[Hanjeongho's Classic Lounge] The Era of Maestra Comes

Published 18 Mar.2020 14:34(KST)

Significant Increase in Female Orchestra Conductors in the 21st Century... Result of Social Changes Like Gender Equality and Diversity
Majority of European Orchestras Still Have Less Than Half Female Members... Conservative Classical Music Scene Needs More Female Participation
Priority Given to Talent with Genre and Movement Expertise... Guest Opportunities for Female Conductors Expected to Rise

Han Jeong-ho, Guest Reporter · CEO of Etoile Classic & Consulting

The 'Podium,' referring to the conductor's stand on stage, has traditionally been a male domain. The transformation of orchestras in 18th-19th century Europe paralleled the operation of military and bureaucratic systems that established Europe as the center of the world order. As international relations scholar Jo Hong-sik pointed out, "The core of classical music lies in the organizational balance of power within the orchestra following the maestro's flawless conducting," and the expected role of European orchestra conductors was equivalent to that of military commanders.

When reflecting on the division of duties between men and women and what society and tradition have permitted and passed down to women, orchestral conducting was the realm of male conductors embodying masculinity.

The first areas in Western music to recognize women as musicians were those relying on the image of women or the special characteristics of instruments and vocal ranges. Pianist and composer Clara Schumann (1819?1896) gained popularity as a 'child prodigy' before being recognized as a keyboard player. Lily Laskine (1893?1988) and Ursula Holliger (1937?2014) demonstrated the excellence of female harpists through recordings and ensemble performances.

Since the Middle Ages, the lineage of female vocalists, who could perform sacred singing within the church and whose tradition was orally transmitted, became widely known across continents with the advent of recorded music in the 20th century.

The 20th century saw pioneering achievements by figures such as Antonia Brico (1902?1989), Nadia Boulanger (1887?1979), Sarah Caldwell (1924?2006), and Iona Brown (1941?2004), who were the real-life inspirations for the film "The Conductor" (2018). However, the surge of 'female conductors' in 21st-century orchestras is a product of social change.

Compared to the past, many more orchestras now require conductors, and there has been an increase in ensembles hiring young conductors regardless of gender at affordable rates. Orchestra managers have been closely watching conducting competition winners, among whom female participants have made significant advances since the 21st century.

Oksana Lyniv, current music director of Graz Opera (3rd place in the 2004 Mahler Competition), and Seong Si-yeon, former artistic director of Gyeonggi Philharmonic (2nd place in the 2007 Mahler Competition), have proven their capabilities through competitions and practical experience. Elim Chan from Hong Kong also gained recognition by winning the 2014 London Symphony Orchestra Conducting Competition.

However, given the gender distribution in most European orchestras, women still make up less than half of the members. A University of London survey last August showed female membership rates of 36% in Europe, 44% in the UK, and 40% in the US. The Berlin Philharmonic and Vienna Philharmonic are gradually opening their doors to female members. This process is a belated response to pressures from civil societies worldwide concerning 'gender equality' and 'diversity.' When asked, "Isn't it strange that orchestras are overwhelmingly male?" established European orchestras delay giving a direct answer by appointing female conductors.

As the 2020s began, symbolic shifts occurred among leading female conductors. American Marin Alsop was appointed last fall as the director of the Vienna Radio Symphony Orchestra. Other major orchestras are also turning their attention to women of similar stature.

San Francisco Opera's new Music Director Eun Sun Kim (C) Jurgen Keiper

Last year, the San Francisco Opera appointed Eun Sun Kim as music director for a five-year term starting in 2021. The Bayreuth Festival, specializing in Wagner's music, announced that next year's new production will be conducted by a woman. Barring surprises, Simone Young, former music director of Hamburg State Opera, is expected to take the role.

The American classical music scene is also reevaluating the utility of female conductors. Following sexual misconduct scandals involving former Met Opera music director James Levine and former LA Opera general director Pl?cido Domingo, there is heightened vigilance against abuses of power by conductors ascending to music director positions.

Alsop, who concurrently serves as music director of the Baltimore Symphony, explains, "Within the broad framework of human society, the classical music world is a small but complete, extremely conservative microcosm." Rather than introspection within the classical community, she believes, "Only when the United States elects a female president will the barriers of this classical microcosm be broken down."

The 20th century, which granted absolute authority to the conductor's personal interpretation, has passed. As more orchestras prioritize talents well-versed in specific genres and styles, opportunities for skilled female conductors as guest conductors are likely to increase. However, the role of director, responsible for casting and repertoire, will be reserved for prepared female talents who can command the orchestra with charisma.

Emmanuelle Ha?m, a keyboardist and conductor who gained attention through the early music ensemble Le Concert d'Astr?e in the 21st century, became internationally recognized with her conducting debut at the Berlin Philharmonic in 2008. Due to the nature of early music production, which trusts the conductor's abilities and gathers skilled artists, Ha?m's routine of demonstrating her true value as a director rather than a guest conductor is both an advantage and a limitation.

Susanna M?lkki, from Finland?a 'conducting powerhouse'?possesses outstanding capabilities that would make her suitable to lead any orchestra. She was appointed music director of the Helsinki Philharmonic in 2016 and has since debuted and been re-invited by the Berlin Philharmonic and New York Metropolitan Opera. Having performed Jin Hi Kim's works multiple times in LA, she also served as music director of the contemporary music ensemble Ensemble Intercontemporain.

French contralto Nathalie Stutzmann is a successful example of a singer turned conductor. During her singing career, she was highly praised for French and German Romantic art songs. As director of the early music ensemble Orfeo 55, she received acclaim for her unique conducting interpretations that highlighted her dramatic low voice. When Orfeo 55 faced existential challenges, she gained strong trust, enough for the Kristiansand Symphony Orchestra in Norway to appoint her as music director.

From the top left clockwise: Marin Alsop (C) Grant Leighton, Susanna Malkki (C) Chris Lee, Karina Canellakis (C) Matias Border, Mirga Gra?inyt?-Tyla (C) Lawrence K. Ho, Joanna Malivitz (C) Saatstheater Nuernberg

Barbara Hannigan, a soprano and conductor born in Canada, is currently the most welcomed female conductor in the mainstream European music scene. She first gained attention as a coloratura soprano performing mainly contemporary music with Simon Rattle at the Berlin Philharmonic and London Symphony Orchestra. Gradually expanding her domain with humorous performances combining singing and conducting, she has also been invited to the Salzburg Festival and Lucerne Festival.

Karina Canellakis, born in New York, caught the eyes of European orchestra administrators under Rattle's patronage. She made headlines by successfully substituting for Jaap van Zweden at the Dallas Symphony and Nikolaus Harnoncourt at the European Chamber Orchestra. Appointed director of the Netherlands Radio Philharmonic Orchestra in 2018, she has also led the Chicago Symphony and Berlin Radio Symphony Orchestra.

Mirga Gra?inyt?-Tyla, a Lithuanian conductor, is currently music director of the Birmingham Symphony. Like Rattle and Sakari Oramo, she leads an orchestra outside London but aims for global prominence with a firm sound and unity. She is a rare example of a director who earned her position through recognition from orchestra members rather than relying on quota-based female guest appointments. Recently, she made headlines after testing positive for COVID-19.

The German music scene places great expectations on Joana Mallwitz, born in Hildesheim, Lower Saxony, who is general music director of the Nuremberg Opera. Selected as 'Conductor of the Year' in 2019 by the prestigious music magazine Opernwelt, she is compared to Kirill Petrenko (current music director of the Berlin Philharmonic) and Teodor Currentzis (current music director of the Southwest German Radio Symphony Orchestra), who have also received the same award.