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Home , Black conductors, Jonita Lattimore, Steven Fox

CRITICALQUESTIONS

How Can Become More Diverse?

Distinguished African-American professionals discuss their lives in orchestras today.

by Jesse Rosen

ast August I spent two days at confront the homogeneity of their work- the Gateways Festival force, I wanted to hear the stories of these

in Rochester, . Never , to understand more about their Chris Lee heard of it? Neither had I. pathways into orchestras, their day-to- Jesse Rosen, President and CEO, League of L But it’s a remarkable festival day experiences, and their visions for the American Orchestras that all of us in orchestras should get future. I am happy to share a transcript of to know. The biennial festival celebrates our roundtable discussion. tion for us. A lot of times in the media, the participation and contributions of people are—I don’t know how quite to say classically trained musicians of African JESSE ROSEN: The most striking this in the best way—people don’t seem to descent through more than 50 solo, thing to me about the Gateways Festival think good things, and this festival is re- chamber, and orchestra performances in was the spirit among the players, the en- ally a good thing. To have so many people the Eastman Theatre at Eastman School ergy with all of you. I’m interested to hear out there playing is really fantastic. Every of Music, houses of worship, schools, and what you get out of it—what it means for time, it gets better and better, so that’s other community locations throughout you not so much as a larger cause but as why I enjoy going to this festival. the city and suburbs of Rochester. More JESSE ROSEN: When you say people than 100 musicians from around the “A lot of African-American don’t often think good things, could you United States participate in Gateways and kids play instruments, but they say more about what you mean? perform for a diverse and multi-ethnic drop off because they’re not JUDY DINES: I look at the nightly audience of nearly 10,000. news or newspaper articles where people Being there was like being welcomed seeing people who look like who maybe don’t know a lot of African- into a family reunion, but not exactly my them and not getting the idea American people in general may think the family. It was very familiar in the sense that this is something they can way we are portrayed is the only way we that here were wonderfully talented musi- do for a living.” –Judy Dines all are. What I like about this festival is cians, generously sharing their gifts in it’s a completely different thing, because programs new and old, big and small. But individual musicians coming together. we’re not represented in large numbers in as I came to understand, the experience JUDY DINES: This is maybe my third orchestras. People don’t think a lot about of each of these musicians in their home or fourth time at Gateways. I love going, playing , orchestras is unique. In almost every in- and I give it priority over any of my other and this festival puts that out there. stance, each is the only African-American summer things like the National Flute TITUS UNDERWOOD: This sum- in his or her orchestra. So you Association Convention or other festivals, mer was my first time at Gateways. I can imagine the joy and excitement of because I really enjoy playing with so mainly enjoyed it because I’ve never had coming together for six days. many other great African-American mu- that experience—ever—in my life. Period. As our country continues its difficult sicians. That to me is great—to have all of I’m usually the different person within conversation about race, and as orchestras us on the stage, and it’s a good representa- whatever space that I’m in, and usually

