You can see everybody excited. You can, you know, experience that moment. So for me, that experience was it was really meaningful and it definitely shaped who I am today.
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Rob Lee
100%. That's that's great. So in traveling, you mentioned coming from Brazil, coming from South America and kind of doing, you know, different opportunities there to learn in this craft and this this skill and this this art. So having that experience and then coming up here to the U.S., what were some of the memorable experiences you've had in your career thus far that you like that really sticks out or that was a really bad time or this is a great learning experience.
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Rob Lee
What are some of those memorable things that that stick out for you?
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Juliano Aniceto
I gosh, there are so many you know, I'll give some of them some memorable moments were definitely in my career were when I got to places that they have that I have never thought I would be at some point. So on the good side, of course, I think the the first time I conducted in Sao Paulo the main concert hall of of of Latin America, I would say the first time I stepped on the stage was really, really special.
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Juliano Aniceto
It was conducting the simplicity of orchestra and also, of course, seeing chronological order, not in ranking. But that was fantastic. I remember there was a guy he he he was basically the assistant for for the concert hall itself. And he was supposed to open the doors for me to come to the stage and was so happy that they just jumped on him and hugged him.
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Juliano Aniceto
And I was so used to everybody that was around me and everybody thought, Oh my gosh, this guy is over. What's happening here? I just could not contain my excitement because as soon as it starts to be conducted such we decided to do some research and that concert hall because of the main hall with Brazil, was always in the research, as I did.
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Juliano Aniceto
And to be honest, if I never go to that place and when they I could step on the stage of that place was absolutely incredible and the musicians were so kind. It was a great concert. Another one, I would say, was the day of my audition at Johns Hopkins.
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Rob Lee
Oh.
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Juliano Aniceto
Auditions can be really frightening. It can be really stressful. And of course, I was dressed for my audition. But Mary also has such a way to be human, to understand, to be much more than the star she is. People say, Oh, my gosh, Mary also starring. Yes, she is. She's she's a star. She's great. But when you when when you get, you know, marrying also as a human being, you see where, why and where this star really is.
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Juliano Aniceto
You know, this star is in her heart. And that's really nice. It was it was a wonderful moment to to to conduct for the first time for for my hero. And she had never seen me conduct. And I came, of course, shaking all my body and hands and legs. And she was so, so, so very kind to me.
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Juliano Aniceto
And it was definitely a day that I'll never forget, the day that I had the opportunity to come for my hero.
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Rob Lee
That's really that's really cool. And they talk about, you know, on occasion, you should never meet your heroes or what have you. But I think when it works out in there, you know, in a minimum decent and if as a maximum like really good and really kind and gracious, it's a good experience. It is a great experience. And there are a few people that are in you know, it's there in my shoot your shot list of like, all right, I need to get this first before an interview and they fall into this realm of people.
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Rob Lee
I really look up to you and you know, that I kind of classify is as a hero or what have you, just because of the way they go about things and, you know, kind of touching on one of the things that I'm picking up like this will never happen. And then when it happened, you're like, Oh, well, now my poems are sweaty and I can't get my clothing anymore.
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Rob Lee
What am I going to do? So definitely I relate in that regard, and I don't know if I'm an introvert or an extrovert. I like to look at it like I'm a shy extrovert. Mm. I like to look at it that way. Like, you know, 1 to 1. I'm good. There's a group of people I'm sending the representatives and I don't know, like, you know, being on stage that that notion is, is frightening.
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Rob Lee
Then having to remember stuff like a conductor does, you know, I don't know. I don't know.
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Juliano Aniceto
Yeah, it's you know, I always try to think when I'm really nervous about something, about the the joy that is trying to do to be a musician, you know, and how much a fought to to to become a conductor. So, you know, there is a sentence in Portuguese. I didn't arrive to I didn't arrive I didn't walk this far to get this far.
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Rob Lee
So I love it.
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Juliano Aniceto
You need to you need to move to go for it. You know, every step that you give forward makes you look back and say no. So I cannot walk that much to stop here. I need to go to keep going. So I think this is a thing that I always think on that when they come to the stage.
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Juliano Aniceto
This is the moment that I, I expected for months, for years, for decades. At this point.
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Rob Lee
I like to look at it like that. I'm going to I'm going to still that, but also the sort of idea of like anything that comes with it with with what I'm doing, I asked for it. That's the way that I look at it, like, you know, getting more attention, bringing in different guests and having this sort of like diverse, like, tapestry of conversations.
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Rob Lee
It's going to open me up to have so many different opportunities present themselves. I was like, If you're not going for that, they're really, what are you doing is always progressing. And I I'm a tinkerer and I don't know if you are, but I'm a tinkerer. And I've got a question that relates to this later. I like to like tweak things a little bit and make it my own.
