don’ t work, but a lot of things have.”
( BElow) Ricky O’ Bannon
What are the challenges you see facing orchestras today and your thoughts on solutions? I think all orchestras are talking about future audiences. That said, they’ ve been talking about that since 1910, so it’ s important to remember that this is not a new problem. I think it is probably more extreme now with the internet world we live in. It’ s important to look at technology and see how we can use it to further our mission to bring great music to as many people as possible.
We, like all orchestras, are also looking at customer service. What we do— perform these masterpieces and new works at the highest level possible— won’ t change. But we are trying to enhance everything around the concert experience to make it as accessible and enjoyable to people as possible.
I think the issue of diversity is also important. As our population centers change, the percentages of different ethnicities change, and that calls for a different cultural approach. We also need to look at the makeup of our orchestras themselves and how we provide opportunities to diversify our workforce.
I’ m very proud of the BSO because, unlike orchestras that talk about things, we try things. Some things don’ t work, but a lot of things have. We need to keep thinking of new ways to reinvent ourselves.
You’ re a champion of new and emerging artists. Why is it important for symphonic music lovers to expand their repertoire to contemporary composers? The most important thing is to remember that Beethoven was new music at one time. It’ s important to promote and encourage and support new composers in the concert hall, because that’ s the only way we’ ll have the Beethovens of the 21 st century. And also, when you go and see something new, it changes your perception and enables you to see the pieces you’ re familiar with in a new way.
As you look back over your career, is there anything you wish you could have a“ do over” on? I wish I had finished my undergraduate degree at Yale before transferring to Juilliard. I went to Yale when I was 16, so I was super young. Young people are in such a mad rush! I wish I had given
I’ m very proud of the BSO because, unlike orchestras that talk about things, we try things. Some things
don’ t work, but a lot of things have.”
— Marin Alsop
Alsop playing along with the OrchKids.
myself more room and time to explore some of the other things I was interested in then. In terms of career, it’ s the same theme. As a young conductor, it’ s very hard to accept that you need to give yourself room to grow. I try to share with young conductors that it’ s really okay to grow and gain experience. Conducting is unlike playing, in that experience is much more essential. Without experience, you’ re not practicing your instrument. But really, I have almost no regrets, which is a good thing in life.
How have you seen the opportunities for female conductors evolve? I’ m seeing a lot more skilled women in the field and a lot more openness. There have been a few recent appointments of women as music directors( in the City of Birmingham Symphony Orchestra and the New Jersey Symphony), so I feel very hopeful. I started a fellowship in 2002 for women conductors, The Taki Concordia Conducting Fellowship. We’ ve had 11 recipients and they’ re all doing phenomenally well. One of them, Valentina Peleggi, will conduct a piece with me in January of this season. I’ ve watched the applicant level go up exponentially and a tremendous uptick not only in the number of women interested in the field but the level of their skill, so clearly they’ re getting more experience and opportunities at an early age.
What do you enjoy doing outside the symphony? I have a 12-year-old son, so my interests wax and wane according to him. He wanted to do scuba diving, so I got certified in scuba diving last year. He wanted to do rock climbing, so you can often find me belaying him at the climbing gym. I know a lot about swimming now because that’ s an interest of his. He’ s an avid reader, which I am, too. My interests, maybe out of necessity, but mostly out of joy, have gone in parallel motion to his, and that’ s been a lot of fun.
Maestra Alsop conducts a free outdoor concert after the unrest in Baltimore last spring.
September – November 2016 | Overture 11 11