20 symphony WINTER 2016 I get an array of questions regarding my presence. The thing that warmed my heart the most when I went to Gateways was that there were none of those questions. It was very nice to go there and be normal, making music with other people, and not being a spectacle in any way. It made me feel a lot more relaxed, more at home, like I was playing with family members or cousins that I hadn’t seen before, and I finally get to make music with them. Any concerns that I did have about the arts or talking about African Americans Fred Tanksley Fred “There needs to be more A standing ovation greets a 2015 Gateways concert in Kodak Hall at Eastman representation in the Theatre, led by Michael Morgan. professional field showing ican players wearing African garb—that’s like an old painting of an aristocrat from African-American musicians completely different than what you would England, so it’s an African-American performing at a high level— see on any concert stage. I understand why person in the same pose. It totally blows just as there need to be more we wear more formal clothes now, but I your mind. To me, Gateways is a Wiley female conductors or more also understand where Armenta was com- picture—having all African-American female CEOs.” ing from as far as this being something players in a concert hall playing classical –Titus Underwood completely different. music. I live in Rochester, New York and play MICHAEL MORGAN: I go to in the arts, I could speak my mind and with the Rochester Philharmonic, and one Gateways because it really is a family people were like, “I’ve had that experience of the main things I get from Gateways is reunion—with instruments. There is not myself.” It was a heartwarming, almost that we perform at the Eastman The- that feeling anywhere else I go. To be healing process. I’ve been playing oboe for atre—my home court. I know that stage, in front of an orchestra where everyone almost twenty years and I had never had so to see all African-American classical clearly wants to be, and wants it to be that experience. musicians on that stage is kind of, “Wow.” good, and wants to support everybody else Flutist Judy Dines, a member of the Houston Symphony, is also on the stage, is really moving. I was at the a very active performer in Houston and beyond. Locally, she first Gateways Music Festival, but there’s performs in the Greenbriar Consortium, the Foundation for Modern no [ongoing] conductor for the festival, so Music, and the St. Cecilia Chamber Society. Outside of Houston, when I am invited to Gateways, I conduct Dines is a member of the Ritz Chamber Players. She has also because they want me. You get this feeling participated in the Grand Teton Music Festival Orchestra and has that everybody wants to be there, every- performed at several National Flute Association Conventions. In body wants the music to be the best it the orchestral world, Dines has performed selected weeks with possibly can be. You can’t bottle that. That the National Symphony Orchestra, the Saint Louis Symphony Orchestra, and the is so incredibly rare. We throw everything Chautauqua Symphony Orchestra. Born in Washington, D.C., Dines attended Temple we’ve got into that week. I can’t imagine University in and the Peabody Institute in Baltimore before going to anything better to do. Houston. She joined the Houston Symphony in 1992. LEE KOONCE: Everything that everyone has said so far is certainly my experience, too. I’m not playing an HERB SMITH: I’ve been going to It’s different than what I’m used to. For instrument at Gateways, but helping Gateways for a while, so I can hark back me, the concerts are about love. There’s coordinate and organize. As a musician to the first time I was there with [Gate- not the attitude, the jadedness in the myself, I attended Eastman, and like all ways Founder] Armenta Hummings. At orchestra. Like Titus said, it’s like playing of you probably grew up being the only that time, we were wearing African garb, with family. I love that. one of African descent in my community dashikis and stuff, and that’s even more The other thing I was thinking about who studied classical music. I grew up of a cultural explosion because to see and was the painter Kehinde Wiley. He puts on the South Side of . There was hear Beethoven played by African-Amer- African-American people in what looks nobody carrying around sheet music for americanorchestras.org 21 “If an orchestra has a season and there’s not one person of color as a guest soloist, I’m thinking, ‘What in the world is going on here?’ That’s Scenes from the 2013 something that orchestras Gateways Music Festival. Above: a chamber music can change right now. There concert at Hochstein School are so many talented classical of Music and Dance, with Kelly Hall-Tompkins at musicians of African descent.” center. Top right and below: –Lee Koonce Michael Morgan conducts feel ostracized, but I didn’t feel ostracized Gateways Music Festival Orchestra there in any way. I showed up, we were concerts in Kodak Hall at Eastman Theatre. Gateways Music Festival talking about these natural things that we have in common. It gives you more life Beethoven sonatas and Bach preludes TITUS UNDERWOOD: I’m and more meaning to what you’re doing, who looked like me. Michael [Morgan] recharged, and that allows me to do more purpose. and I were at Oberlin at the same time. two things. One, the recharged battery JESSE ROSEN: From your own There were very few of us at Oberlin. musically—a love for music and playing experiences and professional development, When I went to Eastman, there were with people who support you. Two, an ac- what do you regard as the most significant even fewer of us. Coming to Gateways, ceptance of myself. You play at Gateways thing that really helped move you forward it’s as if the world makes sense. It’s like, and see an entire orchestra where every- and kept you on a track to advance into “Oh my gosh, this really feels good, this one looks like you. It helps an acceptance the important professional positions that feels right.” It’s not to exclude others, it’s of myself, and when I go into my regular you now hold? to build up this community. That’s what’s orchestra I’m more relaxed, more me. JUDY DINES: I grew up in Wash- so important about this experience for HERB SMITH: I feel more recharged, ington, D.C., and learned how to play me. It’s building this community that reaffirmed, supported. I’m not saying that the flute in the D.C. Youth Orchestra is desperately yearning for this kind of I don’t have other support systems, be- Program. It was a neat program for lots experience. cause all of us have other support systems, of kids in D.C., and there were black MICHAEL MORGAN: One of the whether it’s our teachers or colleagues or and in it. My father wanted hardest things when dealing with younger Lee Koonce is a New York-based arts administrator, consultant, people and trying to keep African-Amer- and pianist, and chairs the Gateways Music Festival Artistic ican kids in the classical music business Programs Committee. He previously held leadership roles as is them feeling enough support to think executive director of Ballet Hispanico and Third Street Music they can keep going. They feel like they’re School Settlement in ; executive director of out there by themselves, and it’s a discour- Sherwood Conservatory of Music in Chicago; and director of aging business, even for all of us that have community relations for the Chicago Symphony Orchestra. Koonce careers. For a young person who doesn’t received a Bachelors of Music degree in Performance from have enough backing to stay in that, they the Oberlin Conservatory of Music, a Bachelors of Arts in Spanish drop off and do something else that feels Literature from Oberlin College, and a Master’s of Music in Piano Performance and like they have more support. Even just Literature from the . visually at Gateways, you see that there is support for you, that what you do is, in fact, normal. whatever. However, it is nice to see other my siblings and me to play instruments, JESSE ROSEN: What do you bring people who look like you doing what you because he was a great lover of classical back when you return to your regular do. It’s priceless, like the feeling when you music. He was a lifelong subscriber to the environment, where for the most part you see your family. It’s not exclusionary, it’s National Symphony Orchestra, so that’s are one of maybe two or three African not that other people can’t come. It’s a where I got my basis for classical music. Americans in your orchestras? How does community that’s been built, a community In high school I was in the National the experience at Gateways affect how you that needed it because a lot of times, I felt Symphony’s Youth Fellowship Program, look at your home orchestra, your home like an island, out there by myself. A lot which gave us free lessons and we went context? of times the surroundings make people to rehearsals and things. That’s when I

