A barrage of high notes from a Gallego: trumpet talk with Esteban Batallán

Esteban Batallán, the CSO’s principal trumpet since 2019, finally stepped into the solo spotlight — and let’s just say, he soared. In his much-anticipated solo debut with the Orchestra on June 12, he delivered two dazzling, high-flying concertos that left us all breathless (and maybe even questioning our own lung capacity). Under the baton of Maestro Riccardo Muti — who led a program featuring Haydn’s stormy Symphony No. 48 and Schubert’s emotionally charged Tragic Symphony — the concert closed out the Nuestras Noches season on an unmistakably triumphant note. One of the pieces Batallán played, by one of my favorite Baroque composers — Telemann — was a true trumpet lover’s dream. The evening ended with Schubert’s sweeping, dramatic Fourth Symphony, a perfect finale to a night of brilliance.

The evening was a vibrant celebration of music, culture and jaw-dropping trumpet brilliance. With Maestro Riccardo Muti’s legendary presence and Esteban Batallán’s electrifying artistry, it was the kind of performance that makes you laugh, feel deeply inspired and immediately determined to go home and learn to play an instrument (or at least pretend to — I ended up dramatically holding a hairbrush like a trumpet that night). Esteban didn’t just play, he turned his instrument into something beyond sound: a storytelling device, a sonic passport, and yes, his trusted sidekick.

And the night didn’t end when the music stopped. After the concert, Ariana Serna, a fellow CSO Latino Alliance Advisory Board member, and I had the pleasure of meeting Esteban in person. We swapped our concertgoer hats for those of enthusiastic questioners (and occasional scale-skippers) to lead a lively, rapid-fire Q&A in front of an audience of CSO Latino Alliance members at the Nuestras Noches postconcert reception.

So, what happens when you put the principal trumpet of the Chicago Symphony Orchestra in front of two very curious hosts and hit him with a barrage of playful questions? You get a mix of thoughtful insights, spontaneous laughs,and some truly memorable moments. Spoiler alert: Esteban is every bit as charismatic and quick on his feet with a microphone as he is with a mouthpiece.

Well, let’s just say …  things got loud.

Enter Esteban — cue the trumpet fanfare (naturally)!

What follows is a recap of our Q&A — not word for word, but close enough to capture the spirit. My memory isn’t perfect, but the impression that he left definitely is.

Esteban walked in — calm charming, and probably humming a bit of Mahler in his head. Ariana kicked things off with a poetic intro, highlighting Batallán’s impressive journey through the Hong Kong Philharmonic, Spain’s Granada City Orchestra and La Scala in Milan. I followed with a flourish, describing Esteban’s sound as what happens when discipline and joy elope ... and relocate from Galicia to Chicago. No pressure, right?

We welcomed him, told him we would do a fast-paced question-and-answer session and — like any great brass player — he didn’t flinch. He adjusted his microphone and said: “Ready.”

Plot Twist, Air Travel Edition

ARIANA: “What are the epic plot twists that took you from Galicia to the CSO?”

ESTEBAN took us on a journey — part determination, part destiny, and just the right touch of serendipity. His answer was long (yes, long) — but so rich, it ended up covering almost every question I had planned.

Esteban lit up the room as he shared stories from his childhood — like the day he and his father wandered into a local music shop and stumbled upon a CSO recording. That unexpected find wasn’t just a lucky moment; it was the spark that lit the path ahead. From then on, joining the CSO wasn’t some far-off dream — it became the mission.

The trumpet had already claimed his heart, thanks to childhood idols like Adolph Herseth, Maurice André and Arturo Sandoval. “I grew up deciding to be a trumpet player because of them,” he said.

But the dream hit full volume in 2003, when a teenage Batallán visited Symphony Center and literally bumped into Herseth himself. The legend glanced at the teen’s trumpet case — and Batallán was left speechless. That blink-and-you-miss-it moment sealed this fate: one day, he’d return — not as a fan, but as a member of the CSO.

Toot or Dare

RAMIRO: “When did you realize the trumpet was the one? Love at first toot?”

ESTEBAN: It was more of a slow-burn romance. Like many great loves, he mentioned that it started in trying different instruments encouraged by his father and gradually escalated into a full-blown life commitment.
I couldn’t help but think there was probably some occasional jealousy from the other instruments.

Brass, baby

ARIANA: “What makes the CSO Brass section legendary? The sound, the swagger, or the caffeine?”

ESTEBAN: (who didn’t miss a beat) “All three!” he said with laugh, then quickly gave credit where it’s due. For him, it’s mostly about the sound — a bold, bright, thrilling sonority with razor-sharp attack and deep resonance that hits you right in the chest. It’s also a kind of bonding ritual among players — and yes, a performance enhancer (for energy, not embouchure). But swagger plays its part, too. Decades of legendary brass playing have built a reputation that Batallán wears proudly. He loves knowing that the moment those first notes blast out, listeners worldwide instantly recognize the “Chicago Sound.” And while he’s not handing out espresso shots, he knows the legacy and sheer power behind that sound is absolutely buzzworthy.

Mount Trumpet

RAMIRO: “What’s the Mount Everest of trumpet pieces?”