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Rob Lee
And you know, that's that's how I apply it to this this this podcast. And one of the things that I'm looking at is like, I recognize what it is, but I'm trying to take some of the things that I learned through these conversations and reading art books of, All right, let's not recreate the same thing that I did.
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Rob Lee
Let's not recreate interviews that the guest has done already. Let's try to bring something unique and try to get them not necessarily uncomfortable, but have them thinking maybe in a different way. And so I have like a table of questions that I ask and I retired them like every year to bring in new questions and new ideas. And, you know, I look back at old interviews.
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Rob Lee
I was like, wow, I can't believe I asked that. So like, that was that was nothing thoughtful and nothing came out of that. So I want to clarify, if I find this real quick, what is the difference between an opera, an orchestra and a symphony? I heard the term I don't know what they mean, so help us, me, the listeners, all of that good stuff.
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Rob Lee
Please break this down for us.
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Juliano Aniceto
Sure. So the orchestra is nowadays a big group of musicians. So in general, we have the violins, we have the orchestra is divided in sections. So we have the strings, violin, viola, cello, double bass. We have the woodwinds, flutes, oboes, bassoons, clarinets and some auxiliary instruments. We have the brass section that's trumpets, horns, trombones, and you have the percussion section.
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Juliano Aniceto
So this group of instruments, the instruments, it's called nowadays the orchestra symphony is a gender that is frequently played by the orchestra. So but not only actually we have symphonies for four for wind bands, we have symphony for mixed groups, for chamber groups, which means really small group of players. So it's generally in generally four and four movements and it was developed through the classical period.
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Juliano Aniceto
And of course with everybody knows Beethoven, nine of the most famous symphonies. So is a kind of composition when we talk about opera. Opera is, is a is a melodramatic construction. So we have this is the the connection between theater and music. And as it happens in the past, the music that was played in opera is what we call today classical music.
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Juliano Aniceto
So we have at that point, they didn't have the microphones as we have today. So the singers, they use a specific technique, the lyric singing for two projects, their voices over their orchestra. So this is this is why the opera and The Sopranos and then tenors, they have that specific collar. Well, and because they use a technique that allows them not to use a microphone and cut the sound of the orchestra and be heard, despite the fact that sometimes they have a 70 people orchestra behind them playing full force, and still then they can they can be heard.
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Juliano Aniceto
So when you talk about opera use, we're talking about a theater play that's saying like for, for example, Broadway musical. Yeah. But with classical music and lyric singing in general, the most famous opera of the golden age of the opera is the romantic Italian opera, for example, or the Germanic romantic opera that's we're talking about the second half of the the 19th century and the first decades of the 20th century, sometimes.
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Juliano Aniceto
So we are talking about this theater that connects with music. So you literally have a storytelling. You have a storytelling. The stage, the story is either fully sing or in certain parts is spoken. We have singing parts as well. So it's basically a show.
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Rob Lee
Thank you. Thank you for clarifying that. And I think it's a good segue way to this one question. I have this a little further ahead, but I think I go into it. Do you have a favorite piece of music that I know would be is hard. It's hard to ask in person. As a music person, do you have a favorite piece?
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Rob Lee
Would you know if someone was like, you only have one piece of music that you can conduct for the rest of your life. What would that piece be? And I have a part B to that, but I'll let you start off there.
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Juliano Aniceto
Yeah, I, I'm fascinated about rhythm and if I would try probably to sneak some, some pieces together to bring this, you know, illegally in my pocket for, for for this favorite piece of package, but it changes every 3 hours. My favorite piece is a kind of a nightmare in my head, but nowadays I'm really to Yohannes Brahms, the composer.
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Juliano Aniceto
And I think his first symphony is one of my my favorites. If this podcast would happen in 3 hours, I would have I would have a different answer. So probably if this podcast happened in 3 hours, I would say that I would take him. Villalobos, a composer from Brazil, showed us number ten that's inspired on indigenous communities singing with choir and orchestra.
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Juliano Aniceto
And if you ask me in 6 hours, I would actually answer probably that is Rite of Spring by Stravinsky. So this connection with nature is something that really, really, really intrigues me. And I think orchestra can replicate really well the sounds of nature, and I'm always fascinated by that.
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Rob Lee
So it's, it's fair to say that music, it's very dynamic for you being that, you know, 3 hours later it's a different thing. Oh, so what would you say? Like, so if you have a piece and I think I have a sense of it based on how you you started off that answer. Do you ever try to put your own spin on an arrangement or is a classic a classic?
