Kevin John Edusei

Kevin John Edusei

Kevin John Edusei’s journey into the world of conducting is a testament to the importance of mentorship, passion, and seizing opportunities. Although he initially majored in classical percussion and sound engineering at the Royal Conservatoire, it was during a performance of Brahms's First Symphony that his interest in conducting was sparked. “I fell in love with conducting after hearing the Conservatoire’s orchestra perform Brahms’s First Symphony under Jac van Steen,” he recalls. This pivotal experience led him to seek advice from van Steen, who, although initially hesitant, encouraged him to complete his studies first before pursuing a conducting career. “He advised me to finish my current studies, and then we’d see what trajectory would be the best fit.” This advice proved to be invaluable, as it gave Kevin time to gain more experience before fully diving into conducting.

Once he graduated, Kevin wasted no time in following his passion. The day after his graduation, he returned to van Steen and was accepted into conducting studies. In the meantime, he started a contemporary music ensemble with composer friends and took private lessons in score playing and singing. His early experiences working with established musicians—performing regularly with the Residentie Orkest as a percussionist and conducting short sessions with various orchestras—provided him with a strong foundation as he transitioned into a professional conductor.

Reflecting on the importance of mentorship in his own development, Kevin shares, “Good teachers have a responsibility to provide their students with these types of experiences. By doing so, they can help their students develop the skills and confidence needed to succeed in the professional world.” His experiences with his teachers, Wim Vos and Jac van Steen, were crucial in giving him both the confidence and the opportunity to start his career on solid footing.

Over the past two decades, Kevin has become a well-established figure in the classical music world. He served as the chief conductor of both the Munich Symphony Orchestra and the Opera House of Bern and has worked with prestigious ensembles worldwide, such as the London Symphony Orchestra, BBC Symphony Orchestra, and the Dallas Symphony Orchestra. A milestone moment for him came when he debuted with the London Symphony Orchestra at Barbican Hall, conducting Stravinsky's Petrouchka—a piece he had conducted earlier under Jac van Steen's mentorship. "It was a full-circle moment for me," Kevin reflects, “as Petrouchka was one of the first pieces that Jac let me conduct with his orchestra at the time, the Nuremberg Symphony Orchestra.”

Although Kevin’s career has flourished, he acknowledges that conducting can be a particularly challenging profession, especially for young conductors. “The learning curve is steep because there is so much music to explore and learn,” he explains. As a conductor, one does not produce sound on stage in the same way that other musicians do, which can make it difficult to gain the respect of seasoned orchestral musicians. “Standing in front of an orchestra as a young conductor can be intimidating,” he admits. Kevin emphasizes the importance of perseverance in overcoming the initial hurdles of the profession. “You must find inner strength and perseverance to keep going.”

One of the most rewarding aspects of Kevin’s career has been the opportunity to work with diverse orchestras and audiences across the globe. His travels have exposed him to different cultures and customs, particularly when it comes to audience engagement. “Audiences in Germany are often the most engaged, providing standing ovations and extended applause,” he observes. “In Holland, audiences are impulsive in their reactions and will give a standing ovation every time but then quickly leave the hall to catch their trains.” In the United States, Kevin notes a more subdued approach, with applause often occurring between movements rather than after the piece as a whole. “As a conductor, I connect with audiences and bring my art and music to people worldwide,” he says. “It’s a rewarding experience to witness the power of music to bring people together and to communicate across cultures and languages.”

While Kevin has enjoyed immense success, he also recognizes the limitations that exist within the classical music industry, particularly in concert programming. “The programming of classical music concerts can be restrictive and limited due to various factors, such as financial risk, tradition, and rehearsal time,” he explains. He believes that these constraints often result in the selection of safer, more familiar works rather than experimental or contemporary pieces. However, Kevin also points to subscription models and festivals as an alternative, where more adventurous programming is possible. “These concerts are usually attended by a devoted audience who already has an interest in the music being played,” he notes, “so they are not limited by the financial risks associated with a single concert.”

Despite the challenges faced by classical music in recent years, Kevin remains optimistic about the future of the industry. Reflecting on the collapse of the classical CD and DVD market in the early 2000s, he recalls the anxiety it caused within the industry. “Many of us were worried that classical music would disappear as no one wanted to buy CDs or DVDs anymore.” However, Kevin is encouraged by the new generation of musicians and composers who are bringing fresh energy and creativity to the field. “A younger generation of musicians and composers is doing incredible, creative work,” he says, “giving me hope that classical music or equivalent forms will always be there.”

In looking toward the future, Kevin is excited by the potential to discover new voices in music. He mentions composers like Lisa Streich and Andy Akiho, whose work has left a lasting impression on him. “Discovering new talents like this keeps inspiring me in my work,” he says. Kevin also enjoys exploring past musical styles, particularly when he has the opportunity to conduct works that take him back in time, such as Zemlinsky’s Die Seejungfrau with the Oregon Symphony. “This piece takes me back to 1900 and allows me to experience the musical life of that time,” he reflects.

Kevin's time at the Royal Conservatoire also remains a cherished memory. He recalls the progressive environment of the school in the 1990s, which allowed students the freedom to explore their ideas. “We had a lot of freedom to pursue our ideas about classical music,” he says. “I see it as a vast training ground for what came later.” Kevin hopes that the Conservatoire continues to foster this spirit of progressiveness, ensuring that future generations of musicians are empowered to experiment and innovate within the classical music world.