Gustavo

Colombia’s President Gustavo Petro has been named in two separate criminal investigations led by prosecutors in the United States.

The New York Times was the first to report the existence of the two probes on Friday, citing sources familiar with the proceedings.

Media reports indicate that Petro is not personally the target of the investigations, which focus on drug-smuggling in Latin America.

But according to the Times, US attorneys in Brooklyn and Manhattan are looking into whether Petro met with drug traffickers and solicited donations from them for his 2022 presidential campaign. Al Jazeera has not independently verified the Times report.

By Friday afternoon, Petro had issued a statement denying the claims, which threaten to reopen the rift between the US and Colombia.

“In Colombia, there is not a single investigation into my relationship with drug traffickers, for one simple reason: I have never in my life spoken with a drug trafficker,” Petro wrote on the social media platform X.

He added that he told campaign managers to never accept donations from bankers or drug traffickers.

The investigations in the US, he argued, would ultimately exonerate him, and he blamed Colombia’s right-wing opposition for stirring controversy.

“So, the proceedings in the US will help me to dismantle the accusations of the Colombian far right, which is indeed closely linked to Colombian drug traffickers,” Petro said.

Petro has not been charged with any crimes, and the investigations are in their initial stages, according to the Times.

But experts say the timing of the report is significant, as it comes barely two and a half months before Colombia is set to hold a closely watched presidential election on May 31.

“If this would have happened a week before the first round, it would be election interference,” Sergio Guzman, director at Colombia Risk Analysis, a security think tank, told Al Jazeera.

“This seems to be more of a warning that shows how the US could influence the outcome of the election.”

Petro, Colombia’s first left-wing president, is limited to a single term in office, but the election is likely to be a referendum on his four years in office.

It will also be a test for Petro’s Historic Pact coalition, whose candidate, Ivan Cepeda, is currently leading in the polls.

But United States President Donald Trump has repeatedly sought to boost the prospects of right-wing candidates in Latin America. He and Petro have been at loggerheads since Trump returned to office in January 2025.

Their feud came to a head in January after the US attacked Venezuela and abducted its president, Nicolas Maduro.

Shortly afterwards, a reporter asked if the US would take military action against Colombia. Trump replied: “It sounds good to me.”

To cool tensions, Trump and Petro held a call afterwards and agreed to meet.

Petro then visited the White House in early February to mend his often-combative relationship with Trump. While there, the Colombian delegation interacted with their counterparts, including Secretary of Defense Pete Hegseth and Secretary of State Marco Rubio.

Republican Senator Bernie Moreno, a longtime critic of Petro’s government, was also in attendance. Guzman believes the senator’s presence was significant.

“We don’t have a lot of straightforward answers about what were the commitments during that meeting, but Bernie Moreno did say that he wanted Petro not to be as involved in elections,” Guzman told Al Jazeera.

“And guess what? Petro is fully involved in the elections.”

The meeting also addressed collaborative efforts to combat drug trafficking, an issue core to Trump’s foreign policy.

Both presidents walked away from the meeting in good spirits, with Petro sharing a photo signed by Trump that read, “Gustavo – a great honor. I love Colombia.”

But Petro and Trump have long been at odds over how to tamp down on narcotics smuggling.

Colombia, the region’s largest producer of cocaine, has been criticised by the Trump administration for what it sees as soft-on-crime policies, including negotiations with armed groups.

Petro, meanwhile, has denounced the US for its lethal tactics, calling them tantamount to murder.

The US, for instance, has bombed at least 46 alleged drug boats and vessels in the Caribbean Sea and eastern Pacific Ocean. Some of the 159 people killed were Colombian citizens.

The US has also floated the idea of conducting military attacks in Latin America against suspected drug traffickers, and it recently began joint operations against gangs in Ecuador, Colombia’s neighbour.

Analysts say actions like these have Latin American leaders on edge.

Trump’s aggressive manoeuvres suggest that the US president is willing to jeopardise “the sovereignty and peace of every nation” in his campaign against illicit drugs, according to Rodrigo Pombo Cajiao, a constitutional law professor at the Pontificia Universidad Javeriana.

Pombo Cajaio pointed to the US abduction of Venezuelan President Nicolas Maduro on January 3. Maduro was a longtime adversary of Trump, and he is currently being held in prison in New York on drug-related charges.

“Every political leader in the region has been put on notice” after that abduction, Pombo Cajiao said.

“As the world’s leading producer of cocaine, Colombia found itself at high risk of judicial prosecution” from the US, he added.

Currently, Petro’s Historic Pact is leading May’s presidential race. A GAD3 poll released this week suggested Cepeda is ahead in the polls with 35 percent voter approval, ahead of far-right candidate Abelardo de la Espriella, who had 21 percent.

Beethoven’s “Missa Solemnis” is a grand mass for large orchestra, chorus and four vocal soloists that lasts around 80 minutes. It was written near the end of Beethoven’s life and is his most ambitious work musically and spiritually. “Coming from the heart, may it go to the heart,” he wrote on the first page of the score.

The Beethoven biographer Jan Swafford put it this way: “ ‘Missa Solemnis’ is Beethoven talking to God, man to man. And what they talked about is peace. Creation was for Beethoven’s the magnificence in the world which we inhabit; ‘Missa Solemnis’ is meant to keep it thus.”

