A Capital Current Profile: Consumed by passion for music, Henry Kennedy brings his talent to role as NACO’s resident conductor

Henry Kennedy is the NAC Orchestra’s new resident conductor and a rising talent in the classical music scene, although that’s not to say that the young conductor hasn’t already had an impressive career. 

As resident conductor, Kennedy will spend the next two years working with the NAC Orchestra under the guidance of music director Alexander Shelley. 

Capital Current spoke with Kennedy about his musical background and what conducting means to him.

“I had grown up listening to the NAC Orchestra. I’d always known so much about them, and loved their sound in particular,” Kennedy said. 

Originally from New Glasgow, Nova Scotia, Kennedy grew up in the United Kingdom and started his career in London. 

Although no one in Kennedy’s family has a musical background, somehow he developed an interest in conducting at an early age, never missing an opportunity to attend a concert.

That fascination with the maestro’s baton led to the Royal Academy of Music in London, obtaining a bachelor’s degree in clarinet and then a master’s in conducting. After six years at the academy, Kennedy graduated in during the pandemic in 2020.

But in order to hone newly developed skills, a conductor needs an orchestra. Kennedy took matters into his own hands when he founded the Resonate Symphony Orchestra in 2017, while still at the academy. This allowed Kennedy and his friends extra opportunities to practice and perform, which the group did regularly in London and around the U.K.

A highlight of this were charity concerts by the orchestra in honour of family and friends affected by Parkinson’s and Alzheimer’s diseases. 

Another big moment for Kennedy was in 2021, when he was selected by one of his longtime inspirations, Italian conductor Riccardo Muti, for his masterclass in Milan. 

“I’d always looked up to him as a conductor and getting the opportunity to actually study with him was life changing. He gave me the confidence to really continue what I was doing,” Kennedy said. 

Kennedy also looks back fondly at his debut of Mozart’s Don Giovanni in Wroclaw, Poland. This monumental performance was part of a year-long contract Kennedy began in 2022 with the Wroclaw Opera. 

I’ll never forget the reaction I got from the orchestra when I gave the first downbeat. From those first three seconds, I thought, ‘This is going to be an interesting audition.’

— Henry Kennedy, incoming resident conductor of the NAC Orchestra

Perhaps the most memorable moment of Kennedy’s career so far was his audition with the NAC Orchestra in April, where he led the musicians in the first movement of Beethoven’s iconic Fifth Symphony. 

“I’ll never forget the reaction I got from the orchestra when I gave the first downbeat. From those first three seconds, I thought, ‘This is going to be an interesting audition,’” he said. 

The piece was especially intense, said Kennedy.

“As a conductor it’s probably one of the most daunting things to conduct, because you can’t hide. Everyone knows it. And if it goes wrong, everyone knows.”

Working with the NACO and music director Alexander Shelley is a full-circle moment for Kennedy. He’s also looking forward to learning more about the NAC’s diverse programming. 

“There’s so many parts to the National Arts Centre, and I love to collaborate with different art forms.”

Kennedy’s term as resident conductor begins in September. In the meantime, he’s working on Tosca in Italy with the Orchestra Cherubini, marking the 100th anniversary of the death of Italian composer Giacomo Puccini, and learning NACO’s scores ahead of time. 

Kennedy said he looks towards his time with the NAC Orchestra with great anticipation. 

“I immediately felt so welcome by the orchestra, by the music director, by everyone. I’m really looking forward to getting to know this orchestra.”

Collaboration and connection are essential to building a strong working relationship between conductor and orchestra. 

As with any musical art, practicing conducting begins alone. Kennedy said he begins with an overview of the score, reading through and analyzing it in detail.

Conductors must not only learn the texture and harmony of the notes, but also the history and background of the piece. Contextualizing a musical work is essential for a conductor in interpreting the music. 

Then comes rehearsing with the orchestra. That’s where trust, says Kennedy, is an integral piece of the musical equation. 

“An orchestra needs to be able to feel that they can trust you in whatever situation, because with the role of resident conductor, not only do I get my own concerts, but I also have the opportunity to work and assist with all the various guest conductors, as well as the music director. And if one of them slips on a banana skin, I’m the one who’s conducting. So to be jumping in like that, it’s a huge risk, and the orchestra needs to feel comfortable in that situation.”

Despite his many achievements, Kennedy remains humble about the conducting experience and his general outlook towards classical music. 

“It’s quite a frightening experience. This orchestra, collectively, has hundreds of years of experience. And then who am I? Just a young conductor of 27 years old.”

It’s quite a frightening experience. This orchestra, collectively, has hundreds of years of experience. And then who am I? Just a young conductor of 27 years old.

— Henry Kennedy

The young conductor expressed great respect for the people he works with. 

“You’re working with truly world class musicians. You’re doing works like Mozart or Beethoven — anything you do, they’re always greater than you. So it’s a huge responsibility that you have, not only for the public, the orchestra, but for the composer.”

He painted a vivid picture of what it feels like to lead dozens of musicians through a piece of music. 

“When you conduct, you have that sensation of going down a river. You’re going wherever the river is taking you, but somehow, you can always be in control of where you’re going.”

Kennedy values humour and clear communication in his work. 

“Conducting is completely about collaboration. My approach is that they trust me, I trust them.”

Kennedy is hesitant to refer to his musical endeavours as a job. It’s more than that to him.

“I wouldn’t call it a profession. It’s almost like a vocation. Every fibre of your body is consumed by music. It never feels like work.”

He appreciates music that has “a direct impact to an audience,” and finds deep meaning in his work.

“I want people to enjoy it and be transformed by it. And even if it’s just for two minutes in their lives, that they feel something out of themselves — or for a second they forget what a bad day they’ve had. That’s what I really want to do with music.”

Along with the new opportunities that his role as resident conductor will provide, Kennedy is looking forward to returning to Canada to live in Ottawa. 

“It’s a really beautiful city,” he said. “It’s a huge privilege to be able to join the orchestra.”

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