Live recording from an AMA (Ask Me Anything) Panel Discussion on May 6, 2024. The session was moderated by my colleague Dr. Janet Kim, and our panelists were:

Arianne Abela, Director of the Choral Program, Amherst College

Maria A. Ellis, the Girl Conductor

Amanda Hanzlik, Director of Choirs, E.O. Smith High School; President - Elect, ACDA Eastern Region

Liana Salinas, Artistic Director, Miami Children's Chorus

If you missed my interview with Maria A. Ellis in Season 1 Episode 2 where I interviewed someone for the very first time - she is so inspiring!! Check it out: https://theconductorspodcast.com/podcast/2/

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Very happy to welcome Anna Sułkowska-Migoń, the winner of the 2022 La Maestra Competition in Paris, where I was a quarter-finalist. Anna and I talked about her experience after the competition, her growth and challenges, and what she has learned in her journey. 

This interview was recorded in May 2024 when Anna was expecting her daughter and we wish her and her family a wonderful start of this new chapter.

Learn more about Anna: https://annasulkowskamigon.com/

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Last week I spoke with Karen on Marketing for Musicians, and we discussed boundaries and showing your uniqueness to the world, and understand who you are serving.

In today's conversation, I spoke with Karen about another part of her specialty - career coach, and dig into how people have different definitions of success, and to find the answers from within.

Karen Cubides is the passionate and engaging founder and CEO of the Karen Cubides Agency based in Nashville, Tennessee. Her holistic approach to coaching her clients allows her to serve a wide range of well-established musicians and young professionals alike in unique and personal ways. Through her intimate understanding of the relationship between personal growth and professional achievement, Karen builds up the individual, the artist, and the professional within each of her clients as they master goal-setting, lifestyle balance, and the nuances of our evolving industry. Her commitment, care, and creativity have connected her with incredible individuals and organizations across the world. 

Karen founded her agency early in her career out of her empathy for the people she worked with and admired. She firmly believes that musicians do not have to choose between promising careers and fulfilling personal lives. Her compassion has driven her time and again to better herself and her agency to bring out the best in each of her clients, both personally and professionally. By understanding and assessing the whole individual and not the performer exclusively, her clients continue to thrive in their creative passions and In their personal relationships. Karen has had the privilege of working with musicians of all backgrounds, from bird land to Broadway and from the Philharmonic to the Blair School of Music.

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Today's episode is a must listen for musicians as we learn marketing for ourselves, create opportunities and put ourselves out there for business!

Karen Cubides is the passionate and engaging founder and CEO of the Karen Cubides Agency based in Nashville, Tennessee. Her holistic approach to coaching her clients allows her to serve a wide range of well-established musicians and young professionals alike in unique and personal ways. Through her intimate understanding of the relationship between personal growth and professional achievement, Karen builds up the individual, the artist, and the professional within each of her clients as they master goal-setting, lifestyle balance, and the nuances of our evolving industry. Her commitment, care, and creativity have connected her with incredible individuals and organizations across the world. 

Karen founded her agency early in her career out of her empathy for the people she worked with and admired. She firmly believes that musicians do not have to choose between promising careers and fulfilling personal lives. Her compassion has driven her time and again to better herself and her agency to bring out the best in each of her clients, both personally and professionally. By understanding and assessing the whole individual and not the performer exclusively, her clients continue to thrive in their creative passions and In their personal relationships. Karen has had the privilege of working with musicians of all backgrounds, from bird land to broadway and from the Philharmonic to the Blair School of Music.

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Conducting auditions are something that's hard to navigate as each organization and ensemble does look for different things, but no one would disqualify a good conductor!

Typically, an audition for an assistant conductor would be only 10-15 minutes, while a music director audition might be a full rehearsal (2-3 hour), or even a concert cycle consisting 4-6 rehearsals, depending on the ensemble's schedule.

My objective of all conducting auditions is to share my musical ideas with the ensemble while demonstrating a representation of how my typical rehearsal flows.

Some Tips:

• Only verbally ask for things that you’ve already shown in your conducting (and not getting)
• Refrain from talking too much about the historical background, stories, etc. unless it’s necessarily and absolutely related to your point
• Have a structure of the rehearsal, and share it with the musicians
• If it’s not good, ask again. Don’t leave things when they are still bad

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Today’s episode is the second half of my conversation with a long-time friend, Kevin Fitzgerald, current Associate Conductor of the Jacksonville Symphony.

Last week we spoke about preparing for job applications and auditions, and today we will continue the conversation and hear all the behind the scene stories of navigating the business.

As 2021 Tanglewood Music Center Conducting Fellow and four-time recipient of Career Assistance Grants from The Solti Foundation U.S., Kevin Fitzgerald is at the forefront of the next generation of conductors. Recently, Kevin was invited as one of the twenty conductors to participate live in the 2023 Mahler Competition with the Bamberg Symphony.

In addition to his post as Associate Conductor of the Jacksonville Symphony, Fitzgerald has recently guest conducted the Rochester Philharmonic, North Carolina Symphony and the Chamber Orchestra of Pittsburgh. In his commitment to uplifting communities through music, Fitzgerald conducted Beethoven’s Ninth Symphony in 2017 with musicians from the Detroit, Lansing and Grand Rapids Symphonies to raise over $10,000 for the International Rescue Committee and Freedom House Detroit. In 2016, he also co-organized and conducted an impromptu performance called “Requiem for Orlando,” which featured over 400 volunteer musicians in a dedicated performance for victims of the Pulse Nightclub shooting in Orlando, Florida.

Since then, he has participated in masterclasses with Michael Tilson Thomas and the New World Symphony, Andris Nelsons and Alan Gilbert at Tanglewood among many others. Kevin is based in Raleigh, NC, with his husband, violist Kurt Tseng, and their two dogs Bennie and Chipper. Kevin also teaches and coaches conductors privately online and in person.

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In today's episode, you will hear the first half of my conversation with a long-time friend, Kevin Fitzgerald, current Associate Conductor of the Jacksonville Symphony. We went way back to my years at the Eastman School of Music, and it's such a pleasure to speak with him on the topic of preparing for job applications and auditions.

