Renowned conductor Tebar returns to Cincinnati Opera with Carmen

By Lorena Mora-Mowry

The world-renowned Spanish conductor and pianist Ramón Tebar returns for his eighth season conducting the Cincinnati Symphony Orchestra at the 2026 Cincinnati Opera Summer Festival for Georges Bizet’s Carmen —with a libretto by Ludovic Halévy and Henri Meilhac—on July 25, 29, and 31 at 7:30 p.m., and August 2 at 3:00 p.m. at Music Hall.

Conductor Ramón Tebar is considered one of the most outstanding Spanish conductors of his generation. We spoke in 2008, 2009, 2014, 2015, and 2021, when he conducted the Cincinnati Symphony for Cincinnati Opera productions of Turandot, Madama Butterfly, Charles Gounod’s Roméo et Juliette, and Georges Bizet’s Carmen. The latter performance took place in a park, adapted for the pandemic as an open-air event without intermission.

We learned the story of a 15-year-old—an assistant conductor for the youth orchestra in his hometown of Valencia, Spain—who had a list of dreams and goals to achieve but was keenly aware that success had to be built through hard work. That dedication has led him to serve as the principal conductor and artistic director of Opera Naples and the Arantzazu Festival in Spain since 2014. Previously, he was the artistic and music director of the Valencia Orchestra and the Florida Grand Opera in Miami, as well as the principal guest conductor at the Palau de les Arts Reina Sofía in Valencia.

Conductor Tebar returns to Cincinnati, a city he appreciates and with which he maintains a close musical and artistic relationship. We talked about his evolution from the young pianist and orchestra director we met in 2008; how his love for the piano led him to learn about other instruments, enter opera, and study repertoires. Now that he is more mature, he reflects on what he has learned after conducting so many operas with major orchestras.

Conductor Tebar affirms that the essence of his work remains the same: the piano has enabled him to connect with great musicians—instrumentalists and singers alike—and to conduct operatic and symphonic scores; studying these scores has also deepened his understanding of them. While the essence has not changed, he has achieved the goals he set for himself so many years ago when he began conducting—though, naturally, he has faced further challenges along the way. Maestro Tebar feels truly fortunate and privileged to have accomplished so much while continuing to learn at the same time.

Conductor Tebar has conducted for many orchestras and opera companies—particularly in the United States, including Palm Beach, Florida Grand Opera in Miami, and San Francisco Opera. He has also conducted the Calgary Philharmonic, the Copenhagen Philharmonic, the Cincinnati Orchestra, Hong Kong Opera, and the Teatro Regio di Torino. He is now making his debut at the Metropolitan Opera in New York with La Bohème —conducting a run of 13 performances—and is gratified to have reached the podium of one of the world’s leading opera companies through his hard work.

When asked if debuting in renowned orchestras, such as those in New York, Venice, Montpellier, Rossini of Pesaro, and Stuttgart, generates emotional vulnerability and creative excitement.

Conductor Tebar responds: “Yes, going to a new orchestra, symphony, or opera is emotional, with nerves and responsibility. As I have achieved new challenges and goals, the responsibility has increased. Conducting at the Metropolitan in New York or at La Fenice in Venice is not just a dream, but a responsibility with history, the great directors and singers who have passed through there. Conducting in theaters where Rossini, Verdi, and other greats have left their mark is a great responsibility, but also a motivation. As an artist, I like setting challenges for myself to improve myself. It is important for artists not to exceed certain challenges, but to set them high enough to reach others. It is an exciting life, working with masterpieces of opera and classical music, and performing in exciting places.”

Conductor Tebar has obviously felt imposter syndrome or wondered if he really deserves to be there or if he has made it.

“It’s a mix of so many emotions, but it’s true when you look back and remember. In my case, when I started in my hometown, in Valencia, in Spain, and I went out, or I had to go out to look for more opportunities, because then, when I was young there, I couldn’t find them all, and I ventured to come to a country, to a continent like America. To which I am so grateful because it has given me so many opportunities, in Cincinnati, specifically, a city that has been with me since 2008.”

