We ’ ve enjoyed seeing ( and hearing !) you return to the podium as Music Director Laureate , but it ’ s been a while since we have had a chance to catch up in this publication . Give BSO audiences a quick rundown — what ’ s new ?
MA : Lots ! I have a couple of new roles , one being principal guest conductor with the Philadelphia Orchestra . In November , I took them on a tour of China . They were the first American orchestra to go to China 52 years ago , and two of the musicians on that 1973 tour are still in the orchestra , which is very cool . We had nine concerts with nine different programs — it was wild , but lots of fun ! My other new role is with the London Philharmonia , where I also serve as Principal Guest Conductor . I just took them on a tour to the Canary Islands , Barcelona , and Madrid , Spain . We spent several weeks in London together and are currently undertaking a recording project .
It ’ s also my last season with the Vienna Radio Symphony . I love that ensemble , so I ’ m going to try to stay connected . Our album of music by John Adams was recently nominated for a GRAMMY , and we ’ re recording some Mahler symphonies right now . And I ’ m the Artistic and Music Director of the Polish National Radio Symphony . I ’ m also very excited to be making my debut as the first American woman to conduct the Berlin Philharmonic . So , I ’ m keeping busy ! I was trying to slow down , but it didn ’ t seem to work out that way …
Last , my son is graduating from college in May . He ’ s an English Literature major , but he ’ s applied now for a master ’ s program in what ’ s called Applied Composition . He wants to go into music , so go figure !
Congratulations are in order ! It was recently announced that you have been named one of Carnegie Hall ’ s Perspectives artists for the 2025-26 season . What does that appointment mean , and what ’ s on the agenda ?
MA : I ’ m very honored by this opportunity , which is essentially a year-long retrospective on my work . I ’ ll be taking on five projects with the Philadelphia Orchestra , London Philharmonia , the Juilliard School , the National Orchestra Institute , as well as Carnegie Hall ’ s Ensemble Connect . The projects will run the gamut from standard repertoire to working with contemporary composers , which is a passion of mine , as well as working with teachers along the lines of our Rusty Musician Project here in Baltimore . And I ’ m hoping that we can build in something for the BSO there , too !
“ Now is the moment to lock arms and push forward , to insist that equal rights mean equal rights .”
— MARIN ALSOP
Over the course of your career , you have gained respect not only for your many artistic accomplishments , but also as a trailblazer for gender equity in the orchestral world . That ’ s something worth celebrating , especially as the BSO honors Women ’ s History Month . Can you reflect on the state of representation in the industry , and share your thoughts on what work still needs to be done ?
MA : I ’ ll say something that many people from an underrepresented population would probably say , which is that it takes a long time to gain rights — rights that can be taken away very , very quickly . That said , I want to say something positive , which is that our field has dramatically improved in the wake of social movements in the last decade , helping open up and diversify a world that can sometimes be very resistant to change . I believe that we ’ ve passed a tipping point , and I don ’ t think we can go backward again . That gives me great courage .
In 2002 , I founded the Taki Alsop Conducting Fellowship , which aims to cultivate and train the next generation of women on the podium . Especially in recent years , I ’ ve noticed that the level of conducting improves exponentially every application cycle . Clearly women are getting more opportunities to practice their instrument , more opportunities to gain experience . That ’ s truly exciting , but I don ’ t think this is a moment to take our foot off the gas pedal . Now is the moment to lock arms and push forward , to insist that equal rights mean equal rights . It ’ s hard , and it gets tiring to always be fighting , but I think someone has to do it . It seems to be part of my happy responsibility .
Speaking of investing in the future , you are the founder of BSO OrchKids , and you have continued to prioritize working with the next generation of musicians and conductors here in Maryland through your roles at the Peabody Institute and the National Orchestra Institute + Festival at The Clarice . What do you love most about these local connections , and what hope does it give you for the future of the field ?
MA : I think OrchKids is a game-changing program . I hope it will continue to thrive , as it is thriving now , in order to extend more opportunities to all kids who can benefit from the experience of learning a musical instrument , not to mention working together and learning skills that are transferable to all disciplines . At the same time , I also think we ’ re building future audiences for classical music . I hope that , in 20 years , all those kids will be coming to the concerts — if not playing in the orchestra . I ’ d love to see Baltimore become known as the “ City of Young Musicians .”
I make my home here in Baltimore , and that ’ s out of choice . We could live anywhere we want , but we love it here . We have a lot of friends . I love working at Peabody and teaching , and I really love the BSO . It ’ s so nice to have a long-term relationship with the Orchestra . Baltimore and the State of Maryland have a very rich cultural life , and it ’ s becoming more and more well known . There is a long history of commitment to the arts and philanthropy here . It ’ s a very nurturing , community-driven place , with plenty of high achievers and super talents . Just listen to what is happening on stage , and you will know what I mean .
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