Lara Diloy, the value of teamwork

Orchestra conductor Lara Diloy has been on the podium for fifteen years in symphonic and lyrical projects of various kinds. Her connection with music began with the horn, but orchestral conducting gradually conquered her until she realised that it brought together two of her motivations: working in a team and communicating.

This season, among other projects, he continues as assistant at the Ópera de Oviedo and makes his debut as conductor of the Orquesta Sinfónica del Principado de Asturias and at the Teatro Real, conducting the JORCAM, in El Real Junior.

>> Read the full interview in Melómano

How does a horn player become a conductor?

I know that there are many people who have dreamed of conducting orchestras since they were little, but in my case it wasn’t like that. What has always motivated me most has been making music in an ensemble. When I finished my horn studies I was quite young – I entered the conservatory at the age of 16 – so I hadn’t looked into doing a master’s degree. I thought: ‘I want to be a more complete musician’, and I decided to study something that would allow me to go deeper into music and that was linked to what I liked the most, which was playing in an orchestra. What suited me was conducting, so I studied the degree, but without visualising that I would be able to dedicate myself to it. When I finished, I started to conduct more and I went as a young conductor to the Joven Orquesta Nacional de España (JONDE); those experiences made me think why I wouldn’t go for it, as it’s something I’m passionate about and I enjoy a lot.

What is it about the podium that seduced you to decide that you wanted to become a conductor?

There are three fundamental reasons that led me to make the decision.On the one hand, the possibility of doing my own interpretation: when you are a horn player in an orchestra you depend on others even if you do your bit, being able to go deeper into the music and interpret it myself is important to me; on the other hand, teamwork is very much in line with my character, I am passionate about it; finally, the communication process involved in making music from the podium interests me a lot.

What do you think should be the pillars on which the figure of the conductor should be based?

It is complex, there are many little things, and I think that today it is impossible to have them all. It is very much along the lines of what we were talking about before. There is a part that we cannot dissociate ourselves from, which is the profound knowledge of the music that one is studying in order to be able to communicate it. But if you study it very well and you are not able to communicate it, you cannot be a good conductor.These two processes have to be in line.There are many ways of leading and I believe that each one of us puts our stamp and our personality on it.In the 21st century we are moving towards leadership based on respect, which is essential. Authority is not achieved because you impose yourself on others, but because you have respect for the people you are working with. There are no secrets to this, the important thing is to find oneself and from there to be able to communicate.

>> Read the full interview in Melómano