India-born and Denmark-raised conductor Maria Badstue has steadily established herself as one of the leading Scandinavian conductors of her generation. Lauded for her expressive clarity, physical dynamism, and communicative power on the podium, Badstue brings a unique artistic voice shaped by her multicultural upbringing, classical training, and a deep commitment to cross-cultural collaboration. Her growing international career spans performances with orchestras and opera houses across Europe, North America, and Asia, including acclaimed appearances in France, Germany, Italy, the United States, and India.
A passionate advocate for education and cultural diplomacy, Badstue is the founder of two notable initiatives: the Nordic Masterclass for Conductors, one of Europe’s foremost training programmes for emerging conductors, and the INDK Symphonic Collaboration, which promotes musical exchange between India and Denmark. Her dual identity has placed her in a rare position to bridge continents through music, and she continues to use her platform to foster dialogue between traditions, disciplines, and generations.
Badstue’s operatic work is equally distinguished, with a repertoire ranging from Mozart and Massenet to modern works such as Kamala Sankaram’s Thumbprint. A recipient of the prestigious Taki Alsop Conducting Fellowship, and mentored by both Marin Alsop and Jorma Panula, she is part of a lineage of conductors who combine technical excellence with artistic empathy.
In the conversation that follows, Maria Badstue reflects on her multicultural roots, the challenges and rewards of conducting opera versus symphonic repertoire, the importance of soft power in international relations, and her ongoing efforts to connect young musicians across borders — particularly through her work with the Symphony Orchestra of India and visiting students from Denmark’s top conservatories.
Nikhil Sardana: You were born in India and raised in Denmark – how has this multicultural background influenced your musical voice and your approach to conducting?
Maria Badstue: I believe it’s important to see the world from different perspectives. Especially at the start of my career, it affected me a great deal that I never saw conductors who looked like me. Zubin Mehta was perhaps the closest!
Because of my background, I instinctively knew it would be necessary to develop my own style – I look quite different from all the legends I admired on the podium. So, I studied hard and thought carefully about my body language and how I present myself while conducting. Over time, you settle into it and grow accustomed to how you look in that role. I think it might be a bit like acting, in a way.
NS: You’ve led orchestras across Europe, North America, and India. Are there particular musical or cultural differences you’ve observed when working with ensembles from different regions?
MB: The language of music is universal, and as conductors, we have the opportunity to work all over the world. Western classical music – and the processes involved in producing and performing it – has been refined over the past thousand years to such an extent that you feel at home, no matter which orchestra you find yourself conducting.
One particularly interesting difference I encountered was during my time at Portland Opera in the United States. Unlike anywhere else I’ve worked, the canteen food there was free for everyone involved in the production! That gesture created such a warm and welcoming working atmosphere, which is essential when collaborating with artists. Musicians are often highly sensitive individuals, and opera rehearsals in particular can be emotionally intense – especially when working with singers. I thought it was a clever and thoughtful initiative by the administration.
NS: The INDK Symphonic Collaboration aims to foster ties between India and Denmark through music. What inspired this initiative, and what has surprised you most during its development?
MB: It all started quite naturally. After conducting Il Matrimonio Segreto at the Royal Opera House in Mumbai in 2017, I gave a talk about the experience at the Danish Cultural Institute in Copenhagen. Soon after, a major company approached me, keen to strengthen cultural ties with India, and asked for my help. That led to the creation of the INDK Symphonic Collaboration. We initially brought 20 musicians from the Danish Radio Symphony Orchestra and Royal Danish Opera to perform with the SOI – though sadly, the project was cancelled due to the pandemic.
Since then, we’ve reorganised. I’ve brought Danish soloist Christina Bjørkøe and the Danish Chamber Players to Mumbai – all in close partnership with NCPA and SOI, without whom none of this would be possible.
Just a week after returning from Mumbai in August 2024 – where I was preparing the SOI for Maestro Zubin Mehta – I was approached by the Royal Academy of Music in Aarhus. The Danish State had expressed a desire to deepen ties with India, and I was asked for ideas. Now, we’re back in Mumbai with 20 students from Denmark’s top music academies, a soloist, a brass ensemble, and a brass professor.
What surprises me most is how organically it all came together. Good things take time, and I believe this project has great potential. With my roots in both India and Denmark, I feel genuinely inspired to build bridges through music. I’m especially proud that this time, we’re presenting Scandinavian composers like Nielsen and Sibelius to Indian audiences.
Bringing people from different cultures together is deeply rewarding. In today’s world, I truly believe global collaboration is the way forward – and I must admit, I believe in the power of soft power. I only wish more world leaders did too.
NS: You’re not only a conductor but also a founder and educator. What gaps in the field of conducting did you hope to address with the Nordic Masterclass for Conductors?
MB: It’s a great advantage to start conducting early. If you’ve encountered scores early in life, it becomes much easier to work with them later. Conducting is a lifelong journey. Young conductors need to work with professional musicians early in their careers to understand what it truly takes – to stand in front of top-level players and confidently lead them. This demands stamina and mental strength, but also – I believe – vulnerability.
Nordic Masterclass has been running for 12 years now, and I’m proud that we’ve built a highly respected platform where young conductors can gain experience with professional orchestras under excellent guidance.