22 symphony WINTER 2016 Michael Morgan was born in Washington, D.C., where he began at the age of twelve. While at Oberlin College me. You have to have someone to guide Conservatory of Music, he also studied with and you or help you. Having the opportunity at the Berkshire Music Center at , where to be in the youth symphony, to feel what he worked with . His operatic debut was in it’s like to be in the real deal and have that 1982 at the State . In 1986, Sir chose exposure, you think, “Okay, now I have him as assistant conductor of the Chicago Symphony Orchestra, a something to shoot for.” position he held for seven years under Solti and Daniel Barenboim. TITUS UNDERWOOD: I grew up In 1986, he was invited by Bernstein to debut with the New York in Pensacola, Florida, started oboe when Philharmonic. He has appeared with most of America’s major orchestras, as well as I was in sixth grade. I grew up in a very with opera companies. In addition to serving as of California’s Oakland musical family. I’m a pastor’s kid, the Symphony, Morgan is artistic director of the Oakland Symphony Youth Orchestra youngest of six kids, and we all played in- and music director at Bear Valley Music Festival. He is music director emeritus of the struments. My sister plays violin; we’re the Sacramento Philharmonic and Opera. only two who majored in music and went to school for it. She introduced me to the oboe. My parents supported it, we used to decided I should continue the flute. That Youth Symphony, which was affiliated go to the local symphony, I saw my sister was my basis: the program, my parents. with the Cincinnati Symphony Or- doing classical music, all of us were so MICHAEL MORGAN: I can piggy- chestra. We would do our joint concerts musically oriented, and my parents made back on that because I got a lot of time in and I would sit next to Phil Collins and sure we were exposed to different types of front of the musicians in the D.C. Youth Marie Speziale, trumpet players in the music. I began to take music more seri- Cincinnati Symphony. Sitting next to ously when I started being home-schooled “I don’t see any impediments them, you’re just thinking, “Oh my good- in eighth grade, and joined a home-school to there being more African- ness, I want to do this, I want to be in an association that had a . The band was American players in orchestra.” You always have teachers or led by this lady named Glenda Jones who orchestras. It’s just trying to people who help guide you. I remember recognized my talent and pushed me hard keep them in music, when you a teacher who came to my school during to look at conservatories—I didn’t know my senior year. He was a graduate of that I could audition for an orchestra or spot the talented ones.” Eastman, but Eastman wasn’t even on a conservatory. I didn’t know anything –Michael Morgan my radar, and he was like, “You need to about orchestras or the work, I was Orchestra, conducted my first rehearsals audition for Eastman.” I was like, “What completely clueless. She said “You should for things like Mahler symphonies and is Eastman?” I had no clue. But I got in study at Cleveland Institute of Music with works that normally youth orchestras and it worked out. My teacher at East- John Mack. He’s really, really, really good.” didn’t play at the time—but we did. At man, Barbara Butler, would check up on Because I had a competitive spirit, I that point, James DePreist was the associ- Chamber music is an essential part of the Gateways Music Festival program. In photo, from left: ate conductor at the National Symphony, Roy Beason, oboe; Judy Dines, flute; Antoine Clark, clarinet; and Maya Stone, bassoon, at the and I got a letter from him that got me 2015 Festival. into National Symphony rehearsals. I missed about half of high school going to the National Symphony rehearsals—I still don’t believe I actually graduated. All along the way, I had people who reached back, whether it was Julius Rudel or James DePreist or a push from Bernstein, all these people who kept me going at critical moments. All it takes is one person who gives you a little push, but some people don’t even have that one person. HERB SMITH: I grew up in Cincin- nati, Ohio. Within the Cincinnati Public School District I went to the School for Creative and Performing Arts, which had an orchestra program, band, band, and so forth. Then I was in the Cincinnati Jerome Brooks Jerome americanorchestras.org 23 Herb Smith is third trumpet with the Rochester Philharmonic wanted to go to the good school. It wasn’t Orchestra in New York. He is an alumnus of the Eastman School until my sophomore year in college that I of Music and began playing with the orchestra after graduating took it super seriously. John Mack was a in 1991. He works with Young Audiences of America and the big influence. It was mainly the support Rochester City School District Artist in Residence program. of parents and pivotal people that helped Smith travels throughout upstate N.Y. doing workshops and keep my interest in classical music. presentations on classical music for non-musicians. Smith plays At the time, I wasn’t interested in it many gigs with his jazz quartet and is a frequent substitute player because I felt that it was stuffy. I was the for the Chautauqua and Buffalo Philharmonic orchestras. He is only black kid around. I didn’t necessarily trumpet instructor for the Eastman Community Music School, and teaches trumpet enjoy the culture of it, but I enjoyed the from his home studio. He has played with many notable jazz and pop artists, and music itself. It was hard for me to separate has played on many commercial jingles. Other ventures include composing music for the two. The culture of classical music felt silent films, writing musical arrangements for local bands, and a recent collaboration foreign to me, but I knew that I loved composing a full-length ballet for Garth Fagan Dance. playing oboe and that was something that I couldn’t live without. JESSE ROSEN: How would you de- played oboe. No one at home thought them in the business, but I see plenty of fine the culture of classical music? it was awkward, but when I got into opportunity. It’s just getting them to stay. TITUS UNDERWOOD: To be frank, conservatory, a hyper-awareness came to A lot of it is the culture thing Titus was I thought it was very white, which was me that, “I am a black kid playing classical talking about. We’ve figured out how to foreign to me. I grew up in a very black music, and I guess that is strange.” work our way through the culture, but suburb in Pensacola, and in the South, JESSE ROSEN: What things give any honestly, if you’re looking at it from the the blacks are over here, the white people of you some sense of hope that there will outside as a young person, you’re think- are over there. I didn’t have many white be greater opportunity for more African ing, “I don’t know if I even want to be friends growing up, and when I got into Americans in orchestras? Are you seeing a part of this.” It’s a foreign country, undergrad, that was the first time I was things that look promising to you? the only black kid around. I was the only MICHAEL MORGAN: I don’t see “Orchestras need to advocate black undergrad when I first got to CIM. any impediments to there being more Af- to make sure that instrumental It was a very weird experience and I felt rican-American players in orchestras. It’s programs are in city schools. out of place. I mean, at the time, I had just trying to keep them in music, when dreadlocks, I’m dressed in Rocawear, play- you spot the talented ones. At Oberlin, if To have the orchestral ing oboe. I didn’t make sense to people, so we spot somebody in elementary school, presence in a city advocating they were like, “Who is this guy? Is he a we stay with them—we’ve gotten a for music programs in schools, percussionist? Is he a bassist?” I was this couple all the way through music degrees then maybe that kid with quirky, nerdy kid with dreadlocks who in college. Even then, it’s hard to keep dreadlocks gets to play an Anthony McGill, principal clarinet in the , performs with the Gateways instrument.” –Herb Smith Music Festival Orchestra at the 2015 festival. basically, and a lot to navigate. These days, with the world being a) very materialistic and b) wanting to do everything im- mediately, people want things right away, instead of working towards something like this, which is a slow build. I mean, I’m a conductor—and conductors aren’t any good until they’re about 50 years old. It’s one thing to have talent as a conduc- tor, but it takes years before you actually know anything. That’s a long path for a kid to be looking down. LEE KOONCE: The fact that music instruction is not prevalent in every class- room in the United States means that kids who might have a predilection for playing this music, or any other kind of music, Rodney Allen Young