As 2021 Tanglewood Music Center Conducting Fellow and four-time recipient of Career Assistance Grants from The Solti Foundation U.S., Kevin Fitzgerald is at the forefront of the next generation of conductors. Recently, Kevin was invited as one of the twenty conductors to participate live in the 2023 Mahler Competition with the Bamberg Symphony.

In addition to his post as Associate Conductor of the Jacksonville Symphony, Fitzgerald has recently guest conducted the Rochester Philharmonic, North Carolina Symphony and the Chamber Orchestra of Pittsburgh. In his commitment to uplifting communities through music, Fitzgerald conducted Beethoven’s Ninth Symphony in 2017 with musicians from the Detroit, Lansing and Grand Rapids Symphonies to raise over $10,000 for the International Rescue Committee and Freedom House Detroit. In 2016, he also co-organized and conducted an impromptu performance called “Requiem for Orlando,” which featured over 400 volunteer musicians in a dedicated performance for victims of the Pulse Nightclub shooting in Orlando, Florida.

Since then, he has participated in masterclasses with Michael Tilson Thomas and the New World Symphony, Andris Nelsons and Alan Gilbert at Tanglewood among many others. Kevin is based in Raleigh, NC, with his husband, violist Kurt Tseng, and their two dogs Bennie and Chipper. Kevin also teaches and coaches conductors privately online and in person.

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Should I enter a graduate program? Look for jobs? Go to masterclasses? Those are some questions that I got asked the most.

For us conductors, we have to create our own curriculum, our own path, and to make decisions all the time.

In today's episode, I will share with you three main factors to consider when figuring out "what's next:"

• YOUR MUSICIANSHIP

You have to be a good conductor, and that includes your techniques and your knowledge. Your being a good conductor is the most important thing you can deliver.

So here are the questions I always ask myself: am I a good conductor? Am I continue becoming a better conductor everyday?

Your musicianship includes your knowledge and your ability to deliver your knowledge - including your conducting techniques. Do I need a good teacher to help me with techniques? Do I need another set of eyes to check in on me? Am I regressing instead of progressing everyday?

• PRACTICE MAKES PROGRESS - HAVING AN ENSEMBLE TO WORK WITH

Do I currently have an ensemble to work with regularly? If not, can I form one? If not, can I find opportunities to work with one?

Is this the time to get to a workshop where I can gain experience working with an ensemble more regularly? Do I need exposure to higher caliber musicians? Have I not worked with a good group for too long that I developed so many bad teaching-mindset habits?

• NETWORKING

Very honestly, you need to know people and people need to know you. It's not only about your own network - who you know, but also who your teachers know, who your teachers bring in to work with you, who your friends know, what kind of friends, musicians, artists they are exposed to that will connect you with.

Of course we are not connecting with others only because I wanted to conduct your orchestra without seeing you in 10 years. No, not in that way, but building genuine relationships.

So when I am at an intersection of my study and career, I always look at these three parts and wonder, what am I lacking the most at this moment? and what can I do to make a plan to achieve some goals? Hope that you will find this helpful as well!

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Last week I spoke with social media guru Nicole Riccardo about how musicians can create a meaningful online community through social media. She generously provided a lot of tips and suggestions for my listeners.

When we talk about marketing, curating an image of our own for the world, it's unavoidable to discuss one's brand.

Are you struggling with defining your "brand" or finding your "niche"? What are some possible ways we can market ourselves better through our social media presences and reach our career goals?

In today's episode, you will hear the second half of my conversation with flutist turned digital marketer, Nicole Riccardo, the Founder & President of NR Media. After working with multi-million dollar business and gaining 10 years of experience in the field, Nicole’s mission now is to empower other musicians, creatives, and freelancers with the business + digital marketing know-how they need in order to create a career doing what they love!

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I am not a person who is naturally good at social media - when I say I'm an introvert, many people would seem surprised, but I am really awkward starting a conversation with strangers.

Flutist turned digital marketer, Nicole Riccardo, the Founder & President of NR Media was introduced to me through a common flutist friend years ago when I was just naively debating whether I should learn more about social media and started to cultivate an online profile.

In today's episode, you will hear the first half of our conversation focusing on building a meaningful online community, and she will share her thoughts on beating the algorithm, reaching out to others, and be strategic with your online presence.

After working with multi-million dollar business and gaining 10 years of experience in the field, Nicole’s mission now is to empower other musicians, creatives, and freelancers with the business + digital marketing know-how they need in order to create a career doing what they love!

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Diversity Statement has become a more and more frequently asked application material. No matter you are applying for a music directorship or an educational role, the organization very often is interested in knowing your vision on diversity, inclusion, and equity.

Feeling stuck as a straight white man (or anything else)? No worries, let me show you how to kill your diversity vision, and how to revive it.

Best Ways to Kill Your Diversity Statement:

• Claiming that "I have a friend / daughter-son / husband-wife / student who is XXX (fill in any gender, race, color,...) so I am such a diversity supporter
• Give All Talk and No Action
• Draw a Pie in the Sky with your promises

TO REVIVE YOUR STATEMENT (Even if you don't have much experience in diversity and bias and have been very privileged)

• Draw from your experiences - even if you have a very single-dimensioned upbringing, you can still talk about that and explain how this affects your actions and plans
• Genuinely reflect why diversity is important - and how that affect your vision for this position
• Create a sample concert program for the ensemble even without them asking for it in the first place
• Commit to program at least one living composer, one woman composer, one composer of color, or one composer from any historically marginalized group

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Zoom Interviews are now more common since Covid - and organizations are often skipping the traditional phone interview and conduct a zoom interview for shortlisted candidates instead.