For Conductor Tebar, building a musical career brick by brick—establishing a solid foundation—has been crucial. Over time, he has witnessed his career progress. In a few months, he will appear at the Metropolitan Opera in New York—something unimaginable twenty years ago when he first arrived in the United States, yet a dream he had long aspired to realize.

From a young age, Conductor Tebar held his own dreams, challenges, and goals, all of which drove him forward. Achieving one goal motivated him to reach for the next—sometimes sooner than expected, other times later, depending on the circumstances. While in Europe, he took pride in his accomplishments; upon arriving in the United States, he focused his efforts there, viewing Europe as a challenge rather than a goal. He succeeded through hard work and has also worked in Europe, including at the Vienna Opera. His message to the community, young people, and everyone else is to build upon a solid foundation—whether in the arts or any other profession—to ensure a secure future.

For Conductor  Tebar—a Spanish conductor who has led Carmen multiple times—conducting the work carries a sense of responsibility, given that it is a widely known, universal masterpiece of classical music and opera. Conducting a work like Carmen differs significantly from conducting lesser-known pieces. He never tires of conducting Carmen; having led 15 productions, it was one of the first operas he ever conducted and has remained a constant presence throughout his career. It is a revolutionary work—both musically and thematically—and a drama that remains highly relevant today. It blends popular melodies with contemporary themes, such as the individual freedom embodied by the character of Carmen.

Carmen is an independent, rebellious woman who refuses to bow to the social expectations imposed by her Roma heritage and the machismo of her era.

“Its popularity stems from its relevance and timeless music. Great masterpieces endure their relevance. Take, for instance, the scandal surrounding its 1875 premiere at the Opéra-Comique in Paris. Audiences and critics alike immediately rejected it, deeming it immoral and grotesque. Seeing such a free-spirited and determined woman in the 19th century was a huge shock; seeing her murdered on stage was even more startling. Bizet, the composer, died just four days after the premiere of Carmen, which he considered a failure. Yet, it went on to become one of the most popular operas in history—and remains among the top three. It is a magnificent opera, both for its artistry and its themes. 

“I never tire of conducting Carmen. Whenever I am offered the chance to conduct it, it brings a smile to my face because it is a score I hold very dear,” explains Conductor Tebar.

Conductor Tebar has worked with the Cincinnati Symphony Orchestra—one of the best in the country—on both operatic and symphonic repertoire for many years. He recently came to conduct a symphonic concert and will return next season.

Maestro Tebar feels very comfortable coming to Cincinnati, and the audience is ideal for opera. People who have never attended an opera—or who feel hesitant about entering Music Hall—often harbor outdated preconceptions, such as the idea that it is an activity reserved for the elite, older people, or a specific social class. In the 21st century, these prejudices regarding opera are unfounded. For Hispanics and Latinos who may not be avid soccer fans, attending a World Cup match is far more expensive than visiting Music Hall to see Carmen. This is significant because opera’s themes—such as freedom—resonate with new audiences.

Regarding women, Carmen is a banner of independence, rebellion, and female empowerment,” explains Tebar. These themes reflect machismo, gender violence, and Carmen’s independence.

Conductor Tebar invites everyone to see Carmen—an opera that, while perhaps unseen by many, is known for its melodies, musical numbers, and arias. They will sound familiar, and you will love them.

Conductor Tebar expresses his gratitude to the Cincinnati Opera and encourages the Hispanic-Latino community to support and enrich themselves through culture, highlighting the many options and opportunities available. Opera is one of those artistic expressions that has endured centuries for good reason; as Tebar concludes, the power of the message and the energy of the art are demonstrated in every masterpiece presented.

The Cincinnati Opera presents Georges Bizet’s Carmen in a creative 1950s Cuba setting at Cincinnati Music Hall. Conductor Tebar directs the production, which features the Cincinnati Symphony Orchestra. Performances are on July 25, 29, and 31 at 7:30 p.m., and August 2 at 3:00 p.m. For tickets, please visit CincinnatiOpera.com

To listen to the podcast and to read the full transcript of the interview in Spanish, visit Latina Todayon Apple Podcasts.