NS: Much has been written about your powerful presence on the podium. How do you prepare, mentally and emotionally, before stepping in front of an orchestra?
MB: As my wonderful mentor and renowned professor, Jorma Panula, used to say: “Study the score, study the score, and study the score.” In conducting, there are no shortcuts. Preparation is key to delivering a powerful presence and performance on the podium.
Just before stepping onto the podium, I try to be alone, stay calm, and focus – mentally going through the score. Emotionally, I let the music guide me.
NS: Opera plays a significant role in your repertoire, from Mozart to modern works like Thumbprint. What draws you to the operatic stage, and how does it differ from symphonic conducting for you?
MB: I love opera! It’s a completely different challenge for a conductor. You’re part of a larger team – director, producer, stage crew, lighting designer, and more. The narrative is just as central as the music. Unlike symphonic concerts, where the conductor is very visible, in opera, you’re in the pit and largely unseen.
There’s rarely a moment to relax – something is always happening. A singer may fall ill, a door must shut at a precise moment, a gunshot might be cued, someone has to change costume, or the stage might need to rotate. These things aren’t the conductor’s direct responsibility, but you must be acutely aware of them while keeping the music flowing.
Of course, as a conductor and musician, I believe the music is paramount – but every piece of the puzzle is essential. Opera is a magnificent apparatus, and it’s incredibly rewarding to be part of it!
NS: As someone who has worked closely with renowned figures like Marin Alsop and Jorma Panula, what have been the most valuable lessons from those mentorships?
MB: Meeting Jorma was truly life-changing. I wouldn’t be conducting today without him. Many of his sayings have stayed with me – not just for conducting, but for life in general.
One essential lesson he taught was about the attitude needed on the podium: “You open your ears, you open your eyes, you open your soul, you open your heart – and then you just let all the noise fly over your head.” It’s brilliant advice for life, too. Another was: “Yourself is enough.” And his beautiful description of a conductor: “A conductor is an introverted person who likes to be in public.”
As for Marin, she’s incredibly generous and selfless. She founded the Taki Alsop Fellowship and has been endlessly supportive. She’s a visionary and truly inspiring to be around – and she genuinely understands what we’re going through. She also shares invaluable advice on the business side of conducting. She invited us fellows to the Ravinia Festival – one of the warmest, most welcoming atmospheres I’ve ever experienced.
NS: Given your experience leading youth-focused festivals and cross-cultural projects, what advice would you give to young musicians and aspiring conductors entering an increasingly globalised music world?
MB: I believe we must have vision – and then take the opportunities we’re given, doing what each of us feels is important.
In my case – likely due to my background – I’ve always found it fascinating to create cultural encounters. Such meetings are exciting, enriching, and absolutely vital in the world we live in today.
And most importantly: have the courage to think big. We can always think bigger.
NS: This June, you’ll be leading a truly collaborative concert at the NCPA, bringing together the SOI Chamber Orchestra and musicians from RAMA and RDAM. What does this kind of cross-institutional partnership offer to both performers and audiences?
MB: This collaboration isn’t just between Denmark and India – it also brings together Denmark’s two leading music academies, in conjunction with the Danish state. For the students, visiting India is a once-in-a-lifetime experience. They’ll form friendships and professional connections that could prove invaluable in their future careers.
They also have to perform at a high level in a very different cultural environment – it’s a gift for them to have this opportunity. It’s the first time Danish students of Western classical music are performing in India – and with works by Carl Nielsen and Jean Sibelius, no less!
I hope the SOI musicians also gain something meaningful from this. While they’re used to working with international artists, I don’t believe they’ve collaborated much with Danish musicians before.
One interesting note – I realised there isn’t a strong brass tradition in India. In Denmark and Scandinavia, the brass tradition is quite rich, so we’re very pleased to present a brass ensemble concert. I believe Indian audiences will find it both new and exciting!
NS: The programme spans Nordic and Russian masterworks – from Nielsen’s Helios to Sibelius’ mighty Fifth. How did you approach curating this programme, and what threads do you see connecting these powerful works?
MB: Bringing Danish students to India, it felt natural to showcase some of our core Scandinavian repertoire. Nielsen and Sibelius – the two symphonic giants of the Nordic countries – are often programmed together. Nielsen’s Helios Overture is one of his most frequently performed works, and Sibelius’s Fifth Symphony is among his most iconic.
Paired with Rachmaninov’s Piano Concerto No. 2, we’ve created a dream programme that beautifully represents the late Romantic era. I’m also delighted to be introducing the wonderful pianist Søren Rastogi to Indian audiences. It’s a rich, powerful selection of music that I’m thrilled to bring to life.
Music lovers in Mumbai can look forward to two exceptional concerts featuring leading Scandinavian talent. On Tuesday, 24 June 2025, conductor Niels-Ole Bo Johansen leads a dynamic brass ensemble from the Royal Academies of Music in Aarhus (RAMA) and Copenhagen (RDAM) at the NCPA’s Experimental Theatre. Later that week, on Friday, 27 June, conductor Maria Badstue and pianist Søren Rastogi join the SOI Chamber Orchestra and Scandinavian musicians for an expansive programme featuring Nielsen, Rachmaninov, and Sibelius at the Tata Theatre.
Source:https://serenademagazine.com/maria-badstue-at-the-crossroads-of-cultures-craft-and-collaboration/