If you've had unsuccessful zoom interviews in the past, you want to do a quick self-check and see if you've got it right, and know the purpose of the interview: to obtain enough interest in order advance to the next round

Some Zoom Interview Setting Tips from my friend Tim Verville:

• Set up a nice corner with good light (not natural light) and and an appropriate background
• Establish your brand with your image (concert posters, bookshelves, etc)
• Make sure your eye contact is toward your camera, not the people on your screen

Interview Tips:

• Do your homework, research research research
• Quickly state the obvious, and go to your uniqueness
• It’s not about what they asked, but what you want to say and how you say it
• Practice, Practice, Practice!!
  • Research and outline a few questions they might ask
  • Write out what you want say and practice
• Have good questions to ask
  • Search timeline
  • The 5-year vision of the organization
  • Current challenges
  • Traits of ideal candidates
  • DO NOT ASK ABOUT SALARIES

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Live recording from an AMA (Ask Me Anything) Panel Discussion on May 3, 2024. The panelists of the sessions were:

Juhi Bensal, composer, conductor, and educator

Joanna Drimatis, Music Director and Chief Conductor, Beecroft Orchestra

Katie LaBrie, composer, conductor, and educator

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• Get stuck in bowing discussions
• Not knowing your terms
• Give instructions on bowing or fingering 

• Always have a set of bowings marked in the part before distributing them 
• Describe the sounds you want
• Let the principals / concertmaster adjust things as they see fit
• Get help, be over-prepared, and bring an open mind to see what they are offering you!

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Welcome Back to Season 2 of The Conductor's Podcast! 

With a carefully designed season, we will be focusing on Conductors How-To and share all the tips on planning efficient rehearsals, preparing for auditions, giving a great job interview, marketing and branding for musicians, and even more! 

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In this wisdom-filled episode, my guest is the world-renowned conductor, Diane Wittry. She is the music director of the Allentown Symphony and the Music Director and Conductor of the Garden State Philharmonic. She is also the author of award-winning books, “Beyond the Baton” and “Baton Basics - Communicating Music through Gestures.”

To understand the essence of conducting and how to improve as a conductor, you’ll need to indulge in this episode and learn.

Conductor, Diane Wittry, named nationally as one of the "Top 30 Professional Musicians" by Musical America Worldwide for her work leading orchestras, is a highly respected conductor in the United States today.   Frequently engaged as a guest conductor, she has led symphonic performances in more than 11 countries and throughout the U.S.  Diane Wittry is the Music Director and Conductor of the Allentown Symphony, PA, and the Garden State Philharmonic, NJ. In the past she has served as the Associate Conductor of the renowned Ojai Music Festival (CA); the Artistic Director of the International Music Program with the Sarajevo Philharmonic, Bosnia; and Music Director and Conductor of the Symphony of Southeast Texas, and the Norwalk Symphony (CT). Wittry is also recognized as a composer and a respected conducting teacher. Her books "Beyond the Baton," and "Baton Basics-Communicating Music through Gestures," have become standards in the conducting field. 

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Hi there! 

Happy end of September and welcome to episode no.9 of the Conductor’s Podcast Wisdom series, a new series full of shared life experiences and, of course, wisdom! This series is aired on the last Thursday of each month, and in each episode, I am going to pose a question to 10 musicians, conductors, or business gurus. So including myself, you will hear all the goodies from a wide variety of people, thus called the wisdom series. Now, without further ado, let’s get started.

This month’s question that I am asking my people is, “Your favorite thing about what you do.”

My guests today are: 

Alice Farnham (opera conductor, episode 26)

Aubrey Bergauer (founder, Changing the Narrative, episode 52)

Julia Baumanis (Assistant Director of Bands, Rutgers University, episode 31)

Carolyn Watson (Director of Orchestras, UIUC, episode 53)

Tianyi Lu (Principal Guest Conductor, Stavanger Symphony, episode 34)

Lina Gonzalez Granados (Conducting Fellow, Philadelphia Orchestra and Chicago Symphony Orchestra, episode 38)

Sarah Ioannides (Conductor, Symphony Tacoma, episode 42)

Susie Seiter (Film conductor, episode 29)

Maria Sensi Sellner (founder, resonance work, episode 45)

Cynthia Johnston Turner (Dean of the Faculty of Music, Wilfrid Laurier University, episode 56)

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In this episode of The Conductor’s Podcast, my guest is Gabriel Lena Frank.  As she continues to be a remarkable composer, she’s fulfilling her passion of wanting to live by 100 years and seeing that music becomes more accessible to individuals who really want and need it. 

Tune in this episode and be inspired on how creativity impacts society and how you can navigate the world of music despite being bombarded with biases and different gender or race-related conundrums.

Currently serving as Composer-in-Residence with the Philadelphia Orchestra and included in the Washington Post’ s list of the 35 most significant women composers in history, identity has always been at the center of composer/pianist Gabriela Lena Frank's music. Born in 1972 to a mother of Peruvian/Chinese ancestry and a father of Lithuanian/Jewish descent, Gabriela explores her multicultural American heritage through her compositions. 

In 2017, Gabriela founded the award-winning Gabriela Lena Frank Creative Academy of Music, a non-profit training institution held on her two rural properties in Boonville, CA for emerging composers from a broad array of demographics and aesthetics. Civic outreach is an essential part of Gabriela’s work.  She has volunteered extensively in hospitals and prisons, with her current focus on developing the music school program at Anderson Valley High School, a rural public school of modest means with a large Latino population in Boonville, CA.

In the 2022-23 season, she will see the premiere of her first opera, El último sueño de Frida y Diego with Pulitzer playwright Nilo Cruz, co-commissioned by San Diego Opera and San Francisco Opera.

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Opera is one of the greatest and the most classic art forms. It combines the ingenuity of a great storyline and the elegance of music in one captivating show. 

As this classic art form continue to become a favorite among enthusiasts, new operas are giving audiences a fresh perspective to shows that feature newly-composed music and storylines that haven’t been heard yet. 

In this episode, Kanma Gupta discusses the process of developing new operas and more!

Kamna Gupta is an American Prize-winning conductor experienced in operatic, orchestral, and choral repertoires. In the 2022-23 season, Ms. Gupta will make her Canadian debut with Vancouver Opera conducting Les Pêcheurs de Perles, and will conduct the East Coast premiere of In Our Daughter’s Eyes (Du Yun / McQuilken and featuring Nathan Gunn) at Prototype Festival, which received its world premiere under her baton at LA Opera Redcat. 

In 2022, she made her debut with the International Contemporary Ensemble, and she returned to The Glimmerglass Festival to conduct the world premiere of Jungle Book (Sankaram / O’Rourke). She will also conduct the highly interdisciplinary work The Ritual of Breath is the Right to Resist (Berger / Reily / Francis), premiering at the Hopkins Center for the Arts at Dartmouth. She is also excited to return to Mannes Opera in Fall 2022 to conduct La Calisto, Cavalli’s Baroque masterpiece.

