Journey to Bringing American Music to the World Stage – Exclusive Interview with Garrett Keast
- Oct 1, 2025
- 4 min read
A desire to unify hearts and minds through the spirit and messages of music is at the core of Garrett Keast’s work. Known for his ability to inspire and connect with musicians and audiences alike, the Berlin-based conductor is widely recognized for his musical depth with a wide range of repertoire both in the concert hall and opera house. Keast has become known in recent years for his symphonic conducting and expertise in American repertoire as well as for his rise as founder and conductor of his critically acclaimed orchestra, the Berlin Academy of American Music.
Garrett Keast, International Conductor & Founder of BAAM
Who is Garrett Keast? Introduce yourself, your hobbies, your favorites, you at home and in business. Tell us something interesting about yourself.
I'm an American conductor based in Berlin for the past 14 years, working internationally in orchestra, opera, and ballet. I'm also the founder and artistic director of the Berlin Academy of American Music, an orchestra that occupies a unique niche in the classical world, spotlighting iconic American composers like Bernstein, Gershwin, and Copland, alongside contemporary voices from both America and Europe.
Originally from Houston, Texas, I began my career in New York City and always envisioned working in Europe. I'm a father, husband, avid traveler, and a lifelong University of Texas football fan. Whether I'm on or off the podium, I'm always exploring new ways to connect people through music.
What sparked your move from the U.S. to Berlin?
My apprenticeship with the Houston Symphony under classical music giant Christoph Eschenbach was a turning point. It expanded my perspective and helped me realize the world-class level that I should be working toward. That experience led me to begin my career in New York City, but having worked closely with a leading German conductor, I was always fascinated by Europe.
Later, I served as Eschenbach’s assistant at the Paris Opera and the NDR Elbphilharmonie Orchestra, and this opened the door to a position at the Deutsche Oper Berlin. That opportunity brought my wife and me to Berlin, and it has been our home ever since.
A recent career moment that fundamentally changed your approach to music?
Conducting John Neumeier’s Bernstein Dances with the Hamburg Ballet in Germany and on tour in Los Angeles was a pivotal moment in my career. Neumeier is one of the most influential choreographers of our time, and collaborating with him on a work full of Leonard Bernstein’s music opened my mind in a profound way. It made me realize that American classical music is a niche that I want to explore and where I have something to say as a conductor.
Since I was young, I’ve felt a strong connection to Bernstein, both to him as an artistic leader and to his music. The “Bernstein Dances” project inspired me to explore American repertoire more seriously. During the pandemic, I had the space and time to develop this idea, which led to the early projects of the Berlin Academy of American Music and ultimately the recording of our debut album, Transatlantic (5-star BBC Music Magazine).
How does conducting opera and ballet differ from symphonic conducting?
I absolutely love conducting all three: opera, ballet, and symphonic concerts. In opera, the conductor plays a key role in supporting the drama on stage. It’s about being sensitive to the singers’ breath and phrasing, as well as connecting them to the orchestra.
Ballet is similar in that you’re providing the framework for what’s happening on the stage. I’m working to connect the depths of the music, its storytelling, and colors to the dancers and the choreography. Precision and flexibility are both essential, and it’s remarkable how even the smallest shift in tempo can dramatically affect a dancer’s movement on stage.
In the symphonic world, where I’ve been focusing more in recent years, I have more space to shape the music from my own interpretive point of view. Without staging or choreography, there’s more freedom to fully realize a personal vision of the piece, while still collaborating closely with the orchestra and soloists.
Each of these worlds teaches you something different, and I feel lucky to move between them.
What’s next on your calendar that fans should watch for?
Coming up in Italy this month, I’ll be conducting Copland’s Billy the Kid Suite for the first time with the Orchestra del Teatro Lirico di Cagliari. It’s a rarely performed American masterpiece that feels especially personal to me. Earlier this summer, my family and I visited Billy the Kid’s grave in Fort Sumner, New Mexico. Standing in the quiet of the desert, I reflected on the brazen independence of this American legend, the mix of his bravado and loneliness that Copland captures so vividly in this music. That moment brought the piece to life for me in a new way.
Billy the Kid is part of an American program, which also includes Copland’s Fanfare for the Common Man, Bernstein’s Three Dance Episodes from On the Town, and Gershwin’s Porgy and Bess. These works are rarely performed together, especially in Europe, and I’m excited to share this powerful slice of American music with Italian audiences.
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