Conducting is more than the reproduction of music written in sheet music, it is creation. For Alena Hron, conducting the orchestra naturally resulted from the desire to invent something and bring people together. The first female conductor in Czech history also perceives aspects such as the “wellbeing” of the players, which the men in her position did not always do.
The thirty-two-year-old musician made her debut at the Prague Spring festival last year, and since this season she is the chief conductor of the South Bohemian Philharmonic. But they are currently rehearsing in the metropolis, where the Symphony Orchestra of the Capital City of Prague FOK will conduct this Wednesday, November 6 and again on Thursday, November 7 in the Municipal House.
When talking about working with musicians, one can think of asking about last year’s film Tár about an authoritative conductor played by actress Cate Blanchett. “I saw the film and I was very disappointed,” answers Alena Hron, slightly tired after a whole day of preparation in the rehearsal room of the Municipal House. “If you look at it as a documentary about a disturbed leader, it’s a very interesting study, but if we were to consider it as a film about a conductor, it’s terrible,” he says.
“The authoritative position of power and manipulation, what the main character represents, is something from the distant past. Today, on the other hand, offers collegiality and empathy, which I think women can bring to this industry. Lydia Tár rather embodies the stereotypes we have about conductors from the last century. I don’t think that film does female conductors a good service,” she adds.
This is not the first time she has worked with the FOK orchestra, it was by his side that she experienced success at the Prague Spring last year. “This is always difficult, because one has to defend the achieved goal,” he realizes. It helps that they chose a different program this time: Rhapsody in Blue mixing jazz with classical music from modern classic George Gershwin and Requiem, which the current author of successful musicals Andrew Lloyd Webber composed after the death of his father.
“The idea to perform Webber’s Requiem came from the Czech Philharmonic Choir Brno, which will accompany us. The dramaturg and I liked it, so we looked for a counterbalance until we chose Gershwin’s Rhapsody in Blue,” explains the conductor.
Alena Hron became chief conductor of the South Bohemian Philharmonic this year. | Photo: Martin Straka
In terms of genre, the compositions are close to each other, and the overall tone, according to Alena Hron, will not be mournful. Among other things, thanks to the boys’ solo from the choir Pueri gaudentes. “They are skilled, well-led and disciplined guys, their voices shine through the orchestra beautifully,” the star of the evening is delighted.
He has had a successful season. The musician, originally from Valašské Meziříčí, completed her master’s studies in Zurich after her debut at the Prague Spring, conducted in Chicago, and has now joined the South Bohemian Philharmonic in České Budějovice for three years. She thus recorded a historic first, because no Czech orchestra had a female conductor until now.
Most recently in the summer, Alena Hron led the opening concert of the Krumlov festival. Personal challenges go hand in hand with work challenges: she will also become a mother.
A set of orchestral compositions by Vítězslava Kaprálova, which she recorded with the Ostrava Janáček Philharmonic Orchestra, was recently released. “I enjoyed it enormously, Kaprálová was young and experimenting. Each composition thus represents a slightly different genre. At the same time, I feel her strong individuality, it’s original and authentic,” she confesses out of her affection for the author, who died of tuberculosis during the Second World War. She was only 24 years old.
Unlike her, Alena Hron does not come from a family of professional musicians, unless we count her great-grandmother, an opera singer. She started playing the violin as a child, sitting at the piano and inventing compositions. She later composed or experimented with a looper, a device that allows layering of sound. She also played in a band and co-founded the Punkt choir. She studied composition and arranging of popular music at the Prague Conservatory, and they had to push her to conduct. And she found herself in him.
Conductor Alena Hron made her debut at the Prague Spring Festival last year.
Now she has engaged with most Czech and Moravian ensembles, and as part of her studies in Switzerland she also led several foreign orchestras. He considers this to be the greatest benefit of his time at Zürcher Hochschule der Künste. “The conductor’s instrument is the orchestra, and in order to be a good conductor, he has to practice his instrument. That’s why we need institutions that educate conductors to enable him to do that. Unfortunately, there is not enough of that in the Czech Republic,” he says.
She is still learning and developing herself. “Not falling into the feeling that I’m done, growing further, being awake and open, that’s essential,” she names her goals. She says that she does not succeed in competitions, on the contrary, she succeeded in the competition of 150 applicants and became a scholarship holder of the Taki Alsop Conducting Fellowship program sponsored by the renowned conductor. He brought her to conductor Marin Alsop.
What has surprised her the most so far? “She is incredible at working with people. Marin Alsop can accurately estimate the atmosphere, say the right word at the right moment, turn failures in exams into humor. She is very supportive and accommodating,” describes her mentor Alena Hron.
In rehearsal before two important concerts, which will be repeated in Prague this Sunday, November 10, in Brno’s Besední dům, he looks relaxed and calm. But he doesn’t save energy during his performances. What goes through her mind while conducting? Can he keep his distance or will he get carried away?
