The conductor Joana Mallwitz apologized for arriving late for her interview at the Metropolitan Opera House last week, but she had needed to catch her breath after rehearsal. “Conducting is sweaty business,” she said, as she settled into a straight-backed posture on a sofa in the press lounge, her striking hands with long fingers elegantly crossed at the wrists.
On Monday, Mallwitz, 39 — the music director of the Konzerthaus Berlin and one of the fastest rising classical stars in her native Germany — makes her Met debut with Mozart’s “The Marriage of Figaro.” She has been in close relationship with that opera since her first job, at 19, at Theater Heidelberg, a small house where her duties included “everything that one does as Kapellmeister,” she said: rehearsing singers, playing the continuo part on the harpsichord and, when needed, jumping in at short notice to conduct a performance.
“You develop a relationship with such a work,” she said of “Figaro.” “You get to know each other.”
At the end of that afternoon’s rehearsal she had worked with the orchestra on minute details in the overture, finessing dynamic contrasts and highlighting the shock value — “like rock music,” she told the musicians — of the loud outbursts that interrupt the garrulous bubbling fast notes. The key, she said afterward, was to “bring a certain energy into the sound that doesn’t become hard when the playing gets louder.”
Working with the Met musicians, she said, was a joy because after fine-tuning a small section, “they are able to feel what my style is and transfer it” to the rest of the piece. “They’re able to pick it up because mentally, too, they are virtuosos,” she said. “It’s incredible what this orchestra is able to deliver in terms of tempo and transparency and diversity of effects. You want to draw on all of that but also achieve a combination of lightness and drama.”
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