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In this truly exciting episode, the one and only Dr. Cynthia Johnson Turner discuss the broad meaning behind good conducting and how you can stand up on the podium as a leader. 

Johnston Turner, a dual citizen of Canada and the United States, earned her Doctor of Musical Arts in Conducting from the Eastman School of Music in Rochester, NY and her Master of Education in Music Education from the University of Victoria, B.C.

Her professional success is readily apparent on both sides of the border and abroad. She comes to Laurier from the Hugh Hodgson School of Music at the University of Georgia, where she served as the Director of Bands since 2014. She has also been a conductor for the Eastman School at the University of Rochester; the Society for New Music Ensemble in Syracuse, NY; the Paris Lodron Ensemble in Salzburg, Austria; the Orquesta Sinfonica de Heredia in Costa Rica; the Performing Arts Institute at Wyoming Seminary in Pennsylvania; and numerous honour ensembles in Canada, the U.S. and Australia. She has also presented her research on innovating the rehearsal and performance experience at numerous national and international conferences. 

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Want to booster your productivity? Listen to today's episode where I share my newly discovred productivity hacks!

1. Always check your why: What's your purpose?
2. Morning Pages Journal: clear your mind before starting your day!
3. App: Todoist
Answer these questions daily:

• Identify the most important tasks (one or two)
• Is what I am doing today supporting my long-term goals?
• The setback of the day
• What can I do differently tomorrow

4. Find the duration chunk that works for you
5. Set an environment that is not distracting

And make sure that you check out these two previous episodes with wonderful guests:

• #38 Organize Your Score, Time, and Journey with Lina Gonzalez Granados
• #14 Productivity and Time Management Tips with Kalena Bovell

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Hi there! Happy end of August and welcome to episode no.8 of the Conductor’s Podcast Wisdom series, a new series full of shared life experiences and, of course, wisdom! This series is aired on the last Thursday of each month, and in each episode, I am going to pose a question to 10 musicians, conductors, or business gurus. So including myself, you will hear all the goodies from a wide variety of people, thus called the wisdom series. Now, without further ado, let’s get started.

This month’s question that I am asking my people is, “What’s your morning routine?”

My guests today are: 

Cynthia Johnston Turner (Dean of the Faculty of Music, Wilfrid Laurier University, episode 57)

Susie Seiter (Film conductor, episode 29)

Stephanie Havey (opera stage director, episode 32)

Sarah Ioannides (Conductor, Symphony Tacoma, episode 42)

Talia Ilan (conductor and founder of #oneconductoraday, episode 8)

Lina Gonzalez Granados (Conducting Fellow, Philadelphia Orchestra and Chicago Symphony Orchestra, episode 38)

JoAnne Harris (film composer and conductor, episode 36)

Tiffany Chang (opera and orchestra conductor, episode 4)

Maria Sensi Sellner (founder, resonance work, episode 45)

Aubrey Bergauer (founder, Changing the Narrative, episode 52)

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While conducting music requires a specific level of technique, one’s success as a conductor cannot be complete without mastering musicianship. 

In this episode of The Conductor’s Podcast, I am beyond ecstatic to have Dr. Carolyn Watson as my guest as she enlightens young and experienced conductors alike, the essence of musicianship, musical intent and musical conviction when conducting study. 

Carolyn Watson is Director of Orchestras at the University of Illinois, Principal Guest Conductor of the Kansas City Chamber Orchestra, and Music Director of the La Porte County Symphony Orchestra in Indiana. 

Originally from Australia, she has been based in the United States since 2013 during which time she has led performances with Amarillo Opera, Austin Symphony, Catskill Symphony, Dallas Opera, Des Moines Metro Opera, Detroit Symphony Civic Orchestra, Interlochen Philharmonic, Kansas City Ballet, Lyric Opera of Kansas City, St. Joseph Symphony and World Youth Symphony Orchestra. 

Carolyn’s 22-23 season includes debuts with Monash Academy Orchestra (Australia), Cape Symphony, Traverse Symphony Orchestra and Columbus Indiana Philharmonic, as well as returns to the Lyric Opera of Kansas City and Kansas City Ballet. Carolyn
holds a PhD in Performance (Conducting) from the University of Sydney where she studied under Imre Palló. www.carolyn-watson.com

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Live recording from an AMA (Ask Me Anything) Panel Discussion on April 28, 2024. The panelists of the sessions were:

Marta Gardolinska, Music Director, Opera national de Lorraine

Stephanie Rhodes Russell, Founder, Women’s Artistic Leadership Initiative; Guest Conductor, Wolf Trap Opera, Cincinnati Opera, Washington National Opera

Michelle Rofrano, Artistic Director, PROTESTRA; Guest Conductor, Madison Opera, City Lyric Opera, Curtis Institute of Music

If you missed my interview with Michelle Rofrano in Season 1 Episode 3 where we discussed programming for social causes, make sure to revisit it: https://theconductorspodcast.com/podcast/3/

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Happy August to you!

August, for me, is the mark of a new beginning. As we ready ourselves for a new journey, this episode will surely give you a boost of new learnings for the new generation. 

Today, Aubrey Bergauer graces the show with her expertise in human resources, organizational culture, strategizing guests to be patrons, diversity and inclusivity to “changing the narrative”. She also emphasizes the importance of matching on-stage talent with off-stage talent. 

Sit back, relax and start a new journey with her in this episode. 

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Score study is such an important topic, and I've touched on this a few times in the podcast. However, I am going to organize things together for you, so it's a central place for you!

In today's episode, I will be sharing 1) how I study scores when I don't have enough time, 2) some tools that I mixed and matched, and 3) great tips from the Girls Who Conduct Discovery Friday series.

When I don't have enough time properly study....

• Tempo, transition, tempo!
• A lot of listening
• Balance, Entrances, and Unification of styles

Some tips given to me by Prof. Schlaefli, Mo. Harth-Bedoya, Mark Gibson, and Ken Kiesler

Broaden your Knowledge:

• Instrumentation Chart
• List of composers’ works, list of works composed around the same times, and list of works in the same key
• List of works of similar instrumentation
• List of works of similar and different themes
• List of works requiring extra forces (video or audio play along, soloist, speaker/narrator, technology - amped singers, etc)

Highlights from Girls Who Conduct Guests:

• Tianyi Lu, Holly Choe, Lucia Zicos, Meg Zervoulis, Kira Omelchenko, and Julia Baumanis

Also check out the resources for a detailed score study checklist on the website!