24 symphony WINTER 2016 aren’t given the opportunity. The few who “Classical musicians of African sitting behind that screen. But staying get through and learn about instruments descent need to see more in this business is about perception as have to be persistent to go to the next well—about how African Americans level. It’s difficult because there’s not a representations of themselves are viewed. As Judy said, because of critical mass of a million, or five million, in the world of classical music, how we’re viewed, it’s jolting for some kids in the country right now studying as do those who are aspiring people to see African-American classical musical instruments. The majority of classical musicians.” musicians. If I’m in a final round of an musicians currently in orchestras started –Lee Koonce audition, I’m playing oboe, all these really playing in public school, and in losing that sassy melodies, and then you see me come model of how to start musicians, not only derstand that kind of trajectory when it from behind the screen. I’m a 6’2” black did we lose many potential musicians, we comes to classical music. guy playing the oboe. It’s not something lost audience members who would have TITUS UNDERWOOD: Those are you see every day. an appreciation for the music because they all super-valid points. But I want to talk One thing that has been difficult is played an instrument in the third, fourth, about it from a different angle. Stay- that most things African Americans see and fifth grade. And we’ve lost donors. ing in this business is difficult. I’ve seen in the arts are charity cases or outreach That is a challenge for all of us because great black musicians not want to do it programs. That level needs to be met, but the feeder pool is absent in so many parts anymore—ones who were really good, there needs to be a level that exemplifies of the country. going to some of the best conservatories, excellence as well. When you see other Folks understand the slow-burn process who don’t want to do it anymore because people who look like you performing at an in sports for becoming a great player, of how they felt. It’s tough for everybody exceptional level, that’s what encourages. I because professional athletes work hard to in this business, everyone knows that. No see kids who want to be in music because develop their skills. But we don’t un- one likes taking an audition, no one likes they’re like, “Wow, he’s good at it and he’s