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Juliano Aniceto
You know, I think really depends with the romantic era and with the arrival of the recordings. See certain way all the score as they become, they became something that's really religious and people follow the score really, really religiously as people follow the Bible sometimes or any sacred book. I There are of course several interpretations of these works and everybody has a different interpretation.
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Juliano Aniceto
But there are some scores that we are more likely to to have any sort or to cut things out because we think, oh my gosh, this is way too much. Let's cut this section out in opera is more common, but in symphonic music, so certainly a bit less common. But you know, it happens sometimes. So I remember it conducted a piece by Gilbert and Sullivan is an operator.
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Juliano Aniceto
It's a small opera called The Trial by Jury in Brazil. And we decided to change everything. So we inserted Brazilian rhythms and Brazilian instruments and it we we made basically trial by jury become a party. And I pretty well I mean, it was really fun. Everybody was dancing by the hand. And for me, this was this is what classical music is.
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Juliano Aniceto
And classical music needs to be something that people have fun with.
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Rob Lee
THE Do you feel that in taking that sort of approach and I love the way you describe that, do you think that is almost kind of a way to meet people where they're at to broaden it? I know that I asked a similar question to Jonathan Hayward about like, how can this be a little bit more like classical music in a macro sort of way?
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Rob Lee
How can it be more inviting to audiences that this doesn't seem like this would be your type of music or your type of scene? Was that an effort to say, you know what, I'm going to make this a party? This is still classical music, but this is something that's for the people that I here. They're going to get it.
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Juliano Aniceto
100%. I think so. I think this idea of connecting past and present and different cultures, sometimes we have the feeling that we are in search of a monochromatic culture. And this is not it is absolutely not true. Everything we hear, we hear during the day, either in the car and the radio, on the bus stop on an elevator, everything is connected through different cultures.
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Juliano Aniceto
At some point, and they think sometimes we need to make this connection, including timelines. So the idea when they did that was with the the the English Opera was the way that that specific piece was. Exactly to bring the the humor that were in this British humor more close to the Latin American flavor and show that we can we can we can have fun with any kind of any kind of music expression, if the piece is funny and if the intention of the works is that.
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Rob Lee
Thank you. Yeah. Yeah. So this is the last real question I have. And like I said, you still going to get those rapid fire questions. But so give us the rundown on how do you get ready for concert. And you know what would be, you know, the most? Well, something that that's difficult for you as a conductor. So how do you get ready for concert and what is like something that's just super difficult for you?
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Juliano Aniceto
So my process to get ready for a concert starts with, of course, the planning of the repertoire. So see what pieces and where I would like to perform, or the orchestras receptive to perform. And on that matter I have a pre or print open approach. Of course I have the pieces that they love to conduct, but I try to avoid them at all costs.
00;24;34;12 - 00;25;01;24
Juliano Aniceto
For me, the the concert should be a celebration of the community. Celebration of always listening. Sure. So it's going to be really, really hard for for somebody to see me conducting. That's something that's completely out of the range of a certain community from I would like to I always like to discuss the repertoire that's going to be made with the people that are going to either organize the concert or to invite people over or how they're going to promote.
00;25;01;24 - 00;25;23;01
Juliano Aniceto
So that was one of the conversations that they had with Rafael and raising when we when we were working on the Hopkins Symphony Orchestra about the program, is to create programs that can serve the community, who attends the concert and what they would like to hear, and how can we challenge them to hear different things but not blind inside them.
00;25;23;15 - 00;25;48;13
Juliano Aniceto
So for me, this is the first part after that is of course studying for me. I like to have to have a score in advance and study the score to to a certain point so that they can almost feel the music inside me. It's not about knowing what to do my brain, but my brain. But for me, it's really important to feel the music, the, the, the emotional aspect for me is truly important.
00;25;48;13 - 00;26;15;28
Juliano Aniceto
And I try to imagine the situations and read about the composer and what he was passing through when he was composing the piece in French. Imagine the sound world of that piece. And that was one of the biggest contributions that I think Marian gave me was this idea of thinking about the sound world where every composer is inserted in, and to try to bring that alive again, what he thought as a sound, what he would like or she would like to sound the orchestra, to sound sorry.
00;26;17;01 - 00;26;46;23
Juliano Aniceto
And after the rehearsals and rehearsals are really, really interesting. Part of my job maybe is the my favorite parts of the drums. Just because I have the opportunity to to, to tell musicians and to, to share with them the experience, not only tell them what to do, but also receive their perspectives. Sometimes change my mind and have this interaction that sometimes this has no words, but sometimes this is really about dialog, musical dialog.
