Avsnitt
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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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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 educatorJoanna Drimatis, Music Director and Chief Conductor, Beecroft Orchestra
Katie LaBrie, composer, conductor, and educator
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Saknas det avsnitt?
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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 LorraineStephanie 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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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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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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Live recording from an AMA (Ask Me Anything) Panel Discussion on April 3, 2024. The panelists of the sessions were:
𝗞𝗮𝗹𝗲𝗻𝗮 𝗕𝗼𝘃𝗲𝗹𝗹, 2024 Sphinx Medal of Excellence & former Assistant Conductor, Memphis Symphony𝗠𝗶𝗰𝗵𝗲𝗹𝗹𝗲 𝗗𝗶 𝗥𝘂𝘀𝘀𝗼, Dudamel Fellow, LA Philharmonic; Associate Conductor, North Carolina Symphony
𝗙𝗲𝗿𝗻𝗮𝗻𝗱𝗮 𝗟𝗮𝘀𝘁𝗿𝗮, Assistant Conductor & Diversity Fellow, Buffalo Philharmonic
𝗦𝘂𝗻𝗻𝘆 𝗫𝗶𝗮, Associate Conductor, Seattle Symphony
If you missed my interview with Kalena Bovell in Season 1 Episode 14 where we discussed time management skills, make sure to revisit it: https://theconductorspodcast.com/podcast/14/
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My first in person interview for the podcast with conductor Chloé Dufresne, recorded on February 23, 2024 when she visited Atlanta through the Villa Albertine artist residence program with the French Consulate in Atlanta.
We talked about her conducting training, experiences with American and European orchestras, and current and upcoming projects.
Learn more about Chloé: https://www.chloedufresne.com/
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Based on my experiences teaching conducting workshops and participating in competitions, the three biggest mistakes are:
1. Worrying so much about the ensemble problems when you are the one causing the problems.2. Only concerned about your conducting, your vision of the music and fail to connect with musicians.
3. Thinking that it’s only about conducting - how about your leadership styles, interpersonal skills, and the way you present yourself?
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Welcome back to season 3 of The Conductor’s Podcast. In this season I will be sharing things I’ve learned this past year, my experiences participating in competitions, interviews with some new and old friends, and live recordings of several Girls Who Conduct webinars!
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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 pointHave a structure of the rehearsal, and share it with the musiciansIf 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 MUSICIANSHIPYou 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 WITHDo 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?
NETWORKINGVery 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 supporterGive All Talk and No ActionDraw a Pie in the Sky with your promisesTO 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 plansGenuinely reflect why diversity is important - and how that affect your vision for this positionCreate a sample concert program for the ensemble even without them asking for it in the first placeCommit 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 roundSome Zoom Interview Setting Tips from my friend Tim Verville:
Set up a nice corner with good light (not natural light) and and an appropriate backgroundEstablish your brand with your image (concert posters, bookshelves, etc)Make sure your eye contact is toward your camera, not the people on your screen
Do your homework, research research researchQuickly state the obvious, and go to your uniquenessIt’s not about what they asked, but what you want to say and how you say itPractice, Practice, Practice!!Research and outline a few questions they might askWrite out what you want say and practiceHave good questions to askSearch timelineThe 5-year vision of the organizationCurrent challengesTraits of ideal candidatesDO NOT ASK ABOUT SALARIES
Interview Tips:
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As the largest body of an orchestra, it's always great to have a string sectional to unify style, articulation, and even phrasing. If you are not a string player yourself, what are the mistakes to avoid when leading a string sectional?
Instead of:
Get stuck in bowing discussionsNot knowing your termsGive instructions on bowing or fingering Do this:
Always have a set of bowings marked in the part before distributing them Describe the sounds you wantLet the principals / concertmaster adjust things as they see fitGet help, be over-prepared, and bring an open mind to see what they are offering you!
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