Yet among Beethoven’s major works, “Missa Solemnis” is, by far, the least performed, and not merely because of the need for large forces. Conductors struggle to get a handle on its mysteries and intricacies. Upon turning 70 last year, Simon Rattle contended “Missa Solemnis” remains beyond him. Upon his reaching 70, Michael Tilson Thomas made a momentous meal of “Missa Solemnis” 11 years ago with a staged performance with the Los Angeles Philharmonic at Walt Disney Concert Hall.

Gustavo Dudamel, who has been conducting Beethoven since he was a teen, waited until he passed his 45th birthday last month. His first “Missa Solemnis” performances over the weekend at Disney were the centerpiece of his month-long L.A. Phil focus on Beethoven.

That venture began a week earlier with a political statement. Beethoven’s incidental music to Goethe’s drama of liberation, “Egmont,” was updated with a new text that served as an urgent call for protest in our own era of authoritarianism and militarism. Here, Beethoven exerts a compulsion for triumphant glory.

The glory in “Missa Solemnis” is that of stupefaction. By this point in his life, Beethoven has had it with weapons, the drumbeat of soldiers, the addictive emotion of trumpet calls to action. His man-to-man with God is celestial diplomacy. There is no compromise. We either care, at all costs, for our magnificent world or nothing matters.

Dudamel clearly cares. He conducted the massive mass from memory. And costs be damned. He imported from Spain two spectacular choruses — Orfeó Català and Cor de Cambra del Palau de la Música Catalana — a total of some 130 singers who sounded like they had rehearsed for months under their impressive director, Xavier Puig. The four soloists — soprano Pretty Yende, mezzo-soprano Sarah Saturnino, tenor SeokJong Baek and bass Nicholas Brownlee — were needfully robust and powerful. They were placed mid-orchestra, behind the violas and bravely in front of the timpani.

“Missa Solemnis” follows the standard mass text but doesn’t necessarily follow the liturgical narrative. It is a work of theater, dramatizing feelings, as the earlier Disney staging attempted. Director Peter Sellars and conductor Teodor Currentzis have also been promising a major staged “Missa Solemnis” for many years.

The Kyrie opens with a strong D-major chord in the large orchestra that seems an obvious downbeat but turns out to be an upbeat. Down is up. Eighty or more minutes later at the end of the Agnus Dei, when the great plea for peace reaches its ultimate transcendence, up becomes, in one of the most profoundly unsettling moments in all music, down again. We never fully know where we stand in “Missa Solemnis.” Every expectation is thwarted. Beethovenian peace is a nearly superhuman endeavor.

Gustavo Dudamel conducts L.A. Phil, vocal soloists and Catalan choruses in Beethoven’s ‘Missa Solemnis’ at Walt Disney Concert Hall.

(David Butow / For The Times)

Dudamel‘s approach is to attempt the all-encompassing. He conducted without a baton but with his body. His arms were often open and wide as if embracing the musician masses on the stage, holding the whole world in his hands. Tidiness wasn’t necessarily the issue. Grandeur was. Molding sound was. And, of course, awe.

Throughout his career, Beethoven was the overwhelming master of awe. In “Missa Solemnis,” he out-glories the Gloria. His fugues are a draftsman’s rendering of heavenly splendor. Such awe asks for the superhuman from singers, especially in this ensemble from their ravishing high notes.

But Beethoven also questions every sentiment in the Mass. Grandeur can so suddenly turn solemn that it feels almost a ceremonial sleight of hand. In the Sanctus, a solo violin sails in from nowhere (“descending like a dove from heaven,” Hugh MacDonald nicely puts it in the program note), and suddenly we’re in a violin concerto with vocal soloists of transcendent allure.

The Agnus Dei begins in glum realization that there may be no compensation for humanity’s great sins when, again astonishingly without expectation, one of Beethoven’s uniquely wondrous melodies takes over. Saber-rattling trumpet and timpani intrude and are shushed away as worthless. Peace returns but just as it is about to climax it weakens. There is no grand Beethoven ending. “Missa Solemnis” just stops.

Dudamel’s approach was not, as his Beethoven has generally become, filled with fervent intensity in the moment. That may happen as he gains more experience with Beethoven’s most exigent score. The big moments were still huge, especially with the help of his fabulous chorus. The somber moments were well of the heart. There was eloquent solo playing in the orchestra, and extravagance from the solo singers.

Most unusual was the violin solo. The L.A. Phil is in a concertmaster search, and Alan Snow, the associate concertmaster of the Minnesota Symphony, sat in. He brought silken “descending dove” tone to his solo playing, but at low tone becoming more a voice from afar than soloist. Whether that is simply his sound or what Dudamel was after is, like so much in the “Missa Solemnis,” up to question. Still, its quiet exemplified the elusive essence of peace.

When Dudamel first walked on stage, he got, as he always does and especially in his last season as music director, a strong ovation. At the end of “Missa Solemnis,” the reaction was a respectful standing ovation, unlike the de rigueur rapturous reception he always earns with Beethoven.

Dudamel earned something far more rewarding. It wasn’t a moment for cheering but reflection. True peace in “Missa Solemnis” comes not from winning but from ending conflict, be it between nations, nature or among ourselves. We have as yet too little to celebrate.