Summer 2025
At the Podium: Stéphane Denève
Acclaimed for his vibrant performances and imaginative programming, Stéphane Denève is a frequent guest with many of the world’s leading orchestras. As Music Director of the St. Louis Symphony Orchestra and Artistic Director of the New World Symphony, he is a passionate advocate for both timeless masterworks and the voices of contemporary composers. In this conversation, Denève reflects on the theatrical nature of music, the magic of Mendelssohn and Prokofiev, and the joy of discovering new works. He also shares insights on conducting, collaboration, and his special bond with Festival Napa Valley.
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This year’s Festival finale program features music inspired by Shakespeare. How do you approach conducting repertoire that has such strong literary and theatrical roots?
For me, music always has a theatrical narrative. When I conduct any piece — even the most “abstract” symphonies — I imagine a scenario. When a work is directly inspired by a play, my interpretation is naturally influenced by the original text as a guiding line. However, this doesn't fundamentally change the way I interact with the score. I "stage" the music in my mind as I feel it, searching for evocative phrasings, shaping different colors, and developing theatrical tensions — all in an effort to keep the music alive.
You often emphasize storytelling in music. What do you think makes Mendelssohn and Prokofiev such masterful musical storytellers?
With Mendelssohn, I see more of a Germanic symphonic poem approach. He instinctively gets the poetic atmosphere of a scene and creates a piece that describes it, while maintaining its own musical structure. Prokofiev, on the other hand, relies more on the dance aspect. His storytelling comes through the balletic, physical movement in his music, and he develops very simple musical motives to move the plot forward. Both composers are geniuses in the way they match Shakespeare's unique intensity.
You’ve worked extensively with living composers. What excites you most about contemporary music, and are there any new works or composers you’re particularly eager to share with audiences?
I love to be part of the birth of a new piece. We are lucky to have so many individual voices today creating music that is in sync with our world – some of which will stand the test of time and become the repertoire of the future. People like Guillaume Connesson, Anna Clyne, Kevin Puts, Jennifer Higdon, to name but a few, are composers I treasure working with regularly. People should not be afraid of what they don't know yet – there is so much joy ahead in discovering great new music!
Collaboration is at the heart of conducting. How do you foster a spirit of partnership between you and the orchestra and you and the audience?
Sharing is key. I love music with such intensity that I always want to share that passion with everyone. It is like a great bottle of wine – you want to share it so others can enjoy that same unique joy. Music, like wine, brings people together without any boundaries, uniting us through passion and curiosity in a spirit of peace and respect.
What advice do you have for young conductors looking to make their mark in the field?
Love music like your life depends on it! Orchestra musicians can forgive a lot of mistakes or inexperience if they feel that a young conductor is there to share his or her genuine love of music. Enthusiasm is infectious! I also always advise young conductors to study a score in silence first, then play it on a piano in order to form their own ideal interpretation (rather than listen to recordings that give you an already finished product). And of course: be yourself.
Looking back, what do you think drew you so powerfully to conducting, and did you ever imagine it would become your life’s work?
I started conducting very early, at the age of 13. I wanted to share music with as many people as possible. Today, I still love conducting monumental pieces with large forces, big choruses, etc…. I also love the idea that we achieve something greater together than alone. An orchestra is a model of society at its best — where talents are not just added, but multiplied. This is precious!
You were married at Festival Napa Valley in 2007 and have conducted here many times, making this a very special place in your personal story. What do you love most about Napa Valley, and what does it mean to you personally and artistically?
I just LOVE Tatiana and Gerret Copeland! They are extremely dear friends and amazing souls who changed my wife Åsa's and my life for the better and forever. Åsa and I were very happily married on July 19, 2007 at Bouchaine. It was a fairytale, and Tatiana was our fairy Queen! I learned that Åsa was pregnant in Napa, and our daughter, Alma, is now a beautiful 17-year-old. Music and wine brought us together. Every time I return to Napa, I feel pure joy.
Favorite food: a delicious cheese selection with a great red wine and some fabulous bread
Favorite wine: Bouchaine’s Pinot Noir — especially the 2007 vintage, for deeply personal reasons
Favorite place you’ve recently visited: Bora-Bora
Dream Destination: Wherever I am if I am with the people I love
Wish for the Future: To stay healthy and make music until my last breath on earth