00;26;46;23 - 00;27;21;24
Juliano Aniceto
And for me, this is incredible. And the concert and the concert for me is a celebration of concert for me is is the time that you go on the stage and we we show, we share with people what we have best. You know, many, many times I always say this in my rehearsals or for for the for my students in the past there there used to be there was we used to have conductors that would say, oh, my, my dream in my job is basically to take from the musicians what they have best.
00;27;21;24 - 00;27;44;05
Juliano Aniceto
And after many years thinking, I think we don't take anything from anybody. I think we just create the conditions for everybody to share. And then they they feel free to share and they share. And it is basically like a party, you know, everybody brings a piece of food and and everybody will always bring some food back, which is like a miracle.
00;27;44;05 - 00;28;02;13
Juliano Aniceto
Right. You bring you bring a plate of food and everybody brings a plate of food and everybody gets its food and stuffed and happy and drinks and eat. And there is always leftovers that everybody's bringing back. So I don't know how that happens, but certainly music is like that. Nobody loses anything. The more we share, the more we have.
00;28;03;07 - 00;28;12;20
Rob Lee
That's great. And if it was one thing that you found this to be super difficult and in the process of being a conductor, what would that be?
00;28;13;26 - 00;28;58;16
Juliano Aniceto
My gosh, there are so many. I think I think nowadays we have we we we have such a such an environment, such a space where we we need to have marketing and everything. And we have we need to promote ourselves and we need space, I think. And on top of that, you need your study scores and you need to study how to deal with people and you need to to I think the most the hardest part for me is to understand how how many topics conducting embraces not only not only music.
00;28;58;16 - 00;29;30;09
Juliano Aniceto
Music is the best part of conducting, of course, but there are so many other things that are related to music that are not exactly part of the profession, but are essential for for the career of a conductor. So sometimes I, I kept my I caught myself a little bit overwhelmed. Was so many things that they have to do or or I forget when the area oh my gosh I don't applaud my website for three months now what happened it you know sometimes this kind of extra information can be a little bit overwhelming.
00;29;30;29 - 00;29;53;09
Rob Lee
Yeah, that makes sense. So with that, I want to wind down these next few minutes with I got a couple rapid fire questions. Don't overthink them. They're just quick questions. And one is ridiculous that I just added and it's definitely well time when we're doing this, but I thought it would be prudent to ask it because you talked about the background with the flute.
00;29;53;16 - 00;30;00;06
Rob Lee
So a little flutist question here for you, but I want to start off with the softball for you. Dark chocolate or milk chocolate.
00;30;00;22 - 00;30;02;06
Juliano Aniceto
Or dark chocolate, for sure.
00;30;02;20 - 00;30;10;04
Rob Lee
It's a very South American answer. It's the right answer, actually. Do you have a hidden talent? If so, what is it?
00;30;10;21 - 00;30;12;24
Juliano Aniceto
I love cooking. Oh, my God.
00;30;13;26 - 00;30;37;00
Rob Lee
Yes. Filet cocina. And I don't. This is the last one I go for easy or you're not going to ease out really quickly. This is the most ridiculous one. But I saw it in the news recently, so Lizzo was able to play the James Madison Crystal Flute. Is that something of interest to you, that flower from a flower's perspective?
00;30;37;00 - 00;30;38;16
Rob Lee
Would you want to play that flute?
00;30;38;16 - 00;30;56;05
Juliano Aniceto
Oh, absolutely. 100%, yes. Wow. No, I saw a friend of mine that's actually my boss. She went to the concert and I was I was asking to see the videos of her playing on first firsthand. Can you show me she recorded and she was showing you was great.
00;30;56;25 - 00;31;14;21
Rob Lee
That's amazing. Yeah. So with that, I want to thank you for for being on this podcast to sharing your story with me and in the listeners. And I'm going to invite and encourage you to telephone folks to listeners where to check you out, your work, your social media, all that good stuff. The floor is yours.
00;31;15;08 - 00;31;37;15
Juliano Aniceto
Well, thank you. Can check the the Peabody Institute for for the concerts that we have where we have a have in our website. You can check of course, the Hopkins Symphony Orchestra. We have two concerts coming up, one of them full of Latin American music, which I'm really excited to share with the public and with the orchestra. We have music from Brazil, from Argentina.
00;31;38;22 - 00;31;48;27
Juliano Aniceto
You can check me also. You can follow me up on social media chatter. And yeah, just not shared the journey together.
00;31;49;12 - 00;32;05;16
Rob Lee
Well, there you have it, folks. Again, for Juliano and a chat, though, I am Rob Lee saying that there's art, there's music in and around your city. He's got to look for it.
