Korean conductor Eu-Lee Nam stands out among the most promising talents of her generation. Born in Korea and now based in Germany, she combines a strong background as a pianist with a fast-rising career on the podium. Winner of the Conducting Prize at the Internationale Sommerakademie Radolfzell (2021) and a semi-finalist at the La Maestra Competition in Paris (2024), she is currently supported by the La Maestra Academy under the guidance of the Philharmonie de Paris and the Paris Mozart Orchestra, where she also works closely with Esa-Pekka Salonen.
In recent seasons, Eu-Lee Nam has conducted renowned ensembles such as the Seoul Philharmonic, the Basel Chamber Orchestra, and the Norddeutsche Philharmonie. Romanian audiences first met her during the 2024 George Enescu International Festival, where she co-conducted the Romanian Youth Orchestra under Cristian Măcelaru’s mentorship. “He possessed not only outstanding musicality and technique, but also an amazing personality,” she recalled. “From him, I learned a true love for music.”
This autumn, Eu-Lee Nam returned to Bucharest to conduct the Sibiu State Philharmonic Orchestra at the Radio Hall, in a program featuring Maurice Ravel’s Shéhérazade Overture, Valentin Gheorghiu’s Piano Concerto with pianist Andrei Gologan, and Adrian Iorgulescu’s Semnale. The interview below was conducted via e-mail between September 15 and October 8, 2025, ahead of her Bucharest appearance.
For Nam, the experience was a special one. “Perhaps because the soloist and I were of similar age, we had a lot in common,” she said. “The orchestra also opened their eyes and ears for him, and together we created excellent music.”
A pianist turned conductor
Eu-Lee Nam’s first steps in music began at the piano. “When I was studying piano, my professor recommended I try conducting, as he thought my way of playing suited that role,” she explained. That suggestion would change her life.
While working as a freelance pianist, she joined a choir performing Mahler’s Second Symphony—an experience she describes as “mesmerizing” and one that awakened her desire to conduct.
Later studies in Berlin and Munich further shaped her philosophy: “My teachers showed me that personality, musicality, and communication with musicians are more important than anything else,” she said. “They taught me that conducting is not just about beating time, but about creating spaces and moments for musicians to produce beautiful sounds.”
The silent art of leadership
For Nam, conducting is “a passage that connects music—a mediator who brings together many different personalities. Cooperation is the key.” She acknowledges that the profession has evolved: “In the past, there was a clear hierarchy between conductors and musicians, but now it’s about mutual cooperation on equal footing.”
Her approach is both intuitive and disciplined. “Instead of talking too much, I try to communicate through gestures and expression,” she said. “For me, it’s 50% psychology and 50% technique. The visual impression of conducting has become more important than ever.”
Even so, the physical and mental intensity of her work remains a challenge. “Sometimes I’m totally exhausted while conducting,” she admitted with a smile. “That’s why I always make sure to eat breakfast before rehearsals or concerts.”
Between cultures and sounds
Having conducted orchestras in both Korea and Europe, Nam observes subtle but meaningful differences. “In Europe, musicians value refined beauty in sound—schöner Klang—and the quality of each tone,” she said. “In Korea, orchestras often emphasize precision and technical mastery.”
Her greatest inspirations include Carlos Kleiber and Herbert von Karajan, conductors whose legacy continues to shape her ideals of balance and intensity.
Romania holds a special place in Eu-Lee Nam’s heart, not only because of her debut at the Enescu Festival, but because of the spirit she felt here. “Romanian artists have achieved remarkable things despite a turbulent history,” she said. “For me, Romania represents diversity, peace, and coexistence through art.”
At the Radio Hall, she hoped to offer the audience something fresh and memorable: “I wanted listeners to feel as if they had a new experience by hearing music they don’t usually come across.”
Inspiration and everyday life
When asked what she might have become if not a musician, she laughed: “Probably an actor or a writer. I’ve always been interested in many forms of art.”
Her musical tastes are broad—she listens to old pop songs, chanson, and sometimes jazz—yet finds inspiration in silence: “As a musician, I often prefer quiet when resting.”
Her favorite composer is Johannes Brahms, whose works she describes as “vertically and horizontally perfect, full of sensitivity, depth, and grandeur.” She dreams of one day conducting all of Mahler’s symphonies.
Living abroad, she misses Korean food and the country’s famously quick yet efficient ppali-ppali culture. “And yes,” she added, “I collect city magnets wherever I perform.”
A message for young musicians
For young artists who dream of becoming conductors, Eu-Lee Nam’s advice is simple yet profound: “I believe it’s important to experience and feel everything. Beyond studying music, travel, movies, art, and even parties — all these experiences help you understand and express music more deeply.”
Watching Eu-Lee Nam on stage at the Radio Hall was a true pleasure — a blend of emotion and elegance, with precise yet fluid gestures. There was a kind of quiet charisma that filled the hall. I was left with the feeling that true leadership in music is not about control, but about trust. She conducts with both intellect and heart, a rare combination that turns performance into connection. International stages feel richer with artists like her among us.
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