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Welcome to the Conductor’s Podcast Summer Mini Series!

Hi there! Welcome to the Conductor’s Podcast Summer mini series. During the month of July, we are taking a break from the usual interview conversations. Instead, I will be sharing some tips on different aspects of a conductor’s job with you every week.

In today’s episode, I will be talking about how to improve my conducting!

This is the question that I got asked a lot, and in today's episode I will be sharing some tips that were given to me, and also some that have worked well for myself in these areas:

CONDUCTING TECHNIQUES

• Develop a variety of gestures 
• Use videos to get used to a delayed sound 
• Eye contact
• Posture

SCORE STUDY

• Use a piano reduction to learn the harmony and structure
• Follow melody, bass line, and instrument entrances first
• Have a set of steps that you go through
• Mark your score for two purposes: to study the music, and to use during performance / rehearsals

REHEARSAL TECHNIQUES

• Watch your own videos
• Study your score thoroughly - note where might be problematic and need rehearsals
• Write down different ways of rehearsing the same thing
• Watch rehearsal footage, or go to rehearsals
• When in rehearsal, split your mind - what you are hearing v.s. What you are doing

Best way to practice: having an ensemble that you constantly work with!

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Hi there! Happy end of July and welcome to the seventh edition of the Conductor’s Podcast Wisdom series, a new series full of shared life experiences and, of course, wisdom! This series is aired on the last Monday of each month, and in each episode, I am going to pose a question to 10 musicians, conductors, or business gurus. So including myself, you will hear all the goodies from a wide variety of people, thus called the wisdom series. Now, without further ado, let’s get started.

This month’s question that I am asking my people is, “What You Wish You Knew Before Entering the Profession"

I asked this question selfishly as I suck (!!!!) at networking in whatever sense. Let's hear what my guests have to say:

Tianyi Lu (Principal Guest Conductor, Stavanger Symphony, episode 34)

Ashley Killam and Carrie Blosser (co-founder, Diversify the Stand, episode 20)

Margaret Flood (Founder, Frost Young Women Conductor Symposium)

JoAnne Harris (film composer and conductor, episode 36)

Lidiya Yankovskaya (Music Director, Chicago Opera Theater, episode 41) 

Kiernan Steiner or Dr. Kiki (Decolonization consultant and choral conductor, episode 17)

Kristin Roach (opera conductor, Episode 12)

Lina Gonzalez Granados (Conducting Fellow, Philadelphia Orchestra and Chicago Symphony Orchestra, episode 38)

Alice Farnham (opera conductor, episode 26)

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Hi there! Welcome to the Conductor’s Podcast Summer mini series. The summer months of June, July, and August are traditionally “off-season” for performing artists, where many people make summer homes at various festivals. This summer I turned down all the work engagements to refresh and recharge myself, and I thought that it could be fun for us to have different mini series with the podcast. Therefore, during the month of July, I will be sharing some tips on different aspects of a conductor’s job with you.

In today’s episode, I will be talking about speaking to the audience.

Different Occasions:

• Pre-concert talk
• Lecture Recital
• Greeting from the podium / stage
• Educational, Family, Holiday Concert

DETERMINE……

• Who is your audience?
• What is the ONE THING that you want them to remember?
• What are TWO/THREE things that your audience can relate to?

REMEMBER……

• Don’t have too many points or facts!!
• They want to hear the music, not a lecture!
• Share a story or an emotion, not a fact

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Welcome to the Conductor’s Podcast Summer Mini Series!

Hi there! Welcome to the Conductor’s Podcast Summer mini series. During the month of July, we are taking a break from the usual interview conversations. Instead, I will be sharing some tips on different aspects of a conductor’s job with you every week.

In today’s episode, I will be talking about prepping for rehearsals.

 
For me, the most important principal about rehearsal, is to HAVE A PLAN, BUT BE FLEXIBLE!

What are the rehearsal goals?

• Long term vs short term goals
• What can your players retain between rehearsals?
• What will get better over time?
• WHO needs the run-through?

 
In the episode, I will also share my rehearsal planning, considerations, and ways to sharpen your rehearsal techniques.

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Welcome to the Conductor’s Podcast Summer Mini Series!

Hi there! Welcome to the Conductor’s Podcast Summer mini series. During the month of July, we are taking a break from the usual interview conversations. Instead, I will be sharing some tips on different aspects of a conductor’s job with you every week.

In today’s episode, I will be talking about my programming process.

MY CORE CONSIDERATIONS:

• What do I need / what does your ensemble need to work on?
• What can I the ensemble already do well?

 
In the episode, I will also share my practical considerations, artistic considerations, and ways to expand your repertoire.

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July is just around the corner! Who could’ve thought that six months of 2022 had gone by so quickly?

I remember so many of my New Year’s resolutions and I know I have to catch up with all of these goals. However, such “chasing-the-goal” action should not compromise one’s mental health and happiness. It should not also sacrifice your life’s purpose.

In this episode of the Conductor’s Podcast, conductor Maria Sensi Sellner shares with us how she navigated life despite experiencing burnout and how you can learn from her experience as well.

Conductor Maria Sensi Sellner’s artistry, versatility, and reputation for innovation are making her a sought-after collaborator and an impresario for the 21st century. She is a proud alum of The Dallas Opera’s Hart Institute for Women Conductors. Maria is the Artistic & General Director of Resonance Works, the multi-modal performing arts company she founded in her native Pittsburgh in 2013; and a frequent cover conductor for the Pittsburgh Symphony Orchestra. 

The 2021-22 season includes a growing number of company debuts - including Portland Opera, Opera Steamboat, Fargo-Moorhead Opera, Raylynmor Opera, and the University of Missouri-Kansas City - conducting her favorite mix of Verdi, bel canto, and contemporary opera repertoire.

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Hi there! Happy end of June and welcome to the fifth edition of the Conductor’s Podcast Wisdom series, a new series full of shared life experiences and, of course, wisdom! This series is aired on the last Monday of each month, and in each episode, I am going to pose a question to 10 musicians, conductors, or business gurus. So including myself, you will hear all the goodies from a wide variety of people, thus called the wisdom series. Now, without further ado, let’s get started.

