We sat down for an exclusive interview with Tom Fetherstonhaugh, conductor and founder of Fantasia Orchestra.
Browse their upcoming shows here.
- Fantasia Orchestra began while you and many of the musicians were still at school. Looking back ten years later, what emotions come with seeing how far the orchestra has grown?
It is such a joy to be celebrating the first ten years of Fantasia in 2026. I’m looking back on the journey so far with gratitude for everyone who has made it possible – our audience, our inspiring musicians, our soloists and collaborators, the brilliant team, our wonderful supporters, and very many more.
- The orchestra has become known for breaking down boundaries within classical music. Why do you think that feels especially important for audiences today?
At Fantasia, we love bringing different musical genres and traditions into dialogue with each other. We are finding that this is shining a different light on the traditional classical repertoire, creating unusual musical pairings in new contexts. We are loving how this is attracting a new audience to our concerts!
- What has been the biggest challenge in building and sustaining an orchestra independently over the past decade?
Undoubtedly, the pandemic was a big challenge, but we have been fortunate to have been able to build over the years since.
- Fantasia collaborates with such a wide range of artists, from Jess Gillam to Sheku Kanneh-Mason and Dame Evelyn Glennie. What do you look for in creative collaborations?
I feel very lucky to have been able to share the stage with an incredible group of soloists during Fantasia’s first decade. What they all have in common is an openness to explore, to take creative risks, and to be fearless.
- Fantasia has developed a reputation for warmth and energy in performance. How important is personality and humanity within classical music spaces?
Incredibly important! Communication is central to what we musicians to, and performance is about much more than playing the correct notes. Intention, storytelling, and emotion are important parts of a performer’s toolkit, and this enables us to give powerful concerts for our wonderful audiences.
- With classical music evolving so much culturally and digitally, where do you think the future of orchestras lies?
The digital world and social media is without a doubt broadening the reach and accessibility of orchestras around the world, which is a brilliant thing. At the same time, it is the live concert experience that is the most thrilling thing, for audience and musicians alike.