at the time its assistant leader. She joined the Sinfonia Cymru team in 2005. “If you have a passion for
something you’ll always want to work hard to promote it,” she says. “I’ve been lucky to do that as part of my job. I think classical music has its challenges, particularly in a difficult economic climate and with everyday life becoming busier. Maybe these are reasons why classical music still thrives. It offers moments of tranquillity in an otherwise hectic world.” Just like Monmouthshire, then. Sophie has been instrumental,
if the expression can be forgiven, in re-modelling the way Sinfonia Cymru operates. It’s an orchestra which offers an unique blend of excellence, accessibility and opportunity. “We’ve just developed an
innovative and democratic model focused on involving our musicians and staff members in decision- making, including what the orchestra plays at its concerts. This enables them to acquire a deeper ownership of activities and to develop their skills beyond the platform. “As well as our core work in
Wales, I would like to see the orchestra perform more in England and internationally as well as make itself available through a range of digital means.” Sophie is modest about her
award, believing its importance to have been in bringing recognition to the orchestra. “I always joke that Sinfonia
Cymru might one day become a household name. While there’s probably a long way to go before that happens, there’s been a sea change in its profile over the past year, and that must be partly to do with my award. One way of measuring it is the increasing number of times I have to spell ‘Cymru’ during conversations about the orchestra. It’s becoming fewer and fewer, so word must be getting around!” There are other women who
head musical organisations but the perception is still that it’s a male- dominated business. “There are definitely fewer
women at the most senior levels of classical music, but I don’t think orchestra management discriminates against them,” she says. “It’s more important to have the right
person for the job, regardless of gender. If there’s an imbalance it’s probably because running an orchestra necessitates working very long hours and travelling away from home. But life’s a compromise for everyone. That’s just the way it is.” A huge part of the job is in
maintaining standards while reaching out to as many music- lovers as possible. It’s the joint responsibility of those who disburse public subsidies - few arts organisations can survive without them - and its recipients. At the Arts Council, she worked on developing audiences for touring groups through research, training and networking. “There are many examples
of how audiences for classical music are growing,” she explains. “Listeners can access the music in so many different ways today. It’s not that the music is struggling to reach audiences; rather, that it’s doing things differently. “At Sinfonia Cymru, we
concentrate on promoting the personal response of everyone who listens to the orchestra. Audiences are blown away by brilliant talent and youthful enthusiasm. Our musicians convey honesty, truth and spontaneity. This is special and we want more people to enjoy it.”
The trawl for wider audiences
will attempt to reach those attracted by a fusion of classical music with digital media, which will be pioneered this autumn by a series of events the orchestra is promoting at the Chapter Arts Centre, Cardiff. “The music will be part of the experience but it is not a classical music event as we traditionally know it,” Sophie says. Sinfonia Cymru has also
embarked on a series of concerts under the title Classic Conversations, the first featuring international conductor Carlo Rizzi and the pianist Benjamin Grosvenor. It’s another extension of the links the orchestra’s already made with a host of distinguished soloists. The aims and achievements
of Sinfonia Cymru testify to the founding principles of Gareth Jones and the hands- on experience Sophie brings to her job as someone with insider experience of the arts as a business. The orchestra was already going places, figuratively and geographically. Under her direction it’s going to more of them. Such a hectic and interesting
life surprisingly does leave a few gaps for things non-musical, which may or may not include items on her iPod. It’s confession time. “I enjoy the gym - and the
occasional run as long as the route’s not too hilly and it’s not too hot, too cold or raining,” she says. “Simon and I are also very sociable. We love a good party with great food, wine and company. “But if you peeked at my
i-tunes library you’d probably be appalled. I once read a list of the ten worst songs of all time and I think they are on my play list. But Desert Island Discs? Bach, Handel and Mozart over and over.” Sophie Lewis is doing such
responsible work for music in Wales that Monmouthshire and the Welsh borders, where she relaxes and re-charges the proverbial batteries, will forgive her a dodgy tune or two. What are they? Best not to ask. So I didn’t. And if I knew, I wouldn’t tell.
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