This month’s question that I am asking my people is, “What's your favorite self-care practice?"

I asked this question selfishly as I suck (!!!!) at taking care of myself..... Let's hear what my guests have to say:

Julia Baumanis (Assistant Director of Bands at Rutgers University, episode 31)

Kristin Roach (opera conductor, Episode 12)

Kiernan Steiner or Dr. Kiki (Decolonization consultant and choral conductor, episode 17)

Tiffany Chang (opera and orchestra conductor, episode 4)

Emily Koh (composer)

Margaret Flood (Founder, Frost Young Women Conductor Symposium)

Susie Seiter (film conductor, episode 29)

Ashley Killam and Carrie Blosser (co-founder, Diversify the Stand, episode 20)

Stephanie Havey (stage director, episode 32)

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In today's episode, I interviewed the Executive Director of the August Symphony (GA), Anne Catherine Murray on how she manages an orchestra.  She’ll share her wisdom on the management side of a performing arts organization and a theater, discuss the challenges of managing personnel, how she was able to find her purpose, and how she navigated problems brought by the pandemic


Anne Catherine Murray joined the Augusta Symphony in 2015. During this time, she has overseen two organizational restructures, the international search for a music director, and the completion of the $23M capital campaign and construction project to restore the historic Miller Theater and the adjacent Knox Music Institute. At the outset of the pandemic, the Augusta Symphony took over management of the Miller Theater, and Murray now oversees both companies.

Prior to joining the Symphony, Murray served as Vice President and Project Manager of Flywheel, LLC, where she assisted in the adaptive use of several historic Augusta buildings, including Enterprise Mill, Sutherland Mill, andWilliam Robinson SchoolHOUSE. 

She is a graduate of the first class of women at Washington and Lee University and earned a Masters in Historic Preservation from the University of Georgia. Before moving to Augusta, she was the Revolving Fund Director for the Georgia Trust for Historic Preservation. She has served on the boards of Historic Augusta, Inc., Safe Homes of Augusta, Inc., the Vestry of the Church of the Good Shepherd, and currently serves on the board of Turn Back The Block and the Metro Augusta Chamber of Commerce.

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I've always thought that I wasn't a good competition type of conductor, until I realized that I actually convinced myself that I wasn't good in a certain area so I didn't need to continue improving myself.

From 2022, I entered La Maestra Competition in Paris, won the 3rd Prize at Kussewitzky Competition 2023 and 2nd Prize at the Mendelssohn Competition 2024. In this season's episodes, I will be sharing more what I've learned in my journey.

But before that, my thoughts on conducting competitions - they are just one of the many events that are going to shape and form your conducting journey.
1. Be super clear why you are doing it, and list your learning objectvies
2. Focus on things we can control
3. Know what you need to be successful

PS. My interview with Lina Gonzalez Granados on organizing your score, time, and journey in Season 1 Episode 38:
https://theconductorspodcast.com/podcast/organize-your-score-time-and-journey-with-lina-gonzalez-granados/

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Sometimes, being a woman means having to handle a lot of things on your plate.  For conductor Sarah Ioannides, these responsibilities prove that she can conquer so many mountains while being able to express herself in music and art.  In this week's episode of The Conductor’s Podcast, Sarah talks about the art of being ready, the essence of leadership, and the wonders of being a mom. 

Currently Music Director of Symphony Tacoma, Ioannides has also led orchestras extensively in the United States including the Buffalo Philharmonic, Charleston Symphony, Hawai’i Symphony, Louisville Orchestra, North Carolina Symphony, Rochester Philharmonic, Toledo Symphony and the Cincinnati Symphony, where she was the first woman appointed to a full-time conducting position. 

Passionate about education, Ioannides continues to coach orchestras at high-level conservatories such as Yale University and the Curtis Institute. She is Founding Artistic Director of Cascade Masterclass for conductors and composers.

Born in Australia, of Greek and Scottish descent, she was raised in England, studied at Oxford University and The Juilliard School, earning Master's degrees at both. Ioannides came to the USA as a Fulbright Scholar and graduated from The Curtis Institute of Music, a protégé of the late Otto-Werner Mueller. 

Married to Scott Hartman, renowned trombonist, they have three children, including twins, Elsa and Karl, and Audrey. An avid long-distance runner, she was first overall woman in the 30k The Defiance in 2021.

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Conductor Lidiya Yankovskaya joins me and speaks about her experience preparing for, conducting, and navigating a career thriving between concert halls and opera pits.

Russian-American conductor Lidiya Yankovskaya is a fiercely committed advocate for Russian
masterpieces, operatic rarities, and contemporary works on the leading edge of classical music. She has conducted more than 40 world premieres, including 16 operas, and her strength as a visionary collaborator has guided new perspectives on staged and symphonic repertoire from Carmen and Queen of Spades to Price and Prokofiev. 

Yankovskaya has recently made major debuts with Chicago Symphony Orchestra and Dallas Symphony, and conducted the symphony orchestras of Omaha, Pasadena, and Fort Worth. As Music Director of Chicago Opera Theater, she has led the Chicago premieres of Jake Heggie’s Moby-Dick, Rachmaninov’s Aleko, Joby Talbot’s Everest, Tchaikovsky’s Iolanta, and Adamo’s Becoming Santa Claus. Elsewhere, she has recently conducted Carmen at Houston Grand Opera, Don Giovanni at Seattle Opera, Pia de’ Tolomei at Spoleto Festival USA, Il barbiere di Siviglia at Wolf Trap Opera, Ellen West at New York’s Prototype Festival, and the world premiere of Taking Up Serpents at Washington National Opera.

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An open and honest review of what I learned this past season (2022-23) as staff conductor for three different organizations across two states.....

1. take good of my own mental and physical health!
2. traveling has a much larger impacts on myself and my family than I had expected....
3. People Skills!! People Skills!! People Skills!
4. how and when should I repeat the same repertoire with different ensembles?
5. know what you need to be successful and don't be afraid to ask for supports!

