Deux concerts et une démission, par Lázaro Azar

Two concerts and a resignation marked a weekend of notable activity in Mexico’s classical music scene, according to reports from cultural observers. The events unfolded with the participation of two prominent orchestras, Orquesta Sinfónica del Estado de México (OSEM) and Orquesta Sinfónica de Minería (OSM), and included both artistic performances and administrative changes within these institutions. On Friday, October 10, the OSEM dedicated its performance to Pyotr Ilyich Tchaikovsky, presenting his The Sleeping Beauty, Op. 66. This was the first of two concerts attended by the observer, who noted the orchestra's recent struggles despite its historical prestige. For many years, the OSEM had been regarded as one of the country’s finest ensembles, but in recent times, it has faced challenges including financial constraints imposed by the current government and a decline in the quality of its musicianship. These issues have led to a noticeable drop in the caliber of guest artists willing to perform with the group, forcing the orchestra to rely increasingly on local talent whose compensation has lagged behind their contributions. Despite these difficulties, the audience turnout at the Sala Felipe Villanueva in Toluca remained robust, even under less-than-ideal weather conditions. The performance featured several standout soloists, including Luis Vital and Asaf Kolerstein, whose interpretations were praised for their technical precision and emotional depth. The new harpist, Merced Irene Reyes, received particular acclaim for her rendition of the Adagio, Pas d’action segment. Additionally, fifteen young musicians joined the ensemble, bringing renewed energy and enhancing the overall sound of the strings section. Later that week, the observer attended a concert at the Palacio de Bellas Artes featuring the OSM, which presented a program centered around Johannes Brahms. Known for its summer season offerings, the OSM typically attracts high-profile soloists, though it has occasionally drawn criticism for labeling lesser-known works as premieres. The performance was conducted by Rodrigo Macías, whose direction was noted for its sensitivity to the character of each movement and his ability to breathe life into the score, a detail the observer found particularly compelling compared to other conductors they had encountered. In addition to the musical events, a significant administrative change occurred within the OSEM. Several long-standing members of the orchestra, including some of its founders and individuals whose behavior had negatively impacted the internal atmosphere, reportedly resigned. This move signals a potential turning point for the institution, which has struggled with maintaining its former standards amid ongoing financial and logistical pressures. The departure of these figures comes at a time when the OSEM is attempting to rebuild its reputation through increased collaboration with emerging talents and a more focused approach to programming. While the financial situation continues to pose challenges, there appears to be a growing emphasis on revitalizing the orchestra’s core sections, particularly the woodwinds, which have yet to see similar updates. The weekend’s events highlight the complex dynamics facing Mexico’s classical music institutions. Despite economic hardships and administrative turbulence, both the OSEM and OSM continue to draw substantial audiences, indicating a persistent public interest in live orchestral performances. However, the sustainability of this engagement will depend heavily on the orchestras' ability to secure adequate funding and maintain a balance between tradition and innovation in their programming choices.