James Conlon began his tenure as Ravinia's music director during the 2005 season. It was the first season of the second century of North America's oldest music festival. The season was magnificent, the "Chicago Sun-Times hailed it as "a brilliant start" and a "revelation", the Wall Street Journal said "Thanks to Mr. Conlon, Ravinia is in for a very stimulating time" and Chicago Tribune wrote "Conlon already appears to have stuck sparks with the CSO players". I had a chance to speak with Mr. Conlon about Ravinia Festival's 2006 season, which starts June 1st. Here is what the charismatic and charming man had to say about the upcoming season.

Mr. Conlon, you have been a favorite guest conductor at Ravinia, making almost annual appearances since 1977. What do you think is so special about Ravinia and how did it change your first visit? J.C: What's special about Ravinia? First of all, from my point of view the presence of the Chicago Symphony Orchestra(SCO). That makes it special all by its self. The SCO is one of the world's greatest orchestras and therefore it is known for making great music on a very high level. In the summer time it is a quality that you cannot get in very many places in the world. In addition to that, the ambiance of Ravinia, the grounds, the comfort and beauty of the surroundings make it a very pleasant place to be. And we know that in the summer it's hot, so if you're going to be out you might as well listen to beautiful music in a beautiful place.

-Is this what attracted you to Ravinia? How did you become music director here? J.C: I was 24 when I first visited Ravinia in 1974 at the invitation of Executive Director Ed Gordon and Music Director James Levine. Of course I was thrilled to see what I saw. Then they invited me to make my debut in 1977. I had been back almost every year as a guest conductor, until the time when they offered me the position of music director. Of course there was nothing, no reason not to say yes! I was thrilled to be asked and thrilled to be there.

-This is the start of your second season as Music Director at Ravinia, what will you be entertaining us with this summer? J.C: The CSO gives three concerts every weekend. I do those for four weeks as my residency. In addition the four weeks that I don't appear, we have guest conductors. We have great international soloists; also very important are the recitals. The Stean's Institute young musicians have daily activities; they give concerts for the public while learning. In the programming there are themes. Some are for the summer and we also have some themes going across several years. For example this year is Mozart's 250th birthday anniversary, so we decided to spread the celebration over three years. Everyone else does it all at once and then the following year they have nothing. Here at Ravinia, we will present the complete Mozart piano concertos. We did some last year, we will continue this year and will conclude in 2007 to end the cycle. That's one theme. Another theme is Mahler. The CSO playing Mahler's symphonies is one of the greatest possible gifts that we can give to the public. We play two symphonies per season, and this year the cycle continues with Symphonies No. 3 and 4.

-You attach much importance to works of composers whose lives were affected by the Holocaust. Why is this so important to you personally and what do you do to raise public consciousness? J.C: Yes that is actually the third program or theme that we are pursuing this season its part of the "Breaking the silence" series. It is to bring special attention to artists whose music was censored and parts lost for many generations because of the Nazi suppression. This is a mission of mine. It's a very important subject to me, because we've lost part of our western civilization. Some brilliant musicians had been sent to concentration camps, many died there. Sadly, along with the many lives, music too was lost. Luckily, 60 years after the end of WWII, much of that music has been recovered. Each year we will present a different composer, last season we played the works of Viktor Ullmann, who had written over 20 compositions in the concentration camp of Terezin before his deportation and death in Auschwitz. This summer we are concentrating on Erwin Schulhoff. This composer was one of the most fascinating and creative of the era between 1910 and 1942. Brilliantly inventive and daring, his music is colorful, provocative and amusing. I believe that the lost generation embodies a spirit that needs to be heard. The creativity of the first half of the 20th century is far richer than we think. So Schulhoff's lively, jazz-infused music will be featured in four concerts this summer. These are some of the things the public can look forward to this summer.

-What does it take to be a good conductor? J.C: I believe a conductor has to love what he does. The biggest privilege in life is to be able to do what you love. The majority of human race does not have enough to eat and live in poverty and terrible conditions. Then there are the many people who don't live in poverty but work at something they don't love in order to eat. Then you think of the people who have good jobs, make a good living, but don't enjoy what they do and wait for the weekends to finally do something they like. And then there are those people who work and make a good living doing something they absolutely love. We are the privileged of all the privileged and lucky of the luckiest to do what we love. I feel fortunate to be able to do what love the most, it's a way of life. I think it's what drives me to do my best.

