10 Questions for Conductor Marin Alsop | Classical music reviews, news & interviews
10 Questions for Conductor Marin Alsop
The first female conductor of the Last Night of the Proms speaks out about gender
Marin Alsop may be one of America’s leading conductors, with stints as music director of the Colorado, Eugene and Richmond symphony orchestras, not to mention positions at the Bournemouth Symphony Orchestra, Royal Scottish National Orchestra, City of London Sinfonia, and of course her current roles at the head of the Baltimore and São Paulo State Symphony orchestras, but apparently none of that is as important as the fact that she’s a woman.
Taking up the baton as the first female conductor of the Last Night of the Proms, Alsop is once again in the spotlight for the gender-discussions that have followed her throughout her career. She’s a passionate and articulate advocate for women’s equality, and as founder of the Taki Concordia Fellowship has done more than most to advance the cause of women on the podium. Before she once again steps up to show the world who really wears the (Union Jack-printed) trousers, Alsop speaks to theartsdesk about musical firsts, fellowships and female conductors.
ALEXANDRA COGHLAN: Did you realise immediately when you were asked that you were the first woman to conduct at the Last Night of the Proms?
MARIN ALSOP: I only realised after they told me. My first thought certainly wasn’t “Oh my goodness, I’m going to be the first woman”. That’s never my first thought!
Was it surprising to you that you were?
It’s surprising that it has taken this long.
Do you think it’s an omission of accident rather than intent?
Well that’s the big question, isn’t it? It’s shocking to me that I still come across these firsts so frequently. I am surprised, and a little bit disappointed, that there can still be so many firsts for women in this profession. I don’t know why that is. All I can say is that I’m hoping that there will be a fat succession of many women once I break through the sound barrier.
Do your resent that it’s always you having to break new ground? I was astonished, reading your CV, to discover that you were the first woman to record a Mahler symphony with a major orchestra – it seems unbelievable.
There just haven’t been that many women in the position where they can do these kinds of things. I had a funny experience when I conducted the Concertgebouw Orchestra and they sent out a press release saying that I was the first woman in however many hundred years. They had to retract the statement because it turned out that there had been one woman who conducted one piece 100 hundred years ago. You have to keep a good sense of humour about it all. It gives me a tremendous opportunity to raise awareness about the broader issue, which doesn’t seem to be on a lot of people’s radar. And it’s not just in my profession, though it is more obvious here because it is such an obviously conservative, old-fashioned field. There are so many fields where there are still firsts for women and it’s not something that we talk about enough.
You founded the Taki Concordia Fellowship for female conductors. How does the programme work?
When I started conducting I sort of assumed that in 10 years’ time that there would be a lot of women in the field. Then I found myself looking around 30 years later and not finding many; it’s still kind of lonely out there. I realised that part of the problem and the challenge is that in conducting you can’t practise your instrument until you are in front of 100 people. The pressure is enormous, and you need to have somewhere to make some mistakes to allow you to experiment. But when you might only ever have one opportunity that’s not the moment to take some risks and to find your way. So really I wanted to try and create a fellowship where I give talented young women the opportunity to learn and make mistakes – all the things that are so critical to one’s development. So I set up this fellowship in 2002.
Subscribe to theartsdesk.com
Thank you for continuing to read our work on theartsdesk.com. For unlimited access to every article in its entirety, including our archive of more than 10,000 pieces, we're asking for £2.95 per month or £25 per year. We feel it's a very good deal, and hope you do too.
To take an annual subscription now simply click here.
And if you're looking for that extra gift for a friend or family member, why not treat them to a theartsdesk.com gift subscription?
more Classical music
New chamber festival is a refreshing antidote to second-hand books
British symphonies, German violin concertos and a dark 20th-century opera
Rituals of savagery and grief from Stravinsky and Boulez
Reich and Korot's dynamic reflections on 'progress' get new life from a young ensemble
Passion and intensity in Barenboim’s Elgar, but often taken to excess
A Schubert rondo is the unscheduled highlight, but Barenboim's Strauss is all over the place
An exciting showcase, both for young singers and Handel's music
Stylish playing, unadventurous programming from Prague's finest
Sparky symphonies, 20th-century piano music and a ubiquitous Baroque work in a vibrant performance
Sensual colours and spirited waltzes from the New York orchestra
Ticciati’s detailed approach energises Beethoven, but Bruckner needs more
A glorious and emotional evening of music with a French accent