The first Chief Conductor of the Symphony Orchestra of India, Martyn Brabbins, discusses his plans for the orchestra, the programme for the upcoming season and the role of self-reflection in his evolution as a conductor.

By Nikhil Sardana

Martyn Brabbins is a distinguished British conductor known for his grace and conviction. He will assume the position of Chief Conductor of the Symphony Orchestra of India (SOI) in January 2026, which continues a strong relationship established in 2016. He has led the orchestra through a wide repertoire at the NCPA and on tour of the UK, enhancing its artistic profile internationally.

Brabbins is renowned worldwide, conducting top orchestras like the Royal Concertgebouw and San Francisco Symphony, and championing contemporary British composers through numerous world premieres and acclaimed recordings. He was Music Director of the English National Opera from 2016 to 2023, while his operatic work has taken him to La Scala and the Bayerische Staatsoper. He mentors emerging conductors through professorships in London and Glasgow.

In this conversation, Brabbins shares his artistic vision for the SOI, reflecting on his upcoming concerts with the orchestra, his collaborative experiences and the evolving role of the conductor in today’s musical landscape.

ON Stage: As you prepare to begin your tenure as Chief Conductor, what long-term artistic goals do you have for the SOI, and how will you balance tradition with innovation?

Martyn Brabbins: Long-term plans for the SOI must begin with deep respect for all that has been achieved over the past two decades. But equally, there must be a constant sense of renewal—not change for its own sake, and certainly nothing radical—but an evolution that moves the orchestra forward in every way possible.

I want to introduce new works and composers in a way that invites curiosity, not discomfort. Audiences may have their preferences, but I’m convinced that with the right guidance, they are open to discovering more. I have always aimed to bring fresh energy wherever I have worked, and this appointment is itself a moment of renewal for the SOI, as it is the first time the orchestra will have a Chief Conductor. It is a great honour and a responsibility I don’t take lightly. I care deeply for the musicians, the audience and everyone who contributes to the orchestra’s success.

OS: What are your impressions of Mr. Khushroo N. Suntook’s vision and its impact on the SOI’s growth and global collaborations?

MB: Working with the SOI also means being part of a wider vision shaped by Khushroo Suntook, the NCPA Chairman and SOI Co-founder. His achievements are nothing short of remarkable. Founding a symphony orchestra in Mumbai was a bold, perhaps improbable, idea, but through his unwavering passion and vision, he made it a reality. He is a person who inspires those around him—generous, warm and driven by a genuine love for Western classical music, not only in its European context but as a global art form.

Thanks to him, the SOI and the NCPA, both respected institutions, continue to have a loyal and expanding audience. It is extraordinary what he has built, especially given that he began this journey at the age I am now. I have enormous admiration for him and everything he represents.

OS: Your opening concert for the upcoming season features both Rimsky-Korsakov’s Scheherazade and Shostakovich’s Fifth Symphony—two works that demand vivid storytelling, one exotic, the other visceral. How do you calibrate orchestral colour and pacing to serve such different narratives in back-to-toback performances?

MB: It is going to be a demanding evening for everyone involved—the musicians, conductor and audience—because these two pieces are so different in character and emotional scope. I conducted Scheherazade recently with the BBC Philharmonic, and once again, I was struck by Rimsky-Korsakov’s extraordinary use of orchestral colour. His ability to capture mood and narrative through instruments is nothing short of genius. Shostakovich’s Fifth, on the other hand, comes from a completely different world—emotionally, politically and philosophically. Having spent time in the Soviet Union in the late 1980s, I have some understanding of the environment in which he was working, and that context gives the piece even more depth. It is charged with sorrow, irony, resilience and quiet defiance.

Both works demand an instinctive feel for colour and pacing. My job is to get inside the mind of each composer and help the orchestra bring their intentions vividly to life. It should be a powerful experience— challenging but also deeply rewarding for the audience.

OS: You will be performing Tchaikovsky’s Violin Concerto with Marat Bisengaliev this season. What does it mean to revisit this piece with him after so many years, and what makes this collaboration special?

MB: It is quite extraordinary to return to this piece with Marat. I first conducted it with him in Almaty, Kazakhstan, in 1991—just a couple of years after completing my studies in Leningrad. That period holds special memories for me. I had the chance to meet his family, and we forged a bond that was truly meaningful, both personally and musically. Now, more than three decades later, to reunite over the same concerto is a rare and wonderful opportunity.

Marat’s vision and dedication to excellence are evident in every aspect of his work with the SOI. The orchestra reflects his insistence on never settling for anything less than their absolute best. That culture of striving for the highest quality comes from the top—that is his influence entirely. Revisiting the Tchaikovsky concerto with him now will be a revelation. I can’t remember much from our original performance, but I know the piece—and we, as musicians, have evolved. This reunion promises to be something special.

OS: You will also be conducting excerpts from Prokofiev’s Romeo and Juliet. Do you view this as a nod to your operatic sensibilities? How do you plan to convey the ballet’s dramatic essence in a concert setting?

MB: Conducting excerpts from Prokofiev’s Romeo and Juliet reflects my operatic background. Though I haven’t led the full ballet, I deeply admire how Prokofiev captures the raw intensity of Shakespeare’s tragedy. I’ve crafted a semi-dramatic arc in the music to take the audience on an emotional journey, using its rich colours and contrasts. My operatic experience helps bring narrative urgency and theatrical flair to the performance—hopefully inspiring the audience to engage with the music even more.

OS: You hold dual professorships at the Royal College of Music and the Royal Conservatoire of Scotland. How does teaching shape your rehearsal process, and how does conducting, in turn, influence your approach to teaching?

MB: Teaching is very important to me, inspired by my mentor Ilya Musin and his clear, effective conducting techniques. Teaching constantly makes me reflect on my own standards—I hold myself to the same principles I expect from my students. This self-reflection keeps my artistry fresh and evolving. Ultimately, conducting is about enabling musicians to give their best, and strong technique is essential for that. Teaching sharpens my skills, which in turn enriches my rehearsals. I aim to inspire, not impose, so the music truly comes alive.

OS: With nearly 150 commercial recordings to your name, how has your work in the studio influenced your expectations of live performance—and vice versa?

MB: Recording teaches precision and detail, allowing time to perfect every nuance, but risks losing the spontaneity that makes live music thrilling. I strive to bring the energy of live performance into the studio, and the clarity of the studio into concerts. Balancing technical excellence with honest communication is rare but magical. Both recording and live playing sharpen and enrich each other.

OS: Looking ahead, do you foresee opportunities to champion British composers or commission contemporary works in future SOI seasons?

MB: There is a rich heritage of British orchestral music—Elgar, Vaughan Williams, Walton, Britten— that deserves wider recognition. I am keen to present works like Walton’s First Symphony and Viola Concerto to Indian audiences. I’m also excited to explore the work of contemporary composers. I know it can be challenging—people sometimes come to a concert expecting Mozart and are surprised by something unfamiliar. But I believe that if we listen with open minds and hearts, we can discover something truly rewarding. That is why commissioning new works and broadening the repertoire are top priorities for me. The SOI has such an engaged audience—I believe they are ready for it.

This article was originally published in the August 2025 issue of ON Stage.