-You've worked with the world's most prestigious symphonies and opera houses though over 30 years of conducting, which one did you like working with? Any special memories associated with a certain place? J.C: I don't think in terms of best or favorite. Art doesn't have best. Art is an activity, its an object in some cases so its impossible to talk about best. It's all about the feeling generated by making music. Special memories? I have probably conducted over 100 orchestras, traveled all my life, so it's impossible to answer that question. Maybe I will have a favorite later in life. Maybe, I'll answer this when I'll have a chance to look back at everything from a different perspective. But right now I'm still in the middle of it all, traveling, all the years of traveling, visiting so many countries including Poland, it's all a chance I am grateful for. I always wanted to travel as a child, and I chose a profession which in the end calls me to travel. I get to experience human contact with people from different countries and cultures, who think differently from how I grew up. This is a privilege and a learning experience. Although I've been to Poland only once, I liked it very much.

-We hope you will come again soon and conduct many concerts. J.C: I hope I will come again. Over the years working especially with Opera, I meat singers from different countries and certainly I've meat many talented polish singers. I often say: it's not important what you know, bit who you know. I am lucky to have that experience and meet many people.

-Since you've been traveling all over the world, what is your home town and which city would consider calling home? J.C: I was born in New York, grew up in N.Y. and was educated in N.Y. I have always maintained a residence in N.Y. Then I actually spent a better part of 20 years in Europe. I moved back to N.Y. two years ago partially because of my two daughters. N.Y. is my home and I've always considered it my home. I lived in Paris for 9 years, was in Germany for 13years, spent a little time in Holland, and have been traveling to and from Italy all my adult life. I am very much attached to these places in Europe. So overall I'm happy in the States and I'm happy to be back, but I do have the emotional ties to Europe and you know I'll never lose them. I cannot say I have a favorite place, but I love the fact that I have been able to travel.

-Music speaks all languages. How many do you speak? J.C: Badly or well? (Laughs) I love languages and enjoy learning and speaking. Aside from English I speak French, Italian, and German. I speak Dutch badly, Spanish badly and I can read in Russian. Unfortunately I cannot speak Polish and I think it's very difficult.

-You have a vast symphonic, operatic and choral repertoire. Which kind is your favorite to conduct and why? J.C: I have no favorites. It's impossible to say. Someone once asked me who was my favorite composer and favorite piece. I than asked a question back; who is your favorite person in the family? We know that all family members are different, but there are no favorites we love them all because they are family. To me it's like that with music. Once you know you love a piece of music, it is impossible to stop loving it, and you'll always know its there. I like Mozart, but that doesn't mean I like Beethoven or Bach any less. It's impossible to choose a favorite, I love it all!

-Mr. Conlon, you're committed to working with young pre-professional musicians. You continually work with Julliard ensembles, teach at Aspen Music Festival and School, and also at Tanglewood Music Center. What do you like about working with young people? Are there any music geniuses on the way? J.C: Oh there is a lot of geniuses, but we'll have to wait and see what will happen to them! I am old enough now to have something to offer to them, but not so old not to remember what it was like being young. So I think I'm at a good age to be helpful and I do it because I enjoy it. I love the contact and its great seeing the young talents out there.

-You have received the Zemlinsky Prize, Opera News Awards, you were named as a Library Lion, also Officier de L'Ordere des Artes and received the Legion d'Honneur to name the least. What do these prizes mean to you? What are you most proud of? J.C: To me these prizes are a sign of appreciation and that makes me feel good. I'm not a proud person so I don't know how to answer what I'm most proud if. I am honored to have received these prizes along with the recognition.

-Do you see a difference between the regular season audience and the summer hall or festival audience? Does the "picnic" feeling at Ravinia attract a different crowd? J.C: Yes, summer ambiance is different. Most great American orchestras have summer halls. Ravinia of course is the oldest one. Some people come out only once or twice a year, and here they have an opportunity to hear the Chicago Symphony Orchestra in a relaxed atmosphere. I believe it is important for symphonies to come out of their homes and reach the people who might not go to the orchestra hall.

-In your opinion does one have to be a connoisseur to enjoy classical music? J.C: No, absolutely not! Anybody can enjoy classical music. I believe if you play only classical music to babies, by the time they start walking, they will already be humming and singing Bach and Beethoven. The fact is that many people in America are afraid of classical music and they think it's only for connoisseurs or only for educated people. But this is not true, everybody can enjoy classical music. In my mind the definition of classical music is once you have heard it you'll enjoy it even more the second time and fifth and tenth. That's one of the characteristics. It is not like a book which you read once and don't really feel the need to read again. You know the contents, so it has exhausted itself. Once you fall in love with classical music, listen to it, live with it, you go back to it time and time again and enjoy it every time. There are pieces which I have conducted over 50 maybe 75 times, and at the end I love them more than I started with. Everyone has potential. Even if you've grown up not liking classical music, come out and try to listen. You'll be surprised how easy it is to fall in love with it. Once you listen, you'll appreciate it. And keep in mind that you don't have to know anything about it to love it. I would encourage everyone to come out with that spirit!

-Thank you Mr. Conlon, we'll see you at Ravinia.