“A lot depends on the character of the given composition, what emotions it arouses in me. At concerts, I try to literally become the music, to embody it, to be authentic and suggestive, but at the same time 100% concentrated,” he describes. “I must not float on a cloud, but show the players what they need. I experience deep emotions, which I try to express in a way that inspires and does not annoy, but at the same time I have to be in complete control. An interesting exercise in self-control,” he admits.
At a certain distance, her family and friends also help her from non-musical circles. “It gives me humility and insight into what I’m doing,” he says.
She does not intend to put her profession on the back burner even after giving birth, even though she had to “dilute” the planned engagement, she admits. “Family is a priority, I want to be a mother who cares, cares and educates, and I believe that it can be combined with my work. I would not like to give up what I have managed to build in recent years,” concludes Alena Hron.
Video: Classical music has huge “balls” and no one solves gender in it, conductor Pešková describes (September 15, 2023)
It’s unfortunate when a female conductor tries to stylize herself as a man,” conductor Anna Novotná Pešková said in the Spotlight program. | Video: Blahoslav Baťa
How has Alena Hron’s background in violin and piano influenced her conducting style?
Interview: Alena Hron, Chief Conductor of the South Bohemian Philharmonic
Editor (Time.news): Alena, thank you for joining us today. Your journey as the first female conductor in Czech history is truly inspiring. What motivated you to pursue conducting, considering that you initially started with the violin and piano?
Alena Hron: Thank you for having me! My journey into conducting was a bit of a natural progression for me. I’ve always had a strong urge to create and bring people together, and conducting provides the perfect platform for that. It’s more than just interpreting sheet music; it’s an act of creation itself, where I can blend different musical ideas and bring an orchestra to life.
Editor: You mentioned the importance of collaboration and empathy in your role. Could you elaborate on how you incorporate these elements into your conducting?
Alena Hron: Absolutely. I believe that the wellbeing of the musicians is paramount. Each musician contributes their unique voice, and it’s essential to create an environment where they feel valued and empowered. I strive for collegiality and open communication during rehearsals, so everyone feels involved. This approach, I think, resonates particularly well because women tend to bring a more empathetic perspective to the conducting role, breaking away from the traditional authoritative stereotypes.
Editor: Speaking of stereotypes, you recently expressed disappointment in the portrayal of conductors in the film Tár. What aspects did you find particularly unrepresentative?
Alena Hron: Well, Tár presents conductors as authoritarian figures whose power is manipulated, which is more reflective of outdated views. It fails to showcase the modern conductor’s role, which should emphasize mentorship and collaboration. I believe that films like this do a disservice to female conductors and risk perpetuating stereotypes that we are working so hard to overcome.
Editor: You’re clearly making waves in the conducting world with your leadership at the South Bohemian Philharmonic. What are some challenges you’ve faced stepping into this role?
Alena Hron: Every new role comes with its challenges, especially as I’m also navigating personal changes, like becoming a mother. Balancing professional and personal life is always a dance, but it can also be a source of inspiration. Moreover, maintaining the success of an ensemble after an initial victory is tough. I feel it’s important to keep evolving the music and challenging ourselves with varied repertoires—like the combination of Gershwin and Webber that we’ll be presenting soon.
Editor: You just mentioned your upcoming concert with Gershwin’s Rhapsody in Blue and Webber’s Requiem. Can you share how you selected this repertoire?
Alena Hron: The idea for Webber’s Requiem came from the Czech Philharmonic Choir Brno. They are phenomenal, and the mix of styles with Gershwin’s jazz influences will provide an exciting experience for both the orchestra and the audience. It maintains a sense of joy and engagement and allows each piece to complement the other beautifully.
Editor: It’s exciting to hear about such innovative programming! You’ve previously conducted international orchestras while studying in Zurich. How did that experience shape your approach to conducting today?
Alena Hron: Leading different orchestras taught me a lot about adaptability and understanding diverse musical cultures. Every orchestra has its nuances, so as a conductor, you must learn to read the room and adjust your style accordingly. I still strive to grow and learn—there’s always room for improvement in this profession.
Editor: That’s a fantastic mindset to have! What has inspired your musical journey and growth most?
Alena Hron: My mentor, Marin Alsop, has had a profound impact on my development. Her ability to connect with musicians at a deeper level while maintaining professionalism is something I aspire to emulate. Her support and encouragement have truly opened my eyes to the importance of human connection in conducting.
Editor: Lastly, what advice would you give to young aspiring conductors, especially women who want to enter this traditionally male-dominated field?
Alena Hron: My advice would be to stay true to your vision and don’t be afraid to lead with empathy. Build your network, learn as much as you can from every experience, and never stop growing. Each time you step on that podium, it’s not just about leading an orchestra—it’s about making music together. Embrace that collaborative spirit!
Editor: Thank you for sharing your insights, Alena. It’s a pleasure to witness your journey and the positive changes you’re bringing to the world of classical music.
Alena Hron: Thank you! It’s been a pleasure discussing these topics with you.