americanorchestras.org 25 doing it in an orchestra. That’s amazing.” TITUS UNDERWOOD: A lot out there in the field. Then we will have Rather than, “Yeah, I play oboe, I’m in this of people say, “We should search for more African-American musicians suc- program for black people.” more black musicians and put them in ceeding at auditions. So it’s very difficult and a very fine line. the orchestra,” but we know that won’t Human beings tend to downplay the There needs to be more representation necessarily work because there’s always power of unconscious perception. If there’s in the professional field showing African the audition process and I am all about a bass trombone audition and someone Americans at a high level. It’s reaching out the audition process being fair. I am a is cranking it out better than everybody to other people who look like you—just as big supporter of the [blind] audition else behind the screen, and a one-hundred there need to be more female conductors process. However, I think that if African- pound woman comes from behind the or more female CEOs. American musicians were to reach back screen, that would be a little jarring at and train young musicians who were in first, to be completely honest. That isn’t “One of the hardest things conservatories at a competitive level, work who I envisioned—because that’s what with trying to keep African- with them, listen to their audition tapes, humans do, we’re always trying to visual- American kids in the classical give them lessons, give them advice, had ize. We’re trying to connect the visual some sort of connection where we reached with the sound, and while that person is music business is them feeling out—because people say there aren’t a lot playing, you’re processing how that person enough support to think they of black musicians. Well, there are quite looks rather than listening to their play- can keep going.” a few who have gone through conser- ing. The screen takes that away, and you –Michael Morgan vatories, who are freelancing and are have to listen to what’s coming across. By really good. Let’s take those people who default, that will happen rather than the MICHAEL MORGAN: We could use have the potential to get into orchestras search-committee thing. more black conductors, too, by the way. At and train them. I’m a firm believer in LEE KOONCE: I have a couple of this point, female conductors in terms of the screen staying up in auditions. As a things that I would add about what or- major orchestras are doing much better result of the screen, you raise the chances chestras could do, from the perspective of than black conductors. of more African Americans being in someone who’s worked on the administra- JUDY DINES: For me, the hole where orchestras, so it’s not this convoluted tive side in orchestras. First, this com- people are getting lost is making the Titus Underwood is acting associate principal oboe at the Utah transition into deciding that this is what Symphony | Utah Opera, which he joined in 2014. He recently they want to do. I live in Texas, where we received his Artist Diploma at the Colburn School, where he have a pretty good band program—lots studied with Allan Vogel. He received his from of kids are playing instruments, probably the , where he studied with Elaine Douvas, and a lot more than in other states, which is pursued additional studies with Nathan Hughes and Pedro Diaz. great. A lot of kids play, but they drop off He earned his at the Cleveland Institute of because they’re not seeing people who Music as a pupil of John Mack, legendary principal oboist of the look like them and not getting the idea Cleveland Orchestra. There he also studied with Frank Rosenwein that this is something they can do for a and Jeffrey Rathbun. Underwood has performed with the , living. One thing that I hope would be a Atlanta Symphony Orchestra, Puerto Rico Symphony, Florida Orchestra, and San positive influence is YouTube, where you Diego Symphony. Festivals he has attended include Music Academy of the West, see orchestras all around the world, and Breckenridge Music Festival, National Repertory Orchestra, Aspen Music Festival, and you see more and more people of color in Canada’s Domaine Forget. orchestras. JESSE ROSEN: What should or- chestras do? What would you wish to see thing where we’re picking because it’s munity of classical musicians of African orchestras do to be helpful? There are a race or we’re picking because it’s talent. descent needs to see more representations lot of pieces to that question, but one is The screen never lies. I know that the of themselves in the world of classical mu- support and development of the talent Orchestra hires sic, as do those who are aspiring classical pool. I’m struck by how consistent this people from behind the screen—and that’s musicians. If an orchestra has a season and theme is that you’ve all brought up: the arguably one of the best orchestras in the there’s not one person of color as a guest discomfort of being the only one, and United States. However, I think that we soloist, I’m thinking “What in the world being in a cultural setting that doesn’t feel need training, really hyper training after is going on here?” That’s something that like home. You’re all in important roles in the conservatory, something like Gate- orchestras can change right now. There important orchestras. What would you ways but also a clinic where we run you are so many talented classical musicians have them do? through the wringer, prepare you to get of African descent who could be solo-

