I seek the highest musical level: I study with obsession, work through detail, and need to hear clearly what I imagine in the score. My aim is not simply to coordinate an orchestra, but to build an interpretation: to prepare a sound idea, bring it into rehearsal, and work with the musicians until the work acquires direction, energy, and meaning.

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My relationship with music has been shaped by very concrete moments: rehearsals, journeys, concerts, conversations, and encounters in which a work ceased to be only a score and became a shared experience. I understood early on that making music is not only about playing notes, but about taking part in an act of complicity.

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An orchestra can bring different people together around the same energy and turn a rehearsal or a concert into a place of discovery. That is why, for me, musical rigor has no meaning if it remains enclosed within the gesture or the private idea of the conductor: music gains meaning when it can be shared with musicians, audiences, students, institutions, and communities.

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I do not understand the podium as a place of distance, but as a space of responsibility. To conduct is to prepare, to listen, to insist, to communicate, and to build with others an experience that did not exist before.