fan base and performed in every city; the Deaf West actors; Manos Blancas; Dudamel’s entourage of assistants, publicists, and videographers; and the Dudamel Foundation’s board of directors. And, of course, the regular fans who followed the orchestra around the world. Dudamel had to figure out how to bring all these people together, to integrate them, in a way that felt natural and not forced. It was a daunting task, but one that he was determined to see through.
As the tour made its way through Barcelona, Paris, and London, Fidelio was met with mixed reactions. Some European audiences embraced the innovative staging and inclusion of deaf performers, while others were skeptical or dismissive. But Dudamel remained undeterred, continuing to champion the message of integration and inclusivity that Fidelio represented.
In the end, the tour was a success. Dudamel had managed to bring together a diverse group of people from different backgrounds and cultures, united by a love of music and a desire to push the boundaries of what classical music could be. And through Fidelio, he had succeeded in getting deaf people to come to the symphony, breaking down barriers and opening up new possibilities for the future of classical music.
Gustavo Dudamel may have accomplished everything possible in his time with the Los Angeles Philharmonic, but with Fidelio, he had shown that there was always more to do, more boundaries to push, and more people to bring together. And as he prepared to take on his new role with the New York Philharmonic, he knew that his mission of integration and inclusivity would continue to guide him in all his future endeavors.