For many readers of Klassiek Centraal, Routa Kroumovitch and Alvaro Gomez may still be unfamiliar names. Yet they have been among the regular fixtures of the Orfeo Music Festival in South Tyrol (Italy) for years. As musicians and life partners, they share not only an impressive international career, but also a life in which music has always been central. In a conversation with Werner De Smet for Klassiek Centraal, they talk about their shared story, which began in 1972 at the Moscow Conservatory.
Routa came from Latvia and had the opportunity to study there with the legendary David Oistrakh. Alvaro traveled from Chile to the Soviet Union for his musical education. "Opposites attract," says Routa. For her, music and life have always been inseparably connected. When they married, music naturally became the foundation of their shared life. Alvaro confirms this and adds that traveling together for concerts is much more pleasant than being on the road alone for long periods.
Although both have built active solo careers – as soloists, chamber musicians, concertmasters or conductors – they still find great satisfaction in making music together. In doing so, they each bring their own personality to the interpretation of a work. This sometimes leads to different insights, but when they ultimately share the same musical vision, it often produces the most beautiful results, according to Alvaro.
That they also influence each other artistically goes without saying. Routa experiences the encounter between two different cultures as a continuous enrichment, both personally and musically. When Alvaro comes with a critical remark or suggestion, it is not always immediately easy to accept. Yet she often finds that, after some reflection, there are valuable ideas behind it. Alvaro, in turn, points to the special challenges of repertoire for two string instruments. Purity and balance require particular attention. That is why they regularly try to switch roles. They want to avoid one part always taking the lead while the other merely accompanies.
This continuous dialogue is also part of their way of communicating during musical performance. According to Routa, that communication as a couple becomes richer, faster and sometimes more complex, precisely because they can share together what makes them happiest: music. Yet alertness remains necessary. Alvaro calls finding a common vision and the mutual support of ideas something that is difficult to put into words.
Over the years, certain composers have become particularly dear to them. For Routa, Bach and Beethoven remain inexhaustible sources of inspiration. Music by Prokofiev and Shostakovich has also become increasingly important over the years. When she prepares for a concerto, sonata or chamber music work, that work becomes, as it were, a part of herself. Alvaro calls himself a true 'Latin guy' and therefore feels naturally drawn to Romanticism and virtuosity, but has gradually discovered the richness of more traditional repertoire and contemporary composers. According to him, there are particularly many talented composers active today.
Maintaining freshness in their repertoire is not a problem. Both musicians continually play new works and regularly collaborate with living composers who write specifically for them. This keeps their duo lively and keeps their own curiosity awake. At the same time, they return with pleasure to works they have performed before. Routa notes that both the musicians and the music continue to evolve. As a result, their view of a work is constantly changing. No performance ever feels quite the same.
They also find this openness to new experiences reflected in the Orfeo Music Festival. Both speak enthusiastically about the combination of high-quality concerts, masterclasses, students and fellow musicians, set against the backdrop of the South Tyrolean mountains. For Routa, the festival creates a special collegiality between students and teachers. She calls it an almost magical period. Alvaro particularly appreciates the relaxed atmosphere in which concerts, meetings and joint outings go hand in hand.
As teachers, they also experience the festival differently than regular teaching. According to Routa, both students and teachers are more relaxed there. Students come not to earn points, but to learn and discover new ideas. The environment, the walking opportunities, the food and the atmosphere all contribute to that openness, in her view. At the same time, she points to a problem many young musicians face today, especially from the United States: the high cost of international flights. Before the pandemic, some students regularly returned to the festival for years; today, that is financially no longer feasible for many. According to her, additional financial support for young musicians is therefore necessary.
What she first notices in young talent is not only musical ability. Routa especially looks for the willingness to work hard and develop further. Talent alone is not enough, she believes. With perseverance, people can sometimes achieve remarkable things. Alvaro also emphasizes that passion and dedication are essential. Without these elements, even great talent remains unutilized.
Yet both look with confidence toward the new generation of musicians. Routa notes that each generation is shaped by different experiences and therefore also looks at music differently. Alvaro sees especially the advantages of the current time. Young musicians today can easily listen to performers from all over the world. The combination of traditional musical values and modern possibilities leads, in his view, to a particularly high level.
They in turn try to pass on their own experience. Routa tells how throughout her career she has acquired important technical and musical insights that she is happy to share with her students. For Alvaro, it is even a responsibility. Everything that music and life have given him, he wants to pass on to the next generation.
They remain pragmatic about the role of social media and self-promotion. Publicity is important, they both acknowledge, but ultimately every musician must prove on the podium what they really have to offer. Visibility alone is not enough.
The festival's programming is not in their hands, but the choice of repertoire they themselves bring is. Festival director Dr. Larisa Jackson gives each concert its own theme – this year, for example, "Golden Evenings in Bressanone" and "Romantic Fire and Virtuosity" – and Routa and Alvaro in turn propose repertoire that can appeal to both students and the public.
When it comes to reaching new listeners, Routa refers to the many moments when she has met people after a concert who were visibly moved. Music can deeply touch people and encourage them to explore that world further. She illustrates this with a small experiment at home: she once let her granddaughter watch a film with the sound off, after which she no longer reacted fearfully or emotionally to what she saw. For Routa, proof of how much music colors our perception of a story. Alvaro notes that reactions differ all over the world and often remain unpredictable. That is precisely what makes the audience so fascinating.
The future of classical music is also discussed. For Routa, an important role is reserved for festivals like the Orfeo Music Festival, where education, inspiration and meeting are central. Daily lessons, masterclasses and concerts motivate young musicians and bring people together. She points out that many visitors return annually and even adjust their vacation to the festival: last year, for example, 35 students from the American Stetson University came from Innsbruck to one of the concerts. Alvaro sees it more simply: classical music must be presented in a natural and accessible way, so that people feel welcome and are not deterred.
After more than fifty years of making music together, their mutual communication remains an essential part of every performance. Although they often intuitively sense where the music is going, Routa emphasizes that concentration and communication always remain necessary. Music is constantly alive and no two performances are ever the same. Alvaro puts it even more forcefully: the day he no longer needs communication while playing together, he would stop making music.
When they stand together on a stage today, gratitude predominates. Routa feels blessed that she has been able to make music with Alvaro for so many years and has built memories together on virtually every continent. Alvaro sums it up in a few words: "I feel blessed and incredibly happy."
After more than fifty years of making music together, Routa Kroumovitch and Alvaro Gomez still share the same conviction: music remains the common thread through their shared life.