26 symphony WINTER 2016 ists with orchestras. Secondly, orchestras “What I like about Gateways orchestras need to advocate to make sure can begin to play music by of Festival is it’s a completely that instrumental programs are in city African descent in months other than different thing, because we’re schools. That’s so important. I went to a February. Number three, the diversity of not represented in large city school that had a music program, and the staff and the board changes how the that’s what got me going. Obviously you organization thinks—if there’s little or numbers in orchestras. People want to support the professionals now, no diversity on your staff and your board, don’t think a lot about African but they’ve got to start somewhere—even more than likely the way that organization Americans playing classical if you get just one kid. To really have thinks is not going to lead it to becom- music, and this festival puts advocacy, to have the orchestral presence ing a place of inclusion. When young that out there.” –Judy Dines in the city advocating for music programs black kids or kids of African descent see in schools, then maybe that kid with a diverse organization, they think, “Well, players? Orchestras could look at conser- dreadlocks gets to play an instrument. maybe that is not such a foreign place for vatories and say, “There is this amazing That’s really important, but city schools me if I’m going to be an oboist and I’m black oboe player who we’re going to take are dropping music programs left and 6’2” and I have dreadlocks. That orchestra under our wing. We’re going to make sure right. Yes, support professional and aspir- could be a pretty cool place for me to play, he has a chance to get into this orchestra, ing professional musicians, and also do the because the staff is diverse, the board is or some other orchestra, because we’re go- programs in the community. It’s both. diverse, and that’s not a foreign place.” ing to mentor that kid.” Those are things JUDY DINES: A mentoring program Lastly, when we talk about musicians of that orchestras can do. I can go on and on, is really important. That way it’s not such African descent, while orchestras need but those are four things. a shock when people are moving into the good outreach programs, what type of HERB SMITH: The other piece that next level—they know what to expect. mentoring is going on for aspiring profes- needs to be put in place here—it’s like Then people can figure out if that’s what sional musicians from seasoned orchestra a shotgun effect, a broad stroke—is that they want to do.

