Ramon Theobald's mission to improve access to the musical arts

What is happening in your professional life right now? Where are you working and on what?

I’m currently very focused on two fronts: my conducting career and projects to support young Brazilian artists coming to Europe.

I've been invited to participate in the Summer Program of the Institut Canadien d’Art Vocal in Montréal this summer, which is very exciting. And I’ll also be attending the Festival in Saluzzo, where I received a full scholarship.
At the same time, two young Brazilian singers I’ve worked with — Lorena Pires and Luis-Felipe Sousa — will join the Académie de l’Opéra de Paris as resident artists next season.

We recently performed a concert at the Opéra Bastille in Paris featuring French and Brazilian repertoire. This program will tour Brazil in September as part of the official France–Brazil cultural year.

In October, I’ll also be conducting a concert in southern Brazil with the Camerata de Curitiba. And I recently began an advanced conducting course with the renowned Maestro Donato Renzetti — a meaningful step in furthering my artistic development.

Can you tell us a little about your route into classical music? When and how did your passion for it emerge?

I always say that passion and talent alone mean very little if you don’t have access or support — and that’s why institutions like The Supporting Act Foundation are so important.

I started singing in a choir at a public school in my hometown, Petrópolis. Then, I spent seven years studying piano and singing with a scholarship from the Canarinhos de Petrópolis choir, under Maestro Marco Aurélio Lischt.

My passion emerged because I had the chance to be exposed to music — to experience it early and consistently, thanks to these generous and committed structures.

Were there barriers to your exploring and developing your interest in music when younger in Brazil? If so, can you speak a little about them?

The biggest barriers come from the lack of infrastructure. As I mentioned, I only got where I am because some incredible people fought to create opportunities despite many difficulties.

A choir in a public school, free piano lessons for seven years, a public university music program, a government scholarship to study in Germany for a year, a publicly funded theater that introduced me to opera — all of these were crucial. Without them, I simply wouldn’t be here.

Are there particular issues in the classical music space that make it hard for emerging artists to succeed?

Yes — and I believe these are not just specific to classical music. The higher the level we aim for, the more preparation, competition, and financial investment is required. The real issue is inequality. Access to training, travel, auditions, and time to focus on your craft is not distributed fairly. Coming from Brazil, paying for programs in euros is a huge challenge. That’s why institutions that help bridge this gap are so essential.

I’ll be very honest: I had to take out loans from a bank to attend auditions in Europe — loans I couldn’t repay, even though things are going much better now. That experience taught me that “talent” is not enough. You need support, access, and practical help to navigate the artistic world — especially globally.

I wouldn't be here without the public school choir, the Canarinhos, the public university, and the artist programs at Teatro dell’Opera di Roma and the Opéra de Paris. And perhaps Lorena and Luis-Felipe wouldn’t be where they are either, without the initiatives I’ve helped develop with the Opéra de Paris to support Brazilian singers.

The progress I’ve made in my conducting career wouldn’t be possible without this grant and The Supporting Act Foundation’s support.

How are you working with institutions to secure opportunities for aspiring musicians? How does this work sit alongside your day-to-day work as a musician?

The contacts I’ve made so far — and the strength of the bonds I’ve built with amazing people along the way — are helping me create opportunities for the next generation.

It’s empathy and human contact that make this possible. If we lived in a utopian world where everyone cared just a little more about each other, maybe that world wouldn’t feel so far away.

In my day-to-day, I just take some time to call, talk, and listen to people.

What would your vision for a better, or more accessible arts world look like? Are there some key changes that you feel would make a disproportionate positive impact?

A world where access to artistic education and international opportunities doesn’t depend on where you're born or how much you can afford to pay. Expanding free or subsidized training, funding travel for emerging artists, and making major institutions more open to diverse backgrounds would all have a massive impact.

Lastly, what are your hopes for your work over the coming years, with the grant in place?

With all the investments I’ve made over the past two years specifically for this, I feel I’m getting closer to establishing myself in the field — and to continuing this work with consistency and depth.

What I really hope for is not to walk alone. To bring people with me.