Mark Jordan in conversation with conductor Dalia Stasevska about her return to the Cleveland Orchestra

Questions on the road for conductor Dalia Stasevska

Ukrainian-born Finnish conductor Dalia Stasevska (currently principal guest conductor of the BBC Symphony Orchestra) will be returning to conduct the Cleveland Orchestra 20-23 November in a program that features Dvořák’s ‘New World’ Symphony and La Noche de los Mayas by Mexican composer Silvestre Revueltas. Busy schedules prohibited the conductor and Seen and Heard International critic Mark Sebastian Jordan from finding an ideal time to speak in person, so they devised a correspondence interview that would allow Stasevska to work on her answers whenever she found a stray moment between family, study, rehearsals, performances and travel.

Mark Sebastian Jordan: What drew you to music in the first place, and when did you know for certain that you wanted to devote your life to music?

Dalia Stasevska: As a young teen, I found it difficult to express myself verbally. Through music, I found a language in which I could be fully and unapologetically myself. Recognizing this early in my teens and discovering my deep love for orchestral music led me to devote myself to music.

MSJ: World folklore has numerous stories of musicians at the crossroads ‘selling their souls’ to the devil in exchange for musical brilliance. In what metaphorical way is this true for a practical musician? How do you balance the requirements of studying/rehearsing/publicizing/performing with the human need for socializing, finding repose and finding meaning in life?

DS: There is a certain truth in the idea that musicians ‘sell their souls’ – not to darkness but to devotion. To dedicate your life to music requires total commitment, long hours of study and rehearsals and, often, a willingness to sacrifice comfort and stability for the sake of art. There are moments when it can feel like music consumes everything – time, energy, emotion – but it also gives back in the most profound way. For me, balance comes from remembering why I make music: to connect, to share, to bring people together, to tell stories across time and cultures and to communicate in one of the most beautiful ways I can think of. Outside my work, my two-year-old daughter keeps me grounded. I love spending time with my friends and family and seeking out silence in nature. My life is full in the most beautiful way and in great balance on and off the stage.

MSJ: In addition to conducting and playing, you have studied composition. Does approaching orchestral works with inner knowledge of how a work is put together give you insights on how to understand the music?

DS: Yes! It gives a really good sense of just how difficult it is to write music and to find your personal voice – it can be compared to writing a book or a perfect sentence. This experience helps me appreciate composers and gives me the tools to further understand a composer’s music.

MSJ: How do you approach a repertoire favorite like Dvořák’s ‘New World’ Symphony? How do you invite the listener (and the musicians) into the composer’s world to bring the music to life, even if the listener has already heard the piece countless times before?

DS: With a piece like the Dvořák, I try to approach it with fresh ears – as if I am discovering it anew. It is important to find emotional truth in every phrase, in every moment of the music. When the musicians feel that connection, the audience does too, no matter how many times they’ve heard it before.

MSJ: Dvořák’s reputation seems to be rising as the decades go by. He has always been a popular composer, but his status is growing while other composers’ reputations are shrinking. Why do you suppose that is?

DS: I think Dvořák’s music endures because it speaks directly to the heart. There’s honesty and warmth to his writing, a sense of optimism and belonging that resonates across cultures and generations. In a world that can feel fragmented, Dvořák reminds us of shared humanity. That’s why it still feels so fresh and necessary today.

MSJ: Another composer whose reputation is growing with the years is Silvestre Revueltas. What draws you to his music? How important is it to give voice to lesser-known composers?

DS: I love the extraordinary vitality and uniqueness of Revueltas’s music – it’s raw, emotional and full of folklore and drive. This piece we will be performing is a force of nature.

Giving voice to lesser-known composers is essential. For too long, the classical world has focused on only a narrow part of its history. By performing and championing these voices, we make our repertoire richer and more truthful – a reflection of the many cultures and perspectives that have shaped our shared musical heritage.

MSJ: You have been active in supporting the resistance efforts in Ukraine, even to the point of delivering supplies yourself. Many artists of the past attempted to remain aloof from current events. How did you come to realize that such neutrality was not acceptable?

DS: For me, remaining neutral in the face of injustice is impossible. When your neighbor, your friends and our Western democratic values are under attack, silence becomes a form of acceptance. I believe that as an artist I have a voice not only on stage but as a human being in the world. Music can inspire, comfort and bring us together, but action gives those values meaning. Supporting Ukraine is not just a political statement: it’s a human one. It’s about defending freedom, dignity and compassion – the very same things that I want to believe music stands for.

MSJ: In an increasingly fractious and violent world, does classical music matter?

DS: Absolutely! Music reminds us of our shared humanity and offers a space for reflection and empathy. Music can’t stop or solve conflicts, but it can work as a catalyst for healing and change, inspire us, empower us and bring us together.

Mark Sebastian Jordan