Gustavo Gimeno
Destined to hold the baton
The baton of Gustavo Gimeno, one of the greatest Spanish orchestra conductors, is at the service of Teatro Real. Since last September, he works as the musical director of this Spanish institution. Lauded both within and outside our borders for his clarity, versatility and leadership, this musician who started out as a percussionist has built his career around a single motto: the desire to improve.
Gustavo Gimeno (Valencia, 1976) comes from a family with great musical tradition and always knew what he wanted to be: “Since music was so present within my family, it was part of my childhood. More than a choice, I felt that studying music and dedicating my life to it were the only option.” Being true to his roots has led him to develop a career that, if he had to describe with a single word, would be: “¡Bella! [Beautiful!].” He explains why: “I feel fortunate to make good music surrounded by great artists who, in turn, are uniquely special human beings. Also, this profession allows me to visit many countries and discover other cultures.” Gustavo knows quite a lot about travelling. As well as being the musical director of the Teatro Real—an institution sponsored by Iberia—, since 2020, he is also the musical director of the Toronto Symphony Orchestra, recently on tour around Spain. This is the same position he held at the Philharmonie Luxembourg between 2015 and 2024. In December 2025, he also made his debut as guest conductor at the prestigious New York Philharmonic Orchestra. “I am lucky to be able to combine my work at Teatro Real with what I do alongside other international orchestras,” he declares.
Gustavo, whose talent has stepped onstage at the best music halls in the world, is grateful to Teatro Real for the trust they place in him: “For me, it is a joy, an honour, a responsibility and an opportunity to continue growing artistically. I’m excited to do opera more regularly, to do so at the most relevant musical institution in my country and, on top of that, in a city I love: Madrid.” Regarding whether his talent is valued enough in Spain, he clearly states: “I have always felt that my work is respected and appreciated in my country.” In 2025, he received the Order of Civil Merit for his extraordinary contributions to music, his leadership in the classical world and his role uplifting Spanish culture on the worldwide stage. From this position, he takes the chance to defend the talent of our performers: “We have fantastic musicians and there are increasingly more of them nurturing important orchestras beyond our borders. If we managed to lure them back—or at least get them to spend more time here—that would be fantastic.”
“We have fantastic musicians and there are increasingly more of them nurturing important orchestras beyond our borders. If we managed to lure them back, that would be fantastic”
When Gustavo steps onto the podium and picks up the baton that he was destined to hold, his talent sets dozens of musicians in motion. Which qualities does a conductor need to have to get the best out of each of them? “This is a question many of us ask ourselves—he admits—. Our love for music is essential, but I would also add being well-prepared and the desire to improve. I try to make the most of the opportunity this job gives me to grow every day. I would also mention honesty.” The career of a conductor—he notes—involves a lot of hard work and sacrifice: “It is a very demanding way of life because personal and professional boundaries are blurred. We spend many nights away from home, alone. It also requires constant study and responsibility. It is a long-distance race; in fact, that is what I aspire for it to be.”
Gustavo’s extensive career in the world of music started with percussion, although he always thought about picking up the baton. His leap onto the podium was therefore not sudden, but gradual. “I was interested from an early age. As a student, I already combined my work as a percussionist—and teacher—with my orchestral conducting studies. It was like a hobby I was passionate about. That was the spirit,” he describes. That is how he became part of a lineage of experts that come from percussion, including names like Paavo Järvi or Simon Rattle. “It’s not really that uncommon—he explains. Before, it was more common to come to orchestral conducting from piano or violin, but now we are accustomed to musicians who come from other instruments, like woodwind, brass or percussion instruments.”
“Sheet music comes to life when human beings interpret and play it at a specific time for certain listeners”
Teatro Real’s big moment
Since last September—even though his appointment was announced in July 2022—, Gustavo works as the musical director of Teatro Real. A stage that, in less than three decades—since it reopened in 1997—, has placed itself among the best in the world. Considering this success, this musician knows three things are certain: “Independence, long-term institutional stability and good management at different levels. These aspects have been even more obvious in recent years. Currently, Teatro Real combines artistic excellence with personal care that attracts many renowned artists.” Gustavo hopes to maintain these high standards and will not hesitate to roll up his sleeves: on the 26th of April, alongside pianist Javier Perianes and at the head of the Lead Orchestra at Teatro Real, he will play pieces by Maurice Ravel and Manuel de Falla at one of the standout events of the season. Also, between the 14th and 30th of April, he will be the musical director of the opera The Bartered Bride.
Teatro Real seems open to new repertoires and more contemporary approaches, without sacrificing tradition. A vision Gustavo shares: “I don’t believe so-called ‘tradition’ has a particularly uncomfortable weight today. More so, I think that the different points of view developed in the last half-century have played down interpretative canons. Now we are more aware of the different approaches to a piece and its historical period that are possible.” How does he approach a score? “Subjective interpretation is inevitable, even necessary—he defends—. In fact, a completely objective approach is impossible. Even by meticulously studying a score with the upmost respect, we cannot forget that sheet music is limited, while the room for interpretation is infinite. Sheet music comes to life when human beings interpret and play it at a specific time for certain listeners. That is the essence of our profession!”