ESTEBAN hinted at a few contenders, but let’s just say Mahler 5 leaves him with emotional calluses — and anything too high, too long or too exposed can make even the bravest trumpeter break a sweat behind the bell. While Batallán doesn’t crown a single Mount Everest of trumpet playing, he’s no stranger to scaling musical summits. For CSO Brass concerts, he’s all about the showstoppers — pieces that dazzle and demand. For Batallán, it’s not just about hitting the notes, it’s about reaching for the stars.

He’s been known to take on a high-voltage piccolo trumpet version of the Queen of the Night aria from Mozart’s The Magic Flute, a fearless tribute to his idol, Maurice André. And when it’s time to unleash the full brass power, he doesn’t hold back, programming epic ensemble blockbusters like Jupiter from Holst’s The Planets and the transcendent “Auferstehen” finale from Mahler’s Resurrection Symphony.

Trumpet Personality Check

RAMIRO: I couldn’t resist asking a fun one that us non-musicians love: “If your trumpet had a personality, would it be more diva soprano, cool jazz cat, or drama queen with valves?”

Esteban didn’t skip a beat; he described his trumpet as a vibrant drama queen with valves: bold, expressive, and totally unafraid of the spotlight. Just like Batallán himself, it knows when to bring the drama and flair, but can also dial it back to refined sensitivity. Every note it plays is a statement—bursting with color, character, and just the right amount of theatrical pizzazz.

The Advice Zone

ARIANA: “What golden nugget would you give young musicians ... that doesn’t involve 10 hours of scales?”

ESTEBAN: “Listen more than you play,” he said. Then he paused to let that advice sink in. (Wise words, especially if you have neighbors.) For him, listening isn’t passive — it’s a masterclass. He grew up soaking in recordings, especially CSO performances, learning to “decode” the scores by ear and grasp the style and character of each composer.

That chance encounter with his idol Adolph Herseth? A powerful reminder to immerse yourself in the legacy and learn from those who’ve walked the path before. His golden nugget: listen with intention, study the greats and let their artistry shape your own musical voice.

Bonus Round Question

RAMIRO: I had to ask one last question as Juan Solana, co-chair of the CSO Latino Alliance, got up to close the Q&A: “I heard you auditioned more than once for the Chicago Symphony Orchestra — tell us about it!”

ESTEBAN shared that at just 19 years old, he didn’t yet grasp the full weight of the CSO’s legacy when he first auditioned in 2003 — but that first shot planted a powerful seed. It wasn’t the defining moment, but it was the beginning of something big. Over the years, he auditioned three times. The first? He was too young and still finding his footing. But with each try, he got closer — refining his craft, building resilience, and turning ambition into unstoppable momentum.

In researching for this article, I found out that the CSO opened its principal trumpet auditions in June 2017 after Chris Martin’s departure, and Esteban Batallán dove in like a man on a mission — booking flights early, practicing like mad and outshining 27 other candidates to become the only one to reach the finals.

In that final round, with none other than Maestro Riccardo Muti watching from the fourth row, Batallán played without a screen — just pure brass and nerve. When they announced, “Candidate No. 2 has received the necessary votes,” the room erupted. But the celebration was short-lived; his work visa was denied, delaying his start. Still, trumpet fate wouldn’t be denied: by June 2018, he signed a three-week contract, toured with the CSO and finally, in June 2019, the title became official: principal trumpet, Chicago Symphony Orchestra.

As he answered my question, I couldn’t help thinking that his journey is all about patience, passion and scaling musical mountains. One nerve-wracking audition, one breathtaking performance at a time. It’s the kind of story that hits all the high notes — literally and figuratively — and leaves you wanting an encore.

A Final Note

Esteban Batallán isn’t just a world-class trumpet player, he’s a living reminder of how music can bridge continents, memories and dreams. Whether soaring above a full orchestra or fielding questions with grace and humor, Esteban shows us that classical music is not only about precision, but about presence — it’s about showing up fully, with heart and history in hand.

As Ariana put it, “The CSO attracts such world-class musicians, and it was an honor to interview one of them. Esteban’s story about working hard to achieve his dream of playing with the CSO is a reminder that talent matters, but grit is what gets you in the door.”

I still wish I’d asked him: Does caldo gallego change your sound? I imagine everything does sound warmer after a good bowl of caldo gallego (a delicious both with vegetables and meats) and a walk along the Rías Baixas (four coastal inlets in southwestern Galicia). And maybe — just maybe — homesickness slips into his phrasing now and then, especially in the softer moments. Next time, I’ll ask.

In the meantime, we’ll take his unorthodox advice to heart: no need for 10 hours of scales a day. Just play like it matters. Play like you mean it!

Note: By the way, “Gallego” technically refers to someone from Galicia, Spain, but across much of Latin America, it’s also become a playful nickname for any Spaniard, often sprinkled with jokes about mellow speech and charming stubbornness. But this time, we didn’t just meet a “Gallego” — we met the real deal: born and bred in Galicia, accent and all, with the soul (and trumpet chops) to prove it.

For those of us who love to continue to learn:

Here’s a fun fact I shared during the Q&A: the Chicago Symphony Orchestra has racked up an impressive 65 Grammy Awards, many of which spotlight its powerhouse brass section, a signature part of the CSO’s identity.

These sonic heavyweights — horns, trumpets, trombones and tubas — don’t just bring the volume, they bring the drama, the thrill and the unmistakable “Chicago Sound.” Typically arranged in a lineup of four horns, two trumpets, three trombones and one tuba, the brass section sits across the back of the orchestra, holding it down like a musical backbone — bold, brassy, and unforgettable.