Conductors Daniel Boico Christoph Campestrini Steven Fox Nir Kabaretti Bernard Labadie Richard Lee Mathieu Lussier Dirk Meyer James Paul Gregory Vajda Pianists Anderson & Roe Piano Duo Katherine Chi David Kadouch Alexander Korsantia Benedetto Lupo Dubravka Tomsic Gilles Vonsattel Violinists Nikki Chooi Timothy Chooi Yossif Ivanov Mayuko Kamio Elina Vähälä French horn David Jolley Ensembles I Musici di Roma Jasper String Quartet Kelemen Quartet New York Brass Arts Trio Signum Quartet Trio Valtorna Special Projects Acte II Cirque de la Symphonie+ Festival Pablo Casals Prades Collective Ute Lemper Sopranos Tracy Dahl Karina Gauvin Jonita Lattimore Christy Lombardozzi Shannon Mercer Courtney A. Mills Christina Pier Mezzo-Sopranos Kristin Gornstein Abigail Nims Barbara Rearick Claire Shackleton Contralto Emily Marvosh Tenors Frank Kelley Jesús León Tilman Lichdi Christopher Pfund Steven Tharp Daniel Weeks Lawrence Wiliford Baritones Anton Belov Jochen Kupfer+ Richard Zeller Bass-Baritones Stephen Bryant Michael Dean Kevin Deas Basses Nikita Storojev Chorus La Chapelle de Québec +non-exclusive

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