Episodes mentioned in this one:
#9 Four Tips to Get Unstuck When You Are Depressed
#12 Family and Community Centered Artistry with Kristin Roach
#29 Navigating a Diversified Career in Music with Susie Benchasil Seiter
#34 Psychology, Well-Being, and Mindfulness on the Podium with Tianyi Lu
#38 Organize Your Score, Time, and Journey with Lina Gonzalez Granados

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Hi there! Happy end of May and welcome to the fifth edition of the Conductor’s Podcast Wisdom series, a new series full of shared life experiences and, of course, wisdom! This series is aired on the last Monday of each month, and in each episode, I am going to pose a question to 10 musicians, conductors, or business gurus. So including myself, you will hear all the goodies from a wide variety of people, thus called the wisdom series. Now, without further ado, let’s get started.

This month’s question that I am asking my people is, “𝗪𝗵𝗮𝘁 𝗻𝗲𝘁𝘄𝗼𝗿𝗸𝗶𝗻𝗴 𝗺𝗲𝘁𝗵𝗼𝗱𝘀 𝗵𝗮𝘃𝗲 𝘄𝗼𝗿𝗸𝗲𝗱 𝗳𝗼𝗿 𝘆𝗼𝘂?

I asked this question selfishly as I suck (!!!!) at networking in whatever sense. Let's hear what my guests have to say:

Michelle Rofrano (conductor, founder, Protestra, episode 3)

Kiernan Steiner or Dr. Kiki (Decolonization consultant and choral conductor, episode 17)

Tiffany Chang (opera and orchestra conductor, episode 4).

Emily Koh (composer)

JoAnne Harris (film composer and conductor, episode 36)

Carolyn Watson (Director of Orchestra Studies, UIUC, episode 53)

Stephanie Havey (stage director, episode 32)

Susie Seiter (film conductor, episode 29)

Ashley Killam and Carrie Blosser (co-founder, Diversify the Stand, episode 20)

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Conductor Lina Gonzalez Granados joined me and shared her experiences in organizing her time, studying scores, and taking care of her health when she was always on the go conducting around the globe.

Some of Lina's Career Highlights:

• Third Prize and ECHO Special Award at the Inaugural La Maestra Competition
• Named conducting fellow of the Philadelphia Orchestra and Seattle Symphony
• Winner of the 4th CSO Sir Georg Solti Conducting Competition and Apprenticeship
• Founded Unitas Ensemble, a chamber orchestra dedicated to performing works by Latin-American composers. Since 2014, have given nearly a dozen world, North-American, and U.S. premieres, and released their debut album Estaciones
• Selected as one of the final eight participants for the Bernard Haitink Masterclass at the Lucerne Festival
• Debut with Tulsa Opera in The Little Prince: First Latina conductor to conduct a mainstage performance in a U.S. Opera House
• Selected for the 2017 Linda and Mitch Hart Institute at the Dallas Opera: First Hispanic Conductor ever selected. Mentored by Carlo Montanaro, Marin Alsop, and Nicole Paiement
• Feature Articles in the Boston Globe, Seattle Times, CNN, TELEMUNDO, Semana 

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Conducting is never about swinging your arms - left and right as you command the flow of music to your delight. Conducting is embracing your personal strengths, expressing it through music and letting it create a rippled effect to its viewers and listeners. 

This is one of the reasons why Anna Edwards is beyond passionate in breaking the barriers of the conducting industry. She wants aspiring conductors  to understand that there's more to it than just waving their arms. 

Tune in this episode of the Conductor's Podcast and be enlightened on how Anna fosters diversity and individuality in conducting. 

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Film scores play a crucial role in cinema. It’s intertwined with visual imagery and is a secret ingredient for a blockbuster hit. It heightens the emotional impact of a movie, creating an aural mood for each scene. If you’re curious to know how they’re made, then this episode is right up your alley!

Meet composer, orchestrator, and conductor for TV, film, and theatre, JoAnne Harris. In this episode, let’s listen to her story on how she was able to land her current job, what it takes to work in the film industry, and some advice that she’ll be giving to aspiring musical composers and conductors.

==

JoAnne Harris has conducted and recorded film scores at Abbey Road, East West, The Village, and Avatar with artists such as grammy winning Kurt Elling and members of the Hungarian Radio Symphony Orchestra. 

Her television work includes score for: Mal de Ojo (HBO), 20/20, Primetime, CNN, and Dateline. She has orchestrated and conducted scores for blockbusters City of Lies and The Infiltrator. 

A graduate of Concordia College, JoAnne studied choral composition and conducting with René Clausen. She enjoys teaching at the Feirstein Graduate Center for Cinema (CUNY Brooklyn College), and is a steering committee member of the Society of Composers and Lyricists in New York. 

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In today's episode of the Conductor’s Podcast, my guests Michelle Di Russo and Michelle Rofrano provide an elaborate rundown of what it’s like working as an assistant conductor, how to land jobs, their experiences collaborating with agents, how they turn down opportunities and their definition of a great assistant conductor. 

They also answer questions from our audiences! You wouldn’t want to miss out on timeless nuggets of wisdom with this episode. 

• Many opera houses in the US have young artist programs that you can audition for – but not for assistant conductors. 
• Preparation is the key. 
• Time management is essential.
• When working, try to be observant. Look for ways where you can help the conductor.
• Don’t forget to be ready at all times. There might be instances where you need to jump in and help the conductor. 
• If you have to decline an opportunity, be tactful. Be polite, and be professional. 
• Being a good assistant conductor is having the mindset of wanting to help and provide value to the conductor. 

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Despite her many, many years on the podium, our guest for today is never shy in admitting that there are days when she doesn’t feel confident – and no, she never tries to fake it.

If you’re wondering how this seasoned conductor navigates through a roller coaster of emotions or uncontrollable factors, this episode is perfect for you! Tianyi Lu gives us tips on embracing the leadership role by being on the podium without abusing power, the power of being grounded and compassionate to yourself and others, 

• Be open with the energy of kindness, calmness and mindfulness. 
• Prepare yourself with personal strategies to eliminate fear and build confidence. It can be through reading, taking a walk, or chatting with people. Remember that we cannot do our best when we are bombarded with psychological fear. 
• Perfect is non-existent. What we can do is bring our resources and tools to the table and use all that we learned at a particular moment. 
• Having a support network that can help you understand your emotions is a great way of building yourself and your confidence
• Learning starts when an individual is safe. Not when verbal abuse or psychological stress is hurled at them. 
• My compass is love, not fear. Always make it a point to question yourself, is this decision made out of fear or out of love?

