AB: You were at the Stuttgart Ballet from 1985 to 1990. What is your best memory of that time?
MR: It was a wonderful experience to work with artists like Marcia Haydée, Birgit Keil or Richard Cragun. Especially Marcia helped me and supported me a lot. I had the honour of conducting her first ballet production of Sleeping Beauty.
AB: You have worked with many companies. How would you characterise the Bayerisches Staatsballett?
MR: For me, the Bayerisches Staatsballett is one of the top companies today. There are many talented, wonderful soloists here who also have personality. Munich is without question very high up in the rankings for me. Just as Stuttgart was in the days of Marcia Haydée.
AB: You are currently conducting Alice's Adventures in Wonderland choreographed by Christopher Wheeldon. What is your favourite scene?
MR: I love the scenes where Alice and Jack meet. They are beautiful melodies and wonderful harmonies. I also really like the end of the second act. The glockenspiel and the harp give it a very special timbre. And the waltz is great too, of course - although the composer Joby Talbot didn't really want to compose a waltz in the first place.
AB: You have won many awards - what do they mean to you?
MR: They are special hounorings for me that you sometimes don't even expect. Once, when I was very young, we recorded ragtime music, Scott Joplin's "The Red Back Book". Looking back, everything happened very quickly. We were on tour, had sold-out concerts - and suddenly won a Grammy for best classical chamber music. It happened to me that I heard this recording in the supermarket. At a moment like that you think, wow, you did it (he laughs).
AB: Have you ever received an award for classical ballet conducting? Does such a thing even exist?
MR: Seven years ago, Vladimir Malakhov created the Marie Taglioni Award. There were categories such as best dancer, best female dancer, best choreographer, etc. And I was one of three nominees for best ballet conductor. But there is not really an award for the best ballet conductor in the real sense - although there are famous conductors who have done ballet performances. That is a great pity.
AB: Do you have a favourite opera house?
MR: Oh, it must be Munich (he laughs). No, seriously: my favourite houses are really Munich and Boston. I had the honour of working a lot with the Boston Symphony Orchestra. Every time I go on stage there, it's a very extraordinary atmosphere. Munich also has a great opera house with great acoustics. So yes, Munich and Boston are my favourite places to make music.
AB: Myron, thank you for the interview!