Japanese Conductor Yukari Saito on Orchestra Communication and More: Billboard Japan Women in Music Interview

Conductor Yukari Saito spoke with Billboard Japan about the Women in Music interview series celebrating female players in the country's entertainment industry. The WIM Japan initiative was launched in 2022 to honor artists, producers and executives who have made significant contributions to music and inspired other women through their work. The first 30 interviews in this series were published in Japan last year as a compilation “Billboard Japan Presents” by author Rio Hirai, who continues to speak with women to highlight their stories.

Saito moved to Dresden in 2013 and gained experience in Europe conducting the National Orchestra of Lille and the Tonkunstler Orchestra of Vienna. She returned to Japan in 2021 and this year will conduct the Billboard Classics Orchestra of the Tokyo Philharmonic in Billboard Japan's Women In Music Vol. 2 concerts on February 8 with singer-songwriters Reo Ieiri and Miliyah Kato. The 40-year-old maestro looked back on her career in the world of classical music and shared some life-changing experiences after spending time in Dresden.

First, could you share your thoughts on the upcoming WIM concert in February?

I'm interested in different kinds of music, so I'm really looking forward to playing with two different types of musicians like Ms. Reo Ieiri and Ms. Miliyah Kato.

You usually work in the world of classical music. What opportunities do you see in the collaboration of pop and orchestral music?

First, I feel grateful that I was tapped to participate in this valuable opportunity. We are still in the process of working out the details, but I have a feeling that I will be able to find a new style within myself that will be different from my usual work. The way I feel about this concert is the same as the way I usually feel about making classical music together, but depending on the tempo and mood of the piece, there will be changes in the conducting style and the sound of the orchestra . so I'm excited about it. I look forward to seeing what positive results the synergy produces.

This concert is part of Billboard Japan's Women in Music project. What do you think about this kind of event that focuses on women empowerment?

It's something that was relatively uncommon (in Japan), wasn't it? Some people might come because the work interests them, so it makes me happy to think that we'll be able to bring our music to a wider and more diverse audience.

I understand that you originally wanted to be a pianist. How did you become a conductor?

At one point, while studying at music school to become a pianist, I began to feel that it might be difficult for me to become a professional. I started conducting at that time and met various teachers who said, “You might be good at this.” Then I met Mr. Seiji Ozawa, who recommended me as an orchestra trainee. That's how I started.

Why do you think you were right for the job?

Maybe I've always had a good sense of rhythm. I directed a choir competition when I was in high school. Then I only did it because I didn't want to sing, [laughs] but the teachers praised me and told me that I did a great job.

Does being a woman have any effect on doing your job?

I haven't had too many moments where I thought, “This happened because I'm a woman.” When I wanted to be a pianist growing up, I'm sure there were times when I thought, “I wish I could be like that” when I saw female pianists wearing beautiful dresses. I also remember thinking how awesome the pianist Martha Argerich was.

As a conductor, I believe that I am able to express flexibly with meticulous attention to detail, even if I cannot compete with men in terms of physical size and strength. So I would say I know the differences but don't let it bother me. There are a lot of female players in classical music and it's a value-based industry, so I don't think women are rejected as members just because of their gender.

Because the classical music world values ​​tradition, I imagined there might be some traces of sexism left. Nice to know it's value based. So you've never encountered gender imbalances?

Well, I've had experiences where I've gone to greet an older male concertmaster and he seemed surprised that I was going to conduct, but at the time I thought maybe it was because I was being intimidated and not because I was a young woman. I think I might have taken such moments as purely positive, because the gap between this first meeting and my actual high-level performance on stage would have resulted in a good impression.

But you know what, it's not sexism, but unfortunately there may still be some racism. There are no Asians in some orchestras at all, or if there are, for some reason only Japanese are included.

I see. So you didn't encounter sexism, but you did witness some Western-centric values. Outside of the world of classical music, do you see any differences in values ​​between Germany and Japan?

In Germany, I often encountered protests. The sight of LGBTQ people asserting their rights, for example, is striking in its earnestness. I didn't come across such scenes very often in Japan before I left for Germany, which made me think that such problems were hidden. Things seem to have changed now, though. Also, many women (in Germany) express their opinions clearly. In Japan, a lot of people are kind of modest or reserved, but the culture in Germany doesn't see that as a good thing.

Did you change after spending time in such an environment?

I think I did. The first thing that surprised me when I went to Germany was when they said to me during a lesson: “Don't you have your own will?” When asked “What do you think?” people around me were voicing their opinions, but at first I was at a loss.

How did you manage to change from not being used to speaking your mind?

By being honest with myself, I guess. If I think too much about what will happen if I say something, I won't be able to say anything, so I try not to think about it too much. What is also important, along with naturally expressing what I feel, is to dig deep within myself to understand why I feel the way I do. I think that makes my words more convincing.

Is being persuasive a necessary skill for your job as a conductor?

I think so. In my case, I taught myself how to think to overcome the initial setback of not knowing what my own will was. I'm glad I've gained experience by repeatedly making such blunders.

When do you find your work as a conductor most rewarding?

It's rewarding, but I work really hard to get there.

What is the most difficult part of your job?

It goes without saying that I have to use my brain and convince everyone in the orchestra. It's a lot of work, but there comes a time when things click. The players and I make eye contact and say, “That's the sound, right?” and the sound comes out exactly as we wanted it. It's hard to put into words, but I guess it's like having a dialogue with the sound. When that happens, I say, “Yes! We did it!” and I pump my fist in my mind.

—This Rio Hirai interview first appeared on Billboard Japan