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• Noreen Green (Conductor, Los Angeles Jewish Symphony, episode 27)
• Lily Ling (Music Director, Hamilton, episode 21)
• Julia Baumanis (Assistant Director of Bands, Rutgers University, episode 31)
• Tiffany Chang (opera and orchestra conductor, episode 4)
• Jennifer Kane (Founder, NOVA Women’s Choral Project – episode 16)
• Margaret Flood (Founder, Frost Young Women Conductor Symposium)
• Susie Seiter (film conductor, episode 29)
• Kira Omelchenko (Conductor, Wilfrid Laurier University Symphony Orchestra, episode 22)
• Anna Edwards (Music Director, Seattle Collaborative Orchestra and Saratoga Orchestra, episode 37)
• and my friend Michelle Rofrano (conductor, founder, Protestra, episode 3).

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I finally had the pleasure to meet and speak with Dr. Andrea Brown, Associate Director of Bands at the University of Maryland. Previously served as director of orchestra and assistant director of bands at the Georgia Institute of Technology in Atlanta and assistant director of bands at the University of Michigan, we spoke about her experience as a conductor and the founder of “Women Rising to the Podium.”

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Whether it’s building a career or establishing successful working relationships, the importance of networking as a music professional cannot be undermined.

In today's episode, stage director Stephanie Havey provides aspiring music professionals with the knowledge and first-hand experience. She discusses the inner workings of a stage director, her love for the art, the importance of artist collaborations, the shifting world of opera, navigating through collaborations with varying ideas, and her advice to anyone interested in directing.

Winner of the Adelaide Bishop award for artistic quality and winner of the Opera America Director-Designer Showcase, Stephanie Havey has staged productions for Seattle Opera, Pittsburgh Opera, Michigan Opera Theatre, Arizona Opera, Opera de Montreal, Atlanta Opera, Opera Omaha, New York City Opera, and Hawai’i Opera Theatre, among others. 

Ms. Havey has created new productions for Boston Lyric Opera, The Philadelphia Orchestra, Pittsburgh Opera, the Lyrique-en-mer International Festival de Belle-Ile, The Curtis Institute of Music, Manhattan School of Music, Charlottesville Opera, and Tulsa Opera.  She has also been a member of the staging staff at San Francisco Opera, Houston Grand Opera, and The Santa Fe Opera. 

Upcoming engagements include debuts with Utah Opera, Dallas Opera, and Madison Opera, as well as returning to Opera de Montreal, Pittsburgh Opera, Atlanta Opera, Arizona Opera, Charlottesville Opera, and Finger Lakes Opera. 

Ms. Havey is a frequent collaborator for the development of new opera, staging new works with Opera Philadelphia for their Double Exposure event, OPERA America’s New Works Forum, and three seasons as the Resident Stage Director for North American New Opera Workshop.

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Women, all around the world, are paving the way toward a society that fosters
inclusivity, diversity and equality.

In this episode, we’ll get a chance to listen to Julia Baumanis. She’s going to share with us how her initial passion for music became the guiding light to her career as a band director.

Aside from discussing her rise to the musical world, she’s going to elaborate on her aspirations, navigating through the pandemic and why she is embracing her gender as a medium to raise awareness and encourage more women to be leaders in their expertise.

Dr. Julia Baumanis is Assistant Director of Bands at Rutgers University, Mason Gross School of the Arts and is the first female band director in the university’s history. Previously, she served as Assistant Director of Bands and Director of Athletic Bands at the University of Central Missouri and served as Multicultural Chair for the Missouri Music Educators Association. 

She has presented her research nationally and most recently has focused on developing a conductor’s baton that records data collected from a conductor’s expressive gestures. She is a graduate of Florida State University, where she received her PhD in Music Education and Instrumental Conducting.

Audio Editing: Podcast Engineers

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Today’s episode is a bit different as I will be answering all the questions that I received about conducting videos.

Before we get started, I wanted to remind you all that the very first episode of this podcast is about Five Mistakes to Avoid with Your Conducting Videos.

Here are the questions that I will answer in the episode:

• I have a video that has much better sound quality and the performance was great, but it was shot from the back of the conductor. Should I submit it over the poor quality footage that had my face?
• Does the repertoire matter? If so, what should I put out there?
• Should I get together a few musicians to record a session if I don’t have good and updated footage?
• What about rehearsal footage?
• What do people really look for in those videos??

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Conductor Susie Bechasil Seiter, who specializes in orchestra pops and film score conducting, discuss systematic gender bias, barriers, and her experiences touring with bands around the world!

Susie Benchasil Seiter is a prolific conductor, orchestrator and composer for film, television, video games, and live concerts. Susie currently stays busy conducting Live to Picture shows with venerable symphonies, orchestrating various projects  and her first co-written Netflix limited series is due out this fall.

Seiter is best known for orchestrating and conducting the remarkably successful orchestral concert tours The Legend of Zelda: Symphony of the Goddesses and Pokémon: Symphonic Evolutions. Combined, these tours have been performed more than 300 times by some of the world’s most respected orchestras. In 2017-2018 alone, she conducted over 80 orchestras, including the Royal Philharmonic at London’s Apollo Hammersmith, The Orchestra of St. Luke’s at Madison Square Garden, the National Symphony Orchestra at Wolf Trap, and the Sydney Symphony at the iconic Sydney Opera House. Seiter excels in leading popular symphonic film concerts such as Frozen Live, Muppets Christmas Carol, Pixar in Concert and Mary Poppins Live. She recently completed a 120 city worldwide orchestra tour as conductor and music director for multiple Grammy-winning band Evanescence and Billboard Music Award winner and YouTube sensation, Lindsey Stirling. Last year she conducted the Paramount blockbuster hit Snake Eyes: A GI Joe Origin Story and Netflix’s holiday favorite 8-Bit Christmas. She is excited to appear this summer with Toy Story Live and Nightmare Before Christmas live in various cities. Susie also likes to boast that she conducted the recording to Zombieland 2 at Capitol Studios nine days after giving birth.

Originally from Baltimore, Seiter now calls Los Angeles home, where she lives with Chad and their sons Samuel and William.

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