Passion and Purpose: TFI interviews Tito Muñoz | The Flying Inkpot

The Planets • Rite of Spring
Friday 11 July 2025
7.30pm
Esplanade Concert Hall
Orchestra of the Music Makers
Voices of Singapore Ladies Choir
Tito Muñoz, conductor

There are some classical works which are familiar even to someone who doesn’t listen to classical music. One example would be the iconic movements “Mars” and “Jupiter” from Gustav Holst’s The Planets. The Orchestra of the Music Makers will be performing this under the baton of American conductor Tito Muñoz, previously Music Director of the Phoenix Symphony. Also on the programme is Igor Stravinsky’s The Rite of Spring whose reputation precedes it as having caused a near-riot at its premiere in 1913.

Aileen Tang has a chat with Tito Muñoz to find out what he thinks of the programme that he’ll be conducting.

The Flying Inkpot: Will this be your first trip to Singapore? What are you looking forward to the most?

Tito Muñoz: Yes, this will be my very first time in Singapore, and I’m genuinely excited. I’ve heard so much about the vibrancy of the city, its incredible food culture, the diversity, the architecture, the blend of tradition and modernity. But above all, I’m looking forward to making music with the OMM. There’s something really special about stepping into a new musical community for the first time, especially one as passionate and committed as this one. I really can’t wait!

TFI: As a violinist first, at which point did you know for sure you wanted to be a conductor?

TM: It was somewhat of a gradual shift, but I always gravitated towards leadership positions. At first, this was in the school/youth orchestras I played in, or in chamber music groups. It was perhaps one of the most important motivators for me to practice and earn those positions of leadership. I was also fascinated by my conductors; what they heard, what they focused on, what kinds of things they prioritized. Eventually, I tried to create as many opportunities as I could to start conducting. However, it wasn’t until I was accepted into [American conductor] David Zinman’s class at the Aspen Music Festival that I really felt that conducting could be something to pursue professionally.

TFI: Who has had the greatest impact on you in your musical career?

TM: I have been lucky to have many incredible mentors, but if I had to name one, it would be David Zinman. Studying with him at the Aspen Music Festival changed everything for me. He pushed me to think like an interpreter and a leader at a much higher level; to understand the composer’s intent, to serve the music, to listen deeply, to “be the music” for the musicians. Beyond technical clarity, which was certainly crucial, he really emphasized honesty in music-making. I carry that with me everywhere I go, and I try to impart that whenever I lead a group.

TFI: Let’s talk a little about the works you’ll be conducting. Holst’s The Planets is a well-known work but it’s obvious that some of the planets—Mars and in particular Jupiter—are more known than others! Which underrated movement(s) should audiences pay more attention to?

TM: I think Saturn is really fascinating. It often gets overlooked because it’s not as flashy or bombastic as Mars or Jupiter, but it’s incredibly profound. Holst titled it “the bringer of old age,” and there’s this slow, almost inevitable procession in the music that really touches on the passage of time. It builds with such quiet strength, and by the end it’s incredibly moving. I also think Neptune is extraordinary; its mystery, the wordless choir fading into the ether. It was groundbreaking at the time and still feels otherworldly today.

TFI: Stravinsky’s The Rite of Spring is both a ballet and an orchestral work. In your opinion, does the absence of choreography give concert audiences a less complete experience of the work?

TM: That’s a great question. I think that the choreography is absolutely part of the DNA of The Rite, but I don’t think its absence diminishes the experience — it just shifts the focus. When it’s done in concert, the score becomes even more front-and-centre, and you realise how much choreography Stravinsky embedded in the music. He crafted it with a specific scenario in mind, after all. The rhythmic tension, the physicality — it’s all there. You can feel the movement even without seeing it. That said, seeing it danced can be revelatory too. They’re different experiences, equally valid.

TFI: You’ll be conducting the Orchestra of the Music Makers, which comprises many musicians who are students or hold day jobs. With the threats of unforgiving work schedules and fatigue, what advice do you have for those juggling work and orchestra?

TM: First, I just want to acknowledge how inspiring that is. Making music at a high level while balancing everything else in life takes real commitment and love for the art. I actually think we, professional musicians, can learn a lot from that kind of commitment. That being said, I suppose my advice would be not to lose sight of why you make music. That connection to purpose can carry you through the tough days. Also, be kind to yourself. Rest when you need to, and trust that showing up with presence and intention matters more than perfection. Music should feed you, not drain you.

PROGRAMME

GUSTAV HOLST – The Planets
IGOR STRAVINSKY – Le Sacre du Printemps (The Rite of Spring)
Tickets for The Planets • Rite of Spring can be purchased from SISTIC
https://www.sistic.com.sg/events/planets0725